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Volume 46, Number 01 (January 1928) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1928 Volume 46, Number 01 (January 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons 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 NEW YEARS AMBITIONS Panted by C. W. Snyder PRICE 25 CENTS $2.00 A YEAR •/ ' * ' . • - - - V ■ / * ETV D E jssMastf-r ift 1 Outstanding Piano Composen Whose Works Are Worth Knowing festers fjruguay.H Canada,’ tiS* STjE? Auditor! Td WARD^JwOTtHHIPOTER “? , Subscrib/rs We will gladly send any ot tnese compositions to piano teachers, allowing the privilege of ex¬ amining them on our “On Sale” plan and per¬ mitting the return ofot those not desired.aesirea. Askask forior “On Order Blank and the details of ?his helpful plan if you have never enjoyed its jVL/ 12 IS d-1 ffir n kJ> PRINTED IN THE UN,TED STATES OP AMERICA * — ' - ™L,SHE, > -V THEODORE PRESSER CO.. OIMIH CHESTNUT STREET, PHILADELPHIA, THE WORLD OF iMUSIC Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere RONDO-ETUDE TEE ETUDE Page 2 JANUARY 1928 THE ETUDE JANUARY 1928 Page 3 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 Wurlitzer Studio Grand Regular Small enough for the smallest rooms, yet l.t. l.A. a remarkable instrument. If the second note is a sharp, as in the $625 D, A and E major arpeggio, either the In playing this exercise there should be third or the fourth finger may be used no unnecessary motion of the hand or on the second key in the left hand, while h music a gift? Is it an inheritance? the right hand fingering is 1, 2, 3, 1: Arpeggios also afford excellent practice These questions and many others are an¬ in playing the crescendo and diminuendo, swered in our free illustrated booklet. Childhood and Music." Send coupon the former being used in ascending, the appended. latter in descending passages. A good exercise for pupils who substi¬ tute the third finger in arpeggios calling for the fourth finger is the following: Ex. 5 V/U^UIZER The fifth finger is generally used on the highest note of the right hand arpeggio, Grand, Piano Factory Upright Piano Factory ■ and the lowest of the left, but it affords l.A. excellent practice sometimes to substitute De Kalb, Illinois North Tonawanda, N. Y. the first finger. This exercise, besides being valuable as Dealers and Branches Everywhere The next important feature in playing a finger strengthener, will form the habit arpeggios is passing the thumb. This of using the correct fingering in playing should be done quickly, without jerking arpeggios. &£?Adm^ Studio EUROPEAN MUSIC TOUR “It is sometimes said that the tragedy of an artist’s life is that he cannot with DR. EDGAR STILLMAN KELLEY realise his ideal. But the true tragedy that dogs the steps of most artists and DR. LeROY B. CAMPBELL is that they realise their ideal too absolutely. For, when the ideal is realised, Name. HEAR . it is robbed of its wonder and its mystery, and becomes a new starting-point SEES-' for an ideal that is other than itself. This is the reason why music is the Address. Please mention THE ETUDE when addressing our advertisers. most perfect type of art. Music can never reveal its ultimate secret.” —Oscar Wilde. City.state TEE ETUDE JANUARY 1928 Page 5 Page U JANUARY 1928 THE ETUDE 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.
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