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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1914 Volume 32, Number 06 (June 1914) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 32, Number 06 (June 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/603
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Let THE ETUDE Assist You in Endless ETUDE Surprises. Getting Up a Summer Out- of-Doors Recital. Do you remember the time when you |7He The Pageant spirit has been unusually first planted some flower seeds and then waited patiently until the little green active not only in America but in all leaves poked their way through the narts of the world during, the last ten vears Whether it is a great historical earth? Each day was a day of surprise. The plants became your children. Every spectacle like- the Durbar at Delhi with ‘ ' s hailed with ( T?-~u » MONTM.V JOURNAL^FOR^THE^MIJSICIXN^ THE „„s,C STUDENT. living rulers as the actors or whether it is -the simple but artistic storv of the history of musical America told as it Editor, James Francis Cooke is done every summer at the home ot __i, Philippine., . -—- Edward MacDowell in the New Hamp¬ shire mountains, ^ these ^gccat °P™d ling.; in Franc $2.22 per year. describe. t tral thoJJL , __ Perhaps you can not have apagearu We have been studying Without Enthusiasm nothing genuine is accom- iu your home town, but you need not let years. In addition to tl plished in art.—Robert Schumann. the days of flowers and green foliage our staff are gifted ir_ go by without taking advantage of them. difficulties and enlisting the We have foreseen your needs and have cialists who will help you outlined a possible out-door recital with The Etude closely and you will fin< every page there are ideas that a setting devised by a practiced drama¬ CONTENTS—JUNE, 1914 tist and a program arranged by exper- to put a growing force in all the 1 you are endeavoring to do. Many of leiFffstTfSaifnsuch a recital should not ideas provoke the exclamation be expensive. Second it should be so didn’t I think of that before.” . A great Many minds are called to practical that any teacher could arrange help you through The Etude and you the setting without calling in an architect, will find it is better to take advantage of the thoughts of many rather than de¬ pending upon your own. Every issue will contain some “Why didn t I think of that before” article. ordinary recital. A little initiative upon the teachers Salon Music. part is always remembered by pupils and their parents. Club leaders are put to Described by a Foremost Authority their wits ends to devise new ideas and One of the most successful of all writ¬ plans to promote their work. This article ers of Salon music is the celebrated will prove a real help to thousands. French composer, Theodore Lack. If you haven’t played his Idillio in A flat you Our 300,000 Introductory Offer. have missed one of the most graceful of all piano pieces of the Salon type. He has prepared a fine article upon this subject that will appeal to all who look SSIClSi for charm in piano playing. It will ap¬ Etude rate ever made). This is purely pear in The Etude shortly. an introductory offer based upon our knowledge that The Etude will be so Help from England’s Most good during the next six months that Fam every new friend you send; to us through this offer will become a permanent sub¬ The past season has seen one of the scriber. Every Etude subscribers should most successfulressiui"ul toursiuuis Miss Ka*k=>’- teacher should remember that every sub¬ scription sent in makes his position more /ou'have difficulty with a slovenly secure and more delightful. An Etude rime, if you are troubled with timidity subscription in a musical family now, any of the many faults which beset means that the chances of securing more the way of the pianist, it will be fortunate pupils from the circle of that family in for you if vou can have Miss Goodson s the Fall will be far greater. Nothing view of these questions, you will surely could be more obviously to your interests be helped. than this. Moreover, active workers for Special June Offer. The Etude are rewarded by liberal pre- Premium Catalog. cents additional, any ONE of the follow¬ rs who have not received a ing albums of music. Each album con¬ copy of the new “Complete Premium Cat¬ tains a large number of new and attrac¬ alog” of The Etude should send a postal tive compositions. They are sheet music request at once for one. In this catalog size, clearly lithographed on fine quality are listed a thousand useful and valuable paper and strongly bound. Retail price 50 articles which are given to subscribers cents. Order by number. who send one or more additional subscrip¬ 1216—Popular Home Collection-45 at¬ tions. It is profusely illustrated. tractive but not difficult piano pieces. Friends can very often be induced to 1214—Standard Vocalist—50 songs, in¬ cluding studio and rec’tn' suitable for medium voice. 151—Piano Players’ -■°n”ny-d “ pieces of various styles—tap. without words, reveries, and similar ine Clubs. characteristic numbers. bbing Department offers 1221—Standard Organist^3 effective but is of purchasing maga- not difficult pieces for pipe organ. An particularly low prices, ideal collection. jgjsCi age of our special clubs, 1218—Selected Classics for Violin and t of a \ ir's subscription to The Piano—An incomparable collection of Etude can be considerably reduced. Selec¬ 19 standard compositions. tion of magazines may be made from 1225—Operatic Four Hand Album—22 “The Etude Magazine Guide,” a 32-page Pianoforte Duets, including selections booklet, containing thousands ofL- special, from Carmen, Cavalleria Rusticana, carefully selected, low-priced magazine Faust, Trovatore, Lucia di Lammer- Limbinations. 402 THE ETUDE THE ETUDE 403 Greatest Educational Work of Age Mathews Standard THEODORE PRESSER CO., 1712-1714 Chestnut Street, Philadelphia, Penna. Graded Course of Elementary Piano Technics, Two-Part Hymns in Honor of The Standard Vocalist Studies™ Pianoforte The Quickest Mail Order Music Supply House for Op. 19 the Blessed Virgin Mary 50 Fine Songs for 50 Cents Compiled by W. S. B. MATHEWS I By Dr. J. M. BLOSE By N. MONTANI A large and comprehensive collection of The Leading Musical Writer and Teachers, Schools and Conservatories of Music Price, 60 cents Price, 25 cents songs, both sacred and secular, suited to Educator of ihe Present Time A simple elementary work of technic, one voices of average compass. This is a Original hymns in the vernacular, to be book to which the busy singer can turn Instruction'," M ised e ut any time and find therein a song adapted A COMPLETE course of standard I The best selected and one of the largest stocks of music. The most liberal “ON SALE” plan. Anything . 'I iuai II may oe SUOg Etudes and Studies arranged I in two parts with a simple and appropriate for almost every possible demand. The in our stock or published by us sent freely on inspection at our regular low th7ke^ Th?esSes’ raecdeivaerPr?e°rSy ‘“com! organ accompaniment. The texts of the songs are chiefly by modern and contem¬ in a progressive order, selected I prehens ire treatment. The little work is porary writers. They are chiefly of inter¬ from the best composers for the cul- I thoroughly practical, giving the teacher a hymns are taken from the most approved mediate grade, and well suited for teaching Professional Rates. The best discounts and terms. sources, many of the great writers of purposes. tivation of technic, taste and sight I new choice of technical material. hymnology being represented. The music is by Signor N. Monfnni nn nTo-anlcf- anB reading, carefully edited, fingered, I has achieved an enviable phrased, and annotated and supple- I reputation. mented with complete directions for I A. B. C. of Piano Music Gallery of Distinguished the application of Mason’s “System I THE MOST MODERN TEACHING PUBLICATIONS IN MUSIC of Touch and Technic” for the pro- I FOUND IN THE STUDIOS OF EVERY PROGRESSIVE TEACHER By Mrs. H. B. HUDSON The Standard Organist Musicians duction of a modern style of playing. I Price, 50 cents Thirty years ago Music Teachingin I Compiled by A. S. GARBETT A little book, which is intended to pre¬ 43 PIECES FOR THE PIPE ORGAN America was for the most part con- I PRIMER OF cede any piano method. It is based on the Price, 75 cents. Full Leather, gilt, $1.50 ducted in the most slip-shod and ex- I BATCHELL0R MUSICAL principle of familiarising the pupil with Price, 50 cents FACTS ABOUT MUSIC STANDARD GRADED COURSE OF One of the best collections ever published. A collection of brief portrait-biographies travagant manner imaginable. The I KINDERGARTEN METHOD Yl® Piaao ke.''s before taking up notation. made from the series which has been run teachers were not to blame for the I By M. G. EVANS Price, 50 Cents 4J];er Jne ?au,d ba? been s|iaped and placed The pieces are all good and interesting, of ning.through The Etude. This is the third upon the keyboard, the young student be- intermediate grade and moderate length enormous expense of purchasing in- I This little work is more than a primer; it is STUDIES FOR THE PIANOFORTE By D. BATCHELLOR and C. LANDON collection thus published in book form, the Price, $1.50 §mf Playing at once, .playing from large written in all styles and suited to all pur¬ other two being known as “The Gallery of dividual studies and pieces of music I a compact musical encyclopaedia, the subject Compiled by W. S. B. MATHEWS capital letters Instead of from notes. It is poses. Both original organ pieces and A concise, practical manual, a logical exposi¬ transcriptions are included in goodly pro¬ Musical Celebrities," and “The Gallery of for educational purposes, nor were I matter being presented not alphabetically but 10 Grades 10 Volumes $1.00 Each Volume Eminent Musicians." Though the biographi¬ progressively, beginning with the rudiments of tion of the art of teaching music to the young nipil is able to for portion. The book is handsomely printed cal sketches are brief, thev are as authori¬ they to blame if they did not have the I A complete course of the best studies selected for every purpose. The ,vs. The pages are all from special large plates. tative as care can make them, both as experience to select the best studies | music and ending with a tabulated summary in a pleasing and attractive manner. exercises have appro- Graded Course idea is original with the Presser house, but imitated more This method useg Various devices to awaken regards the classic composers and the most for the right time. The Graded Course I of Musical History, each subject being ex¬ than any other system or work ever published. This Course is being im¬ modern. The portraits In sepia are ex mea is an original creation of the I plained through the medium of a series of prac¬ and to hold the interest of the little child. The ®aI.IePt' and have in some instances been proved constantly. It combines the best elements of all schools, the aim is to develop the subject in conformity with obtained from rare sources. Presser House. The Standard Graded I tical questions and answers covering the greatest variety from.the best composers. It is simple and practical; Operati:ic Four-Hand Course has succeeded because it was I Elements of Music, Notation, Time, Scales, easy to teach, always interesting. We invite comparison. the natural bent of the child’s mind, largely in The Eclectic Course of Graded Intervals, Chords, etc. the spirit of ■plav: ‘ There are a number of rote built along the lines which years of ex- I MORE THAN A MILLION COPIES SOLD perience had shown to be necessary. I QUESTIONS AND ANSWERS ON ELEMENTS OF MUSIC songs ; also music for marching, drills, etc. Studies in Piamo Playing Album ONLY COMPLETE MUSICAL KINDERGARTEN METHOD By J. M. BLOSE FOR THE PIANOFORTE Great Pianists on Piano Price, $1.00 CHIEF ADVANTAGES | Price, 50 Cents MASTERING THE ctlcal course, which can ■» taken Playing SYSTEM O'"" ‘he teacher and the pup, 1 the I BEGINNER’S BOOK up alter the instruction hook is finished Operatic transcriptions, for four hands are bines the bes^Sems^'f'™com- I SCALES AND ARPEGGIOS TOUCH AND TECHNIC or with pupils who have some little knowl’ h? aJIy ettectiv®v. siDce >t is usually By JAMES FRANCIS COOKE SCHOOL OF THE PIANOFORTE edge of the rudiments. The exercises at the Lnnpr t0 arran*e them in the orchestral By JAMES FRANCIS COOKE PH«, $1.25 By DR. WM. MASON beginning of tile work are extremely sim¬ anner. Our new volume is modeled upon Price, $1.50 By THEODORE PRESSER Price, 75 cents In Four Books Price of Each, $1.00 ple. It would act as a supplementary ir two recent collections which have proven . This work contains all the necessary prac¬ work to any graded course. It contains 0(1 A score of the foremost keyboard masters _ A book for the veriest beginner planned along modern PART I-The Two-Finger Exercises (School of Touch) 1 successful, namely, “Standard Opera Al- tice material fully written out, carefully PART n-TheScMeSgRbythmically Treated (School of Bril- pages, and in all i mo108 differe:*;<*-- day ;aTe ,E‘veI> their most valuable lines, proceeding logically, step by step, making everything graded and explained, also very extensive exercises. lm’ f v-Prno so,°' and “Operatic Spier- ideas upon how to get the best results in PROGRESS Th? grading of the studies P ano study. Accompanying each chapter is plain to the youngest student. All the material is fresh and new and original material, making it the a fine portrait, a concise biography and test to nook X like ,B"ok 1 attractive and lull of interest. An extra large note is used. pa£? SchooI>- it possible n r, all of mediun questions in Stylo, Interpretation, Expres- strongest, clearest work of its kind for the sj°P. aQd Technic, handsomely bound in Special features are writing exercises, and questions and very young beginner, as well as the highly An original system for the development of a complete Two Part Songs answers. technic, from the beginning to virtuosity; embodying all the . AnJ Piano lover will be'delighted to VARIETY The studies are taken from all ,he advanced student. It may be used with FOR WOMEN’S VOICES fof„nniS ni°k: )hree blmdr0 IN the purchase of a piano for your home, consider these facts: The Steinway Pianos made and sold represent an invest¬ ment by the public of $125,000,000 in more than 160,000 Conover instruments. Pianos are exceedingly beautiful llfllllllllllllllllllllllllliillllliiiiiminimiiiiiimiiiiiiiiiiiimi..... THE ETUDE THEY HAVE CHARACTER STEINWAY JUNE, 1914 VOL. XXXII. No. 6. Pianos exceeds that of the three next best known makes, and the money value of these Steinway Pianos is at least %SUMMER PROGRESS OR SUMMER THERE is a note of distinction 50 per cent greater. STAGNATION? m GETTING BREADTH. about them that you cannot This shows the international appreciation of the Steinway, miss, for it is everywhere in and it should convince you of its supreme merit as the What do you suppose would happen if every business enter¬ evidence. Turn the piano around Standard Piano of the World. Probably in no other country of the world is there such a prise hung up a notice widespread effort to secure breadth similar to that which so many and examine its back. You cannot Americans are now making through Chautauquas, Public School find an instrument built with greater Lectures, University Extension Societies, Institutes, etc., etc. Cer¬ solidity. Its doubly reinforced posts Business Suspended from tainly no country possesses anything like the number of maga¬ of clear, tough fibered timber, and zines—good, bad and indifferent, but all for the most part inform¬ the finished appearance of all these June 15th ing, now being put out in all parts of the United States. If we parts that are rarely seen, is your as¬ are denied a systematic schooling in our youth we do not spend surance that the Conover Piano is built September i5th the rest of our lives deploring the fact, but do our best to im¬ throughout with made to order care. prove ourselves through the wonderful means ever at hand. Musicians are often accused of being narrow. That is a °UR art catalog an° details Imagine a great metropolis with blinds closed for a quarter of a charge which may often be brought with justice against any pro¬ uLd pi ano? r^cQUARTERLY payment plan USED PIANOS ACCEPTED IN PART PAYMENT year,—locomotives rusting in the round houses,—factories with fessional man who attempts to specialize. One of the narrowest cobweb-draped machinery,—printing presses silenced for months,— men we have ever met was a very celebrated authority upon higher building operations at a standstill, libraries and banks with barred mathematics. He had virtually sold his intellect for mathematical portals. The grim ruins of Thebes or Memphis could hardly be proficiency. The World’s Greatest Manufacturers of Pianos and Player-Pianos STEINWAY & SONS Ia more desolate than such a picture. Travel and reading are perhaps the most popular means for CHICAGO, ILLINOIS Steinway Hall Suspension of activity is another name for death. Yet many getting breadth.” If one can not come in direct personal com¬ 107-109 East 14th St., New York musicians and music students deliberately choose to suspend their munication with the great men and women who are shaping the Subway Express Station at the Door work during some of the best months of the year. This is due in progress of our civilization one can at least see as much of the 11 a large measure to the old custom of stopping education for several world in which they .live as’it is possible to see, and also keep in I months at a time. In the olden days schools were closed in summer touch with the leaders of thought through magazines in which they IJ for many reasons. The foremost was that insufficient money was are represented. Particularly valuable for the music student who Richard Wagner’s Susicadram1s I appropriated to keep them open. Another was that in country dis- wants to keep in rhythm with the big pulse of the times are such Complete Arrangements for Piano I tricts the grown boys were needed in the fields. Arising from this splendid reviews as Current Opinion, The Outlook, The Inde¬ Profitable Vacation Courses I came still another condition. The school terms were so short that pendent, The International, The Literary Digest, The Review of Price $3.00 a boy in the country found himself well on to manhood before his Reviews, Collier’s Weekly, The Atlantic Monthly, The Metro¬ leadingem^vnes yarer?etgfo; fetforte ^Zf Tb* the °r,8inaI ««» with The Standard History of Music education was really fairly begun. politan Magazine, Travel, Harper’s Weekly and a host of excellent the least possible technical difficulty. The operas induded^reT ^ ^ °btamed with But the old order changeth. Our universities are now con¬ publications crowding every news stand. In fact, all of the better A FIRST HISTORY FOR STUDENTS AT ALL AGES • Fliegende Hollander Tannhauser ducting most successful summer schools. Conservatories, at one class general magazines are likely to contain splendid formative By JAMES FRANCIS COOKE time shut for three or four months, now remain open for twelve -_- PRICE, *1.25 material. Even the highest priced of these really comprises as | months. Vacation schools for children have brought both happi¬ Goetterdammerung and PaiS much printed matter from renowned authors and celebrated Eight Delightful Weeks of History Study 2? u thAn?"hd“ ness and progress to thousands of youngsters who formerly spent specialists as many a book costing several times as much. bounT (las'beTn^ ronU$3 JIoTo*SJLOlT'^No^the ent^^ W“gner °Pera’ similarly their summers in indolence, ennui, malicious mischief or moral Beautifully printed, abundantly illustrated, finely edited and m an edition that wii, grlce and $3’°° decay. Standard History of Music, ^may be" employed by'any ’“ache" surprisingly cheap in cost, our best American magazines offer Again, suspension of activity is death. If you want a summer opportunities for “getting breadth” which always pay the sub¬ ssiifz riT°f10 our:r l8tWe6k- How Notation of real delight you' can not get it by loafing. In music more than scriber more than he puts out for them 2d Week O USiC- .Palestrit!a- E»fly English MuST Polyphonic in any other art, uninterrupted progress is most desirable. The Week. Opera and Oratorio. Scarlatti anH riAlNHAN?A 3 A-V muc" t RLAG AMERICAN REPRESENTATIVE teacher who hopes to make next year a better year than the last, Hamburg, Germany_G. A. LANZKE, 99 Nassau Street, New York M-nS? ?-4M;£y3SKSh.B-JSg will find that every moment of the summer contains a golden oppor¬ COMMENCEMENT SEASON. tunity to make plans, get acquainted with new teaching works and Wvhltth Week. W ^er,^MerKi'e(ssofmOZartWrhers most of all keep up the interest of pupils, who formerly deliber¬ ately planned to seek enjoyment in stagnation. Wise and fortunate Roses and smilax, the warm June air, clouds of white crepe de 6th Week. Chopin, Liszt, Wagner Modern 7 P,anofor"- Three Beautiful High-Grade Songs is the teacher who can put out the sign chine, dotted Swiss, net and china silk, laughing sweetyoungthings, 7th w l S”* French Composers. " ltahan ComP°^s. Rubinstein. quite b^^^^S^SfaSpleSg'°n8S thdr rePerto!re! they 7th Week. Modern Masters. Brahms Grieo- t u -i flustered Prexy, the pompous valedictorian, palpitating maiden Famous Pianists of Yesterday cT’eTchaikowsky. The Art Song. aunts, and—Oh, don’t let us forget him—the solemn old gentleman Violinists Composers ofvIiuaMeP Jn'ofZTp°' Gtea* Mdsic by Norean'f w9Ji?ST’p Business Continued from with an imposing row of initials in the wake of his name, who savs s.h w„k. Sm-n" for the fiftieth time in his life,—“My friends, this is not the com¬ permanent * *,UMk, June 15th pletion of your education,—it is only the beginning, the commence- “A COURTSHIP IN SPRING” ’ ' ' 5°C to ment. Music by Cyril Montrose - PoembyNanine Langhorne Hutter We Will Help You in Securing a Class September 15th Only one who has journeyed to that apex of human achieve¬ 0n^f i£t*. etaS _°f ‘ -P^rVhT has scored severai high.y “Special Hi„ew ment, a .commencement, knows the real meaning of complete happi¬ nn'rs..'_" - 50c once and make your plans forming w'^h,ch -i" enable you to fur, ^ ness and perfect self-satisfaction. Alexander, Napoleon, Nelson or M.. • U a, vA/mtiirats" “SOMETIMES” Dewey surely never felt so triumphant after their victories as the “ c by Norean A. Wayman_ - Word, by Catherine Young Clen W«h.ve,.p^aU„?rr,Tricero5."“L\"d U" “ Do we believe in vacations ? By all means. But we do. not believe The Standard History of Mur!.. , young person who proudly goes forward to receive a diploma on cal history. Any music teacher may 8t n° previo«s experience in t W■ in wasted vacations three or four months long. Get a vacation, commencement day. a change, a rest every day of your life, or you will never know Sent on approval, postpaid, for 23c each what a vacation is. This is The Etude’s message to all those of its friends who Tur mornti Lrrs«, ____ memofitn-‘ntelhgent beginner ®'oin8re*e®*d®hrThiwrgir^ie*l^ok,for^^^s^eer^^j^^ feel their greatest joy at this commencement season. Agree with Take a lesson from the trees and flowers, and make the com¬ THE JOSEPH KROLAGE MUSIC CO., yourselves that you will celebrate the event by some new achieve¬ Race and Arcade ing summer your hour of greatest growth, richest development Cincinnati, Ohio THEO, PRESSER CO., Pa. ment some rich accomplishment every year. Take our warmest Philadelphia, and highest joy. heartiest wishe= for your life success. Please mention THE ETUDE when addressing our advertisers. 406 THE ETUDE THE ETUDE 407 making drill interesting. that you make progress. You will doubtless do better The real difficulty in the use of the pedal being than you have been doing.” therefore, that it must be played, as it were, out of by GEORGE HENRY HOWARD. E.—“I guess I can practice a little.” time—neither simultaneously with the finger nor with the count, but always lagging a little behind both— Although drill is notThe only duty of a teacher of Mr. H.—"Can you? Let’s do a very little now. We will drill slowly on this hard measure. All you need the foot should at first be trained separately from the his work’ Va ne.Vmbeless a ve,T important part of do now is to play it exactly right once. Good, perfect! hand. The heel should rest on the floor, as a fulcrum, exam 1 ’ ^any teachers are very inspiring in their and the pressure on the pedal be entirely from the ball examp e and very efficient in leading their student! to Let us have it once more just as nicely, which is usually of the foot, which should not be so far raised at the good appreciation of music; and yet some of these harder to do than the first time. Are you ready to play An Appreciation of Contemporary Music release as to make the contact with the metal audible earnest and devoted workers in musical edTcadon are it exactly right? Bravo! If now you can do it twice From an interview secured expressly for THE ETUDE with the renowned French Composer more just as well as you have done it that will be at a renewed pressure. Until- this. can he done without Drill mCCT U, training and disciplining. tJrui may be (a) constructive and (b) remedial enough, for I shall then feel sure of two fine qualities contracting unneeded muscles, or contorting the rest CLAUDE DEBUSSY Constructive drill is that kind which LcZ: within you, namely, bravery and perseverance. Good. of the body, there should be no attempt at pedaling* Those four times mean a noble habit. Can you do in connection with music. By M. M.-D. CALVOCARESSI done ° fi'"te “nd eXpHcit idca °f a to be them eight times at home?” When a good foot motion has been well established the distinguished French critic ®eco’ld> g!ves all necessary details regarding the p- “Yes. Mr. H.. I have learned to practice.” A count steadily one, two, three, four, six times over requisite manner of doing it. sunny face looked up. In four weeks Emily had also pressing the pedal down at three and releasing it at Editor's Note.—M. Debussy’s life lias frequently been afford the most obvious and easiest, if not surest, is to discover the many impulses that have given birth iewed in The Etcde In the past. The career of M. M.-D. anjhird, names the conditions for doing it accurately. learned to find zest in hard work; she was grappling one. Repeat this, pressing the pedal down at two and vocaressl. who has secured this interesting interview standards), and others no less confidently predict an to works of art and the living principle that informs with severe tasks like a virtuoso, although only a girl releasing it at one. Then count one, two. three, press- The Etide. is one of unusual Interest. M. Cal vocaressl early reaction against the excesses of modernism. those works. s born in 1S77 at Marseilles, France. His parents Fourth, then secures an example which exactly meets of fourteen years. mg the pedal at two and releasing it at one. Then •e both Greeks, At the age of nine he was taken to A PERPLEXING CONDITION. the requirements specified y 1 count rapidly six, putting down the pedal at two and _ -is where he received his education. For a time he was the pupil of the renowned French ^composer Xavier Leroux. A BEWILDERING PRESENT. “Interviewers have often ascribed to me surprising o/n °H!r J°:ds- good drill of this kind makes sure releasing it at one. This last approximates nearly to What the future of music is to be, considering how things which I greatly marveled to read. It is often of one perfect example. The motto, “Begin right ” HELPFUL PEDAL EXERCISE. the motion required by artistic pedaling. bewildering the present is, has more than ever become difficult to say much upon the subject of contemporary needs to be used in plans of drill ' g g ’ Now, with the middle finger of the right hand play an anxious question. The writer, therefore, considers music. Events are accumulating with incredible speed, Having begun with a flawless BY HANNAH L. SMITH. the scale of C major, one degree to each measure it a singular piece of good fortune that during a recent and to try to focus them is often to strive after perfect examples may be added to it; this mal^the Count four, putting the key down at one and releasing ...:o German versions and English impossibilities. At the point actually reached by musical rench. In 1913 he delivered a course of lectures at conversation which he had the honor to hold with M. How shall we define the pedal, that fascinating part it at three, and do the reverse with the pedal—that is art, who could make a choice between the many diverg¬ ZZ7to1:r0itbi'- °J P]ay'«g ‘"e e^rcisVS Oxford University, tie is now one of the two editors of Claude Debussy this very topic should have been moved. of the mechanism of the piano which with a simple press it down at three and release it at one—allowing the Revue Francatse de Mitslqui.] ing roads that composers follow? The task is distress¬ sion follow, the chance oTffiilur^ on S"68 ” SUCCeS' It is quite natural to expect that M. Claude Debussy, pressure of the foot raises the felt fingers from the the motions of hand and foot slightly to overlap so ingly puzzling. We have to deal not only with a great There are, as regards music, two categories of being one of the chief innovators of to-day, and one keys and liberates the wires so that they can sing as to make the scale perfectly legato. Then play tbe number of contemporary works but also with the many, SrTdf 0fSTpeSgeS ldeall°f a"d opinions and of judgments—that of the layman and whose works have been the objects of passionate criti¬ until they are silenced again by the expiring vibrations same scale with the same count, but striking the key often contradictory^ teachings of the works of the past, that of the expert. Without laying undue stress upon cisms, bitterly censured, warmly upheld, .and have on or the falling of the felts which “damp” the wires and at one and releasing it at two, and pressing down the whose influence upon our sensitiveness and our culture the distinction—for when it comes to the last it is the whole come to their own soon enough, should take give the pedal its name “damper pedal?” “The soul of pedal at two and releasing it at one, joining the scale is ever becoming greater. And if even in the patrimony 2. Proceeding attentively and correctly, instinct and sensitiveness that judge, sweeping away an interested and not unsympathetic view of the turmoil the pianoforte,” says one writer. The sustainer, as a that came to us from the past we find food ‘for per¬ o. oelf-reliance. ,a Perft!ct ,Iegato* Pla>‘ f again in triple time, that surrounds us. He also is a trained critic, and has living breath, of the tone initiated by the stroke of the putting down the key at one and releasing it at two theories and systems—one may say that never were the plexity, what is to be said of the present? 4. Efficiency. provided many essays to Paris dailies and periodicals. hammer on the string, the factor which enables ten judgments of trained, cultured, well-informed musicians “As far as I am concerned I have little to say as to 5. Economy of time. To the present day he reviews concerts for a musical fingers to do the work of twenty; above all, the zfetre-s:Jor-ther,al Finaiiy-p,ay^^ more needed than at the present time. Events are pro¬ it, and still less as to the future of music—all that is 6. Composure of spirit. two wh-1 ,ev!ghth ,tI,mC~finger down at one and up at monthly. master magician at whose signal awakens the “heavenly two, while the pedal ,s pressed down at two and re- ceeding at a tremendous pace; fast enough indeed to more or less guess work, and tempts me little. More¬ M. Debussy may be briefly described as a keen, choir of harmonics to envelop earthly tone with a bewilder even the expert, while the average music lover over I do not see much of what is happening. There thoughtful observer and a philosopher capable of They glamour of almost unearthly glory. An indispensable hy the pedal6'11* PCrfeCt connec,ion of the tones finds it impossible to realize the trend of modern art. enthusiasm as well as of scepticism. comes a time in life when one wishes to concentrate, agent in the performance of modern pianoforte works, Hardly has one made up one’s mind as to the many and now I have made it a rule to hear as little music Now take some simple melody, preferably one with The former point is shown by his great fondness for as well as an essential and determining factor in the questions called up by recent developments like that as possible. the music of Bach, of Couperin, of Rameau, of Chopin, composition of music for that instrument, how is its of the Russian school of the nineteenth century from “Take Arnold Schonberg for instance. I have never of Balakirev, of Moussorgsky; the latter, by pungent, tra,nsla‘ed in,to effects of beauty? And how Glinka to Rimsky-Korsakov, of the French "impres¬ irreverent comments upon certain songs of Schubert heard any of his works. My interest being roused by may the teacher help the pupil to acquire such control sionists,” of Richard Strauss, than events, following one “that smell of long-closed drawers and of flowers for¬ the things that are written about him, I decided to read another with incredible rapidity, throw the student of a quartet of his, but I have not yet succeeded in action produce thesea VeffectshaH ? with alm^t involuntaryJ ever faded,” or upon Wagner’s Ring with its “stilted, music upon first one new track and then another. doing so. eoStuXTi »■“» not very purposeful flourishes.” But apart from occa¬ be the rule wL r , Professional work may The present situation of musical art is undoubtedly Cy!'iC ihaj|Sa'd that °f every ten amateurs, nine use sional sallies such as these, he expresses himself very exceptions “d processes and more the pedal badly, and the tenth does not use it at all pedaling is quite as often th! t dcfcct of faulty the most intricate that has ever existed. Arnold THE EVIL OF PREMATURE JUDGMENT. reticently, and when referring to his articles one should Surely, after all these later years of good teaching, too the foot as that of . , °f,t0° Speedy please by Schonberg has appeared. “A point that I really wish to emphasize is, that I never fail carefully to read between the lines. This should be practiced "t"fiff e pres|sure 100 Iong- In Austria and in Germany a whole school of young consider it almost a crime to judge prematurely. The effortsnofatn°1 Kati°n b? app,ied to tbe dilettante “I do not profess,” he said, “to supply ‘criticism.’ mul d,ay-: but 81,11 ,he fact remains that too composers, intent upon ideals similar to those which former policy, which consisted in allowing artists to hut simply and candidly to give my impressions. In ripen in peace and of taking no notice of them until ffistortedT P y,ng‘ ,erwise good* is blurred and he was the first to assert, have mustered around him, distorted by misuse of the pedal, while here and there and exhibit convictions strong enough not to be over¬ criticism the individual factor plays far too great a their art had fully asserted itself I consider far sounder necessary deliberation in theVseoJ'Se °f * part. And often the outcome of all that is written or looked. Throughout the musical world the very writers than the actual one. It is unwise to unsettle young weakl0r!USrraat^Ur’ !ccogn,zing the evils of its abuse said can be reduced to ‘you are wrong because I happen weakly declines its aid, and offers a tame and color¬ who would aver that his art is beneath contempt prove artists by making them the subjects of discussions that to think differently,’ or the reverse. The thing to do less performance which a little knowledge of how to by the fury of their onslaughts that the impression are often shallow and prejudiced. This febrile haste A MUSICAL PARTY THAT PAID. to dissert, dissect and classify is the disease of our leasingP ^ W°Uld have rendered arpstic and created by his doings is greater than they care to acknowledge. In Russia, the Benjamin and enfant ter¬ time. Hardly has a composer appeared than one begins ru- a1e.spised» lt its place and fills a need by grace busenbark. This kind of drill, too, is valuable in ti-m ' r selm JhUdf aT the °Ider Pianoforte methods, it would rible of the national school, Igor Stravinsky, had hardly to devote essays to him; one pounces upon his works, pupils who have had indifferent instructin'Jrf*6u°* ist wn! H pedabng- the highest art of the modern pian¬ given the public time to recover from the effects of his one burdens his attempts with ambitious definitions. ist, was deemed unworthy of attention. Or else it was successfulhabutbwe det’eUrmberA°f».reC'ta,S that had been score, L’Oiseait de feu, than he followed it up with the “I esteem, for instance, that, tempting as the thing wfenP thera^nWtiearned t0 thorough in anything.’ aken for granted that a talented pupil would withom had a flavor to Tt tha wonM ,a, “Musical Party” even more daring Petrushka, and a twelve-month later may be, the moment has not yet come to judge the lacked^alem- the,pedal c°7ec-t,y- and that one who more than a recital £ 'VOU,d touch the little folks fai with the Sacre du Prititentps, the Paris production of younger Hungarians like Bartok and Kodaly. Those forrLVmomhinsTk^gT"h" lacked talent could never learn to do so; for amid was a great success. AfterThe”' WC had’ and " which occasioned the most prodigious effervescence two are extremely interesting and deserving young were games, and it is tho f"e mus,caI numbers, there remembered since the days of Tannhiiiiser or of the artists, eagerly seeking their way; no doubt about that. first performances of Debussy’s Pelleas et Mclisande. They are pretty sure to find it. And a noteworthy 3S5“*‘ °f £? sr prMi»''S Another Russian, Scriabine, intent upon associating feature of their music is the obvious affinity between its modern experiments in musical substance and thor¬ spirit and that of the modern French. But further I rubbfr tanTe»eTeSsi«™?'fh "’“.’if;1 ba"»- Colored oughly unmodern symbolic or literary intentions—to shall not go, them to the time of pieces nl e cbl dren> who bounced say nothing of his having added a luminous keyboard to MODERN RUSSIAN AND SPANISH MUSIC. or ie nt he mTent corresPonding to the initial who kept the best time l^ a‘ the piano* The one his orchestra and meditating, we are told, stranger Jots of fun.” a Pf'ae. That was voted additions, such as a “perfume organ”—sedulously “Igor Stravinsky affords another excellent instance of a young artist instinct with keen and fervid curi¬ ran . f etfort of teacher and pupil. This Then we li3c] 'thf* f weaves the intricate patterns of Prorhethee or of the object by means of muTic13!831?6 °f Ending a hidden Poeme de Ve.xtase. osity. I think this attitude of mind most praiseworthy enlisted." 6 Wf’ mind and all seeker was near the obTe! e d rUsic meant that the In France, Claude Debussy, hut recently considered at his time of life. It is good for young artists to be ofetkhey pedalt f'T* °• the ‘“^-taiSnTpower from it. hject, soft that he was far away alive and to cast all around themselves, but I think nr yr ar\d ambitious teacher will in a few weeks as a revolutionist and a curiosity, is already acknowl¬ I!! lIEul he will sober down in due time. He is' the only one the S?,nn S ^ -the pupiI away remedial wlrk nto edged as a classic. Unexpected fascinating things the correspMdingednuf°rb/rOUr.btats and stood still for have occurred in Hungary with the advent of Bela of the younger Russians with Whose output I am alternately, and then ^ This was done Bartok and Zoltan Kodaly. Great Britain is in a fever. acquainted. During my recent stay in Petersburg and in i»"wS S2”n imo so”d >r™*'d During the waiting period th elght bea‘s-were marched, In Spain many keen musicians are budding, and a great Moscow I met several -other composers, but I had no occasion to hear their music.” with their hands. In thif ^ Cb'Idren c,aPl)ed time number of Italian composers—apart from the rather practical exercises ■ ludicrous “futurists”—have given up the time-worn Debussy, a keen lover of Russian music—he was one s£dt »xxS”CfT %***%*’ "rlTklTT were S«s:d.careful ,istenin8 and tradition of opera, verismo or sentimental. of the first in France to praise Balakirev and Mous- ‘Emily, do you like to practice?” farge black whole,6haH0!,03^ on.which were pasted The greater number of those who speak or write sorgsky-evinces great sympathy with the doings of E.— 'No, I hate it” notes. These were relieved Z ' u'Sh,h and «*teenth on musical topics add to the confusion. Some confi¬ contemporary Spanish composers who, like the Rus-1 as we could cut convenient! * SUjC^ ot^er m«sical signs dently proclaim the decay of classical forms (which sians, have sought and found in national folk songs the1 foundation of their musical style: the no,, f »iii “!r,,° "J? br,dge ” over0™ ”the littleWZSK gap between paper. Of course you und^ ^ quick,y out of black the cutting out themselves tbe pupi,s di( Player is nervous' ml T~’ eSpeda!ly if the laughing^31 1S' that? D° y°U really mean that?” If if •„ 7 and inclined to hasten every motion citals for the very little f n^^ter ^at most our re¬ attack snPm-SS-hd d0Wn ^mnhaneously wiffi the finger' ties, with all the ^trimmin^8 eIevated into par- good measure of wholTsom °l the.party* hut with a he caught in withT'new onl^Hf ^ Wi" SUreIy with the games and the ° educational food served unpleasant effect. ’ Wlth blurnng and most say that the little folks lo!u ^am and cake- Need 1 with the keenest pleasureT f°rWard these events 408 409 THEI rl Jt, ETUDE& 1 U Lf U, THE ETUDE HIGH TEACHING IDEALS OF AMERICAN QUAUPICATJONS FO!* » SUfc ing, must give us, not the logical and scholarly the¬ ’S-JSZ' S MUSICAL PEDAGOGS. MER HOTEL ORCHESTRAS. matic development of a haphazard series of tones, like f° thfat 0ne may wel1 JudSe how inexhaustibly the noted Cat Fugue (whose theme was actually BY EDITH L. WINN. formed of the notes struck by a cat walking oyer the BY A. WALTER KRAMER. piano keyboard), but the living logic of a consistently developed mood or sequence of moods. The. present day teacher—and here the Ameri¬ Young students are not usually cursed with too mm, The Nature of the Difference Between the can teacher is referred to—is a pedagog in the fortune, and many of them who desire to earnalivi MUSIC THAT SAYS SOMETHING. in. the summer months naturally turn to the 5um same sense as is the teacher who instructs our chil¬ Classical and the Romantic Schools To-day a musical thettie is selected or created, not dren in literature, science, in fact in all academic sub¬ resort hotels which include "music with meals” jm / because it can he readily inverted or turned inside out, MODERN ITALIAN OPERA jects. He has studied his instrument with care, not their attractions. These positions are often very i? By EDWARD BAXTER PERRY or made to serve later for a new contrapuntal figure, ^v,m°,d7" 0Pera he is not lavish of praise- with a view toward concertizing but with the set pur¬ able. Salaries vary from $5 to $10 and $12 a but because it has, or is believed to have, an inherent pose of giving the principles of his art to the younger according to experience. The hotel pays the carff symbolic meaning; because it says something, signifies ascrib nV m t°lm0 ern ItaKan opera? That would be generation. He analyzes every bit of study-work; he one way and also includes board and room for 4 something; in brief, because it contains at least one ... "TZZ digs deep into the finest subtleties of a sonata or study summer. The players are usually received on a pla * heart throb of real life. Its subsequent treatment, its and finds out what is the most advantageous method by rhythmic and harmonic development, are governed, bad ‘7a has of equality by the guests. They have a table in th' In what follows I shall endeavor to show the radical waste of valuable time! And I say without hesitation means of which the pupil will be enabled to plav that not by the cut and dried technical laws appertaining to dining-room and they occupy excellent rooms, and •' difference between the clever and intellectual develop¬ or fear of criticism that there is more real music and of What the public wan^act according We“ aware what is called the abstract art of pure music, hut by composition with the least effort and the best results. long as they do not monopolize the reading-roof1 ment of a theme, as in the older schools of composi¬ more real art in Schumann’s Tr'dumerei, or even in Ley- the inherent necessities involved in the direct, vivid, He makes a study of the history of education, of the writing-room and verandah to the exclusion of th tion, and the spontaneous and emotional consistency of bach’s Fifth Nocturne, cheap and hackneyed though forceful expression, and consequential evolution of principles of pedagogy from the time of the great a mood, as found in modern music; in other words, it may be, than in all the fugues that ever were writ¬ guests, young women who undertake summer enrn f some human experience; that is, by the logic of the between the so-called classical and later romantic ten, boiled down into one. >° s'JS,S« ,™diw^ ,6°" 'Ilm Tnlr Z! d°Wn '° the m°St reCent work of contem- ments usually have a pleasant time as well as a nrof subject, not of any form. He studi« the peculiarities of each able one. schools of composition. and every student, realizing that what is of use to one THE THEME AND VARIATIONS. As a simple example, no good composer nowadays Sot ”'"d ^ »” S Unfortunately not all those who apply for such pod is harmful to another and vice versa. What is more A DEFINITION OF CLASSICAL MUSIC. The musical form known as the Theme and Varia¬ would start with a mournful minor melody, expressing tions are qualified to do the work. The following if profound depression, and transform it in the second tions is per se but little better, though there are some iseasefmDdoSthlt W°rk 35 3 mi'SSi0n’ as a callinS that record kept by one manager who was instrumental iI Strictly speaking, classical music is the best, most s as important to one phase of his country’s develop- notable exceptions. It reminds one of the lightning period into a jig in the major key to show what possi¬ bringing many hotel keepers and musicians into com enduring music of at all times and countries, just as bilities it contained for variety of treatment. Nor classical literature consists of the best hooks produced transformation impersonator who appears one moment heheaululJ? ”/x,stence' A"d having done this, munication with each other. It will readily be si' would he write music for a tragic episode or a death in all ages and localities. It simply means the highest as a knight of the Court of Louis Fifteenth, then as a standT f i, Pr°,dl!CemUsidanIy students who under- how many points have to be considered in securing Ji scene in lively valse tempo, as was frequently the case class, whether written to-day or centuries ago. clown, next as a Roman Senator, and again as a StSEE 2t2tof their rrument; wh°reai;- what engagements : painted Indian. Curiosity is piqued in anticipation of in the older school of Italian opera. Such offences the enrmn • W- ° are niade by *t better members of Technically, however, musicians have come to draw would be preposterous, grotesque, inartistic in the ex¬ the community in which they live. the line sharply between the music, or some of it, which the next change, and one marvels at his facility in A RECORD OF APPLICANTS treme, even though perfectly logical in structure from was written up to the early part of the nineteenth cen¬ getting out of one costume and into another. That whfcfm “fif b,y any means- There is another factor is all there is,' no art in it, no pleasure for the aesthetic a purely musical standpoint. th‘l7 be aIso considered. In teaching, one of tury, in which the scholarly handling of form was the chief essential, and in many cases the only element of sense, no stimulus for brain or heart, no lasting bene¬ Every art work, to justify its claim to that title, must to sdect lZer Tf T ** * ^ “ do » fit. Ten lines from Hamlet, as recited by Booth, were reflect or embody some phase of life. It must be con¬ ^3'jSBSr-* he milt 1|nater,al for h.s pupils. And in doing so fie,d XTrXrUiP' X interest; and the music which has come into being in he must always remember that in addition to the ’ professional salary without having prof,^StoSf rtll,W,M*a the last hundred years or less, in which the direct worth ten whole evenings of the antics of this mounte¬ sistent, true to itself. We cannot juggle with it or in¬ troduce the incongruous without making it ludicrous, as No.2i. lmt'Vhafha hitter' p,'V ns n«: forceful expression of life, emotional or external, is bank. sessmg and bright.’ eager ,, |,.nrn 0< r.VU,!n'‘ Pn*P« the aim and end. Of course, when in this form of composition the and this is the death-blow to every aesthetic impression. music he plays. thei^Y studentmo byr the hof anyone. Is eligible fir a os ,™ a°"^ * «» ■»!«* wM The world at large cares not a fig for the technique lier importance. F 1 D aDd n«t over-estimate The first bases its claim to consideration upon its theme is of real musical merit, a melody that has an THE ATTITUDE OF THE PUBLIC. cleverness, its ingenuity, the beauty, finish and perfec¬ inherent right to exist on its own account, and the of music or any other art, for the mechanical means VARIETY NEEDED. nof0flt'3'intoahotme1ifl ° Hagle *°tWD an'1 t«nxht ther,>. Doe. tion of its form; the last upon its intensity, its fidelity variations are original and interesting, showing the employed in the making of it. It is the general effect, hJrmn°nCl-Ude the conversation I asked M. Debussv criticised. i»iaVs ?'*»." r®clpro 417 416 THE ETUDE THE ETUDE bending forward supervising pupils’ efforts, there is of music, but allow the left hand to make shots at it, HOW THE MUSIC TEACHER MAY KEEP IN It is really surprising how often the weak combina¬ the exercise called “The Swimming Movement.” This you may pass over this article; I cannot pretend to HEALTH. tion is used without justification. help you. But if you really can read the bass clef as consists in placing1 the hands on the chest, palms facing For instance, in Dorothy, by Seymour Smith, fourth well as the treble then we may venture on our next outward, elbows pointing straight out on a level from mm measure, we find: BY ANNE GUILBERT MAHON. step. the shoulders, then flinging the arms outward to de¬ 1 For this a book of hymns written in four-part score The manager of a big American railroad recently scribe a circle as in swimming. is the best. Take a few hymns that you know and try had occasion to send a gang of men out into desolate, There are many excellent books and pamphlets fo ma transposing them the whole round of the keys, as we swampy country to accomplish some construction work be procured at trifling cost which contain valuable did with just tunes. This had better be done without under conditions in which they would be exposed to directions for the various kinds of exercises. It will mm pay the teacher to procure a good one and then M|I any reference to the copy, except at first; you had malaria. A generation ago the men would have been How to Devise Natural Fingerings better get the whole thing by heart. When you can sent with no special provision other than a stock select and practice those exercises which are especially achieve this proceed to repeat our second experiment; of quinine, or some such medicine, and the delay, to needed in his own case. that is, play the hymn a note or so higher or lower with say nothing of the misery, caused by sickness among The teacher should also try to get as much exercise By ROBERT W. WILKES ill I think the following fingering would be preferable for the copy before you. The moment the eye tries to read them would have been regarded as the inevitable re¬ as possible in the open air each day. Even those who mM more than one reason. both treble and bass the additional labor of transposing sult of “conditions.” The modern manager, however, are confined all day in the studio can take a brisk becomes too much and you will make mistakes. When¬ “thought different.” He sent a doctor along with the walk morning and evening, practicing deep breathing ever this occurs shut you eyes and think of the scale of men not merely to cure any sickness that came, but all the while. If outdoor sports such as golf, tennis, the key you are trying to play in. If this is too much to prevent any sickness from coming, with the result bicycling and others can be enjoyed during leisure .['ll mental effort stop and play that scale (just one octave H. that not a single man fell ill. On the contrary, many hours or at the end of the day’s work, this will be so of it, quickly). All this will coax your ear to do its of the men came back in better health than they went much the better. Even a half hour’s ride in an open duty and take charge of the whole affair. And now out. In consequence of these measures the work was trolley car will give one plenty of fresh air to breathe you will be able to understand how it is that blind accomplished without suffering, in less time, and with and refresh tired nerves to an astonishing degree- people do so well with their music. lil greater efficiency than anybody expected, and the extra but, of course, it must be an open trolley, for the The principles underlying the different fingerings These arpeggios would tend to become: In Les Sylphes, by Bachmann, at the beginning of the expense of having a doctor in attendance was over¬ obtaining of the fresh air is the object to be sought THE REAL DIFFICULTY. used in piano music merit much more attention than second theme the fingering in parenthesis would, I whelmingly justified. after. they oftentimes receive, for upon the choice of a good believe, greatly facilitate the passage. When we have succeeded thus far it will not be found The moral for the music teacher in this little in¬ TEACHER WHO GOES FROM HOUSE TO HOUSE. or a poor fingering depends to a great extent the gen¬ a very difficult step to play the accompaniment to a cident is obvious. The conditions, of course, are not eral effect of the passages that are played. It has simple song. The whole thing depends upon keeping quite the same—the teacher does not have to give repeatedly been the experience of the writer that when in mind the new key we ate playing in. Those teachers who go from house to house giving lessons in the middle of a swamp—but all teaching a poor fingering is used wrong notes are played, or But where this changes! lessons must take special care that on stormy days involves more or less nerve strain, loss of vitality and they do not contract colds or more serious illness by that the tempo is too slow, or that wrong accents are Here is the real hard thing in transposition. The orig¬ magnetism, and this means a corresponding loss of given, or that the expression or tone quality suffers. inal was in G, let us say, and modulates to B minor or sitting in damp garments. Provision for the rainy efficiency in one’s work. This loss of efficiency can But the slightest change in the fingering often effects D major. Your transposed version is in F and how are days should be made by wearing high storm boots and be avoided by carefully studying the conditions under a great improvement. In these cases even if an actual change of notes is you going to tell what key it modulates to? To tell substantial raincoats which envelop one from head to which the work is to be done, and taking proper steps In the present article some of the principles under¬ not distinctly made, it will very often happen that the you the truth I don’t think you will ever be able to foot. Thus protected, the inside garments stand little to recuperate from the effects of an expenditure of lying the different fingerings will be given and a prac¬ finger used incorrectly will strike two keys at once, spare brain enough for this until you are a much better chance of a wetting, and the raincoat and rubbers can Such examples as these are common both in edited energy. This is all the more necessary because the be dried before the kitchen fire while the lesson is in tical application of these principles will be drawn from playing both the note that is written and the note that and in unedited pieces, and seem to indicate that the •musician than you are, but at least you ear will help you steps to be taken are simple ones, involving little effort. to the following extent. T„ ft,„ t , , * . ’ -° - progress. This may seem a trifle,umc, butuui sometimes veryverv some of the most popular teaching pieces. it would naturally take. fingering of the editor or composer is often done care¬ in the first place teaching (at least, teaching piano serious consequences ensue from neglect in this respect. Of course the rule will admit of exceptions; for lessly or with a lack of appreciation of the underlying The actual harmonies employed in song-accompani¬ lu orgran) IS a SPnP.ntarv nrniriptinn on/1 fn on'_i__ ii. . and organ) is a sedentary occupation, and to counter¬ One teacher attributed a severe attack of pneumonia THE NATURAL SPAN OF THE FINGERS. instance, in the following example; principles. ments are not very numerous nor difficult to grasp. If act the effects of nervous strain and sedentary em¬ to being out one day without rubbers or sufficient pro¬ One of the most elementary rules is that, under you will teach yourself to play a few successions of ployment, exercise in the fresh air is necessary. With chords like the following: tection against the storm and having to sit for several ordinary conditions, the hand and the fingers should the exception of walking, it is often hard for teachers hours in wet clothing until she was chilled to the bone. be placed as nearly as possible in a natural, easy posi¬ PRACTICAL PRACTICE POINTERS. to obtain the necessary exercise. These teachers should On reaching home she was taken with a hard chill and tion. For instance, as a general rule a pupil should not make a practice of standing whenever they can, in the attack of pneumonia followed, entailing disastrous be allowed to use this fingering: BY GEORGE HAHN. order to counteract the bad effects of sitting too much. results in the way of lost lessons, expenses of illness Very often one can teach standing as well as sitting, and in leaving her weak and impaired in health for and it is wise to alternate these positions as much as “Practice Makes Perfect,” what damage has this an¬ many months. cient and venerated saw done to music students. Prac¬ possible. The third finger on E'would ordinarily be incorrect, The teacher needs plenty of healthful recreation and tice of the right kind undoubtedly does make perfect but would here be preferable, so that the fourth finger DEMAND GOOD VENTILATION. diversion One who teaches all day should, if possible, but practice without a common sense system, logical devote the evening to absolute recreation, doing as may be available for the F. There should be good ventilation in the studio, so But this elementary rule will not detain us any longer, planning, or recognition of the rules that make for pro¬ inclination dictates and putting aside all thought of gress, will inevitably lead to disappointment. Hutry that there is a current of fresh air in the room at all work and duty. Reading an entertaining book in which and we will now pass on to further problems. times, for nothing tires one out so completely as through a few Mozart Sonatas, “just to get an idea one can lose oneself completely, attending a really good breathing stale, vitiated air, especially when one is ex¬ Very often a pupil will carelessly use a fingering of them,” scramble through a Liszt Rhapsody “just to p ay or concert, are wonderfully in their effects in THE FOURTH AND FIFTH FINGERS IN pending nervous force in teaching. Between lesson similar to these and make no mistake in the notes. see what it is like,” play your scales and arpeggios to periods the windows should be opened and the room " "ulngr°neS ?utlook an<1 making a gray, monotonous But after practicing the passage for one or two weeks COMBINATION. ’ put in time and not with the definite purpose of real given a thorough airing. The teacher may derive ZZl- °f r°Utl"e °”e °f brightness and happiness. it will usually be found that a change in the notes has Every pianist is familiar with the fact that decidedly technical accomplishment and your practice will make a great benefit at such times by going through a series whoksnmS Tre beneficlaI.to nerve strain than pleasant. taken place, due to an unconscious return of the fingers the weakest combination of fingers is the fourth and perfect failure of you. The chief difficulty of the of deep breathing exercises, standing in an erect posi¬ Tnd mak« dlVe™°n’ wbich ‘akes one out of oneself to a more natural position. Thus in case A the chord fifth. Now, although it is very often desirable to use student is that of getting fixed in his mind just what is tion before the open window, inhaling slowly and and makes one forget the trials, perplexities and hard- will often be changed to freely this weak combination in exercises, in order that genuine practice and what is not. deeply through the nose, holding the breath for a shraiM nm • i—|Ot>O though ofI course such diversion these fingers may more nearly approach the strength Genuine practice for progress consists in meeting an second or two, and then exhaling very slowly and or indigestibleV°foVod ^ " ** Partakin* of rkh and dexterity of the other fingers, still this combina¬ obstacle—hunting for one, if necessary—and working evenly through the nose or through the slightly parted tion should be avoided as much as possible in pieces. with it until it is conquered. The obstacle may be an lipsps. it SPThetT ?JteacherT1 ieAi dnire?.»™. n^deea rest andand plenty of For example, in the first measure of the popular entire piece or merely one or two measures. Nothing If possible, the teacher should also go through a few good, wholesome re^reshS” i* ^ e'ght h°UrS °f first-grade piece, The Merry Bobolink, by Krogmann, improves technique at the keyboard quicker than forc¬ exercisesceruses to counteract the effect of too much sitting. well ventilatedventilate .room ’ el everv_reshm S.niVbr^wl! sleep, in 3a ■Ccomfortable,°-m we find the following: These exercises will take but a few moments yet be to do so on Q„_I -7f ” S. When” uni itrt ISls possible ing the fingers to do work they never did before, to truly.- marvelous in their effects-- .0 refreshment* * and solve a new problem by keeping at it until every ves¬ tige of difficulty disappears. mvigoration at the time and permanent benefit to the because, if the first and third fingers are put on E and health and carriage of the body. Here are a few simple the tellerVfeeltln!S Wl1' d° wonders toward making Ci, the fifth finger will naturally play B; or if the first Five hours of playing pieces that you can play easily ones which can be practiced to advantage: does not help you as much as one hour spent with and, having committed the sound of them to memory, finger is put on F. and the fifth finger on C, the third Standing in erect position, heels close together, toes one or two knotty keyboard problems. if you will play them in all the twelve keys, you will duties and pleasures d y ” ComC3 Wllh ,ts vaned finger will naturally take A. pointing out, with arms down at the sides; swing the be prepared to encounter them in a song. And still more In case B, in like manner, the chord will often be The truth of the foregoing easily can be illustrated arms forward and up, keeping them straight and forcibly will it be brought home to you that so long one's^healtin PlimU’of’L’j efcmial for conserving changed to in a way to impress boys and girls, as well as their parallel, until they reach high over the head. Stretch as you memorize the sound of what you are wanting with „ .buudancfol'SS". f?>d- It will be observed that the weak combination of elders and teachers. Suppose, in ordinary school work, as high as you can for a moment, then bring arms to play you will succeed, but if you allow the eye to necessary. The daily bath and ,lain t veSe,abIes 15 fourth and fifth fingers is used on G, A, G. It would scholars did not press forward to study new lessons control the matter chaos results. down and backward, describing a circle. This is one become easier for the pupil if the passage were marked every day, but continually harped on those they already of the arm circumduction -exercises and is a spendid first finger on E, in which case the weak combination +iad learned. Such a course would stifle progress, one for the whole body, strengthening all the muscles ALL MAY TRANSPOSE. would not be used at all. though undoubtedly what little was learned would and stretching and invigorating the organs which have I believe there is nothing in all that I have here de¬ become cramped by sitting. Similarly in the popular Hunting Song by Gurlitt, “stick.” It is “tackling” and mastering new lessons scribed. which is beyond the powers of the humblest importance. er’ ^ *s one t^le greatest Op. 101, No. 19, page 2, the fingering in the following Standing erect with hands resting on hips, or clasped every day that makes for progress. amateur; I have known a good many to learn the art of passage, at the back of the neck, bend the body forward and See to it that you keep up your health, teachers! Some students practice nothing more than what is transposing thoroughly by just these methods and the backward (being careful to bend back only a little and These cases, of course, depend upon the fact that, indicated by their teachers. Their progress will be only requirement is that they shall care to take the +o do it slowly, making the movement- really a raising owing to the conformation and structure of the hand, more or less satisfactory, but they certainly will not trouble. For I must remind you that the reason why it is easier to extend the thumb than any other finger. progress as swiftly as the person who is not averse to the musician rather looks down upon the amateur is that °f fCarrymgthe head back with k)- Bend nations themselves which °,f 'angua8es- but rather the Similarly it is not advisable to allow a pupil to finger doing a little more than he is required to do. Of course, the former does not grudge trouble for the art in which the body first to one side, then to the other; then twist the languages thev H dfrerm,ne ‘he character of thus; he is interested and the latter does. The true amateur it slowly from center first to right, then to left. In are constantly in a da/T' ,M°reover. these languages where the student does not possess the inherent ability is one who wants to achieve results without labor. these trunk exercises the knees should be kept rigid ner, it is not the °f change' In similar man- to tackle more than his teacher demands, where all he Don’t be a true amateur, I beg of you. If you were to and the movement come from the hips alone. These the music of to-dlv^W ** °l t0neS who have erected can do is to master the work required of him, it would take half the trouble about your music that you do exercises strengthen weak waist muscles and benefit merely fixed and estahr v, ^ * is who have would be improved if the E flat were taken with the be folly to attempt more. But most of those having second finger. In fact, all through the second page about golf or base ball or chiffons you would become and poise to the "body.rg?ns ’ as wel1 as g’ving suppleness of all people—the sokifl That the universal feeling average ability can speed up their progress by develop, a real musician. I can assure you it is good enough. through the discernment * e muse~has recognized of this piece the weak combination of the fourth and ing the initiative to look for problems requiring just a To counteract round shoulders caused by too much Hanslick. h*™.- cernment common to all.—Eduard fifth fingers is, in the opinion of the writer, used entirely little more skill than they possess and acquiring suf¬ unnecessarily. ficient industry to tackle them. 418 THE ETUDE THE ETUDE 419 Nikisch’s Darnel in the Lions’ Den. with text by The songs, of which a number were given, seem zogen. is called a "burlesque opera.” juIi(l5 fully as advanced as our own Indian music. lhe mann’s Hexlein, given at Graz, proved fresh and J words cover the subjects of war, love, healing the sick, | Musical Thought and Action ral. Dohnanyi is working on Der Tenor, while i current or past events and various desires. Thus in pantomime Pierrette’s Veil continues to please. mZ one the Sebops ask white help against a hostile tribe. in the Old World. Noelte has finished the three-act Francis p;;/ n A lullaby, in which “The topmost branches of the By ARTHUR ELSON Schilling’s Mona Lisa will be brought out at Stuttga" bayou tree aree swaying,” seems poetic enough. Of Bossi’s mysterium, Joan of Arc. wins continued 1 The Main Characteristics of Some Noted Piano Methods much interest also is the healing song, in which the cess, while Wolf’s Corregidor seemed undramatic t* Dayang (Medicine Man) describes the return of a BY ARTHUR ELSON soul from the hill overlooking Malo, the river of recently revived. Arthur Scholze’s Hanna is on a THE REVIVAL OF A FAMOUS DANCE. death. If the soul, looking back from this hill, sees torical subject, and does not refer to the former J,” In the S. I. M. Revue, Julien Ecorcheville gives its possessions coming after it, then it first realizes that ter of our Senate. Casper’s Die Tante Schid ft some interesting researches concerning the Fourlane death is upon it. The Dayang, by singing, sends his given at Vienna by Gregor, caused cries of “s^ or Furlana. Mascagni and Ponchielli wrote furlanas soul after the other, and brings it back before it has dalous,” “Down with Gregor” and others of the so which he quotes, that of the latter being in “La Gio- Among orchestral works, a symphony by the Floren gone too far to return. The imaginary scenes on this [Editor’s Note.—The bad repute which of the sort. Evenness of tone is insisted upon here, the rule that if a figure is repeated, its accent and conda.” He might also have added that Wolf-Ferrari trip are described with much detail. Of the love- tine Antonio Scontrino had good themes, an impressiv word “method" is in a large measure imnc effect should he judiciously varied for each occurrence. suffer foi* their Ancestry ASt for instnncOt docs too word as well as in the finger exercises. Slow practice is included this little-known dance in his “Donne Curi- songs, one says, “My love for you is like having money slow movement and a triumphant finale. Spain J ’■pedagog” which is being tabooed by teaching specialists be¬ advised at first, speed being employed only after even¬ Thus it will be seen that the Leschetizky method, as °sf- A* those wh° attack the tango have been up¬ in the hand,” or, practically, “I am rich in loving you.” represented by J. Lamote de Grignon’s Andalucia < cause the pedagog was once umo more than the slave ness and control have been attained by strict attention expounded by his assistants, leads the student into the who led his master's child!' holding the furlana as a substitute, there has been a But the Borneo version is not quite so concise in a scherzo on a Catalonian theme. A concert of North _ PH ,_a piano has s ne characteristic dis and care. domain of musical expression. employed to play _ These characteristic sudden accession of interest in the latter; but inves¬ wording, and the song becomes of fair length. ern music included a striking symphony by pel(r tinguishing it from other systems, In all this work the fingers are curved and the tigation brings comparatively little information. The define methods. We have asked^Miasked Mr. Arthur Elson ’ RECENT GERMAN METHODS. In the simplest of the songs, the material is based Gram, Hakon Borresen’s Thor iu Jotunheim and Car! get : idea c the wrist held very nearly level. The elbows are to be held district between Venice and the Tyrol was in ancient methods°whicheSthey° define. This offers unlimited slightly above the keys, about on a level with the wrist. Recent German work has gone at the problem of times called Forum Juliani. This was corrupted into largely on the three upper notes shown in the keluri Nielsen’s Helios overture. Borrescn's Norma* over- polemical discussion—something we strive to avoid in the columns of The Etude. Consequently Mr. Elson has taken The start for arpeggio playing also is made to de¬ piano practice in a reverse direction. Deppe first pro¬ brioul, and also changed less violently to Furlana, by scale. In this C, Bb, G combination the middle note ture pleased St. Petersburg. A London Symphony v his definitions solely from the writings pt those who^may pend on the prepared touch, with exercises keeping posed a method of weight-playing, in accordance with which name the dance is now known. is held and accented as the most important. The Vaughan Williams, was voted unusually good, hs" f0? regarded as representative exponents_ c”__ _ few of the well- delineate. the thumb underpassed, or making it alternate between the performances of Liszt, and now Breithaupt, Stein- The first assumption claimed that the Furlana was simplest songs do not have a definite cadence accord¬ effects and suggestion of chimes being some of mam known methods he has attempted to de The methods of Dr. William Mason, a normal and underpassed position. These studies hausen and others have developed it into a definite an old dance of the nobles in the doge’s palace, and ing to our notions, but are usually marked by a repe¬ „ Europe and Americalerica dudurhig •ing excellences. Paris heard Pierre Masson’s Le Houck influenced the piano methods are applied to both triads and seventh chords. system, in which technique starts from the arm and that the people had kept the dance in popularity until tition of this three-note phrase. Nearly all the songs are the last half centu--iry and which have been so emphatically based on a poem of Leconte de Lisle. The two Drib Paderewski, .Toseffy, and Gabrilowitsch, In general, the finger exercises are used to develop proceeds through the elbow and wrist to the finger. the present. A very little inquiry, however, showed endorsed by Liszt, based on a descending scale, or part of it. Another pieces, The First Cuckoo Call and Summer Night n ■ dtscu! in this article. Many attribute their the various kinds of touch desired. The use of the In this the finger muscles are developed, to be sure, that the people had not kept up any such dance. In efficiency to the fact that Dr. Mason sought constantly phrase, however, consisting of the notes F, G, Bb, G, the River, continue their triumphant progress through secure results through the most natural means with tuo prepared touch for legato has been mentioned; and but the emphasis is placed on weight. Thus Breit¬ every case the authorities found themselves hunting does show some ascending character. Grace notes are Germany, and the same is true of Van der Py least possible muscular strain. Much previous attention haupt claims that playing as a whole will average 40 up an obsolete dance, no more in use than the Passa- has been given in The Etude to Dr. Mason’s epoch making legatissimo is obtained by holding one note down until often used, and are always above the note which Wieland. per cent, non-legato with hand-fall, 30 caglia or the Pavane. Thus the historian Ostermann ideas, notably in the excellent article by they precede. The more advanced songs seem to have Mr. Perlee V. Jervis ■-n The Etude ,Afor" VnNo-- per cent, legato with arm-rolling, 10 per wrote m 1894 that “Formerly the people danced the Chamber music is represented by Dubois’ new pi2n w1913, and in the article by Leonora a more definite cadence in the phrase G', F, E, C. One cent, staccato with vibrating hand, 10 per Furlana, the Sticca, the Sonferrina, the Ziguzaine or quartet and a piano quintet by Desire Paque. In ;hf Ashton which is reprinted from an specimen, a war-song, began by ascending with C, D, old issue at the end of the present cent, octaves and repeated chords, and Styrienne, the Sclave,” and so on. When the revived vocal field Ducasse's Orpheus cantata wins the most discussion.] E, D, C repeated; then the notes D, C, A suggested the remaining 10 per cent, with more or Furlana is presented, some places call it the Sclave, prominence. Karl Heinrich David’s Roma, for orA- The piano keyboard is a simple looking the usual cadence-phrase. In those songs which have less active power and motion in the. others the Styrienne, and so on. It is danced in cou¬ tra, organ and mixed chorus, won attention at Basel affair. It consists of a number of levers a chorus the cadence effect is still more marked, as fingers. ples, with little hops, promenades, turns and motions Eisenach rates Wilhelm Rinkens’ Der as a n called keys, which, when they are made the chorus simply repeats the last word on the lower Deppe insisted on a low position of the of the hands. The present Furlana was therefore re¬ of the most utterly extreme modernism, but one ma to descend, raise hammers and make them cently adopted by the Italians as being fairly like other C, with the solo note an octave or fifth above it. The arm. The wrist was to be held fairly doubt tf Schoenberg’s reputation for radicalism is i give tone by striking the strings. After Frioul dances. songs abound in varying rhythmic effects. Triplets the hammers have struck, they drop back high, and the fingers nearly straight. any great danger. Incidentally. Eisenach will m The old Forlane was introduced at the court of occur, and rapidly repeated notes, alternating with automatically, so that the performer can¬ The arm, according to his method, tinue to be known chiefly as Bach’s birthplace Louis XIV, and was known in France through the holding notes after a skip, the latter usually preceded not change the quality of the tone, even should not rest on the fingers, but should 18th century. As early as 1609, J. B. Duval mentions by grace notes. The intervals differ slightly from though he may wiggle his fingers on the hold them up, so that their effort would Halliards, Passo Puezzi, Allemandes and other dances, ours, but are close enough to appeal to us; and the keys. With a mechanism so simple from consist merely of striking the keys. The all given in a “Bal a la Furlane,” which means that curious flat-seventh effect in a descending pentatonic THE PASSING OF MME. LILLIAN NORDICA the performer’s point of view, it would fingers should he trained for flexibility they were danced in the Frioul manner. A letter from and independence, rather than strength; scale is decidedly interesting. The dramatic circumstances under which one of th seem as if all methods of piano study Venice in 1683, however, rates the Forlane as a definite though the latter develops in the most noted of American singers. Mmc. Lillian Nordic; would bear a close family resemblance to dance itself. It was done by one or two couples, who THE WIT OF ‘‘WESTMINSTER BRIDGE.” one another. But such is not the case, process. turned in a circle while jumping and moving their HolevaS g,Ven ma,ter n,uch atteo and we shall see that the methods of The fingers, in this method, move very However, many Etude readers may no. have heard o feet with a marvelous speed and lightness, the dancers ..Dr' A' Ea?Iefield HuI[, who contributes to the different teachers are sometimes dia¬ little in striking a note. Thus Amy Fay this unfortunate closing of a really great carer i, sometimes approaching each other and turning always Monthly Musical Record, writes on various subjects metrically opposed to one another in prin¬ said of Liszt, “After Deepe had directed in a certain way with arms interlocked and held above all the way from explaining Schoenberg’s unexplain¬ Nordka3" mUtiCaI his,0ry' °n Dec. 28th last Mme ciples. Some representative methods will my attention to it, I remembered I had their head. Later, Feuillet gave a full description able Five Orchestral Pieces to giving advice for «tnmin "r sh,fWreckcd ncar ,he Rulf of Paqua whili be treated here. never seen Liszt lift up his fingers so of the steps and music of the Forlane. The latter, as musical lecturers. In treating the latter subject, he i r AuStra,la af'cr » successful tour. After Perhaps the most famous teacher to¬ fearfully high as the other schools made illustrated by Campra, Couperin, Rameau and others, rates presence of mind as important, and illustrates such a point of doing. . . . The notes Island Tb C ,PaSSeT rs were ,a" The news that Hans surpassed everything else. His father’s attempt to keep of such music is a simple matter. But natural Engelmann is no longer ■him from a musical career by placing him in a mer¬ musicians are more rare. Natural musicians are thos living will be received cantile office merely had the effect of making his love to whom music is as the breath of life. They with sincere regret by of music stronger than ever. in tones as others think in words and can only fin,i thousands of our readers. The young musician came to America in 1891, and the true expression of their inmost thoughts in thc Probably no more prolific settled in Philadelphia. He did not originally intend language of music. A course in theory can only composer of popular sa- to reside permanently in this country, but lie met with develop such gifts to a higher degree of technical rj. Gottschalk became the pupil of Camille Marie Ion music ever lived. His so cordial a reception that he finally decided to remain. fection, it cannot supply them if they are missing. GOTTSCHALK’S period. Stamaty, a pupil of Kalkbrenner and Mendels¬ compositions numbered in At this time he received much assistance, musical and Hans Engelmann was unquestionably a natural Nearly one hundred years ago (December 25, sohn. Stamaty also became the teacher of no less all about three thousand, otherwise, from Hermann Mohr, an excellent teacher in musician. From him melodies gushed like water fr0m 1814) the Treaty of Ghent was signed and Great a master than Saint-Saens. Under this new though not all of these Philadelphia, who proved himself to be a true friend. a spring. Engeimann’s music possesses at least one Britain and the United States closed the last teacher Gottschalk made remarkable progress, quality which no critic can afford to decry. It possesses were published under his After Hermann Mohr died, however, Engelmann was conflict between the mother country and the and it is said that Chopin took a great interest in own name. One is re¬ the quality of absolute sincerity. Engelmann entered left to fight his battles alone. He managed to win energetic New World. A few months there- his work. His teacher in harmony was M. Maledan. minded of the indefatig¬ some distinction as a pianist, and also gathered about into the life of the people around him and absorbed after (February 22, 1815), Boston, a favored theater HANS ENGI-LMANN. able Czerny, save that him a coterie of pupils, though success did not come the life of the everyday world. This he gave out for peace jubilees, held a musical festtval celebrating STUDENT LIFE IN PARIS. whereaswnereas CzernyLzerny wrote without a struggle. again in his music in good measure. He did what so the signing of the treaty. The success of this Gottschalk was fortunate In having two Influential rela¬ endless pages of music that had no purpose other than many of us fail to do—the best he knew how tinder tives who Introduced him into the exciting life of the Paris¬ All this time he kept persistently composing, his first musical event led to the formation of! the Handel to prov.de technical drill, Engelmann wrote music that the circumstances in which he was placed. He in- and Haydn Society one month later. By Christmas ian capital. These were his aunt, the Comtesse de Lagrange, published work being The Marine Band. March. There and his cousin, the Comtesse de Bourjolly. With the talents was genuinely tuneful. Many of the melodies were of terpreted the life he lived honestly into music, and in of the same year the society was able to give a soon proved to be a ready market for his compositions, he soon became much sought, and his brilliant improvisa¬ the straightforward, simple kind that always find a doing this he gave pleasure to hundreds of thousands concert made up largely from the works of Handel tions became the talk of Paris even in the days of great which were found acceptable by both teachers and -masters of the keyboard like Liszt, Chopin and Thalberg. way into the hearts of a vast mass of people to whom —perhaps millions—of people, because he gave them and Haydn. In less than ten years the organi¬ pupds. This no doubt was largely due to the extremely Still a child, he found time to write down some of his the classics are a sealed book. tunes they could understand. Hans Engelmann is zation had become important enough to commission improvisations, and the result was his Ossian and the melodious nature of everything he wrote, whether it dead, and dead before his time, but some at least of Beethoven to write an oratorio for its use. Beethoven Danse des Ombres both of which were dedicated to his ,.E,n^lraa"n,;"als bT°Trn at Berlin, June 16, 1872, and was an easy piece for the lower grade or a complicated mother. At fifteen he was writing such pieces as Bannier, died May 5, 1914 He was the only son of a German his hundreds of melodies will live after him and sene was greatly pleased, but unfortunately did not under¬ work intended only for advanced performers. The Savanne and Bamboula. An attack of typhoid fever proved military officer of. high distinction who rose to be a to awaken in many a small heart the love of music take the work. an obstacle in his school work fro'm which he did not re¬ Private Secretary in the service of Emperor William I. most popular of all the works that flowed from his pen cover for some considerable time. According to one report was unquestionably The Melody of Love. which unites all Etude readers, however varied their he was the pupil of Berlioz for a time, but it is not un¬ The boy s education in early childhood was of the best, tastes, in the bonds of true fellowship. Composers, like poets, are born and not made It peculiar contraption known as the Beggar’s Opera, and in likely that he was rather his proUgi than his pupil since and he began to study the piano at the age of seven. In addition to Melody of Love, mentioned above, 1801 parts of Handel's Messiah had been given at a public the older musician to'ok a fatherly interest in the work of H.s father intended him for the medical profession but is possible, of course, for a man to go through an concert. In New York the musical work seemed to center the rising young pianist and composer. elaborate course of harmony, counterpoint, musical among the most popular of Engeimann’s compositions ct first around the church, and Ritter in his Music in His association with Berlioz was so important to him that nevertheless saw to it that the boy had an excellent are: Apple Blossoms, Dreamland, Hungarian RhabuL America mentions a performance ot The Messiah taking he declined an invitation to visit the Queen of Spam. Fre¬ musical training, even permitting him to undertake a form, etc., and at the end of the course to be able to Place in Trinity Church as early as 1760. (The work was quent concerts took place in the Salle P ley el, +and many write music that is “well constructed” and blameless Grand Waits Caprice, Grand Festival March, Bridi first given In Dublin in 1742). Comic operas or more s of the day were very enthusiastic. Natu- course of study in piano and composition at Leipsic. Kw Walts, Lover’s Lane Walts, Over Hill and Dalt pioperly speaking, ballad operas, which were mere farces rally men of ti The boys love of music was so great, however, that it from a theoreticM point of view. There are thousands interspersed with songs were given in New York as early and many oth^.„ „------of Doctors of Music in the world to whom the writing ul/uthe ,En Route March, Under the Mistletoe ns the middle of the 18th century. The musical character with which Gottschalk treated bis melodic ideas. His judg¬ When the Lights are Low, Concert Polonaise. of these performances continually improved, and by 181 a ment was greatly respected, and when he was little over we find that the works of Henry Bishop were becoming sixteen he was asked to act as one of the judges at a prize popular in America. In 1823 Payne s famous Clari, the contest at the Paris Conservatoire. «At the same time he Maul of Milan was presented with music by Bishop (Includ¬ “Musie is my Pride to cheer and delight me. gave a series of highly successful concerts in which Berlioz ing Borne, Sweet Home). In 1825 Weber's Freyschutz was Music is my friend to amuse and make me gay. participated. , B given in New York in a somewhat garbled form. In the Music—ah1 it is my angel to lead me to God.’’ Overwork and overexcitement proved too much for so fall of the same year Manuel Garcia brought his opera com- sensitive a youth, and in 1847 be was obliged to take a long rest. At every place, however, he was importuned studying French and also the violin with a teacher to give concerts, and in Switzerland especially he extended his reputation very considerably through occasional appear¬ __ __her of the named Ely. ances. in the meantime his family in America had become _ _ __ time, notably The Barter of According to an account coming from Gottschalk’s excited over the reports of his success, and his mother and The Best of the New Music Issued by the Leading Publishers Seville, The Magio Flute and Masaniello were given in his sisters visited him in Paris in December of the same garbled form. sister, the boy was so remarkable that he was requested year. This encouraged him immensely, and he wrote many to play the organ during the absence of the local parish of the popular salon pieces of the type which made his name As early as 1791 New Orleans had a regular com¬ famous during the next quarter of a century. Much of his Selected, Graded and Recommended to The Etude Readers pany of musical theatrical performers, and by the time organist. Indeed, he was impressed into service with¬ time was devoted to playing for charitable purposes, as he was only too anxious to help others at all times. 'stc and represents a deanine from th, . .. of our second war with England there was a regularly out warning of any kind. His teacher pulled the established operatic enterprise in the Southern city. stops and used the pedals, but the boy read the music EARLY CONCERT TOURS. for the entire mass at sight. At the end he was so jk h„ l. w -j Louisiana had become a part of the United States, In 1849 Gottschalk made a tour of France, only to h «, z;l::Th2\^7TiifZrr “ thanks to good American dollars and Napoleon’s fear exhausted with excitement and delight that after run¬ PIANO SOLO e in several keys, it is so indicated. find that his pieces were played everywhere by people of England. But it was at heart still a Latin terri¬ ning home to tell his mother he fell weeping hysteri¬ Grade Prioe who were anxious to fete him after every perform¬ VOCAL tory. The spirit and traditions of France and even cally in her arms. ance. His father arrived in Paris and Gottschalk re¬ Book I. (Lu BOOSEY & CO., New York City. Spain were not to be removed by legal annexation. Beider). . . A PRODIGY. turned long enough to greet him and then departed Indeed, the legislators continued for many years to Crary, Mary P. The Robii Borsdorf, ARTHUR P. SCHMIDT, Boston. for an extensive tour of Spain. There he was lionized (C. F. Stimmy). Thros.„. Blackbird conduct their debates in the French language, and to At eight Gottschalk gave a concert in aid of a vio¬ in a manner difficult to understand in this more mate¬ Eilenberg, R. E. Air de Ballet' Op. 87, No'. Coleridge-Tayioi The Chadwick, Gw iv this day the tendency to emulate France and things linist 'connected with the French opera (M. Miolau), Pianos, 8 Hands. (B. F. Wooi ! Keys 2 Keys 1 KnOW Two Eyes' rialistic age. The king gave him the diamond cross Marchetti, F. D. Innamorata Va Ralph. __ _ ^ French is very manifest. who had been attended by misfortune. The concert &:!?:&: I: ? : Colcr^e-Tayiir; ft * The' GuVst.’ "2 “ * CO. Schirmer). Eville, 1 Audacity. 2 Ke was a huge success. After the child was home safely of “Isabella la Catholique” and that of "Leon d’Hol- Woodforde-Finden, Amy. Pour Ind stein.” The sword of honor, "El Chielanero,” was Love Lyrics. (Boosey & Co.) GOTTSCHALK’S ANCESTORS. tucked away in bed he was awakened by a serenading ARTHUR P. SCHMIDT, Boston. Jnilter,'R.Cn Blossom Time' ' TeH, OdTeneaMe 2 f”' *' •’ •’ • •' • • 4 * also bestowed upon him. Dana, Arthur. C >anderson, Wilfrid. Friend The foregoing must make quite clear the fact that Gott- party composed of the violinist and his many friends T 4 Keys. Lang Margaret R. ' ' Irish 4 '6° schalk was born In an atmosphere very different from that One sensational tale is told of his visit to Spain. A J. FISCHER & CO., New York City. 12 Children from the opera. Paid!, Mari. F. Lorraine. 4 Keys • Love Song, An. 3 Keys . . 3 .50 ot most other parts of America with the exception of the young woman who was devoted to music lay at death’s Biedermann, E. J. Op Compositions— Wynne, C. Waiting.' ' 4 French sections of Canada. French ideals, French litera¬ _SixSix ShShort Recital neces. 1. Daffodil Dance . ture. French art, French music made New Orleans the Paris DEPARTURE FOR EUROPE. door. She had longed to hear Gottschalk play, but Ferrata, G. 2b. A Night The Bumble Bee Goes Visi' G. RICORDI & CO., of the new world. But there was a still greater French was unable to leave her bed. She was in humble cir¬ Burlffigh, H. T. 1 ’’ Influence in the life of Gottschalk than his environment. Although even at that time musical culture bad made a George T L?" DroamTofThYldhood Spanish Dance CLAYTON F. SUMMY CO. His mother was one Atmee Marie de Brasle, a native of very gratifying advance in New Orleans, it was realized cumstances'. The pianist heard of this and had his and Mother Goose Melodies. 11 Chicago, III. New Orleans, who when she was fifteen years Old married that a course of study In Europe was well nigh indispensable instrument taken to her room. There he played while First. Grade Pieces CarrSfLF^T^i»' '(JaV- ‘ Cook. B r* , Edward Gottschalk, who went to America from England In for the very talented* bo.v. This was difficult to bring about, I? W-F. In Joyful* Mood'." Ten 1828. The father, It is understood, had studied medicine principally because the boy and his mother were so deeply her spirit departed in peace. After two years spent Easy Piec. G. RICORDI & CO., New York City. V^i)?Mafnt,“e’M'yhaLovT'sRCAd Gillettej RAoPr5yer (L>.8 in Leipsic, and had secured his degree there. devoted to each other. He was, according to all accounts, (M) ' 0 Stren«th and Stay an unusual youth in the sense that he was constantly in the adulation of his Spanish admirers, he returned IKw. ASS!^iA ; § -«o if™ M- The Chiid’s Face. Martin, Marcaret n' ' W. 3 GOTTSCHALK’S CHILDHOOD. trying to do good to others. In after years his unselfish¬ to Paris and left for New York in 1852, where he HINDS, NOBLE & ELDREDGE (L) saret E- Dream Tree. The ness was noted by many observers. A stem father, however, was greeted by his father and brothers. Gottschalk New York City. Janows’kL E^'gSn^'^Vora'h1011-8 ^a'Se' 4 '60 Miles, P. t" Vi .3 Louis Moreau Gottschalk was born in New Orleans, settled the European question by booking his passage on a Salter, Mary Datolding P.ith (M>.. 3 steamer leaving New Orleans in May, 1842. By this time never saw Paris again. Kroeger, E. R. Op. 85, No. 1. Mo- 0Pingl' ?°*£. Where ^ be you * Go- ‘ An April Message May 8, 1829. He was said to have been very frail and the bov had become very popular in his home city, and his mento Capriccioso . 6 f iteR°,Non.C2'. 1 farewell concert was attended by a yery large audience. His r, ‘ * very fair when a child. His personal beauty was such AMERICAN APPEARANCES. Rose and a Dr, (H).. that it attracted wide attention, and he was a most departure was kept secret from his mother, and she was so VIOLIN AND PIANO prostrated by his going that for a time it seemed as though About the middle of the last century, Niblo’s Garden PIPE ORGAN amiable, tractable child. His sister relates that once, she might not survive. was one of the chief amusement resorts in New York. It while their mother was resting at Pass Christian, she possessed a large auditorium and everything from symphony . Ding Dong I J. FISCHER & BRO., New York AT SCHOOL IN PARIS. concerts to spectacular extravaganzas was presented in that Vincent, H. B was startled by hearing the sound of a very attractive famous theatre. Accordingly Gottschalk’s first American Federlein, G. H. Scherzo En Route. G. RICORDI & CO., New York City Jcherzo'"6 GaT0tte--- ■ melody coming from the adjoining music room. It Arriving in Paris, the twelve-year-old virtuoso was appearance was scheduled to take place there. (Feb 11th Johnston, E. ] put in a private school conducted by M. Dussart. For 1853). Some of his fascinating piano pieces had gained Elgar, Edward. Carissimu 4 7r Frysinger, J. p.’' Forest Vesper. Noc- was a melody the mother had played. She knew that some popularity in America and the concert was very Leoncavallo, R. Mattinata.' ' '(’"ris the Little Tee Wee. Barcarolle no one else but her three-year-old baby was in the the first six months he studied with Charles Halle. successful. The musical criticism of the day leaned rather Hurapty Dumpty. Schottische! ! Gillette, J. R. j toward the spread eagle English which resounded through ,he Day). 4 .75 house. Half startled and half delighted, she rushed Halle (originally Carl Halle) was a German who had Tuttle Bo-Peep. Tarantelle Kinder, Ralph. ir Bre^T?UHR P' SCHMIDT, Boston. our legislative halls after the fashion of Daniel Webster. WHITE-SMITH MUSIC CO. zino'ttle C°Ck SpalTOW- Seller' to the room in which the piano stood and found Louis settled in Paris and had become the friend of Cheru¬ One of the papers in endeavoring to pile on applause of the Hamilton, Eber C. Op. 7. Ten Tone manxa ' 0p' 22. No. 2. Ro- exaggerated kind said. “Gottschalk has the dexterity of a-Doodie-Doo. ’ ‘ March.'!.' Cole, R a V," ‘ . 5 .60 Moreau Gottschalk standing on a high stool. bini, Liszt, Chopin and others. In 1843 he went to Jaell, the power of Mayer and the taste of Herz,” a Eenaud-Miersch. ,60 J Sykes, Harry. Novelette Rideout p,„P' 29' Meditation.... 4 .65 The child’s father was startled by this unusual mani¬ England, where he worked for most of the rest of criticism altogether without meaning in this day since the ThVee F& * F,nreit Studies festation of talent, and an expert was brought in in his life as a conductor and as a teacher. He was minor pianists with whom he was compared are rapidly A LIST OF A FEW OF THE NEW PUBLICATIONS ^icordi & nn \ the (O. becoming little more than obscure phantoms In musical OF THE THEO. PRESSER CO. ^ . 4-5 1.00 knighted in 1888. His position was such that he was history. In another paragraph we are told that “he dashes WILL BE FOUND ON the person of a French musician called Letellier. He able to introduce the wonderfully gifted Gottschalk at the Instrument as Murat charged the enemy" The PAGE 466 mapped out a course suitable to the talent of so young New York Tribune even went so far as to intimate that a pupil. At the age of six Gottschalk commenced to many celebrities. When Halle left for England, it was very gratifying to observe a citizen of our glorious 424 THE ETUDE THE ETUDE 425 folk sone tvpe made Into nn interesting piano ple» - •‘•o¥dbfogies/-PSiDg Beethoven and certain other classical His presence was the signal for a festa. That he was Mehth BalCe (showing Copyright 1914 by Theo. Presser Co. British Copyright Secured 429 428 THE ETUDE THE ETUDE ORIENTALS SIGNS OF SPRING VOCAL OR INSTRUMENTAL Copyright 1914 by Theo.Presser Co. British Cepynght-SecwSi Maestoso HOME SWEET HOME 433 THE ETUDE Allegro agitato A 434 THE ETUDE LOTUS BLOSSOMS OL’ UNCLE MOSE Copyright 1914 by Theo. Presser Co. Copyright 1914 by Theo. Presser Co. British Copyright Secured British Copyright Secured THE ETUDE THE ETUDE 437 SOLDIER’S DREAM EMILE FOSS CHRISTIAN! SOLDIER’S DREAM Andante molto m.m.J = 69 SECONDO The soldier, having fallen asleep, dreams in turn of love, the dance, his future wedding day, and of warlike deeds, only to be rudely awakened by the Bugle Call at sunrise. , PRIMO EMILE FOSS CHRISTIANI Andante molto m.m.J = 69 5 5 mm ip( mm ^=j Copyright 1914 by Theo.Presser Co. British Copyright Secured r 439 THE ETUDE 438 THE ETUDE 440 THE ETUDE THE ETUDE SONG OF THE BROOK Tempo Giusto H.D. HEWITT Allegretto M.M.J = 72 fcrttish Copyright secured 443 THE ETUDE THE ETUDE “INDIAN FLUTE CALL'AND LOVEJSONGT^ (NORTHERN CHEYENNE) THURLOW LIEURANCE S': This melody and flute call was recorded on tlie Northern Clieyenne reseryatian, near Lame Deer, Montana AprU 2d 1912 at the Tr . The melody was played into a phonograph which recorded it exactly as played by the fluttst, John T^key hegs. Andante moderate Moderato AFlute Call) British Copyright secured British Copyright secured Copyright 1914 by Theo. Presser Co. 445 THE ETUDE 444 THE ETUDE ORFA GRANDE POLKA 447 THE ETUDE S » T » V 3, a- 4^| 4 ft ft f 5 alls ROSE OF. ANDALUSIA 1 j 1 .-r f-f-ie -~ _„ rm t- t JTTl ■ — 4 if accel. L - «c< ■f- 113 r 1 - v r Tr V ^ * r T np% jz]~JTTIw' * P~g ^ --- - m iC =gcnb. \f ’Mjj.: #T4^= = ra//. g j, *f -=*= $= 4P -. Sr r f ) -. -f V- r «r * r ■" - r ^ r TH ia3Tt ’ i if jri*~£lr /, o a i-i i 5^ hMtt-a ^? 8- -jj 1 L L ■ 1 1 (ffii *«hih g 4Fn J J Jr4 f- f ■■■ f f#$f f r r r-r r r-F- J r LLlLJ Rf IT ■v acc rail. g . fr- g ttfflr r r-^T _^r TO r - r r L-“ alicional only ^ "'-w-—- _ £ f f , f f * fTr^S^T Sw s 2 V If $ b H' | i Hj i A 4 coda j ~1 , close Sw. _ Treinolo -— ~ 1 =~PP morendo * ^— Gnazioso l"—^ J8^ l3# i. 5 , ~~r~r-'w -F TTT |»t|* 3 A (in forf^fT f‘5 f-rn ttf h frrrrr^fi^ amba or 8 ft. striner ^ m 3 Flute off _■ -‘ | \ g | g -&- — 3 3 g -r i T> .2 # f- . t 1 * £jl ^"OTT A _ E-f- #-■•- _ A . » f- p pf- f- • 1 4\S ? • 2 4 -1* —IT l* * -1 ^TTtt-8 3 j 5 i— ^ ^^ose Swell i j. f f or 7 f '—r f r r ( I'f r 'r F iL r Sr 'lTOr 4 i 7 *p r" 4 1 ^ 5 2 l—3 5 ►«. 8! O ! I. = -F- #-•#- I OR* 'r r r At-V i Cello off 1 Ysmpo I u 0 n* 1*1 -p-m ~~~~~"TT gjt.first comb. -J J-f “ Os Sw.sfop. *'r '? * 1 r r * ' ' r 1 ^ r h ± 449 448 THE ETUDE THE ETUDE TUNING UP! Last time to Finale HUMORESQUE GEO. L. SPAULDING Note-The Amateur Band has a rehearsal and the first reading of a new composition. Although the piece is written in D major,they start off in D minor. After a few measures they break down, tune up, and start again. Finally discovering they are in the wrong key, they start anew and proceed on the “Even tenor of their way.” _ ■ ~ m 3--’ f- a >> nf " ! ■ &J ‘PH i <5 2 __ 13 2 13a 1 --7—— 2 1 3 2 1 3 Copyright 1914 by Theo. Presser Co. British Copyright Secured ROMEO AND JULIET Maestoso m.m.J = HENRY PARKER Moderato con espress. Piano Copyright 1914 by Theo. Presser Co. International Copyright Secured THE ETUDE 450 THE ETUDE G.J. WHYTE-MELVILLE GOOD-BYET F. PAOLO TOSTI Italian text by F. Rizzelli (ADDIO) VIOLIN VOICE sul - len ’ sea, Shad-ows ri-sing on you and me; _ Good-bye, Good-bye! Sum-mer, Good - by °- e - sta - te, ad - di - o, ad 1 Copyright 1914 by Theo. Presser Co. 453 THE ETUDE THE ETUDE crenc THE ETUDE 455 454 THE ETUDE The Need for Fine Toned Instruments DIALOGUE. By RITA BREEZE A piano, the most important of the tained by using the iron frame combined modern instruments, is the lineal de¬ with an overstrung scale was perfected scendant—through various forms of up¬ by the Steinway family and is now used right, grand and square—of the harpsi¬ in all standard makes. This invention is chord. This, in turn, had its origin in the one of the great scientific triumphs of the primitive contrivance called a clavichord, century, as formerly the treble notes were which was borrowed from the harp divided from the rest by a complete family. The thrumming of strings was break in the resonance, occurring some¬ the second adaptation of the musical in¬ where in the scale between C and F sharp stinct—the original reed-blowing pro¬ above middle C. This vast improvement pensity being the progenitor of the marks the pinnacle of perfection to which interesting family of wood-winds and the manufacturers have brought this in¬ brass. While the “string effort,” at that strument. stage .of development, was an almost unrecognizable attempt to imitate the A TONE THAT INSPIRES. lovely legato of a beautiful singing voice, A lovely tone may inspire a student by nevertheless that was the aim. Through the very sweetness of its appeal, just generations of persevering inventors this as one personality instinctively draws idea has slowly been evolving. another. Listen for your instrument to The “tin-panny” tinkle and uncertainty call you. It should arouse the imagina¬ of pitch of the earlier piano forms was tion, free the fancy. It must sing! If regulated by the displacement of rawhide it does not then it is poorly made. strings and insufficient resonance pro¬ Music is rapidly becoming an almost vision, with steel strings and a nicer ad¬ indispensable branch of education. People justment of spacing. In comparatively are realizing that the advancement of this Kranich &; Bach recent years the hammers, instead of art means an involuntary turning from a being coyered with elk skin, are felted. state of artificial culture to the whole¬ This felt is made from sheeps’ wool, and some basic impulses—for music expresses Ultra-Quality PIANOS there are two especial qualities to be de¬ emotion, which is the main-spring and sired in it. First, it should be firmly amplifier of all forms of enjoyment, and matted together, that is, the fibre should the corner-stone, as it were, to the great and PLAYER PIANOS be closely connected to insure wearing stronghold tower we are so courageously Created with thousands of bits of wood, felt and glue—materials of little natural per¬ quality, as, if it be only loosely welded, rearing—intelligence. The cultivation of manence—the attainment of LASTING EXCELLENCE in piano construction is one of the most marvellous examples of human ingenuity in the world’s history, and is insured the continual pounding of the hammer this means of expression awakens the in most pleasing measure, only through the time-honored Kranich & Bach policy of against the steel strings will cut the fibre sensibilities and develops the mental BUILDING EVERY PART of the instrument from start to finish under one roof and of the felt. But with this thorough mat¬ powers along subconscious, therefore under watchful supervision that demands mechanical perfection in every detail, no ting, a pronounced elasticity is also in¬ harmonious, lines with the impulses. The matter how minute—a policy followed by no other man¬ ufacturer of high-grade player pianos. dispensable to enable the hammer to result is that the personalities of each rebound from the string quickly enough generation become more rounded and The address of the Kranich & Bach dealer nearest to permit of immediate, free vibration. to you will be sent on request, together with a satisfying both to the individual himself, copy of our beautiful Golden Anniversary booklet The art of making good piano felts con¬ and to those with whom he comes in entitled “Fifty Years-” of Kranii ' ’ & Bach Quality.” sists of the difficult combination of these contact. Also the general inspiration de¬ two requirements. The tone of a piano rived from music gives intellectual lever¬ KRANICH & BACH depends largely upon the material used in age and balancing power to the necessarily its hammers, and when this fabric is over¬ accompanying spirit of materialism of this 237 East 23rd Street - . New York City heated during the process of manufacture inventive age. What we need in our day the effect is to bum the fibre, and con¬ of mechanical ingenuity is a fuller realiza¬ sequently to destroy the elasticity and life tion of this fact. Every child should be of it to a great degree. The tone of the taught some branch of the art whether BEGINNER’S BOOK £„telb instruments in which these badly made he be markedly talented or not, for it By THEODORE PRESSER Price 75 Cents felts are used is metallic, shrill and in¬ opens up his mind more quickly than any THE latest work along lines of elementary instruction. The material used capable of being properly sustained and other influence which can be brought to is entirely fresh and is presented in an attractive manner. It is intended modulated after the manner of the human for the veriest beginner; little tots just out of kindergarten. A very large note is used in the early part of the book. Questions and answers are given to voice. On the other hand, pianos in which Never before in the history of the clinch every subject. Writing exercises are introduced at the very start. correctly made felt is used have a world have the mechanical devices for The utmost care has been given to every part of the work to make it as nearly a more appealing, sonorous tone, and their musical expression been brought to a perfect Beginner’s Book as it is possible to make. A trial of this new book is vibrancy and carrying power are far pitch of such perfection. earnestly solicited by all who have to deal with elementary piano instruction. Liberal discounts. greater. It is certainly a good formative influ¬ ence for children, for through the sensa¬ THEO. PRESSER CO., 1712-14 Chestnut St., Philadelphia, Pa. FIND A SINGING VOICE QUALITY. tion of happiness (this has been demon¬ When choosing an instrument, find one strated scientifically) the life powers are IMPORTANT TO ALL SINGERS with a singing voice-quality, and then in¬ not only conserved but enhanced, and the spect it. The felt of the hammers should buoyancy of increasing exhilaration to be THE VOCAL INSTRUCTOR be firm, of fine texture, and clamped up derived from this study is a distinct The Latest and Best Word in Voice Building as close to the point of contact with the factor in racial longevity. By EDMUND J. MYER string as possible to prevent spreading, as One way to engender the love of music This book is born of the such relaxation causes the tone to become is to place at the disposal of a child the give to the vocal profes- deadened or off pitch. Examine the use of an agreeably toned instrument. -3 based^ the singing raove- mechanism of the hammer. The fewer His attention will oftentimes be focused physically and vocally. * The beginner’the more experienced singer, and the busy tea^erVil^alf find joinings it has, the more concentrated and through, hearing a pleasing sound, when material and information of the highest value^in this^booL For the^young teacher just starting out or continuous will be the sound waves. This nothing else stirs him; then he will try is handsomely printed and substantially bound in flexible cloth. Price, 31.% t^r0U8^°ut* k°°k insures the best timbre. An interruption, to imitate it. From that phase onward however slight, makes a great difference. his interest, if properly stimulated, is THEO, PRESSER CO., 1712-14 Chestnut St., Philadelphia, Pa. All wooden parts, which, through the assured. The older nations recognized effect of dampness are prone to shrink, this power, and carefully instilled the are protected by the best makers. In love of music. Through its influence the THE NEW ORGANIST some cases, the wooden bar to which the young were inspired to courageous Price, $1.50 hammers are attached, is soaked in water thoughts, the expression of which in sub¬ ments from standard works by classic aPnd modern"master. ^Tlfey'are^caSufiy'phSlS'and^rejrist^ed during the process of construction, until sequent fearless deeds made their wSg°rre-W‘th d the eS8entlal editing’ thorou8hlJr practical. Among the original pieces by Mr. is completely sodden. After that it countries great. You are weaving soul Prelude in C minor; Postlude in G; Pastorale in F; :Postlude in C. The transcriptions include is dried, soaked again in oil, and then stuffs through the choice of your instru¬ Hungarian March” by Berlioz “Andante” from “Symphony No. 1” by Beethoven. “Romanzc” by Mozart, Adagio” by Haydn, “Be Not Afraid” from Mendelssohn’s “Eliza,” Handel’s “March” from incased in a metal rod. This sort of pre¬ ment—through the shadowy visions its pbites handsome'ly bou^d'by jB!SJh* Ross!n'’s "Charity,” and others. It is printed from large oblong ventative insures the continuance of de¬ power evokes. Choose it carefully: sirable quality. The overtone action ob¬ know the reason for your choice. THEO. PRESSER'CO., 1712 Chestnut St., Philadelphia, Pa. ®*1tish Copyright SecuroO Please mention THE ETUDE when addressing our advertisers. 457 456 THE ETUDE THE ETUDE Playing with Emotion Do not overlook the need of a piano of emotional range if you playing^NoV’Th‘t hTt ^ch timbre of the piano that ex- quality inThehumanVoice t denotes depth of feeling. In fact, to express emc HABDORFF The Most Popular P in Daily Use The Tonsils and the Voice SHEAvocal INSTRUCTION CLASS PINS & BADGES § flsSTo. 459 THE ETUDE 458 THE ETUDE TnEA freedom and the tone is always syra. THE BIG TONE. full voice in the beginning invariably de- of endless repetitions. The effect of this THE form OF the IDE . thetic. It is largely a matter of what The number of overworked voices is ve’.ops resistance, and to continue singing is to sensitize one’s nature and gain such That an idea or concept has torn ^ teacher-s ear will stand without so great, both in Europe and America, with full voice would perpetuate and control of one’s feelings that they respond seems to elude the scientihc mind, but e that it compels the inference that many strengthen the habit and make restoring instantly when called, GEO. CHADWICK STOCK is nevertheless true. Everything exists Teacher of Singing, Offers a the automatic response. teachers believe a big tone to be the aim the voice a physical impossibility. One The imagination is the most important Why first as idea, and as idea it »» and end of voice teaching. We frequently who has persistently forced his voice can facu]ty ;n interpretation, but it must not SIX WEEKS SUMMER COURSE OF VOCAL STUDY stantial. Hegel’s definition of form as The idea that the voice never acts cor¬ rectly unless controlled by direct effort bear it argued that the big tone must never restore it or gain the right use of be regarded as a fixed quantity. It is BEGINNING JUNE 15th it appears to sight is “The realiza .on m is a vagary due fo a lack of constructive come first and that the mezza voce will it if he be allowed to practice with full ble of uni;mited development, and matter of an idea.” The material form Not 'T'HIS Course is intended particularly for Soprano and Contralto s; for those who thinking. When there is no interference grow out of it. The large amount of voice. He must begin in the middle of ^ CQmes with ;ts exercise along right can be destroyed, but the idea cannot, teach as well as for those who sing. prevent it the voice responds ac- vocal wreckage strewn along the way the voice with a tone in which there is I believe that every possible facility should be accorded prospective students of thereforelerefore it is the more substantial.su s • curately and, automatically_^j-it- to tl conse])t seems to have little effect in destroying no resistance whatever, and it can be ' means to an end singing for investigating the merits of any teacher. The vocal i^"stj-ument is plastic: jna curacy ^ ^ ^ .g a fhis erroneous idea, notwithstanding every built only so fast as it can be done with- “ , , . , . , .. .. By all means ask any questions that may come to your mind. Full information instance of ruined voice can be traced to out developing resistance. And here and when combined with an artistic respondsiM.5r.mAo to the. idea or concept o which- . . rarely obtains. Almost invariably- of your figure? Why n< regarding my views and way of training voices will be mailed on request. by the exploitation of this fallacy. About should be corrected a fallacy that is in nature the result is that most wo My purpose in advertising this studio through The Etude is to spread widely To - attempt to produce there is resistance in the vocal organ. wear modish models which information that is continually proving of practical help to singers. mechanical directions without the guid- This resistance is usually referred to by the only possible way to ruin a voice is far too general acceptance, namely, that means of expressing human feeling—the give the lithe, natural lines All instruction is individual and is given by me personally. The number of e of the tone concept could never r the term “Throaty.” It is not confined to force it. That is, to attempt to secure in order to produce a big tone one must Art of Singing. demanded by the present students that can be admitted is necessarily limited. No applications for this course ■ - sympathetic tone. This direct the vocal chords but affects the power and compass at once by force, not use a thick register or mechanism. Ex- _ vogue? Why not have the can be received after June 10th. Instruction is based on clear logical lines that do control of the organism is‘s inherently auuand pharynx as well, thereby impairing the by growth. actly the opposite is the truth. When the very best, not only in style, not leave the student in doubt as to what to do. but in service and satisfac¬ fundamentally wrong and invariably ends quality of the tone. Resistance is what The number of instances which have tone is properly placed, or poised, with METHOD, The Student\ therefore, who is willing to do straight- tion, especially when you in failure. Everything involved in pro- makes Upper tones difficult. It is the come to our notice recently of splendid the right relation, or balance of the breath The term Method ;s very largely mis- can secure all this at a mod¬ ducing tone must be controlled by in- ^ voice teacher’s arch enemy. It is con- young voices sacrificed to ignorant haste and the vocal instrument, there is no con- Every teacher has his ideals, erate price? American direction, the tone concept, the mental stantjy confronting him. It arrives with is alarming, and yet the game goes sciousness whatever of resistance. In . A . . , . «• Lady Corsets represent all merrdy™ fact, the tone seems scarcely to touch the and these he tries to reproduce m his tone if you please, which is definite in lbe grst pup;i jn the morning and goes that is good in corsetry. k. NEW HAVEN, CONN. y throat. It is only by building the tone PaP‘ls- 15 safe t0 s.ay *at all teachers form and which results in definite ex- away with the last one in the evening, Just try a pair of American THE CAUSE. from which all tension, rigidity, interfer- succeed in the main in doing this. We Lady Corsets and note the pression. The vocal mechanism is acting They ail have it in different degrees, What is responsible for it? A lack of cnce, resistance, effort have been com- cannot imagine a teacher going on from improvement in your figure. correctly when it is responding auto¬ Wliere they get it is of no importance, refinement in the tone concept, or taste of pletely eliminated that the student may year to year without getting his pupils to Remember, too, American matically to the concept of the pure sing- s there and the teacher Lady Corsets are warranted the teacher, a desire to make a public hope to gain control of the real head produce the kind of tone he believes to be l never be pro- how to get rid of it. With interference to wear and not to rust. Such 1 showing and' demonstrate a method that voice. It is unfortunate that so few right. He will cast about until he finds D. A. CUPPINGER duced t any other way. out of the way the voice practically places itself. Here the sensitive ear is in evi¬ turns out artists in three months, to- singers ever find the real head voice. SOme way of getting what he wants, SUMMER TERM FOR SINGERS dence. If the teacher be lacking in this gether with an utter lack of knowledge They doubtless believe they have it when Whatever this may be it is his method, n to $75± THE MUSICAL SENSE. direction he will allow the resistance to of the voice and a total disregard of its in reality they are forcing the middle’ Therefore it is perfectly proper to say JUNE 29TH—AUGUST 1ST possibilities backed by ?. conscience of voice up. The result is the hard, un- tbat every man>s method is right because The development of any faculty comes continue, with the result that he never phenomenal elasticity, these must be held steady, unsympathetic tone so often heard jt produces what he wants it to produce, Private Lessons, Lectures, Recitals, Conferences through its proper exercise. The study will succeed in properly placing the accountable for the continuation of this when singers attempt to use the upper ]f thg product ;s bad> as ;s often the case, of mathematics develops the mathemati¬ tipper voice. The sluggish ear, the in¬ Author of SYSTEMATIC VOICE TRAINING calamity. voice. _ the man behind the method is wrong. dmelwem. cal sense. The study of philosophy de¬ ability to detect resistance in the tone is PRICE, ONE DOLLAR But the most discouraging feature of To the careful observer the mistake His unformed tastCj iack of artistjc sense velops the philosophical sense. The study responsible for most of the failures in voice teaching.—D. A. Clippincer. this “get rich quick” system is that it most often made in voice teaching is and nlusical judgment are such that crudi- of music develops the musical sense. It propagates itself. The victim knowing no striving for quantity at the expense of tjes jn tone and style do not offend his D. A. CLIPPINGERSendf-rC, CUi-r' ^Kimball Hall, Chicago is this musical sense which must direct THE OLD MASTERS. better way passes it along to others and quality. Multiplied instances cotne to ear_ and he a,]ows his pup;ls t0 bdieve music study, whether it be vocal or in- thus assists in bringing the profession mind of young singers with splendid they arg right His pupils ;n turn pass The old masters made musicianship _ strumental. The singer must form both into general disrepute. natural equipment who, after two or lhese th;ngs a]ong tQ Qthers and a kind the pitch and the quality of the vocal and a sensitive the basis of their musicians first and three years of this kind of training have of end]ess chain ;s estabiished. Verily, instrument as he uses it. It would be as teaching. They VOICE BUILDING. found their voices practically useless. there are wQre things than method futile to attempt to do this with the singing teachers second. Tosi, whose Singing teachers are numerous. Voice American enterprise, haste and hurry are sense of the mathematician and physicist book appeared in 1743, made the ability builders are scarce. To begin with, the not confined to business, but have entered as it would be for the artist to attempt to to read readily at sight the first step in solve the problems of Euclid with his the process of becoming a singer. To-day real voice builder must have such a re- into educational systems including the fined concept of tone quality that to teaching of singing. When a voice lesson NOTE-READING FOR SINGERS. knowledge of art. only a few ever take that step. In in¬ To one who has the artistic sense it is tonation he insisted that the pupil be able listen to a forced tone is quite out of becomes a “nervous spasm and the cry the question. He must have not only a is “put it over” it is time to become a definite entity, but one who has it not to distinguish clearly the difference be¬ the expense of is totally unable to comprehend its tween what he calls a major semitone and knowledge of the voice but that infinite thoughtful. Quantity patience which enableThimT when he has quality is time doubly lost, for jt requires Let us say that a carpenter knows all activity. This makes it impossible for the a minor semitone, the first of which is about how to build a house, and starts begun to build the voice in the right way, as much time to destroy a bad habit as it scientist and the artist to stand on com¬ five-ninths of a step and the second four- out in the morning to begin to do it. He to work carefully, conscientiously, and be does to acquire it. mon ground. The artist has so sensitized ninths of a step, and he thinks it nothing forgets his tool basket. He has his and refined that part of his nature which out of the ordinary to be able to sing satisfied to watch it grow. _ knowledge with him, but he has forgotten responds to beauty in all of its forms these intervals accurately. The musical his tools. The singer who cannot read that the slightest variation from his ideal standard set by the old masters for their RESISTANCE. INTERPRETATION. by note is in an equally unsatisfactory of tone quality, pitch, tone combination, pupils was high, and those preparing for The great enemy of the voice teacher Interpretation concerns itself with position. JBL,He can sing—that is tow s progression, proportion, form, etc., meets a career had daily lessons of an hour is resistance. Very few voices are free things, namely, what to do and how to do bas a vojce and the power to sing—but an instant mental protest. Ages of each for from six to eight years. from it. it. "What’’ is the first step in the proc- he is dependent upon some scientific study would not develop in the Scientific voice production in the It is a characteristic of all races. esSi “how” is the second. “What” has upon playing the music with ; least degree this part of one’s nature. modern sense was unknown to the mas- There is no way to avoid it, for singers. to do with the subject matter of art, instrument, ere he can use 1 ters of the seventeenth and eighteenth always have it in greater or less degree "how" lias to do with technic. To con- new pieces. If he is asked 3 take part tr • • V APPL*CATION- centuries. They depended upon a refined before they go to a voice teacher. Re- cern one’s self primarily with technic is in a duet or quartet, he is How is this artistic sense applied to musical sense to guide them and they pro- | sistance in the vocal mechanism always to become mechanically exact at the ex¬ barrassed, and though much drilled “by _ training a voice? It is called into action duced great singers. The human mental- subtracts from the tone, never adds to pense Qf feeling. ear,” is never to be depended upon. He at the first tone the student sings. The ity of to-day is little different from that it. If it be allowed to develop it.finally How often do we hear it said of a _e to_ get the. note or.._ the time wrong_0 Piano Tuning Pays tone must conform to certain mental de- of two centuries ago. To do the work reaches a point where the breath pressure s;nger, “She has a brilliant voice but sings and make trouble at one point or another, mands, among which are the following: as it should be done requires as ranch is not sufficient to make the organ vibrate w;diout feeling.” Which means that she He is, in other words “inefficient.” He 607 Is it musical? that is, is it round, full, time now as it did then: but the modern in the upper part of the compass and the bas developed the technical side of sing- cannot make the most of his vocal Tricot l| $3.50 ■n $5 to r.f°nant; sympathetic, im- rush demands that it be done quickly. top notes drop off one by one and those blg buj- has done little with its emotional gifts and training. He cannot meas- regular ^ Model^ and Tools. Diploma the reZL Lr ° ^ Plt,ch? °n^ To ‘his demand quick methods, remaining diminish in power. s;de. ure up to modern “efficiency” re- NILtS BRYANT MAKING TE ions Nodamn„r ^T, qUeS‘ sh°rt methods> condensed methods, scien- Some singers prefer to fill their hearers quirements. And yet to learn to read HABIT. w;th wonder and amazement by means by note is not a hard task. After the “I wish to thank yo ed.e-i, of tbTXL .me? atUCal kn°wl- tific ™thods, and a lot of other un- [k=ah8ehigh‘tasb|l7fiS0 hToneVay." Writer? Frelbook! Why do we V ' • methodical methods have been invented, A habit persevered in becomes stronger 0f technical display and leave the theory of notation has been mastered in 235 Art Institute, Battle Creek, Mich., U. S. A. whosefupper lonesTre h° .man^ ..s.in®ers with results that satisfy only the in- rather than weaker, and if the habit of deeper feelings untouched, but one tires a few weeks’ intelligent study, it is simply CJ We will send, upon request, free catalog, resisting the tone in the throat be allowed quickly of this type of singer. Human a matter of applying the knowledge showing American Lady Corset models, de¬ signed for all lypes of figures. Address f lacyk aonfd 7S VT ^pSSTon"dTtSS to continue it means one of two things; nature demands something more than gained, of practice. Every singer not a either a very had and a very short lived technic. Technic may astonish but it ready note-reader, should force himself American Lady Corset Company, Dept. A, Detroit, Mich. ZABEL BROTHERS voice, or going back and starting the never starts the sympathetic tear. to sustain a melody unaided by an instru- continue because they do not ^ ™sical mentality the secondary consider- process in the right way and doing the The "what” of interpretation means the rnent, against another voice, or another work over, and this often requires more development of the artistic sense. This part played on an instrument. He should MUSIC PRINTERS and ENGRAVERS either the ear of the singer or that ofhf, y0"’ a hP°Lthesis which is exactly*’ Send for Itemized Price List and Samples time than would have been necessary to calls for sound musicianship, a compre- take every opportunity to sing in “parts” do it correctly the first time. hensive grasp of the meaning of life, a and always without accompaniment, if Organ Repertoire COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. teacher may be, if he lacks that refined broad sympathy, a deep emotional nature, possible. Let him often choose the Compiled by PRESTON WARE OREM taste which instantly detects a defect in Chopin had that reverential worship RESTORING THE VOICE. a quick imagination, and a mind that “inner” parts, or exchange parts in two- tone quality, Ifhe is worthlessworthless^s as archera teacher. 8 ** ?h',ch characterized the Price, $1.50 On the other hand, we know masters of tlle middle ages, but in «- Can voices such as those mentioned he tends strongly towards all that makes for part music. If one wishes to learn a for- Tlie chief object in this compilation has been inted of MUSIC s. restored? In most instances yes, if both culture and refinement. . e.gn language, perhaps the best plan is to to cover the ground as widely and thoroughly I TO MUSIC MANUSCRIPT WRITERS .. teachers who have no patience with !£, preEsl0n and bearing he was more simply as possible, incorporating many novelties and :rs of any kind' THE BENSINGER RAPID DUPLICATOR will make 2, 10, 2C teacher and pupil have sufficient patience. To sing with intent, purpose design, go among those who speak nothing else called scientific method? but whot m°dern and less ecstatic' As for th7 irl o CS?af!nt0itnt ?nVl AaII.OO* wit but it means stopping completely all loud imagination, is the result of endless at- and dwell there for a time. So if one artistic sense is so refined that * j S° art was for him. a high and holy found in other collections,^composers of all mands absolute purity of tone r ' a™cta,10n- Like them, he was P^ singing. A voice can never be correctly tempts. No one does it m the beginning, wishes to read readily by note he mus schools being represented. built in the first place, norlor can it beDe re- Tojo expresscaijicsj a feehngjully, -----and accurately,------, instantly-. take up , new music and smg it THEODORE PRESSER CO:, Philadelphia,Pa. E ETUDE when addressing our advertisers. sequently their pupils sing with perfect e,ection for and honored “ pertect with devout piety.—Franz Liszt. stored by singing full v ce. To sing with like singing scales rapidly, is the result without the aid of an instrument. ■I 461 THE ETUDE 460 THE ETUDE VOLUNTEER VERSUS PAID A carefully selected and properly remember that he was then so blind that CHORUS. trained paid chorus is so far superior to he commenced his address with his back brought closer together in the way of , , r „nillnf„pr run:r the average volunteer chorus in tone qual- to the audience, whereupon the late Dr. height and not in depth. Although this Are the days of the volunteer choir ^ intelligent phrasingi clear E. H. Turpin, one of my masters for the Church Organs past; especially in• “^large «nesr^it enundation and all that tends fine organ, a musician of somewhat generous organ is built upon the old fashione t0 Latest Approved Methods, Highest ventil system, there is still left plenty o Austin 0: depends, perhaps, on whether the: U1UJU1church , , , rgans —r-- - . - . . , church singing, that ...d church- congrega-. „ „ .proportions, literally took Macfarren s Grade Only. Established 1827 space for the introduction of the neces¬ has a sufficient number ot young people t;Qn wou]d want any other kind of a diminutive frame into his long G A thoroughly modern two-manual l sary thumb pistons underneath each key¬ in it from which to draw who live close choir Qr be satisfied with the 0id order gently turned him round to the correct meat of our make—in use less than one 5 board. The designer, however, of this key¬ by and can use the choir to further their of things after it had been educated to position. With the exception of Mdlle. for sale at a bargain. Built for exhi HE mammoth Panama T . r— -~A- . - - Ungher turning the deaf Beethoven purposes. Excellent opportunity. board was evidently well acquainted with Exposition organ—11 i social ends apart from the musical ad- the higher standard, round at the first performance of his HOOK & HASTINGS CO. the elementary and essential requirements stops—now under con¬ vantages, or whether like many of the Mam Office: Kendal Green, Mass. '- BoslcD Choral Symphony to see the applause he of organ playing and very wisely saved struction. large city churches whose congregations • could not hear, I know of no equally and space in the right direction, without inter¬ Other notable work in are scattered over various parts of the similarly pathetic incident in musical his¬ fering with the player’s freedom to use progress including large city through changing conditions, the The Modern Organ Keyboard his fingers and wrist as he would natur¬ church finds its supply of young people tory. four manual for St. Clem¬ Dr. Orlando A. Mansfield. Steere Organs ally wish to do on the pianoforte. Owing, at hand so limited that it has to draw By EDWIN H. LEMARE ents, Philadelphia. therefore, to this saving in height, it is Contracts signed since them from all parts of the city and some¬ even possible on this organ to “thumb January this year show the times even away from their own churches. Since the order of Pope Pius X, the A PROGRAM OF FRENCH ORGAN Recently I urged a reform on the chords—owing to the knuckles being Second hand organs for sale from the swell down to the great,—the highest favor for Austin Tn such cases they are attracted by the Gregorian chant has been largely ae- Specifications and ptices on request important question of organ touch,* and wedged up against the overhanging row* MUSIC. latter here being the lowest row. Free tone and Austin console musical opportunity offered through the veloped in France. It is considered by it is gratifying to note that at least one If the slightest staccato wrist movement J. W. STEERE & SON ORGAN CO. wrist and finger movement are unhindered control. ra . , __j ,u„ rpnn_ many to be the most appropriate and Springfield, Mass. Established eminent English firm of organ builders is attempted, it must be attended by one prominence of the church and the repu- J service of the Cap¬ BY DR. W. C. CARL. on all manuals. The Guilmant Caprice Illustrated information tation of its choirmaster for giving good - v has successfully adopted the suggestions of two results,—either “smudge of tone” olic Church, and is therefore universally (no doubt conceived for such a key¬ concerning all details al¬ r the chance to earn enough to I ventured to make. Other firms, how¬ or damaged knuckles. The player there¬ music, or me cnance m - used. At the conservatoire, at the Schola France, as a country, has never en- board), and hundreds of other works ways immediately avail¬ ever, still retain the fatal and injurious fore can never retain for any length of pay for their lessons. Cantorum, and the school over which couraged the playing of transcriptions where ample key space is necessary for able to those interested. spring key; and I fear that they will time the natural and correct position of If churches have to rely upon getting M Gigout presides as well as wjth the f°r the organ. Guilmant frequently said, their correct performance, can be played a choir in this way, made up largely of great artists themselveSi especial care “There is plenty of good music written Church Organs continue to do so until organists realize the fingers and wrist, which have so fre¬ BUILT BY as originally intended; and even at a far vocal students paying from one to three and thought have been expetlded upon it. for the instrument which should be used that these springs are a serious barrier quently to be contorted in the vain attempt greater speed if desired. Such work as dollars a lesson for private lessons and The music of Palestrina and the early ln preference to anything else. He added, Hutchings Organ Co., Boston, Mass. to further technical advancement and to obtain a clear and distinct touch. Let the Widor Toccata in F can be played Austin Organ Co. paying carfare as well, they should by Italjan writers, together with the Grego- however, “that certain pieces lend them- point out their convictions to these organ me give one example. Recently, during a 165 WOODLAND ST. clearly and as staccato as wished with¬ all means pay them. dan chant, form the basis of the music selves readily to the organ and should builders. recital I gave in Germany; I had to play out having, as a vain endeavor, to try HARTFORD, CONNECTICUT There is a time, however, when even employed in the churches to-day. Every be played. Several of these he tran- In recent years, however, another bar¬ the Caprice in Bb of Guilmant on an and play them from the arm, with the student with the most glorious voice organist is drilled on the accompaniment scribed and published. Conditions have rier to artistic organ playing has been organ with greatly overlapping keyboards.' paving any price for lessons but lacking o{ the Gregorian chant from the first materially changed all this in recent years established, viz.: the exaggerated form Every organist knows that this com¬ straightened fingers. I have recently transcribed and para¬ in* experience, sight reading, etc., if he iessons jn harmony, and in consequence and with the modern organ of to-day of overlapping keyboards. This arrange¬ position is a noted example of “quick phrased some of the great studies of 1^*1 The Guilmant desires that experience should gladly give js absolutely en rapport and familiar new possibilities have opened whereby ment is really a snare which as yet is change work” from one manual to an¬ Chopin; but how it will be possible to his voice and time without recompense with the different forms and the develop- ma"y of ‘he Rreat orchestral works, not recognized, even by some of our best other. I found that it was practically To hear the service accom- well as those written for other instru- play the “Black Note Study” (which Organ School until he has arrived at the point when .. . _ organ players. impossible on this organ (as, alas, on Franck, Guil- ments can be played with magnificent makes a most fascinating organ number) he is worth more to the choir than the panied by such masters The essentials of good piano or good many others) to play the Caprice at a William C. Carl, Mus. Doc., Widor, Dubois, Gigout, Bonnet or effect. It would therefore not be wise on some of our modern cramped key¬ choir is to him. organ technique are a perfectly free reasonably fair tempo for the reason that A choirmaster can make an appeal for Vierne is an education in itself. Most to ignore them, but they should not be boards I know not. Not only is this movement of the fingers and the wrist. most of the chords contained black keys; a good grade of voices by advertising in unfortunately since the separation be- used to the exclusion of original works barrier set up against the rendering of Rapid and free finger and wrist move¬ and to free the knuckles from the over¬ 25 Students now holding N.Y. the local paper somewhat as follows: tween the Church and State, the build- for the organ. Among those especially ®rxmtai»rljnnlofQII)urrl} UtiHtr pure and legitimate organ music; but it ments have already been greatly affected hanging row, it was necessary to bring positions ruDENTS OF THE VOICE. WHILE PUR- ing of new organs, as well as the re- recommended and obtainable m this coun¬ A Training School for Organists. STUDENTS OF THE VOICE. WHILE PUR- Choirmasters and Choristers by the fatal spring, to which is now add¬ the hands back towards the body, and is far greater when orchestral works are ting_i_Li_i- their studies.Putins with aq uipwview totn becoming pairing of many of those already placed trY maY be mentioned . Students aided in securing positions __ _ if expert ed lack of space owing to the over-hang¬ then for them to travel in a semi-circle considered. The Finale, for instance, of church solotstR and fcel/ffie^nee^o^expe^ Jr> tbe churches. has been largely re- Marche Hymenee .Saint-Saens Headquarters, 90 Trinity Place. New York Send for Catalogue ence can uumin that experience in exchange FELIX LAM0ND, Director ing keyboard. My further experience to the row above, and vice versa. the “William . Tell” Overture is impos¬ for their services by applying to Mr. Blank, Urded. Previously the salaries of the (Guilmant) sible,—if it be the desire of the performer Organist of St. Matthew’s- Church. Daily training in the Liturgy and Music of the during the last two years assures me that 44 WEST 12th ST., NEW YORK organist, which have always been small, 'The Little Shepherd .Debussy -• -t! ^1-LCl in r, Vnr rvnrtlnnlorc orlrlraco Th to play it cleanly and at a good speed. such keyboards should be condemned for If the church will pay two or three ex¬ were paid by the State. Now that the (Choisnel) fen, ■v Schoo 3 Musk (The section in Qt minor is hopeless.) 14 W. 12 :w York City the following reasons: perienced readers on a part a small sum churches are obliged to do it, they have Solitude .Godard (Guilmant) I can quote many other well-known each and then augment to as many as been largely reduced and so much so Three Movements from Psaltn CL, One reason why the keyboards have i\z^zz3 CARL BARCKHOFF been brought closer and closer together works, but I trust these will suffice to wanted from vocal students needing ex¬ some of the best organists have given the Saint-Saens (Jas. H. Rogers) perience, it is possible to get together a |Jg_..small sums received to charity. It is Lasf SJggp . {hg y%rgin .Massenet has been owing to the delusion that prove my contentions. BUILDER OF . chorus choir of a choice material that doubtful if any other country such (Westbrook) GEO. KILGEN & SON “thumbing” would be made easier by so There is yet another matter in connec¬ o sing almost any church music doing; but instead of being made easier tion with the organ keyboard which calls Church Organs and attention are bestowed on the Adagio (Oeuve Posthume).Gounod accompaniment of the service as in (Renaud) Pipe Organ Builders by a greater overlapping of keyboards, it for immediate reform, viz:—The irregu¬ AND written. France. Not only are they scholarly Lg Cygng ... Saint-Saens (Guilmant) has in reality been made much more diffi¬ When the thumb of either hand had lar “spacing” and thickness of the black THE ONLY WAY. to be placed on a black key the manoeuvre keys. This question is of great impor¬ Self Playing Instruments but absolutely interesting and artistic. Romance .Lalo (Guilmant) cult. We can dismiss the idea of the pos¬ Those receiving pay will in time pass was even more difficult and entailed tance when we realize the illusive “light¬ To a large extent, electric motors are Berceuse et Du() ....Bizet (Guilmant) sibility of “thumbing” on two rows below, Over 3000 Barckhoff organs in use on to something better if they work to ___miPJj I greater loss of time in transit. I always ness” and the absence of a top resistance on unknown quantity. At Notre Dame Elegig .Massenet (d’Aubel) as only a few odd notes here and there which testify to their Superiority that end, and the more faithful and ex- elgbt men are required to blow the organ, aim—as I trust do all my fellow students the modern pneumatic or electric spring Funeral March of a Marionette, are ever possible. As a matter of fact, and Durability in Construction, petdenced volunteers can be advanced to qq questioning M. Vierne recently as M. P. MOLLER PIPE ORGANS in the art—at clearness and distinctness Gounod (S P. Warrf.n) the thumb extends sufficiently below the key. The reader will note that the spacing Workmanship and SweetnessofTone a paid place. Churches can only raise b0 wby an e]ectric motor had not been of touch, without adopting the grossly Vision de Jeanne d’Arc.Gounod rest of the hand to enable its use with on most modern organ keyboards is greater ■ the standard of efficiency of their choirs substituted, he replied, “Things move exaggerated “staccato style.” On some between the C# and D# than between the BASIC CITY VIRGINIA (Deslandres) the greatest ease, even when playing on occasions I have been compelled to by some such method; by getting the stow]y jn France. In America the G# and A#, the smallest of all usually Andante, from Quartet .Debussy the old keyboards, where there was no change several pieces on a programme right people and paying them. It cbange, I presume, could be effected at . being between the F# and Gif. iCtay I (Guilmant) extension whatever of the naturals over rather than to smudge certain passages, is as unreasonable to expect a singer to once> whik here it would be necessary Medimign .\TmassenetMassenet HAGERSTOWN, MD. the row beneath. “Thumbing” is a trick, or take a chance of injuring my knuckles therefore respectfully call the attention of the_0RGAN POWER CO. give without compensation his time ana to (ijscuss it for ten years. At i^a c HARTFORD, CONN. (Silver) and to utilize it successfully more knack on the usual sharp edges of the over¬ our key makers to this defect and suggest talent, that has perhaps been bought at Trinite, where the men are still retained Rgvgrig du Sg{y (Alger{an Suite), Manufacture more organ is required than anything else. It cer¬ hanging manual. Often it has been that these particular keys (in view of the a high price, as for a tradesman to give tbe reply was. It is impossible to make Saint-Saens (Guil tainly has been made no easier by the necessary to call in the assistance of the unfortunate reversal of the piano touch all the oCher concern? the goods he bought to sell for a living. tbe change; it has been in the family _ . March s™,-SAi«s“Oueen (gof ™Sheba™ > ™ Bennett Organ Co. on the organ) be made somewhat nar¬ If an experienced singer chooses to vol- f0r years—it is their inheritance. Should 'Gounod (Sul further shortening of the distance hori¬ organ tuner who, with sand paper in gether. <5ver sWequip- Gounod (Sulze) ORGAN BUILDERS rower so as to allow the second or the unteer, that is commendable and should tbe motor be installed, their occupation zontally between one row and another. hand, has smoothed off some of the dan¬ Prelude du Deluge.Saint-Saens ger overhead. be appreciated. There may be many eager would be lost, and what would they do? We can therefore dismiss as of no im¬ first finger—of average size—more room (Guilmant) Hie organs we bu Taking it all around, the most comfort¬ when it has to strike a natural in between to volunteer, whose voices are really not How the old world clings to tradition! as skill and it portance the first supposed advantage. Marche Solennelle de Procession. able and practicable keyboard on which two sharps. GEORGE W, WESTERFIELD, 264 Virginia'An worth paying for. It is like the woman __ The second advantage claimed (par¬ Gounod (Prout) who sang at a revival meeting and said _ ticularly with four manuals) is that the I have ever played is the one in the great Everything of course depends upon the JAMES TOPP, 613 StVinway’ HaU BIdg.. 64 E. Cavaille-Coll organ in the Albert Hall, Buren St., Chicago. III. upon giving her testimony, that, “when MACFARREN S AFFLIC Adagio (3d Symphony)_Saint-Saens -THE “GEM”- upper rows are brought nearer to the ambition of the individual organist If (Bernard) . Sheffield, of which I give a sketch. organists in general are content to put she found she had a voice she decided to The present year marks the centenary player than hitherto, and there is conse¬ j—ESTEY CHURCH ORGANS- give it to the Lord” whereupon a gentle- of the great English musician, Sir George Musette en Rondeau .. .Rameau (Carl) Church Organ Pedal quently less distance to'cover when the up with these obvious drawbacks, or fail Attachment for Pianos to discover them, it will be most unfor Estey standard maintained. man who knew something about singing, Macfarren, formerly Professor of Music - arm is raised or lowered from one Maximum facilities. in quoting her remarked, “But, oh! if she in the University of. Cambridge, and prin- Enjoy Organ Practice in Your Own Home tunate for the art of organ playing. I Highest grade of product. INFORMATION UPON REQUEST manual to another. This, of course, had only had it cultivated before doing cipal of the Royal Academy of Music It is best not to trust too much fear, however that as in the case of the Pioneers and leaders always, 111 nau u cumvaicu uciutc Wffi ------best not to would be logical if all things were equal; If X cLXXThaXcan" afford London, the composer of the fine and signs, hut rather to look through the sign SYRACUSE CHURCH ORGAN CO. anuquated, useless and impossible “pump- o stoP Bction “d wonderful reedlef SYRACUSE, N. Y. but unfortunately they are not. In the Oboe, Saxophone, Clarinet, etc. to do so, and most of them can if they undeservedly neglected oratorio, St. John to its meaning, as determined not only handle” swell pedal (which is, unfortun- ESTEY ORGAN CO., BraltUbora, Vermont, U. S. 1 first place free wrist movement js not ately still to be found in this country) wish, would make it a rule to pay at least the Baptist, and many other important by the signs with which if is combined possible when playing chords on the black a few on a part a little more than their choral, orchestral and operatic works, but by the composition itself. Yet we we may not hope for an immediate im¬ keys—or at least when the thumb has provement in regard to the above. OrgTn carfare, they would find it to be a good His vision was defective from childhood, must not undervalue the mechanical aids PIPE ORGANS “ K- to be placed on a black key of such budders really shouW not be our edlfca_ investment in results. Most choir sing- and by 1870 he was totally blind. Though that it is the office of the competent ers expect only enough compensation to not an organist, he was a fine writer for editor to furnish. As Schumann says tors although in many ways they have The Hall Organ Co. Our Instruments comprise all features * "Modern Organ Touch,” by Edwin n cover the cost of their lessons or to help the instrument. I was once privileged to Music would indeed he a miserable art it which are of real value. Many years of prac¬ Leraare. Musical Opinion, February, 1912 been—and so long as there is no protect New Haven, Conn. pay for them and anv church is to be he present when he addressed the sue- it were able to describe only by sounds tical experience. Write for specifications. ♦Even when the Angers are bent to thei against obviously ill-advised measure Makers of natural position for playing, the thumb i commended for encouraging them in an cessfulCCShlUl candidatesWilUiuucv... -for die- diplomasr - jQf _without language and symbols. -Mary at least an Inch further back towards th Modern EMMONS HOWARD, Westfield, Mass. fail to maintain £ pipe organ: the English College of Organists, and I Venable. body, and cannot be extended forward t position we have already made for our object so worthy. a black key unless the Angers go with it. will also be noticed that the manuals are DISTINGUISHED for ARTISTIC VOICING selves in other respects. DIGNIFIED AND CHURCHLY. J 463 THE ETUDE 462 THE ETUDE Last of all we employ the first finger, The Fairies’ Reunion the correct manipulation of which some- VIOUNS times causes more trouble than the fourth. FOR ALLall playersPLAYERS By JESSICA MOORE SUMMER READING The first finger would naturally fall near ) Student* Oulfi up NEW! Stage Decoration.—Cover the walls to celebrate c e-union of the to the second finger, but to stop the note *8^10 with dark blue cheese cloth, on which has fairy clan, Master Lessons in Pianoforte B its tip must be drawn backward, as in * Real Old Violins, $40 up Analysis of Mozart’s been pasted, near the ceiling, small silver All. Playing the action of folding up the finger, till By E. M. BOWMAN stars. Growing or artificial palms and Hail b Queen! its tip stands at the distance of a whole The most important steps for Pianoforte Sonatas plants scattered about will add to the Queen. tone from the second finger. To allow (With a description of some of the carious forms) both the student and the teachef n c changing and Easy Payt •. effect. Gilt throne at back of the stage. Thank you, dear friends, you all know are the first steps. An eminent the first finger perfect freedom of action FRErX Booklet. Best method, of pianoforte teacher has outlined ti» by Time, Midnight. Place, Fairyland. that our life is just one round of pleasure. most modern thought in „ia:„ the pupil must bear in mind that, first, Characters. (May it always be so.) When we crave study in this wholesome and stlmu° foremost, and all the time, the violin for per,on use’ JANET SALSBURY lating book. Queen Fairy Land (White lace gown, for food a luscious grape satisfies our This valuable pedagogic work con neck must never be grasped tightly, that A work of great interest and value to the gold s, long gilt staff). ■ appetite. Should our throats become sists of a series of lessons in tffl the instrument must be chiefly supported teacher and student. form of ’'Letters from a Musician tl Elf of the Woods (Short brown dress, parched, the dew-drop clinging lovingly His Nephew, giving the. essentials FIRST EXERCISES IN FINGERING the nut and the first exercise may be by the thumb at or near its middle joint, A systematic and concise analysis is given yellow stockings and shoes, red bow in to a rose appeases the thirst, and when of a course of study in artistic ON THE VIOLIN. practiced very slowly, employing short and that the side of the first finger, at the Virtuoso School of each of the 22 Sonatas. hair). our bodies are tired of refreshment and pianoforte playing, self-helps, shori cuts and vital suggestions for th» clean strokes with the upper third part of part between its second and third joints, Ovide Musin’s of Violin Price 50 cents Rainbow Chorus (Boys and girls dressed entertainment we curl in a buttercup and guidance of the student, the teacher BY ARCHIBALD ORMISTON. the bow and making a distinct pause after should bear but not press against the neck in Scarlet, Violet, Hazel, Green, Orange, dream of all things beautiful. the artist, the parent and the edu each note. near to the nut. If any tendency to draw d a,Th« HIGHESTSCHOOL of violin Blue, Pink). All. In all violin tutors, so far as the writer back the whole hand when drawing back CLAYTON F. SUMMY CO. Gnomes (Policemen’s uniforms). Hail to our Queen! is aware, the first exercises in fingering No. I. the tip of the finger to its proper location SUMMER TERM Publishers (After an overture for piano solo, such Elf of the Wood. Imaginary Biographical Letters make the first the leading or guiding is shown, it is advisable to practice the Instruc¬ 64 E, Van Buren St., Chicago as Queen of the Fairies, by S. Smith, the Your Majesty, with your permission, finger of the others; also for quite a action of the finger in the following tion given I Dealers in music of the Better Class curtain rises disclosing a scene in Fairy- Miss Scarlet will render a song written number of exercises the fourth finger is manner: by this I id ALICE CHAPIN land at Midnight. The Chorus is discov- especially for this occasion, seldom, if at all, employed. After nearly Without sounding the notes let the World Re- ered artistically grouped together.) Queen. Suppose the little friend to whom you desire to- give a gift were thirty years’ experience as a teacher I am pupil, after adjusting the hand to its nowned Opening Chorus: Dancing Fairies, I shall be delighted to hear her. wake up some morning and fiuu strongly of opinion that this method of correct position in relation to the nut, Virtuoso | NEW COMPOSITIONS Spaulding Miss Scarlet: Fairy Queen...Spaulding letters addressed to her from Bach Handel. Haydn, Mozart. Beethoven’ beginning the study of fingering is the place the third, second and first finger in the AU- For Piano By J. R. MORRIS (After the music has ceased twelve Queen. Rossini. Moscheles, Schubert, Beri tips near to each other on the string, then, chief reason why so many pupils after THENTIC 1 Swing Song ... Grade 3 o’clock strikes. Elf of the Wood (After song.) lioz, Mendelssohn. Chopin. Schu¬ working for a considerable time are still while holding the third and second fingers mann, Liszt and Wagner, wouldn’t style, tempos, fingering and bowing An Evening Song - “4 runsin-) That is splendid! {Applauds.) she be surprised? This fasclnatine unable to produce with ease and with firmly down, instruct him to relax the little book Is the next best thing At Eventide - “4 Elf of the Wood. Elf of.the Wood. certainty of intonation notes stopped by pressure of the first finger and move it of the Classical repertory ancient Berceuse - “4 and modern. Musin’s SPECIAL Melody in A Flat - “4 Twelve o’clock! Good morning, every¬ Your Majesty, won’t you favor us with the fourth finger. lightly backwards and forwards on the Prelude ... “ S body 1 . your favorite song? The following system has been devised string, being careful at each backward SYSTEM greatly lessens the time These are all excellent piano solos, admirable for teaching Chorus: Good Morning, Everybody! Queen. by the writer and has been used with movement to draw in the tip of the finger ordinarily required for technic and PRICE, 20c. EACH; 6 FOR $1.00, POSTPAID Spaulding Gladly. {Comes down front.) success for many years. The general as much as possible. With a little prac¬ bow control. Special SUMMER The next exercise introduces the em¬ tice, and as he acquires the knack of sup¬ Elf of the Wood. Queen: Queen of the Night.. .Spaulding Stories of Standard Teaching Pieces plan of the system will become apparent COURSE for Teachers and Profes¬ it&JandCvlalogs It’s time for beloved Queen to arrive. All. By EDWARD BAXTER PERRY as it is duly set forth, but the main idea ployment of the second finger, which porting the instrument almost entirely on sionals. Piano, Harmony, with emi¬ H. S. GORDON, 141NwEW36«“l All. (Applauding.) The little touch of ftomance, An¬ is to make the third finger, instead of should also fall in the same natural man¬ the thumb, he will find that he can easily nent teachers. Singing with Mme. ecdote and Educational Informa¬ the first, the factor which determines draw the tip of the finger even further Bless our Fairy Queen! {Trumpet Hail to our Queen! tion. which give zest to the lesson ner as the third, but care must be taken Ovide Musin, Coloratura Soprano. the position of the hand. The hand is ad¬ back than is required at present, and call is heard without. All stand in listen¬ (Queen resumes her seat on throne.) and happiness to the pupil, is si to observe that it falls so near to the Write for outline of Course of CORRE¬ plied by this captivating book.' justed at the outset so that the fingers without disturbing the location of the ing attitude.) Piano Solo: Clap Hands March, Mr. Perry's famous ' book. "De¬ third finger as to produce its note, C SPONDENCE, and THEMATIC CATA An Enticing Offer Elf of the Wood. scriptive Analyses of Pianofo close naturally over the fingerboard in sharp, a true semitone below D. Great other fingers. He will also discover that LOGUE of compositions and editions by 3 copies of the very latest music, Spaulding Compositions,” has helped and such a position as to form a perfect for a considerable time he must always The Queen’s call! (All execute a march maneuver or a spired thousands of teachers t attention must also be paid to the keep¬ OVIDE -MUSIN. pupils. The new work will pro.r fourth between the open string and the ing down of the fingers where indicated. remember to bend inward the tip of the Dormitories for limited number of students Each one a “HIT” All. calisthenic drill—at the option of the in School. Practice Unrestricted. CHAPERONAGE. Hurrah 1 even more useful because it deals third finger. The interval of a fourth first finger before placing it upon the sent to your home, Post Paid for 25 cts. _ . Stage Director. This can be made a very with pieces from the third to the Address REGISTRAR, 5FW. 76th St., New York Make your selection from the following: seventh grades. The surest way in (that is, the interval between the keynote string. Later on this action will be per¬ Piano Solo: Reviewing the Troops March pretty picture number if properly re- which to awaken the interest of a of the scale and the fourth tone in the formed unconsciously. The Wonderful World and You. Spaulding hearsed. After march all go back to their dull pupil is to place in his pos¬ Lover Bold. session a copy of this work, which scale, as from A to D) is one that ap¬ A Fool There Was. {hnter to time of music. Gnomes, original positions.) describes the pieces he plays—pieces peals very naturally to the ear, and is apparently blowing trumpets. They march Queen. like the gems from Grieg. Godard. FINE OLD VIOUNS After’ While. Nevin. Rubinstein. Sehytte and other excellent therefore for use in the left- Dreams of a Honeymoon. to front of stage, salute, turn, march Now, Elf of the woods, before we oart combers of immensely popul hand technique of the violin in which a On Easy Payments When I Get Married To-Day. direct to throne and take their places may we not hear from you with a song? correct ear plays so important a part. 30 Days Free Trial Send Coin or Money Order Price, $1.50 one on cither side of it. Enter Rainbow All Accuracy of intonation being a funda¬ THE POPULAR MUSIC AGENCY lore Sanpleased -with our values sisters and brothers in couples according Hurrah' European Reminiscences mental requisite in violin playing it is of riolin AT OUB EXPENSE-and no Park & Columbia Aves., Philadelphia «a ^bi^^o^play^the v^oHn to colors. They execute the same figure ' Elf of the Wood Musical and Otherwise the utmost importance that the first ex¬ By LOUIS C. ELSON — 120 PIECES 2Oct. Postpaid — and retire right and left of throne. With pleasure. {Sings.) ercises in fingering, in addition to train¬ Enter Queen, bowing and smiling _ The recollections of the vacath all Elf of the Wood.Spaulding tours of a musician in various cou ing the ear to recognize piusical intervals as she ascends the throne. Music ceases.) Free! Magnificent Queen. e^nfki Some the observations ai and appealing to the pupil’s understand¬ TtE COL UMBIACOL LECTION All. experiences of a musician durii Album-Catalog I certainly am very proud to be Queen SmSo8!1.0' his Investigations ing, should be of so simple a nature musical history in Europe, wiltt technically that their execution will Hail to our ^ s°_rnuch.real talent, and regret that the In a genial and witty style. li’e time, a balf-toi facilitate certainty of intonation. For the hour necessitates our immediate departure Illustrated. Price, S1.S0 (Standing.) primary exercises I utilize only one string romantic story ot^ ’^'postal brings Good night and good bye for one year. all to you FREE — no obligations. The Masters and Their Music and that the second. My reasons for CREMONA VIOUN SHOP pleasure to be with you again, and help By W. S. B. MATHEWS choosing this string are that next to the fourth, which would naturally fall near snieas esAtsstpSc^iopt! Curtain. Dept. B 59fi Chicago for Yf iBbs'oal literatu first it is the easiest to set in vibration to the third finger, but must be extended Here, as I am simply demonstrating ror musical clubs, classes and pi and that the beginner’s hand always feels about a semitone to stop the note E, an the principle of my system of first ex¬ Walter Jacobs, s?™°trlh Boston, Mass. Xe?J3tuden.ts' The work consis 8 The Farm House Piano tain, ™pa,rts' , Tbe first part co more comfortable when playing upon an interval of a whole tone above the note D ercises in fingering, only four exercises Evenin5!lateriaA, f°r Ten Music are given, to show how each finger is By C. W. FULLWOOD BinwrP&i r Glasses consisting inner string than when playing upon stopped by the third finger. If the violin ROOT VIOLINS tion^i)„hic?I„and Critical Annot either of the outer ones. is held correctly, the neck not allowed to employed, but in teaching an increased The successful farmer of to-day does Theodore Roosevelt , . lus?rstfnr fUll.y selected musical number of exercises is used at each stage. Hslai v eic” relating to Bac The first exercise consists in sounding sink into the fork, the thumb kept up¬ not mind spending money on his farm, his strenuous wnl h haS pomted °Ut |„ Beetv,«v^HaLdn' Mozart. Schubei the open string A alternately with its per¬ right and well forward, the wrist kept as As early as possible exercises are also Mendelssohn and Lis: He has discarded the old scythe for the provide the son 7 °7 ,nece8sarY & »s to fect fourth above—the note D. After straight as possible and the elbow brought given to be played legato, and after the modern reaper, the flail for the modern farmer, -tIl j and daughters of our cal Even! d part contain* Six Mui Withenni'i8rs or PrOK™n>8. prenar these notes are sung or played a few well to the right under the instrument, pupil is able to use his fingers with free¬ threshing-machine. He has even in some ) ■ , lndu«ments to stay on the Gottoehsfd care upon Brahms. Grle times I experience no difficulty in getting little if any difficulty will be experienced dom and certainty when employed in con¬ cases discarded the horse for the motor. £m. ln®tead of going into the city A?tW amk' .and Mason. MncDowe Mist Mary E. Werner, 22 Bing Beach a,nd Mrs- H. «. pupils to recognize and produce the in¬ in extending the fourth finger to stop the secutive order, exercises containing in¬ He has learnt that the enormous increase . 7 .beautiful tone of a modern erewsief t^rmenka' Jensen and Pa terval. In fact the majority of pupils note E at its requisite pitch. tervals which require the fingers to fol¬ in returns which follow scientific methods PI?“° Wl11 materially aid in this It sky and 5.Yb,rV?teln and Tchaikoi Amed«nm cellaneous programs seem to find it easier ot stop a perfect low each other in any order are given. in farming repay a hundredfold the ™®ht even be tbe nucleus for a home American composers. A PRIMER OF FACTS ABOUT MUSIC fourth, when the lower note is an open Some of the exercises are then trans¬ By M. O. EVANS Price, 50 Cents wasteful pseudo-economy of former days. orcbestra °f the kind that is so frenuentl Price, Cloth-bound, $1.50 string, than a true major second. Now ferred to the third string, and further ex¬ But all too often the improvements *ound and so much appreciated Anecdotes of Great Musicians let the pupil, while holding the violin ercises in two strings increase the interest stop at the door of the house. In the Eur°Pe- The problem of keeoinv th By W. FRANCIS GATES correctly, sound the open string A, then of the studies. The fourth string is the >n being conveyed kitchen the farmer’s wife has no labor- sons and daughters on the farm • colieYtY™6' / o!)iab|e and interestli place the tip of the third finger uprightly next to be utilized, and last of all the saving devices, and in the parlor the so much due to the attrari,- „ ? ”0t anecdote 0/i00 well-authentlcaf on the same string, allowing the finger to first. During this period the pupil js in¬ farmer’s daughter is expected to thump life as to the dullness of °f ,C'ty ers and !ir£ Great Composers. Pla tafnfne f Yfers' related in an ente fall as in the natural action of closing the structed, before beginning to play any music out of an ancient square relic Music can be as beautiful in tb" 7 ‘fe’ YaliiaT^oStZle,i and embodying mu< ' aiuable musical Information. hand. If the note produced be either too exercise, always to determine the correct NEUNER VIOLINS whose metallic tones have done strident as anywhere else, and om-P u Colln,try nigh or too low instruct him not to cor¬ location of the hand by playing, or duty from the time of her great-grand- been appreciated an in t C arm ^as Lash’s Lip Relief rect the intonation by moving the finger, percussing, the note stopped by the third mother Oh yes, you can get some music modern piano will be .,n'a ,e world8 pr;ce $25.00 ?’5,?n®nt tor Sore LiPa' Tender Lips, Cracks, but to slide the hand backwards or for¬ finger at the interval of a perfect fourth d Chafing. Especially fine for horn players out of it still, just as you could cut your profitable for the home " • f° ,e as above the open string. As soon as the re don’t consider a violin sold until the cus- d violinists sore necks. The best skin remedy. wards on the neck of the violin until the ,mer is satisfied in every particular. Catalog meagre crops with the old scythe, but why in a manure-spreader f 'nvestment Price, 25 cents third finger, by the mere action of letting pupil fully realizes that the third finger : fine Violins and Cellos sent free. E. R. LASH, Druggist, Athens, Ohio should not the house share in the im- It will keep the bovs and • )C farm-Iand- ■t fall like a little hammer, strikes the is the keynote of the hand, his other MUSICIANS’ SUPPLY CO. provements of the farm? belong. yS S‘J s wbere tbey i7,I^5ODORE pkesser CO. fingers begin to locate their notes with D Lagra e Stree , Mas! Please mention THE ETUDE when addressing 12 CHES™UT ST., PHILADELPHIA, note D dead in tune. The hand will now be located at its correct distance from ease and certainty. Please mention THE ETUDE when addressing THE ETUDE THE ETUDE 465 THE IMPORTANCE OF CARE- __ight have been marked for paying more attention to having their violin compositions edited by good violin- Answers to Correspondents FULLY EDITED BOWINGS. any instrument.—i rA--- —= occasions a part For Nervous Women A thoroughly educated violinist, who wil1 * f°und’ in sKucb mU,S1C’ H. G. R.—De Beriot’s First Concerto duced in the third position. This pro- The violin student who wishes to ad¬ General Knowledge knows his art, can mark his own bow- correcdy bowed’ probaby wbRh C°”' a very popular concert piece. It con- duces the note A as a harmonic, two Horsford’s A< ! Phosphate quiets vance in his art should make it a point ings, or play his parrs without marking p°f‘’? a competent v.olin.st The injury tains effective passages for double octaves above the first A above the staff, the nerves, relieves nausea and head¬ to buy only good editions which are cor¬ and Inspiration them, since from long study and exper- wb!ch's done by th,ese bad!y bowed par4s stopping in thirds, sixths and tenths, and The rest of the passage is produced in a ache, and induces, refreshing sleep rectly bowed and fingered, for by piay" ience he knows what combination of bow- beu aPparfnt ™hen 11 15 remembered considerable left hand pizzicato work. If similar manner. The half notes indicate Best of all tonics||r debility and ings is best calculated to express the 4hat th°usands of young violinists do ing such compositions he will gradually mistakes and disputed loss of appetite. learn the principles of applying the bow¬ can play the Kreutzer Etudes really the harmonics, phrases ofui theme compositcomposition being played. bttIe o4heF m«slcal wo[k than playing POINTS IN MUSIC well you ought to be able to master this ing in such a manner ag will best ex¬ The student, who has not IHvet RHDHbecome these P°Pular theatre orchestra and dance By LOUIS C. ELSON concerto. press the musical idea. In the case of grounded- •• in these■ fundamental- tal principles, compositions. It might be thougthought jjjj A book that tells you ^the^/whys” ; R. P. D.—I have not seen the work should play only violin partso which have as these compositions are mostly of but a violin student living in a locality where wherefores” in music. V e most distinguished of rican musical T. deM.—Wipe your violin off with a of the late Dr. Frederick Castle of Lowell, been carefully marked to the very last moderate difficulty, the bowing would not good teachers are not available, it would ities and educ>‘~- v-„ ...jluded in his All those feet -before you idred and one things silk handkerchief always after you have Ind., in which he describes a method of w l # detail, a- to “'vthe style ofut bowinguuwuig requiredicquireu be difficult. This, however, is not always be a good idea for him to mail the id teachers have finished playing. If you allow the rosin making the plates of the violin on the ticular nassave wt.r. n,P the case, since many rag-time compose composition being studied to some good 11 DUYchase any DlCtlM for, a Particular passage, where the down ---- *“». to accumulate month after month it will _same . plan as the sounding board of had Corns ~ and up bows should start, the number of tlons’ whlch form so large a Proportlon violinist to have the bowing and finger¬ Price, 31.25 he Pith of , e-tan. ing marked. Almost any violin teacher combine with the varnish of the violin piano. In a recent article in The Etude a- letTh* which nth wc nf are\t>,repa notes to be included in* slurs, etc If °* mus*c^ °ften offer very consider- Watch the feet that Miration to at.' read? do/*ne during his students days he studies only ab,e bowing difficulties, on account of would do this marking for the price of descriptive analyses of and form unsightly black patches, which to which you refer, in which I described \y be conlemplati cannot be removed with any of the patent a number of new inventions designed to purchase Partsparts which have been auso matmarked,kcu, nehe winwill tbe,r_ ptcu,lar rhythm, and syncopated a lesson or two, and it would be a great PIANO WORKS now trip lightly. All of gradually attain a knowledgeledue of the prin-nrin. effects- 1I onconcee showed one of these very encouragement to the pupil to know By EDWARD BAXTER PERRY cleaners, and which can only be removed improve the manufacture of violins, quite them had corns. and^th^pftflTus^to'avoidlTir'sele^Onl'ia^piano!00^ ciples underlying good bowingbowing, ' so ^thatthat difficult “rags” to a great violinist, who that his work was laid out correctly for There are many books giving the structural by scraping. The varnish of a violin can a number of additional plans might have ind formal analysis of great piano works, finish, while the mwrbr^oUhcpUno-3-'^ pa^rt Ia4er°n he will be able•• to apply- these couldC0l,ld play through the classic violin him. . ., .. ■ --i—ig the lines that Mr. be kept looking brilliant for centuries been mentioned 0ne is the making of But the owners learned of 8CC, but by far the most imp -■ -is slighted or Principles to music which has been badly rePertoirc> and it worried him a great Perry has w His work is a poetic, if the rosin is carefully wiped off. the belly with ribs like the ribs of ic, and historical analysis or descrip- Blue-jay. They applied it in ephemeitii'and^9eetlng.Uf Not^oUie . U-reaowned ia marked or not marked at alball. ' dealaeal Pumuntil he«e could figurehgi out the most mandolin only so neatly joined together PtVinor • .1 i . . - f'ffpf'tlVP wav fn nlnv it some of the greatest and best known a minute. There was no more Proper accent is the life and soul of effAective waY to play it. IS EVERY VIOLINIST A JUDGE M. Y.-To judge from the list of pieces that the joining can scarcely be seen, and The nntains seven of tl good violin playing, and in order to pro- A great many editions of standard OF VIOLIN TONE? tions of Beethoven, you send you arei playing music entirely the whole having the appearance of a pain. The corn was forgotten. duce it, it is very necessary that the up orchestral works are also vefy faulty as Practically all violinists bave a shad¬ m by Chopin, elevt too difficult for the amount of technical It is claimed that And in two days the corn came and down bows come on the proper notes. regards tbe markings of the bowings. In -h by Schubert, Rubinstein, work you have done. Play something /. Ft . ^ owy, intangible, “ideal” of violin tone, and Grieg, and Saint-SaSns. Playing the violin and other bowed in- conse ALPHABETICAL PRACTICE does POPULAR MUSIC INJURE * © RULES. TONE AND TOUCH? Accent prudently. Theo. Presser Co. Be prompt. Publications BY EDITH L. WINN. Count aloud. Don’t try to deceive the clock. Two pianists came to me for a summer Publisher’s Notes Employ every minute of the hour. Issued June, 1914 Any of our works sent on inspection to teacher., position in a hotel. I listened to each A Department of Information Regarding New Failure is temporary. upon request, at our usual large professional Le with much interest. The first had discounts. Use the number, net the title, j„ ordering. been for many years a student with a Educational Musical Works PIANO SOLOS Gr,d, Pr;C( very good pianist and teacher. She had before you begin. 11648 Lange (Flower Song, Souve¬ no definite ideas about accent. She never Indolence doesn’t belong here. nir No. 3) .G. L. Spaulding 2 .25 11646 Schumann’ (Happy Farmer, kept strict time in dance music. She Judiciously plan your work. Souvenir No. 1), was so afraid of forcing tone that she Keep at it. G. L. Spaulding 2 .25 MAKING A COMMUNITY 11650 Mozart. (Don Juan Minuet, nsed no tone. You could never hear the ing yellow for want of light and sun¬ Lose no time talking. NEW WORKS. Diplomas, Medals MUSICAL. Souvenir No. 5), second or third beat in a waltz. She knew shine. Be brave and ask for them and Memorize. G. L. Spaulding 2 .25 Advance of Publication Offers— and Program Forms THE CHILD’S PART. demand others, the library committee will 11695 Haydn (Andante, from ‘'Sur¬ all about tone-color, pedaling and expres¬ Never miss an opportunity to play prise Symphony,” Souve¬ June, 1914. r~ Speci sion, but she could not play popular music. Regular Off. Following is a list of the blank diploma What, pray, can Ethel and Rachel and be glad to provide more reading matter nir No. 9) . G. L. Spaulding 2 .25 forms which we carry in stock: publicly. 11698 Paderewski (Minuet a 1’An¬ Price Pru Edith and John do to make a community for you and your musical club. Look Once over the hard place, push onward. tique, Souvenir No. 13), She hated it. in fact. Wagner’s Music Dramas (2 vols.).. 7.00 3.0 Price over the magazine rack, do you see a The other applicant sat down at tne L’Agilite, Op. 20—F. Lecouppey. .. .75 .2 Course of Study Certificate.$0.10 rr usical! What do you suppose ? Give Plenty of practice plus persistence plus G. L. Spaulding 2 ,25 Musical Poems—Carl Senour. 1.00 .3 tl ree guesses while I count ten—oh, dear musical magazine? No, but you find a 11653 Czibulka (Winter Tales, piano and- began to play. At once I saw Musical Playing Cards .50 .2 Course of Study Diploma, 21 x 16 patience equals success. Souvenir No. 8), inches (Parchment ). 50 tre—how slow you are—Can’t think of a dozen or more on trades, and yet the G. L. Spaulding 2 25 that she was experienced. She worked Ten Five-Note Recreations—Mrs. Quit complaining. C. W. Krogmann .1.00 .3 Diploma Form, 21 x 16 inches 11649 Rubinstein (Melody in F, up to climaxes definitely, observed repeats, sc litary thing! Shame! Shame! dust-begrimed farmer, mechanic or en¬ Rise above criticism. Souvenir No. 4), Very Easiest Pieces for Four Hands .60 .2 (Parchment) .25 Now, first of all, they are to play and gineer loves music. Your playing or G. L. Spaulding 2 .25 anticipated rests and kept strict time in First Parlor Album for the Piano- Select always the best to study. 11635 With Fife and Drum, Op. Diploma Form, 21 x 16 inches. .15 si ig when asked. A child’s part is to singing is perhaps the sweetest part of True to your ideal means true to 297, No. 1-C. W. Kern 2 .40 the dance music. Moreover, she liked to New Album for Violin and Piano.. .5C Certificate of Award, 12 x 9 inches .10 11488 Away to the Fields, March, Chopin’s Polonaises .7E Dainty” J take part. Ethel and Rachel and Edith his day, and you should have your yourself. play; the waltz tempo was not only ex¬ New Reed Organ Volume.5C Certificate of Award, 12 x 9 inches .05 P. Renard 2 .25 The hostessis never at loss what to offer and John must simply march forward magazine, as he has his, at the town Unquiet mind—unquiet practice. 11489 Ding Dong, Waltz . P. Renard 2 .25 cellent, but she gave a short, sharp, crisp Rose Maiden, Cowen .7E Teacher’s Certificate, 11 x 8yZ inches .05 Wagner-Liszt Album . 1.0C the afternooncallerif theselittle“disks library. Your part in the community’s 11490 Let’s Be Jolly, Polka In addtion to the above we have had Vacations may be too prolonged. P. Renard 2 .25 impulse to it. A well-known pianist Education of the Music Teacher— of delight” are kept in the house. Thos. Tapper .l-o< manufactured for us for the present “Yes,” growth is as great as that of the trades¬ Waste no time on trash. 11636 Sweetheart Waltz, Op. 297, heard her and exclaimed, “That girl season, a Certificate of Merit, the reading No. 2.0. W. Kern 2% .40 New Anthem Collection .2f True lovers of light confections will “I will,” man—indeed, greater. So Ethel and ’Xamine your repertoire. 11637 Rustic Festivity, Op. 297, is worth two of the other one, for upon which is as follows: appreciate the delicate sweetness and Rachel and Edith and John do your best. Yield not to laziness. No. 3.0. W. Kern 2% .40 summer work. She knows all the popu¬ “On Sale” Returns CERTIFICATE OF MERIT. variety of flavors in Zealous for the best. 11638 A Merry Hunter Am I, Op. “I’m in practice.” Be real soldiers. Play hard, practice 297, No. 4. . . .0. W. Kern 2% .40 lar operas, has a wide experience in rou¬ and Settlements Awarded To Necco Wafers j When they can do that we know that hard, sing, read, get your lessons, turn 11491 May Dance, Schottische, tine, is a good sight reader, and has an Thousands of patrons of the Theo. P. Renard 2% .25 Glazed Paper Wrapper they are real soldiers of progress. When your back on the cheap and vulgar, be a FIND SOME ORCHESTRAL 11629 Happy Adventure, excellent tone.” The first girl will eclipse Presser Co. are preparing for the end of their school term. The return of ON they don’t do it we know that they are deT standard bearer for the best there is in INSTRUMENTS. S. E. Widener 2% .40 her in solos, hut knows nothing of en¬ Hub Wafers ’ se -ters and every one knows what becomes life—the love of beautiful music. My first is an exclamation. 11652 Thome (Simple Aveu, Souve¬ SALE music not desired and the settle¬ Transparent Paper Wrapper nir No. 7) .G. L. Spaulding 2% .25 semble playing. It is probable that in the of soldiers who run away. No! No! never My second is something to tie. 11647 Mendelssohn^ (Spring Song, ment of accounts is a part of their They add a new delight to the after¬ study of the Mendelssohn, Gade, Jads- Given this .. day of run away from your duty; it’s a solemn (O boe.) preparation. On June 1st every account noon tea, the kiddies’ party or the G. L. Spaulding 2% .25 sohn and other trios, the second girl on our books will receive a complete moreformal occasion. As an informal rite you must perform for the good of MUSICAL GAMES. 11697 Moszkowski (Serenata, Souv¬ statement of account, including items all, your part is to make the world more My first is a little girl’s name. enir No. 12), might fail in interest and application, in (City to be filled in.) between meal tidbit these toothsome TWO PLUS TWO ARE ONE. G. L. Spaulding 2% .25 both on regular monthly account and all sweets are immensely popular, beautiful because you are here with your My second is worn in her hair. other words, her taste for good literature The size of this is \V/2 x 14^, printed Players are seated on chairs. In front 11696 Schumann (Traumerei, Souv¬ items that have been sent out as ON (Clarinet.) enir No. 11), may have been somewhat perverted, but on excellent paper by the steel plate pro¬ is the leader and before her stands a G. L. Spaulding 2% .25 SALE music. The regular portion of the B“^Zi da> a,i’U' NEW ENGLAND I Then another part in making your com¬ the first girl also knew little of these account for the music actually purchased cess, illumined with a blue and gold seal. CONFECTIONERY COMPANY table; behind her is a large sheet or black¬ 11651 Dvorak (Humoresque, Sonve- We can sell these, engrossing included, munity musical is to have good music to My first comes from Japan. __ nir No. 6) .G. L. Spaulding 2% .25 works. She. however, must have known is, of course, due and payable immedi¬ Boston, Mass. board. On the sheet are composers’ 11435 In Good Company, March for $1.00 each. pk.y or sing. It must not tickle the senses My second is a sailor’s drink. ately. With regard to the return and pictures. These are cut in half from top H. Engelmann 2% .36 how to study these works. We can furnish the same gold or silver so much as appeal to the heart and mind My third is to love and fondle. 11436 In Good Company, Waltz, settlement for the ON SALE we will give to bottom, one half appears on the sheet, I took the second girl because she was medal for the present season which we — io don’t forget that dear old Beethoven (T rum pet.) ,, _ _ , „ H. Engelmann 2% .30 some simple directions here and also the other half is on the table. 11437 In Good Company, Schot¬ an expert “routinist.” draw attention to the more full explan¬ had during the past two years. Roman and Haydn and Mozart are as much tische .H. Engelmann 2% .30 The spirit of music, blindfolded, touches ation sent with the statement. _ finish gold or silver, substantial weight, alive to-day as the writers of the tinkling My whole is a Shakespeare heroine. 11438 In Good Company, Three engraving included; $4.00 for the gold one of the players with a wand, saying, , , s,j.eP .H. Engelmann 234 .30 (1) Return prepaid all ON SALE da ice tunes just off the press—and really, (Viola.) THE LIMITATIONS OF TOUCH. and $3.00 for the silver. We only carry “Arise thou, O student, 11439 In Good Company, Polka, music unused and not desired; a credit trtly, my dears, people the world over in stock the one design, the best value “Complete the sum. 11440 In Good Company, Gal'op?nn ’3° memorandum for the value will be sent lo\e to hear Beethoven and Haydn and My first and last for the amount spent that we can give. Two plus two are one!" BY J. ALFRED JOHNSTONE. with a statement showing the correct Mozart. They love the slow Minuets, the Is part of your ear. 11570 Eventide Repose.A. Sartorio 3^ 25 balance due us. Place the name and Our two blank program .forms, are used • The player goes to the table, picks up 11610 When Nature Sleeps, Noc- extensively at small concerts, recitals,-etc., da nty Allegros, the stately Andantes and (Drum.) address of the sender on every package half of a picture, goes to the sheet and Although the mechanism of the piano title pages in two colors, one reading, rollicking Rondos, for I have tried it 11690 Canzonetta V.Chaf." ifimlsa? 3 JSO returned. tries to find its mate. Two minutes are 11571 La Babillarde, Danse Fan- to the production of its tones seems simple “Concert Given By,” the other "Recital By on and I know—so don’t run away from My first is a relish. (2) Small packages of ON SALE allowed, and if he completes one picture tastique .A. Sartario 3% .40 enough, yet it is just at this point that the Pupils Of.” The inner pages. are the good old classic writers, the best is My second means “not loudly.” music should he returned by mail; larger in this time he may try another, and so many fanciful theorists invest the subject, blank upon which the program list is to adv mys good. (Piccolo.) FOUR HANDS packages by express or Parcel Post; still on until the time is up. 'If he fails, the 11685 Les Mnscadins. .Paul Wachs 4 .60 with much mysterious complexity. There¬ larger packages in a wooden box by he inserted by the teacher or school. We Then again your part in making a com- do not do this inserting but sell the blank spirit of music says: fore, at this starting point the student freight. The mail rate on sheet music mrnity more musical is a part some of us My first is a fish. OUR PIANO, EIGHT HANDS forms at a small price because they have “The time is done. 11552 Galop Marche.Lavignac 3 1.00 up to four lbs. is 2 oz. for one cent; the • neglect, you must not only play good My second is “in a short time.” should try to begin his investigations in as an attractive advertisement of The Etude Go, slothful one; rate above four lbs. is the regular Parcel music but must hear good music. Go to (Bassoon.) VIOLIN AND PIANO candid and matter-of-fact an attitude as if Post rate, varving from 5c to 12c for on the fourth page, at the low price of Thou hiowest not that 11660 Song.^The Evening star, 50c per 100. Samples on application. the best lectures and concerts that come lie were about to examine the construc¬ the first lb. and from lc to 12c for each Two plus two are one.” your way; never put the best aside be- My first is a counterpart. nns1 _ Wagner-Franz 3 .60 tion and use of any piece of every day additional 11). depending on the zone. The Those who fail take their place behind Summer cat se it is “so expensive” or “too classic.” My second is the lowest part in a musi¬ 11061 The Hour la Late, ‘‘Faust,” mechanism entirely unconnected with his express Prepaid Printed Matter rate is the first players, but the one who makes The best will always be expensive and cal composition. 11662 Speak to Me o?Mjr°Mother* 3 -6° art. He will find that a candid, personal 2 oz for 1 cent with a minimum of 15c.- New Music the greatest number of complete pictures The’Express agent or Postmaster will cla ;sic and the vulgar things will always (Double bass.) w -- -Bizet-Franz 8 .60 The sending of new music ON SALE, receives a prize. A composer’s photo¬ 11663 My Heart at Thy Sweet investigation, first, by examining the o-ive you particular information as to be cheap. Voice, “Samson et Dalila,” Piano, Voice, Organ, Violin and Octavo, graph framed, or a scrapbook, make ac¬ mechanism of the piano; and secondly, the best and cheapest method of return¬ Everything worth while is born of goes on during the summer months but ceptable favors. JESSICA’S PRACTICE HOUR. 11664 But Thou, Klingt;S”AidI”nZ 8 by a series of experiments probing the ing any particular weight or package to to a much smaller extent than during the Emerson. Piano Co. struggle, so your part is to struggle up Philadelphia. Bound books should be (Who can translate it?) Verdi-Franz 3 .60 possibilities and the limitations of varie¬ winter months. Instead of sending out Boston Hass. to an understanding of the best. Stop WHAT’S IN A NAME? sent by Parcel Post only; but sheet music Jessica takes her scales Adagio sos- PIPE ORGAN ties of tone by varieties of touch, will from four to seven packages of music, yorr ears to the shouts of the Electric 11684 Adagio Cantabile, can he sent printed matter up’to 4 lbs. This game may be played by any tenuto, and her Czerny etude Pin animate teach him more clearly, more rapidly, we may send out one or two depending Th latres; remember you are soldiers of 116H8 v,.c , ■„ Haydn-Whiting 4 .85 and Parcel Post from 4 lbs. to 20 lbs. on the demand and they are not sent to number of players, the more the merrier. ma non troppo. She glances at the clock 11683 Festival Prelude..D. Buck 4 .75 more thoroughly and more convincingly, progress and soldiers on the march never On the blackboard are a list of well- and the nearby zones up to 50 lbs. . the regular list hut only to those persons tur i aside. espressivo, and plays her pieces molto than the arguments of many treatises. (3) Use the gummed label which is who make special demands for the same. known compositions, such as Spring Song, enclosed with the statement, no matter Then another part of your duty as meno mosso. She looks out of the mi.- wmv witn By greater or less strength of blow or A postal card will bring Summer New Wedding March, Tannhauser, Carmen, window risoluto and calls to mama Thine Eyes, L. V., by what method the returns are sent, and soldiers of musical progress is this: of pressure, the key may be depressed Music to all who apply for it and for the LYON&HEALYi! Narcissus; To a Wild Rose, II Trovatore, plainhvo, “I see Willie and Hattie and ... _ F- G. Rathbun 3 always write the name and address of Kn^w your heroes by name, and know Thou Art So Dear, more or less rapidly, and the tone be classification desired. American Professional f\ Parsifal, Messiah, Creation, Ninth Sym¬ Georgie, may I join the trio?" “No” the sender in the space provided on that the r story, for they all have interesting A Farewell n„J’ Bohannan 3 made louder or softer; or, the key may phony, The Rosary, and so on. answers mama con spirito. Jessica gummed label. , . , Early Supplies for the sto -ies. If there is a Bach or a Liszt be released, thus causing the damper to (4) ON SALE music received from Each player has a pad with pencil at¬ pouts deciso; then deliberato she- turns Next Teaching Season CORNET $30 or i Schubert or a Chopin wouldn’t it be tached, he is to write the composer’s name OCTAVO ANTHEMS FOR MIXED fall and stop tile sound, after being held us during the past season and of such a a good thing for the town’s musical the hands of the clock forward and begins character as to be -usable for the next For several years past, we have oper¬ opposite the composition. After a cer¬ 10417 Te Deum in E FUt for a longer or shorter time, according pro jress to inquire of the librarian for scales fou delirio. Czerny she plays this season's work may be retained under con¬ ated a plan of early distribution of teach¬ tain time has elapsed the papers are ex¬ to the length of the note required. Thus, ing material through which it has been books about your own special line of time Andante pesanto, and then she takes ditions arranged by special correspon¬ changed and marked, those who have a note may be louder or softer; or it possible to place a complete fall supply work? Ask for such books as Standard up a Tema con variato, with sub themes dence. This plan is done to save expense made mistakes rise and march around the ben marcato. Allegro, con tutta forsa may be longer or shorter, according to the of transportation. in the hands of hundreds of teachers History of Music, by J. F. Cooke; The room singing: She plays Pvsstcato with accelerando and length of the note required. But no de¬ (3) Music that . has been specially ready for use at the very beginning Warner Story Book, by William H. of their season’s work. This arrange¬ Shame, shame, if we do not know the attaca subtto. Presto, she closes the vice of touch, no curious movements of ordered and correctly filled is not to be Frost, or First Studies in Music Biog¬ 104,5 w,„ „ „ tvigjj ! ment will be in effect again this year piano Dehcatamenta she opens the door. fingers, hands, wrists or arms; no coax¬ returned, although mistakes are cheerfully raphy, Thomas -Tapper, or Music Study rectified. Do not return music that is and will mean the saving of a consider¬ dVJds VWlUtB iU 0202) All these great composers will be lost to The clock strikes the hour, and she runs 10405 My Babylon’? Wa^e?demerP 8 45 ing, no bullying, no willing; no school¬ in Germany, Amy Fay. I know there fame! soiled or used in any way whatsoever. able portion of the transportation ex¬ LYON & HEALY, 37-48 E. Adams St., Chicago down the street in Tempo di Polka. She 10416 The Lord i. Great^^ % $ boy, no Rubinstein, no Liszt, can produce penses as well as a source of comfort mu;t be any number of good books on A dictionary of music or history of (6) A credit for the return of music mu^ic in vour town library that are turn¬ calls to the tno con brio, “Now for fun, any varieties of tone more complex than cannot be allowed unless the name and and satisfaction to every teacher who music may be given as a prize. the practice is done 1” WRITE FOR SUMMER CHALLENGE CATALOGUE. Depart¬ theo. presser CO., Philadelphia, Pa. these.—Touch, Phrasing and Interpreta- address of the sender is on the outside by this means escapes the annoyance and ment “Y”. SIEGEL COOPER & CO , CHICAGO of every package returned to us. less of time incidental to ordering at a 469 THE ETUDE 468 THE ETUDE this month, two important works, “Pleas- CHOPIN’S GOLDEN AGE. time when the greatly increased volume 1/ Agilite, Op. 20. ant Hours for Four Hands” Op. 1042, by When Chopin had his apartments in of business inevitably causes still further You Can Weigh By F. Lecouppey A. Sartorio, ;>and “Italian Overtures for thg Rue de la chaussee d’Antin in Paris, delay. Exactly What It is hardly necessary to dwell at any This popular set of 25 Studies will be F _ARTISTS AND TEACHERS SCHOOLS AND COLLEGES RJAWLINSBAKERJ^ CHICAGO BECKER CHICAGO is no farther from you Cincinnati sss*nste than the Victrola combs The world’s best music, superbly rendered by the At Home DANCY SEstscrasS CRANE world’s greatest artists—Caruso, Melba, Tetrazzini, fi^ar s £%,cs;M°'i“.crrs Paderewski, Kubelik, Mischa Elman, Sousa, Pryor, FALFir«.i™s,r Victor Herbert, Harry Lauder, Christie MacDonald, and MOULTON ::£“r*~sr Blanche Ring are a few of the famous artists intimately NICHOLSra^aa^f associated with the Victrola. HAHN SCHOOL'",?aasa.^ Its exquisite renditions are a source of cheerfulness PETERSILEJSHSS^ and inspiration alike in the homes of wealth and promi¬ HAWTHORNE "«ag» nence, in the homes of discrimin¬ sTocir^^^: sSHSClSi"" ating music lovers, in the homes of !S'S=-‘S'rr“ thousands upon thousands who can mcV -aavaa= "MARKS'IHnrj •***•caisw ei=/£&« ll;: hear the best music in no other way. Your home would be brighter under — minneapolis:.“':;?sh: the charm of the Victrola’s beautiful THEORY AND NORMAL COURSES !E*S2£3&'*K gps”:! music, and it will be a constant delight .®UB8Eine££*£ to every member of your f; BURROWEST^S^I NEWYORK COURTRIGHTSESSS NEW YORK Z&g&S-Z Abroad FLETCHER “’Z sSSHL m KERNHiSli-iSSS kSss'SS4 ' ■sfeSvSS®*’*4 BARTEL Sfeassrttsa. VIRGIL ilssss.^. CHJCAGp^Se^Hr VIRGIL . £“S-SHs"e 'MM This helps to prove the truth of what I have always maintained, namely, that the best is never too good for the American public. Chicago rrx“»,rr VONENDE ” mmm H. GODFREY TURNER,1400 BROADWAY, NEW YORK MsMfM LANDON’S REED ORGAN METHOD assess Price $1.50 BV CHAS. W. LANDON Foreign Fingering Owing THEO. PRESSER CO., Pubs., Philadelphia, Pa. 472 473 THE ETUDE THE ETUDE Our War Songs of Fifty Years Ago ventor of a knitting machine, a walking Over fifty years have passed since the doll, and a rotary engine. great Civil War was fought, and now "In Dixie’s Land” was composed in modern that the Blue and Gray have become HARMONY LESSONS New York in 1859 by Daniel Emmet, a more than ever united, it is interesting principal member of Bryant’s Min¬ PIANO to recall the old melodies that cheered strels. Questions and Answers the boys at the front “John Brown’s Body Lies Moldering Helpful Inquiries Answered by a Famous Authority During the Civil War, whenever the TECHNICS in the Grave” was written by Charles Conducted by LOUIS C. ELSON ON APPROVAL opposing hosts lay encamped near each Hall, of Charlestown, Massachusetts. Professor of Theory at the New England Conservatory other, Federal and Confederate bands at Walter Kittredge, born in Merrimack, COMPLETE SCHOOL OF TECHNIC nighttime made a practice of vying with New Hampshire, 1832, was drafted into For the Pianoforte * gEEING is believing, so we want you to see for yourself just how each other in tossing back and forth, al¬ the Federal army in 1862. Before going ISIDOR PHILIPP to the front he wrote in a few minutes thorough, easy and practical these weekly Harmony Lessons by ternately, their favorite melodies, until, Price, $1.50 both the words and music of “Tenting Adolph Rosenbecker and Dr. Daniel Protheroe really are. finally, at “taps,” Northerners and South¬ „ complete school covering the en¬ on the Old Camp Ground.” The song at tire field of technic and every form of Always send your full name and address. Xo questions will be answered trl Merely fill out the coupon below and mail it to us and we will erners, friend and foe, settled down to a nassage used in modern piano playing, has been neglected. Found! 55“.. first was refused publication, but later with many entirely original exercises Only your initials or a chosen nom de plume will be printed. supplies bloom and fairness with skin protection, and it lasts send you on approval, without charge or obligation of any kind what¬ joint rendering of Paine’s exquisite air on became immensely popular, its sale for the development of strength, inde¬ Make your questions short and to the point. Ingram's ever, a full Three Months’ Term of 12 Weekly Harmony Lessons and of “Home, Sweet Home.” pendence, flexibility and the cultiva¬ Questions regarding particular pieces, metronomic markings, etc., not likely 1 reaching into the hundred thousands. tion of velocity, etc. interest to the greater number of Etude readers, will not be considered. Examination Papers. You may then examine these lessons at your The army songs which sprang into A special feature of this work is the existence then, although lacking in many It is still in demand. rhythmic treatment of all the various Q. Why are there pedals on a harpt acred opera and was performed i IvZolcF . home and see exactly how thorough and comprehensive they are. “The Bonnie Blue Flag” was written exercises. All the exercises are carried What do these pedals do f Is their action tage iu costume, just a~ . It is only through the correction, criticism and suggestions for of the requirements of musical composi¬ through all the keys, and in both hands. the same as the action of the piano 1—E. I.. Jouvcramc- in 1862 by Mrs. Annie Chambers Ket- became a concert performance, and in Ms tion, in spite of adverse criticism en¬ A. The pedals on a harp are totally dif¬ improvement contained in the weekly examination papers that our chum to an Irish melody composed by rmany Heinrich Schuetz and others made Face Powder 50c joyed a wonderful popularity during that SPECIAL EXERCISES IN SCALE ferent from those of a piano. They serve a concert performance in very early days, At drug smres^orto^moU postpaid ^ students are able to appreciate fully the great interest and indi¬ Henry McCarthy. It was first sung in another purpose altogether. Therencs isiuuuu one rc«;nt days an effort has been made to vidual attention which we give. It is a delight and surprise to all period, and have been sung over and the early sixties at a variety theater in PLAYING pedal, however, which is sometimes found over again ever since in all English- on the harp which is used " ’ ’ wSSfbV" Mendelssot students at the vast amount of benefit which they receive when they New Orleans. WILSON G. SMITH is employed - ’ “ speaking lands. works in an entirely different way. Every Sou veraine, of Ingram’s Rouge, also Zodenta tooth Powder. get their examination papers back from the school. “Tramp, Tramp, Tramp,” and “Battle Op. 55. In Two Booka. Grade 2. sound-box must have a sound-hole in order n»wHave Massenet,smimn, Saint-Saens, and»«. Alfred FREDERICK F. INGRAM COMPANY It is to be regretted that the names of ___ within __ The consensus of opinion among the best musicians and teachers Cry of Freedom” were composed by Each, $1.00 that the air within the box may vibrate Bruneau... au any outstanding characteristics in the composers of these famous lyrics, freely. Cover these sound-holes —_ their work that may be epitomized in a few is, that Harmony is one of the easiest and most practical subjects to George F. Root. In the present work It has been the is dulled and made lifeless. (Try this words of specific musical meaning so that I although deserving of a better fate, are a violin by covering the sound-holes.) The may teach by correspondence. You now have the opportunity to verify “The Battle Hymn of the Republic,” ta of the author to present a scheme ------.i..c ".mething to help them fast passing into oblivion. Scarcely one practice whereby the labor of acquir¬ soft pedal closes the sound holes and dulls n_.iace /,. ._ importance of these as is well known, was written by Julia ing a good scale and independence of But il this opinion for yourself without cost or obligation right in the quiet of our readers could name, offhand, the masters in their minds t Ward Howe under the inspiration of a the third, fourth and fifth fingers of the p this pedal A. It would be rather difficult to give and privacy of your own home or studio. man who wrote “Dixie” or “John hands may be lessened and shortened. together. visit to the Army of the Potomac while Although scales are not used to the _ pedals change the pitch of especial characteristics to the works of the These lessons are endorsed by leading teachers throughout the Brown’s Body.” To recall to mind the composers —w——u mention. Massenet lying in winter quarters: great extent in the modern schools of strings. There is a pedal for each not: ably the country who are taking them and by many eminent musical authorities. names of the authors of a few of the pianoforte technic as they were by the scale, a C, D, Ifl, F, G, A and B pc “I have seen Him in the watchfires of a the older teachers of piano playing, yet The open strings of the harp are alw„.,- ' He had the fatal gift of great facil immortal songs is our present purpose. ' composed an opera about every yea^i P* C. Lufkin, Dean of The Northwestern University School of Music, says: hundred circling camps.” nothing has been devised to take the tuned to a flat note. Thus if no pedal is ity. f( of the scales as a means of train- touched the strings sound the scale of C- ‘ In my recent investigation of your work, I was very much interested in “Maryland, My Maryland,” the most “Blue and Gray” was written by F. M. He knew your courses you offer, and saw that the work was being done well. Stu¬ melodious and inspiring of all the songs Finch; “Bivouac of the Dead,” by Theo¬ dents who complete your Harmony Course and pass the examinations sung by the followers of the “Lost dore O’Hara; "Sheridan’s Ride,” by T. with satisfactory grades, will be given credit for two years* work in the Cause,” was composed by James R. Ran¬ Buchanan Read; “Somebody’s Darling,” System of Double-Note Finger Training IMeTfost Northwestern University School of Music in that study.” dall. by C. H. Osborn,_S. F. “The Conquered ANNA BUSCH FLINT (<( Walter Damrosch, Director of The New York Symphony Orchestra, says: “Marching Through Georgia,”' which Banner” was composed by Father Ryan; 9 wheels awill _ he is a sincere and melodic composer of the The lessons are admirably prepared and serve their purpose in every will be sung and played as long as the Refrigerators “We Are Coming, Father Abraham,” by Have you made a study of your that each C s sound modern Frem particular. I had no idea that such sound knowledge of music could be im¬ Republic survives, was composed by hand, noted the weakness of the fourth i / Sold direct from factory to you. Freight parted in this novel fashion and I beg to congratulate you and your pupils.” S. J. Adams, and “When Johnny Comes Q. What is meant by temperamental play¬ Henry Clay Work, born in Middletown, ' fifth fingers and the extraordinary ing f May anyone develop it? / prepaid. 30 days free trial in your home. Marching Home,” by Patrick S. Gil¬ .Jopment of the second and third of the remaining - f Augusta Knower, of Atchison, Kan., one of our many teacher students, says: Connecticut, 1832, died at Hartford, more. fingers? Do you realize the importance a chromatic instrument. And yon notice" A. No, this is not a sense that I Easy monthly payments if desired. I wish to express my appreciation of your School. Having been a stu¬ 1884. He also composed “Kingdom of developing equally all the Ungers? " - the system. open educated. It is the r “Who Will Care for Mother Now?" All teachers are aware of the weak- _„ __the flat of the note. With the roi»»»*—-_ and passion si dent at the New England Conservatory, and having been in the teaching Cornin’,” “Babylon Is Fallen,” “Nico- ess of the little fingers. The meclian- iypsy, c" - T,~‘~ field twenty-five out of my forty-five years, I believe myself capable of and “When This Cruel War Is Over” :dal half-way down any string gives the in demus the Slave,” “My Grandfather’s sm of the modern piano requires great itural of the note, and with the pedal the or irse temperament aio appreciating the many advantages of your Correspondence Course. were written by Charles Carroll Sawyer. trength in each individual finger to hole way down the string gives the sharp great artist, but ^tlie bio Clock,” “Lily Dale,” and “Father, Dear iroduce and hold a tone. Build up the may preveu I find the University Extension Method a most practical one, and I “A11 Quiet Along the Potomac” was ; the note. ....joining great. Hans Von Biilow. consider it a boon to all ambitious music lovers who cannot afford to go Father, Come Home With Me Now.” luscular strength of these fingers, and notches attached to the pedals composed by Mrs. Ethel Lynne Beers, the mastery of all technical difficulties ‘that one can set the pedal half-way or ample, just escaped being oue of 1 away from home to study. Both technic and harmony are presented in Work possessed considerable mechanical a lineal descendant of John Eliot, apos¬ accomplished. itirely down and have it remairccuiaiu a.uci pianists of the world by a lack a clear and attractive way. The knowledge that I have gained thus far as well as musical skill, and was the in¬ The ideas embodied in Hand Culture, can set the harp ament. Yet his intellectuality from the course, has greatly aided me in making my work more instructive tle to the Indians.—San Francisco Call. course of double note finger training, - *-" ttTaT of Rubinstein who excelled hfm and interesting to pupils.” re based on physiological laws and Chro- the concert platform. re applicable to the beginner as well r top composers „j the prcscnt to ally music so Don’t put this important matter off a single minute. Fill out the piece) and the wires cross each other mag- &ioHelu with el;en in t)ie symphony, coupon and mail it to us today and we will send you these 12 lessons onally. Tbe instrument has the advantage ^/}.^ Qftm /m known when the cadenza origin- Mahler was against such a union of word- Campbell, Canada. ing. Their object is solely to develop ,,„.o it came to be admitted into the ideas with music, but for all that his music strength, flexibility and gradual strictly classio forms?—L. S. I. is so dramatc in effect that there must have pansion, chiefly by the means of In the 18th century people made .a been some mental picture here. Daniel Gre- Siegel-Myers Correspondence School of Music The ‘‘Brilliant Octave Studies” by Sartorio 'fined holding notes and finger ” , j.-.piay with improvisation in gory Mason has written an essav on this are all that I expected of them. I have used cellen This work v instrumental iic. There w™ itests in subject, entitled The Enjoyment”~ of Music. 431 SIEGEL-MYERS BLDG., CHICAGO, ILL. many of Sartorio s studies in my teaching ; give: two nr You might also look up Weingartner’s The as „ eL,aY s2, meloJioii8 the pupil doesn't pup11s as well-SlsIEE Symphony •e Beethoven.—— realize their efficacy, but enjoys the practice mure contestants rim would elaborate it as Quick Relief for Sufferers from --COUPON-- because they are so pretty.—Mbs. Herbert best they could, .t every concert the artist Q. Is it possible to perform a triple trill E. Currier, Maine. was expected to low his powers of impro- on the piano!—B. C. II. STUDIES FOR THE EQUAL DE¬ vization in one v v or another. This crept Siegel-Myers Correspondence School of Music, neeIf worker IVy” younfb^- me coum m At a certain point, in the A. Something of this kind can be done 431 Siegel-Myers Bldg., Chicago, Ill. E? s'peirI1 ln,erestlnB and Instructive*—Ruth coda of the first or third movement either by the two hands used with wrist action. e, every cnapter a gem. It should be VELOPMENT OF THE HANDS It would not properly be written as a trill, BUNIONS or both, the soloist would work out an im¬ Gentlemen: Please send me without cost or obligation of any kind whatever, your refuliy read by every earnest teach and reparatory to Czerny’s School of Velocity provisation upon the themes of tne move¬ but as two chords in rapid alternation in valuable catalog and a Three Months’ Term of 12 Weekly Lessons and Examination siudent of the pianoforte. It is the voice Op. 299 ment After remaining for a long time an thirty-second notes, but the result would be of those who perform, not theorize. I have wliatBI Earned*8 o "d*ar10iiiT“structor" ,s Just By ERNST HEUSER imnrnvization, it gradually became customary practically a triple trill. Papers of your Harmony Course. N. B.—Not sent to applicants under 18 years of age. long wanted just such information as is in that book.—Edwin G. Booth, Mass. Mm* K* E. Thur^oVnCw6 York?ry mUCh “ Price, tA write out the cadenza. But this was by Q. A violinist recently told me that his Name.. - Ten i no means always done. Ole Bull very seldom violin had a “wolf" in it, what is the mean¬ —__ o.HHI ... mechanist wrote out his cadenzas in violin concertos, ing of this expression?—D. B. One of the special features* that appeals suppltra ^^onff0?0]? v°R Women’s Voices” velocity and independence, by a co but continued to improvise them in the old- Street Address. to me In my four years’ dealings with vour temporary teacher of note. The: fashioned manner. Tbis.was always ajisky A. It is a flaw in the instrument. Be¬ firm is your promptness In executing orders witn the “— - >f surpassing ineri recall an instance whei cause of some malformation in the wood, or Virginia. tSJ&SSSi l.‘fASSS superfluous measure, thing to do. I ca some fault in the construction, one or more —W. Campbell, Canada. the conductor, nc t having any definite cue Town or City.State. ■' - *-i ume counts iorfor something.sometimig. Each ■as to finish the cadenza, notes, played in their proper pos'tions, sound study is developed from a single figure iu __orchestra in the midst df off pitch or with a bad quality of tone. In sixteenth notes illustrating some " ‘ “—' of the mysteries of What musical training have you had?. special technical problem, all tending Ole^Buli’s" improvization. much | rustics. luse has never been lasses Lsr-o1; towards the equal development of the ,U iv„i works the eadenza^is || __fully detc_ it its certain remedy. Have you studied Harmony?. hands. The studies are modern in theerNeumeanotation, which dates Q. Kindly give an example of ribattuta r, India. harmonic treatment, and are interest- least to the year A. D. 95t). Ana even m an(j me inow yow n {s emp;0yed in mi to play. They are intended ‘ ‘ *' “ the. early Cbrtotlan churchjt was c~ary piano^music. .7 heard__a lecturer refer. To what extent?. ass?,! es ro give all kinds of vocal embellish- this ~ recently in connection with a mono „„„ upon a single word, which would to- sonata, but could not get his meaning.—H. T. Do you leach music?.What branch?. verney, Op. 120. day be called a cadenza. A. The ribattuta is the playing of two O. Has the oratorio any set form like notes, that are to constitute a. trill, slowlv, StK as-s-cs the symphony or the sonatar Qr in some unequal rhythm, and gradually How long?.Do you wish to prepare to teach?. I pralse°lttmoPtehlghtvI wherever"here^re » Vn the form of the oratorio is not a accelerating them until they form a trill. music lovers.—Mrs. Lulu Lulenqave, New object to a liberal Sheet Music Discount „ A1 b„t it ^supposed to be in the old It is an old-fashioned device. —but i' — Plea so mention THE ETUDE when addressing our advertisers. . atvlp with much counterpoint and often used by vocalists and it 1 Heide, New YoTk ' Belle S' THEO. PRESSER CO., Philadelphia, Pa. fumie Tim harmonic style is not emnloved usr- - ——— ' - ' in oratorio. Originally it 475 474 THE ETUDE THE ETUDE Ole Bull’s Shattered Dream Among the many idealists this country which were all turned over to the experi¬ has sheltered. Ole Bull, the amazing mental colony. Philadelphia subscribed two millions to the Sunbury and Erie Directory of Summer Schoob Norwegian violinist, stands in a class EASTERN AND SOUTHERN apart. Exiled patriots of other lands have Road; New York gave another two TO BUYERS come here by the score, and have learned millions to a branch of the Erie and New to love the soil of America as their own, Y’ork road from Elmira to Oleana, the but few patriots have come here in volun¬ northern line of the colony. His plans PEABODY were gigantic. normal course tary exile. Bull not only loved his own AND PRIVATE LESSONS Ho w to Conduct a Music School jCONSERVATORY Shortly after founding the colony he OF MUSIC country, but he was. beloved by his own in the beautiful TIROLEAN ALPS near Italy and xCi There is room in every city for a successful music school of BALTIMORE, MD. countrymen. The strange songs: of the went on tour, visiting California by Switzerland duringjuly andpart the Faelten type. The North were as the breath of life to him, way of Panama. Here he contracted HAROLD RANDOLPH, Director and in his eyes shone the clear cold gleam yellow fever, and while still prostrated VICTOR HEINZE of Berlin 1914 SUMMER SCHOOL Recognized as the leading endowed Teachers and Schools of the Northern 'lights. ■ Nevertheless, with sickness he learnt that the title to will include illustrated lessons in technique, interpretation, repertory, musical conservatory of the country America seemed to hold an extraordinary the land he had bought in Pennsylvania method, class-instruction, etc. Write today for special circular. ARE ADVISED TO fascination for him, possibly because his was fraudulent. He hurried back to SUMMER SESSION immense body craved the sense of free¬ Philadelphia only to find that the agent Faelten Pianoforte School, Boston, Mass. Order Early for Next Season dom which the untamed mountains and to whom he had entrusted his affairs had July 1st to Aug. 12th the broad prairies of America alone can deliberately duped him. The agent per¬ AND SET DATE FOR DELIVERY give. suaded Bull to go home with him and COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Staff of eminent European and discuss the situation over the dinner table. American Masters including: BULL’S NOBLE IDEAL. Results:—Satisfaction and the Best Service Seated at the table Ole Bull felt a sudden before ^hc^musica^wodd^'^rerchea^piANo'^rom^the ^stan^SIGHT^READING,6TRANS¬ POSING, RHYTHM and EAR TRAINING. George F. Boyle TO CATER SUCCESSFULLY to the needs and desires of a His extraordinary attempt to found a aversion to food though he was faint &e^“on jlc’r'van^ulsteyn colony in Pennsylvania sounds like a from the lack of it and from fatigue. NORMAL COURSE BY CORRESPONDENCE clientage of educators requires peculiar conditions and advantages Henrietta* Hcdthaus IrederilkD. Weaver possessed by but few houses. dream. Early in the fifties he bought Driven into a corner by the excited violin¬ LESCHETIZKY’S ■ THE HOUSE OF THEO. PRESSER has an experience of over 125,000 acres of land in Potter County on ist, the agent defiantly confessed having Tuition $10 to $30 according to study Circulars mailed thirty years as publishers, based on an iptimate knowledge of the the Susquehanna, on which, in his own cheated him, saying “I have your money, EDWIN HUGHES needs of the profession, the result of actual work. Arrangements for classes now being made words, “to found a New Norway, con¬ now do your worst!” Some years later dvancedOffers a. S“TtT‘arnd°Telther8 in1 Basis:—A large well selected stock of the publications of all houses, American the agent confessed on his deathbed that Address, FREDERICK R. HUBER, Manager and Foreign. A constantly increasing catalog of qriginal publications of secrated to liberty, baptized with inde¬ pendence, and protected by the Union’s he had put poison in the food he bad Valparaiso University great educational value which will be found in the studio of almost every Address : “Schweigerstr. 2, Munich, Germany The University School of Music offers courses in Piano,Voice Violin, Organ, Theory andl1*001 M"S1C’ music teacher. A. force of 200 efficient employees,'drilled and trained for mighty flag.” His object was to find a offered to Ole Bull. The real owner of Students may attend ^ Music Sdioo^n a^^ta^yregia^wor our particular business. the land was a Quaker gentleman who had place for fellow countrymen of his who •t;nn coo 00 ner auarter of twelve weeks. Board with Furnished Room, 31-80 to 33-00 per week, TO WHICH WE ADD:— dwelt in the south, undergoing much hard¬ done his utmost to apprise Ole Bull of lofwil’l be Waited free Addrels Henry B. Brown, President, or Oliver P. Kinney, Vice Pres,dent. Brenau College Large Discounts, the same upon “On Sale” as Upon regular orders. ’ ship and suffering intensely from the un¬ the real state of affairs, but in vain, 42ND YEAR WILL OPEN SEPTEMBER 15, 1914. __ owing to the machinations of the per¬ CONSERVATORY Liberal Terms and Courteous Treatment. congenial climate—uncongenial that is, to Promptness in Filling Orders. fidious agent.' The Quaker was much GAINESVILLE, GA. the hardy sons of ice and snow. About Accounts Solicited with any responsible professional musician. interested in the experiment, and offered A NEW AND WELL-PAID PROFESSION Satisfaction Absolutely Guaranteed. three hundred houses were built, together Summer Session, June 30th. the land to Bull at a considerably reduced Is Open To Women Who Study Fall Session, September 15th Large or small orders receive exactly the same attention. “On Sale" packages with a country inn, a store and a church, price, but Bull was not able to do more sent cheerfully, even though regular orders or renewals of Ori Sale" packages are and hither the Norwegians flocked in than purchase the land on which the Special Courses for Music Teachers and sent through the local dealer. advanced students. Location, foothills hundreds. Ole Bull gave concerts with houses stood, and was compelled to THE FLETCHER MUSIC METHOD Headquarters for Everything Needed in the Teacher’s Work overwhelming success, the proceeds of Blue Ridge Mountains, delightful climate, abandon his dream-colony. The Summer School for Teachers Brook?ine"Bos't1o3^) Imms. summer and winter. Many attractions. Beautiful illustrated catalogue on request. The demand for this Method is steadily increasing. Last Summers AUUKL33 School was the largest since the Method was introduced into this country, fifteen years ago. BRENAU, Box 97, Gainesville, Ga. MUSIC “ON SALE” The Interpretive Power of the Accompaniment Dr. Lyman Abbott says: “Mrs. Copp teaches children to think and to express themselves in terms of, music. She converts it from a blind, mechanical copying, into To Teachers, Convents and Schools of Music BY MARIEjM. BENEDICT rvitnl .elf exoression. It seems to me more than a method, it is a revolution,-and con¬ verts musical education from a mere drill and drudgery into an msP^°ada“d a SUMMER COURSES in the Comment on certain effects in accom¬ ered. The significance of its periods o Harvey Worthington Loomis says: How any music teacher could ever allow A Year’s Supply of Returnable Teaching Material paniment, which are essential to artistic brief solo, and of its reiterative phrase: CHARLES VEON, Pianist. " Auoils to struggle on in the old stultifying grind, after seeing your ingenious in¬ ART OF TEACHING ensemble in choir work, may seem a vention Hs beyond my comprehension. You are indeed the Froebel of music, and the PIANO, VIOLIN, THEORY TO MUSIC TEACHERS remote from large music stores, and to all schools The deep suggestiveness of its harmoni STEREOPTICON LECTURE RECITALS and colleges, the feature of having selections “On Sale,” a stock of music on thing unnecessary. But, if he who runs importance of your educational work cannot be over-estimated. FOR PROGRESSIVE TEACHERS changes. The vividly illuminating powe “MOZART AND HIS MUSIC” hand and returnable, is a decided advantage. The old way of ordering from a may read, there are yet a few organists In spite of the many cheap copies of this system it stands unique catalog has proven to be unsafe and disappointing, of its counter-themes, all must be mad OTrt'7deHve7rth'rVminme in its aim and its accomplishments. For full particulars apply to treading our planet, to whose mental re¬ one’s own; all must be deeply felt b cesses the idea of perfection of style and X'anc'ed’nudms. * Tems^reas^nable. Address EVELYN FLETCHER COPP INFORMATION TO PATRONS the accompanist, if they are to be. in th Remember, that by giving plenty of good comprehensive information that interpretation in rendition of accompani¬ care of State Normal School, California, Pa. slightest degree, perceived by the audi customer will gain much satisfaction by getting just what is wanted. The ments seems not to have really pene¬ MR. and MRS. CROSBY ADAMS Announce the. ence; if the listeners are to get even names of a few pieces in ordinary use by the customer is by far the better way trated. Yet the realization of this ideal Eleventh Annual Teachers’ Classes of describing the kind of music desired. • suggestion of the beauty of its intei is vitally essential to beauty of effect, to Shepard Summer School, OR£NjGE’ for Teachers of Piano for Ihe Sludy of Teaching Materia We Ask No Guarantee As To Probable Sale. pretive comment upon the subject of th SUMMER SCHOOL We prefer returns on regular selections to be made but once during the any true interpretation of the thought anthem. year; at the end of the season during June and July. of the composer, as embodied in anthem, OF SINGING ’or booklet containing ou Selections can be changed.or added to at any time. ' quartet, or solo. Not only in anthem, trio or duet ma Address The same large discounts are given as though purchased outright. the accompaniment be rich in sugges We shall all agree that the accompani¬ FREDERICK W.W0DELL,sc^u“ Keep “ON SALE” music in a clean, system a tic manner. Separate the music as tive meaning. In the music of the sirr soon as received into classes; piano easy, medium and difficult; vocal; four hands, ment is the background of any vocal etc. We will supply manila wrappers for this purpose, free for the asking. number, quite as truly as are the effects plest hymn, the organ may literally trans Expressage or postage charges both ways are borne by the purchaser. figure every stanza. In announcement o in color and mood, the background -of a Lessons. Opportunity for sea-bathing, excursions, etc. Shenandoah Settlements are to be made at least once each year, in June or July. picture. It is, in its true estate, that the hymn and in its rendition with th choir, faith and vision, aspiration and er ECKWER’S Philadelphia 611 PIERCE BLDG., COPLEY SQ. Collegiate Institute NOVELTIES—NEW MUSIC “ON SALE” subtly interpretive tonal medium, against Z BOSTON — and School of Music ■ We are constantly issuing new, useful and interesting piano, vocal, octavo which the beauty of the different vocal deavor, spiritual peace and spirits Musical Academy organ and violin compositions, all of which undergo a thorough revision by parts stand out in dear relief as the beauty »re\maJ be made real *ctua Special Summer Session eminent teachers, which makes our editions particularly well adapted for of the single figure, or as a group of through the eloquence of the organ, un June 22 to July 25—S Weeks Southern University of Music instructive purposes. Gerard-Thiers, Kurt Mueller, Directors figures stands out against the background PIANO TUNING In order to give teachers and professionals an opportunity to examine these hlt0UCh °f one w,1° knows how t 1617 Spruce St., Philadelphia, Pa. 353 Peachtree Street, Atlanta, Georgia novelties we will send them “On Sale” about twelve pieces (piano or vocal) of a picture. It is that which heightens a make the subordinate part take its vita Regulating and Repairing Summer Term Siei^ iJeS'ngSto‘»'pJc°aTc'“ each month front November until May, on the following conditions: thousandfold the charm of melody, which snare ,n expression of the meaning o A School with Ideals—and means to attain them. composer and of author. A Complete Course of Self-instruction 1. The sheet music will be billed at the large discount given on our own ineffably illumines and intensifies the Atlanta Conservatory of Music publications. music’s message, by the subtle sugges¬ for the Professional or Amateur 2. It is necessary to mention which classifications are wanted. On Hugh A. flarlcfl.Mus. Doc. Faculty of Artist-Recitalists. All departments tiveness of its harmonic undertone, or of By J. CREE FISCHER complete. School Orchestra and Chorus. Public Special Order we send about ten octavo selections, four times a LESSONS BY MAIL School Music. Oratory. Languages. its thematic counter comment. It is the PRICE $1.75 year, containing any or all the following classes: Sacred, Mixed; W hy should a modern composer hi SUMMER SESSION BEGINS JUNE 8th, 1914 Secular, Mixed; Men’s Voices; Women’s Voices; also organ or instrumental comment upon the thought In Harmony, Counterpoint Pennsylvania tate to employ the far greater ’resour Atlanta Conservatory of Music Violin selections at longer intervals. of the vocal score, and if it lacks sympa¬ and Composition Peachtree and Broad Streets, - Atlanta, Georgia paced at his command? Why resti Music Lithographing 3. The novelties can be kept with any other “On Sale” music from us and thetic expression, the full significance of 4632 CHESTER AVE., PHILADELPHIA, PA. instruction, corrcspon^ence cou _ i all returned together. the whole will remain a thing unrealized. himself to antiquated simplicity, wl Company To go through the organ part, with both instruments and voices are able 114 N. 13th St., Philadelphia, Pa. THEO. PRESSER CO., Publishers fair accuracy as to notes, well with the interpret the most abstruse concept!. BUSH TEMPLE The Quickest Mail Order Music Supply House choir in tempo, is not to fulfill the pur¬ J h perfect accuracy? And vet I woi GUIDO FERRARI Music Engravers and Printers Annual Five Weeks Summer Normal pose of the accompaniment. It must be advise a composer rather to be comm, VOICE CULTURE SPECIALIST It will also be a valiwblc ** ISABEL HUTCHESON, Director 1712 CHESTNUT ST. :: PHILADELPHIA, PA. studied as though it were a solo. The Estimates promptly furnished to composers ana Place than far-fetched in his ideas, fteenth successful season. Special Sum- publishers on Sheet Music, Music Books, Band, relation of .every phrase, to the meaning Sune from teaching by k< Orchestra and Octavo Music, etc. HIGH GRADE of the whole, must be carefully consid¬ bombastic in his expression of them WORK AT REASONABLE PRICES. Copyrights HEETHOVEN. I wfim odcqqFR GO Philadelphia, Pa. 477 THE ETUDE 476 THE ETUDE Directory of Summer Schools Directory of Summer Schools NEW YORK ^ NEW YORK Some of America’s Weeks Courses Repertoire Coaching Most Prominent Singers THE VIRGIL ■ M For Teachers and are studying the new modern PIANO SCHOOL CO., Music Course in New York method of voice culture at the Advanced Students Helpful Technic Teaching 42 WEST 76th ST., NEW VORK WITH OR WITHOUT BOARD June 29 th to August 8th N.Y. School of Music and Arts Manufacturers of towards successful concert work for ad¬ Teachers 56-58 West 97th Street Piano, Voice, Organ, Violin, Public School vanced piano players. Special sum¬ With RALFE LEECH STERNER, Director The “Tek” Music, Normal Methods, Locke’s Primary mer course for progressive piano The von Ende School of ^'lusic How The Bergman Clavier Plan, etc. Certificates. Catalog. Teachers teachers, adapted to their needs and To Teach Voice Building, Coaching, Concert, The Bergman 2 and 4 Octave educated in Europe. aims. Certificates. Former pupils “En¬ A School of Acknowledged Prestige Oratorios, Opera and Repertoire thusiastic” and “Grateful.” Information. instruments for travelers Marks’ Conservatory of Music Normal Correspondence Course A free voice trial illustrating his natural method The Summer Faculty Includes of tone production \yill convince^the most skeptical The Bergman Technic Table In Modern Ideas of Touch, Technic, (Raised Keys) GUSTAV L. BECKER .^"siiTn?to8SiSsm°ndmStSo;o0TfOSH’Pia“i,t0f H°Ullnd: Elise Conrad, First idman, pupil ofekuTcheU8onriJiev?nne, Pedal, Metronome, Hand Culture, The Bergman Child’s Pedal Steinway Hall New York City and'brilliant8pianUtt;eJeanne m, for eight' years pupil and teacher and How to Teach Them , :: ;• under Leschetitky in Vienna; Beatrice McCue, the Am< MASTERFUL ADVANTAGES AFFORDED EXPLANATORY CATALOG ful sinjgmg teacher; Albert Ross Parsons, the dean of American pianoforte instruc- Free Recital Every Thursday at Lectures on Breathing .Anatomy of theVoice a Granberry Piano School Writer /nd'teacher^of^iuioforte technic^an^^eJfgog^^” Eade^I^uia^Stdlman] Lectures «/ .» 11 _3Q A. M. JUNE 24th to JULY 30th 1914 IT The Free Opportunities include— HOME STUDY ANTHEM SUMMER INSTRUCTION Class in Elementary Harmony PUBLIC SCHOOL MUSIC Teachers’ Training Courses Class in Advanced Harmony as used in the Public Schools of Also List of promine VIRGIL PIANO CONSERVATORY Class in History of Music FAELTEN SYSTEM. BOOKLET NewYork City. Eight years work. Special Summer Courses (Virgil Method) Supplementary Class in Literature Harmony and other subjects. OLLECTIONS CARNEGIE HALL - - NEW YORK A Series of Historical Recitals E. F. MARK^ 2 West 121*t St., NEW YORK THE HAGGERTY-SNELL’S SUMMER Weekly Concerts, Lectures, Etc. Foundational, Intermediate, Advanced Technic, Pedalling, Interpretation, Recitals T Accommodations at the Young Ladies’ Dormitory reserved SCHOOL OF VOCAL and PIANO MUSIC INTFRNATIONAI musical and edu- 11N 1 CIGNA 11UPIAL CATIONAL AGENCY in the order received pl6th-A^nSM|Ha^Si FOR INFORMATION WRITE SMALLEST PRICE MRS. BABCOCK For Catalogue and Information write The Secretary MRS. A. M. VIRGIL, Director 42 West 76th Street, NEW YORK QFFERS Teaching Positions, Col- THE von ENDE SCHOOL OF MUSIC ROOT’S S75Clforn the'course.8 Best hoard, secured for POSSIBLE leges. Conservatories. Schools. 44 West 85th Street, New York TECHNIC AND THE HELENE MAIGILLE CARNEGIE HALL, NEW YORK MODEL ANTHEMS AMERICAN SCHOOL OF BEL CANTO Containing 26 Selections ART OF SINGING College of Fine Arts — (SCIENCE OF VOCAL ART) Syracuse University Tone Placing—Diction—Style—Repertoire W. P. SCHILLING NEW YORK SCHOOL OF MUSIC AND ARTS [excelled advantages (or the study of music. Faci ANTHEM REPERTOIRE 131 West 23rd Street, New York 20 specialists. Regular four-year course leads to A Summer Session pre-smlnently for Teachers and Students not in New York during the regular season 56-58 WEST 97th ST., NEW YORK CITY gree of Mus.B. Special certificate courses^Spc Containing 23 Selections Vocal teacher and author of: By FREDERIC W. ROOT The Summer Session of Seven Weeks begins on Monday, June 15th, « , address. Regist continuing to Saturday, Aug. 8th, 1914 Upper Tenor, Upper Soprano Tones; I. Methodical Sight-Singing. Op. 21 Breathing; and many other pub¬ RALFE LEECH STERNER - - Director Part 1. The Beginning.55 DURING the session tone productic ANTHEM WORSHIP Part 2. Through the Keys. .05 English, French, German and g lications on vocal culture. d the fc Part 3. ProgressiveMusicianship. ..50 ^lt^erfect tone production Containing 20 Selections II. Introductory Lessons in Learn Harmony and Composition repertoire avail little to the aspiring singer, ana Voice Culture. Op. 22 - $1.00 will b< ANTHEM DEVOTION SUMMER COURSE IN SINGING III. Thirty-two Short Song Studies THE CONGRESS OF AMERICAN MUSICIANS For high compass. Op. 24.50 Containing 17 Selections MRS. C. HOWARD ROYALL For medium compass. Op. 26.50 iuneven very happy and profitable weeks in study at VOICE PLACING DICTION BREATHING AND STUDENTS I> or lower compass. Op. 26.50 E. HELENE MAIGILLE AMERICAN SCHOOL OF BEL CANTO” INTERPRETATION REPERTORY IV. Scales and Various Exercises NEW ANTHEM COLLECTION will be held at this school beginning June 1-15, July 6-15 and August New York, N. Y. Address Secretary for ‘‘Illustrated LANGUAGES, DRAMATIC ACTION AND for the Voice. Op. 27 - 60c ACCOMPANYING 1; special six and ten weeks’ courses, starting on these dates. Be¬ 30 E. 57th Street, New York, N. Y. sides the regular lessons there will be daily lectures on all subjects V. Twelve Analytical Studies. ANTHEMS OF PRAYER Op. 20 - . . $1.00 and concerts by artists, students and teachers. Dormitories in AND PRAISE VI. Sixty-eight Exercises in the school buildings. Delightfully situated between Central Park and ALBERT ROSS PARSONS Synthetic Method. Op. 28 75c For Quartet or Chorus Choirs, Specially the Hudson River. No charge for teacher’s certificates and diplo¬ (The General Principle of Vocalization.) Adapted for Volunteer Choirs, BRUNO HUHN mas. Send, for booklet and other printed matter. Also terms VII. Guide for the Male Voice. 231 W. 96, NEW YORK including tuition, board, practicing, etc. Op. 23. $1.00 VIII. Studies in Florid Song, $1.00 Style, Diction, Repertoire, etc. to Vocalists -SPECIAL OFFER- WILL TEACH DURING THE SUMMER Burrowes Course °studyc STUDY HARMONY and COMPOSITION Kindergarten and Primary—Correspondence or by MAIL vllh Dr. Woo.er, publish** Crane Normal Institute of Music Personal Instruction K for Introductory purnnsc Happy Pupil.—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method “lea ‘be order, for Ss.To?* SUPERVISORS OF MUSIC—Both Sexes KATHARINE BURROWES ^^"woOLER^Mui. Doc. D. 502 CARNEGIE HALL, NEW YORK CITY, or THEO. PRESSER CO. 322 W. Utica SI., Buffalo, N.Y. POTSDAM, N. Y. Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. PHILADELPHIA, PA. The American Institute §Jl§§pi§§t Institute of Musical Art of Applied Music the new virgii JOHN B. CALVERT, D.D., Pres (The Metropolitan College of Musi PRACTICE clavief 212 West 59th St., New York City- SS(=i=l Special Summer Session, June 22nd to July 31st VIRGIL SCHOOL OF MUSIC MR. R. G. WEIGESTERi=TJitK! Unusual advantages for teachers SUMMER SCHOOL OF VOCAL MUSIC Five Weeks’ Summer Session Begins Satur^,'JUnf 271 - - ■ N. Y., July 6 to Aug. 29 (8 weeks) THEODORE PRESSER CO. 29th Season Begins September 30th For catalogue and prospectus address: Send for circulars and catalogue. KATE S. CHITTENDEN, Dean. A. K. VIRGIL, NEW YORK Please mention THE ETUDE when addressing our advertisers. 479 THE ETUDE 47S THE ETUDE Directory of Summer Schools Directory of Summer Schools CHICAGO WESTERN COSMOPOLITAN SCHOOL OF MUSIC AND DRAMATIC ART BUSH TEMPLE CONSERVATORY Frederic W. Root Bernhardt Bronson L Beginners Makes You a Specialist Teacher of Singing MUSIC EDUCATION MRS. W. S. BRACKEN, President N. Clark St. & Chicago Ave., Chicago : : Kenneth M. Bradley, President Practical and Artistic i i Theory and Application CALVIN BRAINERD CADY Mr. Bronson will conduct a special _ (Lecturer in Music, Teachers' College, Presentmg a new world in music alike to beginners and advanced pupils. “Progress’’ Columbia University, New Yorf)! Summer Course for teachers from the 20th century slogan along every line of human endeavor and interest has SUMMER TERM SUMMER SESSION NORMAL WORK July 6th to August 10th, 1914 never been more thoroughly and practically exemplified in educational lines than in 15 Claremont Ave., N. Y. Planned with especial regard for the Dunning System of Music Study for Beginners. June 29 to August 1 Beginning June 22 instruction in the training of the Burdened teachers are realizing this more each year, also that there is a demand for experts along this SUMMER NORMAL Teachers of Singing Special Courses in tongue and jaw. pronou£eCU the for’beg’n“°’ Ga(dsk!’ 06 Pac^ann, and many °therbs w|° 1914 PIANO, VOICE, VIOLIN, DRAMATIC ART Write for detailed information. Special’terms. :: Correspondence invited On Alternate Days, July 6—27 Portland, Oregon June 24—July 29 Expression MITQIf1 Languages NeS* YorkhCitieW Y°rk’ Sep,ember Address for book In^ Mrt 'cnreTou he’ DunoingfuNSto’wdiHlft!,' Address the Registrar for Catalogue Mr. Root’s Normal Course is Los Angeles, Calif. Aug. 3—Aug. 29 Dramatic Art iuUulL Public School Music Studios: 558 Jefferson St. Mrs. Zay Rector Bevitt, Pacific Coast Representative of Mrs. Dunning, will conduct normal training Box 44, Auditorium Building - Chicago, Ill. designed to supply the more comprehensive grasp of voice Milwaukee, Wis. ddiglnful" beachesS affords oppormnijy ^^caclftus'Kf^ombme^studv^ witirVecrea^joif ^at £“”7 “ ouncements on Application ne. Julie Rive’-King ne. Justine Wegener Address Mrs. Zay Rector Bevitt, 3914 Third St., San Diego, Cal. ' y Herbert Woodard teaching which saves from Miss Mary C. Armstrong, who has scored phenomenal suc< ss Grace Stewart Pott. haphazard, experimental, HAROLD HENRY FES false or one-sided treatment. a normal training class’for ter‘ * eville,•" N.«»aC !iC.,er on Julya( 28th -under EFFA ELLIS Dunning conducts the class. 1 mstrong. The Propylae Concert Pianist Keyboard Harmony announces that he will teach until Send for Circular Melody Building and August 1, 1914 CHARLES W. CLARK Students wishing priva lessons with any of the above named Artists, should niak Kimball Hall - Chicago Teaching System Be a Teacher of Music! For terms and appointments address: may be studied personally with HAROLD HENRY, 426 Fine Arts Bldg., Chicago ..... BUSH TEMPLE CONSERVATORY IS THE ONLY CONSERVATORY IN CHICAGO WHICH HAS ITS OWN DORMITORY. Reservation of rooms must be made in advance Effa Ellis Perfield, the origina- Special One-Year Course in the following cities between Teach music in the public For Catalog and special literature address:— Edward H. Schwenker, Secretary and July 15—;Los Angeles, San schools. The pay is good Centralizing Diego, San Francisco, Honolulu, , ,. , . , and the work pleasant. We Portland, Tacoma, Seattle, Spokane, Thomas are the oldest school in the country offering a complete and thorough Well-known Fables School of Ogden, Salt Lake, Denver, St. Louis course in public school music that may be finished in one year. We and Chicago. For exact dates, write Normal also teach Drawing, Domestic Science, Domestic Art, Physical Train¬ ing, Manual Training. Strong faculty, beautiful location, unsurpassed Set to Music Caruthers School of Piano Music EFFA ELLIS PERFIELD Training equipment. Catalogue sent free. For detailed information address Gertrude Radle-Paradis 205 Boston Store Bldg., Omaha, Neb. VOCAL OR INSTRUMENTAL School -THi—SKCRF.TARY, 3029 West Grand Boulevard, DETROIT, MICH. A Summer School of Methods for Piano Teachers Director Verses by Jessica Moore Progressive, Scientific and Practical JUNE 29 to JULY ’31, 1914 Music by Geo. L. Spaulding Methods Vocal Summer Lectures given by Julia Lois Caruthers, Director IV. J. COREY RESULTS POSITIVE Institute Classes in Technic, Ear Training and Harmony, and Children’s Dem¬ SEND FOR ART BOOKLET No. 8 Pianist, Organist and Musical Lecturer Mr. Spaulding’s work it o well known onstration Classes .given by Elizabeth Waldo McCrea. FOR VOCAL STUDENTS, Novel, Varied and Beautifully Illua Your Music Is Torn! But r ' ANNA PARKER-SHUTTS, Secretary PROFESSIONAL ited Lect __ _ kind. Classes in the Teaching Material of Piano Literature given by Meda Suite 612 Fine Arts Bldg. CHICAGO SINGERS and TEACHERS It will Take One Minute to pieces which _ sities. Colleges, Lycei Repair it by Using __„ _, ece taking its title Zarbell. These Classes include t e c h n i c a 1 and interpretative Alexander Henneman __of zEsop's Fables, each fable hav¬ HacDowell,” Mr. Cor ing been versified and set to an appropriate analysis of the compositions played. . . MuItum-in-Parvo Binding Tape —* melody. The pieces all lie Weekly Recitals and Lectures given by the Faculty and assisting early second grade, and dis- LYCEUM ARTS play,,.„j the..... _;t freshness of melody and artists. For booklet giving full information address Secretary 38 WOODWARD TERRACE, Detroit, Mich. attractive musical qualities as are to be Transparent Adhesive Mending Tissue found in the composer’s well-known Tunes 724 FINE ARTS BUILDING ; ; ; ; CHICAGO CONSERVATORY ’ Rhymes for the Playroom,” and other Announces a _:s. This volume is gotten up in hand¬ some form, very clearly engraved and uni¬ ORY of MUSIC: Summer Normal Course in Piano Henneman Hall, 3723 Olive St., St. Louis, Mo. Theo. Presser Co., Philadelphia, Pa. form in general make-up with the other CLARA BAUR, Foundress popular volumes by this writer. 6 weeks, June 29 thru Aug. 7, under the Faculiy of International Reputation MuItum-in-Parvo Binder Co. THEODORE PRESSER CO. direction of Edgar A. Brazelton. All Departments Open Throughout the Summer 712 Chestnut St. Philadelphia, Pi Northwestern University SAINT LOUIS, MO. Special Dramatic Course Elocution—M U SIC—Languages Kroeger.School of Music Also Special Summer Course in Summer School of Music June 22 to Aug.l, 1914 undef Elias Day, beginning July 6 for 4 | Music Typography in all its Branch® weeks and August 3 for four weeks. PUBLIC SCHOOL MUSIC IN addition to expert private teaching E. R. KROEGER, Director Location and surroundings ideal for Summer study .and tune book plates A Day in Flowerdom 1 in Piano, Organ, Violin or Voice the Summer Term, frfg Dudley T. Limeric June 1st to July 20th MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. -GOSPEL SONG PLATES - MUSICAL ART BUILDING mmm SUMMER NORMAL JNo. io 8. Ricks Street, phUadetphi; t CIRCULAR TiiESxcEmolaiMum^roifpiImoMAmwTiMiiiDlwapiiwiKKSiv^ coihsesT ssrystrtia -A£ 12-« MINNEAPOLIS SCHOOL OF MUSIC 1 ( Market above Fifteenth 1 R. KROEGER Eigbib si., s. ORATORY AND DRAMATIC ART SPECIAL COURSE PIANO. tiie RcoooMizrcit lev him; institution of the nortiiwfut FOREST PARK' “HOW TO TEACH MU^IC: from Rudiments Stockhoff, Plano. Nordstrom Carter,Voice. . . FAVLLELCL A .TEMTtKM 1 Wl0R I>FN8fcN8 S, UNIVERSITY produced by any number of children. Secretary, School of Music :: EVANSTON, ILL. For Inexperienced Teachers of the Piano THEO. PRESSER CO., Philadelphia.Pa. Hughey Color Music SPECIAL SUMMER TERM—July 6th to August 7th FOR ALL-ROUND CHILD CULTURE Ten lessons Each lesson representing one grade. How and what to teach from rudiment, to advanced work. Private lessons only. Daily lessons will be given if tim™ is limited The Mary Wood Chase School of Musical Arts Summer Class—August AMERICAN CONSERVATORY MARY WOOD CHASE, Director FOR TEACHERS MAY E. PORTER :: 183 AVERY AVENUE :: DETROIT M CH CHICAGO, ILLINOIS TESTIMONIAL FROM DR. WILLIAM MASON ’ M1CH' 304 S. WABASH AVENUE Offers modem courses in all departments of Music and! Dramatic Art. Superior , Special Low Rates;s for Beginners faculty of seventy-five! 'Diplomas and Degrees. Many ^advantages. NORTHWESTERN OHIO SCHOOL Beethoven Conservatory send f„r ha^^c^ SUMMER NORMAL SESSION One of the oldest and best Music Schools in the United States N W Cor TrR|°S •E~-psteuTST?IN- 6 ‘°the Hir 3 Sts., St, Louis, Mo. Of five weeks, from June 29th to Aug. 1st 1914 ^^^SL^SeTsom cTtabg educators arranged for the special needs of teachers. T FD T Preside?it THE COLUMBIA SCHOOL OF MUSIC PIANO TUNING This medal made of gold i and Summer Session prospectus mailed free. JOHNJ. CLARE OSBORNE REED, Director B.F. Clark Teachers Agency of substantial weight lriBr,v Announces SUMMER SESSION—ALL DEPARTMENTS—SPECIAL ADVANTAGES Spokane, Wash.—Chamber of Commerce Blda net, postpaid, 25.00. The sa Beginning Monday, June 22nd net, postpaid, 23.00. THE AGENCY WITH THE'SHORT UNDERSTANDABLE CONTRACT 25th YEAR Theo. Presser Co., Philad PIANO-VOICE—VIOLIN-THEORY—PUBLIC SCHOOL MUSIC le mention THE ETUDE when addressing our advertisers. For Catalog and Special Anr i. HALL, 509 WABASH AVE„ CHICAGO Please mention THE ETUDE when addressing our advertisers. 480 THE ETUDE MUSIC SUITABLE FOR THE REED ORGAN Dana’s Musical Institute Partial List of Our Publications Suitable for the Reed Organ. Send for Complete List. WARREN, OHIO ■ PORTY-SIXTH year. All instru- .-wSl * A # ments and voice taught. Lessons is: daily and private. Fine dormitories for pupils. Buildings for practice (new). Pure water, beautiful city and healthy. Not a death in forty-six years. Superior faculty. Every state and country in North America patro¬ nizes the school. Fine recital hall with an orchestral concert and soloists every Wednesday night. Incorpor¬ ated and confers through state author¬ ity the degrees of Associate, Fellow, Master and Doctor. r ENSEMBLE CLASSES DAILY Chorus 10 A. M. Military Band 1 P. M. Orchestra 5 P. M. in Dana Hall PUPILS MAY ENTER AT ANY TIME Send for 6499 Kern,1 a W.' ' Op.' ISfb No.' 4.' ' Re is I S By JAMES FRANCIS COOKE T”L"Laibli,1,ed SU"e8S tbfse pVb!ications is d«e to their clearness, their value in 1. stimulating new interest and to their practicability resulting from the author’s wide experience in the teaching field and long association with our foremost musical thinkers. A NEW VOLUME OF THE MUSICIANS LIBRARY m this page sent “On Sale” at our usual liberal Sheet Music Discount Recently Published ANTHOLOGY OF GREAT PIANISTS ON PIANO PLAYING A SELECTED LIST OF PIPE ORGAN PIECES . . , Price $1.50 A ser.es of persona conferences with our most distinguished virtuosos GERMAN PIANO MUSIC EASY AND MEDIUM (TWO VOLUMES) 4M? aranr-it- «."kw“ Edited by MORITZ MOSZKOWSKI ■ £xhid\? it's t? Si±ij„r.r,s£" "i Vol. 1: CLASSIC COMPOSERS Bound in Paper, cloth back $1.50, postpaid In full cloth, gilt.$2.50, postpaid MASTERING THE SCALES & ARPEGGIOS field from FV^Kme °f Tl?e Musicians Library the editor has indicated the . , Price $1.25 H»„ pF ,tber8e-’ wh° br°ught the best traditions of Italy into Germany, A complete daily practice manual from the first steps to walborn ThkT’ ? tbe5,Iassic culminated and the romantic school the highest attainment. ,rh‘s feat, Perl?d of, German art produced masterpieces in the §S‘§ £ ££ contrapuntal styie of Bach and Handel, and in the homophonic forms of system Contain! °U‘ abundant explanations. May be used with any Si/se brinmWZtart’tV,nd ^ has. chosen wisely fromPthis, rich store¬ Wilhelm Bachaus, Ossip GabrilowiUch Emil P house, br nging together pieces of conspicuous excellence to form a collection of teachers who have made it Kat.l’ar‘']e Goodson and hundreds of general sigmficance. As past master of the pianist’s art, Mr. MosSowski’s helpful editing, annotation and fingering leave nothing to be desired The volumes of THE MUSICIANS LIBRARY are now obtain¬ THE STANDARD HISTORY OF MUSIC able on Easy Payment Plan. Write to us for particulars. Price $1.25 A First History for Students at All Ages iIIustrated!°Telf-proCnounchrdHaaddabl! "u? j f°,r,ty "st,ory-lesaons” Abundantly Sixty Musical Games and Recreations use in hundreds ofSt l' Hand,s°™Iybound. Up-to-date. This book is now in By LAURA ROUNTREE SMITH Price, 75 cents, postpaid of a broadspread revivafin ^ ?r°m C°aSt,to coast and has been the means L you start a History Cluh it, 8 t3 mus!ca* interest wherever introduced. Let us help rough a very successful plan which has helped others. prLthewabr, fco°ks ,sent Postpaid on receipt of 1 .IT, _ ‘ W te for circulars and special quantity rates «R»^r„S S,S'£l?ae SsSiS gHEO PRESSER COMPANY - - Philadelphia, Pa. ■NoSHBJaNEWYORKtl “What’s good for IVERS & POND mother’s skin is PIANOS good for baby s! The .skin-softening and embody the best features protective effects of Pond s Vanishing Cream, so valu¬ of half a century’s ex¬ able to beautiful women, perience in piano build¬ explain its large and grow¬ ing—plus the latest ideas ing application to the deli¬ of the day. Over 400 cate skins of children. Leading Educational In¬ Nothing is so wonderfully stitutions and 55,000 dis¬ effective for chaps, wind- criminating homes now bUMoth« knows, too, there is nothing that will so surely pre¬ use the Ivers & Pond. vent the dry, tight feeling which comes after washing. . 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Also ■ Talcum, Cold Cream, Tooth Paste and Soap “The Crowning Attribute of Lovely Woman is Cleanliness’ NAIAD 11 11T 1J THROUGH THE PANAMA . Around the World canal \ Two Grand Cruises by Sister Ships ' “CINCINNATL^Janua^ 1 135 DAYS, ”$900' UP «n »« ®““ Newman “ \ Hamburg-American Line new york The C. E. CONOVER CO., Mfrs rZK'p^p^X' X Philadelphia Boston Baltimore Pittsburgh Chicago 101 Franklin St., New Yo] have been established 60 YEARS. every family in moderate circumstances_ _ „ T PIANOS take old instruments in exchange and deliver the new mano home free of exp. Write ior Catalogue D and exolamfdons" V°Ur vose vose 6 SONS PIANO CO, Boston. Mass. FroZ No “*cs all Keys. Teacher servatoire and wrote many successful operas, also Infernalc, and many others h''"9 Leaves’ Chasse piano pieces and songs. The minuet entitled, Homanc THE VOCAL NUMBERS. a Beethoven ,s a hitherto unpublished piano piece. It is an excellent piece of workmanship, written in the waysStacceptebleS'V We “have f printed^ifffi th^’ ^ style of the classic masters. Grade IUy2. whh W!!h b0,H EngIish and W wordsTnd phenomenal, he coJld^neverlh l”S f,eII°"’ artis,s was criticisms. “What i, ("!??eIess be severe in hi< ROSE OF ANDALUSIA—J. F. COOKE Ira B. Wilson s The SecretIs zn ef'***** Vi°1!n part indent who washntlavlolUal ^ be asked one dav of The enchanting Spanish rhythms, so suggestive of song suitable for teaching or encore purposw"7 did not appeal to the virtiP'eCe °f music tbat evidently the languid yet emotional people of that wonderful E J. Darlings Slumber Sweetly is another o- j nett’s « of OrtlJ'l'oZl" ^ is, S‘^e country of sunshine, flowers, romance and beautiful faid Liszt, vividly recall^ r' 3S t,1e reP'v- “Ah.” siy!ons’ “ “ce,ient th^fV Pi‘y that the 0riginatJ°an °f Arc’s I,,rid end. the fate of Joan.” glnal manuscript did not share