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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1928 Volume 46, Number 01 (January 1928) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 46, Number 01 (January 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/752
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Journal of the ^Musical Home Everywhere THE ETUDE
) ''Music MCagazi
January 1928
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Professional ' ■ ■ . WURLITZER STUDIO UPRIGHT Keyboard Directory small piano for small Harmony Qan Tou 13ell? “ rooms, $295 Price $1.00 inU.S. A. 1. In what great composition of what Russian composer ap¬ HERE at Last pears the French National Anthem? is a simplified 2. What is a Requiem ? and practical 3. Who wrote the words and music of Suwannee River? KEYBOARD HARMONY 4. Who has been mentioned as “The greatest American com¬ Method, most poser ever born in Ireland and educated in Germany?” suitable for 5. What is a libretto? teaching in the 6. What two great composers of opera were bo'rn in 1813? early grades. 7. What is a doublet ? An extremely simplified method by which any student of average intelli¬ 8. In which of the operas of Wagner is there a famous gence can easily learn and master Pilgrims’ Chorus? 'll ill the Gate open for your Child ? all chords. 9. What was the original name of Beethoven’s “Fidelio?” Among leading teachers of modern 10. What is accent in music? methods it is generally accepted that It is in 1820. A boy, ragged, half starved, peers the study of chords should be taken through a gate, listening, all heedless of the rain. up very early. A thorough knowl¬ edge of chords enables a student to Whence comes this love of music that makes Giuseppe more readily master the keyboard Verdi, now hailed as a world famous operatic com- and develops the ability to memor¬ 3 • i poser, at the age of seven play upon a battered spinet— ize. It enables the student to think w»" ' — . at ten become the village organist—at sixteen lead the in terms of chords, which helps to instill self-confidence. Philharmonic Society? His father and mother both ’■Playing -Arpeggios were unmusical. Today, perhaps in the soul of your The Shefte Methods are used by the foremost teachers By Charles Knetzger own child is this same longing that was Verdi’s—urn of this country and endorsed fulfilled. Only by actually playing can he develop his by its greatest critics. The first thing to be considered in play¬ the arm or elbow. As soon as the second ing arpeggios is the fingering. When' the finger has played its note, the thumb ability. Is there a modern piano in your home? FORSTER MUSIC PUBLISHER interval of a fourth comes between the must begin to pass under the palm of second ana third tone of the arpeggio, the hand, with a speed commensurate WuruIzer STUDIO PIANOS 218 S. Wabash Ave., Chicago, Ill. custom sanctions the usage of the fourth with the tempo of the arpeggio. In finger on the upper key of the interval descending the fingers pass over the thumb Two hundred years’ experience has of a fourth; as, while it is playing its note; otherwise produced these exquisitely designed the legato will be broken. One should and wonderfully well-built instru¬ If You Teach Piano Ask Us to also tilt the right hand somewhat to the ments with full 88-note scale. Con¬ left, and the left hand a little to the right, structed for small rooms—especially Send You Without Charge as is customary in scale playing, to secure suitable for children, whose feet Some of these Helpful Catalogs smoothness. As soon as a thumb crossing reach the pedals as they sit in cor¬ has been made the hand adjusts itself to play the arpeggio in the next octave. rect playing position—perfect, too, A good preliminary exercise is to use for adult pianists. They possess the In playing the C major, or G major the thumb as a pivot and play the ar¬ deep, rich volume and crystalline arpeggio, pupils commonly use the third peggio note above and below in the form clarity of tone for which Wurlitzer pianos always have been famous. instead of the fourth finger on the second of a triplet. With prices so low—$295 and up through a wide range of designs key in the left hand, playing as in A —every home now can have a Wurlitzer. instead of as in B: Music is your child’s birthright
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Finding the “First'Pests’
By Abbie Llewellyn Snoddy
Tabulating, at intervals, lists of the satisfy his musical sense. It will be noted, composition's the pupils themselves most too, that pupils’ tastes change from dec¬ Music Teachers- enjoy practicing is a good way to keep ade to decade. The average pupil of to¬ the pupil’s interest at the boiling point. It day will choose a higher type of composi¬ cari be done by asking each pupil to make tion than his brother of ten years ago a list of the three pieces he liked best would have chosen, due, no doubt, to the constant hearing of good music through during the year’s study. By comparing the reproducing machine arid over the Investigatel these lists and sorting them out according radio. The average second grade student to grades, the teacher can judge with fair of a decade ago was satisfied with a sort accuracy which compositions will prove of predigested musical pabulum made up most successful with future students. The of the simplest harmonic ingredients; but child mind moves more or less along the the pupil of today demands a composition Progressive Teachers are enthusiastic in praise of our care¬ same lines, and it is safe to say that what that arouses his imagination with its va¬ fully selected list of works for piano solos, and for violin one pupil has enjoyed greatly another will ried harmonies, a Composition, in short, and piano—all unusually helpful for teaching, entertaining not dislike. that “says something.” and recitals. It will be interesting to note, in making The teacher who makes a practice of such a list, that the child who is develop¬ compiling such lists will hear less of the A few of these leading numbers are listed herewith. ing normally will probably give as his ever-irritating complaint, ‘I don’t like this Check the works that you want, cut out the marked favorites at least two of the more recent piece!” and will enlarge her own percep¬ list, and mail it to us — your order will be filled Why don’t you, too, get new ideas to use in your teaching, things he has studied—showing that the tions through increasing her understanding by return mail. more mature pieces (and therefore those of the class of musical literature students make your work a real pleasure and increase your income at the same time? having the highest musical content) best really loVe. And be sure to send the Coupon—it entitles you to Six Free Photographs, a Professional Rate Card and full information about our special Service to Teachers.
Works for the Piano Works for the PiANo-Cont. University Methods for Home Study One Pgtad to Good Piano technic Founded in 1903 and advertisers in the Etude columns since 1908 BACH-BUSONI, 17 Twc SIBELIUS, J., Barcarola, Opus 24 By Mrs. Norman Lee Instr. Edition. Finlandia, Opus 26. 15 Three-Part Invent Idyll, Opus 24, Ho. 6. To Etude readers we have offered sample lessons from our courses—many are using them with success. Romance, Opus 24»Ho. 9_ There is no royal road to a good tech¬ She gave two or three hours a day Valse Triste, Opus 44. Get these lessons, without obligation, and see for yourself how great a help they would be to you in your teaching. nic; of course, some have more natural to pieces, but nearly half her practice SINDING, CHR., Humoresque. DE COSTA, LEON, Valse Boheme.!. Courses endorsed by the world’s greatest musicians—such as: facility than others; they have the fingers, period was devoted to scales. Even dur¬ FLORIDIA, P., Six Poetic Images: so to speak. But the most gifted and the ing vacation time, she put in one hour a Book I (Ho. U Vox Intima. Ho. 2, Sursum Cor da). I. J. Paderewski, eminent virtuoso. Theodore Leschetizky, Paderewski’s great teacher. Emil Sauer, of the Vienna Conservatory. best endowed must nevertheless tread day on them. Book II (Ho. 3. Sorrow. Works for Violin and Piano much the same path to success. When she went to Paris to study, the Ho- 4, Happiness). Walter Damrosch, eminent conductor of the Alexander Guilmant, the world-famous Book III (Ho. s. Solitude. ALPHERAKY, Serenade Levantine. .60 A very successful pianist of the writer’s first remark her music master made was, BALAKIREW, Chant du Pecheur.60 New York Symphony Orchestra. French Organist. Ho. 6, The Boy and the Bee). BORODIN. Peasants* Chorus, from acquaintance got her technic through “What a fine technic! Of course, you FRIEDMAN, IGNAZ, Elle Danse (She Dances), Concert Waltz. Prince Igor. * Moritz Moskowski, famous Parisian composer and teacher. steady practice of finger exercises, scales have other faults, but, as for technic, you Concert Repertoire: ELGAR, La Capricieuse.. and arpeggios for an hour and half every are in the class of foremost concert players. Ho. 1. Henselt, Petite Valse day. From nine-thirty until eleven, six How did you get if?” H°°2P!HummXltoMo Favori. GLINKA, Mazurka.60 days a week, she went steadily at them, She answered: (Opus 11). Spare Time and Spare Ho. 3» Brahms, Valse (Opus 39, Ho. 15^ GRETCHANINOFF, Chant D'Automne .60 Institutional Rating each hand separately, then both hands “Scales and exercises without ceasing Slumber Song. .60 Ho. 4, Mozart, Romance from Serenade GUDENIAN, H., Armenia. .60 together:—scales in unison, in thirds, in during several years for an hour and a half Money Invested in Per¬ Ho. 5, Handel, Gigue. Armenian Lullaby.;o Twenty-five years’ success in teaching nationally and internationally. —— tenths and in sixths, scales in contrary a day.” HARTMANN. A., Prayer.7, GOLZ, W., Impromptu. A Negro Croon. .60 sonal Advancement Pay motion, scales in double octaves, double The moral is, Practice, practice, practice Valse Gracieuse.. ILJINSKY, Mazurka.60 Pupils and graduates distributed over the entire North American Continent. thirds and double sixths, very slowly at your scales. The pieces will take care of HARTMANN. A., Three Poems: KARAGITCHEFF. Exaltation.60 Soliloquy—Meditation—Threnody. KARGANOFF, Mazurka.60 the Greatest Dividends. first, then increasing to a terrific speed. themselves. In the Gondola.60 Instruction by the best master artists and teachers in America. KRAMER, W„ Menuetto in Modo LACK, Arietta (&tuz# Gavotte).60 Mr. C. M. Fuller, of Michigan, writes: LISZT, Au Lac de WaUenstadt.60 LESTER, W„ In Toy Town. MACDOWELL, Midsummer Lullaby.(So “After having four courses with you and now Suite of six easy pieces. The Robin Sings in the Apple Tree.... .60 working on the fifth, I am in position to say that Graduates, who have stood the “acid test” for preparedness in whatever manner MACDOWELL, EDW., Opus y MOUSSORGSKY, The Troubadour, From Four Little Poems: Complete Tableau D’Une Exposition.60 the University Extension Conservatory gives the called upon. Picture and Qanvas Ho. 1, The Eagle MOZART, Adagio.60 earnest, thoughtful student as much as any other Ho. 2, The Brook Andante and Gavotte Gracieuse.60 school in the world.” Ho, 3, Moonshine Andantino Molto Grazioso. .60 Diplomas which carry national recognition. By Alice H. McEnLny Ho- 4, Winter Miss Alice Tombleson, of Nebraska, states: Op. 46, Twelve Virtuoso Studies. Pantos NEMEROWSKY, Alla Mazurka. “I am Music Supervisor and am very successful, Specialists, teaching courses in music only. Two great elements constitute music, Imagine the accompaniment to represent Ho. I, Novelette. ORNSTEIN, Russian Festival. all due to your Public School Music Course. The melody and harmony. They play the parts, Ho. 2, Moto Petpetuo . PLOTENV1. LaG.on. a tonal canvas on which the melodic pic¬ Ho, 3, WEd Chase. POLDINI, Poupee Valsante. credits received from the University Extension usually, of master and servant. The mel¬ ture is to be painted. For a melodic pic¬ Ho. 4, Improvisation.... RIMSKY-KORSAKOW, Oriental Roman Passed the experimental stage years ago. Ho, 5, Elfin Dance. Conservatory have been readily accepted in the ody is the master whose prerogative it is ture which is like a dainty pastel, an ac¬ RUBINSTEIN, Barcarolle in F. States where I have taught.” Ho. 6, Valse Triste. IU.7S! \\ n.'U.--7U\T: to dictate terms and to demand of his companiment of light shadings and soft Ho. 7. Burlesque. Matouska Goloboushka. Mr. R. C. Bolling, of Virginia, after completing four Pioneers in developing the present home study method now used by many leading servant, harmony, a complete and subdued Ho. 8,Bluette.... SCARLATTI, Minuet. nuances is desired. But instead of this, SIBELIUS, Musette. courses, writes: universities. obedience to his wishes. But too many many a musician paints a tonal background Valse Triste. young music students seek to serve two Ho. 11,Impromptu.. TSCHAIKOWSKY, Barcarolle in G Mine “The instruction in your Extension Courses is of crimson or orange, thus completely de¬ Ho. 12, Polonaise_ the best possible for one to obtain. The person Same quality of instruction as offered by the best resident conservatory. masters, playing both parts alike as to pres¬ stroying the effect of the picture itself. MILLER, H. A. Four Indian Themes: who knows and can use his knowledge to enable sure and tone. A thoroughly unmusical Let him so mingle his colors—so empha¬ Ho- I, To the Sacred Bow. Ho. 2, Winn-- him to do as well and just a little better, usually bago Land. Ho. 3, In the Fire's Gloui. effect is reached in this way, and the pupil size the important and subdue the less im¬ Ho. 4, Eniwube's Vision. Complete. . Soldoquy. gets ahead—regardless of the method by which The only conservatory that offers regular conservatory courses in all branches by courts disaster. The harmony or accom¬ ORNSTEIN, LEO, Scherzino. Whims. he received his information—whether in college portant—that the finished product will in¬ VIVALDI, Largo . home study method. ’ y paniment must ever subdue itself to the or with a book by an open fire-place, or during deed be a complete picture, capable of being his spare moments under the written direction of part of a sympathetic and submissive serv¬ viewed from every angle, always refresh¬ a teacher a thousand miles away. This is my third year in charge of the Music ant ing, always satisfying. Department in the Normal School. I have nothing but praise for your courses, which have been of inestimable value to me in my work.” UNIVERSITY EXTENSION CONSERVATORY Dent ’ A ASSOCIATED Langley Avenue and 41st Street, Chicago, Illinois
SEND IN THE COUPON AND WE WILL PROVE TO YOUR ENTIRE Please send me catalog, four sample lessons and full information MUSIC PUBLISHERS, INC. regarding course I have marked with an X below. SATISFACTION THAT WE CAN TEACH ANY COURSE IN MUSIC, Qhec\s — and Qhec\s AS THOROUGHLY AND AS EFFICIENTLY BY THE HOME STUDY □Piano, Course for Students Violin i4o West 4znd Street, New York □Piano, Normal Training □History of Music METHOD, AS IS BEING TAUGHT BY ANY CONSERVATORY. Mandolin □Voice By D. Little Course for Teachers Guitar Comet, Amateur pPublic School Music □ Banjo All present who do not like checks re¬ Teachers’ Department □Cornet, Professional L|VJ □Harmony were not for these mistakes the piece would Organ (Reed) main standing. Now that everyone is Associated Music Publishers, Inc. □Sight Singing and Ear Training pOhoral Conducting be quite .perfect. 140 West 42nd Street, New York □Advanced Composition seated, we shall hear about some folks Now for the checks. A pencil mark put University Extension Conservatory ! without obligation, in accordance with your off who do not like checks. lightly m over a “rough spot” will help phs of Famous Composers and Musicians fi wonderfully, especially if the object of f charge. Also enter my name for Professional Rates and se LANGLEY AVENUE and 41st STREET How nicely this composition has been FREE te Professional Rate Card, together with full information abc learned—except for the F# that is always the game is to see how soon all the checks our Special Service to Teachers. may be erased. They are a sign of some¬ left out and those three rests which are Fill in and mail DEPT. A thing wrong, and are therefore not per¬ CHICAGO, ILL. slighted—oh, yes, and those tied notes missible in a perfectly rendered composi- the coupon Slease mention THE ETUDE addressing which are sometimes struck twice. If it advertisers. NOW tee etude THE ETUDE JANUARY 1928 Page 7 FASCINATING PIECES FOR THE MUSICAL HOME Page 6 JANUARY 1928 ra-'v** “MUSIC PLAY for EVERY DAY” * A First Book for Piano Study of Extraordinary Importance
THE CREATION OF A STAFF OF INTERNATIONALLY FAMED EDUCATIONAL EXPERTS
EMBRACES THE THIS IS THE SOUNDEST MOST JUVENILE SIGNIFICANT TEACHING ANNOUNCEMENT PRINCIPLES MADE IN APPLIED TO YEARS IN THE MUSIC FIELD OF FROM MUSIC FROEBEL AND EDUCATION PESTALOZZI TO THE This Book is Destined to PRESENT DAY Jump Into Immediate Includes a and Section of Enduring Use Twelve Classics By Many Fascinating Great Masters Juvenile Pieces By Helen L. Gramm
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PHILADELPHIA, PA. Copyright MCMIX by Paul Decourcelle Other Music Sections in this issue on pages 35, 43,75 CHU JANUARY 1928 Page 9 THE ETUDE THE ETUDE PagcS JANUARY 1928 BEGONIA ADAM GEIBEL A new lyric piece by a very popular writer. Grade 34.
DANCE OF THE FREAKS An eccentric dance, in burlesque style. Grade 3. FREDERICK KEATS Allegretto m.m. J=ios
Copyright 1937 by Theodore Presser Co. British Copyright secured HUNGARIAN DANCE A lively flaarria# movement. Grade 3 FELIX GERARD, Op. 6, No. 6 Vivace m.m.J=120
'■PJ'rifhl by the Then. Presser Co. for the U. S. of A. only. ■opyright 1913 for all other countries by Joseph Williams, London Ltd. * From here go back to Trio and play to fine of Trio, then,back to the beginning and play to Fine. Copyright 1927 hy Theodore Presser Co. British Copyright secured JANUARY 1928 Page 11 THE ETUDE THE ETUDE Page 10 JANUARY 1928 SWEETHEARTS
A HAPPY New Year! This is our no more is given than is absolutely re¬ hearty greeting to the continually quired for satisfactory progress and the enlarging group of Etude parents. keeping up of the pupil’s interest. It seems but natural with the opening of . The Indulged Child the year to begin sermonizing and moral¬ izing. But we restrain the impulse, be¬ TN CONSIDERING the problem, how- cause it is too much like preaching to the -*■ ever, the capable, efficient mother will well-meaning folks who fill the pews in¬ reserve her judgment until she has stead olj. reaching the reckless joy-riders weighed the facts. Perhaps the child is on the outside. We realize that the good the type who loses interest unless con¬ Etude parents do not need to be told of tinually buoyed up by the variety and the value and advantages of music study novelty of his new pipces and studies— for their children. Like the preacher, we the sort who has never been trained at may council with them and admonish home to finish a job, once undertaken, against the errors and pit-falls of heark¬ who rebels at enforced discipline and who ening to unscrupulous teachers who exhort pouts and sulks 'at lesson periods if com¬ them to run after false gods in the form pelled to work on the same material of foolish fads and untried methods, but twice. Perhaps the teacher knows that Fortunate the Child the glorious message of the musical life such a child will be allowed to stop lessons is always theirs or they would not be wel¬ if distaste for the subject is aroused. Of who, like her mother and grandmother before her acquires coming the Etude into their homes. course, even in such cases, through a wise her early musical education on the limpid, sweet-voiced, We can only hope, then, to inspire every selection of material, overcoming, perhaps, light of action-touch, mother who hears the gospel of good some special defect with each exercise or music preached in these columns to be¬ piece provided, a good deal of technical come a musical missionary and to carry training may be accomplished. the wonderful message into the homes of With pupils who will attack every new every unconverted mother of her acquaint¬ composition with enthusiasm and avidity, ance, that no little children in this land but who tire after the newness wears off IVERS & POND of plenty and opportunity may fail of the and before the selection is learned, the joy and blessing of a musical education. teacher is always hoping to find something especially fascinating that will hold the Pledge for Co-operation child’s attention until a piece is completely PIANO T ET THIS, then, be your New Year’s mastered, realizing, in the meantime, that, ' resolution. Pledge yourself to hearty while they may be in a sense a partner of cooperation with your children’s music the parent in encouraging a bad habit in Every child’s accomplishments should be enriched by teacher, to work steadfastly to raise the the. child, at least they are instilling a cer¬ the graceful art of piano playing—an asset of culture and standard of music in your own home and tain amount of music-learning into the refinement, which will endure through life. And so will pupil's mind and are also developing many community and to preach, unceasingly, the the Ivers & Pond piano. Its superb musical qualities other worth while habits that the study of salvation of the musical life to your and sterling integrity of construction have made this friends and neighbors. music will establish. If you have not famous make the choice of over 600.leading musical and Yours will then be, indeed, a Happy trained your child to finish a task—the educational institutions and 75,000 homes. New Year throughout the length of the final test of persistency and stick-to-it- calendar. iveness—in all the years you have been at Under the ownership-management of the original inter¬ As the teaching season progresses we your job of motherhood, do not expect ests, its quality was never more jealously guarded than have before us again the important ques¬ the music teacher to do it in one or two to-day. tion of the supply of music and materials hours a week. provided by the teachers for their pupils. Impartial Judgment Several mothers have voiced complaints How to Buy to this department because of “the high COMETIMES, unfortunate though it is, cost of the up-keep” of the children who ^ a continual supply of new material is Where no dealer sells IVERS & POND pianos we the only way to keep some children happy quote lowest prices and ship from the factory tho’ are studying music. They say it is a good your home be in the most remote village in the United and interested. On the other hand, it is deal like the family car—not the original States. Attractive easy payment plans. Liberal al¬ cost of the instrument, nor the legitimate perfectly true that there are occasionally lowance for old pianos in exchange. Every intending expense of its use and care, but the ac¬ teachers who will give their pupils an buyer should have our new catalogue. Write for it. cessories and incidantals that put it in the over-supply of music because of the com¬ luxury class. mission made upon the sales. But they I appreciate fully that the expense of are not numerous. If your piano and music and materials is an important mat¬ music cabinet are loaded down with half- ter to the average parent. Where several learned and discarded texts, you had bet¬ children are taking lessons, it is bound to ter investigate the situation. be more or less a strain on the family in¬ But when you start be open-minded come. If the bill for supplies, sheet music and impartial. Be sure that you under¬ and other accessories is a steadily mount¬ stand conditions before you place the ing one, it is certain to become a con¬ blame. If it is music that has been well- troversial issue in the home circle. Often learned and out-grown and has therefore it has even a deterrent effect upon the served its purpose in your family, pass it childrens’ continuing their music study, on through the settlement schools or some with the consequent loss of pupils to the other channel where it will help some teaching profession. Therefore, the wise, ambitious but poorer child. Sit down and business-like teacher will see to it that the analyze the work your children are doing. Copyright 1927 by Theodore Passer Co. & With soft pedal throughout. music provided the pupils is carefully If they come from every lesson with selected to meet the special need and tem¬ something new, and have no perfected British Copyright secured perament of each particular type, and that (Continued on page 67) Please mention THE ETUDE when addressing our advertisers. THE etude JANUARY 1928 Page 18 Page 12 JANUARY 1928 THE ETUDE One Hundred Music Stores in One JOHN M. WILLIAMS WORLD’S FOREMOST MUSIC PUBLISHING AND MERCHANDISING HOUSE says: CLinmNS By MacLachlan Over One-Half the Population of the United States Is So Located That It Has No Immediate Access to an Adequate Music Store. This Great Population ‘‘Is one of those wonderful pieces that h Contains Thousands I SHOULD TERM IT AN ABSOLUTELY 1 of Music Lovers Who Have Learned That They Can Get Just What They Want in Musical Supplies When They Want It by U. S. Fast Mail from the Theodore Presser Co.
The artist in endeavoring to vis¬ ualize the many music stores our stocks would fill has been limited for space since nearly ten city blocks would be required for the display windows of the retail music stores that could be most completely stocked by splitting up our gigantic collection of music publications. This “Whole World” Catalog Free Expert Music Supply Service for all do art have an Adequate Music Store at Hand every music lover in the United States (not in nada) on request. It is an intensely interest!- We, the Theodore Presser Co., are, in general, the largest known individual All Publishers Represented Upwards of four hundred trained cm- buyers of the publications of other poyees, —-a large resident staff of listed above. Whether you are a teacher, a st Publications of several thousand music pub¬ or a musical amateur, you will find a numb musiral educators, expert clerks, etc., publishers throughout the world. lishers are in the stock rooms of the Theo¬ books for violin, piano, voice, organ, saxop This, together with the huge and dore Presser Co. at 1708-1710-1712-1714 —-and a system of mail order despatch etc., which will prove the most satisfactory c Chestnut St. (buildings shown above) and m d^ebped by nearly a half century of tions which you have ever used. Mail us a constantly increasing catalog of the at 1713-1715-1717-1719 Sansom St. Z» theLfield makes all music card today with your name and address an publications of the Theodore Presser .buying through the Theodore Presser catalogue will be sent by return mail. Below is a limited list of some of the Co. has resulted in the largest and fin¬ publishers whose music works we stock ^ cofnv.ement, profitable and delight¬ THE “WHOLE WORLD” est stock of music supplies anywhere. and when one considers that a number ful in the highest degree. of music publishers have from twenty MUSIC SERIES thousand to over fifty thousand indi- is the world’s premier line of vidual numbers in their catalogs some ASk fZ wlallgl°n A"y of Music One Trial Order for Anything Wanted in comprehension can be gained of the all- Which You Are Interested. for piano, violin, voice, organ Music Publications Will Tell the Story embracing immensity of the Theodore Presser Co. s stock for direct mail Our ‘‘0:rSa!,J’%d ‘° Re^uesl Details °t devoted to the choicest classic service to music buyers everywhere. Co„v SpCcial Discounts and Conveniences of Qur Service. positions. Printed from engraved plates on clear white paper, and substantially bound in either
Here is the Complete List of “Whole World” Collections
- - hia Pa. D. APPLETON & COMPANY Vc 82 lc Publications - - THE JANUARY 1928 Page 15 Page U JANUARY 1928 THE ETUDE
Nothing So Attractive, T5he Musical Home ‘Reading 15able „Anything and Everything, as long as it is Just Published! So Interest-Compelling, Instructive and Interesting So Clever, Exists As Far As We Know Conducted by A. S. Garbett WhatLDoEnstAtThePiano THE COVER IS IN COLORS 6# CHARMING PICTURES IN THE TEXT By CLARA ATWOOD FITTS
Theodore T5homas and His “Shop (Concerts’’ to. slight -the performance of even the The Most Tuneful First Lessons Theodore Thomas, founder of the Chicago Symphony Orchestra and one musical trifles of which they were, so The Most Practical of the greatest of pioneers of music in largely composed, but gave infinite care to the preparation of every number that he One Point at a Time America, did not always enjoy performing the lighter kinds of music with his or¬ played, and would not permit the least slovenliness in their execution. He was Trains Ear, Hand and Eye chestra, but, according to his wife’s especially particular in regard to the “Memoirs bf Theodore Thomas,” he was Makes Teaching a Delight and Study a Joy Strauss waltzes which he gave with infi¬ just as exacting in conducting a Strauss mm nite grace and a wonderful swaying waltz as in a Wagnerian prelude. rhythm. “It must have been terribly tedious to “Someone once asked him how he man¬ Thomas to come back from the triumph aged to impart such vitality and lightness "By HELERLCRAMM PRICE 75 CENTS and exaltation of a series of great festival to these dances and he replied, ‘Have you JAMES FRANCIS COOKE performances, and go to work grinding out never noticed that I always beat the first ■ OLIVEftDITSOWCOnPANy Every Teacher Should Know This Book ! ‘popular programs’ every night for the stroke of the rhythm up instead of down? masses,” we read, “and it is no wonder that You cannot put the life and continuous A composition of intriguing loveliness,—pecul¬ A supreme feature is the unique Ditson Keyboard Chart (in two colors) 5)4 x 29inches, tipped into every copy he often alluded contemptuously to this motion of the dance into a piece of music, iarly pianistic in that it “fits the fingers” delight¬ class of performances as ‘shop concerts.’ if you knock the poor tune down at the Separate Charts, 25 cents each “Nevertheless, he did not allow himself beginning of every measure.’ ” fully—already a standard number in the regular OLIVER DITSON COMPANY, 179 Tremont Street, Boston, Mass. teaching repertory of progressive teachers every¬ fthe "Meaning of ‘Bfiythm where. Chas. H. Ditson & Co., 10 E. 34th St., New York, N. Y. Karl W. Gehrkin’s little book, “The strong and weak, for without such regu¬ The Romance of “Sea Gardens” Fundamentals of Music,” is valuable for larity of alternation there could not arise Try Your Music Store First Far down in the rainbow gardens of the deep, the its concise statement of facts that ought that steady, persistent movement that is to be more familiar than they frequently so basic in music. The accents are re¬ sea fairies float among the brilliant coral, red and are. Concerning the function of rhythm ferred to as ‘strong beats’ and of course white fringed with anemones of amethyst and gold there could be no accented points without in music, for instance, he has this to say: amid the emerald grasses, waving, eternally waving. corresponding regularity of non-accented “ ‘In the beginning was rhythm,’ said Voices of lost souls gently sing to them, souls long ones. Freedom from monotony is secure since passed to their last resting place. Brahms (a statement also attributed to by variety of tone length. The most Jeweled fish float, in and out among the sparkling von Biilow), and historians agree that striking characteristics of musical rhythm SJJMMJTS CORNER the earliest manifestation of what we call are then: (1) regularity of gait in forward- caverns of the depths. Announcing Recent Publications music is to be traced back to the rhythm movement—that is, pulsation; (2) ac¬ Ceaselessly, silently the Sea Fairies swim to and fro. MOKREJS, JOHN PIANO SPECIAL TO READERS OF THE ETUDE of primitive dancing. The word rhythm centuation; (3) variety in tone length.” Storms lash the waves along the rocky shore. In a Toy Shop—Character Sketches for Piano. The Yankee Sailor. Gr. 2 .30 Sail Boats, Gr. 3.SO means literally flow. This directs our And again—“It is through rhythm that The surf dances furiously along the strand. The Bear Dance, Gr. 2... .30 The Indian Pony, Gr. 2-3. .30 To introduce these two Beautiful New Compositions attention to the continuity of music—it unity, coherence, balance and variety are The fairies hide in fear. numbers that make the practice hour a thoroughly enjoyable one for the young student. Interpretation, rhythm and dynamics are stressed. TWILIGHT SERENADE”, Flower Song involves a constant forward progression. ■achieved. Rhythmic progressions are far Again the calm. But rhythm implies regularity of gait, as more common than tonal ones, and the GOODRICH, FLORENCE A. “LOVE’S GOLDEN MEMORIES”, Reverie Again the sun shining through the turquoise water. Etude de Concert, Gr. 3-4. .50 Chromatic Etude, Gr. 3-4. .40 well as forward-movement. It is not a repetition of rhythmic effects is largely Again the fairies listening to the faint voices from attractiveness0 widi* t™ hnfcal rtudy" Brifij. nt° tastfully{ and s!“ufully combines musical By the famous composer Charles H. Masked matter of forward progression by starts responsible for the feeling of oneness that ENDRES, OLIVE and hitches but a regular, steady flow. arises when a musical composition is another world. Childhood Fancies—Gr. 1-2 A Little Dance 1 “This in turn points to an alternation of The Pixie Band / .. TWILIGHT SERENADE Slumber Song 1 A Story j .30 Flower Song t LittI'h M'niatuJes of direct musical appeal to young players. Elementary study in touch, “Beethoven’s . . . tapestry may he woven in heaven but we feel that he has spun the thread of it in hell. Bach lives always in the childish gaiety TERRY, FRANCES April Shower—Gr. 2-3 .30 of heaven, and so he fills us with a serene and profound satisfaction that Crisp staccato with fairy lightness. remains unalloyed."—Havelock Ellis. Entreaty—Gr. 3. 30 pedal Trlhi'in'g a^'welh Wi*h “le accompaniment between Ae ‘ hands. Excellent Laughing Brook—Gr. 2-3 . 40 Smooth triplet playing pictures the cheerful brook. Keep on drying The success of this composition is largely due to the fact HESSELBERG, EDOUARD 1 that those who know it want to play it over and over. A briHiantTh
Page 17 JANUARY 1928 Page 19 THE ETUDE
THE MUSICIAN’S AUTOMOBILE TO ECENTLY, in Europe, your editor talked with a group of active musicians. Only one in the group possessed an auto¬ mobile. He found it difficult to explain to them that in America «■» “d « by complexities. a corresponding group of musicians not only would have auto¬ tf^jSdiCed against music becauj they have mobiles, but also would consider them a necessity. The economic situation in America, as far as musicians are concerned, is unique in the history of the art. Musicians never made so much money. Even the musicians in small orchestras, “Better Hot Concern “Knowledge, Breadth, under certain union scales of pay, make from seventy-five to one When this boy started to study Bachs inventions and later Oneself About the hundred and fifty dollars a week. The musician is often one of Character, Culture, Bach’s Fugues, the “Colonel” was at first very much irritated. T1, Moderns Until the the most active persons in the community. He has to run hither contrapuntal puzzles were very much greater than his receptivity. Education and Thor- and thither—everywhere. The automobile becomes as much a Classics Have Been He would either order his grandson to stop or leave the room. oughness are the Great necessity as his fiddle and his piano. Without a good reliable However, after hearing these puzzles over and over again, Mastered. If You Want car, he is as much crippled as would be the doctor. Of course the Determining Factors in he came to be very much interested in them. In fact, In* came to Bathe in Music, big leaders in the musical profession will' have from two to three the End. It Ma\es Ho to like them very much and frequently called for them. It w.i- Don’t Worry About cars. Many go “auto crazy” and spend lavishly for their motors. cultivated receptivity. This editorial then is perhaps a lesson to Difference Whether Some, like Josef Hofmann, become experts and contribute im¬ the Gree\s of Musical those who have made the mistake of too large dosages of musi. You Get These in portant inventions and ideas for improvements of the motor. Art When There are to adult listeners. School, College, Con- The point we want to make is that American musicians are Oceans of Bach, Bee¬ Musical receptivity is, after all, a very astonishing thing greatly blessed, to be able to afford excellent cars; while their servatory or Hot—Get Consider Toscanini, the Italian maestro, who an entii thoven, Mozart and European brothers, like most professional people abroad, have conducts Them You Must or Suf¬ performance of, let us say, “Tristan and Isolde,” without score Chopin.” to content themselves with bicycles. fer the Consequences.” —three hours and more of the most intensive musical thinkin JUSTICE TO MUSIC PUPILS AND TEACHERS watching the course in his mind’s eye of the thousands and OiN THE WAY to the recent convention of the Music thousands of notes in their relation to the performance. Teachers’ National Association at Rochester, we met What mathematician is ever called upon to perform such George D. Haage on the train. Mr. Haage is the President of an astonishing cerebral feat? The ability to do such a thin the newly organized Music Teachers’ Association of Reading, represents a gigahtic mentality, beside which the problems > Pennsylvania. This association is organized to be of practical the average business man are puny and comic. value to the teacher. One idea he mentioned could be used with How can a human brain focus itself upon such a huge work profit by other groups of teachers working collectively. for such a length of time? In fact, as wc have continually A committee of the association visits the public schools of brought to the attention of our readers, this very exercise of the city and has been successful in effecting an arrangement with the attention, this concentration, this spontaneous cultivation oi the authorities which protects the teacher and the pupil against the synchronization of the mind, the nerves and the muscles, loss of lessons in the case of pupils who are “kept in” after even in the performance of quite simple pieces, is a brain drill school. The music teachers have an understanding with the not equalled by any other form of mind training. LEOPOLD GODOWSKY school authorities that pupils who are disciplined in this way Musicians and teachers should never fail to go out of their may notify the school teacher that the day happens to be one on way to make this point very clear to the general public, because which the music lesson is due. If this is the case, the pupil is the public is not sufficiently informed upon the difference be 'excused and permitted to “stay in” on another day. tween the study of music and the mere cultivation of a taste I, , Self Study in the ^Art of Music When we were teaching we can recollect losing many les¬ music. One could have a comfortable chair in a gymnasium sons through pupils who were "kept in.” The idea struck us as • a fine one and we are passing it along to other teachers. all thelffil genr atT °f athle!CS m tralnmg and «mw weaker IS6' In°rder to §« the benefits of music training one Ji cR^mar\able Interview Secured Expressly for Vhe Etude Mlusic VYCdgazine The missed lesson problem is one of the large leaks in the must study an instrument seriously and earnestly The v .l..e , • teacher’s pocket-book. The missed lesson slips stating that with the World Fdmous Virtuoso Pianist dnd Qomposer teachers will not be responsible for lessons lost through any df times.”8 ^ b£ r£fleCted ” aU P^Ls^J ^rk t cause other than protracted sickness have helped thousands of .teachers. The slip is sent out with the bill, or the statement, the BOX and THE “SOX” Leopold Godowsky and never fails to make an impression upon both pupils and “I sold you the box and not the 'sox' “who NEVER TOOK A LESSON” parents. These slips may be purchased from the publisher of The Bowery, The Bowery this periodical at a nominal cost. l U never go there any more'" JJ ROBABLY the most astonishing instance of the “auto- servatories. In 1909 he sms made Royal Imperial Professor and Director of the Master School of the Imperial Royal Academy by MUSICAL ABSORPTION JL clidakt” or self-taught performer and creator in the history the Austrian Government. He returned to America in 1912, but HEN a glass is filled to the brim, it takes only one drop SfcfiSjESfi* S7e't,,hebHUe «* of art is that of Leopold Godowsky. He was born in Vilna, W auctioneer and bid upon a half do/ ^ ,wEo Vlsitcd a Bower since that time has made numerous tours to all parts of the world, to make it spill over. The receptivity of minds, as far Russia (now Lithuania), February 13, i87o. He made his debut had bought an emp^box “cks* on,y to fi"d that h not merely as a pianist but also for the purpose of absorbing as music is concerned, varies enormously with the individual. at the age of nitic. The biographical dictionaries mention that he local atmosphere for his work in composition. Some minds have the capacity for hearing very long musical studied in Berlin under Rudorff and in Paris under Saint-Saens. They thinks'much the «me way His work as a composer is distinguished by his tremendous programs and remaining fresh and attentive to the end. Other This, Mr. Godowsky insists, is in error—-that, while he is indebted instrument. Any kind of a good n0t as a music‘' contrapuntal facility and his extraordinary elasticity in the treat¬ minds are tired out after a single movement of a symphony. to these teachers for their friendly interest, his relation was not ment of melodic passages. His fifty-three studies on the Chopin In the pioneer days our crude adventurers on the frontiers paimed off by the ghb salesmaif A rbn§ P‘,ano case can h that of pupil and teacher. In 1884 he came to America and has Etudes amazed the musical world by their uncanny contrapuntal of civilization, who spent their leisure hours in the local taverns, chase the customer finds that he W .l^u. mo.nt*1s a^er the pur toured this country many times with prodigious success. He treatment. His works in longer as well as in shorter forms are had great admiration for the man who could “hold his ‘licker’.” ment inside has already died of nrem^ ^ T that t,lc lnstnj held in highest esteem by musicians the world over. It is a well-known fact that some people can take a dosage of If you do not know how toX*6 ^ ‘ty‘ has also taught at different periods in two leading American con¬ alcohol which would utterly paralyze others with different does not have an established rL?atLPlan0’ 'f the Plan nervous organisms. teacher friend, that is, one wK - P°nsult • your must What is “Self-Taught?” marked innate gifts and understanding of “With the majority of pupils, a thor¬ A natural Gift basic artistic principles that it is difficult oughly schooled and ably trained teacher It often seems to us that musicians are unfair to the laymen makes, More than this, if you desireT lnf°™ed on the bes 4tnnHE VERY WORD ‘self-taught’ 4 4 \ T 7TTH ME music was as natural to account for their achievements unless can shorten their periods of work enor¬ in expecting them to be attentive to long programs of involved assured of an unbiased, unprehidSd t0 Considt “s you may b may easily lead to misunderstand¬ ’ ’ and necessary as breathing. I one is to accept the oriental theory of re¬ mously and spare them from making can not remember my first contact with music. We have a very definite sympathy for father who begins Piano Expert, Etude Educational °Pim°n by writing to ou ings which are difficult to correct. In a incarnation. fatal blunders in the path of progress. music. I was far too young. My family to rustle his program and shuffle his feet after listening to the Musk Magazine, 1712 cEftStSt^-iB^au’ The Etup broad sense, all artists of high achieve¬ “How, for instance, is one to explain Even here, however, every frank teacher was not composed of professional musi¬ First Movement of a Brahms Concerto. Father’s musical capac¬ ment are ‘self-taught,’ notwithstanding the as a But’ by/r means never let anvon^l?^ ph'a’ Pa- the genius of Mozart or of Schubert? In will admit that the pupils who make the cians, although they loved music. When ity may be about one pint. It would give him a great delight to fact that they may have spent years with teachers. On the other hand, there is mere childhood they were developed far real advance are those who realize that I was a child my father, a physician, beyond their elders. Surely no teacher their success must depend upon their while attending a family during a ter¬ The Conquest of Fate is the some difficulty in conceiving one who is Sublime Problem of Man wholly un-taught. We are all susceptible could possibly have taught them all that own initiative, hard work and the pre¬ rible scourge of cholera, was stricken in to impressions that come from the out¬ they knew in such a brief period. It servation of their personalities as artists. the home of his patient and expired. This side. We may not receive direct instruc¬ should be remembered, however, that these The pupils must lend himself to the teach¬ left my mother destitute. tion through regular lessons; but we ab¬ are altogether exceptional cases. The er’s leadership; but, if he imagines that “I was given into the care of an uncle sorb ideas and information from all man¬ ordinary music student cannot be judged a great teacher with a great name will who was very musical. He had been a ner of sources. Often this process goes by them any more than Richard Wagner’s carry him to triumph unless he (the pupil) pupil of Wieniawski and played the violin on unconsciously. It does seem, however, measure can be taken by comparison with supplies ninety per cent of the effort (the exceedingly well. I started on his piano that there are some people who have such the average man. motive force), he is doomed to disaster. to penetrate the fascinating mysteries of THE ETUDE JANUARY 1928 Page 21 THE ETUDE Page 20 JANUARY 1928 a plane greatly advanced irom tnat of the student of twenty-five years ago. This is the ivory and ebony keys, when I was useless advice to the worthwhile students three years old. I have no recollection as nothing will stop them from working A MUSICAL QUESTION OF THE HOUR how I learned the notes. It all seemed their heads off! Stick to it if you really perfectly natural and obvious to me, as have the great ambition. When the time though I had always known how to play comes when you can afford and can se¬ them. No one remembers how one cure the desired teacher, your self-help learned to feed oneself. Playing the efforts will prove just that much time and “Why Every Qhild Should Have a Musical Education” piano was like that to me. At the age labor invested. of five I composed a minuet. The mid¬ “Above all things seek real musician- dle section was a perfect canon. This ship, not mere digital proficiency. The received. The five winners of leading prizes were: Russell is noteworthy because up to that time I greatest deficiency I have found in pupils Following are the results of one of the most popular Snively Gilbert, Katherine Harrington, Elizabeth 'Willis had never heard a canon. I used this the world over has been lack of coordina¬ Symposiums ever conducted hy The Etude. Liberal Prizes canon in another composition twenty-three DeHuff, Hilarion F. Rubio and Howard }. Hoste. If space tion of the musical studies. How can one were offered by the Etude Music Magazine for answers years later. permits other articles will appear later. intelligently interpret a piece unless one to this question, to which seventeen hundred answers were "My musical education went on in a is familiar with the history of the art? haphazard way. I simply played every¬ thing I could lay my hands on. I remem¬ How can one know what was in the ber that there was a beginner’s book for composer’s mind unless one makes a sym¬ an illustration of its value industrially, piano which in its day was very famous pathetic study of his life? Of course First Prize culturally, intellectually, artistically, so¬ there are thousands who play the piano cially, and from it she has made her liv¬ in Russia. It was by Krupinsky. I mas¬ By Russell Snively Gilbert tered it but have no idea how I got and play it exceedingly well, without a ing. Incidentally, perhaps, she learned through with it. Every new work I could knowledge of harmony, ounterpoint his¬ ORANGE, NEW JERSEY that she has great and ever greater op¬ find was an adventure to me. I studied tory, biography and mtisi I form; but portunity to give pleasure to others. them with huge enthusiasm. When I came such performers cannot expect to rise Musical study quickens' the eyes, ears So we find, through a musical training, to parts which seemed of impassable diffi¬ to the very top. Knowledge, breadth, and the fingers; the mind, and the mem¬ new life, beauty, rhythm, poise, self-ex¬ culty I isolated those parts and worked character, culture, education and thor¬ ory. It stimulates self-discipline. Music, pression, repose, culture, power, emotional with them indefatigably until they became oughness arc the great determining fac¬ as an emotional outlet, is a great safety outlet, a means of livelihood, and even just as playable as the simpler passages. tors in the end. It makes no difference valve. Music is a means of service. whether you get these in 'tool, college, Technic Developed The eyes T5hird Prize conservatory or not—get •' PROPOSED JEWISH NATIONAL CONSERVATORY IN PALESTINE (From drawings by M. Kornberg, Architect) The author of this article, Jacob Weinberg, was born July 1st, however, to complete an “Encyclopedia of Piano Technic and a 1879, in Odessa, Russia. His family was identified with musical “Course in MusicologyP _ In 1915 he was elected professor of the higher courses of and literary undertakings in his native land. Although destined the piano in the Odessa Imperial Conservatory. Fleeing from the for a commercial career, Weinberg soon turned to music, pursuing Bolshevist Revolution, he went to Jerusalem and established there his studies at the Moscow Conservatory, where he had among his a. conservatory class for piano and theory of music. He remained masters, V. G. Safonov, Professor Tgumnov, and S. I. Taneiev. in Jerusalem four years, participating in the organisation of a While at Moscow he also became a student of lata in the Jewish National Conservatory class in Jerusalem, University of Moscow. There he likewise commenced his first In 1926 he won the extraordinary honor of receiving the work in musical composition. In 1910 he left for Vienna, where Sesqui-Centennial Association prise in Philadelphia, for his three- he studied with Theodore Leschetisky. Thereafter he toured as a act opera, “An Evening in Palestine,” the judges being Clarence pianist and also taught musical theory and history, finding time, Dickinson, Nicola Montani and Kurt Schindler, The Folklore cent); and then the Christians—Catholic, servative daily habits, tends to a lyric in¬ The Arabs still wear the same na¬ Protestant and Greek Orthodox (about spiration and expression. Because the tional costume that was used thousands of eight thousand, or ten per cent). The years ago. They prefer to sit upon the T IS ALMOST impossible to talk about Palestinian Fellah’s folk music is the I oldest settled unit of the population is floor rather than upon a chair. From a unique esthetic physiognomy of a most oriental of all other ethnical groups made up of the Arabs, but at the same a sanitary and hygienic standpoint, the land like Palestine, populated by vari¬ of the Holy Land, it is evident that, to time it is the least cultured part. The Arabs are woefully primitive. The chil¬ ous nations, because every nation has its a musician, their songs are the most inter¬ most of them are “Fellahs”—peasants dren suffer frightfully from diseases of own characteristic ethnographic and speci¬ esting. who are engaged in agriculture and hus¬ the eye. In the Arabian villages there are fic type of expression. Likewise, we notice Much already has been written about bandry in the most primitive of ways. no panes of glass in the windows, and this in the musical physiognomy of many oriental music, especially its intervals From a point of view of the European, flies and insects abound. Notwithstand¬ lands embracing a heterogeneous popu¬ divided into four, six or eight parts of the • Fellahs are an inflexible, unintelli¬ ing this, these people are really good- lation. The life of each folk goes its own a tone. These are found in its melodies, gent, clumsy and conservative mass; but, hearted, friendly and naive, and for the way. It appears strange, however, that in which, therefore, appear savage and odd on the other hand, this group is rather most part honest in their little business so small a country (which is not larger to ’an occidentally cultured ear. There characteristic and beautiful, yielding the transactions. than the smallest state in the United is no intention to give here a theoretical most interesting and picturesque impres¬ States of America), there should exist a discussion of this topic. Rather, it shall sion. Of all the nations in the Holy Land, marked difference between the various be the aim to portray some personal im¬ The Quest of the “Keynote” the Arabs have most persistently pre¬ races, their traditions and character; but pressions of the Arabic folk songs. HE HISTORY of musical thought, served their characteristics through the T in Palestine this is particularly noticeable. Not long ago, many original melodies of all peoples and all races (which, many centuries. The three principal ethnical groups in were, sung at Jerusalem, by the famous of course; is the history of music), is the Holy Land correspond to the three Arabic songster, Mrs. Curban, now in New only the strengthening of the keynote principal religions. The Arabs (Mus¬ Fellah Fol\ Music York. The little intervals found in her sentiment, that is, the feeling for a definite sulmans, approximating six hundred N ALL PLACES and epochs, the singing do not give the impression of tonality. The genesis of a basic keynote thousands, or three-fourths of the entire folk songs have been most cherished ultra-chromatic ones; but that is a re¬ sentiment was the birth of a cultural his¬ population) constitute the biggest group: by the peasant classes. The psychology sult of a “hesitating” keynote, of a to¬ tory of music and of cultural musical then the Jews (approximately one hun¬ of the man of the soil, living near to nality not yet fundamentally entrenched thought. In the music of uncivilized dred and twenty thousand, or fifteen per mother earth, with his simple and con¬ in the ear. oriental nations the most characteristic THE etude the etude JANUARY 1928 Page 29 JANUARY 1928 enormous success. In the inaugural can- the immigration into ^^e^ifter cert Jan Kubelik appeared as soloist, in distinction is, as has just been said, the creased. The Zionist Movement the Beethoven and Bach violin concertos uncertain pitch and the uncertain tonality. the Balfour Declaration in 19D, ” , There also functions in Palestine a proI That is the real explanation of the little fessional union, “The Palestine Musi, gaps that we meet every now and then % -y ST r°' ‘Xahe ‘Power that Peaches the Goal of Musical Success dans’ Association,” which has united all on the ascending and descending degrees the forces working for musical cultivation of the oriental scale. To the average student, trained in occi¬ of the land, and also protects its economic Selected from Marshall Field’s ‘‘twelve things to ‘Remember” and ^Amplified interests in this art. dental music, it is seemingly impossible to iourning in such larger countries as sing a quarter tone, let alone a sixth or G.™», and Poland. D«jw£ A National Conservatory eighth division of a tone. We sing whole more recent years-since England became By Leslie Fairchild and half tones and let it go at that. The a mandate power over Palestine, as P LAST, but not least, we must remem- Arab finds this very monotonous. Trained vided by the League of Nations ther s her the efforts of a group of Jewish from childhood in these minute intervals, it goes after. Woe to the student wlio be¬ has been also an increase in the numte of virtuosos and composers of music to RITING IN the National Geo¬ position to guide himself through the “Knowledge is Power” he not only can sing them but at the same W comes absolutely satisfied with his work. English officials in all branches of the create in Palestine a Jewish National Con¬ graphic Magazine, Frederick R. many treacherous shoals that are other¬ ITH A KNOWLEDGE of what time also revels in listening to them. W He will soon become stagnant like a pond local administration. All these new res servatory. The first steps for the realiza¬ VVulsin relates that in a certain wise ever ready to upset his career and constitutes a well-rounded musical The second characteristic is that the out¬ that has neither inlet nor outlet. Really dents of Palestine naturally desire to tion of this idea were taken by a group of region in China he heard a curious explan¬ throw him entirely off his course—per¬ education, the student is better equipped line of the Arabic song lacks symmetry of great artists are never quite content with hear good music, and modern perform¬ American-Jewiih soldiers, in 1918, on the haps wreck his fondest hopes. An en¬ to cope with the many difficult situations form, in our sense of the term. The prac¬ ation of the fact that the skeletons of dead their work. They are forever trying to ances. They are real lovers of music. French front. This group collected $15(X) lightened mind cannot be hoodwinked! tical form of the song does not consist of animals are most numerous near wells that may arise. When one sets out to improve and perfect their performance. The large tide of new-comers has brought in memory of one of its comrades, a mili¬ travel, it is very essential that One make symmetric phrases, sentences and periods and drinking places in the desert and not, This is really one of the points that distin¬ to the Palestinian shores also a great tary band musician, who was killed in a certain plans, consult time-tables, ship —the regular symmetrical division into as one would expect, far from them. He Mental Attitude guishes their work from that of the many specialists in music, with diplomas sailings, transportation charges, and learn sixteen, thirty-two or other regular num¬ battle. This stun was the first money was told that a camel lacks the spirit of amateur. dedicated for the future building of the V^LZE CANNOT always change our the most direct route to one’s destination. ber of measures. The typical form of an a horse or a man. Once thoroughly worn v v physical environments, but we can, There .are five points to which it will art song is quite unknown to the Arabs. Palestine Conservatory. \fter the war out and discouraged he will lie down with Now the music student who embarks on a repay the serious student to give thought of our own free will, change our mental musical career must give some thought It is interesting to mention that we ob¬ the Jewish soldiers returned to America, his load on his back and refuse water and and consideration, namely: In the songs of the more enlightened The First School of Music attitude. In an unfavorable environment, to the various points along the route if he serve a gradual progress of musical and shortly thereafter, in 1923, founded food until he dies on the spot. The skele¬ 1. The value of time. incidents that are really trivial seem to expects to reach his destination in the thought among the different classes of the Arabs can be observed the close relation¬ IN 1910 there was founded the first Pal¬ an Association for the erection of Pales¬ tons seen by the traveler are of camels 2. The pleasure of working. ship between the Jewish and the Arabic become gigantic obstacles that hinder Palestinian Arabs. The semi-savage estinian school of music, ill the new tine Conservatory in remembrance of the that almost reached the well they were shortest possible time with a minimum of 3. The virtue of patience. national song—both of Semitic origin. Jewish city of Tel-Aviv, at the seashore, our progress and tend to breed gloomi¬ interference. Let us go carefully over Arabs—the Bedouins—sing in a quite Jewish soldiers killed in tin Great War. seeking, but gave up and died a few hun¬ 4. The improvement of talent. Among the Jews inhabiting Palestine, at first a suburb of Jaffa, which gradu¬ ness and pessimism. With such warped our musical road map and see just what atonal "prehistoric”* character of melody For its purpose this A-- . iation is sup¬ dred yards away. 5. The joy of originating. we meet emigrants from all parts of the and form. The whole harmonic range of ally became a self-governing Jewish com¬ ported bv the famous muMcians, Leopold There are, no doubt, thousands of stu¬ thoughts it is impossible for us to do our points we have to cover in order to reach world. The Jewish immigration to this these melodies is three or four tones. munity. There are, in Tel-Aviv, three Godowsky (President), Maurice Ravel dents throughout the world who have be¬ best work. The only antidote for this the place we had set out for. Time Sometimes, in the singing, are heard land began about forty years ago. This music schools and a great many private condition is to turn our. thoughts im¬ In the beginning there are a great many and Jascha Heifetz (Vi - Presidents), come disheartened and discouraged and, IME IN ITS whirling cyclonic path ejaculations and lamentations like the was largely due to the pioneer activities of music teachers. Jerusalem and Haifa each things to learn, such as hand position, ac¬ T and many other prominent artistic per¬ like the poor camel, give up just before mediately to happier, brighter and health¬ has left many wrecks strewn here cries of animals among which the Bed¬ Dr. Theodore Herzl, and others, in estab¬ has one music school. In each of the tion of fingers and wrist, and the art of sonalties. they reach the goal towards which they ier things. By constantly training our and there—those who were blinded by its ouins dwell, such as camels, donkeys, lishing a Jewish national state. The larger three Palestinian cities there are also mu¬ reading notes fluently. Next comes the The realization of every great national have been striving. Their musical as¬ minds to harbor only pleasant optimistic swift passing and neglected to take advan¬ jackals, ponies and wild game animals. part of the agricultural settlements of the sical societies which offer concerts from development of an adequate technic that ideal depends upon only one thing; that is pirations have died and they soon become thoughts, our life begins to take on a dif¬ tage of it when they had the opportunity. It is an interesting example of mimicry, Jews have existed not more than twenty time to time in the winter and spring sea¬ will enable one to gain a mastery over the the national strength, tne force of love mediocre musicians or give up their, music ferent aspect and we gradually rise above It is true we all cannot be rolling in imitation, aping and mockery. years. This period is too short to have sons. For the last two years numerous instrument so that the greatest works can to the nation, of everyone . a its citizens. entirely. environmental conditions that at first ap¬ wealth, but we all possess time or spare The songs of the more cultured Arabs created anything like a unique folksong. musical artists have visited Palestine (on be played with ease. This will include a The Jews have shown countless wonder¬ Of course there are many reasons for peared to be ^insurmountable. Washington moments—the subtle product upon which are very near to our own symmetrical mu¬ Therefore, very few of the Jewish melo¬ their way to Egypt and Syria) and have thorough knowledge of the five cardinal ful examples of national union during all this condition, such as-poor environment, Irving summed up the situation forcibly our successes or failures depend. The sical language. In a small collection of dies sung in Palestine are original. We given concerts. Among these have been points of technic, namely, the trill, scale, their long history. In the musical art the unjust criticism, lack of funds, ill health, when he said, “Great minds have pur¬ students who are killing time during prac¬ Arabian songs, compiled by A. Z. Idel- hear, in Palestine, Jewish music sung in Godowsky, Marteau, Heifetz and Kubelik. arpeggio, octave and chord. There will Jews arc, undoubtedly, one of the strong¬ laziness, uninspiring teachers and the lack poses, others wishes. Little minds are tice hours are really killing their own sohn, may be found several melodies very Hebrew; but their singing has been Tours of d’Albert and Hubermann are ex¬ also be plenty of etudes, along the route, est nations of the world. < . msequently, of knowledge of what constitutes a well tamed and subdued by misfortune; but chance of becoming even second or third- similar to the songs of eastern European brought over from Russia, Poland, pected in the near future. These, to name by Czerny, Cramer, Clementi and Hanon, it is the duty of all Jewish musicians, and rounded musical education. All these are great minds rise above them.” rate performers. The 'hour that you lost “Russian and Polish” Jews. Here is an Ukrainia, Rumania and other nations. but a few of the principal celebrities that will lead directly to the realm of such There is in Palestine a small colony of of their Gentile friends, t,. unite their factors that tend to have a positively de¬ today can never be made up tomorrow. example of an Arabic melody that many among the visiting artists of high stand¬ artistic studies as the Chopin etudes and people might interpret as Jewish. Jews who settled there a very long time forces for the creation of a National Con¬ structive force unless corrected. How¬ In practicing, put a time limit on a cer¬ ing. Thus it is that Palestine and Cairo Artistic Temperament the Liszt etudes. The student will want ago. These are the Yemenite Jews. servatory in their national homeland. ever, we must not lose sight of the fact tain difficult passage that you are working form a kind of artistic bridge between the to visit and study the great masters of (Yemen is a province of the Arabian pen¬ that many of our greatest musical geniuses THERE SEEMS TO L? a current out, and see if you can master it within A Andante_ music lovers of the East and of the West. the classic period: Bach, Beethoven and insula.) Their songs are all in our or¬ of history have risen above the obstacles opinion, among many, that art-work¬ the given time. You must learn to master This affords artists an opportunity to SELF-TEST QUESTIONS ON MR. Brahms. Then on to the romantic school dinary scales—major or minor (the minor that seemed to have been set against ers are unreliable in that they cannot stick time if you would be successful, or time I" JJ3jaJ1 j- break the long journey from Europe to WEINBERGS ARTICLE of Schubert, Schumann, Chopin and Liszt, them. to their task as do people in other lines will master you at the expense of your being always in the natural and never in India. and finally the works of our real moderns, the harmonic or melodic form). The 1. What are the cthnoln,,. d groups of of endeavor—that their work can only own success. such as Debussy, Ravel, Stravinsky and very symmetrical form of their couplets Palestinef Fine Minds in Bodies be done during their inspirational mo¬ A National Opera Company ments. I know several people, not only Ornstein. shows a much higher musical culture than 2. Among what class docs folk music T N ONE OF HIS recent articles, George The Pleasure of Wording 'T'HE PALESTINE OPERA COM- musicians but many who are writers, The student will want to make many lit¬ t ijj that of the Arabs. propagate most luxuriantly? T Jean Nathan points out that the fine TTOW MUCH EASIER and more PANY was founded in 1923 and is who claim that they never can accomplish tle side trips that will be of great interest, 3. Haw is the "keynote" the gate to mu¬ minds are generally to be found in the ^ pleasurable the practice hour would still actively in the field, having performed anything unless the divine urge presses such as he will find in the study of the The Musical Culture sical history? bodies that are more or less constantly on be if one would only put forth as much about twenty operas of the greatest them on to it. Where would the world pedals, dynamics, expression, * harmony, lieau “ultra-modern" _ atonal 4. Htnv do the indigenous and the more the way to the drug store or the family effort In trying to improve one’s playing Lj'ROM THE BEGINNING of the Italian, French and Russian composers. be today if everyone waited for the in¬ counterpoint, fugue, composition and mu¬ cultured Arab songs differ in symmetry? doctor. He goes on to say that fully as in expending energy by trying to find ^ twentieth century, more especially in During the last year a symphony orches¬ spirational moment or “feeling?” This sical history. Of course it is a most dif¬ Hive step back toward 5. What are indications of musical two thirds of the greatest geniuses the excuses for not having the time to prac¬ lusical thinking. the first decade following the Great War, tra began its work in Tel-Aviv, with an so-called “artistic temperament” has rel¬ ficult thing to state just when the study progress in Palestine? world has produced have been physical de¬ tice. Everyone is obliged to work, egated many worthy talents to the back¬ of a certain branch of the art should com¬ fectives. As examples in the music field whether he plays the piano, sells stocks ground. Every student wlio shows the mence and another finish, as there is a con¬ we have Beethoven, Mozart, Chopin, Han¬ and bonds or Ford cars, acts as hostess or slightest symptom of this sort of artistic tinual overlapping of all these subjects; del, Gluck, Schumann and Paganini. This tells jokes over the footlights. All works "Musical fading fflubs temperament should strangle it to death. and it will take a competent instructor to should be encouragement enough to spur require a certain amount of drudgery to Feeling like practicing is very important guide the student’s course if he intends to ns on in the face of obstacles and to dem¬ bring out the bright spots, and when one By Dr. Annie W. Patterson to one’s success, but has it ever occurred to reach his destination without a mishap. onstrate that one, if he will it so, can rise is rightly occupied, work becomes a real us that we could encourage the “feel above his present condition. pleasure instead of a grind. like it” habit? Half of our daily prac¬ Discontentment T HAS been alleged that, whilst musi¬ preferably with a sympathetic teacher at In the splendid book “Piano Playing” It is difficult to realize the tremendous I tice, we shall find, is simply a grind cal students may be familiar with a their head, agrees to meet once a week at for certain of the mcnilirrs to read papers Josef Hofmann says, “In all arts and 'T'HERE IS A type of discontentment amount of work that has been accom¬ against the wish, but it will have to be wide repertoire of pieces, they often are some convenient place, or eveu from house <>n a regular scries of composers or music®1 sciences, as one advances, complications A that is healthy for the aspiring pian¬ plished by some of the world's greatest formances. In this way a very i topics. done just the same if we intend to rise strangely ignorant of the composers whose to house, for the purpose of studying the and obstacles seem to multiply in com¬ ist, but the student wants to make sure geniuses, who lived at -a time when such and profitable evening may be to any degree of distinction in our art— works they play daily, or the circumstances literature of music, illustrated, when pos¬ Club Attraction plexity until the point of mastery is that it is of the right sort and not the labor-saving devices as the typewriter, dic¬ Advance notice should always b, SO LET IT GRIND 1 ! There arc three under which these works were written. sible, by musical examples. T'HE LACK of formality or pressure reached; then the tendency seems to re¬ kind that sets back, wrings its hands and taphone, vacuum cleaners, washing-ma¬ of the composer who is to form t words that spell success: The reading of musical history is, indeed, A good plan is to start with “Composers’ t of any kind upon individual members verse itself, until a kind of circle carries bemoans its fate. This is the most de¬ chines, comptometers, aeroplanes, automo¬ done in such a desultory fashion—if at Nights,” taking all the great masters in Club SUrVey ^ thC "eXt meeting would free the “Club” from living a spe¬ one around again to the point of simplic¬ Work! Work! Work! structive type, and unless the student biles and wireless were unknown. Think all—that no one is generally.expected, .off¬ turn. One of the company will generally In the same way, musical “periods cies of lecture class. Yet the real end ity. It is encouraging for the student to One cannot work for ever so short a guards against it he is destined to lose of the capacity for work that Johann Se¬ hand, to name the composers of favorite would lie attained of getting musical stu¬ know that he must expect to be con¬ period without learning or accomplishing whatever he has; and he will find it a bastian Bach possessed! Surrounded by selections or the creative artists that are be found willing to read a short essay If tf*efTs1)ch as the start of Opt dents familiar—and in touch, more, in¬ fronted with ever-increasing difficulty, un¬ something. Do not mistake the sort of most difficult condition to correct. How¬ twenty children (none of whom, I im¬ famous in connection with one or another (not longer than perhaps a quarter of an the Madrigal school-examples bein hour in delivery), which will treat of the ed or supplied when feasible in coi timately—with the music which they daily til he reaches the point where all the in¬ temperament that has been described in the ever, there is another type of discontent agine, were any too quiet) he managed to great department of the musician's prac¬ foregoing paragraphs for the more gen¬ that works miracles. All artists possess it main points of, say, Handel’s or Bach’s with the works of specific compose study and practice. tense and intricate problems seem to .solve compose enough music to keep the average tical sphere of activity. themselves, dissolving gradually into the uine and lofty type, that thrills audiences and it cannot lead to anything but suc¬ life. Then members might be invited to Open evenings of the Club would enable student out of mischief for the rest of his light of a clear understanding day ” and occasionally moves one to tears. cess. This type of discontent gets what days; and, as for some off the present-day Supply missing details, to quote anecdotes, the ’ historical1 series'* a° gSJd'jr ‘‘ friends to lie invited and, perhaps, would The Popular Club Idea It is generally at this stage, when the composers, Bach’s music staggers them and—as far as they can—to bring the per¬ Music could he taken as texNte! allow of an explanatory program. Many music student is nearing the point of both in quantity and quality. Here are HE SOCIAL club, no matter how sonality of the great composer definitely assert that the frequency of radio per¬ ^teeSr^d^ mastery of his art, that he becomes dis¬ some of the things he composed: seven simple may be its organization, is before the minds of the hearers. formances in the home or social circles couraged and gives up like the camel who concertos for piano and orchestra, three always popular, especially with the young. Those present who come to the gather¬ "as done away with the possibility oi died within a few hundred yards of the violin concertos, three concertos for two Possibly the club idea may be turned to ing, able and willing either to play or sing >he old musical evening, when “as man)' “Success usually comes to those who are too P,easui well he was seeking. If the student would good account in regard to the really selections from the master’s works, could ful1 worth.. Of course aagoXea as could or would” were supposed to pianos, two concertos for three pianos, read some of the inspiring books oil pleasurable study of musical history. Let then be called upon to contribute to the secretary would „eed to have rfL™ take part. But even the wireless appa¬ busy to be looking for it." THOREAU three wedding cantatas, five oratorios, music and get a general survey of what us suppose that a band of young students, best of their ability. Criticism of points meetings one who could pShan ratus. and certainly the talking-machine, thirty orchestral scores, six solemn masses, up a season’s program and even fay be drawn into the services of Jhc is ahead of him he would be in a better several pieces for the flute, harpsichord, Clul>” as a means of musical illustration- the ETUDE Page SO JANUARY 1928 and other marks of expression given ir JANUARY 1928 Page 81 : by no means of playing the piano; that it was the ill-kept Horn^ 8"*"■Jftaltydestroy complete. THE ETUDE organ, bass viol, French horn, a dozen They are simply suggestions or gt,id greatest stumbling block to success,, and motets, twenty-four preludes and fugues posts. The fingering may not be at all he could not emphasize the fallacy of this ssssssi—' t* and so forth indefinitely. suitable for your own hands; therefore It is also said that Antonio Stradivarius attitude too strongly. you will have to invent fingerings that turned out five hundred and forty viglins, Great artists possess infinite patience. sr.ts.sf'sSsThe improvement of ones taie ® are. Of course your teacher can do all fiJt by having a competent-instructor.one fifty violoncellos and twelve violas in a It has been said that Thalberg declared this for you, but that would take away single lifetime. Numerous others could that he never ventured to perform one of who can eliminate the weeds, so to speaK. the real joy of origination, self-expres. ‘Bands and Orchestras undertaking the same work behalf ;of the also be mentioned who possessed this his pieces in public till he had practiced it and who can give the proper rote nal to sion, and would tend to kill the initiative N AN INTERVIEW which appeared great capacity for work. Think over a at least fifteen hundred times. Henry T. develop and improve ones talent t I German military bands. to study anything alone. in one of the leading weekly music jour¬ (Conducted Monthly ‘By few of these things when you start to Finck, the eminent critic, tells us that fullest extent. . And now, my good reader, since we have Work is the second factor that enters nals several years ago, a certain musi¬ Clarinet Improvements complain about a few hours of daily prac¬ Kubelik never neglected his daily exer¬ come to the end of our intimate talk, I cises except the day when his wife pre¬ into the realization of ones art. e cian made the statement that “the day of Victor J. Grabel tice. hope that you will be better prepared’to THOUGH THE clarinet was invented sented him with twins. Teresa Carrefto the band as a musical factor has passed.” average talented person is apt to be lazJ' follow your brightest star. Mayhap you FAMOUS BAND TRAINER AND CONDUCTOR about the beginning of the eighteenth practiced faithfully five hundred and His natural ability allows him to do things This musician voiced the opinion that any The Virtue of Patience will never succeed in reaching it, but like century, the greatest improvements have eighty technical exercises that her father with such ease that he does not realize the combination of brass and woodwind in¬ T F THE POOR CAMEL had possessed the seafaring man you will certainly find been made in that instrument within the wrote purposely for her and which took value of systematic work, and therefore struments was unsatisfactory as a medium ^ a little more patience he would have it a splendid guide. period which we are considering. It is her three days to go through. Rachman¬ he becomes careless and allows himself to for the performance of music of a serious come upon the well for which he had been these recent improvements which have inoff says that the. students in The Imperial sink to the level of the dilettante instead nature and that the band was losing its vainly searching. There are so many stu¬ given the clarinet its fullness, richness, Music Schools in Russia are compelled to of becoming an artist of the first rank. SELF-TEST QUESTIONS ON MR one-time popularity. He. clearly indicated dents who remind one of the camel. They flexibility of tone and facility of technic study the Hanon studies for a period of FAIRCHILD’S ARTICLE his disfavor (and ignorance) by classify¬ become' impatient and discouraged in T3he Band as an Important which, together with its extensive compass, five years. Most American students ex¬ The Joy of Originating J. What great musicians had physical ing all bands under the single head of climbing the steep ascent to Mt. Parnas¬ make possible the performance of many pect to cover the same ground in about defects? “brass bands." Should this man make an sus. They want to play the Chopin TT HAS BEEN SAID that originality of the most difficult passages written origi¬ one season. “Patience is bitter, but its 2. How can we rise above unfavorable investigation of the status of the band to¬ Etudes or the Liszt Rhapsodies when their A is simply a pair of fresh eyes. If the ‘Musical Factor nally for the violin. fruit is sweet.” environment T day or five years hence, he could not but technical capacities will only allow them student would only learn the value of It was during this period that Theobald S. How can we cultivate the “feel like undergo a very decided change in opinion. to cope properly with the smaller works. fresh eyes and of looking upon each les¬ Whatever seeming loss of popularity of complex nature or to make practicable the Godfrey and his three sons, Dan, Fred and Boehm practically remade the flute by his The Improvement of Talent son as a new experience! There are so practice” habit t A renowned artist and pedagogue told us the band was occurring twelve or fifteen transcription of some of the best orches¬ Charles—served as bandmasters of the rearrangement v of holes, by the develop¬ many little details in music study that the What are the five cardinal points that this was the greatest fault that he NO MATTER how great the talent, it years ago was due entirely to the kind of tral literature for band rendition. Coldstream Guards, Grenadier Guards, ment of a more correct bore' and by adapt¬ earnest student can originate, such as se¬ of technic I Royal Horse Guards and Scots Guards found with students, and said that it was cannot reach its full stature until bands prevalent in our amusement parks The great publishing houses of London ing to it a new key system—altogether the one thing that prevented them from it has been carefully cultivated. Talent lecting suitable fingering, pedalling, ex¬ 5. How have the great artists shown Bands of London during the period from at that time. Prior to that time such began, about 1850, the publication of band greatly increasing the facility of fingering, achieving worth-while results in the art that is allowed t i rampant is like a pression marks, and so forth. Pedalling patience in studyt 1825 to 1904. They played a very im¬ meritorious bands as those of Sousa, Innes, arrangements designed to meet the needs of richness and purity of tone, and correct¬ the English military bands, which had in¬ portant part in the development of the Pryor and Conway drew great throngs to ness of intonation. His ideas were also corporated a full complement of the vari¬ English military bands and were among our parks and resorts. In consequence applied to the piccolo, and virtually the there was a rather sudden upspringing ous woodwind instruments available at the first to make arrangements of an am¬ Security in Intermediate ?{otes same key system was used in bringing the of all manner of bands to compete for that time. Prior to that date each band¬ bitious nature for their use. The pub¬ oboe to its present state of near-perfec¬ these engagements, such as Royal Italian, master was compelled to make his own lished arrangements of Fred Godfrey were By Paul J. Creston tion. His ideas were later applied to the Imperial Hungarian, Royal Hussar (black, adaptations of such numbers as were re¬ among the first of their kind. It was about clarinet, blue, white and other highly colored uni¬ quired by his organization. the same time that the famous Prussian In grouped-note passages where only It was about 1850 that the saxophone Also in passages such as the follow- forms), Scotch Highlander and Banda The famous Godfrey family—Charles master, Friederich Wilhelm Wieprecht, was one note in each set belongs to the melody (invented by Adolphe Sax) began to be g: Verdi, with their “hypnotic,” “acrobatic,” incorporated into the band. Comprising, it is quite likely that most attention is ’*•5. Elude - 08 minor Chopin “long-haired” and “temperamentally-com- as it does, the full choir of soprano, alto, paid to this prominent melody-note with bustible’” conductors. a corresponding neglect of the more sub¬ Accompaniments such as the following tenor, baritone and bass, it has proved to from Chopin’s Scherzo in B-flat minor These conductors ( ?) could fairly exude dued tones of the group. It follows that, be a highly important addition to the wind should be practiced: “temperament,” but many of them were in order to learn accurately the subdued ensemble. Though greatly sinned against utterly lacking in real musicianship. They in recent years it is an instrument pos¬ or intermediate notes, they must be given often attempted to make up for this lack equal prominence with the others. sessing a beautiful and expressive quality by engaging in “vodvil” stunts—I have of tone in the hands of a competent player. There are two effective ways of giving seen one of the best of them engage in all The saxophone choir can produce smooth, prominence to each note. The first is by manner of gyrations and contortions while rich, soft, organ-toned effects of remark¬ transferring the accent. For example, in his soio clarinetist was playing an unac¬ able richness and beauty. Chopin’s Prelude in E-flat, besides prac¬ companied cadenza. In Europe the best bands have been their ticing it with the accent on the first These bands were generally composed military ones. The Grenadier Guards and of mediocre and poorly paid musicians— (melodic) note of each triplet, the second Coldstream Guards Bands of London and in consequence of which they were able to and third notes in turn should be accented. The second method of practice is to fo¬ These two methods should also be pur¬ the Garde Republicaine Band of Paris are underbid greatly our best American or¬ Thus: cus the attention on each note at a time sued in arpeggio runs, and skips, such as among the best known, though Holland, ganizations. Many of the park managers by means of resting or pausing, thus: in left-hand accompaniments, thus: Belgium and Italy have some very notable felt that the public would be as well sat¬ organizations. These bands are composed Ex.3 isfied with these cheap organizations and largely of graduates of leading conserva¬ engaged them because of their lower cost. tories and are maintained on an ambitious Following the resultant decrease in patron¬ There should be persistent practice in scale, resulting in a very wide apprecia¬ age they gradually reduced the size of the which the accent is successively shifted to tion of the best in band music throughout bands engaged and all the better class of the different notes of the groups. those countries. It is to be greatly de¬ patrons sought other amusements. plored that the Army and Navy Depart¬ ments of our own government have' been ‘Reading Rhythm Tin Pan Bands so very negligent in giving reasonable at¬ 'T'HE CHEAP musical charlatans not tention and support to our service bands. By Leonora Sill Ashton only made it impossible for good Our greatest bands have been civilian bands to secure lucrative engagements, but rather than military. In point of person¬ “Please play that over once for me so companiment which would place the learning to walk on mental crutches they also soon found it impossible to se¬ nel, excellency of programs played and I can get the right rhythm in my head.” rhythm instantly in the child’s conscious¬ the few primary rules of the beat, the One of the best methods of attaining cure engagements for themselves. The public popularity gained, no other bands It was not a child that asked this but ness, in order to observe the process by pulse of music. loss of patronage at the parks was due to in history have equaled the attainments of a woman of middle years and of consider¬ which the young scholar himself arrives thro,-ensing correct rl,ythm He should put forth the necessary physi¬ the lack of good music rather than lack the bands of Patrick S. Gilmore and John at the same conclusion. Moreover, in the able musical intelligence. With a knowl¬ fraTieViSVS Hi,” fpkS cal effort toward making the accent on the of interest on the part of the public. It Philip Sousa. Gilmore searched both Eu¬ edge and appreciation of musical history simplest exercises, the A, B, C’s of rhythm first count of each measure. He should was the result of the short-sightedness of rope and America for talent and assembled should be stressed. and theory and the ability to play the give attention to the secondary accent, » the managers in providing cheap, blatant Victor J. Grabel the most complete and most capable body piano with fine feeling, there was never¬ Above all things, the pupil should avoid there is one. In playing “common” time organizations which were an affront to the of wind instruments that had ever been theless an unbridged gap in her mind be¬ depending on the metronome! The eyes this would come on the third count of the musically-intelligent public. The same gathered together. Since there were but tween the time signature and note values are the members that need quickening—the measure, like the second bound of a rub¬ thing is now happening in many of the few suitable arrangements published to eyes, the mental hearing and the imagina¬ After hearing the rhythm clearlv in m as they appeared on the printed page and mmd the student should go Y ber ball up from the floor. He should large “movie” theaters in which the fine meet the requirements of such a band, he tion. Looking always for outside assist¬ Victor J. Grabel, a native of rural Texas, had his first musi¬ the rhythmical 'impulses as they were the piano for the practical rL?n T° feel the strong first accent in three-four orchestras are being displaced by small found it necessary to have many special experienced in the imagination and por¬ ance—like the tick of a metronome— cal experience in the village band. One year in Texas Christian attempting to play he should keep hU time; this will carry him along almost in¬ jazz ensembles and “blues” singers. A transcriptions made for his use. The trayed in actual performance. The diffi¬ stinctively. A good rhythm to use ® similar loss of patronage is bound to oc¬ University, where he was leader of the college band, was fol¬ Sousa library is also made up very largely culty could be overcome only by gaining “New rhythmical combinations are always welcome . practice of this kind is two-four time, cur eventually here—the general public is lowed by two years of study at Dana’s Musical Institute of War¬ of manuscript arrangements made express¬ the correct tempo through listenihg to has to its credit many successful innovations in that dire r "l0<~m music with the measures plentifully supplied with not wholly lacking in good taste and intel¬ ren, Ohio. After three years in Susquehanna College of Music, ly for his organization. another’s rendition of the composition. that a work of rhythmic novelty and even charm is tultm"’ Say eighth notes. ligence. he enlisted in the Seventh United States Infantry Band, serving Though this is an extreme case of sibilities of music is a preposterous claim. What about 22 \ ,est cure f<* When we consider the fact that the con¬ mental and musical underdevelopment, a Instruments in the Discard platwn, resignation or profound grieff Just because rlixthl °I COnte"1' faulty rhythm, but never should one forge- cert band, as such, has been developed in Manila and Detroit. When the zvar broke out, with the help of OME OF the instruments employed by tendency toward weakness in this direction sent the basic life m music, it is somewhat of a neaatret,rr~ the , from the largely within the last seventy-five years, John Philip Sousa, Mr. Grabel recruited a band of his own S Gilmore are now obsolete. The Eb cor¬ is a common failing. granted in any vital work of art and eloquently manifeJTs’ t°!ien for we can readily appreciate the fact that it To bring about an association in the which attracted considerable notice. Since being mustered out, net—once the leader of the brasses—has in Beethoven's Seventh and Eighth Symphonies and in ttJvfu *°r lnsta»‘c. The psychology of study is a marvelous has not yet had time to attain its ultimate pupil’s mind between rhythm as pictured Symphony. If rhythm were all, we. might as well 0 °fthe Ninth he has been director of the Municipal Band of Danz’ille, Illinois, been supplanted by the modern, fluent, rich- thing and in musical scholarship, eS’ artistic stature. It was only during the and rhythm as felt the teacher should toned Bb cornet. The tenor horn is no healthy heart beat was, merely for tlm reason, an ideal mm ° "T' Wilh a pecially, one finds that the deeper and last quarter of a century that many of and head of the music department of the Western Electric Com¬ forbear playing a simple melody or ac- being:'—Walter R. Spalding. ’ Grounded human longer used—its place is more acceptably richer the soil of thought the more beauti¬ the most important wind instruments were pany of Chicago. filled by the tenor trombones. The small ful the flower of sound. improved to such an extent as to make L possible the performance of music of a (Continued on page ’57) the etudz JANUARY 1928 Ruga 33 the etude Page 82 JANUARY I02S 85he Teachers’ Round Table School Music Department (Conducted by Prof. Clarence G. Hamilton, M. A. Conducted Monthly by PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE THEORY, HISTORY, ETC., ALL OF WHICH PROPERLY BE' GEORGE L. LINDSAY LONG TO THE “QUESTIONS DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS AND ANSWERS DEPART' ADDRESS MUST ACCOMPANY to a certain degree necessary in the pro¬ duction of a musical art work that is ip /"T"V HE TERM “musical perception’’ re- itself a more or less beautiful flojvering of X fers here to a process of acquiring- Each consecutive pair of fingers may be est in her young charges. Perhaps, by the a personality. In America we can say ail 'accurate mental image of a iMusical Perception and used—1 2, 2 3, 3 4, 4 5—and the exercise making them listen and actually play at the object.' In the orchestra, the heat is given with just pride that our instrumental musical composition. This image, once Standards of Accomplishment may be similarly applied to the left hand. very outset some attractive Attic piece, she by the conductor; the violinist taps on the music is making surprising strides in acquired, is referred to as a concept. A It should he played legato, with consid¬ may fire them with a zeal that will carry floor with his foot. But, since the pianist technical ability, but the writer raises a concept includes melody, harmony, rhythm, Orchestra erable forearm rotation alternately to right them through the dry details which must has no conductor before him and since question concerning the equal develop¬ form, beauty of' tone and interpretation. and left. follow. In this case her scheme, if it his hands and feet are pretty well occupied, These elements are foundational in build¬ See Mrs.Crosby Adams’ article concerning a -pym HIT P A TRD An American Genius of orld Mrs. Beach and her work on another page XjL _D _L _L A/Jj Cxil -LX V/ of this issue. Grade 4. Mrs. H. H. A. BEACH Bgnown: Airs. H. H. A. ‘Beach Allegretto non troppo m.m. J = 108 By Mrs. Crosby Adams “Wor^ out your “Pass on whatever Own Salvation, in joy you may discover every way which you in your wor\.” can devise.” Mrs H. H. A. Beach Mrs. H. H. A. Beach AMERICA is awakening to a national well as all America, in praise of the sub¬ consciousness of her standing in the ject of this sketch, a series of articles arts. Perhaps music is the last art would be in order. One wonders if music to receive its due. The history of this had not clamored so unmistakably to this subject is familiar to all earnest students— rarely gifted nature what other avenues how from a few church hymns in the old might not have beckoned. For Mrs. Beach New England days has come the flowering is very versatile. She has a penchant for out of all forms of really great writing, science, for mathematics, for philosophy. until we have reached a point of pardon¬ Thus does she bring to her chosen profes¬ able pride in our country's attainment in creative lines. All along the way have sion the large reach which stamps her been found those who have held tenaciously work above sex considerations. I wish ^o speak briefly of Mrs. Beach to ideals and who wrote not only as the MRS. H. H. A. BEACH spirit moved them, but also ever strove to herself. Years ago I remember reading express correctly this speech that belongs this quotation: “Genius is rare but the to the whole world. appreciation of other people’s genius is Now and then one reads of memorial his wife, taking his name, Mrs. Henry lessons in piano and harmony, while yet in rarer.” Mrs. Beach has that fine human services for those who have passed on, or H. A. Beach, which she has most worthily her teens, paving the way to this new kindliness, that prompt reaction to what hears of monuments being erectecf to ac¬ carried all these years. It was my pleasure course. She is so generously endowed! others hold, to such an unusual extent that quaint the passerby with the fine estimate to talk with Dr. Beach who was beaming She has the fantasy and imagination which her contacts prove enriching and stimulat¬ j-' >»• |yj II bn liitf of a composer’s life. This is well and good, with pride as his talented wife played dur¬ constantly invite to new fields of com¬ ing beyond estimate to those favored with and wholly as it should be. But there is ing those Exposition days. It was then he position, the mind that directs her flights her friendship; while at the same time she another way of appraisement that seems said, “I am quite content to be a tail to of fancy intelligently, and the soul of the herself is the gainer by such experiences. to me very worth while, namely, to give her kite.” Mrs. Beach had chosen as her musician. No problem has been too com¬ Let me cite two instances: the meed of well-earned recognition while offerings at that time, Fireflies, Phantoms, Marcella Craft, the well-known singer, plex no contrapuntal figure too involved, * I* the one most concerned is yet alive. And so Ballade in D flat, Dreaming, In Autumn, tor her untirmg zeal. tells interestingly of her first meeting with and the lovely Romance for Piano and Vio¬ I wish to pen my appreciation of the ster¬ “Armed with the treatises of Berlioz and Mrs. Beach: “I had been studying for lin played with Maud Powell. ling work of Mrs. H. H. A. Beach while Gevaert for reference, and making the some time in Boston when a friend took she is still with us, and to tell briefly what modern orchestra her constant study she me to sing for Mrs. Beach. How lovely J- J- #■ #- ♦ i she has meant to all America. A Chicago; Success she was, and how precious to me her en¬ > > which8 moei V3rT f°rmS °f position which most people are content to gaze at thusiastic praise of my voice! From that Early Recognition 'T'HOUGH YEARS have passed since I wrote an article about this appear¬ afar off; fc- instance,'the ‘Mass in E flat’ moment she was one of my great inspira¬ AWAY BACK in that World’s Fair ance in Chicago, I am impelled to quote written for solo, chorus, orchestra and tions. Little 1 dreamed at the time that year of 1892-1893. when the “White from it as it stands, as I do not desire to the famous Mrs. Beach would one day be City” was the marvel that attracted count¬ change a word of it. It reads as follows: Thk hdd hCa attenfi0" f0r three among my most intimate friends.” less thousands, and the Exposition was “When the little woman, who had modestly -d h.S: HMej proclaimed unequalled, our city of Chicago t taken a seat in the background of the The Asheville Biennial was privileged to have spiritual and artistic platform, arose to fill her numbers, we YyHEN MRS. BEACH learned of the experiences of an unforgettable kind. Not were all most glad to be introduced to Mrs. Biennial of the National Federa¬ the least of these was meeting famous men H. H. A. Beach. tion of Music Clubs, at Asheville, North and women. It was that year I first met “Although some fugitive numbers from Dr. and Mrs. Beach. They had journeyed Carolina, in 1923, that only American her pen have floated westward but little compositions were to be presented and that to the middle west that Mrs. Beach might was known of this composer in Chicago. her Concerto in C-Sharp minor had been play some of her compositions for us, in We found in her a simple-hearted, response to an official invitation. chosen, she was most responsive, agreeing womanly woman, whose naturalness of any. Her melodic fom are ^ ™ to part with the priceless orchestral score Let us speak of Dr. Beach first—he of manner impressed one at the outset. We they are shapely and move „ , , own 1 the fine qualities of mind and heart, of in manuscript, for the orchestra that was knew that she wrote well, but was anyone of tTSm S 'Ti“ splendid attainment as a surgeon, having prepared for the work of the artist as treated with skillf,, r •’ hlch Were to assemble under Henry Hadley. The an extended reputation as a specialist. No interpreter also? with the most sensitiv d,SCnminati°n and soloist chosen was Helen Pugh, the South’s matter how busy his days, how engrossing “It comes to but few people to reveal demands of their tots”?1PreClatlon o{ the very own genius. It was not easy for the professional demands, there was always music as does Mrs. Beach. That field is Mrs. Beach to visualize a slip of a girl the moment’s leisure allowed for the fine wide, and it would have been easy for her ' fourteen years essaying a work of Characterization arts. He was an accomplished pianist and to have determined upon the career of a A such magnitude; but the composer had loved to express himself at his chosen in¬ JN AN ARTICLE like this one confidence in what I told her when we met pianist; but her own creative impulse spoke British Copyright secured strument. Naturally he had watched over so definitely for utterance that she could not * ,York *0 arrange details. The Copyright 1927 by Theodore PreeserCo. the artistic development of the nature of withstand its summons. In order to clothe trii . U! success of this appearance—the Other Music Sections in this issue on pages 7, 43, 75 the gifted Amy Marcy Cheney; and when her thought worthily, she took up the study her womanhood was reached she became alikl^S 1 catne from press and PubIic of advanced composition by herself, her ahkes-made Mrs. Beach the more eager hear this young artist. (.Continued on page 61) tee etude JANUARY 1928 Page 37 PANTOMIME A delicious bit of modern writing; in atmospheric style, but without extravagant dissonance. Grade THE ETUDE THE ETUDE ■ JANUARY 1928 Page 39 Page 38 JANUARY 1928 DANSE SLAVE PAUL HILLEMACHER PIECE PITTORESQUE teachers in France and Germany. Grade 6 An extremely colorful composition in modern style, now being used with great success by foremost a) Execution Page 41 THE ETUDE Page 40 JANUARY 1928 KOL NIDREI JACOB WEINBERG (Ben-ZevjOp.aj - “Kol Nidrei”is a Jewish prayer, for the beginning-of the day of Atonement. It is read three times in succession- ^ke “®l°dies for tlus prayer,n.°w in use by a majority of Jews, are not of ancient origin. P. Minkovsky believes that they may have originated toward the end of the Spanish period of Jewish history (first half of the XVI century.) This opinion is partially substantiated by the dramatic charac er o ese e ? , Tli,'0 r®vert to the tragedies of the Inquisition and also by a certain resemblance ofthe first theme to the old Spanishsong (or ance was trans - cribed for the Violin by Corelli (“Foliesd’Espagne”),for Piano by Liszt (“Rhapsodie Esp The Themes of “Kol Nidrei”are as follows: Lento religioso ' jr i o 3 •.r vi: m g ssgk ^.iJr ^. F — w~T3.—; sempre con Ped. —— ^ rfff rfffr a tempop splice \jt \ T _3. 4 _____-----—- tt-J. r l Copyright 1927 by Theodore Presser JANUARY 1928 Page 43 THE ETUDE THE etude Page 42 JANUARY 1928 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES PP Afine study in the broad, singing style ELEGIE RUSSE CURT GOLDMANN, Op. 61 Moderato m.m. J = 72 cantabile VIOLIN PIANO —— 9J "" mj 1 r—JJjiJP orc.sc. ^1 a, i tr1- S=. T cresc. ~/J* *! ii Pm vivo marc. C ft w 'V # /.A. ==— cow tenerezza —_— rh• rit. , e International Copyright secured Copyright 1927 by Theodore Presser Co. 7 qc 7K Other Music Sections in this issue on pages /, 00, /o rnv JANUARY 1928 Page 4b Page 44 JANUARY 1928 TER rtudr MY MOTHER’S SONG "'J™. SOFTLY NOW THE LIGHT OF DAY c M4RK8 FREDERICK H. MARTENS JOHN OPENSHAW Moderato espressivo Life may be joy - ous and free from care, ^ £#* Life maybemay be bap - pjrjmdpyand heav - en kind, «i m jf j j Life may be shad - ow’d with grief and woe; Yet wbetb-er laugh - ter or tears your share, Love, on-ly makes life worth Stars of HI o - men may shade your birth; Yet wheth-er laugh - ter or tears you find, Love, on-ly makes life worth Copyright 1937 by Theodore Presser Co. Copyright 1927 by Theodore Presser Co. British Copyright secured JANUARY 1928 Page 47 Page 46 JANUARY 1928 thb ETtrng fRE ETUDE THE SCHOOL COLORS THE SCHOOL COLORS G. N. BENSON In the style of a military band. N BENSnxr Tempo di Marcia M. m. J=uz SECONDO British Copyright secured THE ETUDE Page 48 JANUARY 1928 SECOND# SONG OF THE VOLGA BOATMEN One of the glorious folk-songs of the Russian peasants Play as though heard from a distance, drawing nearer, passing and receding. Transcribed from the popular solo arrangement. Arr. by W. P. MERO Andante M.M. J=72 SECONDO the etude Page 50 JANUARY 1928 THE etude JANUARY 1928 Page 51 ALLELUIA! ALLELUIA! CHORAL Educational Study K[otes on 'Music W. D. ARMSTRONG, Op. 115, No. l In Grand Chorus style,- very imposing. in 'Ghis Etude By Edgar Alden Barrell ilggp » -ef- 0 p0 -to -to* -to- :£~T=-32S:®S add Reeds’ 1 K LW ~K~iTT k —i-—k—:-1— l-V^F—- h *-■»- -h - tr-■ ■ ■’TfeSffl The Wide Range of T:i ‘J! ■ = i'** Wf fit -yp-t -j V-1-kr -V- ■ V i fc KIMBALL r A °iii mosso A ^ ^ "/T ^ Hungarian D„«, by Felix Gc*. « i“ “ * £ \ PIANO DESIGNS /i jttwk—«-m'~rn -to-R—*-to-s- - fcrfri-- ■•—to*—ftn J 1——Tv r " --%■ r ■ T^T—-P--t - - $>■!» K*. g; —-g » toh- cj-v d: — QOME of the simplest Kimball piano styles illustrate the .P 'r p - 1 1 ■ - f • ■=* *..i g: = rit. Fine Sw.Vox Humana, Flute St. Diapj r.T.XIrifcSteS O taste and artistry of the Kimball designers with almost the same emphasis as the more elaborate period grands. ' Danse Slave, by I N=4 Y to *- 1 t 1 = Dance el the Freak., by Frederick ^Yj. fcgyk k. Among the new instruments, few have attracted more 4 Jki—fcEJJJ ^5 * Gt. Gamba or Dul c. attention than the “Junior” Upright. The appealing 1 ^ grace of this beautiful little model, 44 inches high, built with a full scale, and with a volume and purity of tone comparable to those of the larger instruments, have rr^—— brought it into especial demand for the music*studio, or wherever a smaller instrument is desired. : ^ Among the larger Kimball de* /^~m»: - signs, in period styles, or classic* modern in grand or upright, ” x you will find just the instru* ment that suits you. Catalogs and our nearest dealer’s ad* dress sent L T~~~ W. W. KIMBALL COMPANY 1 *¥ 3 Z^l mp •nt KE, 306 South Wabash Avenue, CHICAGO, U. S. A. THAN PIANOS OF ANY OTHER NAME IN THE WORLD r" -J* f- *_J — Elegie Eu.„, by Cur, Guktauu PianologUCS CORRESPONDENCE T~ 1-pj- +-J) V, -r- £i msmm mes*™ VI > e dim. -to te===- ■—■/-—jl: - 0S sJ#i wms r-_ U_'J- British Copyright secured mm JANUARY 1028 Page 53 Page ,52 .JANUARY TJIFj ETUDE material for the private student, by virtue possessor of it. Carefully trained class f the qualities which have been stated students of two years’ experience make the ab0ve as indispensable to the successful most desirable private students. In turn class instruction. they approach the much coveted private in¬ While the writer believes that the theoret¬ struction with a viewpoint that is a dis¬ TO STRAY from the beatow path in A wholesome and helpful spirit . ical phases of his subject hold the posi- tinct asset to both student and teacher. educational matters is quite as petition enters here which is , om' L of prime importance in the various Furthermore, it takes little stretch of im¬ hazardous as to leave the beaten -one which the private lesson S'"’8 considerations that surround this subject agination to foresee the possibilities of path of any other accepted custom of our offer. Generally, thereafter, tl,e , not he wants to mention also some practical some class instruction being instituted into civilized existence. The private voice cul¬ period is divided into throe e5So» I matters, the omission of which would the regular plan of a choir rehearsal ture lesson is traditionally and firmly fixed twenty minutes vocal drill, ten minute! eatly ’ circumscribe the possibilities of (provided, of course, the choir director is in the minds of teachers and students alike singing exercises (Sieber) with time L, class instruction. The impulse to sing is an expert voice instructor) toward the up¬ OF as the only effective method of procedure. mg, thirty minutes <>f song siwrino ' universal. The talent for singing is found building of a homogeneous tonal balance. MODERN MUSIC EDUCATION It is needless to say, therefore, that this semble and solo. Thus we have in all classes and all too frequently in In some isolated cases it is being done instinctive prejudice against the class voice at the objective of all voice culture lessor persons whose circumstances prohibit the with marked success. culture lesson is violent and too frequently (class or private), namely, the ,^lo S0I! employment of a capable instructor. These The private lesson will never become a without reason. Investigation of this pre¬ Qlass Vocal Instruction singing. 5I)"| •are usually expensive. Here again the subject of past history. The class lesson- judice discloses that it is based upon- the During the first term of forty weeks class instruction serves a great purpose; is comparatively new, but it is a thriving infant of fine lineage. The possibilities of supposition that the student in the group breathingu drill, the_ __stimulating effect of group the open, partially open, reed, flute, possible to study carefully eitrlu for it places specific voice culture “within TOBIAS MATTHAY, the noted British pedagogue, says: does not get enough individual attention,- which cannot be overestimated. '' and neutral sounds, and• itablish the cor- songs. r the reach of everyone." The high-priced its pedagogical strength are a guarantee of and this is true for the general conception. Let us sum- up vvliat _has „„J|been accom- rect mechanical __forms ... each sound of 'instructor can, without cheapening himself its future. It will some day solve prob¬ "Too many piano teachers have failed because they have not distin¬ ' . class lesson, ' ' ' ' . hour of time plished in this first lesson. Through the their language. The Second Tear in the least degree, organize a class and lems that legislatures are fearful of even guished between teaching the pupil to read notation (a complicated process divided among five or six students, each physical drill the students have used”..... The musical phase of the instructi< split his fee into as many parts as there attempting to solve for state teachers and in itself) and teaching the pupil to play the instrument (another com¬ singing alone tor the few minutes allowed part of the entire vocal mechanism; first, AT TH5 BEVfNN'^C nf the second are individuals in his group. organizations. If methods of teaching are plicated process).’’ on an equal division basis. the motive (breathing) machinery, and >'('ar subject „f voice control jj ever standardized, They will he methods Many other distinguished authorities agree that both should not be Prejudice against such a plan is as. jus- second,. the muscles which control our taken up and developed through the use of Some Advantages Gained understandable to the group. taught at once. tillable as it is instinctive. But let us con- speech and by which tone is given intel- the long scales of nine and eleven tones on I BY THIS class method the talented What voice culture will do for the class Are they right? sider an entirely different plan. Also, we ligible form; and they have ajso read and closed vel < The student can study his subject for the students, the classes in voice culture do in When 54 piano students out of every 100 who have been taught both will introduce this outline of procedure studied a definite theory on breathing and study of the pianissin first two years. He will procure a sound equal measure for the subject. processes simultaneously, stop in the first three months—when 94 out of with the statement that all the theoretical tention and also rapid scales for'agility foundation in voice culture and the art of Voice culture class instruction is not “a every 100 never reach the third grade of proficiency—Vhen only six out and method material presented to a group The latter half of the second year can possibility.” It is today a great force in of every 100 successfully “make the grade", is it unreasonable to assume must be sound pedagogically; that is, it singing and will he independent of em¬ Lesson II I* K'ven to study of diction, and this in barrassing obligations in these early years the education of our nation’s singers, be¬ that teaching both processes simultaneously is overwhelming the piano must apply with favorable effectiveness particular is a tangible phase of voice cause it makes possible “complete, correct student? the majority of Students ^ 'T'HE SECOND LESSON is con- of his elementary education. Meantime the culture. Some songs in Italian can be in¬ voice culture for everyone.” Which, then, should be taught first, playing or reading? Which will effort from the teacher. ducted in similar order, with the ex¬ instructor can find the talent and study the ception that the drilling of the first two troduced with stimulating effect, and par¬ better establish the immediate point of contact, the interest, the musical Consider, then, the possibility of a class “e a"uing °j. the brst two ticularly if a literal translation is outlined. experience of the learner? oft twentyt' girls'or boys (it is "advisable to frCthe During the second year very little ensemble By teaching the pupil to play the instrument first, more relaxed and have them separately and at about sixteen tne - 7“ lx,ok; a"d song singing is necessary, excepting at the Voice (Culture Casses in the High Schools better physical conditions are brought about. Also, the pupil gains, at the or seventeen years of age) assembled for ‘ '"”1 ° f°rty we<:ks the class introduction of new material. Every avail¬ ( L’l TURE is now being of- classes, they would just be beginning to same time, earlier musical and pianistic experiences. These awaken a voice culture lesson. Each is the pos- *, S . tgU,ar sequ,ence the mifolding music consciousness, desire and interest on the pan of the pupil. Con¬ able moment should he devoted to solo as a' regularly accredited sub- think of vocal lessons. Or perhaps they sessor of a text book containing the vocal ^ d “ S'mple a"d Un' singing. The students shun the solo work- V'“ currently, the greatest prerequisite to good reading is obtained tn the early exercises, together with a theoretical out- *T . 6 t^Hunology. , a large number of senior high never would have thought of them at all in the first year and clamor for it in the acquirement of key-hoard familiarity, facility and fluency. t the same page. They receive ii Now to make our subject __„ ■In- idea is spreading rapidly Many a vo.ee is developed which might demic value. second. The type of songs should be of struction through the eye as well as tl -ommand especial consideration have forever lam dormant for not all boys Send for a copy of "Blazing a New Trail in Piano Playing” and learn the very Ix-st, with a goodly amount of enough to cc ear. All vocal drill is to be in ensemble, At tbe fifth week (this plan is 1 rased 011 L Supervisors’ National Con- and gtrls can afford to take. how The Visuola accomplishes this. one lesson each week) a written examina¬ Haydn, Handel and Mozart. at the Musi, and thereby the attention of the entire , sax nothing of the Sectional group is easily held throughout the lesson tion can be given, with the result that, in¬ . ' Finding a Voice stead of having a class of parrots imitat¬ Conferences, hollowing closely The Third Tear remendous impetus achieved ing tones, the students are compelled to track of the BOYS AND GIRLS enter these classes The Lesson Outline al training in the public think logically upon the theory of voice npI IE THIRD YEAR may ccontain an often “to find out whether they have exercises, pj'O PLOWING to the letter the- formula- culture. i tie examination discloses to outline of voice extension byh lnand for expert training of a voice worth cultivation.” Others, like of the private lesson, they are given them that the first principle of artistic tone FREDERICK H. HAYWOOD •ccific exercises for tile development oj the human i strument of song is signifi- one boy who said, "I want my Voice . their first lesson in breathing. After the production is “to acquire freedom of all the forte tone, the trill, and finally the i be denied. trained because I like to sing and I don’t when voice training was reading of the first book lesson, the class parts of the veeal mechanismthat the it the sixth lesson with the introduc¬ bravura exercises of Lamperti can round Time was want folks plugging their ears when I stands and liegins the vocal drill oh the first essential thing to be considered tion of the Sieber—eight measure t out the voice culture class lesson experi- timorously in •educed into the Senior High ” Others want to sing in church tones of the major triad, 1-3-5-3-1, using “breath taking and breath control •” tli cises and a simple song. These ai cnee. The song literature for the second curriculum. Its reception, however. choirs and welcome the chance to learn of learned aml tilird years can !)e seiccte(i without spontaneous. It needs no advertising other tone production. The thing is tremendous MAMtahmgSOlm5 °u A"7H in the syllable “breath is autolnatic through expansion f in ensemble also. NALL theoretically, they are instructed that we have a “method" (natural and in- thought of limitation, the scope will be than the performances of the pupils al¬ in its reach and appeal. It is a safe ven¬ that the singer’s breath is a result of ex- telligible) by which expansion is induced hound only by excellent judgment. To? ready enrolled. Vocal culture in our senior ture that, if all the senior high schools The Second Test pans.on They expand to breathe; they The second essential to be considered is schools has come to stay, to expand, to offered a vocal training as an elective on do not breathe to expand.” This is ac- “to acquire freedom of the articulating IttPRhPfATI°N f°/tbe second St T thT^S develop. All that needs to be done is to an equal basis with Latin and physics, the compamed by a device to induce expansion muscles.” They realize that this freedom Flutest ^wh'cyomesC°mes at about the fifteenth teacher. Intelligent application and less see to it that the instruction is capable, United States in one generation would of the body as follows: They “stand at is established by use“ sSabt inlet?- it firsLTVt “a****"« «“> » ruk (. cautious and sincere (a rather large all, realize Walt Whitman’s famous vision. attention with the arms at their sides, izing; that “syllables and words are of (perhaps ,L hort ^lUJI1 —-„~ but not absolutely forbidding). Those who graduate from the voice classes turn the palms forward, and then raise advantage to the student because they form allv nrLZ:eeu ffleasures),-then gradu- class, are manifold. Chief among them are of two groups: the larger, which will the arms sidew.se from the body, half way the mouth into a tangible physical ti e o m A “fT*1 and. finally the en- the opportunitv ,0 sing before the class Special Training T^eeded fill our choirs with trained voices; the smaller, which will become our soloists, 'T recommend The Visuola to all serious Th^Trm1ltalrTn ,, , °Ver which we have a definite control? t‘e*hweeY t flven'at the fif- and the rare advantage of listening to each 'T'EACHER TRAINING is essential, as teachers of the Piano." is arm action follows up and back, that “voice placement is a condition de- each lesson •’ d’ thereafter> a part of other, as well as listening 10 tbe criticisms -*• the voice specialist generally is un- -—oamong whom a few will seek careers in —Josef Hofmann as the student sings the exercise on the rived from a perfect condition of breath Llo test can Jl^w, “Io.,sinfing- .The of the instructor. prepared to handle voices in classes. Much music. One high school, known to the . can be marked on rhythm“ nhra7 NAM ad'- 683 ’ °" the sy,lable contro1 which wil1 guarantee freedom of needs to be said on this subject. Space writer, in the last six years has furnished NAH. The exercise is transposed up in all the vocal mechanism.” They learn the S!’ohvl5™^".10.nLlegato ’,,nemory ^ voice. For Advantages Mutual here will not permit. Yet it is the great- several colleges with fine dee Club ma- semitones at the discretion of the teacher, classification of the vowel for™ and ' T T°"s the sa™ song the instruc- est problem in connection with this de- terial. a half dozen churches with soloes, This is the first of the vocal drills done ^ and used for all the students. - 'T'HE ADVANTAGES to th tor are greater even than those velopment, and the most serious. a leading conservatory with several schol- - When „ As to the pupils in the high schools, one arship pupils, and an English opera corn- satisfactory result has been obtained, the the students; for the exacting demands finds them “crazy” to get into the voice pany with two fine baritones From High class is again seated, and then follows the niailc by a class require that a well-ordered reading of the second book lesson, which plan of terminology and explanation be classes, boys equal!? with girls. The School to Opera Company may be the is on the subject of articulation. Theoret¬ followed. Vague, meaningless and evasive method of introduction is no problem, title for some new ora 10 g . , ically, it is explained that “articulation is statements spell disaster; therefore, only Secure a teacher capable of giving class these voices have not been forced, gentle . to utter the elementary sounds of a lan¬ careful and skillful teaching can pr°duce instruction, and announce the subject as reader, so do not knit your brows. They guage” (Webster) and that tbe object is a satisfactory result in the voice culture open for registration. If the first classes are slowly, surely and properly developed “to acquire freedom of the small muscles are small, .10 matter; after they have sung Their scale is long, even and of the mouth, namely the articulating The history of the teaching of voice cul in “chapel” or “assembly,” the later classes their tone quality pure and untrammelled * it I11 1 -ii • Vsi- Karl lialllts muscles.” ture to private students reveals that any will be fully as large as you will desire. by bad habits. The exercise is descending on the tones theory (and too frequently these have been The following events will occur: voic Results That Tell of the diatonic major scale (beginning in without reason or sound logic) can be Pra which seemed very ordinary will begin Every thinking teacher will investigate carefully this new idea which is the key of C, transposing up and back by pounded to the individual and accepted >« grow in range, beauty” anTpowerfandr a Her [ ASTLY,_the students are taughtbpe- bound to be of such tremendous benefit to teacher and pupil. •L< ally and systematically, so that the semitones) in couplet groups, intervals of good faith as legitimate. Not so wl. a couple of years, soloists and small en¬ brain is developed simultaneously with the the third, with alternating syllables, “110- group instruction plans. Perhaps there > sembles will develop right in one’s own voice. They are regularly examined as na,” one syllable to each couplet. When a common conclusion that any form (> school. The student body becomes more to the theory of their subject as well as the exercise is learned accurately the class lesson which is effective for the pr"3* and more interested and enthusiastic as VISUOLA CORPORATION in the more orthodox acadefnic subjects, rises and resumes the vocal drill, beginning student will be good enough and equally e Louise or Jint or Lowell or Mildred sings and are subject to failing and passing Aeolian Hall, 689 Fifth Avenue with the breathing exercise, and then on to fective for the class. Nevertheless, there ™ore and more beautifully each time. the second lesson exercise. This first marks in the same orthodox fashion. A is a possible fallacy in this conclusion. 11 When these have graduated they at once —- . . . . NEW YORK CITY period should finish with the lesson—one versely, sound theories, sufficiently «'e s“k some choir position and go on with * merely good voice cannot pass in tins sub- CLASS IN “ACTION” formulated to lie effective for successtu Iheir vocal study, fairly wefl routined ject, even if properly taught. Musically, use with a class, will lie the very smgers: while, if it had not been for the (Continued on page 67) Please mention THE ETUDE when addressing advertisers. THE etude JANUARY 1928 Page 55 Page 5k JANUARY 1928 ETVnj, What (Contemporary VYCusic Owes to the Qhurch COURSE IN Article Six of a Series “The Church the Cradle of Modern Music” Theatre Organ Playing By Bertrand'Brown Two- and three-manual Kimball theatre unit organs for lessons and practice. Special course for pianists changing Edited, for January by Eminent Specialists THE contribution of church music, think of the centuries of genius which this IN THESE days, when it is usual for Teach Me, O Lord . its influence upon all musical ex¬ force has nourished. to organ. Advanced pupils have the advantage of lessons the “tired, business man” to have his There Is a Land . pression and appreciation to-day, is If it had not been for Gregory, we before the screen under the same conditions as prevail religion “in his wife’s name,” when IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT too great for any summary. should not have Debussy and the school the stentorian bass and the mellifluous "■**"*>■*. in any large theatre. Graduates are in constant demand, Many qualities in secular music, as we with which his name is associated to-day. tenor are more likely to adorn the golf “an organist’s etude, complete in itself” at big salaries. Pour-Part What characterizes -this Gregorian music? course than the choir gallery, when the know it to-day, would not exist, and prob¬ ably could never have been brought into You will recognize it all around you, as great metropolitan amateur choruses are List, the Cherubic Host (Soprano you recognize the lofty blank verse of Write for Catalogue E. being, had it not been for the Church. Ill obliged to hire many of their men-singers and Baritone solos) . r Shakespeare reproduced and reincarnated the far East/that singular paucity—almost in order that they may have something O, Shepherd of Israel in hundreds of later pieces of literature. VERMOND KNAUSS SCHOOL OF a famine—of music in an otherwise richly like a balance of parts, the choirmaster is Sleep of the Infant Jesus, The * There is a cadence of the musical THEATRE ORGAN PLAYING visionary and interesting land, is due, with¬ often glad to resort to the use of women’s (Christmas) (Also to lie had in sentence associated with Gregorian music voices alone. Even in the most favored Utilizing Women’s Voices out shadow of doubt, to the failure of 210 North 7th Street Allentown, Pa. two-part arrangement) .Gevaert which one, even little versed, can readily congregations such usage affords delightful By J. Lawrence Erb oriental religions to include music in their understand. There is, as well, what I variety; and, in many less fortunate, it is As will be seen, some of these are ar¬ services. All the richness of Ormus and might call a staying within range—a rich, only hope for saving the situation. of Ind, and all of the shadowy super- Christmas Carol, A.Reinecke rangements, in a few cases, abbreviations' consistent dignity, which is more difficult The use of women’s voices alone is the I Am the Light (Mezzo-Soprano naturalism and traditions of dreaming Glorious Forever (also to be had of standard mixed-voice anthems or solos’ to describe than it is to appreciate. 0RG0BL0 more possible since, in school and college, Solo) .Coerne races' do not avail to evolve much musical Of course, it is not necessary to trace in 4-part) .Rachmaninoff but they are all well adapted, being really the female-voice chorus is receiving ever I Waited for the Lord.Mendelssohn expression worthy of the name. For, the all contributions of church music to [AUSTIN ORGANS) He Leadeth Me (with Soprano fitted to the femalc-voico medium. Of increasing attention, and a literature is I Will Exalt Thee.Harriss Church has been lacking. Gregory, but the Gregorian is historically ^ A MAGNIFICENT family of peat course it is possible to sing mixed-voice ir\ church instruments in Philadelphia steadily growing to meet the demand. T So!°> ..Avery I Will Lift up Mine Eyes.Gilchrist This has meant not only the absence of at the fountain head of the whole. From er of the highest award However, the scheme is not without its I Will Give unto Him (Soprano, anthems in three female parts from the Jesus, the Very Thoughtbf Thee..Brewer the religious impulse toward musical it have sprung not only the great master¬ problems. For instance, the lack of real original copies by omitting the bass and highest grade materials, they stand to their al Orgoblo Junior for TSol°) .Blair achievement but also the non-existence of pieces of sacred composition but also all work with record unparalleled. They are alte voices is a serious handicap, often Just for Today .Ambrose and Student Organs. Jerusalem the Golden. Hyatt letting the second soprano sing the alto opportunities by which a musician can that is best and inspiring in secular music always dependable, as any first grade prod¬ making necessary the use of the three-part King Alfred’s Hymn.Macdougall uct is dependable. An instrument taken Lift up Your Heads .Lynes part and the alto the tenor part. But this support himself during his education and as well. from a New York church after twenty-five or even the two-part arrangement, rather King of Love, The.Berwald THE SPENCER TURBINE COMPANY Lord Is My Shepherd, The.Smart can be done only when the original parts later in the prime of his career. In the Consciously or not, when our con¬ years use, on account of selling the prop¬ Organ Power Department than the four. Another common difficulty King of Love, The.Gounod erty, was found to be in perfect playing Hartford Connect.cu My Mouth Shall Daily Speak. .Richardson fit the female-voice range with little or United States, as in the cathedrals of old temporary composers write, they are moti¬ condition. is that most women, unless they have Lift Thine Eyes .Mendelssohn 5^ A .Franck no alteration, unless the organist is able Europe, many a promising youth sits at vated by tendencies' which go. back to the habitually sung alto, carry a lower part, Like As the Hart.Novello Thou Visitest the Earth .peace and willing to transpose the accompani¬ an organ, given employment as well as days of Gregory. That which is at the [AUSTIN ORGAN CO. such as second-soprano, poorly. However, Lord Is in His Holy Temple, The.Thayer A Pipe Organ Instructor for Pianists Thy Word Is a Lantern .Richardson ment of the mixed-voice original up to a ambition and inspiration by the Church. heart of the musical expression of> 1165 Woodland St. Hartford, Conn. these are minor matters, easily managed by Lord of All Being.Salome proper key, so as to bring it within the The importance of the Church as a means Christian civilization would never have the resourceful and experienced rector. The Lord, Whom My Heart Holds Dear.Hiller range of the alto, particularly. In the of livelihood for young musicians can come to be what it is without the fostering, Graded Materials fact remains that here is an asset, not as inspiring influence of the Church. Three-Part ^arch °" .Thayer same way, duets may be sung as two-part hardly be overestimated, particularly if we yet extensively exploited, whose cultivation Morning Hymn .Henschcl for the Pipe Organ All Ye Nations Praise the Lord ...Muller choruses, when the parts are not too exact¬ is an unadulterated gain in any scheme of Night Is Far Spent, The.Hewlett DO YOU READ church-music. A chorus of thirty or forty At Eventide It Shall Be Light.Caul ing. The use of duets (or even of solos By JAMES H. ROGERS O, Gladsome Light.Sullivan women (including girls, who need not be Awaked from Sleep (Soprano Fundamentals in ‘Playing Pack THE DIAPASON? O Light Everlasting .,Vilson as unison-anthems) serves to stimulate the ruled out) makes a fine effect, though a Obligato) .Lloyd singers, since, in such compositions, the Designed to give a good working O Lord, How Manifold.Rarnby (Continued from Page 54) smaller number may serve well, especially Angel The .Rubinstein part-writing is usually of greater interest knowledge of the instrument. One Sweetly Solemn Thought .. .Ambrose Tied notes may occasionally be used for if there is an opportunity to choose the Blest Are the Pure in Heart.Berwald than in choral works. Moreover, it has Do not begin a fugue pp and work grad¬ better voices. Palms, The . Fm vaulting from one manual to another. An instruction book of great worth, giv¬ Blessed Are the Merciful ... Hiles educational value in widening the musical ually up to a //; but secure a sense of bal¬ For the benefit of those whose “experi¬ Blessed Are the Pure in Heart... '.Hodges p“rCe’ pLeave with Ym\\\\Z\\R0££ ance between the exposition, the episodes, new organ and choir music, with special depart¬ ing explanations and directions so clearly horizon of the choir-members. Echo Effects ments for the “movie” organist and the choir that anyone with a knowledge of the piano ence in this field is limited I take the lib¬ Blessed Are the Pure in Heart.Lake the middle entries and the final section. Other methods and other materials LL OBVIOUS echo effects should be director. could use this work for the study of the erty of appending a list of female-voice The architecture of a great eathedral is A Come unto Me (Soprano Solo) ...Coenen . naturally suggest themselves as time goes treated as such by alternations of A Complete Record of Every organ without the aid of a teacher, even anthems which I have tried and found Evening Rest .Wermann the best analogy for the player to bear in on and the situation takes on new aspects. manual. Similarly, short contrasted pas¬ Activity in the Organ World though it is not so intended by the author useful and suitable. There are, undoubt¬ Eye Hath Not Seen.Gaul mind. This will rule out futile attempts particularly. Naturally a teacher should edly, many more, “just as good;” but here The important thing is that the Female- sages, though not exactly echoes, should Sample copy for the asking. Address Faith, Hope and Love. Shelley Kata Mom H„,h P«M, The „Wmmj to “play-otit” a middle part when it has the be secured whenever possible, but there is the list, to be taken on its own merits: voice Choir is a genuine and legitimate be treated likewise. ROOM 1508 KIMBALL BLDG., CHICAGO, ILL. subject. are cases when a teacher is not available or 9°^ TIs ^6ve .Berwald musical form with a literature, original cannot be afforded. The crescendo pedal or roller-swell is Adding and Withdrawing Stops * Two-Part “od Is L°ve .Shelley and adapted, that helps to enrich and vary Heavens Are Telling, The Haydn-Sherwood (Soprano Solo) .. T. „ an inartistic device and should not be used ACH WOULD ADD and withdraw Send out Thy Light .Llewellyn B Price $1.25 Awake and Sing the Song.-Avery How Beautiful on the Mountains.Marston the musical menu. Many a time it serves in Bach. his stops one by one. Broadly speaking, QUILMANT ORGAN SCHOOL Chanson Joyeuse de Noel How Lovely Are the Souls of the Righteous . to solve the baffling problem, “How shall Do not suddenly throw on the full organ the point for adding a stop or stops is on (Christmas) .Old French Sound of Many Voices, The.C°lbu™ THEODORE PRESSER CO. Messengers .Mendelssohn the church-music be made interesting and or the heavy tubas on the final chord; it the strong beat. The action of drawing Sweet is Thy Mercy profitable, with the material at hand, and is vulgar to do so. the stop-handle must slightly precede the Dr. William C. Carl, Director yet remain dignified and appropriate?” expected sound. The point for withdraw¬ Teacher of Organists ing a stop or stops is on a weaker beat. Changing Manuals In cases of syncopation, stops should be A Distinctive School for Serious Students Fundamentals in Playing yin Incentive to VYlore Qareful Practice By Iv^ Dingwall Edited by One of the violin teacher’s greatest I explain to them that intonation means playing in tune. They must think each he EXPERIENCED orchestral not to be felt as a very serious problems is to keep the young student T Robert Braine interested during the early part of his violinist may pass this article by But as soon as a rest, even a short oc¬ time, before placing the finger, what inter¬ without any loss, but we have hopes curs, the next attack should be Za val is to be played, whether it be one-half that it may prove of value not only to S THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT the proper and correct direction St By Robert Braine In April of 1926 it was our happy privi- of her favorite anthems was “The Moon RAPID Ho question will be answered in THE ETUDE unless accompanied by the full name lege • - - from the compojgr in Shines Full at His Command and All the COURSE and address of the inquirer. Only mtmis, or pseudonym given, will be published. the mountains of North Stars Obey.’’_.. At three she was able to ir home POPULAR MUSIC then she heard Helen play read perfectly any book, paper that was lina. It i, , SYNCOPATION this mighty work. Mrs. Beach" placed before her- t natural pro- RAPID PIANO Employment. in the right hand. Very young nimii. thrilled and astounded beyond words and ceeding she knew all the letters of the BY ART SHEFTE S.—Sometimes a conservatory ceed better than older ones/ You donnf8 ?Uc' wrote the following: “I was alphabet at seventeen months. At four violin student can get some hind of employ- the age of your left-handed pupil, but jf 55! ment to help with his expenses. If he is a is not too old, you might have her trv f impressed ‘‘ ~”my life1,1 witli such ability she had memorized the 91st Psalm. She period of three months to hold the 'L„ a really good violinist, with some if?® gi?C| and poise displayed by. this young says, speaking of these early years: COURSE Ww the right hand. Many *«uV , „ , '» in orchestra work, he might be able to „et a ™ The PAVLEY-OuKRAmsKY Ballet Ih One Of Their Dance Poems position in a hotel, restaurant movie or of artists, penmen and draftsmen who musician. The concerto, which she “I do not recall when 1 could not play dance orchestra, all or part time. the hand they habitually use has dered with such mastery, is one of the most and did not improvise. It was not until I would leave him enough time for practice some iujury, have learned to do their POPULAR MUSIC and- and study. Many music students earn money with the other hand. Tlmre are manv ?„Mk difficult. It contains passages which re- was four years old that my mother would 1 he Famous Pavley-Oukrainsky Ballet Adds doing all sorts of part-time jobs, such as of left-hande 1 mcII | Sts ho h : genius to give permit me to play a I y “ a.___rxr. ntbnr branches, learned to use the bow with the right fc e I wished. When I SYNCOPATION was six s' systematic instruc- a New Dance Novelty to Its Repertoire Shefte Rapid Course—Vol. 1—Price $1.00 in U. S. A. For beginners with no knowledge of music or who have had little teaching. Inspired by the Composition itas and Chopin my particular fa- Shefte Rapid Course—Vol. 2—Price $1.00 in U. S. A. ire I always played For those with fair knowledge of music. le waltzes, written Shefte Rapid Course—Vol. 3—Price $1.00 in U. S. A. Playing Soldiers For the advanced student and professional pianist. By LEON JESSEL A legitimate—fundamentally correct Piano Method endorsed by lead¬ ing American Authorities, a few of which endorsements appear below. Piano Solo—Price, 50c Piano Four Hands—Pr 5 early, I was :n 1 made my An Unique Number — A Rhythm and Melody that Fascin „t the Boston a large orchestra, play- g one of the old Mosel’ 'oscheles concertos, the time I was seventeen I was ; with the Boston Symphony and ■ - *-i orchestras. I have composing ever since. I rm u — tJ T! ind myself growing tired, l to playing to refresh my- equate consideration of the y of Mrs. Beach, a volume ired to include the sincere le foremost critics of the THEODORE PRESSER CO. PHILADELPHIA, PA. e invariably given the praise Some Opinions TLJ ERE ARE A FEW quotations : “Mrs. -*■ Beach can be rated entirely inde¬ The February Issue pendently of sex considerations. She is a great composer and would be so were “Mrs. Beach’s music shows that it is THE ETUDE Music Magazine the spontaneous expression of a fine, beau- ach can think musically in truly [ writes melodies and develops s in true classical manner.” “It is a difficult thing in these days of >n, when simplicity is quite out d the complexities of modern technic are to be had by anybody will- ing to take a little pains,ns, for! a composer to write simply. Mrs. Beach] had the 1 it gave her music the sense of g awer, glowing fancy, i color are united in and effortless mastery 1 apparatus. To this joetic mood, delicacy and a gift for rich, Heart Melodies IF ONE WERE ASKED to name the particular numbers by Mrs. Beach that have touched most the hearts of her hearers, The Year’s at the Spring and Ah, Love But a Day would come instantly to mind. These and some other songs have Knowledge acquired by students through the study of this course not onlv made an universal appeal but makes an excellent foundation for more serious study. also are a part•t of the finestfines: song literature extant. The piano numbeimbers most widely Sent on approval to Piano Teachers e Fantastique, Hearts- mentioning “THE ETUDE” an Valse Fantasie, Scottish the superb Concerto in C- This last is a commanding “The Journal of the Musical Home Everywhere” ng the finest interpretative FORSTER MUSIC PUBLISHER, Inc. ,re been written in 218 South Wabash Ave., Chicago, Ill. THE etude JANUARY 1928 Page 63 Page 62 JANUARY 192S etude You Only Have to Buy One Jazz How a JYCother Qan 'Ma\e the (Child’s Instruction Book if You Buy VMusic Study Interesting AXEL CHRISTENSEN’S Complete Instruction Book (Continued from Page 25) for Devoted to Edi hand flat and fingers spread out. Then let easier than placing the fingers in five-finger LEON Fully accredited courses leading to him pull his hand ( by “digging” his fingers positions. (Right hand, C, D, E, F, G; left CERTIFICATES. DIPLOMAS JAZZ well into the table) into the tent position, hand, F, G, A, B, C). Let Harold and and DEGREES The wrist practically touches the tips of Irene sing a little duet (C-E). Let them SwooH By Authority of the Stale of Illinois ** and the fingers. By throwing out his fingers be answered by Sarah and Irene, and s Training in the following departments' Novel Piano Playing and repeating the exercises he will soon for many delightful hours. This book is the combined result of if reach the “wonderful land of music.” Of course, this is all merely suggestive. It is one of the hundreds of ways which MuScf Eniemble,°roreh.Ml^%roSjn°{ Accompanying, <'induct im- o- SSte everythintl^hldiS all modern A Great Fundamental of a the ingenious teacher will devise at every ©usic Wood Wind Insi vmrk/etc.reS' Price $2?00 Postpaid? Good Touch step to make the land of music really the Christensen Schools Throughout the lovely country that the child has expected Send for complete catalog World carry all our books in stock or you npHIS EXERCISE also has a great it to be. can order direct from the Chicago office. significance in planting in the child’s COLUMBIA SCHOOL OF MUSIC The best teacher is the one who creates MUSIC TEACHERS-LOOK! mind, imperceptibly, the basic principle of SAMETINI Bo* £, 509 S. Wabash Avc., Chicago the most interest in the child. The best if there is no “Christensen School in your city, a good touch as it is employed in modern mother is the one who does the most to School piano playing. Godowsky once said to me, FAMOUS VIOLINIST, TEACHER foster this interest. This is best accom¬ our lucrative Teacher's Proposition. Exclusive "I never tire of playing the piano, because Founded 1895 es granted. plished through the use of the child’s imag¬ I use only one finger at a time.” UNWANTED hair . . . de- AND MUSICIAN by COSMOPOLITAN ination. Mothers who work along this line That expression contains a vast secret. .. with the roots .. . what a ‘Wn.H.SheruJoob will never have to bother about “making” No reddened skin. .No irri- SCNo?OL MUSIC4 d“ar"atic Hawaiian Guitar, Violin, When we walk, we rest on one leg while sulphides..No “odious Trumpet, Clarinet . a"riHku' ,, . . , . . the child practice. There is no more reason . razor... Easy, simple, DR. CARVER WILL I A.MS-President lele. Teachers on t hese instruments also write. ; the other. If we did not do this, Mb * 6b b'ti ni° °tt for making a child practice than for mak- would have to hop with both legs. How ing jt ^ g „ ^ c£ld-s food is disagree_ has been elected Eminent faculty of 60 Artists. Normal training for School Popular Music ... as well as limbs, Teachers. Students* Orchestn. ( .iicerts, Lectures Christensen of tiring that would be! At first, the child QonsiSls of Diplomas. Decrees and Teacher* i rtificates. Suite 445 able and distasteful, no amount of coaxing body, underarms and back of neck . . . 20 E. JACKSON ULVD., CHICAGO, U. S. A. may be taught to walk with two fingers, Gives adorable skin texture . . . Thou¬ VICE-PRESIDENT of the Four Separate and Departments—Plano, Voice Violin, Musical , ... .. - . , , . . . - will make it eat with relish. Make music sands of women acclann its superiority lheory. Composition. Violoncello, Orchea- letting the weight -fall alternately upon delightful through maUing it fun, and the over every othermetho ^ N T , cDiStin(t Schools each finger Then he may be taught to use gdce ta,g car£ of itself. Drama"?crA^te"t'c' PmW,‘' Slhooi Music' Beware of spurious harmful (mere the other fingers of the hand m a similar 4 wax) substitutes offered by Beaut The School for Training Many Free AdnanUtjrs an i Scholarships manner. Do you not see how in this way Shop operators as ZIP treatment:.. I Authorized representatives giving and Placing Teachers of he is learning unconsciously the basic prin¬ Tirnes Have Changed For particulars address—Edwi I Stephen, Mgr. genuine ZIP treatments display a music and the allied arts. ciples of weight playing with a relaxed BUT, YOU SAY, Beethoven and Haydn sign so stating, signed by me. ZH COSMOPOLITAN SCHOOL OP MUSIC Epilator gently lifts hair out; ordi¬ Boi E, 16lh Floor Kimball 11.41 llldg., Chicago wrist and forearm? ;. nary wax tears and is pa inful. The School for Training Now, let us pretend that the child and this, and sec what they produced. This i: *USE ZIP ONCE1 2 Sold bythepackage everywhere, CHICAGO and Launching Concert his dearest friend (calling him by name) unquestionably true. The great masters reatment or FREE DEMONSTRATION are going walking hand in hand through the were for the most part brought up under Artists. ®Ijp lhamtt Jrrhmil wonderful land of music. Employ the sec- very severe, often cruel, teachers. The situ- 3 The School fdr Training CONSERVATORY of MUSIC ond and third fingers of the right hand for , atjon today, however, is entirely different, and Placing Public ranklln Stead, Dlrecto the pupil (is his name Harold?), curling The modern child has a thousand distrac- FACULTY—C'OMC I RecITAU. MUSICAL School Music Teachers. the fingers not used in the palm of the tions and amusements that were unknown hand. Use, similarly, the second and third to the masters in their childhood. More 4 The School for Training fingers of the left hand to represent his than this, we are not now limiting musical and Placing Theatre and little friend (perhaps her name is Irene?), education to the few especially gifted Church Organists. Start them walking across the table toward pUpfls. We feel that every child is entitled music land. Repeat the exercise with the to a musical education, for the great ad- COLLEGE c'3p° Dept, for Children. All athletics. ! lorseback riding, fourth and fifth fingers representing the vantages that come to him in after life fireproof buildings with ample grounds. Two beauti¬ two other friends who are going to join because of the priceless mental and physi- fy dormitories on campus. 1 r catalogue address NOTE them in music land (perhaps their names ca] discipline that music brings, Mr. Sametini has so many artists on the concert Students may register at any time. are Sarah and Jane). These are little chil- For this reason, music, if studied at all, stage, teaching and members of Orchestras that he Mention the School of Training in dren and are not as strong. Therefore they must be made a great joy to the child. It which you are interested and ad¬ must have lots of exercise. must compete with his other games, with has become recognized not only as one of the great dress your inquiry for Catalog and Finally, we introduce two new friends motion pictures, even with some of the detailed information to masters of violin playing, but also a great influence to music land. They are big brothers—the pernicious influences he finds in the comic THE DENVER thumbs of course. (There names undoubt- secti0n of the Sunday paper. The mother in musical education in the United States. Sherwood Music School COLLEGE OF MUSIC edly are John and Billy.) ami the teacher, however, by means of the Now let them all have a promenade upon talking machine, the player piano and the Pine Arts Building the keyboard. What is easier than a two- rac|j0j are able to make music vastly more 410 S. Michigan Avenue finger exercise up the octave with each set interesting today than ever before, of fingers of each hand. Then let the big Chicago, Ill. STUDENT DORMITORIES NON - PROFIT—ENDOWED brothers take a walk with each set of ^ELF-TEST QUESTIONS ON MME. Faculty of 35. Offers a complete fingers of each hand. Then let (the big TEN BROECK’S ARTICLE Artistic and sumptuous dormitory accommodations for brothers take a walk with each of the other college education in music; all 1. In what four ways will music study men and women in college building. Piano furnished Every Teacher Will Find Valuable Material n... branches; highest standards. Col¬ children. The thumb (John) with the sec¬ “THEMATIC EXCERPTS OF THE VERY BEST help to develop the childt with each room. Prices reasonable. Givi T,E^CHING PIECES FOR THE PIANOFORTE” lege credits, diplomas, degrees. ond (Harold), then with Irene, then Sarah, Giving full page thematics of forty-eight of the most 2. Wlmt is the first great essential to Send for Catalog E then Jane. develop in the child’s attitude toward study ? dto Address: Registrar, 1000 Grant Street, Denver Theodore Pre.se, Co, 1712 Cheinut Street, p,. A Musical Party 3. What teas the secret of Lescheticky’s H, WHAT A wonderful party ! Each great successf Atlanta Conservatory of Music finger now has an identity. It becomes 4. What is a great fundamental of a good iCouisuitle Conseruatory of jflusic iman being in the child’s mind. What is touch? THE FOREMOST SCHOOL OF FINE ARTS McKinley Complete Winter Catalog on Request FREDERIC A. COWLES. DIRECTOR IN THE SOUTH A Nationally Accredited School of AJrantages Equal la These Found An»where. Students m„ enter st any lime. Send lor EDITION MUSIC - ART - DRAMATIC ART Catalog. GEO. F. LINDNER, Director “Alas, We Have No Fagotti” JOHN T. ROY CO., Holyoke, Mass. degrees CONFERRED Peachtree and Broad Streelg, Atlanta, Georgia In “My Musical Life,” Walter Dam- Why is there no contrabassoon engaged?’ PIANO, VOCAL, VIOLIN, NORMAL rosch tells a characteristic story of Hans “In vain were Russell’s protests that he PUBLIC SCHOOL MUSIC and ART CONSERVATORY OF MUSIC Piano Music with same for 10 , von Buelow, one of the few great pianists had not been told to engage a contrabas- Academic and.GuHural^ Courses OF SHENANDOAH COLLEGE W. A. QUINCKE & C who became' an even greater orchestral soon. But suddenly von Buelow’s anger Address: CARL D. KINSEY, Manager In the heart of The Shenandoah Valley, near Washing- MUSIC 430 Si B’way, Los Angeles, conductor, aided largely by a prodigious subsided and he began the rehearsal. Dur¬ Student Residence SpIendid Cuisine - Full Courses in all branches of Music. Pupik t “ on. fifteen States. Rates mos unable. Large and usually accurate memory. But even ing it, as was his custom, he conducted School OrcnestraOrchestra and Band. PianoPian Tuning ana ; nr von Buelow’s memory sometimes slipped, without any score before him. His memory 60 East Van Buren St. SMS CHICAGO, ILL. 18 W. Broadwiss JOHN L. GRUBER, President Organ. j0, Catalogue Louisville, Ky. The occasion was an orchestral concert of what the individual instruments had to SHENANDOAH COLLEGE :: DAYTON, VIRC1NU at the Metropolitan Opera House, “where,” play was indeed remarkable, although I ENG RAVERSAw> LIT W OGRAPH ERS savs Damrosch “he demonstrated his mar- always felt that he enjoyed showing it off ■print anything in music- by any process I -‘nueiinru 1857 velous powers as a conductor. Among the a little at rehearsals. After the rehearsal 1 WE PRINT FOR INDIVIDUALS A Conservatory Pledged to the Highest Artistic Standards. works on the program was the Tragic was over he called Russell to his side and. t REFERENCE ANY PUBLIS Overture by Brahms. Just before be- slipping him a five-dollar bill, whispered, Established 1867 winning the rehearsal of this he called ‘Do not say anything; it was my mistake, PEABODY out to the orchestra librarian, Russell, There is no contrabassoon in the Brahms bv name, ‘Where is the contrabassoon? Overture.’" When yon write to our advertisers always mention THE ETUDE. _ -- r 1 ny» mention THE ETUDE. It Identifies you a* one In touch with the higher Ideal, of art and life. " tOUOh W,*h blither Idem, of" JANUARY 1928 Page 65 fUE ETUDE Page 6\ JANUARY 1928 ter etude School Music Department MUSIC PUBLISHERS' BULLETIN Yfincinnati (fonseroatork pfXtlusic (Continued from Page 32) AMERICAN SIXTIETH YEAR Affiliated with the Univ. of Cincinnati e Mus^cHpublishers^Ass^ciatiorf^o^ the^^ed^States. ATTAINMiiNT All departments—Piano, Voice, String CONSERVATORY and Wind Instruments, Organ, Opera iSSSSi® Dramatic Art, Languages, Dancing PufiLic School Music (accredited). pr;I vate Lessons for Teachers and Supervis! sESPESI OF MUSIC ors. All credits apply toward certificates diplomas and Degrees. Faculty composed JOHN J. HATTSTAEDT, President of internationally famous artists. ■—Dept. E. High Chicago’s Foremost School of Music Offers modern courses in Piano, Voice, Violin, Organ, DANA’S MUSICAL INSTITUTE KhS ind^idS groups ™ ‘ f°r ‘ ***** r6ndltI°n WARREN, OHIO Public School Music, Harmony, Composition, Orches¬ cfructor must make ti oug t i tral Instruments, Dramatic Art, Expression, Modem The Only University of Music in the World Languages, Dancing, etc. Eminent Faculty of 125. All branches taught on the daily lesson plan Special Music Supervisors Course Catalogue on application to LYNN B. DANA, Pres. Desk E. Superior School of Normal Training Supplies Teachers for Colleges portaut that the balance for each choir be _ School of Opera, School of L/ awrence QUbelanii Jnstitate plomas, Degrees conferred by carefully work.,I out as it is for the com- rT'HE WORKING out of such a p Theatre OrganPlaying, School authority of State of Illinois. Conservatory of Music offljufiir nlete orchestra. It is almost impossible I gram in the school is not at all d of Acting, Department of Pi¬ Unsurpassed free advantages, eAppleton, Wisconsin ano Classes in Public Schools, NEW TERM OPENS desirable Dormitory accom¬ FEBRUARY 6 N.UJ SCHOOL”! ITS?™ MUSIC ipnrted by all the secondary tention can be given to a proper balance publications of all needed works issued northwestern value of this harmonic sup- ^the various instruments breach choir. iuX musTc store tn yZr locality^t wui pay you -1 BUSH extent oT prSngThb bar- ^on^on' j jb^e'S^oMnstruments. ^accurate service!”^™ eVeryWher6’ f°r forty-five yearS’ Wlth pr°mpt MILLIKIN CONSERVATORY OF MUSIC DECATUR, ILLINOIS THEODORE PRESSER CO. 1712-1714 C Off.ua thoro braining in music. Courses lea CONSERVATORY '‘Sample Book of Practice-Promoting Piano Pieces” Bachelor of Music Degree. Diploma, and ICertifi- •nw’a?°' Voi". Violin. Organ, Public Music Methods andMusic Kindergarten t' EDGp* ON CHICAGO EDGAR A. BRAZELTON President Vice-President Bulletin sent feet upon leouest 1712-1714 Chesl W. ST. CLARE MINTURN. Dim A Lightning Hit! Striking Popularity Everywhere Detro|t Conservatory of Music Z MUSSOLINI IHI SUMMER SCHOOL 53rd YEAR ELIZABETH JOHNSON, President - —■ PLEASURE INTERMEZZO FOR THE PIANO PIANIST choir, JUNE 25 to AUGUST 4 Acknowledged Preeminent as a he multiplicity of parts with the p,e the proble^s of tuning and tone drills Conservatory of Attainment complete ensemble usually results in over- ^ individual choirs rather than with the By Jay Media looking The fine t Students MaY £"ter at Any Time PIANO DRAMATIC ART Petition is then needed to clear up these It is my hope that oui VOICE SCHOOL MUSIC STAGE CRAFT °rfaj1» Theory, Public School Music and Dr’awW ’ *n 9el,°» Places, _ a process that is at once tiresome and discouraging to the players. The VIOLIN ORCHESTRA TRAINING Accommodations/6116^ .- J™ ^van^K'ble many advantages. a romantic touchintheNeapolitanstyleof one of the themes. Price, 50cacopy. PLAY PRODUCTION ajj Catalogue Free Upon Application _ ___ teal function of the rehearsals for the ORGAN CONDUCTING PAGEANTRY Address JAMES H. BELL, S.c,.lary, Bo, 7. 5035 Woodward Are., Detroit, Mich. Front Ti Conservatory Bldg. entire orchestra should be the fitting to¬ [Reprinted from the Report of OPERA BAND INSTRUMENTS gether of parts more or less perfect in “Music Supervisors’ National EXPRESSION Conference”] THEORY CURTIS CLASS PIANO LANGUAGES themselves, DANCING Michigan State Normal College Conservatory of Music Course! fnrTr8'"*' P’“°’ VH'n am* Awry, NORMAL COURSES IN ALL DEPARTMENTS, MASTER otal hvrng expenses need not exceed ^dolhn^k. Tmtioo „d fa, eIceptionally low. On Inattention REPERTOIRE CLASSES, DORMITORIES, SCHOLARSHIPS By Sarah A. Hanson All Courses Accredited Michigan State Normal College Conservatory of Music. Dept. 9, Ypsilanti, Mich. Do you perhaps expect your teacher finger properly? After countless admon- ‘o correct your wrong playing in one meas- itions agamst gum-chewing (as being im- Write for Catalog ^c--while later, in a similar measure, you polite and a handicap to good time do T. E. SCHWENKER, Sec’y C. PURVES - SMITH ^ the same mistake? Instructed in you still pers.st m bringing this article to oger position do you calmly continue in lessons? 839 North Dearborn Street, Chicago, Ill. * old way and keep on doing so even You might reflect on such Me items -n. „ Ja testimony™™! 1to; h) nd interpretation one o ,--am nw7CIK'atcd donations on the teacher’s Possibly you will not then be so apt 235 South El Molino Avenu, PASADENA Phone Wakefield 2709 ?art- After endless injunctions regard- to say, “Why, you d.dnt tell me CALIFORNIA g fingering, do you persistently just not that before! * THE ETUDE. It Identifies yon a Please mention THE ETUDE when addressing our advertisers. e Wgher ideals of u Page 66 JANUARY 1928 JANUARY 1928 Page 67 Self'Study in the Art of Jtfusic NEW YORK SCHOOL of MUSIC and ARTS COMBS CONSERVATORY (Continued from Page 20) New York’s Oldest Music School PHILADELPHIA THE BEGINNER’S From 26 WEST 86th STREET RALFE LEECH STERNER, Director forty-thirdFORTY-THIRD yearY J5AK of the past that he cannot see the dawn of valuable short cuts by means of high grade a great future. technical exercises and etudes. He may¬ and wonderful features planned for the coming season A School of Individual Instruction for the Beginner, VOICE BOOK by this institution “A great deal of this is pure rubbish. be able to provide him with inspiration Ambitious Amateur, and the Professional BY Same celebrated faculty headed by Ralfe Leech Sterner, Arthur Friedheim, All great art is an evolution. Many of and examples of fine playing. But that GRIEG No Entrance Requirements except for Certificate, Diplo ^and Degree A...... Courses Paul Stoeving, Frederick Rlesberg and other celebrated masters ™ these modernists are miserably deceived teacher who tries to impose his personality Four-year Coma in Piano, Voice, Violin Organ, Degrees conferred Daily reports keep the Director Frank Stewart Adams, Director of Motion Picture Organ Department FRANTZ PROSCHOWSKI themselves. They are willing to swallow upon the student, who tries to make a man Theorysory and Public School MusicMusic,, leading W Degrees. personally mformed of your progress-Daily;Daily Super- to For seven years organist of Rivoli and Rialto Theatres, New York City . ocher’s Training Courses mclndi two complete any kind of trash, even a hoax, as long as out of a woman or a woman out of a man, s Symphony Orchesi Individual Instruction. Entrance at any time. " AIlTrancl'es taught from elementary to the highest ‘‘In¬ ter exceptional it is sensationally grotesque. There is a should be avoided. SEVERAL FREE AND PARTIAL FREE SCHOLARSHIPS artistic standard. Orchestra and Band Instruments. Pr,TI“* accompaniment. well authenticated story of a wag who “I would say to the student, ‘Study your¬ OPEN FOR COMPETITION Dormitories for Women took one of the standard string quartets, self—your talents, your inclinations, your (The Only Conserealory inthe Slate wM DormUarlcsJor Women)^ ^ BRAHMS Dormitories in School Building. A real home for m students. distorted many of the measures, even writ¬ limitations, and work yourself (with or I any Free Classes and Lectures. Diplomas i Teacher’s Certificates, Public Concert ing some measures upside down, and then without a teacher) to foster those gifts Focal, Piano, Fiolin and all Instruments. ’ublic School Music Department. Dram, £> including which the Almighty has given you. A By Decoration, Dancing and Languages. DaSy^upervised Practice and Daily Classes in Technic. palmed the work off as that of a new ultra¬ swan is a beautiful thing when gracefully Daniel Gregory Mason Illustrated Catalogue oo Request Six Spacious Buildings, Faculty of 95 modern composer, only to have it received Accommodations for 2500 Students by a well-known European group of mod¬ floating around in the water; but he would A School of Inspiration, Enthusiasm, Loyalty and Success ernists as “an amazing work of genius.” make a poor spectacle hopping around in a Illustrated Year Boot tree Similar hoaxes have been perpetrated upon ballet. Find out your natural metier and In a New spend your life in developing it to its high¬ GILBERT RAYNOLDS COMBS, Director OffiTr'ofdo^fR;ced‘'sti«“di0 groups of modernists painters. Illustrated Edition INSTITUTE OF MUSICAL ART “One wonders if these people really do est point.’ * of the any genuine thinking. One can hardly, Price $2.25 JUILLIARD SCHOOL OF MUSIC TEMPLE UNIVERSITY blame the public for calling some of these SELF-TEST QUESTIONS ON MR. attempts little short of sheer lunacy. To GODOWSKY’S ARTICLE 120 Claremont Ave. New York City GRANBERRY * School of Music — 1. In what way is every genius self- Written virtually as contem¬ 1S21 LOCUST ST. PHILADELPHIA, PA. me, their labors often seem very pathetic FRANK DAMROSCH, Dean porary criticism, these studies PIANO SCHOOL *,Thaddeus Rich, Mus.Doc., Dean . like a great deal of valuable talent sunk taught? in a blank swamp of diseased imagination. 2. Of what principal use is a teacher? of modern composers and their 149 East 61st St., New York,N. Y. E. F. Ulrich, Associate Dean * A school for serious students. All branches. Moderate tuition fees. HIGHEST STANDARDS of MUSICAL INSTRUCTION “Finally let me say that, if a student can 3. Why must the player have technic? work have remained an author¬ l One of the Greatest Contri¬ 4. What great advantages for self-study SPECIAL ANNOUNCEMENT For PIANISTS, ACCOMPANISTS and Teachers’ Certificates, Diplomas, Degri butions along Educational get a really good teacher, he should by all ity for twenty-five years. New NO HIGH SCHOOL EDUCATION KKOl IltF.I) means have one; but he should not treat do students of the present day have over All talented advanced violin students will come under the personal ^KXCEI^^rOB^)TIIB;COLLEG F I 01 USE OF MUSIC material has now been added. observation and instruction of Lines, Ever Made to the those of former years? TEACHERS him like a dray horse, who is hired to carry Each study gives a swift sketch Vocal World burdens for him. A teacher may be able 5. On what “School of Composers” PROF. LEOPOLD AUER MUSICAL DEVELOPMENT THROUGH Any Instrument o?Voicc may be taken it unit Other Branches. of the life of the composer, -DISTINGUISHED FACULTY- l; rpHIS superb work will be a wonderful to provide the student with immensely should every musical education be based? SIGHT-TOUCH and HEARING. Booklet impressions of his character TRAINING FOR OPERA T 0 •*■ tearhine lulu for all voice teachers. principal1! I,, members of ; methods, in addition and personality, and a critical nt step by step upward Vtfusical Education in the Home THACA QONSERmTORY STUDENT HEITTA I.S—OPPOHTl'NITY FORORCHESTRAL analysis of his work, influence j in the vc VIRGIL SCHOOL OF MUSIC IT,ASSES IN HAKHONY AND HISTOttV OF MSIC. uents of music, thereby (Continued from Page 11) and place in music. Founded by the late A. K. VIRGIL PUPILS MAY ENTER AT ANY S developing a knowledge of musicianship in MUSIC TIME DURING THE YEAR the parent, but for your especial needs 1 (Originator of the Virgil Method, Inventor of the Virgil Practice Clavier) Student Dormitories. Branch Schools Write lor Catalog work with which to demonstrate their rmaticn upon the physical would advise “Psychology for the Music For Teachers, Players and Earnest t singer contained in this progress, you are justified in seeking the THE Special Courses Students of All Grades llightening, being supple- cause. But when you make1 your inves¬ Teacher,” by Walter S. Swisher, a handy Zeckwer-Hahn rly explained illustrations, tigation, be fair to the teacher first. For little book, pocket-size, paper bound, and MACMILLAN COMPANY For all particulars address: THE A. K. VIRGIL CLAVIER CO., or costing but sixty cents. It gives the Philadelphia Musical Academy vocal teachers of the high¬ it is more than probable that you will find NEW YORK MRS. A. K. VIRGIL, Director 58 years of continued success iu training musicians born we have shown proofs your childern at fault and you will be teacher a working knowledge of psychol¬ Phone Trafalgar 9349 vc described it as “mar- ogy, and it is written with the particular NO OTHER . Highest Standards of Musical Instruction less likely to err in condemning them than problems of the music teacher in mind. i "in'"voice milture should you would be in placing the blame upon the teacher. I am sure it will help you with your class PIANO TUNERS and AMERICAN INSTITUTE OF APPLIED MUSIC Mrs. J. O. C., Kindersley, Canada. of young pupils and with your own chil¬ TECHNICIANS jj A Real Beginner’s Book There are many text books on psychology dren. 1 am very much pleased to add METROPOLITAN COLLEGE OF MUSIC prepared for the use of the general your name to my rapidly growing list of lators and repairmen. Practical Shop School. Fall PRICE, $3.00 Send for Catalog E. 212 West Fifty-Ninth Street, New York City teacher, and some written especially for intelligent Etude mothers. Now Theodore Presser Co. Y. M.C. A. Piano Technicians School Two-Year Normal Training Course Open ::I Voice (Culture in High School 1421 Arch Street Philadelphia, Pa. ippH Music Publishers '’eDRAMA^OrPERT^MUSICreCt,°,? A Comprehensive Course Developing Sound Musicianship and Providing Practical PITTSBURGH MUSICAL INSTITUTE, Inc. and (glasses Catalog Free Pittsburgh, Pa. Dealers Teaching Material Graded for Elementary and Intermediate Students. (Continued from Page 53) Answers to KATE S. CHITTENDEN, Dean ETHEL McINTOSH, Managing Director 1712-1714 CHESTNUT STREET “dumb-bells” get nowhere. Boys and girls PHILADELPHIA! PA. who are failing in other important sub¬ Qan You MUSICAL jects should be denied entrance to voice AVAILABLE FOR RECITALS v ijssesstift classes until their marks have been brought a. EVERYTHING IN MUSIC PUBLICATIONS 1. The “Pathetic” Symphony of ff“‘85(11 CHARLES E. BAILEY up A musician should be a thinker no less MERCHANDISE Our mail order service is prompt and accurate. The Courtright ' Tschaikowsky. TENOR than any other artist or professional per¬ EFFA ELLIS PERFIELD Teachers’ needs given special attention. System of Musical I START A TUNING BUSINESS 2. A mass for the dead, with its Teacher of Singing son. The ancient “bug-a-boo” of “artistic Kindergarten j musical setting. AND STRINGS Trinity Principle Pedagogy 106 W. 95th St., New York City THEODORE PRESSER CO. Philadelphia, Pa. *£or'S2M toh3500 mo^Thf fulTttaerR’equhls 90 temperament” can be laid forever in the 3. Stephen Collins Foster. sight jn,?t:;p°-re-i?i:: TELEPHONE: RIVERSIDE 4434 high school, if the teacher is courageous aTOUndu?S per tuninF- Player work alsoPbrings big 4. Victor Herbert. Singing 1 - ..gSSw. Send for Leaflet and sincere. Real, honest, artistic feeling PROMPT MAIL ORDER SERVICE 5. This Italian word means, lit¬ K-ourf^'b^ and emotion expression can be encouraged TO ALL PARTS OF THE COUNTRY erally, a little book, and is ap¬ Mack Institute, Cralton St,„ EM-6, Pittsburgh, Pa- and developed, and the selfish, “tempera¬ plied to the literary text of an DUNNING SYSTEM •“nXS** mental,” conceited and altogether undesir¬ ylOIAN strings> Violin bows, cases, The Demand for Dunning Teachers Cannot be Supplied-Why? able qualities can be prevented from ever 6. Verdi and Wagner. bridges, Violin fingerboardP charts, pitch raining a part in the equipment of the pipes, tuning forks, Mandolin picks, SCHOOL MUSIC CATALOG INTERNATIONAL 7. In compound measure, where NORMAL CLASSES AS FOLLOWS: young singers, from the very beginning. Guitar picks. Ukulele picks, Saxophone helpful c •g for College Directors a dunning each beat is divided into three reeds. Clarinet reeds, batons, kinder- Sri A MEAL°u^ °T'NG’ 8 W«l 40th St„ New York City. Make way for the voice training classes symphony instruments and many other SYSTEM OF even parts, if the composer 16 East 11th St. in our senior high schools! They are on items of musical merchandise are car- Part Choruses; Music for Special Occasions, Cantatas, Allie Edward Barer,! 1006 CoUe^AvIfp"’. Wor^Te^Sth°°l M“‘iC' N<™ ^ Addr‘"’ wishes a beat to be divided Sight Reading Material, Orchestra, Collections, etc. IMPROVED the way. The demand is to become un¬ AlsoChurch and Concert Engagements •-Jan. 2—St. Petersburg, Fla into two equal parts, he indi¬ THEODORE PRESSER CO. d^^^FlT^ H- MUSIC STUDY mistakably increasing soon; and the need 1712-1714 Chestnut Street, Philadelphia, Pa. Catherine Gertrude Bird, 658 Collingwood Avenue Detroit M- L cates it as in the first half of CARNEGIE HALL, NEW YORK Inc- for teachers who know and can teach Grace A. Bryant, 201 10th Are. N., T^ Falls ld,’h„ ' ' the second measure which character, right-thinking, co-operation and Dora ACh^r'c" Carrickri !“Eas' 68"> St., Portland, Oregon-Normal Clas.es Leschetizky technic. Systematic Train- follows: voice will be practically beyond the meet- Adda C Eddy, ’mvT Sandu,kyW MUfolt G“ a?' 345 ^'!n,0n ^ooklyn, N. Y. Memory, Sight Reading, Ear Three Length E Strings. . 15c Beatrice S. Eikel, Kidd-Key College Shirman tus ' °h‘°' S'1"’™ N°rma,‘ Ci"ri""ali * M“!“ raining. Rhythm, Melody Writing, Two Length A Strings... 15c : Virgil Portable Keyboard ldaGardner,17East6thStreet,Tulsa,Okla Norm.iri. t , . , to? ntervals. Chords, Inversions, Natural Two Length D Strings.. . 15c : FlordeneMFa,rSal:!.K,r’,160.5 AtrIWT::Cla!5e!'Tul!a',hr0^h-'Paris, France.Sumu,er,192 lendencies. Where Found in Scale, •What is Music? This question occu- ftn i j j j j irftn G Strings, each . 15c : For Pianists and Piano Students 30 Strings (1 bundle), E, ransposition. Cadences, Modulation, d my mind for hours last night before HarAS B.c“ MarDoa: id lMl CD°"™y °' Mich. 8. “Tannhauser.” Keep Up Repertoire Mra. Kate Dell Marden, 61 Nl6th SuSrtSTS ''and’ °hi,,; 6010 A'«- DoIIm. T« ^analysis. Phrasing. Musical Apprecia- ell asleep. The very existence of music Perfect Your Technic v?n\ Terminology, Biography and wonderful, I might even say miracit- 9. “Leonora.” Strengthen Lingers on this Instrument Mmncal History are some of the sub- 10. Greater stress on some tones r Its domain is betiveen thought and er’s "Bander o' Key Action Perfect nets Cwightin a' ’ Down to Date” man- momma. Like a twilight mediator it than on others. Touch Light to Heavy . r‘ 'certificates given upon satisfac- ■ers between spirit and matter, related to Catalog on request PrPl.C°>rYp^eti°n of the course. of knowledge, appearing in each W n k “ uNP,rmaI Training Classes for Teachers h yet differing from each. It is spirit, Theodore Presser Co. VIRGIL PIANO SCHOOL CO. Mrs. H. R. Watkins, 124 E„, 11th S,„ Oklahomaaty, Old,. St L™ • s!d Winter 1928 Wichita, Kans.. it is spirit subject to the measurement ISSUE OF “the ETUDE MUSIC MAGAZINE.” 137-139 West 72nd Street Now York City Summe!8- ri.Miami.Fla.: Natchitoches.La. r? Cincinnati Conservatory of Music. time. It is matter, but it is matter INFORMATION AND BOOKLET UPON REQUEST .. —! di'hmsc with space.”—Heinrich Miss i j J F°J. '’’formation and Booklets Address •risers always mention THE ETUDE. It identities Uea Eddy, 136 W.Sanduahy Ave., Beliefontaine,O e in touch with t e higher idea the ETUDE JANUARY 1928 Page 09 Page 68 JANUARY 1928 jfS ETUDE “He ‘Required Elbow Room” An American Genius of World Renown By G. R. Bett OPERETTASFOR JUVENILES m Page 61) ; . LI works, now numbering close to two turning to Boston in 1917, she played her him tired. from her Pen' Her chamber concerto again in her “old home town.” choral and orchestral compositions T1 , but finer and further than 5 of her very own Tk ch's happy privilege to help in their people in her very own land. first hearings. Not only has she appeared It is to be hoped that America will come rhestras,' interpreting other composers’ nature. If only Mrs. Beach could be pre- nrks but -he has had also the delightful vailed upon to speak to clubs, and tell them Binerience of being her own interpreter out of the riches of her extended ex- Je and time again under the most favor- perience, things they would all like to know able conditions. I think America is most about the art she has so worthily repre- nrnud of the fact that not only was all of sented! I have heard her do this; for her training received in this country, but only this pa ' Life Abroad genuine, helpful and illuminating. A FTER Dr. Beach’s death in 1910, she -- A had little heart to continue her beau- TEST QUESTIONS ON tiful work; but, realizing the way lie would MRS. ADAMS’ ARTICLE have her do was to go on and on, she 1. What choral organization, first per decided upon a sojourn on the Continent formed Mrs. Beach’s “Mass in E Flair Musical Books Reviewed gifts. The art centers of^he'wnrkWied 5. Namc^'wsonglwl in giving her honor. But the finest and her gift of spontaneous i Educational Study Notes n Page 51) gg§§ U jllfpnss FINGER GYMNASTICS Opus 60 By I. PHILIPP Price $1.50 A Decided Departure in the Completion of Finger Work in Extension by a Writer who is Perhaps the Leading Modern Technical Writer Rutting the Rest Foot Foremost at Recitals By Marjorie Gleyre Lachmund prominence^ is^given the^five finger* of^eachtend and a^careiul enthatnthis is one^f those works *at'forms anTpoch in the ;Jnefact0they are L TEE ETl 0E ETUDE JANUARY 1928 Page 71 Page 70 JANUARY 1928 The Schirmer Catalogs “WHILE THEY ARE rMUSIC APPRECIATION ZEPHYRS from MEL0DYLAND By G. W. KR0GMANN, Op. 15 YET YOUNG” FOR THE STUDENT A new edition of this very popular set of Juvenile Piano Collections By J, Lawrence Erb twelve easy and tuneful little pieces, in a variety of keys and tempos; exemplifying A series of twenty-six Juvenile Piano i Part 2. Vocal Music: Choral Collections, Octavo ( “More important even than making many fundamental elements of touch and Collections which may be used a3 supple¬ Editions, Masses, Oratorios, etc., 152 pp. music understood is making it enjoyed." technique. Each number bears an appro¬ mentary material to any Piano Method, Part 3. Piano Music: Piano Solos, Methods, ( This spirit animates and pervades this priate stanza, which, in many instances, can be sun" to the music. An exceptionally in¬ Invaluable to Supervisors, Kindergartene rs, Studies and Exercises, Piano Four-Hands, etc, remarkable new book. It is entertaining and all teachers of children. 128 pp. without being superficial; informative with¬ teresting and varied collection of first-grade pieces, so well and favorably known that Complete Illustrated Descriptive Part 4. Organ Music for Pipe Organ and Har out being pedantic or dogmatic. American •JUNIOR* monium; Methods and Studies, etc., 20pp. detailed descriptions are unnecessary. Catalog Sent on Request Part 5. Orchestra and Military Band Music music and musicians are at last given tl Each, .30 except No. XII. •« including full and small orchestra, and symphon impartial consideration and represcntatic The twelve compositions, as described orchestra, 200 pp. which they deserve.net $2.S above, complete in one volume, .net $1.00 Part 6. Music for Wind and String Instru Descriptive Folder on Request The Same, arranged for Violin and Piano ETUDE ments, 40 pp. by C. Grttn, complete in one vol¬ HAZEL GERTRUDE ft Part 7. Theoretical Works, Musical Literature, ume ....net $1.00 (J Manuscript Mu£ic Paper, etc., 16 pp. The Same, arranged for Four Hands, RINSCELLA’S WORRS TEe DILLER and QUAILE one piano, complete in one volume. net $1.00 SPECIAL CATALOGS The Same, arranged for Violin, ’Cello The great success of the () Ca tholic Church M usic, 12 pp. BOORS and Piano, comi and pieces is due to their ur ..net $1.50 cality. All of the principle inbody CONDUCTED BY ELIZABETH A GEST = Chorus Conductor’s Cuide, 201 pp. By Angela Diller and I] Christian Science. A List of Songs, 32 pp. For one piano, six hands; Nos. I, IV, VII, are the result of careful experimentation ii VIII, X, each .40, and No. XII, .50 the composer’s own activities. These work! x Educational Dance Music Collections, 12 pp. Elizabeth Quaile Haydn A Little ‘Brown Bird ? 1 ? As\ Another ? ? ? fi The New Choirmaster’s Guide, 136 pp. are recommended by supervisors in the This very popular Series has two objects: 1. What is a symphony? U Organist's Guide, 75 pp. To provide, in the earliest stages of the SCHOOL CHORAL SERIES public schools. By Rena Idella Carver 6 New Piano Teacher’s Guide, 202 pp First Steps for the Young Pianist By Marion Schock • 2. What is a major interval? child's piano study, material of permanent Selected. Compiled and Edited by U Schirmer’s Library of Musical Classics, 88 pp. | i shall serve as a (S.S.S.. Volume 63).75 nc 0 Master with y rr smile so bright 3. When was Chopin born? RALPH L. BALDWIN 9 Schirmer’s Scholastic Series, 18 pp. development of h This i Second Steps for the Young Pianist And eyes that gleam with inner light 4. Who wrote the opera “Magic (5. S. S.. Volume S I).«0 nc In the summer time, fairies live in the open for a new winter and stormy-weather Singing Teacher’s Guide, 202 pp. and classi Admirably suited for the use of assem¬ Flute ?” blies, choruses, and glee clubs in junior and Third Steps for the Young Pianist From out the frame on teacher's wall woods where all sorts of beautiful flow¬ home for you.” i Master Series for the Young, for Piano, in 12 tions. To provide a plentiful selection of 5. When did MacDowell die? A volumes, edited by Edwin Hughes, 20 pp. , senior public high schools, private schools, As if you understood it all. ers, trees and birds make their homes. The little brown bird, who really was jj Supervisor’s Handbook of School Music, 60 pp. j pieces of real musical interest so carefully and colleges. 6. What is meant by transposing? graded, both musically and technically, But, where do you suppose they live when not eavesdropping but just happened to 0 Master of the swarthy skin, 7. How are the degrees of the scale IN ADDITION that the child is stimulated, but not New Epoch-Making Series ifth Steps for the Young Pianist the weather is cold and stormy ? Why, overhear the conversation between the two overtaxed. (S.S. STvolume 17 J). Whose wig so smart does comment fairies, flew away as fast as he could to ?, In addition to the main catalogs and ad- j 200 ScKool Choruses no other place than in musical instruments, 8. What is a string quartet? o Book. . win! Zoe Marguerite’s house and whispered in (J vertising matter listed above, we publish j Great care has been taken to make the for you know fairies are very musical. 9. What is the Italian term for grow¬ ? information about all of our important range of the parts suitable for the secondary How many boys and girls you’ve seen her ear all he had heard the little blue Essentials of Piano Technic Pianos, they consider their choicest of ing louder? I publications. Anybody seeking the details I school period, including adolescent voices. At lesson, play and practice keen. fairy say. 50 Four-Part Choruses—MIXED winter and stormy-weather homes. 10. What melody is this? s about any Schirmer publication may have ! First Duet Book-- My Own Little Music Book. . > nr “Oh, I’m very, very sorry,” said Zoe II prompt and thorough informative service I 50 Four-Part Choruses—MEN Xow, one day a little brown bird sat in Second Duet Book.. Velocity Studies for the Young Planit 0 Papa Haydn, kind and good, Marguerite. “I didn’t know fairies live in ¥ upon request. 50 Three-Part Choruses—WOMEN Third Duet Book. . . 50 Four-Part Choruses—WOMEN (S. S. S„ Volume US).00 m You worked at music all you could; pianos. I’ll try to play more sweetly after Ask for Complete Descriptive Brochure Many Little Separate Solas and Duet this.” (Send for Comp I hear your Symphonies so fine, Two weeks later the same little brown When Bud and Sis have duet time. bird sat in the same oak tree and over¬ Master Series for the Young (musk) Master Series for Young Orchestras heard the same two fairies talking. He Please, tell me whence you found such was not eavesdropping, for he had just as In 12 Volumes. Selected and In 12 Suites. Selected and Edited . store— much right to be in that tree as the two Edited by EDWIN HUGHES VICTOR L. F. REBMANN A hundred of them, yes, and more, fairies had. With notes so thick and close to read is unique Series gi of fine material from thwhile music that young orchestras can play, adapted "I am very sorry,” said the pink fairy, nstruments. An extensive system of cues and cross-cues That magnifying glass I need. “but I have looked all over town to find Answers to Last Month’s piano music. It is virtually a miniature Schirmer’s Library of classical piano >n by small and unconventional combinations of instri music. Each volume is a simple, reliable and progressive introduction to the e included. The full orchestra score wh’ ' you a winter and stormy-weather home, Questions individuality and characteristic style of the master in question. Every composi¬ in orchestration. The ma_- , And, Haydn! Oh, how grand you were, without success. They all seem to be oc¬ --- -- ..—,er, Handel, Mendelssohn. Beethov ... 1. Chimes are bells tuned to the tones tion was written especially for the piano. All are here given in their original cupied. The only solution is for you to form. Carl Engel has written a delightful biographical and esthetic introduction Schubert, Haydn, Mozart, Tschaikowsky. and in the Suite of Classic Dances With orchestra that did not err, of the scale. to each volume. The masters represented are: Bach, Handel, Haydn, Mozart, —Couperin, Krebs. Gluck, Gretry, Matiheson, Rameau. share my home.” When you (at Esterhazy’s court), 2. A double-sharp is two sharps writ¬ Beethoven, Schubert, Weber, Mendelssohn, Schumann, Chopin, Grieg, Write for Complete Descriptive Pamphlet, Prices “My dear,” smiled the blue fairy, “that Tschaikowsky. With beaut’ous music held the fort. ten before a note to indicate that the tone Complete Descriptive Booklet on request and Special Subscription Offer is very generous of you, but I am not is to be raised one whole step instead of moving from my present winter and And, Master, born within the year a half step. SCHIRMER’S LIBRARY THEORETICAL WORKS FORTY-TWO VERY 00K=oe=oe=N>c=N00.=Mh- stormy-weather home in Zoe Marguerite's Of Washington, to us so dear; 3. Schumann was born in 1810. OF MUSICAL CLASSICS By George A. Wedge piano.” EASIEST PIANO PIECES To the Teacher of Music What added treasured thoughts it “But I thought you could not stand Zoe 4. The Star Spangled Banner was The world-famous American Edition of Ear-Training and Sight-Singing () written by Francis Scott Key and set to the great Masterworks of Music. Edited Single-Note Part for Each Hand brings Marguerite’s harsh playing,” said the pink by eminent musicians; the piano numbers Applied to elementary musical theory. (I We prefer to distribute our materials Of two superior to kings. the old tune of “Anacreon in Heaven.” net $2.50 Music teachers, the country over, who fairy. carefully and authoritatively fingered; en- are unanimous in their preference for the through the local dealer. It so happens, “Ah, but she has changed,” replied the 5. Pizzicato is the Italian term mean¬ graved, printed and bound in t Advanced Ear-Training and high quality of SCHIRMER publications, however, that some teachers are located ing to pick the strings (instead of playing possible manner. The 1500 Volumes Sight-Singing Dear Papa Haydn, tell me true I blue fairy, “Last night she played so have made insistent demands for piano in territories which do not have the ser¬ with the bow). already published cover the whole field Applied to the study of harmony. A How did you like my piece for you, sweetly it sounded somewhat like our own of Vocal and Instrumental Music. compositions suitable for pupils in the vices of a music dealer immediately 6. The melody was the Minuet in G continuation of the above.net $2.50 lowest first grade. In response to this Which I had practiced, oh! so hard, ( fairy music. And what do you suppose Complete Descriptive Catalog by Beethoven. Keyboard Harmony demand, we offer a list of pieces, ninety per available. Also there are some dealers that little girl did after practicing her cent, of which consist of elementary That your fine tune should not be marred ? A practical application of music theory. whose stocks are inadequate properly to an oak tree and overheard two fairies lesson?” questioned the blue fairy. 7. Music printing was invented in 1476 melodic lines, single-note part for each accord the teacher “On Selection” privi¬ talking. He wasn't eavesdropping, for he but not satisfactorily done until 1525. SCHIRMER’S hand, and utilize both treble-clef and There, Haydn, with your genial smile “I have not the least idea,” replied the bass-clef. leges. To those teachers we offer to send had just as much right to sit in that tree 8. There are twelve half steps in an SCHOLASTIC SERIES And face without a trace of guile, pink fairy. Complete Thematic Catalog direct such classifications of materials as as did the fairies. This is the conversa¬ octave. A new series of copyrighted material for Sent on Request I wish you’d tell me how your Vocal and Instrumental Study—from the they may specify, most carefully selected tion the little brown bird overheard: 9. Cesar Franck was Belgian. by specially trained clerks, in that branch 10. The instrument was a cornet. very easiest to the most difficult. In order thought “I’m looking for a new winter and to make Ibis Series as comprehensive as of music in which the inquirer is interested. Creation and The Seasons wrought? possible, the cooperation of eminent ped¬ NEW VIOLIN WORKS If the teacher so interested prefers to stormy-weather home,” said the fairy agogues pf all countries has been enlisted MUSIC-BOOK GAME advise us the name and place of busi¬ D Haydn, if I could compose dressed in sky-blue satin. VYCusical Jac\ and Jill ness of his or her local dealer, we will, if “Why, I thought you had found one,” By Mabel Greenberg ne P>£ce as fine as all of those By Frances Gorman Risser Complete Descriptive List on Req...„ that dealer be in proper standing with us, said the fairy dressed in baby-pink silk. An unusually clever and fascinating When / am practicing my scales, Student Concerto. August Nolck. charge and send the “On Selection” I'lTt 3nd liear and rcad about, “I have been living in little Zoe Mar¬ music-game for little children, possessing Colors, Tunes and Rhymes for First Violin / name my two hands Jack and Jill; NEW PIANO WORKS material to that dealer, properly identified feel I owned the world, no doubt. strikingly novel features. A profusely Study. Rebecca Richards. guerite’s piano,” sighed the blue fairy, “but And, like the children in the rhyme, Spelling Music (A set of Very Easy Pieces). illustrated story in rhyme.net $1.00 Melodious Studies in the First Position. so that it will be brought promptly to the I can’t stand it there any longer.” They climb a steep and rocky hill. , A. Louis Scarmolin. Melodious Foundation Studies. attention of the teacher. If the teacher Qhl Master I with your smile con¬ Fun at the Piano. Frederic Groton. Melodious Double-Stops. “And why not?” questioned the pink Traveling Abroad (Three Little Duets). j chooses, he or she may make lists from the tent “THE MUSICAL QUARTERLY” Josephine Trott. They step from note to note until John Duddy. “Little Violinist at Home.” (Six Violin I “On Selection” music sent by us and And eyes that shine with fond intent WHERE TREE FAIRIES LIVE They reach the top, so very high, Four Pieces in 6-8 Rhythm (Grades I and 75c. a copy; $3.00 a year ‘Til be a nervous wreck, if I do stay— PiecesonOpenStrings. InterestingPiano- [ order same from the local dealer. r°m out the frame on teacher’s And stop a moment just to watch II). A. G. Dreisbach. Published in Everyday Happenings (Grade II). ,„Faft and Varied Rhythms.) Together .75 Our intention is not to solicit teacher- wall if fairies can be nervous wrecks,” declared “Well,” declared the blue fairy, “she The sunshine and the lovely sky. Grace Helen Nash. ' January, April, July and October Little Violinist at the Circus." (Six little the blue fairy. “Zoe Marguerite is a very tone-pictures. First Position, us:ng all patronage from the legitimate dealer to As if you understood us all 1 transposed it a half tone higher and then First Juvenile Recital Group. “As indispensable to the intelligent lay¬ Then they climb down the other side, Albert von Doenhoff. fingers.)....Together .85 whom it rightfully belongs, but rather nice little girl; but she does bang so loudly a half tone lower.” man interested in music as to the creative Their footfalls make a clear, sweet Detailed Descriptions of all on Request artist.”—JOHN POWELL. to enable us to bring more intensively to and plays so harshly on the piano ! She “And how did she do that?” asked the the attention of those interested, the large seems to think clear playing is loud play¬ pink fairy. sound; If not in Stock at Local Dealer’s order direct quantity of new, interesting and improved My Jack and Jill don’t trip at all, Scales, with flats, ing." The little blue fairy wiped away a “Well,” explained the blue fairy, “the materials which we are publishing con¬ piece Zoe Marguerite had for her lesson But safely reach the-level ground. 1 sometimes think, pearly tear and continued, “Oh, I just tinually and which otherwise may escape was in A-flat major, which you know has cannot live in Zoe Marguerite’s piano any Away they run, Jack chasing Jill, 3 East 43d St., G. SCHIRMER, Inc., New York the teacher’s notice. Are harder ones to make four flats. She transposed it into A major, longer!” ,. , (Of course, he is an awful tease;) Cordially yours, ,an scales with sharps, which has three sharps, by changing all And SO, y0u see> “I’m very sorry for you,” sympathized They romp among the narrow rocks, G. SCHIRMER, INC. (Continued on page 72) That grown-up people call the keys! More care with them I take. the pink fairy, “and shall keep my eyes JANUARY 1928 Page 73 THE etude the ETUDE Page 72 ' JANUARY 1928 The First 1928 Listing of SPECIAL NOTICES NEW MUSIC PUBLICATIONS AND IN SHEET MUSIC AND OCTAVO Any of these Publications may be obtained for announcements Junior Etude Contest Cat. No. Gr. Pr. The Junior Etude will award three Office, 1712 Chestnut St., Philadelphia, Pa., PIANO SOLOS BAINES, WILLIAM pretty prizes each month for the best and before the tenth of January. Names of s Reviev The. .. .254 $0.31 Ts>he First Drip through PERSONAL FOR SALE Little Biographies for Qlub Lohe Little Brown Bird Letter Box T neatest original stories or essays and an- Prize winners and their contributions will WANTED swers to puzzles. , *3e published for April. YOUTHFUL MEMORIES (Continued from. Page 71) Dear Junior Etude: _ Scale'Land By ADAM GEIBEL Meetings and age on upper left Grade 2-3 I have been taking piano lessons lor C Subject for story or essay this month— hand corner of paper, and address on upper 23902 March of the Toys.$0.35 the flats to naturals and all the naturals to By Iva McCullough Statler n'ri’NITV to own and conduct flour- "Playing at Recitals.” Must contain 23903 The Dreams of Youth about a year. I practiced one hour a day • School of Music, Dramatics and Dano- right hand corner of paper. If your cOn- HAYDN sharps. Then, she transposed it a half ishing School studios, living quarters (Reverie) in the winter, and, now that school is out, not over one hundred and fifty words. tribution takes more than one piece of pa- fVOT (With tone lower into G major, which you know ‘ ‘ T”\ ON’T you want to take a trip 1U% Tittle Theatre, especially constructed . Winter a vil- I am practicing three hours a day. I will Any boy or girl under fifteen years of age per 19932°’ Mast™'l Would Fol- Co"pcBer Site” ^Breathe A. F’ & ^ £rWaWM“- c to E flat (Opt. F, * -bW-h“rySo„,|?^|V cS|fla,.M | vtejtet Richarf Kouuu c to^DfO^t. E flat) .45 Tbht Musicians Multiplication Table L. F rosin e A w Dortcll b to E flat .40 By T. 22754 B, Thou My b ,o E SMote“„Ting’OS°“M It rains on the umbrellas here, And on the ships at sea. R L S■ . „ MARION HICKMAN From a new set, Child's Garden of Piano Pieces, To be played with crisp touch and automatic precision. Grade 2 A Young Organist £?&&&&3 THEODORE PRESSER C0y| THE ETUDE JANUARY 1928 Page 77 THE ETUDE Page 76 JANUARY 1928 From a set entitled, The Little Entertainers.uM..i THE SANDMAN THE JOLLY JUGGLER IN JAPAN TOKYO STREET FAIR Tempo li Marcia M.M. J = 108 Very characteristic. Grade 2 j FRIEDA PEYCKE f\ * 7/iy ~mrrrr= - rg j-] ~r^= Allegretto M.h1 . J=100 8 t... 4 A-- 8 • • • i • ^ j. J. *1 —-* ii: § tg. 5- uL G ) J J i-J -5- don’t watch 01 / The Sand - man will come, The Sand - man will come, He’ll get you, get you, get you, if you it; ScT • #■ > JJ J ) J j -==|=f# f f f P= J 3 3=gj (.1J * a .3 : ^ 3 '~n n n Hi m played so hardm to - day, Andt, close your eyes in slum - ber, all the long ni ght thr ough. put your toys a - way, you’ve m (Til W n _____ y — — _ then he won’t g et y ou. • 9 -^-lim p- • i \ jj] 1'1 ^ i j r~ ' 1-- i marcato ‘ f 8 ^2 /-—--growing louder A | .3. 8 j} JJpP - * j ' m/r ~f hf? ^ =*■ r ~p= |b—1 1 # 1 -- - 4. . . 4. , . . Verygayly m v "7^ v .:f J-'j i m * tji *• Tick - tock, Tick - tock, Tick - tock, Tick - tock, The Sand - man sure is com - ing so be ware, be - wi ■ire. -J-:-- i r. ^ r*. re- y ^ if ^ , n /rf m m i j M ■ j j 1 1 igl hr . ■ r 1 mm Copyright 1924 by Theodore Presser Co. ”” — British Copyright secured 8 > One of the delightful old classic fragments. Grade 2£ LA ROXELANE F. J. HAYDN j 11 n j i 1 i n J J3 J 1J r iii r^Ti i-^JT i "~i Allegretto m.m. J= 104 . . , 5 4 3 4 .Jr# # # # v-4 ? • . -^2 a i 4 3 8 1 TempoL_ ___ dffi'TTY' "f fir - 1 jT^i ■ I ■ vCnlTT'i i^nl I |J J Hi \Hi |tij^ ^— I 1 i ^ •£ 1 :=r^ 1 ::rh T * : ■ J- * # * * ’* ‘ ‘ 5^ —= frf Tif.' ~ < ~ - r r r ^ ^ ^ ^ He t-i, t . y—-v ^ 'n’if - ^ it. r-. ^ iiiit ^ ^ j -^T-^^ ■ —-| British Copyright secured Copyright 1927 by Theodore Preeser Co. JANUARY 1958 Page 79 THE ETUDE fUE ETTJDE Page 78 ujiivusun,*JANUARY ar&o1928 DANCE SORRENTO In the style of a Tarantella requiring- light, delicate finger work. Grade 24 FRANCES TERRY Allegro agitato m.m. J•=144 EDUCATIONAL WORKS NOW IN GREATER USE THAN EVER THAT HAVE BEEN A STIMULUS TO THE SUCCESS OF THOUSANDS OF MUSIC TEACHERS AND HUNDREDS OF THOUSANDS OF MUSIC STUDENTS Beginner’s Book Young Folks’ Picture School for the Pianoforte, Vol. 1 History of Music By Theodore Presser Price, #1.00 By James Francis Cooke Price, #1.00 Child’s Own Book of By Preston Wore Orem Price, *1.25 JANUARY 1928 Page 81 TEE ETUDE tee ETUDE Page 80 JANUARY 1928 Concert Orchestra Folio too. fast. Those who want a compilation double-stopping, coupled with purity of of just the kind of marches that are most tone, is a feat difficult of accomplishment, World of Music Our various Orchestra’ Books have, been suitable, should make certain of a copy but the best way of going about it is (Continued from Page if remarkably successful and Have- been gen- of this collection. None of the marches admirably developed in this book. Our e ally acclaimed. So far, we have three A BACH CANTATA SOCIETY has been in it are difficult for the average pianist to new edition which will be added to the ganized at Los Angeles, with Hal Davidson Cr Publisher’s collections which are more particularly play, but every one is just of the right “Presser Collection” has been carefully as conductor. It will be affiliate^ with sim; adapted for school or amateur use; these character to inspire and time groups revised and edited by Mr. Otto Meyer, organizations in New York and London. are Pressor’s Popular Orchestra Book— marching within the space limitations of who is Mr. Sevcik’s authorized representa¬ which is of easy'or intermediate grade; lodge rooms, stages, auditoriums or school tive in this country. »•—- The Crown Orchestra Book—which is more gymnasiums. Of course, thousands will The special introductory price in ad¬ “TANNHAUSER OVERTUHE’U'^on particularly for Church or Sunday School buy this book when it is on the market, vance of publication is 35 cents per copy, use; The Senior Orchestra Book—which but those who send in an advance of pub¬ postpaid. is slightly more advanced than the other lication order now will get their copies at two but adapted for school or conserva¬ a much lower price. Plano Voluntaries—A Collec¬ tory use. We have now in preparation The advance of publication offer price ner- following in order. Four thousand jisten PresseFs ’ConcexM Orchestra Book which tion for Church and submitted an opinion, of whom thifty aSked Music Play for Every Day is 30 cents a copy, postpaid. jazz,' while one hundred and thirty-five condemi The Friendly Word SELLING DILIGENCE AND SKILL will be slightly more advanced than the Sunday Use Page after page could be written about Every day the mail coming to the last mentioned. This will contain brilliant Betty Lou—Comic Opera F music teachers had show windows in which they might expose to the the unusual preparations made for the though playable numbers, in various styles,' The pianoforte is an instrument which is Theodore Presser Co. brings orders from I By R. M. Stults very much used in churches and for church COMPETITIONS production, of this remarkable new book. including at least one Overture, Grand individuals who state that the recommen¬ public the real things that they have; to sell, their importance to the This is a remarkably fine musical com¬ It is a' pianoforte method for beginners Marches, Nocturnes, Reveries and various purposes. It seems to have taken the place ‘ AN INTERNATIONAL CONTEST dation that they secure music from this community would be more readily recognized. Too many people think edy for amateur production. It can be very largely that was formerly occupied great direct mail order music supply house that in nearly every respect will represent fanciful and characteristic pieces chiefly of music teachers as dealers in breakable toys. As a matter of fact they sell a pronounced advance in the field of by modern and contemporary writers. Our staged, acted and sung so readily that an by the cabinet organ. Naturally there is came to them from a friend or acquaint¬ amateur group does not need unusual tal¬ very much demand for pieces suitable to ance who had found it a certain and con¬ training in memory, accuracy, mind development, patience, good taste, dili¬ musical education. In fact, we are at a usual care in the instrumentation will be loss to know how to describe in the few observed, and the arrangements will be ent or exceptional stage facilities to pre¬ be used as voluntaries on this instrument. venient Source from which to secure any¬ gence, concentration and skill. As Samuel Johnson put it in Rasselas: sent it successfully, yet at the same time, Church pianists have learned how to play thing desired in music publications. Busi¬ words at our disposal even the main feat¬ made by experts having a practical knowl¬ “Few things are impossible to diligence and skill.” We are proud to be in a ures of this unusual work. it is so pretty in text and melodies and the hymns effectively, as well as other ness brought to us in this manner by a edge of the various instruments and their so delightful in its stage pictures and situ¬ business of publishing materials which teachers have found especially valu¬ We may say, however, that it is based respective capacities. The complete instru¬ parts of the service, but they are demand¬ THE PADEREWSKI tPRIZhESt °£ ““ic^and friendly word from. 6 satisfied patron has ations as to make it worthy of a cast and upon the soundest juvenile pedagogy from mentation will be: First Violin, Violin ing this additional material to be used as been ever increasing during many years able in developing these traits so highly prized in modern education. Many staging rivaling the professional. Any who five hundred dollars for the best piece of cham¬ Pestalozzi and Froebel down to the pres¬ Obbligato A, Violin Obbligato B, Solo Preludes, Offertories, and Postludes. Our ber music, by an American-born composer or back, f a student has cultivated, through music lessons, life factors which have are acquainted with the clever plays with ent time. Violin, Second Violin, Viola, Cello ' (or new book Piano Voluntaries aims to fill one born abroad of American parents, are again In addition to holding to ideals of ren¬ books and texts by Lida Larrimore Turner open for competition. The competition closes dering prompt, accurate and satisfactory contributed to his success and happiness in other lines. It is a work of great beauty, lofty ideals Bassoon), Bass (or E Flat Bass), Flute, this demand. There is much splendid and March 1, 1928. Further information from Mrs. and thoroughly practical character. From and music by R. M. Stults will need no appropriate material to be found in the Elizabeth C. Allen, 296 Huntingdon Avenue, Bos- service, it is a great source of gratifica¬ First Clarinet in B Flat, Second Clarinet further incentive to get acquainted with tion to realize that there is the additional beginning to end the child, and the child in B Flat, E Flat Alto Saxophone; C works of classic, modern and contemporary only, is the main consideration. The book Betty Lou, than the assurance that this writers. The pieces used in this book how¬ reward in making friends who do not hesi¬ Melody Saxophone (or Oboe), B Flat is perhaps their most delightful offering. tate to tell others about our service. Wc ADVANCE OF PUBLICATION OFFERS—JANUARY, 1928 is handsomely illustrated on nearly every Tenor Saxophone, First Cornet in B Flat, ever, will not be found in other similar Several months will elapse before the edi¬ volumes. THE NATIONAL FEDERATION OF are very appreciative of these friendly Paragraphs on These Forthcoming Publications Also are Given on These Pages. Works page. One of the illustrations is in three Second Cornet in B Flat, Third Cornet in MUSIC CLUBS offers the C. C. Birchard Prize Listed Below are in the Course of Preparation and Ordered Copies will be delivered when colors. The text has been prepared by a torial and mechanical work will be fin¬ The special introductory price in ad¬ words passed out by our patrons to others Published. The Low Advance Offer Price Then Immediately will be Withdrawn. Thousands B Flat, Trombone (Bass Clef), B Flat ished, bringing this to a point of publica¬ of one thousand dollars, for a cantata requinng board of experts in the subject of child’s vance of publication is 50 cents per copy, thirty to fifty minutes in performance. The in the music world. ' Teachers and Active Workers Economically Keep Acquainted with Excellent blew Music Trombone (or Baritone) (Treble Clef), tion, but in the meantime all those who and' add to Their Libraries• --- ic Through These Advance Offers. postpaid. Fpbrnarv 1. 1928. and full narticu- Since so many have made such personal Horns in F (or E Flat Altos), Drums, have any interest in musical comedies for recommendations, we feel that there must Many of the delightful little composi¬ Piano Accompaniment. amateurs should avail themselves of an Playtime Book be many who would like to make such Album of Cboss-Hand Pieces—Piami . .30c. :e Classic Forms tions were written by Helen L. Cramm, Becinker's Method for the Saxophc The special introductory prices are as opportunity to file an order in advance of By Mildred Adair personal recommendations, but do not have Betty Lou—Comic Opera—Stults.. 'OR Young Play- who devoted her time exclusively to this follows: Orchestra Parts; 15 cents each; Book of Indoor Marches—Piano. .. publication. This is a strictly modern little work the time to come in contact with those for some months. Excerpts from the great Piano Accompaniment, 30 cents. a Suite e Poem that they know would find it a conveni¬ Book of Part Sonos for Boys with The price for a single copy ordered in starting right out from Middle C and classics in the very simplest form are in¬ advance of publication is 50 cents, post- for divided a ence to utilize the direct mail service that Concert Orchestra Folio—Part; cluded. In fact, we can almost see our A Night in Palestine using both clefs. It is not exactly an The Same—Piano Accompania A—Opera—Weinb instruction book but it may be taken up of two cantatas introducing French-CanadiSn - we have to offer music buyers, and others teacher patrons shouting with glee upon By Jacob Weinberg who hesitate to give their advice fearing Concertino, No. I—Violin—Seii —Regul...... the receipt of the first copy of this book. just as soon as the yo#ng student knows chansons populates, $500 for a Suite for String The Same—DeLuxe Edition .. Here indeed is a remarkable novelty. Studies in Musicianship— quartet, $250 for a group of arrangements of that the recipient will feel that they are O Cho San—Japanese Operetta Most of the book is designed as a result- the names of the notes, the note values chansons populates for male voices and $250 intruding. Because of this, we would like producing book with a view of accom¬ An opera in three acts upon a folk sub¬ Selected Studies for and is able to locate Middle C on the for a group of chansons populates arranged for to bring to attention our readiness to send Piano Dialogs—Four Hands—Or ject, the first Jewish folk-opera ever keyboard. It consists chiefly of short and mixed voices are offered by E. W. Beatty, Pres¬ plishing more within a given space of les¬ the Pianoforte ident of the Canadian-Pacific Railway. Montreal, some of our interesting, graded and clas¬ Piano Voluntaries . planned for publication. It is the work easy original pieces arranged in progres¬ Playtime Book—Piano—Adair... sons than can be accomplished in any other By Stephen Heller—In Four Books to’ whom application may be made for further^)*-- sified catalogs to any whose names are Preparatory Exercises in Doubli way. It will turn the whole elementary which won the first prize for opera at the sive order, each accompanied by an ap¬ suggested to us by those who deal with Violin—O. Sevcik op. 9. Sesqui-Centennial at Philadelphia, the Edited by IsrooR Philipp propriate verse and an illustrative draw¬ Twenty-five Primary Pieces—W study of pianoforte instruction into an un- us regularly. forgetably delightful experience for the judges being Nicola A. Montani, publisher Every branch of the art of music has ing. The book leads up gradually from If you want to give in your next com¬ child. of the Catholic Choir Master; Clarence produced some certain writers, all prac¬ Middle O to the One Octave Seale. munication a list of other music teachers Musical Calendars for 1928 Keyboard Adventures for the This book is scheduled for delivery in Dickinson, choir master of the Brick Pres¬ tical musicians and teachers, the study of The special introductory price in ad¬ that you know, music supervisors, profes¬ March. We have placed the advance pub¬ byterian Church in New York; Kurt whose contributions of educational mate¬ vance of publication is 30 cents per copy, sionals or active music workers, just state For several years it has been our cus¬ Pianoforte Schindler, director of the Schola Canto- rial is considered an indispensable prepar¬ postpaid. tom to issue a calendar with some ap¬ lication at a special introductory price of that you would suggest that we acquaint By A. Louis Scarmolln 30 cents, so that every teacher who is ation for acquiring a mastery of that par¬ them with our mail order service, if they propriate musical design, supplying these These judges representing diverse sects ticular instrument. For the violin we have O Cho San—Japanese Operetta at reasonable prices, to our music teacher This is a very interesting little work interested in her own artistic as well as in are not already on our lists and we will designed to help out or supplement any her own bread and butter welfare, may and the fact that the work is being pro¬ Mazas, Rode, Fiorillo and Kreutzer, for for Young People send them catalogs without mentioning patrons, both for their own use and as moted by the Theodore Presser Co., which the voice, Sieber, Concone and the Mar- inexpensive remembrances to students. method or instruction book. The beginner see this book immediately upon its publi¬ By Mrs. R. R. Forman in piano playing no longer stays for a long has been under Gentile management for chesis, while every piano teacher realizes Thousands of these calendars have been cation. Operettas for young people are always Of course, we would appreciate as cor¬ time on the white keys only, or in the The book will be sent postpaid as soon forty-three years, serves to emphasize the the importance of Czerny and Heller, rect information as possible upon the distributed into homes, both here and “Czerny for technic, Heller for musician- in demand. Those having certain pic¬ abroad, where each becomes a sort of mis¬ treble clef alone. Both clefs are introduced as published to all who send us now this purely artistic basis upon which this name, address and activities of those to ship” is a well known saying. Both writers turesque or characteristic qualities are all sionary in the cause of .music, bringing to at once and the black keys soon follow. special price of 30 cents. masterpiece has been considered. whom we are to send catalogs, since in this Herein lie the numerous opportunities for The opera is very colorful and rich in were most prolific, but all of their mate¬ the more desirable. Mrs. Forman’s previ¬ way we can make certain of sending some¬ those who dwell therein a thought of music ous productions in this line, all of which for each of the 365 days. This leap year Keyboard Adventures. These little adven¬ Piano Dialogs humanistic effects. The libretto is also rial is not deemed suitable for modern thing of interest. by Mr. Weinberg, who is a pupil of needs and it always has been necessary for have proven successful, have been based there is an extra day for good measure. tures will prove anything but tasks and By Helen L. Cramm Our friendly service, in giving the music students will enjoy working them out. Leschetizky and Safonov, and who con¬ Some time ago we published the Selected upon a variety of interesting subjects. profession the quickest deliveries, accurate Last year we were most fortunate in Two little pianists playing together at ducted a conservatory in Palestine. the individual teacher to make selections O Cho San, however, is her first venture They find at once something new and the keyboard! What a charming picture filling of orders, liberal examination priv¬ being able to present an original, and very entertaining to play. Very novel effects are introduced and from it that required both time and care, in an operetta based upon a Japanese ileges, convenient charge accounts and the striking design entitled “The Fairyland in the home, the studio or at the pupils’ we are certain that the work will produce Czerny Studies in 3 volumes by Emil Lie- theme. This new work affords a fine op¬ The special introductory price in ad¬ recital! And what a practical way it is for best possible professional discounts, is kept of Music.” This was by far the most suc¬ vance of publication is 30 cents per copy, a sensation when the opera is presented, bling. These have been immensely success¬ portunity for tasteful dressing and artis¬ at a high peak of perfection by constant cessful calendar we have ever issued and the teacher to impart to these children a either in whole or in part. As the cost of ful. We are now about to publish the tic production. It is not in the least diffi¬ THE SCHUBERT CENTENNIAL PRIZES, endeavor to give individual attention to the demand for it was so heavy that we sense of rhythm, a security and confidence the publication of a work of this kind is Heller Studies in Musicianship in 4 cult of preparation, however. It may be with a total of twenty thousand dollars, will be were obliged to make an extra large print¬ in playing! diverted from the completing of the “Unfinished” every transaction. Little Study Pieces in the extremely great, it is necessary for us to volumes. produced by large or small groups of ing. There are still a few copies on hand Miss Cramm, whose books for children expect that it will be guaranteed at least These have been compiled by M. Isidor children. The music is very catchy and First Year at the Piano with 1928 dates and orders will be taken Classic Forms have won well merited fame, gives us in in part, before publication, and this can Philipp, Profesor of Pianoforte Playing easy to learn and the dialog is bright and lowing the model of the “Unfinished” and in the for them as long as the supply lasts. In Four Parts for By Fannie Reed Hammond this work genuine “piano dialogs,” little only be manifested by a strong interest at the Paris Conservatoire, the most dis¬ entertaining. Schubert idiom and style of orchestration. The For 1928 we have a calendar that is duets that are almost as easy as it is pos¬ The special introductory price in ad¬ contest closes in July, 1928, and particulars may Class Teaching All rational study of piano music should upon the part of those who desire to pos¬ tinguished of the pupils of Heller. He be had from Miss Helen Love, Secretary of the most significant, entitled “The Musical be based upon an early study of the clas¬ sible to make them. Each is accompanied sess a very unusual work. has selected from the popular Heller vance of publication is 35 cents per copy, By John M. Williams Argosies,” the inspiration for which was sics. Naturally, before taking up even the by a cute little verse that will make it Accordingly, subscriptions for the com¬ Studies only the most practical, and has postpaid. obtained from the song of the multitudes more attractive to the young players. Mr. John M. Williams’ extraordinarily easiest classics there must be some prepa¬ plete vocal score of “A Night in Pales¬ included in'these volumes many veritable Junior Anthem Book for successful book, The First Year at the on the great plaza of San Marco at Venice ration, and it is such preparation that the This book will soon be ready for publi¬ tine” will be accepted at the rate of $5.00 gems hitherto practicaUy unknown. All of Piano, has been found by many to be as the fleets of treasure ships from all the interesting little work now under consider¬ cation and while it is in preparation it per copy for the ordinary edition, and this material is carefully graded and the Unison Voices known world brought back their riches, may be obtained at the special advance of adapted admirably for teaching in class. ation is designed to supply. It consists of $10.00 a copy for the de luxe edition. The editing has been to M. Philipp a labor of By Edward Shippen Barnes Many authorities agree in this. For this “Rejoice! The Argosies are Coming.” a set of original pieces, each one exempli¬ publication price, 30 cents a copy, post¬ first edition copies, limited to advance sub¬ love. These four volumes will be published Truly “The Argosies are Coming” to the paid. The engraving of this new book is now may be had by purpose however, it is desirable that the fying one of the classic forms. In each scribers, will be numbered and auto¬ in a short time now, but while they are in completed and the book is ready for the .. _ .undation, 2300 musical world and each year brings new Pershing Square Buildii ;, New York City. book be published in four parts. We find case, there is explanatory text describing Twenty-Five Primary Pieces graphed by the composer. the printer’s hands, copies may be ordered press. Although many well known anthems that many teachers have been dividing the ideas, new developments in music that the form of the piece, together with some at the special advance price, 60 cents each, have been included, it has been necessary book up in this manner for their own use. were unbelievable a few years ago. This for the Pianoforte historical data concerning the same. In Book of Indoor Marches for postpaid. to make entirely new plates for this work We will now publish this work in four picture was used as the cover design of point of difficulty, the pieces lie chiefly in VIRGINIA COMPOSERS are offered a prize the September 1927 issue of The Etude. By N. Louise Wright Preparatory Exercises in since all of the anthems have been newly separate parts according to the author’s the early second grade. After the first brief instruction book has the Pianoforte of one hundred dollars for an Art Song, and own division. Part One will be from the Samples of either calendar may be had arranged, and in addition, some original Virginia student composers under twenty-one The special introductory price in ad¬ been completed, or even before, if desired, It is quite a sad thing when the inex- Double Stopping— numbers have been written especially for years of age are offered a prize of fifty dollaVs beginning of the book to the bottom of for 10 cents, quantities at the rate of $1.00 vance of publication is 35 cents per copy a dozen. this book of little pieces may be taken up- perienced amateur or the thoughtless pro¬ this collection. This will prove to be one for an Art Song, by the Virginia Federation of page 32; Part Two will extend on to page postpaid. They are just right to lead the student Violin Music Clubs. The contest closes March 1st, and fessional endeavors to furnish music for of the best unison anthem books ever com¬ particulars may be had from Mrs. Lacy K. Wood, 51; Part Three, to page 66; Part Four, to into second grade work and they make a indoor marching without having given By O. Sevcik, Op. 9 page 80. This is an admirable division and piled. In all cases the original organ parts 1811 Hampton Boulevard, Norfolk, Virginia. very good preparation for the first regular thought to what type of march should be In these days the technical studies by are given and the strong thread of unison we feel that it will prove generally satis¬ pieces in sheet music form. Miss Wright’s iised. We have witnessed pathetic instances O Sevcik are absolutely indispensable in factory. The material in this work is so melody stands out in all its vigor and "Dischord ofte in music work with young students has been very . this kind when the musician at the violin teaching. Students advance more well handled that for all intents and pur¬ dignity. A HOLLYWOOD BOWL COMPOSITION successful and she knows just how to pro¬ piano or the organ was playing a march rapidly bv the use of these studies than m poses it is just as easy to present to the The special introductory price in ad¬ PRIZE of one thousand dollars is offered for an duce a book of this character. Her melo- to which the marchers could not time their any other way. Moreover they require a orchestral overture of not more than eight min¬ class as it is to the individual pupil. For makes the sweeter lay” vance of publication is 20 cents per copy, steps. Grand Marches often are not defi¬ certainty of technic which is highly desir¬ utes in length. The contest closes on March 1st, TR.are a^.S°0Albums of Pieces also because it tends to bind the children given a chance to develop? These people Book of Part Songs for Boys for Special Study Purposes has been vindi¬ to home and home influences and promises are improving all of the time and are giv¬ cated by the tremendous advance sale this with Changing Voices much more valuable enjoyment than the ing their best to the community, besides i TO ANY OF THE Album of Cross-Hand Pieces is enjoying SATURDAY EVENING POST/ Although unison singing always has its movies or petting parties. earning their education and endearing ADD!]! s COUNTRY GENTLEMAN )r ABOVE CLUBS since our first announcement of its forth¬ coming publication. There is still an op¬ uses, nevertheless singing in parts should About two years ago, in October, I their home associations. portunity during the current month to be encouraged at as early a stage as pos¬ think, there appeared in your “Question The little boy is clamoring for a horn, sible. In the case of boys with changing obtain a copy of this collection of medium and Answer Department,” a letter by voices, it is usually desirable to sing in two and will soon join the band. Mr. Strickler grade compositions at the special advance “Constant Reader,” stating that he had a has also undertaken to lead the village of publication price, 30 cents a copy, post- parts for a while, then later in three parts and finally in four. All this depends family orchestra, of cornet, trombone, band and says they are getting along largely upon the development of the voices. song bells, marimba and mando-cello, play¬ nicely. I was told by an expert of the In all cases however, it is necessary for ing sacred and classical music, and asking Lyon and Healy Company that the little Melodious Study Album for tlie parts to be of limited compass. AH for suggestions as to additions or better orchestra they have is well balanced and Young Players these requirements are well provided for arrangement. should give good results. By A. Sartorio in our new book. Inasmuch as boys are to sing from this work, the texts are all This book is now nearly ready but the such as will prove of interest to them. special introductory offer will be continued All tlie numbers are tuneful and vigorous during the current month. In the earlier and have fine rhythmic swing. This book grades especially, as great a variety of will soon be ready. studies as possible should be provided. The special introductory price in ad¬ Where there are so many elementary stu¬ vance of publication is 30 cents per copy, dents, teachers themselves become tired of postpaid. the same studies so often reiterated. More¬ over, students like to hear new things, well, they are always melodious and there Advance of Publication Offers Mr. Sartorio’s studies wear extremely Withdrawn is a certain sprightly quality in their technical requirements. This new book of Last month we stated that it was the second grade studies is one of the best last opportunity to secure a copy of Six that Mr. Sartorio has ever written. Recreation Pieces for Four Hands by The special introductory price in ad¬ Georges Bernard at tlie low advance of vance of publication is 30 cents per copy, publication price. This work has now been postpaid. published under the title, ‘ Youthf ul Joys.’’ These, interesting four-hand pieces that Concertino No. 1—Concertino are bound to find quite a place in piano teaching are now on the market in one No. 2—Violin and Piano volume. Teachers may secure copies for By F. Seitz examination. These are teacher and pupil These are two well known works which duets, tlie pupil’s part being in the five- will be added to our Presser Collection. finger position. The Concertinos by Seitz are used very The retail price is 75 cents. THE “STRICKLER FAMILY” ORCHESTRA widely, especially Numbers One and Two. While there are a goodly number of In fact, they seem to have become a part musical comedies for amateurs on the of the permanent curriculum for the violin. market, there are not many designed to I wrote to “Constant Reader” and I have become very much interested in They may be considered among the first qualify particularly for use by organiza¬ gained this information. He is the Rev. this family, because I have been a little of “display pieces.” After the student has tions connected with churches feeling it mastered the first position pretty well and best to avoid the sophistications of plots L. E. Strickler, pastor of a “little United an amateur musician myself, playing in is beginning to work his way into the and dances that are found acceptable in Brethren in Christ Church” (now in bands and orchestras, both good and bad, First Folk Songs—For Violin third position, one or botli of these works amateur productions given in halls or Fine Etude Binders at Pleasanton, Nebraska), forty-seven years and have learned how much fun one can may be taken up to advantage and used to with Piano Accompaniment buildings not controlled by or connected old; his twelve-year old hoy plays cornet, get out of this kind of play. While much develop musicianship in conjunction with with a church. Those managing entertain¬ Less Than Cost of his fourteen year old boy, trombone, one By Mabel Madison Watson the regular technical studies. They form of the music is below standard, it in¬ First Folk Songs may be used in con¬ ments and performances carried through daughter, song bells, the eldest daughter, an admirable preparation for the larger Manufacture culcates a love for music, and, out of the junction with any Beginners’ Method for for the purpose of raising funds for the marimba or piano, and father, mando- works to come and especially for the study benefit of churches and church organiza¬ Many of our friends have nearly the group, some one member may advance to the Violin. The violin is first and fore¬ complete set of 12 issues of The Etude for cello. They play for the church and of the classics. tions will find Miss Polly’s Patchwork quite an honored position in musical cir¬ most a melody instrument. In this book the year 1927. Keep these in a fine buck¬ Sunday School services. the student starts out first of all on the The special introductory price for cither Quilt by It. M. Stults a musical play that Concertino is 35 cents per copy, or 60 cents ram binder, beautifully and substantially cles. open strings and following this the sim¬ does not incur the disfavor of anyone. It Since then we have had a pleasant cor¬ for both, postpaid. is a good, clean, interesting bit of enter¬ finished. The binder opens flat, is easy to respondence. His organization is improv¬ The pastor of a small church in a little plest “stopping” is introduced, one finger stand on the piano or bookraek and will at a time. This book might be used admir¬ tainment throughout. Miss Polly is a ing. He wrote me last March that they town undoubtedly, earns but a very moder¬ charming, lovable soul and there are many always keep copies clean and accessible. ate salary, and to have ambition and self- ably in beginners’ violin classes. All the Eclectic Piano Studies The retail price of the binder is $2.25. now have a cornet, a violin (which one wonderful folk who are friendly and help¬ denial enough to bring up so large a students might play together with the Compiled by Louis G. IIeinze If you will send your renewal for Etude daughter plays for hymns), song bells in piano accompaniment which is supplied ful to her. The musical work is ideally Wise indeed is the teacher who keeps Music Magazine promptly for tlie current alto parts, string double-bass (played by family, give them a certain amount of for each number, and in addition the au¬ suited for amateurs, since it is not diffi¬ musical education and good schooling en¬ constantly at hand a supply of varied cult at any time, yet it is always melodious year, add $1.25 to the subscription price the father), tuba (or mando-cello, if de¬ thor gives opportunities for introducing titles father Strickler to high praise which second violin parts. This work may be study material. One never knows when the and naturally singable. Price, 75 cents. of $2.00, making $3.25 in all, the binder sired), four-octave marimba and piano. taken up almost as soon as the beginner necessity may arise for some new, fresh will be promptly shipped, all charges paid. And,” he goes on to say, “it sounds well. his good wife should share. For, though has learned to draw the bow across the material to encourage the student, to help We know you will lie pleased with your At least, when we give a concert the church she is not a musician, “she operates the him over some unforseen difficulty, or by Look Out for Subscription investment. strings. won’t hold the people. I guess that is lights, sells tickets and looks after the The special introductory price in ad¬ way of variety. This set of studies has Swindlers bunch’’—and the last item is quite a task been compiled from the works of the fore¬ Changes of Address about the best test.” At their concerts vance of publication is 60 cents per copy, freewill offerings” have been taken—$33 for a loving mother. postpaid. most authorities on piano playing by a We wish to caution our musical friends When asking us to make changes of successful teacher. They have been tested against paying money to strangers. Every address, please give us both the old and at one of them. The money is used to J, Howard Pearson. FUNDAMENTAL STUDIES IfJ Moods from Nature—Four by him in his own teaching and only the day complaints come to us from different new addresses. Our files are arranged Sketches for the most useful have been selected for this sections of the country where one of our geographically by state, town and alpha¬ VIOLONCELLO TECHNIC book. The book will fit in admirably with subscribers has been imposed on by a betically by name. It is of the utmost im¬ er—A Case in Point Pianoforte other work being done, by students in the dishonest man or woman. Look out for tlie portance that full information be given us. By GEORGE F. SCHWARTZ By Gordon Balcii Nevin latter part of the second grade and about man who offers you “a bargain.” Our reg¬ Please allow four weeks for the change to play by note and also by “car." This does , A recent number of a musical journal con- not affect the note playing in the least, since Ideal Material for Use in Teaching ’Cello Playing-Superb This will be an art work, a book that ready to begin work in grade three. It ularly authorized agents carry official re¬ take effect. Wrappers are addressed very I am able to detect discords more quickly than may be ordered now in advance of'publi¬ ceipts of the Theodore Presser Company ’n.e Of Course She Didn’t mms® A Dear Little Goose I Doubt It igmmm Peer Gynt By Edy. Greig I Know a Cave Price. 10c mmmm I Wonder Why? Catalog No. 13119 Price> 30c £3“fi gJSgagg Katy Did Food for Gossip and The Loyalty of Men April First Lissen Ter Dis Story By Jessie L. Pease ’Um, Not Me! g£R*Sp5Sr« AFal By I..01 llie’s Nightmare The Good Little Boy y A. Louis Scarmolin Woes of a Boy mssm Skmi THEODORE PRESSER CO., PHILADELPHIA, PA. TWO NEW *3*5? n V S5 a°riSfS SUBSCRIPTIONS.- iTheworl«I% great mv$ne ii gn>lctoR*Rerf feafi KEec^ffcILr CMusic...mt un/vtrsaf fan The thirty-one short years that formed the life-span of recorded on Victor Red Seal Records Nos. 6663-4-5 by Franz Schubert witnessed the greatest outpouring of Leopold Stokowski and the Philadelphia Symphony melody that ever welled within a human heart. Songs, Orchestra. In every way it is a musical achievement, operas, symphonies . . . music in every form flowed from which all true music-lovers will wish to enjoy. him m a bright and lovely stream. Into the classic forms The amazing realism of this recording is typical of the he breathed a spirit of romance, a wistful, tender note of results attained by the new Orthophonic method of repro¬ lyric beauty. He died as he had lived, in poverty, with a duction. No matter where you live, Victor Red Seal song on his lips. Records bring into your home the best music of all the After his death an unfinished Symphony in B Minor world, interpreted by the foremost artists. . . . Write was found among his effects. It proved to be a work of today Jor the illustrated booklet, “A Musical Galaxywith the first importance—broadly and nobly conceived, brim¬ foreword by Leopold Stokowski—a commentary upon six oj ming with marvelous melodies. For a hundred years it the greatest moments in music. It is yours Jor the asking. has delighted concert audiences. Now it has been newly Victor Talking Machine Company, Camdei , N. J., U. S. A. VICTOR fyd Seal RECORDS