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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1916 Volume 34, Number 02 (February 1916) James Francis Cooke
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This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. - - __ Subscription $1§2PerYearPrice15Cents THE ETUDE Presser’s MusicalMagazine February 1916 r* THE ETUDE 81
PRESSER’S MUSICAL MAGAZINE
CONTENTS FOR FEBRUARY 1916
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Send your order, parable stock, unequaled in variety and com¬ elementary to advanced virtu y ^ books> slieet : Hand Book, Hand Book for 4. 6, 8 and 12 Hands, no preliminary correspondence is necessary. You pay : Catalogue of Juvenile Musical Publications, Thematic pleteness. All is placed at your command for all demands. Primers, . ^ ^ exhibition for only what you use and return the remainder. Music ! Catalogues and complete Catalogues of Vocal and In- through the services of over 200 thoroughly music, (including teXTcal works. In ad- not used is returned to us but once a year. Settlements ; strumental Music will be sent to you on request, with- 5 music clerks. No order »i too smJl are to be made at least once a year, preferable in June : out obligating you to buy. Our Octavo Catalogue jJ&fiBtfjRB or July. to receive our most careful attention and : is extensive and comprehensive, continually increasing NEW MUSIC AND NOVELTIES ON SALE ; with many notable accessions. We publish anthems, none too large to overtax our facilities. ; choruses and part songs, all styles, and in all degrees iJflflaiBJBB No matter where located, this K,g £“;% I of difficulty. We aim to assist in every way possible rolls, musical PlctUr“, books record tablets, music fil- : the busy organist and choral director. .BBBBBB.BH ^ ing'cabiimts, muric stands, jewelry for music lovers, etc. =SSSS£s£=sc£» ; 8 . .■n,limili‘|lllllllll““l“ui“uilllUtUiUUU^iiUiiiimiU^ RRJBJRRB RFiRRRRRR A SELECTED LIST OF THE MOST USED WORKS IN MUSIC EDUCATION SENT ON EXAMINATION TO RESPONSIBLE PARTIES APPLY OUR USUAL LIBERAL DISCOUNTS PIANO COLLECTIONS PIANO COLLECTIONS—Continued PIANO COLLECTIONS—FOUR HANDS—Con. PIANO TECHNICS AND STUDIES Continued PIANO TECHNICS ANO STUDIES-Continuej ALDEN, RUTH. Wh.t They Do in Wondertowi MODERN DANCE ALBUM. « WOOD, D. D. Musical Zoo. Melodious duets for BACH, J. S. Album uf Favorite Piece, MODERN DRAWING-ROOM PIECES teacher and pupil. Worda. $ P1AMQ INSTRUCTORS—Continued PRESSER, THEO. Selected lands, flexibUity BEETHOVEN. Selections from Piano Work. MODERN SONATINAS. YOUNG DUET PLAYERS (Harthan). KOHLER, L. First Studies. Op. 50. Equal development of both .$ “ Easier Piano Compositions. MOZART, W. A. Sonatas, 2 vols., each KOHLER, LOUIS. PraeticH Fiano Method, Op. ^ _ 12 Little Stud.es, Op. 157 - and strength. 75 BRAHMS, J. Hungarian Dances, Piano Solo, “ Sonatas, Complete. VOCAL METHODS AND STUDIES Short, interest- books, each. . PARLOR and SCHOOL MARCHES. LAND0N,CVw!' Method’ f“Piano Board bind- :: :::::::: R0GE^^mHu.ic?u"Si« of great tecHnica. same J JJ BUGBEE-DAVIS, L A. Merry Rhyme, for Chi PIANO PLAYER’S REPERTOIRE OF POPULAR MARCHESI, S. 20 Elementary and Progressive ing. Introduces Mason s system. * “ Double Not. Velocity ; _ hood Times. Vocal or Instrumental . PIECES. Vocalises for Medium Voice, Op. 15. 1 “ Foundation Materials for Piano 1 ^^^«*** SARTORIO, A. 12 Instructive Piece.g m Melody ^ CHAMINADE. C. Album POPULAR HOME ALBUM. MYER, EDMUND J. Vocal Instructor A practical Leads to solid musicianship through an POPULAR PARLOR ALBUM. guide to artistic methods. I easily graded, pleasant and rnterestmg C An°nConc^nUated Technic! ! ! ^ ^ 1 CHOPIN, F. Complete Waltae.. MUSICAL THEORY, REFERENCE BOOKS, lO^Mcdodious Studies' in’ Velocity, Op. 380. “ Lighter Compositions for Pisoo. POPULAR RECITAL REPERTOIRE. PETRIE, H. W. Ten Vocal Studies. Melodious RALSTON MARION. Musical ideas for Beginners 1 orm r andHyconicn"cdda?cortog Jo^mS’em ’’ Complete Nocturnes . ROWE, DANIEL Tone Stories for Boys and Gi and pleasing, to promote style, flexibUity and GENERAL MUSICAL LITERATURE Continued “ Selected Work. (I. PhUlip) (with words). execution. With text. 1 WAGNER, E. D. First Instruction Book for the Large notes; suitable for young pupils REDDALE, F. The School Singer. For normal COOKE, J. F. Great Pianists < Piano, Parti. tuneful treble clef piece, with words. «« CLEMENTI. M. Sonatinas for Piano Melody and Velocity, Op- 872. - - • - — ■ CRAMM, H. M. New Tune, and Rhyme. kindergarten work. Lively and pleasing. Pianoforte Playing. Ten Melodius Studio, for Advancing Players, ^ # SALON ALBUM, Vol. I. Personal conferences on Technic, in PIANO TF.CHN1CS AND STUDIES SCHOOL AND HOME MARCHES. sion and style with our mi * " MHodhss Second Grade Studies, Oy- Ml ■ ■ ■ 1 “ SCHUMANN, R. Selected Works. ELSON, L. C. Mistakes____ BACH, J. S. Little Preludes^nd Fugues. . Twelve Melodius Studies in Embellishment, ^ ^ in learning the staff notation. “ Albums for the Young, Op. 68. Music and Music-Teaching. DUTTON, THEODORA. The First Progress. “ Scenes from ChUdhood, Op. 15. FILLMOBE, J .C. Lessons in Musical History “ Fir'"study of Bach (Leefson). “ Album for the Young and Scences from Chi HEACOX, ARTHUR E. Ear Training. Op.^S^Studiesfor theDeTelopmentof Technic TenPBrilliant Octave Studies, Op. 1044. 1 5* EASY DANCE ALBUM. hood. Ops. 15 and 68 combined. A course of musical study for the develop¬ BERTINI, H. 25 Studies for Kanrfor**. °»- 29 and Expression, three books, each SCHMITT, A. Preparatory Exercises, Op. 16a . ENGELMANN, H. 24 Pieces for Small Hand. SMITH,HANNAH. Rhyming Tunes for Litle Players ment of musical perception, beginning with “ 25 Studies for Pianoforte, Op. 100 SCHMOLL,^A.^Studie^^i^|^St^y^Pi^^*,^J®l£ SONATA ALBUM, Vol. I, 15 Sonatas by Haydn, SCAMMEL, A. E. Two part Eserciaea for I the elementary stage and proceeding by grad- B1EHL, A. Elements of Piano Playing, Op. 30. :: Mozart, Beethoven.. Singing and Class-Work. «_je higher “ Album of Favorite Pieces. His boat dr a. BILBRO, MATHILDE. General Study Book ... ■ M«FARREn!'WALTCR. Comprehensive Scale SONATA ALBUM, Vol. II. SIEBER, F. Elementary Eserciaea. 36 8-Me HEPLER, E. A. Studies and Rhythm. BUGBEE-DAVIS.L. A. First Grade Studies. Easy, beau*3uLn,E,ach...... “ - 1 04 room pieces, including “Melody of Love SONATINA ALBUM (Louis Kohler). Studies, Op. 92,.Soprano. Cover g the av FIRST DANCE ALBUM. “ Op. 93, Mezzo-Soprano. SCHNECKER, P. A. Melodious Studies inStf« FIRST PARLOR PIECES “ (Abridged edition), Kohler. and Mechanism. To develop espemll, SPAULDING, GEORGE L. Souvenirs of the “ Op. 94. Alto.. ERRY. Descriptive Analyses of Piano Works... FIRST RECITAL PIECES. VACCAI,iftcvni, N.is. Practical Italian Vocal Method. “ Stories of Standard Teaching Pieces. IV, fluency, continuity and good style. 1 “ FIRST SONATINAS. Masters. Introducing famous melodies. SCHULTZ, F A. Scale, and Chords. K “ ^GEO.L. Tunes and Rhymes (with words).... WHELPTON, G. Vocal Studiea for Soprano and These companion volumes furnish a KILLOUGH, G. C. <- The School of O FIRST PIECES IN THE CLASSICS Tenor. of the : aarkable SHIMER, C. E. Preparatory Touch and Technic. GRIEG, ED. First Peer Gynt Suite, Op. 46 “ Student’s Manual of Sight Singing. Clear, 4QQ Questions and Answers. " 18 Eludes de Genre, Characteristic Etudes, One of the9“°^a^rte pedago^ by an Introduction to Dr. Mason s great work. ... 1 » . e values intervals, scales, keys, chords, Op. 109. CURLITT. Album Leeres for the Young “,aYMthful Diversions'with word.). of alf American pianists and teachers. . SMITH, WILSON a Sp««.l ^xercises^in Scale “ Album of Selected Compositions (Methewi Introduces 14 well-known children’s melo¬ CLEMENTI, M. Gradus ad Parnassum. MATHEWS, WnShB.inFhs,Lcsr„, ,n Phrasing. 1 HANDEL ALBUM (Pressor). dies, mostly in the Keys of C, G and F. Mel¬ VOCAL COLLECTIONS CONCONE, J. Selected Studies. fourth and fifth fingers, each 1 * HAYDN, J. Sonetes, Vol. I. ody and text combined. dents, teachers and concert-goers should I - Eight Measure studies, 2vol. Daily procure " - is, Vol. II BUGBEE, L. A. Musical Thought, for Little Tola get acquainted with these books. 25 Melodic Studies, Op 24. “ Studies in Phrasing, Book II.. j “ Well-known Fables Set to Music (with words) CHURCH AND HOME. Sacred Songs, High Voice COOKE, J, F. Mastering the Scales. for third, fourth and fifth fingers, each 1 » Sixteen little pieces to be played or sung (or PROUT, E. A Treatise on Instrumentation. “• STAnNDdARCD°nGRADEDe COiiRsk' OF ’ STU- STANDARD CONCERT ETUDES 1 both) with versified texts based upon as many “ Sacred Songs, Low Voice. REDMAN, H. N. Pronouncing Dictionary of STREABBOG.L. f'!''!'Mclodic Stud.es, Op.63 Teaches rythm, style and er fables selected from /Fsop. How many of GALLOWAY, TOD B. Friendship Songs. Musical Terms. “ Twelve Easy and Melodious Studies, Up. t>4 i ing. For early grades. dEsop’s fables can you tell off-hand? “ Seven Memory Songs. RIEMANN, Dr. HUGO. Dictionary of Music and oUmitators?Th&eSnrand sXthe one. St^doaens universally used ' “ Musical Picture Book STANDARD OPERA ALBUM... JUVENILE SONG BOOK. ,dT; VETTER, HERMANN. Melodic Pianoforte Studies. Melo rranged in NEIDLINGER, WM. H. Little Folks’ Song Book nple, logical, direct; the best of e. To follow any first instructor the bei difficulty planation in non-rec/inicul language. Ongmuf featur. VOGT, J. 24 Octave Studies, Op. 145. | CRAMER, J-B- FiftySelectedStud.es. 1 WIECK.F. Piano Studies. . ... **‘a Volume 1, Grade 1. For Retailed description of the^abm TREBLE CLEF ALBUM... CZERNY, C. One Hundred Studies, Op. 139 “ Volume 2, Grade .. no Study LEEFSON, M. Moderr STAINER AND BARRETT.^lwcUonary of Musical MORRIS. M. S. Writing Terms. MUSICAL THEORY, REFERENCE BOOKS, STAINER, Dr. J. Guide to Beginners in Composi- “ School of Veloci Volume 5, Grade ! LISZT, F. Album. PIANO COLLECTIONS—FOUR HANDS “ 6 Octave Studies, op. ooo.... ' Volume 6. Grade I ORGAN WORKS GENERAL MUSICAL LITERATURE y “ First Pianoforte Instructor, Op. 599. . ' Volume Y.Crade ' ITTLE HOME PLAYER. Piano or Organ. CHILDHOOD DAYS (Hlrthan). Instructive Duets “ PreliminaryJ SAwTrfDMtwUy,Op.636.School of Dexterity, Op. C CLASSIC AND MODERN GEMS for Reed Organ 1» lacDOUGALL. Studios in Melody-Playing. for Teacher sud Pupil. SC PIANO INSTRUCTORS “ Art of Fingerer Development, OOp. 74 Carefully prepared material for Junior pupils CONCERT DUETS. I OC ‘ Volume 9, Grade LANDON.C.W. Reed Organ Method , 18 DIABELLI. 28 Melodious Studies. 51 « Op. i4U, o books, each ‘ Volume 10. Grade 1 “ School of Reed Organ Playing, 4 vols., 4 grades, MacDOWKLU EDWARD. "Poem's after Heine!! 1 DUET HOUR. 51 ABBOTT Mrs A. T. A Method for Gaining a CZERNY-LIEBLING. Selected Studies. Three PARLOW, E. First a"d S each. Perfect Knowledge of the Notes. PHILLIP, I. Exec MASTER PIECES. The 21 best compositions from DUTTON, THEODORA. Mother Goose Duets 5C BATCHELLOR-LANDON. Musical Kindergarten ary’ studies^e^ted OREM, P. W. The Organ Player—Pipe Organ FOUR HAND MISCELLANY. 1 OC Collection. MATHEWS^'standwd First and Second Grade FOUR HAND PARLOR PIECES. 50 ITALIAN OVERTURES. 75 VIOLIN Forthe mir'sery and dassnKunV This work oroer oy au ca^.l *..ano teaching°8reSS1V ORGAN REPERTOIRE. Pipe Organ Collection “ Standard Third and Fourth Grade Pieces .... 1 JUVENILE DUET PLAYERS. 50 DUVERNOY, J. B. Ecole du Mecanisme, Op. 120 PRESSER. THEO. Velocity Studiea. Furniihe* “ Standard Fifth and Sixth Grade Pieces. LOW, JOS. Teacher and Pupil, two books, each . 75 CLARKE, H. A. Harmony, A Text-Book. AIQOUNI, K. H. Practical Mel BEGINNER’S METHOD.■ • • •;. , “ Ecole Primaire, Op. 176. “ The New Gradus ad Parnassum, i eight books: MARCH ALBUM. 50 Intended to enable the pupil to grasp easily Violinist. GURL1TT.C. School of Velocity, Op. 141. ok H, Right MOSZKOWSKI, M. Spanish Dances . 1 00 and comprehensively the facta and rules of the FRANKLIN, F. A. Operatic Selections. Intended^ for the ^"."^^'fua'fnsuring Book 1, Left Hand Technic; I REED ORGAN PLAVER. Colie “ StMdid'compoiition’s’, VoL I,’Grade I to NEUMANN, F. Sixteen Four-Hand Piano Pieces. “ Selected Classics. HANON.C. L. Virtuoso Pianist, Complete. Hand Technic; Book 111, Hal Is Together; and modem pieces. . for Pipe Orgao. ( # Vol. VII, Grade VII, each. HOHMANN, C. H. Practical Violin School, G, HELLER, STEPHEN. Thirty Seloctod Studies. ROGERS. J. H. Graded Materia1 “ Standard Compositions, Vol. IV, Grade IV,.. ^ man and^English Text, complete. The best studies from the most popular opus “ Standard Compositions, Vol. V, Grade V ... Each... STAINER, Dr. J. The Organ ’ Standard Compositions, Vol. VI, Grade VI... 20 Melodious duets for To KAVSERT H. E°° Elementary and Progressi ‘ 2SnNUlodious Studies, Ojp.4S. The c< STANDARD ORGANIST. Pipe Organ Pieces ” ~ ’ ’ ” - ., Vol. VII, Grade VII. easant Hours, Eight Instr. Studies, Op. 26, Book I. “ 30 Progressive Studies, Op. 46. Pieces, Op. 1042. STANDARD VIOLINIST. the Park WHITING,GEO. E. 24 Progressive Studies lord* STUDENT’S POPULAR ALBUM. “ Etudes 'rf EtpreVsion and Rhythm, Op. 125.. Pipe Organ. To loilow the elementary star TOURS, B. Complete Instructor lor Violin . .. “ The Beginner’s Pipe Organ Book. 1 HERZ, H. Scales and Eiercises. KLE1NE P1SCHNA. 1712 chestnut ST., PHILADELPHIA, PA. THEO. PRESSER CO., PUBLISHERS THE ETUDE THE ETUDE 85
The World of Music THE World of Music is still under the shadow of the great war and the greatest musical activity of the day has through the course of natural events been transferred to America. This does not mean that music has alto- Cj pea®ec* ®ven Wlthm the sound of the firing line. It is somewhat amazing to note how much has been accomplished m the European Capitals. The newspapers of London, Berlin, Munich and Paris contain a surprising number of notices of coming concerts. Such a pianist as Wilhelm Bachaus has gone so far as to give a recital in Berlin' in his held gray uniform Richard Strauss has produced a noteworthy Alpine Symphony. London has had many fine concerts and 1 he Opera Comique has resumed performances. However, the real center of musical effort is unquestion- ably on this side of the Atlantic at present and the measure of our accomplishments in which many of the greatest artists of Europe are now participating is so great that realization is difficult
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THIS is the month of uncertain weather that brings on colds and hoarseness. Singers, above all, should watch their throats and guard against these prevent affections. Start taking S. B. Cough Drops now. The pure medicinal oils in these drops will prevent colds and hoarseness and keep the air passages dear. Carry a box with you all the time. Take one before rehearsal and you’ll find your throat in better condition. Une at its bedtime loosens the phlegm. Far better than medicine.
SMITH llOTHilS5 S.B. COUGH DROPS bout f Just Pure Cane Sugar and Pure Medicinal Oils sections with top and bases. Quar¬ SMITH BROTHERS tered Oak or Genuine Mahogany. All of Poughkeepsie Yoar Grandpa Knows Us Makers of Lasses Kisses and S. B. Chewing Gum-“The gum with the Cough Drop Flavor.” The Manufacturing Company New^rkoffice, THE ETUDE 86 THE ETUDE
FEBRUARY, 1916 YOL. XXXIV, No. 2
recent foreign extraction, is more completely American in his spirit Uri-Hyphenated American Music than thousands of our indifferent citizens, whose patriotism consists of brags about their Pilgrim ancestry. Wherever he and his band have gone (and they have gone around the world twice) he has Certain things are distinctively national. The novels of Charles brought honor to American music. There is something in his marches Dickens and plum pudding are unmistakably English; the songs of which seems to jump up, wave the stars and stripes, and say, “Here Franz Schubert and pumpernickel are unquestionably German; the I am. I’m an American, and I’m proud of it.” romances of Gorky and caviar are distinctively Russian; the poems This must not be taken to mean that the music of such eminent of James Whitcomb Riley (or might we not as well say Walt Whit¬ Americans as MacDowell, Mrs. Beach or Nevin is not original, but man) skyscrapers,, women’s clubs, huge industrial reform, the new the observer will certainly see that it is more allied to the great optimism, the Sunday newspaper, James McNiel Whistler, baseball, universal music of the world than to a distinctively American type, the department store, the cow-puncher and the Liberty Bell; and last for Nevin is akin to Chopin, Godard and Raff; Mrs. Beach to Brahms, but by no means least such individual men as Benjamin Franklin, and the immortal work of MacDowell to Beethoven, Mendelssohn, Abraham Lincoln, William Jennings Bryan and Theodore Roosevelt Liszt and Grieg. John Philip Sousa alone in his music has struck are all indisputably American. the distinctive American note of our great public, just as Johann Longfellow might have been an Englishman, Emerson a Strauss, Jr., expressed the spirit of Vienna more distinctively than Scotchman, Thoreau a Frenchman and Poe an Italian, but Mark Haydn, Mozart, Beethoven, Schubert, Brahms or any of the lofty Twain came from Missouri, and who will show us that he could have Viennese masters. come from any other spot than the heart of the United States of America. We are none the less proud of the great accomplishments of Longfellow, Emerson, Thoreau and Poe, but at the same time if Music and the Mad Hour we are looking for distinctive American high lights we must pick those things which could not have sprung from any other country. If you doubt that this is the mad hour in our American musical (Who, for instance, could imagine Henry Ford’s million-dollar peace life spend an evening in “the great white way” of any large American voyage coming from any other country than America?) city. The luxuries of yesterday are the commonplaces of to-day. To be an American all one has to do is to understand America The conventions which pinched our grandfathers have long since been and live the American life. That applies to the man who has just exploded. The spinster aunt who was horrified at the thought of the taken out his naturalization papers as well as the one whose ancestral minstrels now thinks little of visiting a Broadway cabaret when she name first took roots in Plymouth or Jamestown three centuries ago. makes her trip to New York. There her ears will be banged and It is this understanding which will make our American music, our slammed by more savage noises than she could hear in the jungle. national music, if we are to have one. That music will not be the mu¬ Next day she makes a tour of luxury shops and pays more perhaps sic of our savage aborigines, nor will it be the pathetic wails or the for one flimsy gown than her mother paid for her entire trousseau. It plantation jigs of black men stolen from their African homes. It will is good to have good things and plenty of them, but is it wise to represent the spirit of all America. It will be big, responsive, dy¬ deliberately throw one’s self into a riot of extravagance? Vidor Records are the consummate art of the greatest singers, instrumentalists, namic, free. Who will catch this spirit and translate it into tone? To our mind the most distinctively American music thus far is What is the to-morrow of this mad hour? To what might this bands orchestras—their own superb rehditions exactly as they interpret them. that of the Sousa March. Stephen Foster’s lovely melodies, remark¬ orgy of waste be the overture? Marcus Aurelius by his wisdom and able in their originality, bear a relationship to the best folk songs of moderation kept the Roman Empire together. Commodus, who fol¬ All the distinctive personality, all the individuality of expression, all the beauties I reland,'England and Scotland. Americans are proud to claim them, lowed him (180-192), immediately forsook the States for the gladia¬ peculiar to the performance of each artist, are ever present to charm you in their but are they, apart from their homely verses, distinctively American ? tor’s sword. Rome was rotting with wealth, idleness, waste. The Mr. Sousa has not essayed to write in the larger forms as have Mac- decline set in and the glory of the State vanished. The story is simple Dowell, Mrs. Beach, Chadwick, Parker, Hadley, Gilchrist, Huss and and direct. It is the history of all nations that rise to tottering greatness. America is dizzy witli its war-gotten wealth. America Victor Records are the actual artists—the greatest artists of all the world. The others; he has not produced the delicate rose-petal music of that delightful tone poet, Ethelbert Nevin; he has not written such songs may beware. Fortunately we have great leaders of thought and greatest artists at their very best. The greatest artists just as you want to hear them. as have come from Rogers, Foote, Shelley, Cadman, Burleigh, Johns; enough of our people are sufficiently wise to listen to them. Our need to prepare our children for war is not nearly so great as our There are Victor dealers in every city in the world who will gladly give you a complete he has not written the interesting piano music of Mason, Kroeger, Edgar Stillman Kelley. While he has successfully entered the field need to prepare them for those penalties of over-richness which under¬ catalog of more than 5000 Victor Records and play any music you wish to hear. of comic opera with Herbert and de Koven, it is in the Sousa March mine the State. that we find the most distinctive evidences of characteristic American Music is one of the many tilings which when studied properly music. will help our young people to preserve their intellectual and social The world-wide adoption of these marches, their longevity in all equilibrium. We do not mean merely the opportunity of listening to countries where they have been introduced, their freshness after many good music occasionally, but regular study of music in the home. Let years of popularity, their vim, their American dynamism put them us cultivate our finer musical feelings by more intimate acquaintance in a class by themselves. with the great masterpieces.’ The home without its daily music, its Sousa virtually gave away his early marches, as he wrote them daily reading of good books,, its daily conference upon matters of solely because he wanted to write good, stirring American music. He national progress is not worthy to be called an ideal American home. had little thought of money gain. Despite his Portuguese father and The parent’s educational obligation to his children is not discharged his Bavarian mother, Sousa, like multitudes of other Americans of merely by paying tuition bills.
87
Please mention THE ETUDE when addressing our advertisers THE ETUDE THE ETUDE 89 The Happy Side of Music Teaching The Greatest Pleasure in Teaching The Piano Subito I do not believe the greatest happiness in teaching By Percy Chase Miller, M.A. comes from the success of pupils; to say that is to use By Philip Gordon another, and not very appropriate word for self-conceit. Plenty of highly modest people are quite happy, very In the music of the last generation the indication Unless there is a happy side to music teaching it possibly on that account. The pleasure is in the doing should never be undertaken at all, except by people piano subito is frequently found. In the music of of the work, not in the result. If the result is success¬ Mozart and of Beethoven such an indication is very who have made a failure of everything else. No art is ful that is an incentive, to be sure, but so it ought to be rarely found. But the effect which this indication calls real and no profession is successful unless those who in the other case. Happiness in teaching,—or, for that for is quite common with the classicists. The reason practice it can take and Can show genuine pleasure in matter, in anything else,—is materially promoted by why the student of to-day, accustomed to full and ex¬ their work. If I do not enjoy writing letters or amus¬ the conviction, however acquired, that the work one plicit dvnamic marks, seldom notices the significance is doing is really and distinctly worth while. No one ing the baby or playing the organ in church it is a of the piano subito in Beethoven and Mozart is only can rightly be happy in anything so long 'as he believes pretty safe guess that my letters will not be cherished because the composers of the eighteenth century were he is wasting his time. for publication after I am dead, that the baby will be satisfied with such simple indications as those in ex¬ far from cheerful, and that nobody will stay after the I maintain that we should take especial pains to enjoy ample one. service to listen to the postlude. Where the teacher our own playing, and with this as a starting point we does not enjoy teaching, Heaven help the scholar! can project pleasure, as it were, into all sorts of places £x |_ Beethoven—Sonata, Op. 26. There are times when the teacher is not blissfully where one would not suppose it could be found at all. When little Johnny has managed to get through some joyful in his work. (I have been there myself, so I insignificant and infantile tune without a mistake, why, know.) Perhaps the lesson hasn’t been prepared, per¬ do you not remember how proud you were of yourself haps little Willie comes only because mamma makes when, in the dim obscurity of your lost youth you man¬ him. Have you ever thought how very many of these aged to accomplish something of the kind? And in the little Willies there are? How is the teacher going to same way, if you enjoy your own performance, you can earn his fee with a clear conscience ? How is he going enter into the pupil’s enjoyment of his progress at to keep from hopeless apathy, not to mention nervous whatever stage. If you do not enjoy it, you can't [Editor's Note.—The average pianoforte virtuoso of those can testify who have had the bitter experience of collapse? How is he going to get any pleasure into sympathize with anybody. In fact, the taking of our renown has rarely given sufficient attention to elementary It is a very good plan with a beginner, to make nim pianoforte study to give him confidence in talking upon the bad teaching to start with. I am, therefore, going to his job, and how is he going to get any pleasure into calling, or of ourselves, too seriously is dangerous There is a steady crescendo up to the climax, where take an apple or a ball of similar size in the palm of subject. Mark Hainbourg is the son of a teacher, and was give here a few of what I consider the essential points little Willie’s job? business. I can enjoy my own playing without there is a sudden drop to piano. Yet there is no mark brought up in the atmosphere of musical education ns well the hand, hold it lightly with the fingers spread out as musical culture. His long training under Lesehetizky also to aim at, when commencing to learn the piano. round it, and then drop it out of the palm as the hand The beginners in any study are bound to be the most conviction that I play better than anyone else in in the music but just the p. served to school him in the significant elements of modern the world; I can enjoy little Johnny's progress without descends upon the keyboard. The hand will then retain numerous—I am not claiming any originality for this This effect is also employed on a large scale, in technic. Mark Hambourg has given over one thousand Position at the Keyboard remark—it is the tamest kind of commonplace—but we conviction that any one else, except possibly his own example two. public recitals in different parts of the world, and his experi¬ the cup-like position with the fingers spread upon the ence in musical education has been fostered by a genuine The first thing, then, that presents itself is the position keys. sometimes wonder, just the same, why we can’t have a fond papa and mamma, would give two cents to hear and long-continued interest in the subject.] Ex. 2. Beethoven—Sonata, Op. a, No. i. of the body when seated at the instrument. With regard Having ‘thus described what I consider the per¬ nice, picked crowd of advanced pupils, who “really him. Get rid of the idea that pleasure in your own To arrive at any real result in the study of the piano, it to this, the pupil should be seated with his chair exactly fect position of the hand, I will now proceed to explain want to learn something.” In the same way, I suppose work or in your pupils’ work, is a form of conceit—it p, r Pi j jjj is essential to start very young, and to train both the ear at the middle of the keyboard, and at a medium dis¬ how to exercise the fingers in order to retain that posi¬ most doctors would like to be consulting specialists, isn’t—but to whatever extent you like to cultivate your and the hand from childhood. In thq case of the beginner, tance, that is to say, neither too near nor too far, but so tion, and make it become a habit. This will be arrived earning vast fees during office hours and secure from own universally-recognized modesty, be sure that you -r that his fingers reach, and fall easily, and naturally, at by practicing in the following manner: Press the midnight calls. But for most of us, this is too good keep your enjoyment in your own playing. The case is pi-t- —r the purely mechanical side of how to hold the hand and upon the white notes, when he is sitting upright on the fingers down well arched on to five consecutive white to be true. We have to teach the beginners, and it is parallel to the classic one so well discussed, and settled produce a supple articulation, is, of course, the main p p front half of the chair. notes, and hold them down altogether. Then lift each up to us in the vast majority of cases not only to pro¬ once for all by Charles Lamb, when he attacked and c4 object, but together with this, I am of the opinion that exploded forever the fallacy that a man must not laugh -- f- elementary instruction should be given in harmony, and On no account should the pupil be allowed to lean finger in turn, holding the others down meanwhile, and vide the instruction but to create the demand for it at f back, but always be seated on the forward portion of at his own jokes. f=rf the rudiments of music, that the pupil may begin to strike the key with the lifted finger, taking great care the same time. =i==T his seat. The seat should be sufficiently raised so that understand a little about the progressions of sounds, all the time that the hand is perfectly supple and relaxed, — the pupil’s elbows at their natural angle will be almost and that nothing is stiff. This exercise done every day Do Not Take Yourself Too Seriously f and the sense of rhythm which is so necessary to musi¬ Put Yourself in the Boy’s Place on a level with the keyboard, if anything just a little for five minutes by each hand separately, will soon give cal development. Nowadays, there are so many and To get anywhere with children, we have got to be Does not the greatest amount of avoidable unhappi¬ Here is a steady rise toward the climax; the first below it, as shown in cut No. 1. the fingers and hands a perfectly easy and natural posi¬ various'systems of teaching children these elements of happy in their company, and it is surprising how easily ness in the world come from the disappointments that section has a crescendo, the second is forte we expect tion upon the keyboard,- and preserve the cup shape of music, in forms that will interest and entertain them are inevitable results of this unfortunate and depreca¬ the third to crown the ascent—but just at the supreme the palm of the hand. this capacity, which I suppose we all have, can be while they learn almost unconsciously. And such teach¬ developed. The quickness and ingenuity of their minds, ble tendency? If you are self-satisfied and conceited moment there is a sudden piano, and the last section is played softly. ing greatly facilitates the technical study, as it makes if you can only get them to give expression, are a as a teacher, every failure of a pupil, no matter how A Cup-Like Position The effect of the piano subito is found on almost the child interested in what he is learning, and able to source of endless joy to a sympathetic teacher. Put trivial, to do anything set him, comes back to you This acquiring of the cup-like position of the hand - every page of Beethoven, so frequently, in fact appreciate to a certain extent the difference and grada¬ yourself in a boy’s place and get his ideas and you like a slap in the face. Here you are, the most gifted will be found enormously useful later on, in the play¬ that the Germans call it by his name. We very strongly tions of the tones he produces. teacher in the world, the most inspiring, the most mag¬ ing of scales, and arpeggios, as it allows easy passage immediately get a base of operations for your instruc¬ advise the student to study his pages for this effect, Now, as regards the mechanical beginning, without netic, the most universally recognized, and all that—and of the thumb under the other fingers. In connection tion, and a source of pleasure in your work. I think so as to become thoroughly familiar with its aesthetic which no one can really play the piano properly, the here a pupil of yours goes and does so-and-so. A with the striking of the keys by the fingers, I would the reason why so many teachers are not happy with value. For often in music there is no indication at most important thing is to start with a good method of universe organized so as to allow such a disgraceful further say that merely putting down the finger and children is that they persist in treating them like adults; all where a sudden piano is obviously intended, and one playing. For there is no doubt that all reliable technic thing to happen must be rotten to the core. Have you letting it strike with its own weight, is no good, as the not because they don’t care, but because they don’t know cannot hope to understand these cases unless he is is the outcome of a good common-sense system to begin ever felt like that? If so, it is a sure sign that you are sound produced thereby is inadequate and uncontrolled. any better. acquainted with the principle of this very charming with. Of course there exists many crankisms about taking yourself much too seriously. After all, life is My idea is that when lifted, the finger must be brought effect. An example of the piano subito unmarked is this; the student may go to one teacher who will tell a huge joke, and if it is at times something of a prac¬ down with a,certain amount of pressure upon the note “Year In and Year Out” in Mendelssohn’s Songs Without Words No. 2 meas¬ him the only way to play the piano is to sit practicing at tical joke we should try to see the point—even when it which, is struck. This pressure should be produced Another bane to happiness in the teacher is the mo¬ is on us. The world is going to play its practical jokes ure 23. it from fourteen to fifteen hours a day, just doing from the forearm and transmitted through the fingers notony of dinning the same old thing into pupils’ ears on you, whether you like it or not, therefore don’t put finger exercises. He will go to another who will assure to the key, the wrist being all the time absolutely re¬ year in and year out. If the teacher is really and yourself in a position where you can’t appreciate them. him he will only arrive at success if he persists for laxed. Later on, as the student arrives at a higher de¬ A swelled head will cause a teacher more trial, tribula¬ years, never lifting his fingers more than exactly one- frankly lazy, I suppose he doesn’t mind. There are You and the Other Teacher velopment of finger technic, the articulation can be teachers who have neatly formulated something they tion, sorrow and disappointment than you can imagine— half an inch from the keys! Again another will pre¬ tend that the only way to learn is by always playing exercised purely from the fingers, but in the beginning, call their “system.” They pay no attention to the pupil’s unless you happen to have a swelled head, already. If By Elizabeth Craig Cobb pianissimo, another that it is necessary to do exercises in order to acquire a full round tone, the control must individual capacity, and very little to his past experi¬ you are unfortunate enough to have one, get rid of it only on a table, and never use the keyboard for prac¬ be taught from the forearm, by means of pressure from at any cost, or stop teaching, for you can never be There are two very important things to learn re¬ ence and training if he has had any. They say, in effect, ticing at all, while still another believes in the purely that part. Again, above all, I cannot too much insist happy with it. garding your relations with the other teacher. though in different words, of course.—“I don’t care mechanical development of the fingers, by playing hours upon the necessity for relaxation of the wrist, and the anything about what you know or don’t know when you (a) Why does the other teacher’s pupil come to rest of the body, for in it consist, I am convinced, half you? and hours of scales! Then there are many also who come to me. I have an idea that all hands are alike, declare that all technic is “Anathema,” and that every the secret for obtaining an easy and sure technic. It (b) Why does your pupil go to the other teacher? and all minds alike and that if Harold Bauer and Josef Blind Handel and His Blind Helper one should play as nature tells them to! Perhaps this The elbows should be held closely to the body, and must also never be forgotten that as. the piano is a Hofmann had been brought up my way they would play Here are some suggestions that may clear up the purely mechanical instrument, the great object must The fact that Handel, like Bach, spent his closing subject. might occasionally be successful with a natural-born the wrist dropped slightly below the keys. Being thus better than they do, besides I am too lazy to take any genius, but it would be an exceptionally gifted being who be to produce all gradations of tone without the sound years in darkness is well known, but as Mr. Streat- I. Don't judge the ability of any other teacher seated, the next matter we come to is settling the posi¬ special pains with you, anyhow.” Or, if they teach would go very far without any method or school, as being either forced, harsh, or stiff. Moreover, the field observes in his excellent biography of the great by any one pupil of that teacher: just look over your tion of the hand itself. This should be as follows. voice, or violin, or concertina, or what not, the prin¬ we call it, to start with. For the human mind needs at cardinal principle in the production of such tone is that master of oratorio, “Handel was not the only blind own list of pupils and think how you-would dislike The fingers should fall arched upon the keys, the the outset, the guidance and direction in all the arts of the body, and especially the wrist, remain in complete ciple is identical—it recalls the story of the professor of musician of that epoch. The feats of John Stanley to be judged by some of them. knuckles raised, the wrist just below the keyboard, and certain elementary rules, born of the amassed experi¬ relaxation. Nothing tends so much to hardness of tone chemistry who was performing an experiment before had already excited the wonder and admiration of his II. “Knocking” the other teacher never pays. the palm of the hand forming a sort of a cup as shown ence of the best teachers and thinkers; and the complete on the piano, as any rigidity in any part of the body. his class. The experiment was not a success, as the contemporaries. Stanley had been blind since the age Healthy competition is good for you in music as it assimilation of these rules are the best aids and helps Also to obtain this most precious quality of flexibility, mixture inopportunely blew up. As the smoke cleared of two, but his affliction interfered in no way with the is in every other business. to the attainment of a more perfect self-expression, the articulation of the fingers must be entirely generated away, the smiling face of the professor was seen exercise of his profession. In the first days of Handel’s III. Every other teacher must have some good through the vapors, like the rising sun dispelling the blindness, when he was unable to take part in the per¬ when the time comes for the individuality of a great by the muscles of the hand, and controlled, as I have points. When a new pupil comes to you find out talent to assert itself. already explained, as regards force, by the forearm. ; morning mists, and he said—“Gentlemen, the experi¬ formance of his oratorios, his surgeon, Mr. Sharp, those good points and profit by them. ment fails, but the principle remains the same.” In the recommended Stanley to him as a man whose memory But what is a good method? Why a common-sense To recapitulate the whole matter and condense it, IV. Better not discuss other teachers with your one, surely? And is such a method far to seek? No the principle set up is, that all control on the keyboard case we are discussing, also, the principle remains the never failed. Upon this Handel, whose sense of pupils. This subject, like religion, politics and the same, whether the pupil is a beginner, or a teacher who humor never deserted him, burst into a loud laugh and undoubtedly not! It must be merely a system which should be established by the fingers, the hand, and the war is undermined with dangerous explosives. does not exaggerate, and that leaves every part of the forearm, the wrist remaining entirely supple. This, in has given up a large and flourishing class in some cried: ‘Mr. Sharp, have you never read the Scriptures? V. Don’t think that you are the only worthy school or college out west and come on for a year’s Do you not remember, if the blind lead the blind, they hand and arm in a natural easy position. The hand my opinion, applies to all finger technic, and is essential teacher in town. Let time decide that—time and your will then look comfortable upon the keyboard, and end¬ for arriving at a completely successful issue. Care coaching to broaden his outlook, or for a parlor singer both fall into the ditch?’ Afterwards, however, he talent and industry. who would like to be aide to play a few simple ac¬ less time will be saved in arriving at an easy, supple must also be taken not to allow any beating of time by found Stanley’s assistance very valuable, and after VI- Don’t carry your “shop talk” into your social companiments for himself. A teacher who goes along velocity of the fingers. For the terrific labor which is the head or foot, as this may easily degenerate into a Handel’s death the performances of his oratorios were life. People care just about as much about your on this principle certainly cannot be happy in his work. continued by Smith and Stanley in concert.” involved by the neglect of these simple principles, in nervous trick, and certainly tends to encourage jerky gainful interests as you do about theirs. mastering swiftness and lightness of articulation, only and rigid movements of the body. It is a good plan to make the beginner after each exercise that he does, lift THE ETUDE 90 THE ETUDE 91 Away From the Piano the hand off the keys and shake it gently from the the inclining position of the fingers being correspond¬ ingly observed. In all scales in every tonality, this wrist so as to ensure that the relaxation is preserved, By Bertha Gaus and that there is no excessive effort or fatigue of the action of the wrist and fingers should be similar, and muscles or any cramped action whatsoever. I do not this principle of lifting the wrist at the finger before the rrn not tie your little pupil down to the piano-stool believe in striving to lift the fingers too high off the thumb passes, and inclining the finger in the direction Do not y ,esson-Period. Give part of the lesson keys, every time when striking each note, because, in a the hand is to travel, greatly facilitates this passage of f°’ the piano. In teaching the position of notes highly complicated mechanical instrument like the piano, the thumb, and ensures smoothness and freedom of every movement must be conserved as much as possible, ™The Tff“ - “d ,ht “*• * »■ motion. In fast scales this movement practically dis¬ !l mav be used to advantage. On each card and naturally any extra effort only tends to lose time, ar^drawn the five lines of the staff. A treble or a bass thereby impairing the velocity in fast passages. Some appears, as exaggerated actions only impede swift¬ clef followed by a single note appears on each card. people think that by teaching that the fingers be lifted ness and look ungainly, but a smooth and undulating The pupil arranges the cards, from the lowest to the very high, they can get a clearer and more distinct motion remains, which is elegant and imparts an elastic l . P. P tp :n regular order placing them all m view articulation, but I do not agree with this, as I have al¬ and supple articulation, and also gives character to the nnnn a table The cards are then collected and ways found from my own experience that if the wrist various passages. shuffled The’pupil chooses one and names the note. is relaxed, thus allowing absolute freedom to the fingers, Then another card is chosen, and so on, until all the they will articulate just as distinctly, and with much notes have been named. Any card which has not been added lightness and quality of tone, if not lifted too The Teacher’s Nerve Destroyers correctly named is put to one side and is used for a high. second time. In a class of little pupils the cards are The most important elemental stage of thus hold¬ By Amos Parkinson ing the hands in a natural supple position, having been dealt out among the pupils and are used as a regular well initiated, by means such as I have just been trying Unnecessary Tension. Let down as much as you can ' ^Another device which interests small pupils is the to explain, the pupil will do well to proceed with five- finger exercises of all descriptions, until he has thor¬ during your lessons. Impatience and flurry do not ex¬ bell Use a small bell of mellow tone, from which the oughly mastered the position in question, and it has cite the pupil to better results. tongue has been removed. The pupil holds this bell become a second nature to him to hold his hands thus. Too Much Talking. Save your words—nine-tenths in his left hand, and, with a pencil held in the right, lightly strikes the rhythm of his piece on the edge of Dr. Mason once told the writer that out of the hun¬ With a child beginner of from six to ten, after a month of the teachers talk too much. Think before you speak dreds of pupils who came to him he could count on the of practicing for not more than ten minutes a day, if and do not waste your energy in useless language. Too the bell. At every rest the hand is placed over the ,« piauwc is ine iormation ot mouth of the bell until the count for the rest has ex¬ fingers of one hand those who knew how to practice. these-finger, wrist and arm habits. The voluntary for¬ well watched, the hands according to my personal ex¬ many directions and too few explanations irritate the An experience of over twenty years, with pupils from gratifying that all pupils were-and have been since- pired. Besides making the pupil strike out the rhythm mation of a habit depends upon two conditions—first, perience, should be absolutely in order. The Five-Finger pupil. all over the country, has convinced the writer that Dr. of his little pieces, give the pupil a special set of concentration, necessary in learning a new movement required to practice at least part of the time without Exercises of Hanan are excellent in this respect for Shun Business Worry. While you are giving a lesson Mason’s statement was not exaggerated. settling the fingers in the right way, and also will keep rhythmic exercises illustrating the time value of notes or series of movements; second, prolonged repetition ;Tng ie,key;' The writer first called attention to forget all about pressing bills, lack of pupils, etc. Give A careful and extended inquiry into the cause of this„method of practice in his article on “Concentra¬ a child interested in the different groups of notes pre¬ and rests. These exercises being placed upon a violin- of the movement or series, without the slightest varia¬ all your mind to the pupil. He came to you to buy the this ignorance of the principles of correct practice, has tion m The Etude for September, 1910. sented. I know of none better for the purpose of ele¬ stand, the pupil moves away from the piano and sits tion from the correct order. Practice, therefore, that best in you and not your business worries. Try this on shown that in a large percentage of cases the pupils mentary practicing. before the stand for the rhythmic exercises. includes mistakes is worthless, as in so far as it induces In seeking the reason for the superior accuracy and had been left to their own devices. Some had been every pupil and see if the worries do not disappear. A chart for teaching the theory of the major scale is a habit it is a habit of falsity. The first requisite of greater ease with which technical difficulties were over¬ told by their teachers to practice slowly, and the matter Technic in Extended Position A Bad Teaching Plan. A bad teaching plan is one another good device. The chart of the major-scale scientific practice is absolute correctness of the initial come by his blind pupils, the writer’s experiments have is a pasteboard box-cover, about nine inches by four, let go at that—one may practice slowly and yet incor¬ covered a period of five years. They have convinced ' We must pass on from five-finger exercises to the that makes the teacher work “like a horse" for two days movement, and the same absolute correctness of each with the edges removed. On the pasteboard is drawn rectly. Others had been told to practice slowly and technic of extended positions of the hand, such as are and finds him with nothing to do on the other days. successive repetition. This correctness includes the him that this sense of space measurement is a factor carefully—to which very excellent admonition they paid to be found in scales, arpeggios, chords, thirds and You can not expect to teach ten hours a day without this design: right notes, fingering, muscular condition, touch and m. ‘^solution of technical difficulties, the importance no attention whatever. Still others had been shown octaves. I propose here to speak of scales and arpeg¬ interruption and do it very long without a nerve smash dynamic power. The best way to secure this is to playTrs ^ h**" unsuspected by ‘he majority of some of the essentials of correct practice; but the gios only, and shall first say a word or two about scales, up. Get a little rest in here and there. A famous practice with each hand alone, taking a phrase at a teacher had not insisted upon the application of them, for which the five-finger exercises I have just been dis¬ American physician who has written prodigiously time. First think the phrase through, naming aloud In studying a piece, most pupils acquire the sense line upon line, precept upon precept. The writer can cussing are, of course, merely a preparation. But the through a long lifetime and turned out veritable li¬ each note, the finger to be placed on it, the touch to of space measurement more quickly by looking at the recall but few instances of pupils who had been taught great difficulty of scale playing, which consists in learn¬ braries of books from his own pen, says that he at¬ be used, and the degree of power required. The keys as they practice. Playing with the keys covered to practice systematically and scientifically. ing how to pass the thumb successfully under the other tributes his great output to the fact that he has invaria¬ phrase may then be played, when the first note should is excellent later on, for many reasons, but the novice The net result of this inquiry seemed to establish fingers, without causing a break in the continuity of the bly stopped for a few minutes’ rest when he has experi¬ be named aloud with the finger that is to play it. This who is unable to guage distances accurately, will nlav The pupil is then given three envelopes each contain¬ the fact that many teachers did not make the study sound, is absent in five-finger exercises, though through enced the first signs of fatigue. finger should then be placed upon the key, and. not as many wrong notes as he does right ones. Repetitions ing a number of small square cards. The cards in the of scientific practice as integral and vital a part of them the student learns the right way of holding the until this has been done should the key be depressed. of false distances will never establish the habit of cor¬ Fight Diffidence. The obverse is cultivate confidence. first envelope are white, and on each is written a letter, thumb under the finger, so that it is always ready to do their various methods as its importance demands. The Treat each note of the phrase in the same way re¬ rect ones; hence, in studying a piece for performance, Many music teachers waste nervous energy enough to A, B, C, D, E, F or G. Each card is duplicated. In its work when called upon in the scales, and also to assertion can be made, without fear of contradiction, peating the process till the phrase has been played experience with- pupils has shown that it is better to run an automobile by dreading to meet people who the second envelope are pink cards lettered AS, BS, Ct, exert the necessary pressure on the key. that the student who does not know how to practice through at least five times in succession without an look at the keys till the measurement of distances be¬ would be of business advantage to them. Don’t draw DS, Et, FS. GS. These cards are also duplicated. In wastes much time, expends unnecessary energy, and error. The pupil should not be allowed to play the comes more or less automatic. Better Scale Study into your shell like a turtle at the first touch. Your the third envelope are blue cards lettered Ab, Bb, Cb, is handicapped in his progress. Perfect practice is- of note first and name it afterward, as nine out of ten Space measurements are of two kinds, finger and business is with the world and every new parent you In order to obtain this smooth passage of the thumb Db, Eb, Fb, Gb. These cards, like the others, are such supreme importance that everything else should will attempt to do. arm. A typical example of finger measurement is this meet is a new opportunity. He is probably anxious to- stand aside until it is secured. With imperfect prac¬ in scales, I advise that the wrist always be kept abso¬ duplicated. The left hand should be practiced in the same man¬ passage from. Liszt’s Au bord d’un Source; meet you and will be interested in your work if you do tice, the best teacher and the best method avail little. lutely loose, and that in slow practice, when the thumb The business of the pupil is to fill out the square and ner, naming chords from the lowest note up, thus—B is ready to pass, the wrist be raised temporarily from not run away from him. oblong spaces on the chart with cards lettered in the It may be taken for granted that few, if any, pupils flat, fourth finger; E flat, second finger; G, first finger, practice well if left to themselves. It is also an in¬ its usually low position to a higher one; also the finger order of the major scale. First the scale of C is formed playing the notes in succession, then together as a controvertible fact that no power on earth can induce which strikes the last note before the thumb has to pass in this manner: chord. After five or more repetitions, practice hands (in scales it is always the 3d or 4th finger), should be Hands and the Pianist some pupils to practice well. There is, however, a large together. In playing hands together, name the right class of faithful ones who are amenable to guidance. slightly inclined towards the direction in which the The teacher is often asked whether small hands form hand note, and rest the finger on the key; then name hand is going to travel. It is for them that this article is written. an insurmountable handicap to the pianist. They do the left hand note and rest the finger on its key; finally Taking the ascending scale of C major, in the right D play the notes found, and continue thus, through the not, providing the pianist is willing to work hard c E F G ABC The Object of Practice hand, for example and illustrating what I want to point phrase. Practice through the entire piece, phrase by out by a diagram thus: enough. Nevertheless the pianist with long tapering Before proceeding further, it may be well to consider phrase, as described. No one but the experienced fingers has a kind of natural physical advantage. Rubin¬ for a moment the object of practice. “Every muscular C. D. E. F. G. A. B. C, teacher will realize how difficult it is for the average stein had short thick hands, while Siloti, a well-known The cards, E and F, B and C, are placed close together movement that we make carries with it a tendency to pupil to carry out the apparently simple process just pupil of Rubinstein’s brother and a cousin of Rach¬ on the chart. This indicates that at the third and fourth repetition. With each successive repetition this tend¬ outlined. Think first, play afterward, is the secret of (I). r 3. (1). 2. 3. 4. (1). ency becomes stronger, till, after a sufficient number Thumb. Thumb. Thumb. maninoff, has very long tapering fingers. Which is the spaces and the seventh and eighth spaces of the chart successful practice—most pupils seem to be born to This or any other passage will be more quickly »») -> Ascending right hand. more illustrious artist? Carreno, a pupil of Rubinstein, half-tones occur. It is then easy to explain that the of performances, the movement takes on the character reverse this formula. brought under control if divided into groups of hand half-tones of the scale of G and every following scale of automatic or reflex action. Every movement tends, It will be seen that upon the E, which is struck by has a medium-sized hand of great strength, but has, positions, as indicated by the brackets. A hand posi¬ occur between the third and fourth and between the by repeated performance, thus to grow easier, involving When the “Real” Practice Begins the third finger, the line underneath is raised, and in¬ nevertheless, achieved very great triumphs. One of tion, it will be seen, embraces as many notes as can be seventh and eighth tones, and that on this account it less of close attention and conscious effort. It is in clined towards the direction the hand has to go, so as Liszt’s contemporaries was Alfred Jaell, a very brilliant When the piece, or a section of it, can be flayed played without altering the position of the hand either will be necessary to introduce sharps or flats into the the case of a series of movements that this automatic through very slowly without a mistake, it is ready to represent the lifting up of the wrist, and the inclin¬ pianist after the manner of his time. A comparison of or reflex action is most commonly seen. For instance, by putting the thumb under, or crossing the hand over scale. Transposing first by fifths, and later by fourths, for the real practice. Before describing this, an ex¬ ing of the finger. The thumb then passes easily under¬ his hands with those of Liszt is shown in the following in writing, we give no conscious thought to the differ¬ 2LVaIuf. 0f thls temping lies in the fact that these neath the fingers on to the next note F, without any scales in all the keys are placed in succession upon planatory digression is necessary. The writer has had short sections are easily grasped by the mind as well sketch from a contemporary German criticism of their the chart, the pupil deciding for himself which sharps ent movements involved in forming the letters and join¬ a number of blind pupils, all of whom have impressed awkwardness. The same movement is repeated further playing, and gives a contrast in hands which Etude ing them together into words. Each member of the as the fingers, and can be quickly brought up to the up the scale after the 4th finger, and so on through or flats it may be necessary to use. him by the extreme accuracy of their playing, as well automatic stage. In practicing the above passage, take readers should find instructive. senes, when executed, induces its successor, and the as by the comparative ease and rapidity with which all the octaves in ascending scales for the right hand. Whenever a pupil’s interest in the lesson seems to be the first group rest the fingers lightly on the keys, keep flagging something should be done to get him away, for whole chain of movements becomes automatic.” (Sully.) they brought a piece up to the required tempo. In For descending scales, the process is reversed. The All acts that we perform most easily and perfectly are the muscles relaxed and abandon the hand to the tactile a short interval, from the piano. Testing the ear is a interrogating them as to their method of study, in wrist is raised when' the thumb falls, and the finger done automatically. sense Play the first note, then slowly extend the useful diversion. The pupil should stand with his all cases it was found that they possessed apparently which follows it is inclined downwards in the direc¬ The best piano playing is largely, if not entirely, a second finger until it rests lightly on Bb. Af this back to the keyboard while the teacher strikes the a sixth sense. This sense may be called that of space tion the hand has to go. matter of reflex or automatic action. In other words, no e is played, extend the fourth finger, rest it on Eh piano keys, consecutively or in skips. After a little measurement, or the guaging of keyboard distances by by many repetitions of a movement or series of move- depress the key, and measure the distance to the next C. B. A. G. F. training a pupil with a good ear will readily recognize a certain indefinable but clearly marked muscular feel¬ ments, a habit is formed, that goes on automatically key. Continue this process throughout the cassae-e _ _ / every tone as it is struck. ing. That this sense was not necessarily peculiar to and without conscious thought. Piano playing, then, 5. 4. 3. 2. (1). the blind, was evident from the fact that every good measuring each distance carefully before placing the Thumb is a series of finger, wrist, and arm habits. In response organist finds his pedals by this sense of feeling. eves' aifrf m l ^ °! CarefuI rePetiti°™, close the Descending right hand. to an initial impulse each member of the series induces Another fact that impressed the writer at the time, was eyes and make a mental picture of that part of the Farewell, and do not quite forget me after I a* its successor; the mind being thus freed from the that two of his pupils who were rapid typewriters, had keyboard which lies under the fingers. Now play the In the left hand exactly the same process is used as dead. O men, I have deserved that you should think consideration of mechanical details, can be concen¬ passage with the eyes shut, endeavor to see each kev in the right, only the order is reversed, that is to say, of me, for in- my lifetime I have often thought of you learned to manipulate the machine with the keys covered trated upon the musical expression—in fact, expressive by a screen. It occurred to the writer that if the mentally before playing it, and measure the distance the wrist is raised at the thumb, in the ascending scale, to make you happy. May it ever be so!—Beethoven playing is possible in no other way. organist, the typist and the blind, could train this sense carefufly and slowly. When the first section can be and at the 3d or 4th finger, in the descending one. (in his “Will”). played with perfect accuracy, practice the second in the THE ETUDE THE ETUDE 93 single letters, the complete word being the unit of Leisure Hour Facts for Music Workers „„„ wav then connect the two. Keep joining one sec¬ thought. In practicing for velocity, concentrate the Mozart was responsible for the introduction of the tion to the next till the entire passage can he played mind upon the muscular feeling. This can be easily , . . c „ nrnminent instrument in the symphony or- c arinet a P ^ in £ flat is sometimes called done, as the hand positions lend themselves readily WA°smS example of arm measurements is the first tTaariSt Symphony because he purposely omitted to space measurements. Practice the second section measure of Chopin's E flat nocturne oboes in order to give prominence to the clarinets, in the same way, join it to the first, and so continue oboes in not a good plamst, probably because he till the entire passage is brought up to a rapid tempo bc U' , .. natience to develop a technic, though his and can be played automatically. Once when trying to play Passage work of every kind should be treated in hs own Fantasie, Op. 15, he broke down; a second this manner. When all the technical details of a piece at empt produced a like result. Fairly enraged by this The Foundation of Smooth Scale Playing have been worked out the pedaling should be carefully attemp p piano-stool, exclaiming Das Zeug ess. ^ /-v /"V Tic studied, after which the composition should be played *LL”-T„,« thing’s ft composer to die. He himself was the one to The following article is a continuation of the principles outlined in Mr. Sieveking’s Led. * Ped. * Ped. # From what has been said, it will be seen that the preliminary article which appeared in the December ETUDE successive steps in scientific practice are: mental in "SeSd,'.“wrote two settings for 0 Bert fa *. It should be practiced like the previous passage first advance of muscular action, which makes for freedom Lord the beautiful aria in Elijah. The first one, when looking at the keys, afterward with the eyes closed. from errors; measurement of distances, which elimi¬ completed he sent to Chorley, his pupil, well-known as These arm measurements will be more quickly acquired nates waste movement; rotary arm movements, which an En-lish critic. Chorley promptly recognized the if the practice be concentrated upon one skip at a secure absolute looseness; and tone grouping, which is melody°as being identical with Leeve’s setting of AM time Thus take the first interval from the low L vitally essential to velocity. Robin Crav and sent a printed copy of that song to flat to the following chord. In playing this keep the Because this plan of practice may seem simple, it is Mendelssohn. Mendelssohn at once made another set¬ hand close to the keys, move the arm horizontally to be hoped that its vital relation to a perfect perform¬ ting—the one we know. _ Smooth scale playing is one of the most difficult with the hand hanging loosely at the wrist joint. Avoi ance will not be overlooked. Just as great piano playing each hand separately. The application of the same problems in piano technic. The subject demands care¬ Second Exercise on Chromatic Scale ■ any motion up and away from the keys, measure the depends upon an almost incredible attention to the What is Expected of the Accompanist? principle to the left h'and is not complicated in the ful analysis and especially devised exercises. The principles you have mastered in the previous distance slowly and carefully, and drop the wrist loosely minutest details, so scientific practice demands an least. After practicing for some time with the weight By Mary Peabody Corey The first difficulty is the successful training of the exercise may now be applied to the Chromatic Scale. as the chord is played. Now carry the hand back to the equally careful observance of the principles dealt with sustained by the second finger, employ the third and thumb in its passage under the fingers. According to The counts and the movements for this exercise are E flat, then up to the chord again. After measuring A terse answer to the question “What, is expected of fourth finger in similar manner to the second. Re¬ in this article. These principles, while simple, really the experiments I have performed with myself and a similar to' Exercise 1. this distance up and back carefully many times, try it comprehend all that is vital to perfect piano practice. the accompanist?” might be “Too much. Singers who member that this is one of those exercises in which number of pupils during ten years investigation of the Count i. Strike C (at the same time preparing the with the eyes closed, making a mental picture of the They demand clear thinking, mental concentration, slow have very little musicianly knowledge of their own the exercise itself amounts to little, everything de¬ strive to direct the accompanist to do things which the subject, it seems to me that the best position for the second finger above C#). keys as in the previous example. The two chords will playing, looseness, accuracy, elimination of unnecessary thumb, in scale playing, is when that member is held pends upon the amount of will, care, patience, intelli¬ accompanist knows to be incorrect. - Count 2. Strike C# (at the same time slipping .the be easily found with the eyes closed and will require movements, manifold repetition and perseverance—after gence and endurance the pupils apply in studying the The accompanist is first of all expected to be a fine either straight or bent slightly outward. I am familiar thumb under Cl to a position about one-half inch little practice. Next play the second chord and carry all has been said, this is the sum total of the vital ele¬ exercise itself. sight reader. One of the most popular accompanists with the common practice in this matter but I still above D). the hand back to the next E flat. Practice this skip ments of all successful practice. contend that the habit of bending the thumb inward Expressed in notation the exercise is simply this: I have ever known, who was far from musicianly, told Count 3. Strike D (at the same time moving the back and forth until it can be made accurately, and In conclusion it may be said that simply telling the at the first joint is an injurious one, in some ways the me in a burst of confidence that her success in ac¬ Ex. I. second finger above D# ready for the next stroke). continue thus through the entire piece. After passages pupil bow to practice counts for little—he must be worst habit that the student can contract. have been practiced hands separately till they can be companying was due to her being a “good faker.” An Count 4. Strike D# (at the same time moving the made to do it. Hence it is the writer’s custom to prac¬ extremely temperamental violinist would never appear Does it not appear to the student that a smooth played accurately without looking at the keys, the hands tice with every pupil, lesson after lesson, till the habit thumb under the second finger to a position about one- on a concert program without the indispensable help of scale is more difficult to secure if the first phalange of the may then be put together. Here more difficulty will of correct practice is firmly established. This may take half inch above E). this accompanist. When before an audience this vio¬ thumb is constantly moving to and fro ? To overcome be experienced in finding the keys, but if the player weeks, months, perhaps, with a careless pupil, years; Proceed in similar manner with the left hapd and linist would omit “repeats” or make “cuts,” introduce this difficulty (do not minimize its importance because will not yield to discouragement but persistently keep hut it is time well spent, for when the pupil practices of its simplicity) the following rules have been formed: with the other fingers. In playing this exercise re¬ cadenzas, or vary tempo, without rule or precedent: member : at it he will from week to week gain more facility. correctly as a matter of course, his progress will be But his accompanist always “followed” unerringly his 1. While playing upon the white keys keep the thumb (a) The tempo must be so . slow that there is ample Eventually he will be able to play more accurately with bounded only by his natural limitations, energy and wildest vagaries, with almost a sixth sense. perfectly straight as shown in figure 1. time to hold the striking fingers poised for a moment his eyes closed than he could formerly with them open. perseverance. Studio-accompanying for vocal teachers is a position 2. While playing on the black keys bend the first above the note to be struck. With this facility in sightless playing, will come a requiring far more than “reading the notes.” The most phalange outward in order to obtain a larger and more delightful sense of accuracy and freedom when the eminent teacher is often exceedingly variable in mood secure surface upon the black keys as shown in figure 2. (b) The thumb should be kept straight in all these movements. eyes are' open, which will to a large degree eliminate Establishing a Definite Technic and temper. He may need to be placated, humored, 3. Avoid the position shown in figure 3 at all times. nervousness from the performance. soothed, repressed, or encouraged in a manner sur¬ (c) The hand should be tilted slightly inward. To return to our practice. When the piece or a prising to those who only know him as a teacher. The In passing the thumb under the fourth finger the (d) The fingers on the black keys play with the By Harold Henry hand itself has to be tilted slightly inward. Have section of it can be played slowly and accurately, the accompanist is often as vital to her employer’s interests whole dead weight sustained upon them, while the space measurements should be carefully, studied and as a private secretary. She probably is called upon you the patience to sit for some considerable time movement of the thumb is strong, but at the same time The first endeavor with a new pupil should be to every day doing this exercise for a few weeks, at the practiced Next analyze the rotary arm movements skillfully to parry questions about the teacher’s per¬ as light as the wing of a bird. establish a definite technic. Not that technic is the same time holding the most exacting discipline over and apply them as outlined in the writer’s article on sonal opinion and tastes as often as anyone in a purely end of piano study. It is not the end of any study; of your fingers? If you have, you may accomplish the The Rotary Arm Movement in Piano Playing in Tiie music least of all; but it is the means to an adequate confidential position. first and principal step in smooth scale playing. Ex. 2. Etude for April, 1915. performance. Establishing a technic, means developing A teacher whose time is all taken, and is doing the Difficult passage work 'in the piece should be prac¬ the hand; making the fingers independent, and gaining most exhausting, conscientious work, needs to have ticed separately, and in such a way as to avoid mechani¬ absolute control over the knuckles and finger joints. friction reduced to a minimum. Some accompanists are cal routine and compel concentration. As an example It is only the well developed hand that can play accept¬ unpunctual, others allow their sense of humor to make of how this may be done, take the Liszt cadenza given ably music of all kinds, and such a hand can be pro¬ them smile audibly at the mistakes of the often sensi¬ above. First divide it into groups of four notes each, duced only by the practicing of definite exercises, not tive pupil, and one very capable wciman could not do counting as indicated by the figures. Play a few times merely the same exercises for all types of hands, but studio accompanying because she endeavored to supple¬ with an accent on the first note of the group. Com- the definite exercises that each type requires to bring ment the remarks of the teacher by her own sug¬ mencing successively with the fourth, third and second it to the necessary degree of development. My experi ¬ gestions. Of course the student must use discretion in this matter. It is, however, easy to convince the sensible counts and accenting on count one, effects three trans¬ ences have taught me that the fact that no one method A highly cultivated and brilliant solo pianist came to pianist of the logic of this course. Let the hand rest fers of accent, and gives rise to these rhythms: will produce good results with all piano students, excel¬ grief because she was unable to grasp the demands of lent as it may be for some, is one too often lost sight rhythm with quickness, but had to make an exhaustive easily upon the table with the palm down and then take of by teachers, and that the greatest pianists are not study of each song. When given plenty of time, her a good look at the thumb. Not that the natural tendency is to bend outward. Now, crook the thumb inward and the most guiltless in this respect. This is,probably be¬ accompaniments were most artistic, but not practical Exercises for Passing the Fingers Over the Thumb cause ’they confuse the needs of their pupils with those for the haste of studio demands. "°*lce I'1"1 the.re is at once a strain uP°n the muscles. that they remember to have been their own in their The experiences of a professional accompanist, es¬ Why this strain, when it is unnecessary and may be It now becomes a very simple matter for the student avoided ? J student days. The result is necessarily disastrous. pecially with amateur soloists, are often amusing. One to apply what he has learned to the passing over of The counts are: singer of more than ordinary ability was so semi- the fingers. In these exercises, however, the thumb ’ Count i. Strike middle C. paralyzed by an audience that she dragged her tempo, sustains the full weight of the arm while the finger till she almost gasped for breath. Her accompanist Count 2 Move the finger under the second finger itself is exercised. The fingers should be lifted high The Single Little Mistake and hold it poised over D. had instructions always to hurry her on, no matter but not so high that the poise of the hand may be Count 3. Strike D. how great the resistance. upset: By C. W. Landon A baritone was obsessed by the idea that he would Count 4■ Move the finger back under the second nnger to a point one-half inch above middle C sing out of tune in certain passages, and told the ac¬ Ex. 3. Next play the passage through successively staccato, Pupils often think unkindly of their teachers for companist to touch the melody, unobtrusively, but with Of course this exercise must be played very slowly indeed, and the counting must be firm and sure. Met- forte, pianissimo, crescendo and diminuendo. correcting them for little mistakes. If a pupil strikes sufficient emphasis to guide his wandering tones. Now returning to the first section, play it forte slowly, one white note in a piece where a black note should An ambitious student, who is being fitted for a untiMh tlCuSre-n0.t sufficient You must count aloud until the rhythmical movement of the thumb becomes with a clinging legato touch, the arm hanging loosely have been struck or makes a little break in the time teacher of voice training, and who is a good ac¬ the conscientious teacher naturally insists upon repeated companist. can do no better than to secure a position ea-!u a"d babltuab This is not an easy exercise, for and heavily from the shoulder. Next, with the arm with the dead weight of the arm supported by the lightlv balanced, exactly double the speed, playing mf, performances until the mistake is taken out. “Only a with a first class teacher for a year or two. The single little mistake.” What if the cook in making a opportunities for hearing all kinds of voices trained by second finger, the finger and the arm soon tires. As a few times. Finally, with the arm suspended and the soon as there are any signs of fatigue stop practicing cake should put in a drop of kerosene instead of a master, and the chance to learn what real training for muscles completely relaxed, practice as a velocity exer¬ ana rest the arm for a moment, then repeat the ex¬ vanilla? That little drop would spoil the whole cake concert, church or opera includes, is a liberal educa¬ cise p. or pp. In doing this, make no effort to think ercise on another step. Remember that the thumb and the little mistake does the same thing to what other¬ tion. It can only be compared to the hospital experi¬ single tones, but group the series of tones as a unit; movements themselves must be very quick although the wise might have been a good performance. ence necessary for the young doctor or graduate nurse. just' as in reading, the mind takes no cognizance of tempo of the exercise is slow. Always practice with Martinus Sieveking. THE ETUDE THE ETUDE 95 94 Ten Points in Extemporization Another useful exercise which carries the hand and A somewhat more difficult exercise i t nt an article by the Rev. S. J. the arm into different positions as it traverse's the [The following is parr ° nist 0f a leading English Ex. 4. octaves, is that of playing the scale with two fingers. liowton, M. ,A-’ ppUaKi.ed "recently In the London Musical In this, play so slowly that aftef the thumb has passed Afeies.—Editob of The Etude.] under the playing finger, it may remain poised for 1 Do not be-in by putting down a pedal note and about one second above the note it is to strike, before holding it for an indefinite time before you add anything The Place of the Nocturne in Musical Art actually striking the key. above ff There is nothing devot.onal or impressive ,n such a commencement, yet it is as common a fault as sucn a uo last pedal note of a piece after By FRANCESCO BERGER, Hon. R. A. M. Musical Facts for Spare Moments ihfhands^ave left the keys. The double-basses of an orchestra, or the bass voices of a ch°rus; do not (The author of this excellent article which, appeared in a recent issue of the London “ Musical Opinion ” is an English The first Minnesinger known to musical historians is habitually begin before the rest and finish after them. pianist of German ancestry {born 1834). For many years he has been professor of pianoforte playing at the Guildhall School Henry of Veldig, living in the last half of the twelfth 2 Never merely ramble. Do not indulge in a mean- of Music and the Royal Academy of Music. Etude Readers will find this a very clear discussion of the Nocturne.) century. As he is the author of a poem lamenting the ingless succession of chords more or less disconnected, decadence of the art of the Minnesinger, however, he however fond you may be of some of them individu¬ There can be little doubt that the French word, was evidently not the founder of that art. able to command between their first and second sub¬ The second subject presents a difficulty in the finger¬ ally. Especially avoid that of the diminished seventh nocturne (Italian: notturno), originally meant a “night In Haydn’s oratorio, The Creation, a striking change jects. In this Beethoven only was his equal; or, rather, ing of the right hand, which may be overcome in the until you know how to deal with it, it is the bane of piece;” but it has little in common with the German from minor to major emphasizes the last word in the Chopin more closely approached Beethoven in this mat¬ following manner, many extemporizers, who evidently do not consider Nachtstiick, which is its literal translation. I do not ter than any other composer has. But this scarcely sentence, “Let there be light, and there was light.” what key it would belong to if it were written down. remember to have encountered the German title in the conveys all they had in common; for, besides absolute When this work was first performed in London, the 3 Do not let your tonality be doubtful. Always works of any composer except Schumann, and his are contrast, there is a certain relation between their first day was overcast and gloomy. Suddenly, as the chorus have a mental key signature. Begin in a definite key, sombre compositions, very characteristic of himself, but and second subjects—a sort of outcome or evolution sang this passage, the sun burst through the clouds with and end in the key in which you began. not to be reckoned among his most successful or most which makes it impossible to conceive of any other a brilliant shaft of light. The old composer was so 4 Play rhythmically. Always have a mental tme popular pieces. The French and Italian designations second subject taking the place of the actual one in a impressed with this that he rose in his excitement, signature. If you listen carefully to others extempor¬ cover a variety of short elegant pieces, contributed Beethoven sonata or a Chopin nocturne, so intimately pointing to the heavens and exclaiming, “It all came izing you will frequently find that you cannot count to by composers of varying nationality, foremost among and indissolubly are they bound together in spite of and has the advantage of being applicable whenever from there. what’nudi theynn-j are playing.0- The- hearer,- if he knows, any-- whom must be ranked those written by the Pole apparent contrast. Another point of resemblance be¬ the figure recurs in other keys. Like most other ad¬ In music many things have come to be believed which thing about musical notation, ought always to be able Chopin and the Irishman John Field, sometimes spoken tween the two masters is the complete absence of all vantages, it has its compensating disadvantage—that are not so. Mozart, for instance, is credited with a to imagine your bar-lines; he will never do this if you of as Russian Field because of his residence in Russia. redundance; not a single bar or note could be elimin¬ the harmonies have to be released somewhat sooner Now the same principles that were applied to the number of masses, but the so-called “Twelfth Mass” cannot imagine them yourself. But the term has long since ceased to signify any¬ ated, every particle is essential to the structure of the than they otherwise would be. But this again can be chromatic exercise (see music example 2) may be probably not by him—at least, not very much of 5. Be tuneful.. Have a well-defined subject—a clear thing nocturnal, and has come to be applied to slow whole. And still another feature common to both, rectified by judicious application of the pedal, so that applied to the following exercise on the white notes. Other masses attributed to Mozart are now known to phrase however short—to extemporize upon. Success movements in general of a delicate or sentimental char¬ though a minor point, is found in the codas. No other the break becomes all but imperceptible. Remember to suspend the dead weight of the arm have been composed by others. Schubert’s Adieu is not depends largely upon the ability to invent suitable sub¬ acter, and in this sense it might reasonably include composers are so completely successful in combining “Our friend the pedal” often has to come to the upon alternate fingers. now believed to be his composition; Weber’s Last Waltz jects, or to make use of any that occur in the course more than one of Beethoven’s slow movements. The importance, appropriateness and proportion within the rescue in modern music, and to do him justice, he is Ill the following exercise, as soon as the second was composed by Reissiger, who sent the manuscript to of the service. For a single service may present many title has not yet been applied to a slow movement on small space of a coda, sometimes extending to only ever ready to do so; so ready indeed, so handy (or finger strikes D the thumb should pass quickly under Weber. Beethoven’s so-called Farewell to the Piano opportunities for extemporization—for instance, the any other instrument than the pianoforte, though there six or eight bars, and yet, like the summing-up of a rather so footy) that many players conceive a great the finger and place itself above E. The same principle was named, not by Beethoven, but by a publisher, and accompaniment of a monotoned Creed or Lord’s Prayer, can be no reason why it should not; but it has found judge at the end of a trial, conveying all that is essen¬ affection for him, and seem loth to part with him when its way into the orchestra, several composers having so tial. is applied in all cases where the thumb is affected. was composed before some of the greatest of his or the coda that may. become necessary if a particular once they have captured him, clinging, to his protecting sonatas. hymn is not long enough for the collection. In the case named an orchestral piece. Mendelssohn has be¬ A volume o"f Chopin’s nocturnes now before me con¬ support through conflicting harmonies, and relying upon Ex. 5. of the Creed the first four notes of the chant to the queathed to us a lovely Notturno in his “Midsummer tains nineteen; but these include two which ought not his “extenuating the circumstance” of their wrong preceding Canticle may frequently be worked into Night’s Dream” music—a composition as imaginative to be classed with the others, viz.: the Berceuse, Op. notes. Chapters might be written upon the abuse of Practicing Backward your accompaniment with excellent effect, and it will and original as any that his elegant and poetical muse 57, and Op. 37, No. 2 (in G) which from its nature this perfectly harmless, nay beneficent, friend—a friend prove invaluable in giving coherence to it. Seize all ever inspired. It is the very apotheosis of moonlight is more a barcarolle than a nocturne. A berceuse is a in need to many, and a friend indeed to all—but to such chances, and in every case proceed upon some music, not only by reason of its slow-measured, velvet¬ slumber song, or more accurately a cradle-song, and do so would lead too far from the purport of this y Madame A. Pupin footed metre and tune, but even more so by its exquisite distinct plan. as such associated with a cradle and a child; but a article. Before leaving this nocturne, attention is di¬ , ,. , ... - 6. Do not keep the pedals, or the swell, continually tone-color, the ingenuity of which has probably served child can scarcely be interested in a Chopin nocturne, rected to the concluding bars as an instance of what Many piano students have the commendable habit of , d_ Their effect is striking in proportion to as model to some of his successors, though none has and therefore the two words should not be confounded. is mentioned in the early portion of these remarks: A Preliminary Exercise in Scale Practice <-n nmMioa tlimf chirlipc nr nacsapp work in . . . . , . , , , n . beginning to practice their studies, or passage work the1 restraintJ with which they are used. Rests are as had the genius to surpass it. Mozart has left us at A cradle-song is a sort of lullaby, and should have the convincing import of this short coda, only seven pieces, with the assistance of the metronome. They least one Notturno for strings. What did that colossal ' Having set one’s self right in the matter of the position sacred as notes. a pronounced rocking accompaniment, or something ap¬ bars, but eloquent and satisfying. musician not leave us? And the slow movement in of the thumb, the following exercise may be essayed. begin at a very slow rate of speed, for it helps them 7. Do not confine yourself always to the same key. proaching thereto, and Chopin’s is therefore properly The second nocturne (Op. 2, No. 2, in E flat) is to be accurate, and they can more quickly memorize. Beethoven’s Septet is practically a lovely notturno, #ut the second finger of the right hand on middle C#. Many players can extemporize fluently in one or t' styled a berceuse. It is a highly ingenious composi¬ the most widely known and most frequently heard of They work up to the speed desired, when they give up though not so named by the composer. The finger should be slightly curved. Permit the full keys only—they sacrifice all the others. Make youself tion, consisting of a number of very original variations all. It used not to be taken very slowly until that the use of the metronome and practice altogether in dead weight of the entire arm to rest upon that finger. at home in all the keys, and in the minor mode no less on a simple theme built on a basso ostinato of alternate great artist Sarasate adapted it and played it on the the tempo they had desired to reach. They congratulate Nocturnes by Raff and Schumann tonic and dominant which underlies the entire piece, The hand should remain perfectly still but not in any than the major. violin in his own inimitable fashion. He took it at themselves that they have reached their aim, but soon Schumann’s pianoforte piece Des Abends is a real without any other harmonies. In the whole range of- way strained. Keep the thumb straight while it passes 8. Do not trust to the inspiration of the moment, a considerably slower tempo than had been customary; they find themselves falling back. They seem to be notturno—tender, poetical, suggestive; a successful at¬ pianoforte music there is not another example of this until you have acquired much experience. And do not and if the pianoforte is good enough to permit this, under the second finger. The movement of the thumb losing their fluency and their accuracy. In short, the tempt to represent in music the feelings aroused in us sort. Before the penultimate variation there are some mistake for inspiration the mere facility with which it is a decided improvement to do so; but “it all de¬ should be quick. In the exercise there are four dis¬ more they practice, the worse things seem to go. It by contemplating the mellowed tinges of sunset blend¬ shakes which, in many editions, are misprinted, and the fingers may find their way from one note or chord pends on that," as the hangman said of his rope! The tinct motions, and these motions should be made di¬ would be discouraging to begin at the bottom again and ing with nascent twilight: a veritable Turner in sound. are consequently wrongly played. They should be de¬ to another. Inspiration is mental, not mechanical; it’* cadenza at the end admits—as in similar cases in other rectly, that is without any waste movement, and they work up. But did no one ever think to practice back¬ But it is the sentiment which is intended to be aroused, scending shakes—that is, each should commence with can suddenly imagine a whole phrase, or suggest some pieces—of an indefinite repetition of the little group should be made accurately at every > step. In other ward, that is, begin at the best speed attained, and set and not the scene which is depicted; therefore the the upper auxiliary note, so that they would work out special treatment of a subject, before the hands and of four notes and is a bit of virtuosity for which ama¬ words, no movement should be made unless there is the metronome back? On the way back you will come proper translation of the composer’s title is At Even¬ thus: C flat and B double flat, B double flat and A feet carry out its behests. teurs are particularly grateful. a definite aim to hit a definite mark. Hold the thumb to the places where you slipped “off the rails,” so to tide, and not as frequently quoted Evening. The two flat, B single flat and A flat. The coloring and pedaling 9. Keep a small notebook of music-paper always at More than once in the pages of these nocturnes we about one-half inch above middle C (as in the ex¬ speak, and you will be able to get a firm grip on these descriptions should not be confounded. of the piece are of course, matters of taste; but as hand, in which to jot' down immediately any subjects meet with the direction, doppio movimcnto: Literally ercise) and in striking the note with the thumb, do places, which might have brought disaster. I do not Raff in his Abends had a similar aim: to interpret there is no absolute forte in its entire length, it will for extemporization that may occur to you wherever translated, this means “double movement;” but it is so in suph a manner and with such control of force remember anyone suggesting this zig-zag way of' prac¬ the “sentiment” which a serene evening-twilight creates, probably respond most nearly to the composer’s inten¬ you are. Get musical friends to contribute original evident that "doubly quick” is intended. Like many that the third, fourth and fifth fingers may remain ticing, but I have been greatly helped by practicing up and most beautifully has he done so—it is Raff at his tion if the una corda pedal is applied all through it subjects to your collection. Such a book is useful at another composer’s indication, this must be accepted and down, up and down, and lastly up. best. The present writer recalls the admirable ren¬ without intermission, and the sustaining pedal (with rare well curved and unmoved by any jar. the organ if there is any danger of your forgetting with the proverbial grain of salt. A quickened pace, The movement analyzed, follow the diagram here dering of it by Hans von Billow, who, fine musician exceptions) be added to the first half of each bar. The even if not amounting to exactly double, will in most your subject when you want to return to it after though we know him to have been, was not always given, as applied to the exercise. gossamer texture of the whole piece removes it com¬ cases be found sufficient. modulation, or of not remembering a whole melody if in sympathy with sentimental music. But when he pletely out of the range of any but very expert players, you wish to repeat it with varied harmonies. These few remarks do not exhaust, even remotely Early Drill in Sight Reading played his little piece he seemed to discard his “ ’Ercles and even for these it is an exacting though fascinating all that might be said about Chopin’s nocturnes. His EXERCISE I. 10. Much can be done away from the organ. Prac¬ vein,” and to prove the versatility of his talent by all task. The fingering for the left hand has been con¬ endless invention of “passages” (a gift which so great tice at the piano, without any use of the sustaining By Harold Henry the charm of touch and all the refinement of expres¬ siderably discussed. The most artistic reading is to a master as Mendelssohn all but envied), his extended pedal, the harmonization of given melodies at sight. sion which his artist-nature could supply. Especially treat the low bass note as quasi pizzicato using the arpcggi for the left hand, his effective ornamentation Harmonize the same melody in different ways. It is of remarkable was the contrasted tone he infused into middle finger and striking it staccato, the hand being and embroidery, his rich modulations and unexpected To the large percentage of those who study the little use to be able to imagine a melody if you cannot the Coda, where the two subjects are so cleverly com¬ thereby free to make one legato group of the remainder enharmonic changes, are points that every student has piano, but do not become either public performers or bined. supply the harmonies that best suit it; a good idea may of each bar, by gliding off D flat on to C. long since discovered and learnt to appreciate. teachers, whose study of music is in fact only a part easily be spoilt by inappropriate treatment. Also When we come to consider Chopin’s nocturnes, it of their general education, the influence of such train¬ practice at the piano extemporizing strictly in four is difficult to find words with which to express our The .Character of the Berceuse Field and Dohler ing as has to do with their musicianship is, in after parts (or in three if you like, but this is more difficult). admiration. A dozen marks of exclamation will not Op. 37, No. 2 (in G), which, as already mentioned, Of Field's nocturnes, lovely of their kind, little more life, of far greater value than is the degree of per¬ Any one who ever had the good fortune to hear Guil- suffice; fresh adjectives would have to be coined. Their is not a notturno at all, has a two-part song for its need here be said than that they all bear a strong family fection with which they can play a few brilliant pieces. mant do that at the organ, without the pedals and gifted composer has left us nothing more worthy of first subject and a rocking or swaying movement for likeness, and that they are all “very pretty music.” He When other things crowd out the practice time, and with only a single soft 8-ft. stop drawn, will know his genius than these pieces; nothing in which he is its second. The two bars which connect these, sub¬ was neither the pianist nor the musician that Chopin such pieces consequently become rusty, unless the habit what delightful effects can be made by the simplest more completely himself, which is tantamount to saying jects demand special attention, for, unless properly was, and these compositions reveal his weak points quite of reading music for music’s sake has been- formed, means in the hands of a master. In your introductory that they are totally above and beyond all praise. phrased, they sound discordant and full of false rela¬ as much as they do his strong ones. A sweet naivete there will be nothing to turn to. If, however, a real voluntary it is very tiresome if you are perpetually tion. The harmonies are controlled by the left hand, runs through them all; but there is too much sameness love of music has been acquired, with an ability to Chopin’s Unequaled Genius extemporizing with solo stops, as if you were trying and the following reading will make them clear: and tameness about them to satisfy the modern palate. read it readily; these same people will have a constant On the very threshold of any critical examination the organ or showing off its capabilities; hence im¬ One cannot thrive on tartlets only, however dainty source of peace and joy at hand, and the piano, instead of them, we are struck with their extraordinary diver¬ No. f. promptu part-playing at the piano is most valuable their flavor. Rubinstein was very fond of playing one Of becoming a useless piece of furniture, will be a life¬ practice. sity. There is not one that in the least resembles any or another of them; and, rendered as he alone could long friend. This is not a plea for careless work, but of the others, excepting that they all bear the un¬ Lastly, write down on Monday what you extempor¬ render them, they sounded delightful, especially as he one for the cultivation of general musicianship as well ized on Sunday. (If you cannot remember any of it. mistakable impress of his master-hand. Another char¬ always sandwiched them between more strenuous stuff. as for technical finish. this will show you its true value.) acteristic feature about them is the contrast Chopin was And Liszt has immortalized them by writing about the etude 97 96 THE ETUDE This is unquestionably right; but, on the other hand, “When Should I Practice?” them in his own glowing language. So Field may be it has led to the production of music which has little called fortunate in his champions. else to recommend it than the virtue of not being com¬ Theodore Dohler was a prolific composer of piano¬ By Harvey B. Gaul forte pieces of a light kind, and his one Nocturne m monplace. Because a piece, instead of being written j = D flat is perhaps his best work. It is melodious, ele¬ in the easy key of G minor, appears in the more diffi¬ c-ant and effective, and some years ago it was very cult one of G sharp minor, because its chords of the Every “new beginner,” as Alice, for short, said, “asks = much en vogue, ana I have heard it played in public dominant, instead of resolving into the tonic, resolve of the teacher: ’When should I practice?”’ Not how, ji with much success. Even to-day it may be cited as into X double sharp; because it avoids bravura pas¬ that comes later, but when should I practice. It seems good, sound pianoforte music, with some effects that sages which include the top notes of the keyboard, a silly question to ask, but every young pupil does not ! if; can be studied with profit. and consequently limits itself to the middle register know just when, so the teacher has to outline a prac¬ It ;s aii very well for Schumann and his immediate of the clavier; because it is built up of one figure tice period. Do our teachers choose the advantageous, Three Great Masters at the Keyboard | followers to ridicule and anathematise his contemporar¬ worked d outrance, thereby resembling an etude more not available, mind you, but the advantageous time? ies and in his Davidsbiindler to set up as a Judge than a piece of pleasure-giving music; because the Professional men have found by experience that the Jeffreys of them and their productions. Much as I = nuances are marked in German instead of in the early morning hours are the best for work. There is a respect Schumann, and much as I love the greater part Mozart, Beethoven, Mendelssohn familiar Italian: I say, because of these restrictions psychological reason for this, as every school teacher of his music (I do not say all), I cannot help asserting will tell you. In the morning we are physically fit and that in the pianoforte music of Henri Herz, Hiinten, and innovations, it does not necessarily follow that # our minds freshened after our period of repose. Schuloff, Dohler, Chas. Mayer, Leopold de Meyer, Ros- the world gains much or that the art is enriched. sellen, Goria, Gottschalk, and some others, I find among Though Schumann, when at his best, is the great com¬ Some of our high schools and colleges have study much that is inferior a sufficient number of pieces that poser we all recognize, one could easily Poin‘ ‘o p*geS periods from eight to twelve or one, because, as a 1 are not so by any means. All these men have written of his work not superior to some by the Philistines teacher told me, “We can do more and better work in some music that 'is good music, and Schumann in de¬ whom he so mercilessly slaughters. the morning than we could if our study periods were | nouncing them must have been either jealous of their But the world is still waiting—and so far waitins spread out through the day.” momentary popularity (which he could have afforded to ;n va;n_for a composer who shall be able to eclipse Ministers customarily study and prepare their ser¬ ignore) or unacquainted with their better work. Both Chopin in his nocturnes or in his other works. What mons in the morning. It is said that Strauss composes Are musical audiences more exacting to-day than in Schumann and in Brahms (but especially in the How Beethoven Played land will produce him? Who can tell? In the words from nine to one in the morning. Hugo and Dumas they used to be? In some respects it would seem that he was the soloist; he raised his hands and commenced first named) one detects a decided effort to avoid the From his adolescence, Beethoven possessed a virtu¬ of Frederick Clay, “Will he come?” wrote from eight to twelve in the fore part of the day. the answer is in the affirmative. At all events the to conduct with them. At the first sforsando, he beaten track—a desire to be original at whatever cost. osity of the first order. During the first years he was threw his arms so violently to the right and left that Whistler painted and Macmonnies modeled from nine master pianists of to-day who make the grand tour in Vienna front 1795 to 1814, Beethoven often had he knocked down the two candlesticks placed on the to one. You may be sure that these men didn’t work are so worn out with the sheer physical stress of travel occasion to display his talents. It was thus 'that on piano. The audience laughed, and this put Beethoven Pertinent Questions for Conscientious Teachers at other times, or all the time, but that they found at the end of the season that they are obliged to spend the 29th of March, 1795, Beethoven lent his assistance in such a temper that he stopped the orchestra and their minds were keener and more open to impressions the greater part of their summer vacation in recuper¬ to the Society of Musical Artists, and played for the made it begin over again. Fearing that the same acci¬ By Grace Busenbark while the day was young. ating. Nevertheless, we do not to-day expect pianists first time his concerto in C Major, Op. 15. A Vien¬ dent might happen a second time,. Seyfried, the con¬ Many of our great men, in telling of their work, to improvise on a given theme, as both Beethoven and nese critic characterized the playing of Beethoven in ductor, had two small boys stand on each side of Beet¬ Have you ready a repertoire of pieces wmen you have said that they arise early, eat a light breakfast and Mozart were expected to do; in fact we do not expect Are you uncompromising toward your pupils? Do the following terms: “His playing is bold, brilliant, hoven each holding a candlestick. One of these young¬ would be proud to play for a most critical audience throw themselves into their work, and by noon have modern pianists to shine as composers, nor composers you put them all into the musical mold of your full of an impetuosity that at times compromised his sters approached the master in good faith, his eyes at a most unexpected occasion? On the other hand, accomplished all of the creative work they feel them¬ to be brilliant pianists. The following account of how “method,” excellent as it may be, or is the “mold, clearness. He shone above all in his improvisations, following the. music. When the fatal sforsando was how many unfinished pieces have you? Is there a selves capable. Mozart and Beethoven played is extracted from an elastic enough to suit the varying sizes of your pupils in which he excelled admirably. Since the death of again reached, however, he received from Beethoven’s run in one, a cadenza in another, and 'that left-hand What is true of the creative mind is true of the article by Henri Kling in Le Guide Musical, an excel¬ musical growth, thus making due allowance for the wide Mozart, who for me remains the non plus ultra, I have right hand such a resounding blow that he was terri¬ passage in a third that are like so. many holes in the executive mind. lent musical journal published in plucky little Belgium: differences in natural ability and temperament? not experienced artistic delight comparable to that fied, and the poor boy allowed the candlestick to fall. pieces, so that they are not yet either completely your Business men will tell you that their employees ac¬ Following the custom of his times, Mozart played I once had a teacher who apparently labored under which Beethoven has given me.” The other boy, with greater wisdom, had anxiously own nor ready to give out as finished productions to complish more in the morning than they do in the only his own compositions; for this purpose he com¬ the delusion that music was music, but a student was On the 22d of December, 1808, Beethoven gave a followed the movements of the master and by dodging •afternoon. If the morning is a good time for the busi¬ posed his famous concertos for piano and orchestra. only a student, and that his—the teacher’s—business was your friends. recital at the theater “An der Wien,” in which he quickly had luckily managed to avoid the blow. If Mend those holes and make the pieces entirely ness man, surely it is good for the musician. These established his reputation and completely revo¬ to stuff one into the other with scant regard for the interpreted for the first time his concerto in E flat the audience had laughed at the previous mishap, it We should begin our work by nine o’clock at the lutionized the style and art of playing the piano. In individual capabilities and characteristics of the pupil. instead of partly yours. Major, Op. 73. An amusing incident recorded by fairly exploded at this one. Beethoven ■ became so e list the musical attain- On the other hand have you the courage of your Did you ever put down latest, an hour earlier would be better. If we would these performances Mozart displayed rare talent for Spohr in his Memoircs marks this memorable per¬ furious that on the first chord at which the solo again convictions? Or do you sometimes hesitate to use your possession? and in another list go out of doors right after breakfast and take a short improvization. As an instance of this, a concert in formance. “Beethoven,” he says, “played a new con¬ entered he broke half a dozen piano strings! All the the music and the method you know to be the only those you would like to add to them, and then decide walk or indulge in some slight exercise we would be 1783 he began by playing a little fugue, and following certo of his own, but after the first tutti, forgot that attempts on the part of music lovers in the hall to right one for fear of losing that particular pupil? which you would change over from the list of possi¬ benefited and would work more easily. that he played some variations on a theme from obtain silence were in vain. Thus the first allegro of Is your work consciously constructive? The struc¬ bilities to the list of actualities? Paisiello’s opera The Philosophers; then in concession the concerto was entirely lost upon the audience.” ture of the music-student’s education may be likened Can you read at sight and transpose easy songs for Practice in the Morning to the enthusiastic applause, he gave as an encore After the fashion of Mozart, Beethoven played only to an edifice. How strong it stands and how high it your vocal friends, play the accompaniments your another series of variations on a theme by Gluck. We his own works in public; he composed five concertos may grow depends entirely upon its substructure and father or brother likes, recognize a modulation, tell The following schedule for practice was given me must not forget that at this period variations were for piano and orchestra which are admirable master¬ its foundations. The first patient careful work that instantly what inversion a chord is in, play a little by a teacher who vouches for its worth: very much in fashion and greatly relished. pieces in this style of composition. One should also interested few in the process of building and is unseen Bach and some Schumann besides your own favorite The first two hours of the morning period should be mention 'the Fantaisie in C minor for piano, chorus and when the completed edifice is admired on all sides is pieces? given to instrumental work, to the development of How Mozart Played orchestra. the most indispensable part of the whole, and without How many of these possibilities can you add to your technique and artistic playing. After that a half hour When Mozart visited Prague in 1786 he gave two which the erection would of course tumble to the list of possessions this year? Ask your teacher s or an hour should be given to some form of theoretical How Mendelssohn Played ground when the first real use tested its capabilities... recitals in the great hall of the theatre. At the second, advice about it. study. Not too much time should be given to theory, What are you building in the edifice of your pupil s according to one who was present, after having com¬ After reading what M. Kling has to say about Mozart Did you ever think that music is as many-sided as a but enough to give relaxation. The change of study is musical education? -Technical values of stone and iron pleted his program, Mozart consented to accede to the and Beethoven as pianists, it is interesting to turn to prism? Why not see more than one side of it, thereby in itself something of a rest. After the theoretical ideals of beauty and form, a working equipment of wish of his admirers and again seated himself at the what Isidor Philipp, the eminent French pianist and increasing your own pleasure as well as the admiration study a short period should be allowed for practice. A musical principles which will enable him to use what teacher, has to say about Mendelssohn. The following of the added number of your hearers? sort of resume of what has gone before. With that a piano. He allowed his fingers to run over the keys, he has bmlded as it grows higher and hjgher into a article appeared in the recent Mendelssohn issue of Take stock of your music for the year. Find out full morning’s work will have been accomplished. and then without effort, improvised superbly for not creation of beauty and stability? £ Musica (Paris) : exactly where you stand in the scale of your progress less than a good half hour. When the prodigious If you are a student of music “taking stock of It is not profitable to repeat the forenoon’s work in Of Mendelssohn’s intimates, I knew only Stephen and exactly how many notches nearer the goal you artist rose and attempted to leave the platform, he ' your attainments of last year, what can you do with the afternoon. Another form of employment should be Heller, who had some precise recollections of Men¬ can go this year. indulged. There are so many subjects related to music was met with such a storm of applause that after your music? How do you use it? delssohn’s playing. He admired him unreservedly. He that this is possible. Employment should be progress, having bowed his' thanks twenty times to an audience has often declared to me that Mendelssohn’s clarity and not merely labor. To accomplish that end a schedule that refused to be appeased, he was prevailed upon Interesting Facts About Finnish Music swiftness were incomparable. Mendelssohn’s style had should be arranged. Economy of time is necessary, but to yield another encore. The inexhaustible fecundity purity and mobility, and his technique, which he ne¬ may account for the fact that the Swedes were largely <5f his imagination furnished him with a new theme, Almost every country has in it musical instruments that does not imply a slighting of work. Rather does glected to‘develop in the last years of his life, was responsible for the introduction of classic orchestral upon which he improvised no less effectively than be- that are indigenous to it. And these instruments are it mean an advantageous allotting of time to accomplish nevertheless unique. His memory was amazing. music into Finland. Otto Andersson, in an address usually found to be in close connection with the more work. The inclination to do things by fits and fore. But the public would not even then reckon with But other contemporaries will further inform us. before the International Music Society in London, gave melodies of the country. “In Finland,” we learn from starts should be discouraged. Spasmodic work accom¬ his fatigue. For the third time, Mozart was obliged Mme. Clara Schumann has said that she had the most an amusing account of the beginnings of orchestral Grove, “the oldest and most popular instrument is the plishes little. to go to the keyboard in order to satisfy the intoxicated delightful memories , of Mendelssohn’s playing. “To music in Finland. "The earliest attempts at orchestral kantele, a kind of lyre or harp with five copper strings Balzac worked by locking himself in a room and audience. He plunged at once into a new series of hear him play.” she has written, “was an incomparable tuned G, A, B flat, C, D, on which five notes a large music,” he says, “are to be found at the Abo University, writing, writing, till a novel was finished. There was melodic ideas, until suddenly a voice was heard from joy. For me- he was the ideal pianist, full of genius mass of the old runo melodies are formed.” This five- which in 1741 welcomed its first conductor, K. P. Len- no cessation for him, no rest, no relaxation. After he amid the tensely listening throng uttering the magic and life, and possessed of a technique unequalled in note scale, we may remark in passing, has no relation ning. On solemn occasions some music had to be started, nothing but the word finis could stop him. name Figaro. Without apparently paying any atten¬ perfection. Sometimes he played at a rapid tempo, but to the famous five-note or “Pentatonic” scale, from given. Nevertheless, during the conductorship of When the novel was completed he stopped, and appar¬ tion, Mozart completed the musical phrase which was never to the detriment of the music. He was always which so much Celtic and Oriental music is derived, Lenning until 1788 very little music of value was heard ently sank into a stage of lethargy. His uncreative on the tips of his fingers, and then by a sudden unex¬ an admirable artist, a great musician, and in listening and which sounds approximately like the five black keys at the University. The orchestra was very small. Once periods lasted some months. pected transition he suddenly commenced the favorite to him one could think only of art. I have heard him of the piano played in succession. The kantele is the twelve students of music only are mentioned; and Men of Balzac’s genius are rare, and they can work air non pin andrai, upon which he embroidered a play Bach, Beethoven and his own compositions, and most popular instrument in Finland and is employed what is worse, even these would not follow the baton as the spirit moves them, but to us, who are less gifted, dozen scintillating variations. I shall never forget these moments of pure joy, of freely among the peasants of pure Finnish stock. Otto of their conductor. People repeatedly complained that we must plan and arrange oiy work so that no time According to tradition, Mozart had an agreeable which the impression remains so strong.” Andersson, President of the Swedish Folklore Society the conductor never performed good music, and in 1780 will be lost. touch, he produced a rich tone from the instrument, “The playing of Mendelssohn,” wrote Hiller, “was like the latter was constrained to admit that there was only Do your work in the morning when your mind is the singing of a bird, a natural function. ’ With an of Helsingfors, remarks that “while in Sweden the and knew how to charm his audience. Much praise MENDELSSOHN AT THE PIANO. hurdy-gurdy occupies the rank of a national instru¬ one musician in his orchestra.” However, with this bright and your body strong. Above all, avoid work¬ has been lavished upon the tranquil manner, and the admirable tone, perfect technique, endless confidence ment, the Swedish country population in Finland has and other attempts, a taste for orchestral music was ing late into the night, as some professional people do. easy, graceful, natural style in which he played the This picture represents Mendelssohn at the time he was li he possessed all the characteristics of a virtuoso. But not adopted either of these instruments, but has chosen awakened, which despite the long periods of warfare It is unfair to yourself. An abnormally wideawake most difficult passages, and upon the neatness of his England at the Court of Queen Victoria. The original i all that side of it disappeared in his powers of ex¬ between Sweden and Russia, has survived until the copyrighted by the Berlin Photographisehe Gesollschaft am pression, grandiose or tender, delicate or powerful the violin.” „ ... mind, struggling with an exhausted body, works havoc execution down to the smallest detail. Connoiseurs is reprinted with their permission. Mendelssohn’s creates The love of the Finnish Swedes for violin music present time. in the end. also admired his brilliant staccato. popularity was in England, and that country mav well b passionate or ethereal. The moment he sat at the proud of appreciating so fine a genius and so rare a man. keyboard his genius became apparent. What he played, THE ETUDE THE ETUDE 99 98 how he played it-one simply could not separate the Standardization in Different States performer and the performance, from the music per¬ Plans Worked Out by Active Teachers’ Organizations formed. Everything was merged in the whole. Bach, ■ , .. , ,. . . tn establish a means whereby teachers in different Beethoven and Mozart were his favorite composers, The ideas upon standardisation m teaching music- all seek’■ . hef novices enlering the professwx and his interpretation of these masters was absolutely states can provide examinations through which it ay be deter conditions the regulations provided by the unique. His vast memory was for me (and I believe for him) an abundant source of delight. The music stored in his mind consisted far less of that which he had learned by rote than that which he retained natur¬ »-**?.««' ■— «•** ally. And God knows in what quantities! special examinations, satisfactory. Marjorie’s Wish Mendelssohn’s Memory to the fact that in no case has any proprietary work been A Pupil From ’Way Back New Ideas for Clubs The attention of the readers of The Etude is called “It’s practice time, dear.” “The Abbe Bardin, a great amateur of music, used suggested for the help of teachers the societies have care- : with her sister; they were course, but because she was there. Jean,—the club girls always call her made obligatory. That is, while reputable works are s “1(68, mamma, I hear.” to gather together in his home one afternoon a week of any one corporation compulsory. of o “Jack”,—came back from the summer va¬ fully avoided being trapped into making the publication Five minutes for scales, t a number of musicians and amateurs. A great quan¬ cation with a head simply teeming with tity of music was performed at these meetings in ex¬ Each applicant for membership in the Association new ideas for the “All Round the Year A Plan Adopted by the New Orleans Teachers “Oh my!” she sighed. “I’m really glad . . • t ■ ------* couldn't appear too happy, for I cellent fashion, especially considering that as a rule* after October 1, 1914, shall be obliged to pass the A strange pair, I thought, as they stepped feared to frighten her, so I talked calmly Music Club.” no rehearsal of the music was held. “It happened The present members of the Association shall not these old composers have died.” examination arid will be given a Certificate. * * * * ° the TS‘udl° as fr'ghtened as two about the weather. She had five books “Girls, we have just got to branch out that just at that time I had played the E flat minor be required to pass an examination to determine their T. , ...... , . rabblts- They had come from the coun- under her arm; good bboks, too. When a bit,” said the enthusiastic Jack after the concerto of Beethoven at the Conservatoire, and I was efficiency. The Constitution of the Association shall What California Teachers are Doing first meeting in the fall. “'Of course, I , a fa7 in T a weStern farm- she took off her hood two big braids fell asked to repeat it at a meeting of these music lovers. be amended, however, in such a way that all active The Music Teachers’ Association of California has know we are much in advance of some of fS v! tot I’ot music too and i,ste[,wants to take some lessons,” out and hung to the bottom of her skirt, The string-players were all there, but the wind-per- members shall be required each year to give evidence been devoting a great deal of earnest attention to this the other girls’ dubs in town; but we formers had neglected to bring their instruments.. X of having successfully completed a course of study matter and in its attempts to lay the way for examina¬ thadswh v thevuamto heln Madorie u °"e with her whistlin« A ^gular Gretchen! She sat down to are too self-centered—now really don’t will play the wind part/ said Mendelssohn, seating him- (with or without an instructor), approved by the tions it has outlined the following classifications: and you. “Cheer up,” said the fairy. ^ Tbffistored ouT^WeU She ^ P'rffly you think so?” self at a second piano. He played so accurately, en¬ Executive Committee of the Association. At the end Class I. Teachers of ten years’ experience, no exa¬ “Begin to play, don’t waste your practice 'd ** no“ !ou «W ’ ^ home w,tb planos' ?,ot on,e word about No one answered, so Jack went on this foolish way” Sood, and now you must tell me where being out of practice or that other old tirely from memory, that he omitted nothing, I believe, of each season every member will be requested to. mination to be required. This term of experience to to explain. except a single note from the second horn. He accom¬ submit: to the Executive Committee the subject or be increased two years each year for six successive So Marjorie started, she didn’t know y,ou.. c.otne ,fro5n' „witb whom you have war cry of “I can’t.” She began to play, “We have almost forgotten that Miss plished this tour de force so naturally and so simply subjects which he desires to study during the fol¬ years. Class II. Teachers of metropolitan, national or why—she guessed not a fairy had tickled f udled and what. Perhaps I went too and I began to wonder. Here were Keith started our club, and gave us music that it seemed to be a mere bagatelle.” J lowing year. It will be the duty of the Executive international repute as music artists or teachers, no her eye. fast’ or maybe my voice was too loud; hands well shaped and well placed on and money and her time, and if we have “His staccato,” says Joachim, the great violinist, Committee to organize, so far as possible, classes in examination. Class III. Pupils having completed or Here and there danced her fingers, all when I turned to look they were ex- the keys, here were scales correctly fin- shown our appreciation it has been only was easily the most remarkable, the most vital, that subjects desired by several members and, when successfully passed the examinations in a four years’ mirrored so clear in the bright shiny changlng glances and never a word did gered, and not a1 word about, “Oh, I in a very general way. I think we might ever was. He played, for instance, the Spring Song polish—what had she to fear? either speak. Then I must confess at never can remember fingering.” Here classes cannot be formed, to approve the plans for music study course in any accredited school or college be of real help to her.” from his Lieder ohne Worte with an artistry so aston¬ How easy and graceful, why I scarcely being embarrassed. Perhaps I had spoken were Loeschorn and Burgmuller played the year’s study submitted by other members. The of music; also, advanced pupils who have studied at “Tell us, Jack; you know we are will¬ ishing, with a tone so fairy-like that the memory is knew that practice is easy—now really, abruptly, maybe I should have looked accurately, not slopped over. Here were ing,” cried the little Secretary. methods of testing the results of the year’s work least two years under teachers in Class II admitted vividly with me after forty years. I have heard all upon presentation of diploma without further examina¬ did you? tbe>r way instead of fumbling over my Schmitt’s Finger Exercises done as care- “We are her pupils; we are here for shall be determined by the Association. the greatest artists, yet not one of them has produced Here and there, light and gay, like dim papers, so I began again. • fully as a sonata might have been played, self-improvement, and to be of service to The Association shall issue a Certificate to those tion. Class IV. Persons not eligible under Classes 1, the same impression.” 2 or 3 may become active members by passing the shadows at play, sped Marjorie’s fingers “Do you wish to arrange for lessons Not one word about, “I hate finger exer- Miss Keith; the latter we have forgot¬ members who meet the following requirements; Mendelssohn worked hard in his younger days, and membership examination as formulated by the com¬ at practice this day. Then deeper and now?” I enquired humbly. cises.” ten. I suggest for one thing this winter (1) Satisfactory evidence must be given that the later he amused himself by playing the Well Tempered mittees in the various branches of music. Class V. All deeper in polish they sank. Marjorie The younger one nodded to the older Only twelve lessons had she had of a let’s have a ‘Mending Department.’ ” applicant for a Certificate has. seriously studied for Clavichord of Bach in all keys and tempos. Thus he active members in good standing at the time of adop¬ screamed—twas a fairy s prank. She one to say, “Yes” After this panto- teacher who had gone away and left the “What will we mend?” inquired the at least four calendar years (not necessarily con¬ acquired his fine technique. tion of this classification will be accepted as “Founding earnestly looked for the fingers so fight, mime, I took out my schedule and as- child to dig things out by herself. What saucy Treasurer. “Mama does all my secutive) under a teacher or teachers of accepted Members” without examination. The degree or title of mending.” hfVcrht aSThhen ^aHnr^wished signed Thursday at eleven thirty> and a find ! A child who would actually think standing the instrument (including voice) or the sub¬ Fellow shall be conferred upon any active members “We will mend our music,” said Jack Too Much Repetition in Practice ject for which the certificate is issued. The require¬ of this association upon presentation of a post-graduate queer oractice dav a wish so devout that they passed out as silently 33 tbey had for herself. Who loved music enough to decidedly. “You know how torn it is and Injurious ment is waived in the case of an applicant for a diploma covering at least a six years’ course of music k came true the next d/y C°me in &nd 1 Sat wondering what man- dig it out of her own accord. I thought how it falls off the music rack and how Certificate in Public School Music who has passed the study in any accredited school or college of music or “Oh fly-aways, fly-aways down in the "er °! "ew pupil this T°uld be' Som.T many many things-and I said, “You some of the pages get lost. I suggest New Orleans examinations for public school music upon passing an examination formulated for such lid—tell me your secrets, the place where how 1 ha^e come tp dread new puplls bave been well taught.” Inwardly I that a part of our time shall be devoted teachers. degree. The degree or title of Associate shall be con¬ they’re hid. Show me how, if the right ~so much t0 readJust; so much to blessed that country teacher who had to keeping our sheet music and books in Having read in a recent issue of The Etude an (2) The candidate shall be required to pass a ferred upon any active member, upon presentation of things I will do, I shall play quiet and be gone over afreshl s° nluch tact in given the best of himself to this talented order. As a motto let’s have ‘A Stitch article on the necessity for repetition in practice, I written or oral examination in elementary theory, in¬ a diploma covering at least an eight years’ course of easy like you.” doing it. Oh, I thought, it’s the same child. Wherever he was now, at least in in Time Saves Nine.’ If our mothers would suggest that students exercise discretion in fol¬ cluding notation, all scales, keys, signatures, meter, music study in an accredited college or university, or old story, a country pupil with some this child he had implanted a great love are too busy, let’s have our grandmothers lowing the author’s advice to practice a difficult passage rhythm, intervals, common marks of expression, and upon passing an examination formulated for such de¬ A Love Story rag-time, a two-step, a waltz and The for a great art. as honorary members. This will not in¬ five hundred times without stopping. While concert the elementary principles of melodic construction. gree which shall be considered uniform with the degree „ , Simple Confession. Then I promptly She played not astonishingly, how could terfere with our programs. We can have artists repeat still more, for anyone whose finger (3) The candidate shall be required to satisfy the of Bachelor of Music. I his happened ,*]?■’„ forgot her until Thursday at eleven a simple country child with twelve les-our meetings longer or, if you like, we muscles are not strongly developed and who is not examiners that he has a general knowledge of the Ago.) He met her in — (K,Harney) thirty. when the time came j sat wait. sons? But she p!ayed as one ;n love can devote a whole afternoon once a strong physically to attempt it, would, in the majority historical development of music, such as may be The Movement in the Northwest Tru j™3 7" ‘nf „own e ane in ing and waiting and all the time getting with it. So ' absorbed was she that I month to the mending of music. After of cases, result in more harm than good. Paderewski found in any* standard text-book. In Oregon there has been suggested a bill to prevent (The Low-backed Car). When the horse „ t . . ,r«,_ , , t ., . . T .. two or three mending meetings let’s in¬ stumbled- “(O Dear, What Can the more f"ssed\ What ,a bad Sta! ’„ „h°w doubt >f she knew T was sitting there. The Examining Committee shall consist of five anyone “not at this time engaged in the teaching of himself attributes his ill health to too much practice, Matter Be?)" she cried. “Pardon Madam, agSTavatlng to wait for a pupil, why Apparently she cared for nothing but the vite Miss Keith and surprise her.” and is very insistent that students should not over¬ members of the Association chosen in the following music in this State to commence such teaching unless I'm _ (Robin Adair) Let me help d°nf they send word, and so on; getting thing kt hand, and when I played she “But I’m sure she will discover It,” work in their desire for virtuosity. If the average manner: he or she has obtained a certificate.” The same bill said Bertha. “I know she will notice my you.” “Ah.” she smiled coyly — more and more angry; at last 1 banSed listened and asked intelligent questions student should repeat a passage five hundred succes¬ A general committee of fifteen members shall be provides for the appointment of a board of examiners music because it is so awful.” “(We’d Better Bide a Wee) ” It was a tbe door saying 1 wouldn’t have her at and strangely enough she said, “Bach is sive times he would find that he was not only physically elected by secret ballot at a regular meeting of the by the Superintendent of Public Instruction. This “ ‘Awful’ is not a goqd word,” answered but mentally fatigued. The muscles in his hands Association, of which due notice has been sent to all board is to consist of two teachers of piano, one of beautiful night, the — (Evening Star, auny price’ no~no‘ ioL Tfive dol!ars per pre4tty.” Jack, “but it comes pretty nearly describ¬ “Tannhauser”) was high in the heavens ‘hirty rmnutes’ and off 1 went in great As she put on her hood she said shyly would have been overtaxed and would have lost some members. This committee shall receive and con¬ voice, one of violin and one of pipe organ. This plan ing the state of our music and books.” when they were-(Homeward Bound). , , Jhat s.hf had ,fallen downstairs and broken of their elasticity, which it would take time to recover. sider suggestions for the position of examiner and relieves the present residents of Oregon from examina¬ — " - — That afternoon I began to- hunt for her right wrist and it had put her back a “Then there is another thing that would Thus he would have lost as much as he gained, and shall choose by secret ballot the members of the tion and imposes the test upon all new comers. The : your name, sweetheart? please Miss Keith immensely,” and Jack - (Kathleen Mavourncen),’’ said she. thope country girls. I could not locate great deal and it was not a very 1 he would, moreover, be almost certain to suffer a Examining Committee. Each examiner chosen must board, however, has the privilege of approving the . __ them. No one time since she had been able to do much went on to explain the little courtesies of diplomas of applicants and forwarding them to the That was the beginning of - (Love’s J-bem’ breakdown sooner or later, due to excessive nervous have received a two-thirds vote of the members knew whether they had been able to get with her music. social life, and especially the courtesy and physical strain, if he persisted in this undue present at a meeting of the general committee, of Superintendent of Public Instruction for endorsement, IfoMMg Dream). One day he said sadly, room in an overcrowded college town. Then I thought of some of my old the girls should use at the musical enter¬ repetition. How many ardent students aspiring to which at least one week’s notice has been given. The who may issue certificates upon this evidence twenty- t go back to -- (My ain Coun- tainments given at Miss Keith’s house virtuosity have overworked and found themselves Examining Committee shall prepare all tests and make one days after application. No certificate is to be trie). My regiment is called to the front Tben 1 began worrying- Where are they, pupils who had not fallen downstairs, and - - I kept asking myself, perhaps they have I wondered if it would do any of them and elsewhere. “I’m quite certain that victims of pianist’s cramp! Only students whose all rules for the conduct of the examinations. Each granted to anyone who shall not make affidavit of his or (Goodbye, Sweetheart, Goodbye.)” > place to lay their heads; why didn’t I ato' good to know this little child’s mus- we are not as courteous at Miss Keith’s hands are very well developed and who are technically examination paper shall he anonymous, being marked her intention to reside permanently in the State of wjih,She wcui backurtLis. tolu herucr numchome on me - , . . . . ^ : recitals as we should be.” Jack looked far advanced can safely repeat a passage five hundred with a sign or number known only to the Secretary. Oregon. Violations of the provisions of this act would (Beautiful fslc of the Sea) and waited as!ifepl’ Tbe suspense was annoying. ical experience Then I decided i The following Thursday in came the should know about it but you, and as a at the lively little girls about the room. Each paper submitted must be approved by a majority constitute a misdemeanor, entailing a fine of not less patiently with -- (The Old Folks at times without pausing. -me who was to study looking a little secret I’m going to say that I think that “We know each other so well and we After years of experience I have found that of the Examining Committee. The first examiners than $50 nor more than $200 or six months imprison¬ Home) for the return of her lover. paler because she had been sick. I was timid country girl is going to be an ador- forget that our audience really comes to- shall not receive Certificates until they have passed ment. The Etude has a feeling that some of the pro¬ Day after day she sat- (With Heart the way to obtain the best results is as follows; ^ overjoyed Not with the illness, of able pupil. hear something; we want to talk and they Practice the difficult passage zealously .until you feel the examinations set by a succeeding committee. As visions of this proposed bill are unnecessarily arbitrary want to listen.” that some improvement has been made. Then put it soon as there are five or more Certificate holders, the and that it points to the desirability of a national Scotch laddie who was now - (A , ____ “I just can’t keep my mind on my piece aside and take something easier or review an old Examining Committee shall be chosen from their supervision so that teachers might practice anywhere Thousand Leagues Away). when people talk,” whispered Kitty. “I piece. This will rest your brain and you will find number. so long as they are properly accredited. One day when she was sitting by——• An Ancient English Pipe Organ have actually thought I would put cotton yourself better able to then resume the more difficult (The Sad Sea Waves) along come - in my ears at the next recital.” work. (Peter Grey) with a letter. In the life of St. Swithinus, written by in England it had already reached to con- “Well, girls,” and Jack rapped hard on Do not count the numher of times you repeat the - (Come Back to Erin)” moaned Wolstan, a Benedictine monk of Win- siderable perfection. the table. “If you want to add another passage. If you do, you will unconsciously be aiming Kathleen. Chester, we find a description of an or- Pope Sylvester II, elected A. D. 999, is department to our club for the good of to see how many times you can play it without stop¬ Every worker makes his own sterling mark his own standard of personal excellence. . (The Campbells Arc Coming)” gan, erected in the cathedral of that city, said to have cultivated music very as- ourselves and our teacher let’s call it the ping rather than to note how much you can im¬ All standardization becomes a farce at the very moment when one reaches the position of cried Peter, waving the letter. Kathleen by Elfig, the bishop, in 951. He says this siduously, regarding it as the second in ‘Courtesy Department for the Suppres¬ prove it. being contented with the examination tests he has passed. The artist, real and great, tore open the letter “- (When This instrument had twelve bellows above, and rank among the liberal arts. He acquired sion of Chit-Chat,’ or we might call it A talented student will, I am sure, obtain better re¬ Cruel War Is Over) I’ll be - (Home fourteen below; and that it required sev- considerable reputation, and was cele- the ‘League of the Tameless Tongues.’” goes to his grave with uncounted standards still unattained. Not until you can make your sults from practicing earnestly a shorter time than Again) and then we’ll be married -? enty men to work it. Tt was played by brated by the authors of the twelfth cen- The girls laughed, but before the meet¬ from endless repetition which occupies too long a time own standards and new standards at every sunrise can you hope to progress in your art. (In the Sweet Bye and Bye) and move to two organists, and had ten keys, with tury as Gerbert the Musician. William ing was over they decided to forego the to be truly beneficial. Strive to play the passage per¬ —— (America).” Old- (Peter Grey) forty pipes for each key. This was prob- of Malmesbury speaks with wonder of chit-chat at Miss Keith’s mqsicales, and fectly for your teacher; not to tell him how many shouted “Hurrah, it’s - (The Dearest ably the largest organ of the period, and the perfection to which he had brought they also decided that it was equally rude thousand times you have practiced it. Spot on Earth). Three cheers for - whilst on the Continent that instrument the organ, by means of blowing it with to talk during hymns, sermon, Scripture (The Red White and Blue.)” was scarcely known, or very imperfectly, warm water.—Musical News (London.) and prayers. THE ETUDE THE ETUDE 101 100 “I Like That Part” The Art of Giving Pupils Confidence By George Hahn By Bertha Gaus “I like that part,” said the listener admiringly. “Have you any exercises that will make a pupil self- She referred to a portion of a piece that required confident?” asked a young teacher of the man behind less brain power and knowledge to appreciate than the the counter. ,, other parts. . . , . , ... ,. „ “If we had,” answered the music-dealer, smiling, we Liking the slight, trivial, easy and melodically How to Practice an Interesting Piece could sell out a whole edition every week.” mediocre is one of the failings of studentdom. Yet the “Do you play duets with your diffident pupils? 1 “easy to understand” section of a piece is by no means By LOUIS G. HEINZE asked. I had overheard the young teacher’s question likely to be the best, because it is probably not the characteristic or feature that made the composition and could not help venturing a suggestion. “No,” 3he confessed, “I have not tried duets with famous or well known. Sections of some pieces are necessarily more melo¬ Definite Directions How to Get the Most Thorough Results in the Shortest Time dious than others. This is not because the composer “That is one way you can help her. She will play had a melodic inspiration that produced this section better when she feels that the effect does not depend and he failed of an inspiration in writing the others, In selecting a piece for the following discussion of on her alone. She is bound to keep up with her teacher The difficulty in the right hand of the first 16 meas- but because the law of contrast demands that parts of the matter of “How to Practice a Simple Teaching When the three lines have been mastered, begin the and so she will not allow herself to be embarrassed a composition be dissimilar. Consequently, the beauty 5es is m the change of the chords which must be Piece” the writer has taken the Rose Petals of Paul practice of the three lines hands together, proceeding by small errors. Duet-playing,” I added, “is only one played without a break. Therefore, study all the of certain melodic sections in the works of the best Lawson, for the reason that it is a good first year com¬ as before. way of helping a pupil to confidence in herself.” composers are emphasized by being surrounded by changes of the chords as written here. position, is short, melodious, and the melody alternates As soon as the three lines, hands together, are played, “I see you can tell me more,” said the young teacher music that does not depend on pure melody to hit its Play from beginning to end without a stop. between both hands. The following principles of prac¬ note and time proof, add all the marks of expression, eagerly. “Let us sit down here where we are out of the mark. If music were all of that melodic texture that tice, however, should not be considered in reference to way. I want you to tell me how to rid my pupils of has a tendency to elicit the “I like that part ex¬ trying to give the left hand (which is the melody) more this piece only, but to any piece of similar grade. prominence. nervousness.” . clamation, it soon would tire even those who speak If this presents any difficulty (which is often the “That is the very word I am afraid of!” I exclaimed. in these terms. A pearl of beauty, surrounded by con¬ General Practice Suggestions trasting elements, is always emphasized in proportion case) do the following exercise: “Nervousness?" asked the young teacher. Teachers unfortunately are obliged to spend much “Yes. When I was myself a student, I was one of to the extent of the contrast. The law runs through Hands together play left hand with a clear, full tone time in correcting unnecessary errors. If pupils would and the right hand very lightly, only touching the keys the nervous sort. My teacher would often say to me, all art and is plentifully utilized by all good composers. Consequently the “I like that part” would not appear learn how to practice the teacher could save many (without sounding the notes) using arm touch. Do ‘You are nervous; don’t be so nervous.’ He was con¬ valuable moments during the lesson in direct progres¬ half as likable if all the rest of the piece were of the this a number of times and then gradually use a little tinually noticing my nervous manner, with the result sive instruction. The pupil should be instructed to ask same texture. more force with each repetition, just enough to sound that I became more nervous instead of less so. When all questions necessary, but not those covered by gen¬ the chords. In a short time the proper relation between I began to teach, I made up my mind that I would never eral practice instructions. Among the simple principles the melody and accompaniment will have been mastered. accuse any pupil of being nervous. I would never so Mozart’s Mysterious Visitor which the pupil should remember are: much as mention the word nervous in a lesson. I have Is it Wrong to be Nervous ? Good practice always requires great care and a free The preliminary practice with the left hand of lines four, five and six can be done in the same manner as never done so. And I have always been careful to A few months before Mozart’s death mind. so ponduct the lesson that nothing in my own manner By Amy Hughes Glover Short frequent periods of practice are better than the right hand, of lines one, two and three or in the he received a mysterious visit from a following way: would set the pupil’s nerves on edge. Apparently ignor¬ long protracted periods. stranger who commissioned him to ing any symptom of nervousness in the pupil, I tact¬ Of course, we have always been told that nervous¬ The length of the practice time is of less value than No. 2. the quality of the practice. fully help her over the difficult places. By taking up write a Requiem for the sum of fifty ness is foolish, and that it prevents one from getting only one difficulty at a time, in pieces well within the ducats. Mozart by his convivial life the best and brightest results—but is it actually Never practice at length until you know how to prac¬ tice. Two hours of wrong practice is just four times pupil’s scope, much may be done to improve her manner wrong to be nervous? consumed all that he could make and as bad as one-half hour of right practice. We are not dealing with that feeling of tension as a player.” was glad to write the work for the Playing a piece through from beginning to end, the “A pupil may be able to give her teacher a smooth which promotes a desire to excel—to prove one’s moment it is received, is usually a waste of time, no lesson and yet feel diffident about playing for others,” paltry sum mentioned. The stranger self—without that feeling the fire is lacking, the matter how often you play it. refused to reveal his identity . and nerve, the connection with one’s hearers which in¬ intimated the young teacher. Better play an easy piece well than a hard piece “That is possible. That difficulty can be avoided by insisted that great secrecy be pre¬ spires them as a direct result. We all know that indifferently. the cringing, cowardly, lowering sensation which is beginning to train my pupils for public performance Avoid becoming physically or mentally or nervously served. Mozart, light-hearted and commonly known as nervousness has absolutely no in their first year.” fatigued. Better take a few moments rest here and “You have them play at public concerts?” asked enthusiastic, put little stress upon the kinship with that other high and ambitious con¬ sciousness without which comes failure. the young teacher. significance of the event., However, If you find that a difficult passage does not improve Now, of course, the first objection—and the only “That is something one should never do,” I answered. a short while later when he was step¬ with each successive repetition put it aside for a mo¬ one—will be that it cannot be helped. Is that true? ' “Nothing can be worse for a young pupil than to be ment and take it up again after a little rest. Another Form of Practice ping from a carriage the messenger Is it possible that we should have tfirust upon us an Practice of First Three Lines keyed up to concert-pitch. It can be avoided this way: No matter how much talent you may have, unless enemy so subtle, negative in character and deterio¬ When preliminary work is finished commence your For the sake of a change, practice lines four, five and As soon as a little girl or boy is ready to play the first again confronted him. you practice right you cannot hope to progress. six as follows: rating in effect without possessing in ourselves the practice. Take first four measures of the left hand. easy pieces, I explain to the child that several other power to fight and vanquish that enemy? If you (Count aloud, one and two and) play slowly, three Hands separate. Take first three measures; play three little pupils began to take lessons at about the same “What do you want now? ” asked _ Special Practice on a Piece Away from the Keyboard are. paying a famous surgeon a large sum to per¬ times, if .done without an error continue with the next times, if done so without a mistake the third time, add time he did. Then we arrange for a come-together les¬ Mozart. form an exquisitely delicate operation on a loved Look the piece over carefully away from the piano. four measures without a break in time, in the same fourth measure without stopping. son. Each child is anxious to play his best before the Now begin with measure two, playing the second, “I want the Requiem,” answered one—if he fails and the life is sacrificed—would you The more time you spend upon it in this way, the less way as the first four measures. others, and all are put through their scale-work as well forgive this surgeon if he explained that he got you will have to do at the piano. The next four measures may be omitted for the pres¬ third and fourth measure, and if correct the third time', the stranger. as their pieces, so as not to give undue emphasis to the nervous at the critical moment and so lost the case? Impress the following facts upon your mind: ent, as they are the same as the first four. add another measure; after every addition drop one more attractive part of the program. These ‘come-to¬ “But it is not done—you must give What more reason has he for losing self-control The clefs (right and left hand). Practice the last four measures of the third line in measure from the beginning of the three that are being gether lessons’ are made a regular feature of the pupil’s in so trying a crisis, than one who merely gives a The signature (remember the scale of the key in the same way. practiced. Proceed in the same way when playing me time,” replied Mozart. hands together. work. They not only give him self-confidence, but act performance in which no life Is at stake and no hu¬ which the piece is written). Now'play the three lines, slow enough so that there as an incentive to good progress.” “Time,” muttered the stranger, man destiny in the balance? The time (meter and rhythm). Count the piece aloud, will be no wrong notes nor any deviation in time. Finally practice the three lines without a stop, put¬ “When a pupil’s playing becomes somewhat interest¬ “that can no man give to another Once an opera house took fire, and it was vitally placing your finger upon the notes or the chords that Be sure to use only finger action (lifting fingers ting in all marks of expression and making the melody ing I place him on my entertainment programs. These important that there be no rush for the doors. The fall upon the principal beats of the measure. high) producing a firm, full, even tone, carefully con¬ (which is now in the right hand) more prominent. man.” entertainments are given at one of the old people’s only way to prevent this catastrophe was to hold . Note especially those measures which present difficul¬ necting the tones which produce a good legato touch. 1 his requires a greater effort, the accompaniment being homes of our big city and are intended to be a solace the attention of the audience. A musician in the ties you have not yet encountered in your previous Accent first note of every measure a trifle. in the left hand, where tones on the piano are louder The stranger departed and Mozart technical work. and diversion in the monotonous lives- of the aged in¬ concert company sat down to his instrument, and and therefore more difficult to play softer than in the upper part of the piano. mates. ’ As soon as this intention is explained to my worked with feverish haste upon the such melody poured forth that time was gained How to Correct Mistakes Practice at the Keyboard Now practice the last two measures of the piece and pupils they forget themselves in their eagerness to do Requiem. Finally the better part of and the day was saved. If you were suddenly called There should be no mistakes, there need be none if then the piece is finished, as the last three lines (with a real kindness. They play their best with no idea of upon to save lives by the exercise of ‘ your particu¬ After practice apart from the keyboard it is always you keep your mind on what you are doing and play it was done and despatched to the the exception of the last two measures) are the same lar talent you could do it without fear. Why? Be¬ a good plan to play the scale or scales of the piece you slow enough. ‘showing off.’ mysterious purchaser. as the first three lines. “In general, pupils are discouraged frojn playing their cause in your great desire to help others you would are about to study before commencing upon the piece If a mistake of any kind is made, do not correct same Be sure you know all about this, and every piece you latest pieces on these semi-public occasions; and, in It was not until after Mozart’s death forget yourself. itself. The scales serve to introduce the fingers to the in the measure where the mistake is made, but stop, study; for example, the composer’s name (try to learn order to make sure that they keep their old pieces in that the identity of the stranger was Nervousness, then, is a form of overwhelming run of the keys and exercise the mind in the passing think a moment and determine what caused the mis¬ of the thumb, etc. something about him), the name of the piece; the kind practice, I often, during the lesson-hour, request them to selfishness in which the big I stands out to the ex¬ take and then go back one measure, counting one meas¬ revealed. He was the servant of an of piece is in this case, a Romance (find out what that play two or three of the review pieces which they keep tinction of any thought of the pleasure which might After this the following practice rules will he found ure before beginning to play. of value: is). Ihe key and the time should be carefully noted. in memory. These pieces they are sure to play with unscrupulous Count Walsegg, who be given to others. When the three lines have been played at least three Remember that it is very important for you to keep ease and self-confidence. wanted to pose as a master composer. How often when we have received an invitation Count aloud in even time. Count one measure before times in succession, without a mistake, take up the study starting to play. up the practice of this piece, even after you think you “As a pupil whose health and spirits are good will The Count actually had the mass per¬ to some function, it has been spoiled for us from of the right hand in the same way. know it. J play the piano better for these advantages, all my pupils the very intimation by the lingering fear that we Play slow enough not to make any mistakes (trying For the chords use arm touch. (Play chords with a formed as his own work. Portions of When the piece is taken up in the next practice are urged to practice enough, but not to overstudy. The should be asked to contribute some musical num¬ to look a beat or moie in advance of what you are slight drop of the wrist and immediately bring wrist a playing). period play it slower than the time the piece is written habit of spending several hours outdoors every day will the original manuscript in Mozart’s ber. What are we afraid of? A mistake is not an little higher than when in playing position for striking in and increase the speed gradually, so that you will clear the brain and give tone to the nerves and muscles. awful thing excepting in extreme cases. It has If a mistake is made, correct by going back one the next chord, having every part of hand and arm in own hand are now in the Hofbibliothek measure. always feel that you could play it faster if you so de- Self-confidence becomes then almost a matter of course.” been said that he who never makes a mistake never a relaxed condition.) of Vienna. “Oh,” said the young teacher, “I believe I need this does anything. A dozen mistakes would be pref¬ last suggestion of yours for myself! Thank you so erable to the belittling influence which this feeling much.” has upon one’s character. THEETUDE 103 THE ETUDE 102 _XX-— m ‘ Just a few words about the fingering. The only way Proper Business Methods for Music Teachers to gain surety in playing is to use always the same fingering. If a change seems advisable, make the E By Arthur Judson ■ change with pencil in your copy and always use it. Finally, playing the notes is not necessarily music. : 1 : No matter how dry a passage may seem, work with it c Rusiness Success by the present business | till you can produce a beautiful singing tone and play The following is the fourth article in the senes upon the Te“che! . w for some years the advertising in such a way that the listener is impressed with the manager of the Philadelphia Orchestra, Mr. Arthur Judson. • i,ccome acquainted with business usages. composition. f -«"« SmrimrIf jt^JMffSSXSSu. .*» = ■ He bu nto W experience as a teacher and is m a position to advise t ep p/ / Tcachers” (M . | The previous articles were, “The Need for Breadth’ {January, W5), A Working r y Six Foremost Types of Touch A Big Step in Advance 1915), "Making Friends” {June, 1915)- ? By XAVER SCHARWENKA and EUGEN TETZEL By Corona Remington shifting musical forms and content, the new composers . So many articles for the music teacher have been —all of these things are known by the general public. written about collecting bills, advertising, the definite [Editor’s Note.—The appreciation of music in the public The teacher who suffers himself, by his lack of initia¬ | schools Is now being enthusiastically encouraged through prices to be charged for lessons, the business value of tive, to become out-of-date (and it takes but a few the use of mechanical instruments.J recitals, etc., etc., that the average teacher should, by years now-a-days), is guilty of had business procedure. In The Etude for June, 1915, Dr. Hall Said: this time, know something about these matters. But After these things comes faith in one’s value, The these things, while essential to success, are not the “The fundamental view on which my own theory of teacher who has not the faith in his equipment, power governing factors in business success. In writing this music and musical education is based is that music is of teaching and up-to-dateness to charge what his teach¬ : 1 111111111 m I Bn-nrrmTTTTmrn 111111 m m n httitt the language of the heart very much as speech is that article on “Proper Business Methods,” I am not going if ing is worth sets too low a value on himself and one of the intellect. It is older and more all-conditioning to consider such details but will try to point out cer¬ at which the public will rate him. Too many teachers for the life of the individual. The new psychology tain factors which underlie success in business. [Editor’s Note.—The following article has been extracted fail to estimate on the psychological effect of a decent ments in the manner of a mechanism run by clock¬ is stressing this point of view in every way. There¬ Business success for the musician is largely governed from a short work by the above-named writers and especially the whole upper body inclines forward and throws its price for services. That which the average man gets translated for The Etlub by Oscar Schllcf with the permis¬ work. Certainly we do not perform piano movements fore education in music is coming to occupy a higher j,y the musician’s faith in his own merits. By this I sion of the publishers, Breltkopf und Ilartel. The work is power into the instrument. The mechanism, by giving for nothing, or comparatively so, is esteemed by him in this way, these being of a highly involved nature. and ever higher place. Its good effects, however, are do not mean conceit, that self-satisfied condition aris¬ entitled, Dan Problem der Modernen Klavicrteclmlk and is way gently, allows the superimposed weight to shape the as worth nothing. Furthermore, the student who pays copyrighted in America.] To give better expression to this intricacy is the under¬ in our schools to a very great extent lost because of ing from an enlarged estimate of one’s own importance, tone in full breadth and softness as well as with ac¬ but a small price is invariably the one who frequently lying thought of modern piano theories. It is a wel¬ the perverse method of laying too much stress upon hut rather a just faith in one’s own powers. Every The Free Fall centuation and speed.”—Breithaupt. neglects his work. The lesson which costs a ridiculously come tendency. reading music and technique, and too little upon the musician who enters the teaching profession (if he A "free fall" of any part of the body is practically This semi-relaxed condition of the arm may also orig¬ actual power of music itself. From the true point small price can be neglected for it means little mone¬ The Swing be serious), has had certain preparation. Whatever impossible. Friction and tension of the muscles inter¬ inate in a throw-like impulse. It is therefore best called of view the selection of songs and other music is of tary loss, but the lesson which costs much, or com¬ his equipment may be, whether it be suited to the fere. In piano technique even a “relatively free fall,” The wor,d “swing” signifies to us an alternating action a “swing.” However, here as elsewhere, a name does the utmost importance while to most of our teachers paratively much, cannot be neglected. High prices are teaching of beginners, the instruction of professionals, with the muscles relaxed, is useless, since it will not induced by the elasticity of a tensed body. The latter not always suffice to interpret an idea.. Analysis may it is of the least consequence. The great themes of a spur to hard work. permit hitting the right key with the proper finger and is called elastic when it “gives” to a force acting upon help us to comprehend the intricacies of touch, but its music, religion, love, country, war, dancing, mourning or what1 not, it must be so certain that the teacher is the requisite force. To do this it is necessary that the it, hut shows a tendency to return to its former shape. true value lies in our ability to apply it to practical and all the rest are immensely needed for the American sure of his position. One never knows a thing until If the arm-muscles, especially those of the wrist, are playing:—throw, swing, and blow attain their end in character, the emotional depth and richness of which one can impart it; it is never a part of himself until Charge Enough for Your Lessons fingers “feel” their intention and fall into the correct position, while the joints, especially of the wrist, stiffen tensed to an extent which induces such a condition, we the pressure of the finger upon the key, is in danger.” he can give it to others. It may be economically correct for the teacher to enough to transmit the needed arm pressure. may call the arm “elastic.” The wrist in this case acts Could anything be more true or more pertinent than charge just enough for his lessons so that he can make Coming from slack shoulders, we call this a “modified Pressure what Dr. Hall has said about laying too little stress Teach What You Can Teach Best a living, but music study not being a necessity like free fall” of the arm. Even from a very moderate Neither of the three aforesaid attacks are applicable upon hearing good music? Ragtime is driving the After deciding just what one can teach, the most clothes or provisions, it is bad business for the teacher. world mad and the beautiful classics, so rich in feeling height it carries considerable pressure. The ensuing to the most prominent style of touch, the legato; hence helpful business method of which I can conceive is to The advertising value of a high price as well as the and melody, are neglected and forgotten. The bigger, strength of tone depends in addition, however, upon our. chief asset in piano playing is pressure. It is true teach that thing better than any one else in town. One incentive to the student because he cannot afford to better emotions inspired by hearing compositions of how many fingers carry the weight, and whether it is that for strength of tone we need quick key action. need not he a specialist on tone, or on technic, or on lose the equivalent of the high fee are sufficient jus¬ the great masters are rarely, if ever, experienced by evenly distributed between them. For soft tones the With equal speed of touch, a hydraulic press could pro¬ the thousand and one little things; it is better to he a tification to call such a procedure a proper method the present generation, which is apparently satisfied with full-arm drop is too severe. For even moderately duce no greater tone than a little girl’s finger. The specialist for beginners, or in interpretation, etc., I of business. But further: a high price usually limits the intoxicating rhythm and the jingling, tinkling hang strong tones the drop of the forearm will suffice. The quicker the action, however, the greater the expenditure believe that, if the teachers in any one town were to the class and raises the standard. Both of these tend of power in both cases. of ragtime. hand-drop would, it is true, produce a weak tone, hut admit their limitations and divide the work of the city toward better work, and therefore better business for Speed of touch should not be confused with speed Yet the young people are not entirely to blame for one so slow in action that it can be better achieved all this, for what opportunity have they had of hearing among themselves according to their capacities all the successful teacher, for success attracts pupils. II of playing. To attain the latter with a relatively slow by other means. A free fall of the fingers alone, is really good music well rendered? What chance has would have more to do, there would be fewer failures the fee is low almost any one will waste a little money touch would he impossible were it not for the resistance too powerless to he effective. Even though a heavy an occasional concert against ragtime all day long and among teachers and pupils, and a great increase in on the attempt to learn, but if the fee is high a greater of the mechanism, which breaks the throw of the finger falling upon an exceptionally light mechanism, every day? Only recently a young lady, sitting down students because the percentage of successful pupils percentage of serious students is attracted. While the fingers. This presupposes that the entire weight of might produce action, a quickly repeated alternation be¬ to the piano, said: "I do hate to play classical music, would increase and the study of music as a practical number of pupils may be smaller the fees paid will - Hie arm is carried by the shoulder muscles, so that the tween tension and passivity would be unthinkable. hut, because you love it, I'll play you a piece.” She art become much more popular. The average pupil more than compensate. In addition, the fewer pupils throw is the sole active force. The weight of the placed her hands on the keys and soon I heard the studies because he wants to play. Every failure to arm transmitted through the fingers, easily overcomes allow time to the teacher for rest, for self-improve¬ The Throw familiar notes of Lange’s Flower Song! And she accomplish a satisfactory result along this line discour¬ the resistance of the keyboard, consequently we have a ment, for the cultivation of friendships. These things When, in addition to gravity, a mass is acted upon played it as if it were a funeral march. When I ages not only one, hut many. A teacher who fails be¬ cannot he done after a grilling day’s work in the studio. quick sinking of the key, quick hammer action, and a asked her why’she took it so slowly, she looked, at by some live force in overcoming resistance, we call strong tone. cause his pupils fail has a bad affect on the general It is just as much business to keep one’s self in con¬ me in wide-eyed amazement with an expression which it a “throw.” Since the fall of the whole arm was teaching business of the town. dition and to advance one’s knowledge and acquaint Though perhaps unknown to theory, these results were said distinctly, “Why I thought you knew all about already too ponderous for fine tone effects, the addi¬ really never obtained in any manner other than the For the sake, then, of the general music teaching anceships as it is to collect one’s hills promptly. classical music,” and explained that classical music tion of muscle-power still further restricts its use. above. The only possible blunders were a setting of the business as well as his own success, the teacher should Such a combination would be serviceable only for con¬ should always be played slowly. Another young lady not only specialize but should concentrate his powers muscles and greater stiffness of wrist than was neces¬ asked me, not long ago, to sing her some “classical siderable breadth of tone. Even the throw of the fore¬ on producing results along his own particular lines. The Broad Principles of Business Success sary for transmission of power. Some tension must songs” as she was so fond of them, Fistcn To The arm alone would be powerful, and therefore limited in be retained*—unfortunately so, since it hinders flexi¬ The business of the teacher, it seems to me, depends Mocking Bird being her favorite. use. The throw of the hand, however, being lighter, bility and control of the fingers. Excessive tension The Passive Teacher Rarely Succeeds Every one who has observed at all realizes that this rather on these enumerated things than it does on the has a wider field of application as regards tone-strength. needlessly tires and stiffens the fingers, making a fine condition is neither rare nor new by any means. The Besides discovering what he can do well and then many tiresome details which may be as readily handled The fingers, which by themselves were ineffective in the tone-shading impossible. It should be a first principle big question is—how can it be remedied? One of concentrating on that one thing, the teacher who de¬ by a student secretary. The fundamental factors which drop, become independently tone-producing when we to allow the joints to remain as limber, and the muscles the great steps in advance is the originating of the sires to employ proper business methods will develop govern the business success of the teacher are not apply the throw, though generally needing still other as relaxed, as possible. The best means to accomplish “Appreciation Period.” by Willis J. Cunningham, of initiative. The passive teacher who sits in his studio the clerical details, but those important conditions which aid to render the result effective. For a stronger tone, this seems to be the modified fall, and perhaps also the arm pressure must he added. In the German magazine Asheville, North Carolina, Supervisor of Music of . and allows business to come to him, or not, just as it enhance the value of the teacher, mentally and finan¬ throw. These, however, as we have said, necessitate The Woman, Tony Bandmann claims that the throw the schools of that city. The “Appreciation Period” may happen, is also the one who ceases to study and cially, and keep him in the best condition to do his some tension if they are to result in a satisfactory tone. consists of a series of musicales given every Friday work. The average successful merchant does not stand can achieve an evenly timed tone-sequence of from two Xaver Scharwenka. Tension, thus-, is the unavoidable conditioning factor to acquire when his own student days end. The stu¬ to five, and even six, notes. morning at the high school. These programs are ren¬ dent days should never end. Many may claim that at a desk all day and attend to bookkeeping details. of power. dered by professional artists who Willingly volunteer like a wagon-spring, which transmits the sudden jars the knowledge once acquired is sufficient. So it is— He, rather, concentrates on three things: the main¬ The Blow Theoretical analysis helps us only in so far as by their services. In this way the children hear classical of the wheel without entirely eliminating them. The for a short time. The world moves and technic and taining of such a stock as will attract trade; the ad¬ means of it we avoid an impracticable or mischievous music really well played and interpreted. Programs ^ ® “fall” is an action uninfluenced by the will. elastic wrist prohibits a too strong attack, yet transmits music develop just as material things improve and vertising which calls the attention of the public to use of the human play-mechanism. It cannot, through are printed for these occasions, the public is invited The throw” adds an active muscular impulse. The a sufficiency of force from the falling, thrown, or change. No teacher who wishes to make a success this stock; and the handling of the financial details blow,” further, adds pressure. The full-arm blow is an explanation of the working parts, materially lighten and the High School students look forward to Friday striking arm. From this arise, round, wavelike motions. in a broad way. The teacher can do the same with the labor of practical achievement. Steinhausen voices morning with eager enthusiasm, and seem really to should neglect his art. He must be alert to test and suitable in the strongest fortissimo only, the blow of the The double effort of avoiding every coarseness of attack examine everything in the way of new methods, new his business. He can maintain an attractive stock by forearm only in fortissimo. Forte could be produced this belief in saying: “Our body is constructed most understand and appreciate much of the music they and still retaining sufficient power, has led to an en¬ practically in so far as fixation takes place automatically ideas, new books on technic and music and must, above having faith in himself, adding to his knowledge, keep¬ by a blow of the hand alone, in which action, however, hear at these concerts. tire revision of our theories of technique. We ap- just when and where necessary to realize the object all, keep pace with the constantly changing form and ing himself in trim to make the best showing. He the rebound of the fingers would prove disturbing. ' proach the keyboard with a swinging motion of the of any special motion.” He desires, however, “to re¬ content of music. Music to-day is not what it was in can advertise his wares by his personality, his recitals, Because of this, the principle action must still he in tensed arm, powerful yet controlled, and at the point place finger technique, insufficient and health-destroy¬ his prices, his pupils and his reputation for being the the arm, the fingertips remaining close to the keys and Without a thorough knowledge of music, including Beethoven’s time. We may doubt the value of much of contact give way just as much as the individual ing as it is, with a form of motion both more forceful best teacher in town. He can make a financial success the hand executing only the lesser movements. In legato its history and development, and, above all, musical of the music written to-day, we may not believe in case requires. “Only deep pressure joined with the and better adapted to the human mechanism.” by carefully watching the first two matters which I playing a blow of the fingers, conjoined with arm pres¬ “sympathy,” individual opinion is, of course, valueless; the permanency of certain innovations, but we must greatest possible relaxation, can give a pure singing Pressure in legato playing may vary considerably, have just mentioned. Business success is founded on sure, is capable of producing any and all gradations at the same time the acquirement of this knowledge keep track of them, if we would be good business men, of tone. though the hand remain in touch with the keys. The just as the drygoods store-keeper keeps track of the the broad personality of the teacher, on his initiative, “This deep pressure originates in tension of not and sympathy is not difficult, and I hope that we may Discrimination between various functions of play fall, throw, blow, and swing, though not applicable to latest styles. With the development of musical papers, on his faith, not on the clerical labor of writing out only the back, but the whole upper body. Even the yet have a public in America that shall be capable of going on at one and the same time, must remain legato play, must also necessarily have pressure as a musical knowledge has penetrated to the farthest cor¬ the monthly bills or paying for the weekly newspaper muscles of the abdomen and of the thighs take part forming its own ideas, and not he influenced by tradi¬ theoretical. We do not perform even ordinary move¬ final result. Which of the named varieties of touch advertising. in it. The torso becomes erect, the thorax enlarges, tion, criticism or fashion.—Edwakd MacDowell. ners of this country. These innovations, the constantly is to be recommended will depend upon the nature of THE ETUDE 105 104 THE ETUDE plaving everything depends upon how slowly or how The constantly recurring difficulties of our piano lit¬ the technical problem involved. Pressure may also be quickly the weight is shifted from one finger to an¬ used by itself, without any introductory motion. This erature have always and imperatively demanded a use of the roll as a condition of technical mastery. In other, and how quickly the mdmdual finger can turn presupposes that the fingers seek their position some many instances the roll takes place automatically, and from its relaxed condition of inaction to the brief ten¬ time before the attack, with their tips touching the key¬ in these places its suppression would render successful sion of touch-contact. Since weight action is slow, the board. Such proceeding has three advantages: First, achievement impossible. It is therefore a subject more finger muscles, to transmit the same promptly must be greater certainty of striking the correct keys; second, for practical than for theoretical study. more or less tense at the moment of contact Fmger avoidance of any noise through concussion; third, ability Despite the practicality of the roll, restfulness of power depends upon the suddenness with which this to judge the resistance of the key, with a possible choice the hand remains of first importance, since.by it we tension can be assumed, the amount of weight qualify¬ of influencing pressure at the last moment. understand the avoidance of unnecessary and disturb¬ ing the degree of tension. . . . _ There are good reasons for endorsing Tobias ing motions. Herein, also, lies in part the hand’s “in¬ We can readily see that passive weighting is not suffi¬ Matthay’s advocacy of pressure playing. Unfortunately dependence." We cannot be blamed for the fact that cient for producing the highest power. Something Matthay has lost himself in a perfect labyrinth of specu¬ pedants have transformed this restfulness into' rigid must be added. In legato playing it is greater arm- lation. He classifies no less than 42 varieties of touch: immobility. It is true that in initial exercises all efforts pressure, that is, a stiffening of the muscles of the 8 finger-staccatos, 10 finger-legatos, 6 wrist-staccatos, 8 which try artificially to restrain the arm from helping upper arm and shoulder. In non-legato it is done by wrist-tenutos, 4 arm-staccatos, and 6 arm-tenutos. the fingers, are to be condemned, since they do other means of fall, throw, or blow of the arm, effective Another of Matthay’s fundamental mistakes is the harm. Thus we condemn the "hand-guide” less for its only, as in the other case, through an additional stiffen¬ belief that touch influences tone-color. The quicker the hindrance to hand action than for the fact that it ing of the intermediate joints. Dr. Steinhausen is there¬ sum total of speed in key action, the greater the quan¬ stops all weight-action and weight-control. Yet Hans fore in error when he says that all increase of tone is Crossed Wires Again placed on the first note, it is not where the composer tity of tone; the slower the key action, the richer, more von Buelow recommended the hand-guide, showing that Unfortunately Located due to a quicker and longer stroke of the arm. has indicated it, and in some compositions such an My six year old sister shows remarkable musical sympathetic, more singing the tone, and the better its he believed in quietness of hand. We have received two more letters in response to the interpretation of grace notes, seriously interferes with tendencies, and is anxious to learn, but there is no carrying power. The quicker the touch, the sharper Granting initiative of motion to the single fingers, article on “Crossed Wire Brains” in the early summer, first-class teacher available. I hesitate myself to The Transference of Weight the melody. If the accent is forced on the second F, the tone,—possibly the more brilliant, but with less we must acknowledge the need of their early and care¬ showing that many teachers have encountered the same i undertake to teach her, having formerly ex¬ we have two accents, one falling on the beat in the perienced the disadvantages of a poor beginning. carrying power and continuity. ful schooling. Whatever would be omitted in practice, In how far pressure alone suffices will, of course, de¬ trouble. Mrs. Huggenberg writes as follows: left hand, and one a sixteenth note value late in the I have read much in The Etude in regard to the exigencies of play would nevertheless later on de¬ pend upon the actual weight of the arm, varying with “Let teachers try the following: Underline the upper teaching beginners, and have a few ideas of my each player. A strong masculine arm will have at com¬ staff with blue pencil, and the lower with red. Tie right, which is neither logical nor rhythmically correct own, but hesitate much. Would you advise me to Finger Technique mand from the performer, though perhaps without his make the attempt, or put her with a teacher who I mand an extensive strength-scale where the arm of a to the wrists of the child two ribbons, blue for the right The traditionalists are perfectly correct in saying that It is considered good form nowadays either to decry being aware of it. Since the roll, at least in part, re¬ know is incompetent. S. F. weaker woman or child would need more or less active hand and red for the left, and make him understand in the old compositions ornamental notes were played finger action altogether, or at least to deny positive places finger action, its early cultivation would be in pressure. This should teach us to consider the dynamic that he must play the blue staff with his blue hand, and in this manner. They should not forget, however, that If you have an inquiring mind and intelligence, and activity to the fingers. Dr. Steinhausen says “The roll opposition to the principle of fingers first. However, no capabilities of each pupil. It is also advisable seldom the red staff with his. red hand. This worked wonder¬ the ornamental notes in the majority of instances were already have the habit of investigating in your Etudes is the only transmitting motion which can free us from sensible teacher will try to prevent its manifestation in to go beyond passive weighting, since it is possible to fully for me, and it is worth other teachers’ trying.” . introduced in the endeavor to make an accent on an what are the best teaching methods, and have even our miserable finger technique. In the roll Nature gives so far as it is automatic. instrument that had no possibilities in this direction. Let us examine in how far the roll is indispensible, tire or even to exhaust the muscles to a momentary Mr. F. C. Bassett suggests the following with which drawn conclusions of your own from what you have us sufficient speed without reliance on single finger Hence .trills, mordents, grace notes, etc., were resorted when it is facilitating, in what instances it takes place inhabition of their use. According to Dr. Steinhausen he has been successful. “An application of exaggerated read, I would advise that you make the attempt. If action,” and he recommends “the swinging roll of the to in order to give the semblance of accents. Modern automatically (and should not be suppressed), and^on we should never utilize weight except passively. note reading is the only practical remedy I have found. you know the only available teacher is incompetent, forearm for obviating all finger motion.” critics in editing and preparing some of the old com¬ what occasions it is only an accompanying phenomenon. While in quick passages weighting must be in pro¬ Take any simple study from Kohler or First Steps by perhaps from the lack of those investigating qualities Miss Bandmann in her German work The Technique positions for use to-day, omit many of the ornamental Where two tones requiring the greatest possible portion to the amount of tone desired, we may in slow Presser, as the following: which you yourself possess, the probability is that you of Speed in Piano Playing, says: “Under the greatest notes, on the ground that the capacity of a piano of stretch between thumb and little finger are to be played passages recommend it even for soft effects. In rapid may turn out to be the superior teacher of the two. possible passivity of the fingers we are not to under¬ recent date to respond to accents, renders the ornaments in rapid alternation the. necessary position and stiffen¬ passages the transference of weight to each finger must The Etude, in every issue, is replete with ideas on stand inflexible fingers; they only become inflexible unnecessary. I should go still farther and play all the ing prohibit all individual finger action. But even if take place quickly, while in slow play it can be done ways and means for teachers who are feeling their way, through fixation. In weight-play we need their flexi¬ ornaments in the manner most fitting to a modern the tension, in slow alternation, would just permit of either slowly or quickly. Quick weight-pressure can be and will, as it has already proved, be an invaluable prop bility to the uttermost, but not their individual activity.” piano, and not as they would have been played on an this, still the forearm, because of its very easy roll in attained as well by a quick lifting of the finger last for you in your endeavors. If you follow along the This view is endorsed by Steinhausen. instrument that had become entirely obsolete. I would the elbow-joint, is far better suited for the work, even used as by a quick lowering of the one to play. lines laid down in Presser’s Beginner’s Book for the In an article The Question of Weight Technique, not recommend that you accept what I say on this in lesser stretches of the thumb and fiftlj finger, also in The “moderns” look upon the arm-swing as primary Piano, proceeding carefully and slowly, I am sure you W. P. E. de Hart of Amsterdam, says: “The influence matter unthinkingly, however, for there are many wide arpeggios; in the latter case this method is used and upon the resulting finger-action as secondary and will meet with success. of the swing upon the rolling arm mass gives us the famous musicians who would condemn every word I to advantage, as the hand rolls as on the hub of a therefore not positive. “The finger is only the swing¬ free use of the arm, which is not the case in active 1st step.—Say aloud the right-hand note, immediately have said. For a modern composer in agreement with wheel. The less, however, the distance between the two ing part of a swinging whole—the arm. One moves and finger movement, and it finally gives us the feeling as playing and holding it while saying left-hand note and my ideas I would refer you to Edward A. MacDowell Stiff Fingers fingers the sooner does individual action in the. cus¬ swings with the other” (Breithaupt). “The funda¬ though the fingers were acting automatically. This is immediately playing it. While still holding down C and in his foreword to his Virtuosity Studies. The major¬ “I have ?. bright, -n ell-developed boy pupil of tomary curved position of the fingers become' possible. mental form of touch is a swinging movement of the explained by the fact that the swing gives a motion to ity of passages such as your instance,.I should play so thirteen who reads well at the beginning of Grade 2 whole arm from the shoulder downward, in connection E, say the next right-hand note and play it, releasing and practices Schmidt's Five-finger Exercises. Not the fingers which is not obtainable in active finger the preceding, and the same for the left as before. The that the principal notes as written should come together with a swinging roll of the forearm and an accompany¬ having taken lessons foi a year or two, his fingers The “Roll” in the Five-Finger Position pupil should do the speaking. Continue this exaggera¬ on the beat in the right and left hand, letting the orna¬ have naturally become play.” ing swing of the hand and the joints of the finger” additional finger work d Oscar Reif, we know, has thoroughly explained that In a close five-finger position, especially the narrow mental notes drop in with careless celerity just before (Steinhausen). “In the single throw the only active tion through several studies. Speak the notes as, “C in the difficulty of finger dexterity does not generally lie chromatic one, a smooth roll would, first of all, require the right hand.” and “E in the left hand.” the beat, taking so infinitesimal a portion of time as to force comes from the shoulder; arm, hand and finger The quickest way to get his fingers back into condi¬ in the individual activity of the fingers. When it does, a fixed and carefully tried out finger position; secondly, be negligible in computation. Any player who has to follow passively. If one has thorough control of this 2d step.—Speak the name of the note only, omitting tion will be to induce him to do some preliminary work it is usually in the trill. For the rest, finger technic it would result in a musically impossible legatissimo; have such ornaments and grace notes carefully meas¬ style of play, a rapid tempo imparts more and more the “right hand.” for that purpose. I have often tried this plan with ad¬ consists in intellectual-physical control of the required and finally, an even roll could be accomplished only up ured out to him in large notes with a fixed portion of feeling as if the fingers acted of their own volition. In 3d step.—The teacher should speak the upper note, vanced players who were out of practice, and with fine sequences of keys, while the physical activity of the or down, but not up and down.* time, as is the manner of some over-edited editions, I a sense this is deceptive, since a spectator even less the pupil the lower. results. Lay the hand on the table, letting the wrist single fingers is very small. It is easy to perceive that the turn must cause a delay do not consider yet out of his infantile clothes. I than the performer himself can notice any difference 4th step.—The two notes are first named and then lie across a book, if you like, to keep it elevated on a Yet it is necessary to emphasize that the activity of in movement.. If we take into consideration that besides should write out the passage you mention as follows, as in action, but the tone will show it to a sensitive ear” played exactly together. level with the fingers. First exercise each finger up the single fingers, in connection with arm motion, is the two up and down sequences, which can each be I consider it most effective thus on a modern piano. (Bandmann). “The throw, a continuation of the im¬ Sth step.—Count aloud and play as written. Repeat and down, very slowly and gradually faster. Insist that the very foundation of play, and though at bottom of _ varied five times by accentuation, we have 22 irregular' pulsive swing from the shoulder, does not permit of .this work for any tendency in “cross wiring.” the entire hand and fingers shall be in a relaxed condi¬ mental origin, can be learned only through actual prac-' five-finger sequences, we can see that the attempt to an admixture with active finger motion, in fact, it re¬ tion. Work each finger not less than fifty times. In tice, that is, by repetition, at first of the single function, solve these questions by means of the roll is one of the places such motion. Whoever has learned judiciously Ornamental Notes working the fourth finger, allow the fifth to act with it, and' then of its combinations. This function we shall most remarkable in piano pedagogics. to utilize the physiologic peculiarities of the throw, is or stiffness will result. Next take up the slow trill, not call “independent,” because this might be misun¬ A wide stretch between thumb and fourth finger, on In the following passage, will you kindly tell enabled by means of the forearm roll to execute not me how the mordent should be played to the notes practicing with each pair of fingers. .First count two to derstood to mean “isolated” or “without assistant arm account of the long leverage, necessitates-only a very in the left hand? only the fastest trill, but also scale work and chords, each note; then one note to a count, then two, then pressure.” It is true that in fast pianissimo passages slight turning of the forearm to produce a tone. A without active use of the fingers” (W. P. E. de Hart, four, and. if advanced enough, finally, eight notes to a is not only possible, but even necessary. short stretch, however, as for the trill, would on ac¬ in Klavierlehrer, 1908, No. 4). count. A metronome is invaluable for this work, as Another stone of trouble encountered by the moderns count of the extremely short leverage, call for so wide “The ‘sacred’ immobility must at last be put an end the gradual increase in speed can be regulated accu¬ is the passing over and under of fingers and thumb. a roll as to prohibit speed, unless assisted by the fingers. to, and hereafter a dunce-cap be given to anyone who rately by it. As soon as the fingers work freely on the We mention only Tony Bandmann: “The hand pushes That the roll may in some cases materially assist the should still persist in executing special finger-trill exer¬ table, try on the piano. Then take up your -work as ahead and the finger passes over—two blunders that .trill, need not therefore be denied. are constantly being made, because the passing over or We see, then, that with a wide span the roll is indis¬ cises and such other refined cruelties” (Herr Breit¬ usual, letting the slow trill work precede all practice haupt). for some time, however. thrusting over is less the troublesome and sometimes pensible, while as the span narrows, finger action be¬ appears even the more natural way. and throwing the comes more necessary. Well, we must wait to see whom finally the dunce- cap will fit! hand at this point appears superfluous. An additional However, “one man’s speech is no man’s speech; both A Curious Case difficulty is that the throws vary, are of different time- sides should be heard.” Herr Breithaupt says: “The “Through poor •hing 1 acquired the habit of length, first three and then four successive keys. I trill is an absolute no-finger play, without lift or muscle memorizing the bn n mv pieces and only reading Don’t Depend Upon Your Gift Is not your pupil amenable to reason? If she is of overcome this difficulty by letting the four keys be action—a side-shake of the slightly hollowed hand.” the treble. I ram read both staves at the same played quicker than the three.” mature age she certainly ought to be willing to do as tit in despair.” w. G. By C. W. Landon you counsel, and ought to realize that human flesh can Weight Technic endure only so much without rebelling in one way or Your note sounds as if you had confined your atten¬ The Roll Weight technic embraces not only the control of tion to such pieces as have the common chord repeti¬ Many of the brightest pupils have been virtually another. In the case of a piano student, this rebellion Active finger motion must frequently be assisted and weight, but also its diffusion through finger action. The ruined by parents who have admitted before the child is very apt to show itself in strained and sore finger tion formulas for the left hand part, such as the ordi¬ partly replaced by other modes of touch. This help weight utilized is decisive as to the highest degree of that he has “a gift.” The pupil then imagines that and hand muscles, and gradually lessen their efficiency nary waltzes, etc. Now take up the practice of pieces can be given either by a vertical action of hand and finger strength that can be reached. Such weight, how¬ he is some sort of a superior personage who will not very materially. She has come to you really as the in which the bass is given an independent part. With arm, or by a turning of the forearm along its hori¬ ever, is not practically used if the acting fingers are have to work as hard as other children. He depends intelligent doctor who can cure her of her troubles, your left hand so far in arrears as to ability, you will zontal axis, with a participating movement of the upper too slow in descending, or if the weight is sustained upon his “gift” instead of upon hard work for success. and you should try and cause her to feel that she is doing have to work hard, and probably for some months be¬ arm. This is the “roll.” by other fingers at rest upon the keyboard. In weight you a great injustice if she does not follow out your Vertical arm activity during play in which arm pres¬ He forgets that even the diamond must be polished fore it will catch up. You will find nothing better than prescription to the letter. She is not likely to make sure is not continuous has always been a subject of before it attains its brilliancy. Plaidy said “A man’s Bach for this. Take up The First Study of Bach, then *A “setting” of the fingers is also necessary in individual Some editors place the accent -on the first F, on the any considerable additional progress by overdoing her attention in piano technic. This arm shake or twist, finger action, if it is to achieve its greatest possibilities of merit depends upon the amount of industry and exer¬ The Little Preludes, and then The Lighter Composi¬ evenness and speed. Likewise are there “dead points” in tion he bestows upon the object he desires to obtain. He first beat, and others on the second. I have no sym¬ practice, and sometimes, as you already fear, this results however, can be used also in legato, and in speed-play finger action. The fourth finger and thumb, for instance, do tions. You do not state how advanced you are, so I am it becomes a necessity. Facilitating, as it does, both not individually respond as quickly as does the index finger, that has been gifted with talent by nature has no pathy with either way of playing such a passage. in decided loss to the pupil. Tt is rather refreshing, somewhat in the dark as to how difficult music you are and can never equal it either in velocity or endurance. The right to look upon these gifts as his own dessert, but Written out in large notes the ornament assumes too however, to hear of one pupil who is willing to do more motion and relaxation, there are certain other technical question as to speed lies between the roll and the least able able to attack. By working on music that is contra- problems in which the roll is entirely permissffile. finger.—Trans. as an obligation which heaven has imposed upon him.” much importance in the melody, of which it should be than is necessary, as most complain of inability to drive puntally conceived, however, you will gradually be able only a lightly whispered suggestion. If the accent is pupils to do even a fair amount of practicing. to overcome your trouble. THE ETUDE 107 THE ETUDE 106 THE FOUR-HAND NUMBERS PERPETUAL MOTION—F. R. WEBB. The Gavotte from Gluck’s Iphigenia has been popu¬ EGYPTIAN MARCH “Perpetual motion” pieces always afford excellent larized by the splendid solo arrangement written by practice in finger work, in steadiness of rhythm and in Johannes Brahms. The present four-hand arrangement endurance. Usually they are rather difficult to play, will be found very effective. This arrangement follows but the example by Mr. F. R. Webb can be taken up closely the aforesaid transcription by Brahms. to good advantage by any intermediate grade student. The Minuet from Mozart’s Don Juan needs no intro¬ It must be played with almost automatic precision. duction. It is one of the most popular of all minuets. Grade 3. The Cavalry Charge, by Franz I. Liftl, is an original four-hand number, not an arrangement. Thlsis a stir¬ LAST HOPE, MELODY—M. BONEWITZ. ring and brilliant military piece in which both per¬ A quiet and tender song without words. In this formers are given plenty to do and the parts are inde¬ VALSE IMPROMPTU-R. W. GEBHARDT. composition the melody must stand out well throughout pendent and of about equal importance. Mr. Reinhard W. Gebhardt, who has been several just as though it were being sung, and the syncopated BEAUTIFUL CATALINA (VIOLIN AND PIANO) times a prize winner in our Etude Contests, has a spe¬ accompaniment should be subordinated, but nevertheless —T. LIEORANCE. cial talent for the composition of brilliant concert num¬ played steadily in order to give the proper rhythmic In this new violin number Mr. Lieurance has em¬ bers. His Valse Impromptu recently composed is a effect. Grade 3. splendid example. This number has well defined and ployed in a very clever manner some of the character¬ flowing melodies and these melodies are enhanced and SYLVIA-A. L. NORRIS. istic themes heard in the Spanish-American dances. embellished by a variety of interesting and sonorous This is a graceful waltz movement lying well under This composition is also published as a piano solo. In passage work. This waltz should be played in a spirited the hands. It will prove satisfactory either for teach¬ the violin part it will be sufficient for players to take the upper notes only, forming the melody, if so desired, and dashing manner throughout. Grade 7. ing or recital purposes. Mr. Albert Locke Norris s compositions have proven very acceptable. Grade 3. as the “double stops,” although effective, may prove STARLIGHT-W. E. HAESCHE. troublesome to some. Mr. William E. Haesche, who is a member of the CHIMES AT TWILIGHT—C. LINDSAY MARCHE NUPTIALE (PIPE ORGAN)— faculty of the musical department at Yale University, Nowadays “chime pieces” are very popular. Here R. L. BECKER. is a promising and accomplished American composer. is a rather easy one, melodious and with a variety of This is a stately march movement which will be liked His new nocturne entitled Starlight is well worth the pleasing effects. The special “chime effect” comes in by organists. It is suitable for recital purposes or it attention of all good players. The melodies are strik¬ the middle section following the imitation of a church could be used as a Postlude. It is not difficult to play ing and expressive and the method of treatment is organ. Grade 3. but it will be found very full and imposing upon the scholarly and original. The change from D flat major “full organ.” to the enharmonic key of C sharp minor affords a “AH SO PURE,” “MARTHA”—M. GREENWALD. pleasing contrast. In playing this composition due atten¬ This little teaching piece is taken from a new series THE VOCAL NUMBERS. tion must be given to the bringing out of the inner of operatic arrangements by Mr. Greenwald, in which Mr. H. T. Burleigh is one of the most popular of voices as well as of the principal themes, and due the favorite melodies from the great operatic master¬ American song writers. His Dream Land is an artistic value must be given to the rich harmonic background. pieces are brought within the reach of young players. recital or encore song, which will appeal to all good Grade 5. The melodies are given complete and as far as possible singers. It is a song of refined and expressive char¬ with their original harmonies, without variations. acter, which will require careful and tasteful style of TAMBOURINE DANCE—A. A. MUMMA. Grade 2. rendition. Mr. Archie A. Mumma’s Tambourine Dance is a Mr. John Prindle Scott’s John O'Dreams is a very movement of striking originality. The rhythmic ef¬ ROSE PETALS—P. LAWSON. taking encore song written in characteristic vein. This fects are vigorous and unusual and the harmonies are This popular little teaching piece will be found song will require a certain freedom of interpretation, quaint and picturesque. This composition should be treated at length in the article by Mr. Louis G. Heinze, somewhat in the elocutionary manner. played in characteristic style with a steady swing and on another page of this issue. Grade 2. The Merry Zingarellas is a lively vocal number, which may be used either as a soprano solo or, as origi¬ somewhat exaggerated accentuation. Grade 5. DAWN—D. ROWE. nally intended, as a duet for soprano and alto. It would also prove effective as a part song for women’s NOVELETTE—C. MOTER. This little reverie is a genuine first grade piece. Such pieces are always in demand and this one is more than voices. As suggested by the composer it might be Mr. Carl Moter’s Novelette in F is a dignified and ordinarily tuneful for so easy a piece. It lies well under used as a characteristic song, in costume, with appro¬ imposing semi-classic number, showing a decided leaning the hands throughout and it could be taken up as almost priate actions and an additional accompaniment of toward the style of Schumann, but nevertheless dis¬ a first piece for a young student. Grade 1. percussion instruments. playing originality of treatment and of thematic ma¬ terial. As a teaching piece it will afford splendid prac¬ tice in chord playing and in staccato octaves. It should be played in a spirited manner, with large tone. The Some Noted Musicians on the Pedal section in B flat should be taken more quietly in con¬ trast to the opening and closing portions. Grade S. By Fanny Edgar Thomas CHANSON TRISTE-L. L. LOTH. Mr. L. Leslie Loth is a promising young American Moszkowski remarks that there are more piano this teacher held, pedal fluency is impossible, but composer who has recently returned from abroad. His sins covered by the feet than in any other way. certain corrections in certain measures might be Chanson Triste is one of his most recent compositions. The piano, he says, is one of the worst enemies of made which would prevent the awful chord and It is in modern lyric style with a plaintive and alluring the pianist, yet one of the best friends of the com¬ phrase crime committed in the pedal's name. principal theme and some subtle and very interesting poser. He also urges that the instinct for har¬ “While foot virtuosity requires the divine spark,” harmonic effects. It should be played in a rather free mony, a special gift with some, is the truest pedal she said, “there should be thorough special study manner with due attention to the singing style and with guide. The most curious specimens of pedal effects to this end in any case, and all pupils should be well contrasted dynamics. Grade 4. he has found in Schumann’s writing. taught to listen more carefully and intelligently to Philipp says that pedal work depends upon many the effects of this instrument.” THE VILLAGE FESTIVAL—J. P. LUDEBUEHL. things besides the feet—piano quality, acoustics, Rubinstein frequently told his pupils that so far The Village Festival is a scherzo movement in semi¬ sensibility of the player, the composer’s intentions, no one has solved the pedal problem. “No one yet classic style, which will prove very satisfactory either etc. Indication for pedal is only suggestive, he has even conceived its enormous possibilities and as a teaching or recital piece. It exemplifies a variety says; one must feel its use and effect. The French resources,” he said, emphatically, “not to speak of of touches and effects in phrasing and it also requires school is not a slave to, indeed is not addicted to, means for arriving at such ends.” He said that the considerable independence of the hands together with a use of the pedal, by reason of a fwcial love for pedal was destined one day to play a part “un¬ facile finger technic. It should be played with lightness clearness and dislike for exaggeration and mere¬ dreamed of as yet, not only in performance, but in tricious effect easily produced by pedal manipula¬ composition.” and delicacy throughout. Grade 4. tion. Henri Flacke wrote a book on the pedal, describ¬ Falcke, a noted French pianist, cites Paderewski ing the work as “a small means of inducing people JOYOUS MESSAGE—J. H. MATTHEY. and Sophie Menter as the most remarkable expo¬ in the name of Heaven to remove their feet from This is a very tuneful drawing-room piece by an ac¬ nents of pedal virtuosity. He also says that, while the baleful instrument, once in a while, at least.” complished contemporary German composer and con¬ good effects were produced by keeping the feet off But he supplemented the suggestion by the above ductor. It should be played in a graceful manner and the pedal, a total absence of it made piano “talk” as to “emptiness, dryness and hardness.” in the singing style. In the middle section in F the hard and dry; also that too frequent change of Lavignac, Hans Schmidt and Falkenberg have all theme should be brought put strongly in the manner of pedal made an “empty” tone, and that no other one written good works upon the pedal in piano play¬ a baritone or ’cello solo, with the cross hand accom¬ feature of the work could so confuse and change ing, the most famous being the treatise by Hans paniment very light. Grade 4. musical intention. Schmidt. It is somewhat surprising to find the Eissler said that pupils, even many artists and peculiar diffidence which many artists feel as to this EGYPTIAN MARCH—P. BROUNOFF. teachers, did not seem to realize how many chords peculiar feature of piano effectiveness. Many who This is a characteristic number in grand march style. might be included by the pedal. “Brilliant com¬ use it best cannot talk upon it. and the certain re¬ Notable examples of this particular atyle would be the positions require more pedal than the opposite,” she spect evidenced by so many efficient performers for March in Verdi’s Aida and Meyerbeer’s Coronation remarked, “but, unless acquired through science or the slender rod and its results would indicate the March from The Prophet. Mr. Brounoff’s Egyptian felt by perception, its use is more disastrous than truth of Rubinstein’s remark, that neither science, March is such as might have been inspired by some helpful to music thought.” Conviction is an essen¬ gift nor experience had yet unearthed all the re¬ oriental spectacle or ballet scene. Grade 4. tial to its successful use. Without pedal instinct, sources possible to it. THE ETUDE the etude 109 JOYOUS MESSAGE
Arranged by MARTHA fWALD First Performed at Vienna, 1847 FRIEDRICH VON FLOTOW Andante M. m. J = 96 (1812 -1883)
British Copyright Secured THE ETUDE ill THE ETUDE lio STARLIGHT NOCTURNE CHANSON TRISTE WILLIAM E.HAESCHK L.LESLIE LOTH Andante m.m.J = o4
“Vvl-d f • A jl Animaio quasi recitative tn 0 1 2 1 0 i | , ^ IM ry~~~ -»V i ___ ' ' ttvp e dim. £ ^ 1*" ^dim. e rit. ^ accel. *xT
rJJr 1 f J
British Copyri^h.^s.|pured Copyright 1916 by Theo. Presser Co. the etude 113
rs
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TAMBOURINE DANCE ARCHIE A.MUMMA Wierdly, but with character and fire M.M.J = 66-80 Somewhat faster
Copyright 1916 by Theo. Presser Co. British Copyright secured THE ETUDE THf E T I I) F 15 114 CAVALRY CHARGE CAVALRY CHARGE KAVALLER IE-ATTACHE
w British Copyright secured f opvnght IP 16 by Theo.Presser Co. the etude 117 THE ETUDE lift GAVOTTE from “IPHIGENIA IN AULIS” GAYOTTE Grazioso m.m.J=ioo PRIMO CHR. von GLUCK .--5—™™... y-— .-- 5
* < lcir ^,77? 1 »z- TV, •I 8 Ti —1 [ a r\ 5 2 8 3 1 Ji —i—3 1 1 ' 8 3 5 2 s 3 O 5 ff 1 __ 11 ■ 1 1*2 1 ^ j AYj -, at-p »*
-— f | f it ^ If rfrff gv— + y? f 1 2 1 — 5 2 yyj OO. --“- 1 1 ^ 4 1 2- j, ^-7—f m * TDffj* TMf -
*#• Fine
8 1 2* .. 5 2 a » ; 4 U»l , A j jhi | 1 1 N‘ —1
1 ~*hi ,
DON JUAN MENUET PR I MO the etude 119 THE ETUDE 118 VALSE IMPROMPTU ^ w „„„„„ „„„
ROMANCE
British Copyri- i' ' *a rlt British Copyright secured C.,K—ehi 1016 by Theo. Fre. 121 THE ETUDE THE ETUDE no SYLVIA ALBERT LOCKE NORRIS, Op. 25 VALSE
Ter '64
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cresc. r\
# 5 i . o 5 3^i 1 j > 3, r i-VT i~ r«^ 2 4 vn
/ cresc. AXJ At 1222 -^-r-
TRIO Andante religioso ^
British Copyright secured * 5 r- v * ” *57? h&ih Up. Ad Copyright 1915 by Theo. Presser Co. DAWN 1 T i 1 ^ REVERIE DANIEL ROW! i g T - ^ '■ ten. _ tew. — — tew. (Or^an^ mm Andante M. M. J - 88 Hpn f' -r a l *5
* From here go back to the beginning and play to Fine; then play Trio. Copyright 1916 by Theo. Presser Co. British Copyright secu"1 j British Copyright secured Copyright 1916 by Theo. Presser Co, 123 THE ETUDE THE ETUDE 122 PERPETUAL MOTION
Copyright 1902 by Theo.Presser T H C C T II n F THE ETUDE 136
Copyright 1916 by Theo. Presser Co. British Copyright secured THE ETUDE THE ETUDE 128 DREAM LAND A CRADLE SONG H.T. BURLEIGH LOUISE ALSTON BURLEIGH T
THE ETUDE 131 130 THE ETIDE
the merry zingarellas Pin mosso Duet for Soprano and Alto* be memotized ,ndpres.„,«1 f, r W And we’ll read each line_ Your lot may be a life of peace and joy With rich-es too, and lovewith-out al-loy. Or siring instruments, like Guitar and Mandolin, added to an- GEO. NOYES ROCKWELL Pin mosso
vf i ,.\y.rr should we find a warn-ing is your due,We’ll not with-hold the truth from you. Then why, O why de - lay,_Cometest our skill to
k t . cresc. fly J^-sl J . h N ■ h N 1 j J T ^ | *• [ J—J Y 1 \y day.- And if by chance you find, ! I iss not un - tio your mind, Why w heres the difference, pray ? r--m.. ^, Vo. . .
< ;/esc. US. #- 0- f- 1 U|.p (^h^i£= j L^nr
CODA
From all care and trlu-ble,*. af. free, Mer - ry Zin - g, - ■ell - »s, W. are m.r-ry Zin . g, - roll - .»■ rell - as. Then why,6 why dt - lay?-Come try your luck to day,__ For we arewand’ring Zin-ga-ras And i£lH It |,j~~ ^ | } ji ^ tj 1 \ jJ' 1)- jj *4':"=^ jJ i - \l {5 ' 1$ j* |§ til ** cresc. I L/ ' CODA
Come and have your fort-unestru-ly told, Bash-ful maid or woo-ing lov-er bold. ir handswith sil-ver or withgold.
me,no mosso must be on our way,we can-not lon-gcr stay, We must be on our way,onr way, we must a-way, a - way,_ a -way. way we must we must_ a - way,_ a - way.
# May be used as a Solo by singing the melody only throughout. British Copyright secured Copyright 1915 byTheo.PresserCo. THE ETUDE 13a NOVELETTE CARL MOTER
Copyright 1916 by Theo. Presser Co. British Copyright secured THE ETUDE 134 THE ETUDE 135
Be Musical Always By Guy Maier Be musical always. Almost everybody minutest details the coherence of the has some natural musical tendency, how- whole. Phrases must stand in constant ever slight it may be. To pound, to play balance and contrast with each other or slovenly or mechanically at anytime tends else a distorted Hpduct will result. Each to crush this inborn ability. In a new succeeding appearance of the same or work it is necessary to grasp at once the similiar measures should be emphasized general character of each phrase, its mel- by a different treatment. In repetition of Itra-Qaatity PIANOS odic and harmonic significance, and fin- sections of parts of works avoid monot¬ ally the more minute features of dyna- ony by ending a phrase forte, which mic gradation, pedaling, etc. Hand in previously had been executed piano; by and Player Pianos hand with note-learning the student must employing tempo rubato instead of strict ESTABLISHED 1864 form a general idea of the musical con- time; by a change in pedaling; by a tents of the piece, which will of course crescendo in place of a former diminuen- permit of much elaboration after the do, and by other similiar devices There is nothing imaginary or evanescent notes have been securely learned. Always Young pianists have too little regard play “con espressione” except in passages for their pianissimo effects—those del- about the world-wide fame of Kranich & demanding extra technical practice. icate, fragile, almost inaudible tones To secure a correct conception of a which work wonders with the audience Bach Pianos and Player Pianos, It is the composition—especially if it be of a sensi- Use the soft pedal (una cordc) often for ‘‘ve or Poetic character is very difficult, it not only gives the much desired pp natural recognition accorded to tangible It is folly for the ordinary student to tone but also affords a welcome change of attempt an emotional reading of a work tonal color. For control and power over musical merit—the substantial, lasting until every detail of symmetry, phrase- the resources of the instrument there is balance and contrast has been mastered, no better aid than much pp practice Con appreciation of supremacy of tone, touch A satisfactory and authoritative reading cerning the damper pedal it is merely of a work results only after it has been necessary to say that in all the great mod- and construction—a reputation neither ripened by being laid aside and re-studied ern works, the common chords are inter several times. The mature pianist does mingled with all sorts of bold dissonant bought nor forced, but WON by the con¬ not permit his emotions to run not with foreign tones, and in the skillful mixing a hit or miss uncertainty but he holds and blending of these with the principal sistent delivery of real musical them well in check, utilizing every possi- notes lay one of the chief beauties of ble device in order better to transmit his tonal color. It is well to spend one half superiority throughout the feelings to the listeners. He seldom plays hour daily in reviewing familiar pieces in a work twice in the same manner and order to have several on hand as occa- entire half-century of yet has learned to preserve down to the sion may require. the firm's history. “The Piano Stool’s Protest” By C. W. Fullwood Write for catalog. Pshaw ! what’s the use of being a mere some of those young scamps twist and utility, no-account thing? Folks prize the rock me ’till I think I am a whirling der¬ KRANICH & BACH piano; throw bouquets, literally and fig¬ vish. What I could tell about neglected New York uratively, at the players and singers, but practice, moral reading and day-dreaming, they never give me credit as a useful in lieu of concentrated, persistent study, member of the musical fraternity. would fill a book. I’d like to know who supports all these ‘‘John, are you practicing your lesson?” budding pianists, virtuoso and amateur, and who is hauled, mauled, twisted and Oh, what a story! Johnny is sitting on banged ’round as if he was nobody? The me all right at the piano, but he is poring piano stool, of course. over a thrilling detective story. His heels “What a lovely piano, such a pure tone, are kicking the paint off my feet. elastic touch,” etc. They never say, “What “Mabel, practice your lesson, your two hours are only half gone.” a comfortable stool.” How important the But Mabel is busy reading a love story, right kind of a seat for the pianist. It’s while keeping up a desultory drumming a shame! I am always there when wanted. with the left hand, to distract attention. I don’t require a cranky old tuner to keep At her mother’s interruption she vents her How to rouse me in condition. No, but they work me ill-humor on me. Such turning and twist¬ at all hours without money, without price. ing. Bah! I’d like to twist her senseless ^ et once in a while, when I get positively little neck. a sluggish faint and exhausted for a little oil to And on a moving day, while the piano make the screw work easily, they say: is handled with tender care, I am banged "What is the matter with this old stool; into the van with “There, let it stick in skin what a horrid, squeaky noise it makes.” the corner, it’s only the piano stool.” They don’t consider that it is my only way But every life has its compensation. A dull, sallow, lifeless complexion has several causes. Whatever the cause in of protesting for abuse and neglect of my The virtuoso at least knows how to re¬ mechanism. Often, too, they say: “This your case, your skin needs stimulating. spect me. He sees to it that I am adjusted The following treatment is the most old stool is out of date, we must get some¬ at the right height and angle. I don’t effective you can use: thing more ornamental and costly.” mind his moving about on me, for it is Just before retiring, wash your face and Kumph! just as if I hadn’t outlived those stimulates the fine muscular fibres of the done in the service of his art, and I am neck with plenty of Woodbury’s Facial skin, lou can feel the difference the first jim-cracky • stools, made of unseasoned so inspired and enthused by his playing Soap and hot water. If your skin has time you use it—a promise of that wood and cheap screws. And the pupils 1 that I respond gladly to his motion. been badly neglected, rub a generous lovelier complexion which the steady use lather thoroughly into the pores using an of Woodbury’s always brings. The Task of Teaching upward and outward motion, until the A 25c cake of Woodbury’s Facial Soap is suf¬ skin feels somewhat sensitive. After this, ficient for a month or si* weeks of this treatment. Among the many causes of advance- tion was more or less humorously in- rinse well in warm, then in cold water. the United Staates°Sdc' evderywhere throughout Then rub your skin for five minutes with ment of musical taste in the United tended. Dr. A. E. Winship, the eloquent Write today for sample—For 4c we will send a States is the different attitude musicians author of it, however, knew well enough a lump of ice and dry carefully. have towards the subject of teaching. At that if y°u care to unravel its meaning Woodbury’s Facial Soap is the work of m£L%eFAo£rF^i Sc7e%Sa?d cne time “teaching” was looked upon by, J’0'1 "j11 be master of a real truth: an authority on the skin and its needs. Co- 2,23 This treatment with it cleanses the musicians as a sort of last resort after , “Sk,in ip teaching is never determined pores, brings the blood to the face and one had failed as a virtuoso or com- ^ ”kat °ne kn°ws’ kut ^ what one Poser. Nowadays, fortunately, it is recog- n Wh tT l"™5' ^ u °ne mzed that teaching music is a worthy knows 50 muph that he knows not how to object in itself ->nChicago. Apart throat,” “freedom from local effort," ® in this field. , must act on the proverb. Per aspera ad and the white of the egg doubtless soothes from studying singing, Mr. Root was a pupil of the noted piano teacher. Dr. William Mason, and nature do it,” “the Italians (meaning 141 Boylston St., BOSTON, MASS. During the two centuries of voice cul¬ astro; and in his case it may be taken the throat. Oysters have been used for also for a time held a position as organist in Chicago. He has written a number of treatises on best singers'! have no throats,” etc. ture of which we know, the science of the voice, and has written much on vocal matters for THE ETUDE and other musical educational to mean that a rough voice will not pre¬ a similar purpose.” one ’generation has never been formulated journals. His excellent training, wide experience, combined with his authoritative style of All successful teachers make large «sf in shape to hand down to the next. Not writing, make the above articles exceedingly forceful and worth while. of the idea thus conveyed. But there1’ Please mention THE ETUDE when addressing our advertisers. that the competent ones of the profession a fallacy in it which we must recognl!e THE ETUDE THE ETUDE 138 The Country Student in the their judgments. When a Chorley pro- written for a low voice; but to g Voice Placing for Singers and Speakers. Three American Singers Big City A Simple, Practical and Unfailing Method by nounces Miss Kellogg “a thoroughly ac- contralto of the company a part W. P. SCHILLING, Vocal Teacher DOSSERT complished singer” and when a Hanslick performance the "boy” music ’ con_ 131 W. 23d St., New York. (Price 70c) By Frederic W. Root compares her favorably with Patti, those posed and assigned to her. By Edith L. Winn After correct ^breathing, the most important, atep in VOCAL STUDIOS who found her singing cold should hide traltos as a rule are large, oiten MR. & MRS. FRANK G. DOSSERT In response1 to a suggestion from the r heads! After her long and eventful women. . F t the Perhaps the most serious problems city the titlo suggests ar Formerly of Paris-Now In New York editor of- this'journal,- -- I give- . these, few.. career before the public she married her The composers of Siebel ‘and^similarm« » teachers are called upon to consider are bring the desired re words regarding three American ladies rnanag-eri Max Strakosch, and retired page in The Huguenots a ijm these, At Home Suite 1204-1205 Carnegie Hall whom I used to hear in my early days and frora the stage, parts in other operas had m mma a Is it advisable for a girl to come cause the transition is spontaneous. Residence Studio _ city centre without money, and try The lower quality cannot be^forced^upward beyond Jta Who were among the first of our singers graceful figure, if we may judge lr°m I suspended on the wall of h„_ to invade foreign lands and try their for- Annie Louise Cary music and the probabilities. i he ac tenors. It will' ruin the development of upper tones. The No. 2 West 88th St. to earn enough to pay expenses while high tones produced by the new method of voice placing between fifty am tunes with European audiences. Annie Louise Cary, the contralto, was a Siebels and pages on the stage hundred telephones. By means of a s The Krlens Symphony Club of New York, Scholarship created by His Excel¬ here? . which is regarded as a school for players but singer who by means of voice and in- ungainly figures in the required costum (2) Are there many openings for young ^Tbfflwork I, of over studio frequently by distinguished artists which does exceptionally fine work with its lency Count von Bernstorff, German Clara Louise Kellogg teresting personality got very near to the Miss Phillips once had the a teachers in suburban towns? lmonlsls -;u'd“’le the homes of Empor - and women performers, Ambassador. flayed at laker Auditorium in New Clara'Louise Kellogg was a southerner heart of her audiences. She had a rated vet Uo app^ thfworkl where personal (3) Can one do better work eventually leas- run be heard throu if one teaches and saves enough money rograms. music hours for shut-ins) The sudden dpnth of Charlr - *¥= as for children by children. s beautiful songs ar s well To all these questions I would answer: A B C of Tme magnitude of the sucres his pupils and me FOR THOSE Kreisler as a violinist may have led at Eatontown, N. .... Wednesday, sense was a certain hardness and lack but one always felt her sunny tempera- of” theMommenm in Ahe A girl should not come to a city penni- . .. jjeceniuerliber gw,20, aafter,ut a second attacka of paralv- WHO DESIRE TO BECOME attention of our readers. If so, tl following sis- He w„s b0rn in Brookfield, Conn., 1858. ^ sympathetic appeal which is almost al- ment and saw that a contagious humor ^ YY lrn ls which coi sTdered that less. The few openings that occur, by OPERATIC ACTING excerpt from a Western paper yi matter right: “Nobby society 1 [ the i|(, came to New York in 1875, studying voire ways a characteristic of stage beauties was very near the surface.surface Her treat-..- »-• - ^; werey of, such, sire as which a girl can ’e quickly' 11 'ts with Itivarde, Federlein and George James artistic manners at the Fritz Krei n‘,’eri Webb. He aiso studied organ and romposl- Teachers 21 Singing TAUGHT BY MAIL at the Moore Theatre Friday night, lthed tlon with Dudley Burk and others. For its aesthetic temperament in the I f lm- many years he has been active as a vocal I OFFER A SPECIAL COURSE siSSsts ~ 5 proznptus. fantasia: i tnat teacher, and as organist, choirmaster, di- Bowed from the pulsating violin of — of musical societies, etc., in New OF TRAINING There are others, nearer c GEORGE E. SHEA rior-virtuoso.” Further description follows,- — His best-known songs include Because marxs oi a piuvai aUc _ ust find that they add nothing t and the writer magnanimously -'--iudes,J— I Love You, Dear, and The Sweetest Flower I visited the “green room” once where marks of approval, she_wouM give her a falae to study. There are no teaching positions VOICE TEACHER "Anyhow, he’s a pretty swell fiddle probably That Blows. awaiting her turn upon SiV'littrshr^anr,gestures and P°pula>nty Bu® Adebide opeTtonew and untried_teachers. The one of the best playing nowadays, Miss Kellogg sat awaiting her tu cinch he deserves all the applause he got. the program; and though there sometimes ta a it t . tjumi:— concert, 'interpreting oratorio field is overcrowded. It is very difficult 545 West 111th Street, NEW YORK Sionor Eogenio di Pthani has now become GEO. CHADWICK STOCK to Phillips i n musical life Josef Stransky informed eporter of the Mr. Eugenio dl Pirani, for he has become an VOICE STUDIO, Y.M C. A. BLDG. number of eminent artists present, the On one < Mr. Shea is the Author o{ “ACTING IN OPERA,” New York Sun that he has no onjecuon to American dl rero. This is no small honor to published by G. Schirmer, N. Y. City, and was the the land of his choice, since he is a gentle¬ NEW HAVEN, CONN. she waiSV™ whom Vhe'addressed some humorously de- f****™! t!9£ first American man to sing in Opera in France. having women play in the New York Sym¬ phony Orchestra. “But of course." he added, man of wide cosmopolitan experience and hor of “Guiding Thought, for Singer.,’ ’ etc.,SI .00 indicated her supreme dominance among precatory remarks. After the audience (t y d h and to this By strict economy a girl can live on "all the feminine aspirants would "-lv„ "rn great ability. He was bom in Ferrara, Italy, hl,(t‘ In J8112. was educated in Venice and Bologna, them. This strong personality, confidence had stormed its d«™1 a the 2ntry which she claimed as her own. $500 or $600 and study in a large city. have ability. They would have to Many students spend $1,000, The first NEW VOCAL MUSIC “ON SALE” players than the men who apply for tile same „. in Germany, his father iriustc typography in all Its Branches jn herself and certainty of the public, encore and the prelude to Comm thro the y positions. All the new members of the Phil¬ .. of languages in a Berlin high showed in the enterprises which she under- Rye or something of that class was begun, -— price leaves little margin for concerts and harmonic have been selected after competi- school. He held a professorship in the Berlin HYMN AND TUNE BOOK PLATES few Imalf pack”*«eof”new muficON SALE^uHng a,, iiijuu- Academy of Music ten years, and toured Italy, took and of which she writes very fully she would say poutingly What s , . the opera. I do not advise untalented the^professiTOal seatoq, no guarantee as to severest sort. We put all appli- ••»■**» oo i"" acid test, aridand of these applicants Eu.ss'a- - and:. England------r-‘— n , .-a ; m. her autobiography. published a few use; they will have it. Ive got t The Art of Mussorgski pupils to come to a city and study if they there are literally hundreds.” Mr. Stransky anlst. Academies hale honored him with ^Dudley T. Limerick:erickij of unused music to be made once each year; a pos¬ points out that women have already entered Bmpe/or William decorated hini, and years ago. One point that was always it,” . , , , f . J T„_ nonular favor with which have very little money. The road to- art tal card will stop the sending any time. Thousands e---irehestra■-- as- .-harpists,■ and -■ the King of Italy confirmed f„„ Mm tho haroA. -GOSPEL SONG PLATES; —* put forward in her favor and which really She was horn in the heart of Yankee- 8 , ® J . bcen received by is hard enough even to the talented, it many excellent women performers on string ftary nobility of his ho enhanced her popularity was that she had dom in Maine; but did.not emph«.*e be explained one has to earn the means for study, instruments. “No,” he says, “the presence of who are acquainted wit many of Plrani’s women would not upset an orchestra. They charming compositions w 1 he glad to know received her entire training in this her Americanism as did Miss KJJWf by the novels of the whole per- Pupils of real talent-not necessan.y ex- would be welcome if members of the union.” his naturalization countrv sll« received what was considered the ”rst tn® rJ , , ceptional talent—sometimes borrow the A smile came to his face, and he added, papers. He has been li "Doubly welcome if they were pretty.” At the time she first appeared before most important part of her training Yed^for 'airfare) • second by the money needed for a musical education, THEO. PRESSER CO., Philadelphia, Pa. the public, Italian singers were the favor- abroad. She sang with conspicuous su - P productions given by the Met- Borrowing money is not considered a Sties and indeed nearly monopolized the cess in opera in all the European capitals weetaodatr production* given Dy tne ^ ^ ^ ^ case of a young mln E. PRESS0N MILLER concert and operatic stage. However, and was long considered at the head of P 1 Mussorgsky's music was fre- preparing for college. Why should a girl NORTHWESTERN OHIO SCHOOL Ilandel and Haydn Socirt; .. _ TEACHER OF The headquarb this young American prima donna quickly the contraltos m this country for con- « pcrformccl ;„SAmerica before the be afraid to risk the same if she has This is°not °the 'oldest ^ocietv' o°f' Its'kind Tn at 1023 Syndicate Trust Building made her way to the front. At the age cert, oratorio and opera. Miss Cary took I IP health, intelligence and.a musical nature? the country, as the Stoughton (Mass.) Musical re the conditions : Competitioi SINGING PIANO TUNING Society was founded in 1774 by William Bil- open.... to all composers In Missou.. — . of seventeen she was in a concert com- #P. generous interest in the young singers it failed ^ cSm a lasl The f uture is not very uncertain, pro- lings. The first Concert of the Handel and pai---*• of Illinois Included in an arc of fifty-mile 826 Carnegie Hall New York City pany with the popular tenor Brignoli and who went to her or advice a demand to have it frequently repro- vided she is willing to go where she is Haydn Sc given on Christmas_ Eve,_ _JS with St. Louis as a center. The corn- 1814, anc. _ -.-. The program petition to have no age or other restriction, other Italian artists, and a few years couragement. One such was Hope Glenn To-Ske? ™th the s age produc- needed and does not insist on entering lade up of selections from Haydn's Crea■ except as specified. The competition to be later made her debut in Italian opera, a pupil of mine who later succeded r mok on a new sign fi- into competition with old-established from the works of Handel. The or- divided into four classes, as follows: Orches- chestral numbersi - ' 1 me“- nmu.— J ihamber-music composition, piano Later she did much to popularize opera as conjoin the; ChnsUne K.Eson con- at°^eXed“that teachers in the metropolis. So many st, Harmonic Orchestra under Gotlleh Graupner. -composition. D. A. CLIPPINGER m English by organizing in 1874 a com- cert company prop y ° artjst composer with a dents insist on remaining in the great According to Mr. Elson’s excellent History of 1. Orchestral composition, $150. (Sym¬ AUTHOR OF American Music, Graupner started this orches¬ phony, symphonic poem overture, etc.) 2. pany of English speaking singers and kindly offices of her distinguished com e immortal mo- cities under most difficult conditions, ENCORE SONGS tra as an amateur organization about 1810. Chamber music composition, $1«0. (String Systematic Voice Training leading it to success during the two years patr.o and friend. rpmnrtaWp- in. " T when they might earn an excellent income We should be pleased to send the entire list Graupner was the moving force in musical ,—.,-, piano and .. And Other Books on the Voice r a part of it “On Sale” to any of our inter¬ circles In Boston in those days. He was a quartet, quintet.) 3. Piano composition, $50. following. Her personality and talents Miss Cary s voice a r Rosa Newmarch in her notable in schools and colleges in less central thoroughly trained musician, whose instru- 4. Song composition, $50. The Solution of the HEAD VOICE trough, hr, ft, J -W 1* SSSi ./ Cl. local,,ies. Here arc ,& opiui.o. of« ested patrons. 414-415 KIMBALL HALL, CHICAGO, ILL. ,(H. High; M. Medium; L. Low.) persons of emmcnce Longfelow a^d her torlel private one could Music in Russia, has to say this of the leading Boston teachers which no do Abroad showed her Stentfons and „ Europe she hardly realize their possibilities for volume art purpose of the famous and dissolute are indicative of similar conditions pre- What the Daisies Saw.H Leaycraft $0.35 By the Zuyder Zee.M Gottschalk .25 r, the home of ler. Kreisler, who fought with the Austrian ' met such celebrihes as Gounod and in a large hall. Miss Kellogg sang a Russian composer: vailing ,n other large music centres Grandmother Brown.M ndon^pan - . — . /ed a difficulty. army until his wounds released him from WALTER L. BOGERT Verdi One' incident showing how her little too long; but Miss Cary in the “Mussorgski started with one dominant I advise all my pupds who are «ady “principal boy” of the panto- further service, has told in his hook detailing Widow Malone.M _ __ re a girl—and one who made Americanism was emphasized and ac- prime of her artistic and vocal powers, idea-to bring music into closer relation- to teach or to sing m church, to go a a his war experiences how the sound of ap¬ President ofN.Y.S' Of Course She Didn’t.M Tracy no effort to conceal the fact that she was a proaching shrapnel differs from that of shrap¬ ' of Examining Committee. daimed is related in Tones’ Handbook of married and withdrew from public life, ship with actual life. Musical psychology from Boston and do good work in a ne* AprilApnl tooling.MFooling . girl either. At Mrs. Grundy's suggestion, this nel going in the opposite direction. His keen lady retired and gave way to a stalwart, musical ears detecting the difference of pitch ] • Mvvnnnc 1 The last I heard of her music was that was the chief problem of his art, to which field where good teachers are needed. 1 Met a Little Elfman.M handsome youth. This winter, however, stal¬ in the song of the shrapnel enabled him to TEACHER OF SINGING Boston Cats.M Newcomb “Unon”one occasion when Miss Kellogg she was lending her eminent attainment he devoted all the ardor of his gifted and is a hard road for a young student to wart. handsome youths are expected to do loeate an enemy battery—and this he declares No. 114 West 72nd St., NEW YORK C Kitty of Coleraine.M “ something else than strut about the stage, Is the only way his musical experience assisted and Ze PaXe LdcTa we7e singing in to a choral society in New York City forceful temperament. But this view, work up in Boston as art conditions« and from what we know of a Drury Lane him at the front. Max Schillings has not had appears 1.. ... _ Dainty Little Love. ... H, M or L “ first night, the audience would not be at all St Louis as rivals, the Germans espoused by singing alto in the chorus! She never legitimate as it appears in its first ex- now. Celeste.HorL “ as wide military experience as Kreisler, and pression, led him insensibly into an at- “I advise my pupils, when ready, to averse to pointing out to such a one his spent his time at the front with the Sanita¬ the cause of Lucca and the Americans was one to put on airs. pression,_ led him insensibly into an at- I advise my pupi. Here and There.M “ military opportunities. The Drury Lane man¬ tion Corps until inflammation of the lungs titude of absolute negation. Of all the teach in localities where teachers at' that of Kellogg. The Germans took up a I Know a Little Girl.M Steele agers, however, are not to he balked. They unfitted him for further service. F. W. WODELL Adelaide Phillips Russians, he is the only one to whom the needed. Many times they go sooner than have hired Eric Marshall. This gentleman subscription and on the first night of Little Boy Blue.H Bratton has had limited experience as a singer and How soon we get used to death ! The long Lucca’s appearance presented her with a Adelaide Phillips w; mother contralto epithet ‘musical Nihilist’ can be applied I wish. The best I can do, in most caKk There, Little Girl Don’t Cry. . . .M Norris actor, but be has “done his hit” in France lists of killed and wounded coming from the Voice Production and Singing in English I Doubt It.M Hall with the London Scottish Rifles. A not too ' ” r have already censed bouquet of flowers costing thirty-five who, though born abroad, with any show of justice. Seeing nature is to prepare them not to harm voices. The Bow-Legged Boy.M Troyer serious wound has unfitted him for service e accept them (Oratorio and Concert) dollars. On the following evening, the child and was reckoned ~ in everything and making the exact copy- ‘‘I send my pupils to Berlin to prepare in France, and has made him a safe “draw” vith tl is part of the phe- ■IsHtsnglitln Bo->tnnoT«r twenty yen™. Write no* for terns to ing of nature the first duty of the artist, for an art career. They return to Boston The Foolish Little Maiden.M “ for Drury Lane, which may now offer Its a of li When ewspapers t " friends of Miss Kellogg made her a American singers. I remember her Three Lucky Lovers.L Sudds natrons a Christmas pantomime with a real that “trade is disorganized” or that a million 606 Pierce Building, Copley Square, BOSTON present of a turret of rare roses, nearly well and it was certainly glorious 11 Mussorgski naturally rejected the form- and insist on settling down in a city al' Elizabeth’s Reply.M Shaw hero in the hero's part. or so people are starving and disease stricken, also Jenny ilia of ‘art for art’s sake’ as meaningless, ready overcrowded with teachers. They we read the news with stolid faces and turn eight feet high, which was laid at her depth and fullness. That wa Talking in My Sleep.H Gates The new opera by Max Schillings, Mona with relief to the sporting page. Often it is feet during one of the performances and Kind’s opinion who heard the during To attempt in a work of art the union of could earn a good salary and raise the Near the Well.M Quinlan IAsa, has failed to please Berlin, where, after some small detail that does infinitely more OF INTEREST TO EDUCATORS elicited overwhelming applause. The cost its early years, and recommended the beauty with the material object seemed standard of art in schools remote from Over the Hills to Mary.M “ having been accorded more or less lukewarm than horrors In the mass to bring home to us receptions in Vienna and Stuttgart (where the sickening, dismal, foolishness of war. Just was one hundred and thirty-five dollars, girl to what in her opinion was the right to him a puerility belonging to the child- city centres. I urge them to do mission- The Sand Man.M Lieurance Schillings, before the war. was conductor at recently Pechstein Hall has been refused its BACH ALBUM. For Intermediate Grades. This excited the friends of Lucca, and line of study. hood of art. As his career went on, his ary work. It is the only way. Boston Come Where the Blue Bells Ring M Brackett the Royal Opera and of the symphony con¬ musical license hy the London County Council. Compiled, edited and fingered by The Robin.M Nevin certs). The work had every chance of success Pechstein Hall is one of the most popular of Allen Spencer, 50 cents they raised over two hundred dollars, Miss Phillips’ compass was very large contempt for the beautiful deepened into does not need them.” Will You Come to Me?.M Remick with the addition of war prestige—for it was London’s concert halls. It belonged to Edwin which they presented to the celebrated and enabled her to sing roles in opera something approaching to dislike; he “I never urge pupils to remain with nit mainly composed near the battle front. Schil¬ and Carl Bechstein, two useful Germans who Mother O’ Mine lings has been on the firing line and during carried on a thriving piano business. It ap¬ termediaW" rader^th “* m“rC Bach in the In' songstress in the shape of a laurel wreath requiring a mezzo-soprano prima donna seemed perversely attracted to dissonance when they are ready to teach. I especially A Lost Hear. . H or L Orem “off moments" gave lectures on German music tered. In an.wer to this long (ell need, Mr. SpencMhas pears that the Bechsteins had mortgaged their selected the most attractive of the .mailer dance forms lined with pure gold. But the Americans as well as those requiring a deep con- and distortion ” desire my Southern pupils to go home and 0 Heart of Mine. . H or L Galloway to the soldiers and officers. He says that the property to the tune of $250,000, of which they effect upon the ears of heavy ordnance is had paid back about $110,000. They are now of Bach and collected them in one convenient, compact were not to be outdone, and presented tralto. Vocally and temperamentally she Notwithstanding this criticism, Mussorg- build up classes in their own localities Cupid and the Maiden. .M Kroeger varied; If the cannonading is steady and in Germany, however, and their business has volume, which just fills the gap between the elemen- their favorite with a gold medal and was certainly an effective singer; but for ski’s^ appetite for “dissonance and distor- There is great need of good voice Cobwebs. .M Williar prolonged, one soon becomes accustomed to it, come to a stop. And all this because of the The Jonquil Maid.M Rathbun though one needs protection for the ears war! The Bechsteins and their auditorium SlTe^f ^ l*IfhJr,-rS"er>erld-rf BSCh' The chain costino- nearly three hundred and stage purposes other gifts are sometimes tion’ might in a measure be attributed teachers in schools. I can only say tM many have not been given fo their entirety (yet arenot Prince Charming.M Parker when the bigger guns give tongue; if a can¬ “ount for little enough in the big scheme of simplified), in order to mote particularly fit the grade. fiftv dollars? This ended the competi- required, and personal beauty had passed to the rough and licentious life he led. when a girl remains in Boston five or S’-S nonading opens suddenly and unexpectedly, the things, though—| |theyv-“ —apparentlyi doing effect upon the ears, and Indeed t*— —u-'- _ of music. It CLAYTON F. SUMMY CO. • this artist by on the extreme other side. There is beauty and majesty in Boris years she is so fascinated by this lit* ff THEO. PRESSER CO. y disti r little tragedy Opinions differ widely a to the com- One of_ the incongruities of opera as we 6odounoff, but it is a twain of qualities she is unfit for work in a school. I 'Vorchestration, Hugh A. by the body of voices to be accompanied, melody, which must not move in fifths or with the accompanying manual coupled. in order to secure the best results. This LESSONS BY MAIL and by the sentiment of the hymn. octaves with the original bass, and not In the playing of hymns, whether in the applies also to the accompanying of vocal Dr. E. H. Turpin (1835-1907) will per¬ subdivisions of a heat. For this hint I The use of the pedals should be dis- in fifths with the other parts. The nevv In Harmony, Counterpoint giving out or in the accompanying, they solos. Many of the latter have accom¬ haps be best remembered as the first sec¬ have had cause. to be grateful to him continued occasionally as their effective- melody should form a good counterpoint and Composition |—ESTEY CHURCH ORGANS-, cannot be played absolutely as written, paniments for piano and need editing for retary and one of the founders of the many times when playing in public and ness is increased by their re-appearance on the original bass. 4618 CHESTER AVE., PHILADELPHIA, PA. finding myself through nervousness or Estey standard maintained. with good effect, on the organ. The re¬ effective organ accompaniment. English College of Organists. He was, Maximum facilities. sult would be disjointed and disagreeable. In oratorios, cantatas, masses, etc, however, a fine organist and a musician some other cause not so easily explained Highest grade of product. In order to avoid this unpleasant effect where a piano accompaniment is arranged of rare literary gifts, the latter being inclined to hurry the tempo. His , second Pioneers and leaders always. The Editor of The Department for Organists and Choirmasters for February, point was- the necessity which an organist Examine stop action and wonderful reedless it is necessary to eliminate the reiter¬ Mr. Henry S. Fry, was born at Pottstown, Pa., in 1875. He came to Philadel¬ from the orchestral score, the effect when Faust School of Tuning particularly displayed in his long editor¬ Oboe, Saxophone, Clarinet, etc. ought to feel for avoiding glaring con¬ ation of some of the repeated notes. Just phia in 1889 and studied with various prominent organists. His work as an played on the organ can often be much ship of the Musical Standard. He was The standard school of America. trasts and unsatisfactory or unrhythmical ESTEY ORGAN CO., Braltleboro, Vermont, U. S. A to what extent this is to be done is a Organist and Teacher in that city has been very successful. He has played in enhanced by the filling up of inside parts, for many years-organist of St. George’s, leading Philadelphia churches for over twenty years, has given over four hundred Piano, Player-Piano, Pipe and Reed terminations when “soloing” a phrase or matter of varying opinion, and the ideas where the accompaniment as written Bloomsbury, London, and while taking an recitals, and inaugurated more than a hundred and twenty-five new organs. He Organ Courses. Year book free. a progression. “We do not want to hear given are subject to modification, es¬ would have an effect of thinness. An ex¬ OLIVER C. FAUST, Principal. organ lesson from him in that church, in pecially so as some hymn-tunes require has always taken a keen interest in societies and clubs aiming at the improvement 7-29 Gainsboro St., Boston, Mass one bit of counterpoint rolling around the STEERE ORGANS of musical conditions, and has successfully filled high office in their organization cellent illustration may be had by a com¬ 1883, he particularly emphasized two CORNELL UNIVERSITY, BAILEY halt. different treatment from others. parison of the pianoforte accompaniment church while the other parts are almost 4 manuals, 79 stops; dedicated October 8th, 1914 He has been State President for Pennsylvania of the National Association of points, both of which are of the utmost In the playing of most hymns the re¬ to the St. Cecilia Mass by Gounod, and inaudible,” he remarked. The remem¬ SPRINGFIELD, MASS. MUNICIPAL ORGAN Organists; Treasurer for the Philadelphia Music Teachers’ Association; Vice- importance to young organists. The first 4 manuals, 87 stops; dedicated June 25th, 1915 iteration of repeated notes in one part, President of the American Organ Players’ Club, and Treasurer for the American the organ accompaniment to the same Arranging and Correction of Mss. brance of this utterance has not only saved YALE UNIVERSITY, WOOLSEY HALL was the avoidance of an increase in tempo me on many occasions, but has enabled 4 manuals, 154 stops; now building. To be dedi¬ the treble, is usually sufficient to give the Chapter of the American Guild of Organists. Many of his pupils are success¬ work, both arranged by Joseph Barnby. A SPECIALTY cated October, 1916 fully filling church positions. by expanding rather than contracting the me to save many others on occasions still proper amount of motion and yet retain The accompaniment of the Anglic" A. W. BORST, Presser Bldg., Phila., Pa. time value of short notes representing more numerous. L3,SIrEERE & SON ORGAN CO. the legato so desirable as a basis for good Chant will be di'cussed in a later article. Please mention THE ETUDE when addressing our advertisers. 143 THE ETUDE THE ETUDE Don’ts for Busy Organists Selection of Music for the Church Service ^ ^ The following is from an interesting article Chapel and Parlor Sure Organ Technic by Joshua Bannard in the Organs—Standard This very important subject was leastleast are concernea.concerned ^ J MyU-aHope Hope is Monthly Musical Record Kimball:of the World- brought forcibly to tTthe writer’s notice Jairus, from which the so o course Shipped ON APPROVAL Anywhere By Charles Leech Gulick ' - ■’ - i the Everlasting was taKem « _ Don’t select your music after a several years ago by At Factory Prices! newspaper of the service lfsts for Christ- suggests Easter rejoicing- ^^Jhyrnn sory reading of a publisher s catalog The TERMS: It was Liszt, the great pianist, who, i mas. Among these lists appeared one in- priate would have been, as a f°s'™^ng publishers w.11 generally send you a bun- $ O Per Month Up ferring to the players upon his instrument, ciud;ng tbe- following■■ ■ numbers:• ■ I such a service, ’Mid all the cnany j dle of OTUSic 0n approbation. Go through The utter lack ot tnoug rarefullv. Find out wW O —or Cash! remarked that the omission of a day’s Overture—Poet and Peasant.cuppb scenes uj njy —- , Ust musi ----- t tnlt„imilL, - FrpA Oar New Diagram Sya- practice was noticed by the artist him- /f is Enough (from Elijah), in the making up ■°f "“accustomed to will suit you and your instrument, and 1FCe lem Self Help in Mn.ic self two days without and his friends Mendelssohn appeal to those who a e the at- decide accordingly. _ saw the difference and after three days Qu{s Est Homo (from Stabat Mater), give to the music of the cnu £>«,»'* play voluntaries that are technic- The nearest approach^is^he^Bwt the world had discovered it. I some- Rossini tention it deserves prominent ally beyond you. . STANDARD KIMBALL reed o: He First Notices times wonder if the reverse is not true My Hope is in the Everlasting (from According The Console, friend Don’t select pieces written to display with the average concert organist who is Daughter of Jairus).Stainer New York org1 rector to select “fancy stops, nor pieces reminiscent of Your Complexion That is the thing that decides a woman’s ; beauty—her complexion. That is why you t“ Nessraas*-. tests zt should be particular, very particular about I the powder you use. chord is marked staccato. directed to raise it. But as this produced Does it simply show the powdered face | szsm f~cos •r:Se« B«h. **** the unknown interval of an augmented second or does it mean a fine complexion ? Is it between six and seven, six was raised also. a real aid to skin beauty or is it but an added When the discovery was made that the sev¬ enth might be added to the dominant chord, There are powders and powders, but you =^^r«ss; xs&s&tfAjnti the raised leading note became imperative, will find that the thousands of beautiful similar distinction exists between the re- pleading, “It is enough, now take as being su,‘ab1?. f aTld Crossing the the classics if they are carefully played, owing to the necessity of making the domi¬ cital and the church organist. A merely away my life_I desire to live no longer.” every ^ JectoMs said to hive replied Don>t {orget that the modern organ nant chord major. In the descending scale the natural seventh is nearly always used as superficial acquaintance with the detads u might be thought that he felt uncom- Par „Jbe rector ^ ^ wou]d be compoSer needs your support, a passing note. (In the music of Bach and of service playing is too often sufficient to fortabie from having partaken too freely that doub!cJJ u S Don’t contribute to the efforts of Handel the descending minor scale is often found with raised soven and six—sometimes Carmen ensure an engagement m the latter capac- of mince pie. Next the congregation m"CJ r"°^veSUgttoar ^ems very improbable, sefond and third-rate composers. There is ___ .. is never regarded as a tie. This called Bach’s minor scale.)—Da. Hdoh A. ity. That this is the case is largely due hears the Quis Est Homo, from the Stabat the abo t y sQm^es happens it room for them in the domain of art. the rotation employed for the portamento Complexion to the prevailing ignorance as to the latent Mater, which would scarcely indicate but consid g . f t oractice assiduomlv Q. Please tell me why, in the fallowing ex¬ Q. In practicing slowly should the slow¬ possibilities of the mstmoteo. W the Chris.n,,, h.ppi.es. so tar ta words .. » »o, „p»ss.bU. taTS n. Write Today for our n.w 1916 Fro. Catalos. ample, the half note has a quarter note fol¬ ness he caused by longer spaces between the Powder V. KIMBALL CO.,1402 Kimball Hall. Chicago lowing itr Is not the half note sufficient t sounds arid not by longer sounder In prac¬ world as a whole regarding t e organ as — “ " ~ _ Pluvintf voluntary thoroughly in hand beforeper- ticing a legato passage in this way, what Decidedly different from any other powder. “lifeless, expressionless it is most natural Raising the Standard Of American Organ Playing forming in public. will the result be when played in the proper Not a “make-up” in any sense, but a genuine tempo, legato or stacoatot—lS. M. BEAUTIFIER. Refreshing—restoring—re¬ s convemen o q g.^®redence Much has been done in this country bass, improvising on given theme, etc Don’t test your pieces from the organ A. Play the notes precisely as written, no fining. Transforms the muddy, colorless, rough-tissue complexion into one of apple- Music Teacher Wanted blossom beauty. Protects and preserves the ishrsvsstss jtjwsse ESSsKsra tfKKgvBS? If you are interested in a plan that will sustain the sounds unles freshness and bloom of a delicate skin. facilitate supplying your pupils’ needs and Q.... What a .... |„i books upon the sub¬ It is not sufficient that a powder look fine «tol"*ud "d “,hl: ‘,m:t Vtf, TL' srseS <■««*• —•«; rz incidentally reward you liberally, drop a ject of musical forms and upon such subjects in the box or feel fine between the fingers. Only during the past season a humor ^ Qjder of tbese two organizations is point, orchestration, ear tests, general Don’t pretend to extemporize without as vibrations, overtones, etc.—M. L. W. The teat ia on the face! Does it show postal to THE FAIR MUSIC C6MPANY, A. One of the simplest books upon musical powder? Does it rub or blow off? Does It incident occurred along this line. A well- ^ American Organ Players’ Club of musical knowledge, etc. previous preparation. A sketching-out is 221 West 40th Street. New York forms is that of E. Pauer. This will give fail under perspiration? Does it fail under known organist accustomed to i ^ * ‘ r»i_M„Philadelphia, J „1 1 „ ,Tr1iir>V>which woewas nroraniTPrlorganized TlParlvnearly Ti-It will readily be seen thatik 62”''the prepara- necessary at first, and can only be dis- all you need for elementary study. A very strong electric light or glaring sunlight? One fashioned two-manual tracker action fine book upon the subject of acoustics is trial of CARMEN will convince you that it a twenty-six years ago. While this club ..on for these examinations will do much pensed with after considerable experience, The Student's Helmholtz, by Broadhouse. tempted the Tannhduser overture Cents for a Set of Six of our^easy teaching --*•— — - . . . empuasiicsemphasizes particularly solo organ play- toward the proper equipment of the pres- Don’t ramble along your keyboard in Q. Please give me suggestions for organiz¬ SOc Everywhere „ large electric instrument completely ,nft yet jts examinations (which are the ent_day organist, although everything is order to “fill in’’ the unavoidable gaps Sur regular”Teachers price is 10 cents each, ing and conducting a music club.—C. V. C. WHITE, PINK, FLESH, CREAM equipped with modern appliances. His . means of adm;ssion t0 active mem- covered. And one or two points that which occur during a service. Whatever A. This question demands an answer alto¬ The Scent is Dainty acquainted with our music and instruct™ gether too lengthy for this department. Am¬ technic, very thick and befuddled, would bership) inciude, in addition to solo play- arp i|lpllldedincluded are not particularly. useful you do> do it on definite lines, ple suggestions will be found in articles upon Our “On Trial” Offer undoubtedly have been accepted on the }ng readjng> transposition and harmoni- .. TemVow' this subject which appeared in The Etude in practical work at the present time— Don’t lightly regard improvisation be- t satisfied. Purse size box and mirror containing 2 ground that orchestral-like clarity could zati’on q{ a given meiody at the instru- for September, 1911; October, 1912 ; Novem¬ for instance, it is very rarely, indeed, that cause Qf jts transitory nature, for it ' The Geo. Jaberg Music Co., ber, 1013. and/uU35r. KiVcZZZVoVA&V not be expected had it not been for the ment No. 530 Elm St. Cincinnati Ohio. dark) sent prepaid for n organist is (properly conceived) the highest form of Q. What can I do away from the piano fact that the echo organ at the rear of The dther organization, The American - t,.,, that will help my musical education f 1 have musical culture. the church was by mistake coupled to the Gudd of Organists, includes four classes figured or ^U"^r.cd '^ m li hed that we plenty of time at the office where I work. rndmirroT'" Don’t allow your choir to accompany II'hat would you adviser—M. L. great manual and gave forth amazing q{ membcrshipj and being authorized to much that is good .s A. A great deal of excellent study can be the Red II TcfZutZ conglomerations of sound which for once confer de _ has a more comprehensive may well be content to include these sub you. Most organists do; but you need Theo. Presser Co. done away from the piano in harmony, his¬ Trimmed V at least could not be attributed to the examination. The classes of membership jects, as the knowledge acquired can work tory, etc., and much may be accomplished in Orange Color-j STAFFORD-MILLER gymnastic exercises, such as those indicated ed Box-Seen COMP ANY acoustic properties! are Founders, Fellows, Associates and no harm. Don’t be noisy. It is your concern to SACRED AND SECULAR OCTAVO in F. W. Gates’ Hand Gymnastics. A help¬ j support the voices, not to drag them CHORUSES. ful article, entitled “Away from the Piano," Every- jf 591 Olivo Str Colleagues. The Founders’ list has been The third prominent organists ■«"- by Bertha Gaus, also appears on page 90 of where. Sure Hands and Feet nc years. Fellows and As- ciation, “The National Association of Or- over difficulties, and bolster them up when this Issue. Mrs. A. K. Virgil has furnished closed for s Issued January, 1916 The Etude with the following outline of One of the foremost organists in Am- soc;ates - admitted by examination, ganists,” being a very democratic body, their intonation is faulty. Once done, al¬ Any of our works sent on inspection to teachers desirable exercises which may be done at the e admitted without exami- confers no degrees and has no examina- ways expected....r- Therefore... stick to the request, at our usual large profesaional diac table: told me recently that after years of Colleagues a Use the number, not the title, io ordering. concerning he believed the indispensable natTon’on" recommendation of two active tions, all organists being eligible This principle, even if a catastrophe or two First: Securing a perfect hand position. kk nation on re OCTAVO CHORUSES, SACRED, MIXED Second : A perfectly quick start of a finger SUBSCRIBE FOR CHRISTENSEN’S reauisite in approaching a strange instru- raembers of the Guild. The examinations association carries on its educational work resuit. ;t pays jn tbe long-run. VOICES up, and a perfectly quick start down. (Sepa¬ - ru' members of me vju*m. - --- ■ i i • rating the up and down movements.) Third : mem to .dg a sure technic.—i—/'otn- The eye, com- jnci udei solo- i - -playing,1—trononnci. reading, transposi- throughtVirnn^li its annual convention, when in-i Don’t Qse your reeds too frequently; 10678 O Day of Rest and Gladness A. You will notice that there is a sharp Trill between every pair of fingers in quarter, celled to become familiar in a minimum doni reading from four staves, harmoni- teresting recitals are played, helpful pa- H. R. Shelley 3 .15 sign before the B in the last chord of the eighth and sixteenth notes. Fourth : Five- RAGTIME they are opposed to good vocal tone. Let 10690 Jesus, Name of Wondrous previous measure. These accidentals are in¬ time with countless new features of a zation of melody, playing from figured pers read and timely subjects discussed, your selection rest rather with the dia¬ Love.T. B. Starr 3 .10 serted to put a careless player upon his guard. pla'ying through all fingers in quarter, e’ighth REVIEW strange console, cannot he handicapped by ——-----— pasons and the flutes. 10758 Song of Praise They act as a precautionary guide to the and sixteenth notes, being careful to play in 0. M. Schoebel 3 .12 reader. The insertion of too many accidentals exact time and with thorough finger action— A Monthly Magazine for Amateur and Pro¬ 10762 Shall we deny our Lord may become an abuse, and confuse rather fessional Pianists—Devoted to Ragtime and the hands and feet. And _ this is a so Worth While Music for Organ Recitals c .. t>.-. o ,12 giving the accent the same as would be given Popular Music—Covering the field of Vau¬ .... JS. Si of the humble., .pplic.n,, WOrtl, W« IviUSU^r V^rn than help the reader if overdone. Accidentals on the piano. Fifth: Holding one finger deville and Picture Piano Playing—Edited properly apply only to the measure in which down and playing with the remaining ones in and Published by Axel Christensen, the who, suffering from stage fright, is try- to be heard singly, quarter, eighth and sixteenth notes, holding “Czar of Ragtime.” ing to do his best before a coldly critical By RolandDIggleRoland Diggle Don’t use the pedals as frequently as each finger down in turn. This is very val¬ __n White Rohes Q. What is the meaning of the word uable for giving finger independence. Do not Contains piano music every month — new and R. M. Stults 3 .12 music committee. . « vou do Your 16-feet tone Quickly be* “Durchfilhrung” as applied to a symphonyt allow the weight of the hand and arm to rest vatScvillef ragtime picture piano playing, review of Another advantage in the possession of Organists on the lookout for new re- ceedmgly fine piece of music. Strange ^onously irritating. Vary 10775 I Will Sing of the Mercies on the finger that is held down, but allow of the Lord. J. E. Roberts 3 .10 A.’ This * is the German term (literally technic lies in the insurance it gives cital pieces should try Passacaglia upon to say I have never seen it on an Amen- course but with a prefer- the finger to touch the table lightly. Sixth : It contains nothing dry,’nothing classic, only that 10782 Lord God, We Worship Thee “through-working") for the working-out or The practice of double thirds will be found happy, pulsating “rag” and the songs and melodies ■ R. M. Stults 3 .12 development section of the movement. It Is specially advantageous—first, with perfectly against that evil day when all things the scale of D melodic Minor by Paul can program. ££ for ffie 8-feet o«s the section in which the themes introduced that make for happiness and delight. suddenly cipher and one is compelled to Ertel. Ertel was born in Posen, 1865, he Another excellent piece strangely neg- en" *°r ™ 8 leet ones-. OCTAVO CHORUSES, SACRED, WOMEN’S quick up and perfectly quick down motions ; You can get the “Ragtime Review” for only 50 VOICES as the first subject and ns the second subject second, trilling every pair of fingers by play¬ cen*s a^year—-sample copy for five 1-cent ^stamps— play entirely upon an expressionless Great. *afa pupil of Liszt, and became a pro- lected is the Sonata in G minor Op. 29 Do,^U^ word-painting. Yo « are treated in a freer style, and combined with ing two measures of quarter notes, two meas¬ It fs easy for the “trick” organist to rely f at the Berlin Conservatoire. The by Edgar Tinel. The composer, an emi- not imitate the grin of a dog as it run 10776 At Eventide it Shall be Light other harmonic and melodic material to effect ures of eighth notes, and two measures of A. R. Gaul 3 .05 a musical climax leading back to the restate¬ sixteenth notes. Seventh: All kinds of on his vox’s and6 tremo,os with a judic- passacaiia 0p l9 is a most remarkable ^nt Belgian one, was horn in 1854. The about the city nor “caterpillars innum 10777 The Lord is my, Shepherd ment of the beginning section and coda. chords could be recited and also played in on ms vox s a ci _ 1? S 11 i. is. b.sts first movement of this fine Sonata is in =\b,e'” ‘^harp razors,’’ nor ' iuuS (?) pumping of the swell pedal but WQrjCj tbe scaje 0f j> minor is the basis 10778 Paradise.E. E. Hipsher 3 .05 order to familiarize the student with the CHRISTENSEN’S RAGTIME REVIEW the usual Sonata form, and the slow thunderbolts. Rather go to the other es correct fingering; also to gain an easy and give him a pure diapason fare for a q{ tWg p}ece and is repeated continuously, movemclU ; 10779 Now the Day is Over graceful control of wrist and arm movements. Room 930, 526 S. Western Ave., Chicago, III. extended canon in the trcrne and leave descriptive work alone. and lowered in descending t Eighth: Preliminary crossing movements OCTAVO CHORUSES, MIXED VOICES A. The natural minor scale (o to a) is could be brought to great perfection, thereby Wstmenyears ago^a parUh priest in Eng- enf’ BritoS °CtaVe’ Wlth f-rCC -added part’ - Tlie last give e,aborate inStrUCti°nS °f ^ 10767 O Hush Thee My Babie probably a survival of the Gregorian Hypo- advancing the student in the execution of movement is fugal, with a bold, almost planations. dorian. It was used at first without any scale and arpeggio passages. 10768 A Pickaninny Luliahy lTBn altered notes, but as the feeling for harmony The use of a metronome would add greatly lanLdha0‘‘modereorbgUandiTt wastotale foHowing themes ar^ ^tr°d“ced’ Jizhumorous subject ’relieved* by Well con- Don’t he content with a partial developed, It was discovered that a more sat¬ to the interest and satisfaction by enabling termed a model organ_ ^ B, A, C, H, eynsodes.^ A most interesting work rying put of your requirements. I 10757 Daybreak.!.E. Faning 4 !o8 isfactory effect was produced, when a piece the student to keep exact record of the NEW ORGAN MUSIC i single stop, and that a 10786 It was a Lover and His Lass of music ended by ascending from 7 to 8 of progress made. apason in every respect ideal. While one D|®s irae, P'a'!!,Wrn“EineFestea Burs'” tQ Pf't!y iaS -WeI? a? t° bear- A piece well with pleasant firmness, and you can Pn‘ every respe effect of Lutheran hymn-tune E n Feste Burg, worth piaymg is the Funeral March Karg- erally get what y ” -;-’ A. S. Garbett 4 .15 “ON SALE” t you want without serious OCTAVO CHORUSES, WOMEN’S VOICES Moreover there appears towards the end Elert-Mendelssohn. ““ ' - - - y 10772 The Bailiff’s Daugther of Have your name entered for the receiv¬ _ Islington.A. Redhead 3 .08 Regulations of this Department ing of a few small packages of new music 10780 Over the Waves we Softly The readers of THE ETUDE are requested to observe strictly the following conditions: ON SALE during the professional season, Without Words,” added to the march a GUde.R. M. Stults 3 .12 u IS refreshing trapuntal devices. Here 10774 A Spring Song 1. No questions will be answered unless the full name and the full address of the applicant is given. no guarantee as to amount to be kept; hut irrelevant claptraps tt M and ^ ^ Burg themes are by a repetition of the march i, C. Pinsuti-Chailinor 4 .10 2. Only the initial or a chosen nom de plume will be used in the printed answer. discount the best obtainable; the only re¬ to reflect that they are only^ccessones C^H Thg WQrk ; wonder_ Tbe idea is no doubt culled fronTchopin’smurety. Don t conclude an indifferent perfonn OCTAVO CHORUSES, MEN’S VOICES 3. Make your questions short and to the point. sponsibility the small amount of postage; ance by always saying: “Thanks very 10771 The Sea Hath Its Pearls 4. The following questions will not receive attention in this department: returns of unused music to be made once Mone^nteUigendy tn/also pleasingly' uponpon fully resourceful, yet so varied are the “March Funehre,” however the well known A. Questions relating to Metronomic marks. each_ year; a postal card will stop the 10790 The Long Day Closes a one manual organgan pruviucuprovided you are the harmonies, the temm.tempi, rhythms and .melo- items from the ever-popular “Lieder ohne B. Questions of a strictly personal or private nature. sending any time. Thousands of teachers of a discriminating touch dies, that not only is monotony avoided,ded, Wortet ”r°woworktrk ^ndidlf^togethe”splendidly togethe, °and bli"d to improvement, rfwjj C. Those questions that have not sufficient general interest to the readers of THE ETUDE. receive piano music from us in this way. happy possessor of a discriminating to.... ---’the'Wffect produced is that of u„4. lUo nrnHiir.pd is that of an ex- the idea i«is excellently carried ^out St’nty of prais!’ but be most carefulh D. Questions relating to the stories or traditions or descriptions of special pieces. THEO. PRESSER CO., Philadelphia, Pa. and technic. you apportion it. Please mention THE ETUDE when addressing Please mention THE ETUDE when addressing our advertisers. THE ETUDE 144 THE ETUDE “THE CROWNING ATTRIBUTE OF LOVELY Fifth: The bridge . must be of the strings properly, and mutes the tone of WOMEN IS CLEANLINESS” proper thickness, and must taper from the violin to a certain degree besides, the feet to tbe top. The thickness of the Some violin makers inlay the top of the bridge should be adapted to the particular bridge where the notches are cut, with violin to which the bridge is being fitted, pieces of ebony, one for each notch. The THE G STRING as some violins will sound better with a ebony being such hard wood, resists the ill its brings or after Its entire tonoVualiS^an! thin, some with a medium, and some with tendency of the strings to cut these deep -hus ruin the instrument for months. a thick bridge. Experiment is the best notches. .. As a bridge wears, and the HAVE YOU EVER THOUGHT guide for ascertaining the proper thick- strings in process of tuning cut the notches ness for a bridge for any particular into the bridge, the top of the bridge The Importance of the Violin best, Rode made a profound vmpn s«on v’obn- should be dressed down slightly, so as to Jacques Pierre Joseph Rode the recommendation of Stich, the famous Bridge Sixth: The feet of the bridge must be leave only very slight notches for the born player, left Fauvel and studied with on his hearers. He ranks tnj****™ of violin playing as a true artand To_ the- novice i violin playing, t„h, cut so that they fit perfectly to the arch strings to rest in. In the sketch of the life of Kreutzer, the great Viotti, who was then at the of the greatest violinists of all time. violin bridge seems of small importance of the belly. It will be readily seen that Eighth: The bridge should be kept per- in the preceding number of The Etude, head of the violin world in Paris. Stich intonation was perfect, bis tone Hrge an ^He thinks^itlke of it as somethingsomethin* heh* can«- buy- if only a portion of the surface of the pendicular at all times. It should bc we have seen that the present day fame introduced Rode to Viotti, who at once of splendid quality, and his style for a few cents, like a pair of shoe strings, feet touches the belly of the violin the looked at, and straightened, if necessary, of that great violinist rests principally received him as a pupil, and taught him HUGU5T BEMUNDER a 50N5 or a lamp chimney; stick it under the vibration of the strings, which is carried after each tuning, for the pulling of the EXPERT MTKINU MAKERS on his famous Forty-Two Etudes, for the for two years, at the end of which time and pure. . ... nu_ 141 W. 42d Street New York, N. Y. Rode’s compositions, which w down through the bridge, will only be strings as they are tightened has a ten- use of violin students. In similar man¬ Rode played a concerto by Viotti in public strings, and there is an end to it. The merous are violinistic, but possess communicated to the belly of the violin dency to draw the bridge over, towards ner the fame of Rode rests on his with great success. Other engagements experienced violinist knows better; he is Twenty-Four Caprices for the violin, a great”creative depth He never well aware that nothing is more imp0t. Naiad Dress Shields partially and imperfectly. The arch of the nut. Repeated tunings without followed in Paris, and Rode enjoyed a composition thoroughly, and °bligea almost every violin is different, and it straightening the bridge often pull it over work which is just above the Kreutzer gradually increasing fame. tant, if the violin is to sound its best, add the final assurance of cleanliness NEW VIOLIN MUSIC to secure the assistance of other mu requires a very skillful workman indeed so much that it will fall, sometimes break- Etudes in point of difficulty, and which In 1794 Rode commenced a series of than a bridge of the proper material, of dans, notably the composer Bocdtennn FREE FROM RUBBER to cut the feet of the bridge so that they ing in the operation, and causing the is an indispensable part of the course of tours which continued for some years. the correct size, and properly adjusted. “ON SALE” violin instruction. From a technical and in scoring his violin concerti. He left tne The violinist, if wise, will not try to ad¬ Can be quickly sterilized in boiling water will fit the arch of the belly perfectly. sound-post to fall. The bridge also he- He had great success in Holland and j\Il stylesand^sizes to fit every requirement. Seventh: The notches where the strings comes warped and twisted, through the musical standpoint these caprices are of Germany, his success being particularly following published companions just his own bridge, as it is quite a trick the highest value to the student, and are l,n concerti, 5 quartets, 7 sets o var to do it correctly, and should be left to lest are cut at a distance of about 7-16 failure of the player to keep the bridge marked at Hamburg and Berlin, in of an inch apart. Amateurs and students perpendicular. It usually warps on the in world wide use. Teachers of every tions, 3 books of violin duets, and the an expert violin maker or repairer, who which latter city he played before King Naiad Waterproof Sheeting for the who adjust their own bridges usually get E string side, on account of the strong nationality and school use them, and the Twenty-Four Caprices will... charge from fifty. cents_ to $1 for the Frederick William II. When returning nursery and hospital these distances wrong, for they guess at pressure of the E string, and the fre- greatest violin teachers insist that they to France, his vessel was driven by a The concerti are used prmcipay WOrk, which includes the price of the be studied persistently, by every serious present day for teaching pu p .brjdge. Let us look at a few of the fea- THE C. E. CONOVER CO., Mfrs. the distance, and get the strings too far quent tuning of that string, storm to an English port, and he visited 101 FRANKLIN STREET, NEW YORK violin student, until they are thoroughly which they are useful. The s h involved in securing a correctly ad- apart or too close. The notches should Ninth: The small notches cut in the London, where he succeeded in getting certo in A minor is probably the best ot ^ ^ ^ be very slight and not cut too deep, for sound or ff holes of the violin, indicate mastered. Each of these caprices is only one unimportant hearing, and soon written in a different key, twelve being the ten and is occasionally heard^r^pu^ ^ read;,y undcrstood. if the string lies in a deeply cut notch, that the back edge of the feet of the bridge THEO. PRESSER CO., Philadelphia, Pa. left, with great disappointment, for the or if, in the process of tuning, it grad- should come in a straight line with the devoted to the major, and twelve to the continent, where he repeated his former minor keys. These caprices form a “ally cu‘s one of these deep notches for inner cross cuts or notches of the sound triumphs. Soon afterwards he gave con¬ FINE OLD VIOLINS itself, it makes it difficult to tune the- holes. splendid preparation for the study of certs in Spain and Russia. His success On Easy Payments violin concerti, and although written in Russia, where he remained for five primarily as a work of instruction, they fViU spf of variations witn greai wui^u n J 130 Days Free Trial years, was tremendous. He became vio¬ s uccess as he tells in his autobiography, ascertained to a certainty by experiment, are thoroughly “grateful,” as mediums of linist to the Czar, and his frequent public and Catalan! and other famous sopranos ing with bodges of varying degrees of Se»V^,u2 Room at the Top practice, and their study is greatly en¬ appearances were attended with great en¬ have used The variations, adapted for the hardness, but an expert violin repairer The great violinist of the present day those who play occasional engagements, joyed by the violin student. Technically thusiasm. The strenuous life Rode lived is a much envied individual, for the and teach the rest of the time, often act they “lie well” for the violin, and they voice with sensational success. can often judge with approx,mate cor- in Petrograd seems to have brought about Taken as a whole few violinists have rectness through long experience a ad- world’s most coveted prizes are his—fame, as their own managers. Violinists who are thoroughly violinistic in character; in FREE! Magnificent fortune, travel, a decline of his powers, for when he re¬ ever lived who have done more to ad- justing bridges to hundreds of different el, a life of constant interest, play for bureaus which make a specialty fact, these famous caprices occupy a niche turned to Paris he was coldly received, m .rgfr AI b 1 -* - • vance the art of violin playing than this violins. and the opportunity of associating with of lecture course and concert course work, in the works of instruction for the violin and up to the day of his death never the most eminent of his fellows in all the such as is popular with Y. M. C. A.‘ which would be difficult to fill in their great French violinist; by the example of Second: A bodge of handsome, artistic seemed to have gotten back his former hi- masterly playing, by his teaching, and model should be used. The violin bridge arts and professions, as well as social dis- similar societies, usually absence. power. Spohr, the great violinist, having tinction if he cares for it. He can live salary, and are obliged to fill a certain = WILLIAMS PATEN'._ The violin pupil who can play Kreutzer bv his composition of the immortal, as now used was designed by Strad,vanes, heard Rode early in his career, considered in any country, go anywhere, and fulfill number of dates weekly, as stipulated and Rode really well already possesses Twenty-Four Caprices, which are even the great violin maker, and when the Soft Rubber Chin Rest his style one of supreme excellence and his most cherished tastes and desires. The when the contract is first made. Railroad a broad foundation on which many of now doing an important part in educating scrolls are artistically tried to copy it, but was greatly disap¬ life is somewhat arduous and exacting, it fares are usually paid by the manager, the most ambitious and difficult works i every country i the beautiful work of art indeed, and give pointed in Rode when he heard him after is true, but as. man is usually happiest but the performer pays his own hotel ..ir-SSHSi in violin playing can be safely erected. added beauty to the appearance of the the Russian period. He found that Rode when he is busy and successful, the bill, and similar expenses As a rule students practice the Rode violin. No More Sore Chins! “A Great Boon.” lacked his former brilliance, and that he present day violin virtuoso ought to be, Earnings of concert violinists are much S6nd for circular. $1 25 postpaid, or ask your dealer. studies too rapidly in the beginning. In Third: Freak bridges made out of THE R. S. WILLIAMS & SONS CO., Limited had even been forced to simplify difficult PAGANINI’S and usually is a happy man. lower in Europe than in North and South this they are often misled by the very ivory, celluloid, bone, and various kinds passages, so that he could play them. Death of Gustav Hollaender A correspondent writes to The Etude America. A violinist who would receive high metronome marks placed at the be¬ of wood, other than maple, should be left During the later years of his life Rode to inquire as to the average income of $300 for a concert in the United States ginning of the fast movements by the A recent cablegram from Berlin an¬ severely alone. tried to “come back” as a concert vir¬ fl Meuo RflNT the great violinists of the present day. would probably have to do the same work editors of the various editions of this nounces the death at the age of 65 of Fourth: The bridge should be of the VIOLIN INSTRUCTION tuoso, but with indifferent success, and In the case of the most eminent soloists in Europe for from $100 to $150. The standard work. The fast movements of Gustav Hollaender, the eminent com¬ proper height, so that the strings will 1>( Produces A Smoother Tone his closing days were much embittered in the income is very great, some few of the cause of this is that there are these caprices are, it is true, designed to poser. The announcement will cause at the correct distance above the finger¬ than rosin without lessening the power < a many consequence. He died in 1830 in Bor¬ greatest, who are in the best demand, more eminent violinist; LEOPOLD AUER be played at a very rapid tempo, but widespread regret among violinists and board. If too low-, when pressure is used the violin—“that clear, rich, singing ton i Europe than (Teacher of Elman, Zimbalist, Parlow, Eddy Brown) deaux, his native city. that pleases hearers.” sometimes earning as high as $100,000 per students often try to execute them at violin students, who have enjoyed his in bowing, the strings will be forced i this country, and that the price paid Sole authorized exponent 1 Rode was the recipient of many dis¬ Try It On Our Refund Guaranty year in an American tour of seven VICTOR KDZDO,eO60 West End Ave., New York City metronome speed before they have suffi¬ many excellent compositions for the vi- j,gainst th”e’ fingerboard, for a greater ot ) singers and instrumental artists is Once a week in Philadelphia tinguished honors during his busy life. Large size in unique handy container—St .00— eight months. There e probably, how- everywhere in Europe on, a much lower cient technic for it, with sorry results. In 1796 he was made a professor of olin. While Hollaender leaves no great jJss distancc of tbeir iength. producing tandard si"re‘ d,— .:.i r . sarbjr dej ever, not more than three or four violin- scale than that paid in this country, These fast movements should be taken at violin playing in the Paris Conservatoire, violin concerto, or miscellaneous violin a)1 kinds of buzzj„g false, and twanging half or quarter speed at first, and in¬ composition of the first rank, he is the sounds; if too bjgb,’ it win be difficult to ists in the whole world who are able to The large sums earned by great vio- and in 1800 he was engaged as solo vio¬ earn so great an amount. The American linists does not seem so great when the creased speed worked up gradually. It linist to the First Consul, Napoleon Bona¬ author of many high class violin com- the strings down with the fingers takes a finished technic to play the Rode positions which are m general use through- Good vclocit plaving will then be public is apt to run after a very great large sums spent for preliminary adver- parte. In 1813 he met Beethoven in and well advertised artist, and those who rising and publicity are taken into ac- Caprices up to the metronome time us¬ Vienna, and that great master composed out the world, and which rank deservedly possible and it will bc bard to play« are less well known, and whose talents count. It requires, with rare exceptions, ually assigned to them. for him the famous sonata in G Op. 96. ! -S C° P-0S1-10nc be tune owing to the great tension pro- ™ and temperament are of a less striking an outlay of many thousands of dollars At the first performance of this sonata, Rode’s Career ’ forci"K do"" the >,rinS fr# character are obliged to content them- at the present time to launch a new vio- Beethoven was not very well satisfied by a charmingarmintr rnmnneicomposition ,r«n oabout grader>™ ~ 3, sucb a Kreat height above the finfP' The career of Rode forms one of the full of melody and with a comparatively selves with very much less. Violin con- linist, and this outlay often has to bc the way Rode played the violin part, and board, which makes the t< sharp- most interesting pages of the history of easy piano accompaniment; Lcgcnde in F. cert artists who are well known, but of kept up for several seasons, before the he sent the part of Rode before a second The bridge should be ci lower or violin playing, and should be studied by Op. .15, and Cansonetta in D, Op. 20, both somewhat lower rank than the world’s career of the new artist a paying OUR “SPECIAL” performance, asking him to look it over. every student of the violin. Jacques half dozen greatest, often find it impos- basis, in fact starting a new violinist 10 Tested Lengths, Pierre Joseph Rode was born at Bor¬ In regard to this Beethoven wrote; “He “d’’F'-”” sits! :FFf£n ,sF; sible to earn more than from $10,000 to often like introducing a new patent medi- Silk Violin E, for deaux in 1774. His was a “born” talent will not take it amiss, certainly not! $30,000 per year, while there are of course cine, so much preliminary work has to he TS.“o’™"bVpS/,"rs.a»**•this were not the case, the least pressure Send for V iolin and Cello Catalogue for the violin, and as is practically the would to God there-was reason to beg and the other on airs from Don Juan, Op. The Etude many who fill smaller concert dates, such done. case with all great violinists, he had ac¬ his pardon for doing so.” 10 hnth aKmif rrt-T A ^ 'l . - • «• as those in connection with lecture courses, Occasionally a new violinist, as was the MUSICIANS SUPPLY CO. press it flat against the fingerboard. ■» 60 Lagrange St., Boston, Mass. complished much during the age of child-’ Rode married, in 1814, in Berlin, where concerto Op. 62, in A minor, about grade Chautauquas, etc., who must content case notably with Kubelik and’ Misclia El- ing it impossible to produce the pref'1 VIOLIN STRINGS hood. He commenced to study the violin he remained for some time. He enjoyed 3; six easy pieces for the young in the themselves with salaries ranging from $50 man, leaps at once into popular favor the distinction of being one of the four tones. jL ETUDE Violin Strings offer players to $100 per week. Even the latter are, without much preparatory booming. El- at the age of eight, under Andre Joseph first position, Op. 48; Romania and Tar¬ a chance to avoid annoyance due to great representative masters of the class¬ The angle of the neck in relation to MUSIC Fauvel, a well-known teacher of Bor¬ antella, Op. 16, Serenade, Op. 11. Lullaby V1' ‘.„.rnna ii defective and unreliable strings. of course, expected to be competent vio- man, at the age of thirteen played at a Kindergarten ical violin school of Paris, as follows in MATERIAL deaux. By the age of twelve he was as¬ Op. 12, the last four pieces about grade Tdy °/ the v,ol!n 15 2« * linists, able to play the standard violin concert in Petrograd one evening. The id holds the child’s interest. 3; Intermezzo, Op. 6, Tamhourin On cheap factory-made violins, rnak,n« The ETUDE Strings are manufac¬ tonishing the musicians of that city by point of development; first Viotti, second 3; Intermezzo, Op. 6, Tambourin Op tured for our trade and are as nearly solos well enough to please average mixed manager of a Berlin concert bureau, hap- Rode, third Kreutzer and fourth Baillot. 6, both grade 4; suite in D Major grade 5 fingerboard„ ”- too--. high or too ,low- 1 . perfect as the highest grade imported audiences. pened to be present and was struck by playing difficult concerti in public. Fau¬ . ■ bridge e” vel was so proud of his young pupil that As a teacher Rode achieved great fame. These violin selections are high class finSerboard lies too low. a bridge ■ ( strings, but are much less expensive. The greater violinists either fill single his talent. He sought him out, and en- he took him to .Paris in 1788, where the Among others he instructed Bohm compositions, and are admirably adapted °° 'T W'U,.haVe U Three lensth E Strings .. . . 15c. engagements, giving their managers a cer- gaged him for a series of concerts in (school of Vienna) who in turn formed 1 Two length A-S or D’s, each I! . !! j j lie tain percentage of the amount received Germany. This tour was a great success, lad was considered a marvel. Fauvel for teaching purposes. Only a few of flnserboard l'es to° h,&h abo'.e "l pig! L Strings, each.... isc or in some cases contract to play a cer- Other tours followed, and Elman has been succeeded in getting plenty of recognition many noted pupils, of whom the most them are technically difficult n. • °* tbe violin, a bridge that is 100 30 Strings, E, A, or D ...... $3j» famous was Joseph Joachim, the Hun¬ tain number of concerts for their tnana- filling concert dates ever since, with ever for his talented pupil in the French adcompanimentsS wdSirid15’'^ 'vi" have to be used Any impmisiap^ theo. presser CO. Philadelphia, Pa. gers, for a lump sum agreed upon at the increasing success. Kubelik’s start was capital, but, as so often happens, he lost garian (school of Berlin). In his they are especially valuable to th T' T*1 Can adjust tbe ncck *° tbe ! younger days when his playing was at its beginning. Some violinists, especially very similar. Iif le; his pupil through it, for young Rode, on ... ^ rsft ar-" 11* 8 meatl°n THE ETUDE when addressing E ETUDE when addressing THE ETUDE 147 THE ETUDE 146 Valuable Bowing Easter Music lose all its characteristic vigor. This Although Easter Sunday does not come Theo. Presser Co. bowing sounds best execuied at the until April 23rd this year, there is al¬ extreme tip of the bow. It gets its neat ready considerable inquiry for new Easter characteristic effect from the extremely music and many choir directors have prac¬ Publications A WORLD OF MUSICAL rapid, vigorous dip of the wrist in exe¬ tically made their selections for the oc¬ cuting the small notes with the down casion. By adding a few gems each year Issued January, 1916 Ft. bow This stroke is produced solely from to our Easter catalog we have, in the course of the past dozen years, assembled The above bowing taken from t 2^ the wrist, and if the violinist will practice INFORMATION concerto by Viotti is one which s a list of unexcelled anthems, services (for it sufficiently he will acquire the power oi Sunday Schools), solos and cantatas from neglected by violin students; in«Jefd ^ PIANO SOLOS performing passages in dotted notes with which it is an easy matter to supply the No. Title Composer Grade P never do master it perfectly. It wonderful'vigor and precision. wants of any church musical organization 13383 Happy Memories. L. R. Copp 1-2 AT YOUR ARM’S REACH highest degree useful and ne«ssa£y For acquiring this bowing there is no from the least experienced to the most 13370 Rockabye Shore.P. Lawson 1 a oassaee in dotted notes like the above highly trained. We cordially invite those 13371 All in A Day, Op. 36 better exercise than the famous second A. L. Norris 1% fs to be rendered in a brilliant vigorous interested to let us know their needs so 13199 Sympathy.P. Lawson 2 Time was when all books of reference were so (bowing) etude of Kreutzer in sixteenth NEW WORKS. Grove’s Dictionary sprightly, manner, in fact no other bowing notes. The exercise should be played as that we may send returnable copies for 13250 Gounod.P. Lawson 2 Advance of Publication Offers— During the past two months we have examination. 13355 Carlotta.G. A. Quiros 2 costly that they were only to be had in great libraries, can take its place. Although Sevcik in if written in alternate dotted sixteenth 13260 Germany.P. Lawson 2 his voluminous bowing exerases directs marketed nearly four hundred sets of 13261 Wales.P. Lawson 2 much after the fashion in which Bibles were chained and thirty-second notes, always commenc¬ “Grove’s Dictionary of Music and Mu¬ its practice at the nut, middle and point Secular Part Songs 13384 Gaily Tripping. .L. R. Copp 2 ing on the up bow, and giving the down sicians,” which fact is perhaps the best 13395 Twinkel, Twinkle Little Star in churches. of the hand, yet while some b®efit might Anthem Treasury . for Mixed Voices bows to the alternate thirty-second notes. Artistic Vocal Album. testimonial that could be offered as to 13396 Follow Me, Full o: be gotten from its practice at the nut an It is not intended to convey the impres¬ Children’s Harmony Book—Preston the place the work occupies in the esti¬ As this will be the first book of thus, The progressive music lover of to-day realizes in the middle, it is most effective at the Ware Orem . 1 nature that we have published we have sion that all passages in dotted notes Child’s Own Book of Great Musi- mation of music lovers and music teachers. 13251 Godard (Jocelyn).P. Lawson 2% that to have a Grove Dictionary of Music and Musi- point and is always played there in actual practically unlimited material from which should be executed with this bowing, but While the price was being held stiffly to make a selection, and we have drawn 13252 Wagner (Tannhauser) performance. As will he noted the.short Single Vol. at $23.00 there seems to have been a large P. Lawson 2% cians in his own home is to put a whole world of only certain passages to which it is espe¬ Six Vols. upon the best of our resources in the en¬ 13262 England (Sally in our Alley) notes—32ds in this case—are played with number of possible purchasers who were P. Lawson 2% musical information within arm’s reach. cially adapted, requiring marked vigor Easy Octave Studies for the Piano 1 deavor to make a good all-round collection the down stroke and the longer notes witn and brilliance. It requires a violinist of Fantasy Pieces in Etude Form.... reluctant to pay quite so much, but now of part songs for mixed voices, contain¬ 13397 Rock-a-Bye, Baby.P. Lawson 2% the up strokes. If the strokes were re¬ Grove’s Dictionary of .Music and that our new edition is to be had for 13399 Hush My Dear, Lie Still and ability to know just what bowings should ing numbers suitable for all possible oc¬ Slumber.P. Lawson 2% Grove’s Dictionary is an everyday need for the versed and the short notes played with $15.00 there is less reason for a teacher be applied to various passages in a com¬ Harmony Writing Book—Jos. H. casions, of singable, melodious character 13405 Taking DoUy’s Picture the up and the longer notes with Moore. or musician being without this encyclo¬ throughout and of intermediate difficulty. A. Geihel 2% active music teacher who knows by experience that position. 13406 Going-a-fishing_A. Geibel 2% the down bow, the bowing would Melodic Studies for the Special De¬ paedia of musical knowledge and infor¬ Every number in this book is a gem. 13407 Mabel’s Party_A. Geibel 2% the more he puts into his lessons in the way ot velopment of Left Hand. mation. None of the pieces will be found in any 13408 Happy Days (Girl’s Glee New Four-Hand Album. other collection. Every choral conductor Song).A. Geibel 2% preparatory study the more he will get out of them. Part Songs for Men’s Voices— C. C. For the benefit of those who are not 13409 Boys of the Nation already acquainted with it, we will say should he sure to give this work a thor¬ A. Geibel 2% Progressive Piano Student. that “Grove’s Dictionary of Music and ough examination, taking advantage of 13342 Chinese Lantern Dance Mischa Elman on Some Phases of Modem Violin Playing School of Violin Technics, Book I—■ the special introductory offer of 15 cents. P. Brounoff 3 Henry Schradieck . Musicians” consists of five large octavo 13345 Flower Melody, Op. 104, The Great Grove Dictionary The well known violin virtuoso. Mischa ter of personality nowadays Tte .* Secular Part Songs for Mixed volumes of nearly a thousand pages each No. 2.F. J. Liftl 3 ard of technical equipment demanded and that the work covers the whole field Part Songs for 13346 Petite Serenade, Op. 104, Elman, recently gave many interesting Standard First Piano Pieces. No. 3.P. J. Liftl 3 At a New Special Price views of the modern violin art to an in¬ to-day of any violin player who has the Teacher and Pupil—Carl Koelling.. of musical achievement, giving ample Men’s Voices 13350 Dancing Wood Nymphs right to be known as a virtuoso is so You and I, Four-Hand Pieces for historical, biographical and critical data W. Rolfe 3 terviewer of the New York Musical This new book is now ready for the 13367 Serenade Barcarolle Pianoforte—Geo. L. Spaulding. . as well as extended articles on each of the Owing to the immense editions of the Grove Courier. Of playing the compositions ot high that it may be justly said anyone of press, but we will continue the special in¬ P. Brounoff 3 many branches of musical knowledge, such 13366 Menuet Rose...P. Brounoff 3 Dictionary now being put out by the Theodore Presser the great classic composers in modern them is the equal technically of any other. troductory offer during the current month. Music Supplies by as Harmony, Counterpoint, Fugue, Com¬ The collection has been compiled by Mr. 13382 Danish Peasant Waltz style, and with different interpretation The only real difference in their playing E. F. Christiani 3 Company of Philadelphia, the price (which for three is the individual note imparted by the per- Mail Order position, Theory, etc. The biographies of C. C. Robinson, who has written an in¬ 13389 Chatterbox.E. Parlow 3 than was customary when these composi¬ the greater individual composers are com¬ 13388 Gathering douds.E. Parlow 3 decades was 325.00) has been reduced to 315.00. The tremendous success of certain few troduction with suggestions for the mak¬ tions first appeared, he said: The in¬ sonality of the player.” plete, supplemented with a list of each ing up of programs, etc. The book is 13390 Tambourine and Castenets To justify his original readings of many mail order houses who sell anything, from W. W. Smith 3 troduction of what I may call modern a paper of pins to an automobile, at very one’s works, while the less prominent mu¬ divided into four departments as follows: 13391 Dance of the Nautch Girls in five volumes, This is the very latest edition, feeling and expression into classical works well known violin works, Mr. Elman fair prices, proves conclusively the prac¬ sical writers, as well as famous performers, program numbers, humorous numbers, W. W. Smith 3 singers and conductors, all receive due Happy Dream.H. Clark 3 identical with the latest London edition, but with a is something which must come and has said : “Tradition, what is tradition? Tra¬ ticability of the system. folk songs, and sacred numbers, including Danish Peasant Dance consideration. For the student, the teacher come of itself, in sympathy with our gen¬ dition does not exist. It is simply what This house is the pioneer of mail order pieces for masonic use. There are 23 E. P. Christiani 3 more attractive binding m red cloth. Sir George or the music lover there exists no other numbers in all, each one original or spe¬ 13369 Egyptian March.P. Brounoff 3% eral attitude toward music. For instance, the artist feels. Is there any tradition music selling. We followed no one. Ap¬ reference work comparable with “Grove's cially arranged for this work. Mr. Robin¬ 13317 A River Song.J. L. Roeckel 4 Grove’s great masterpiece of musical scholarship de¬ undoubtedly I, in common with all the about a composition when it is written? plied to music selling, mail order supply¬ 13357 Old Mission Chimes Dictionary.” The present low price (as son is an experienced quartet singer, who S. F. Widener 4 manded the work of 184 renowned specialists over a ether leading virtuosi, play the Beethoven No. Absolutely no. There cannot be. ing required very special conditions. well as easy payment terms) should make has made a specialty of glee club work. 13368 Dream of Carmen concerto in quite a different style from the The composer first learns the tradition For instance, from the beginning our it possible for every musician to possess P. Brounoff 4 period of 16 years. There are over 4000 pages and He is eminently fitted for the compila¬ 13378 Butterflies, Op. 158, No. 1. way in which it was played in his own of his own work on hearing it played for liberality regarding terms, unheard of in these volumes. tion of a volume of this character. The other lines of business, insures satisfac¬ 0. Gurlitt 4 over 5,000,000 words. day, but at the same time if he could hear the first time by some great artist. Then special advance of publication price for 13386 Fellcita.C. Mora 4 tion in every transaction. Our prices this collection is 15 cents. 13393 Love in May.W„ Rolfe 4 it as it is played to-day, it is an absolute along comes another great artist and plays from the beginning were the best that it The Complete Grove 13394 Pavane.W. Rolfe 4 certainty that a composer of his immortal the same work. Perhaps the composer Dictionary 13413 FeuiUet D’ Album (Album was possible to get anywhere, and they Leaf).H. R. Ward 4 How These Invaluable Books genius and catholicity would approve of hears several new things in it, some new have never been changed, although they Find fifteen persons who would benefit You and I. Four-Hand 13308 Fragrance from the Garden any rational differences in the reading developments of its possibilities of which have been of late approached by others by The Etude for o,ne year. Send in Pieces for the Pianoforte M. Pesse 5 May Be Gotten as an which may exist.” he never dreamt and thus a second ‘tra¬ who have entered this line of business in their subscriptions at one dollar and a By George L. Spaulding Commenting on the fact that he receives dition’ is introduced, and so on and so a small way. half each, and we shall send you in re¬ This is a decidedly novel work, in which Perhaps the greatest necessity of mail turn for your effort a complete five- 13414 Etude no pupils, Mr. Elman said: “In fact, it on. Every great artist has the right to some of the popular and interesting Premium order supplying is to have a large and volume set of the world’s greatest musical PIANO SOLO, LEFT HAND ALONE seems to me that teaching is so absolutely exercise his own taste and judgment and features to be found in some of Mr. complete stock, whether of their own pub¬ reference book. Grove's Dictionary. If Spaulding’s hooks for piano solo, such as 60 Annie Laurle-Robin Adair a serious profession that the teacher for M. A. Henry 3 . If it is not convenient for you to pay the cash to make a new ‘tradition’ for every work, lications or not, preferably of both, and you buy this famous Dictionary it will “Tunes and Rhymes,” are applied to the time being must give himself up to cost you fifteen dollars. Only a few years 13313 Waltzing Nymphs price of 315.00 you may secure a complete set of so long as he can justify his interpreta¬ after thirty years of this sort of work, four-hand pieces. Just as in “Tunes and G. L. Spaulding 3 it to the exclusion-. of all other work. The publishing and dealing, no more active ago it would have cost you twenty-five. tion. In reality, nothing is hackneyed. Rhymes” the pieces in “You and I” are PIANO, FOUR HANDS Grove at the cost of a little pleasant activity. Nearly true position of a teacher to a pupil is catalog and no better selected or larger Now you may have it for just a little Everything depends on the artist and the of characteristic nature, every piece hav¬ 13353 Just a Little Sunshine every reader of The Etude has at least fifteen musical like that of a parent to his child and the stock of the publications of the world can pleasant work. A great many will do this ing an appropriate text, which may be G. L. Spaulding 1—2 . reading.” only teacher who can be really successful be found anywhere than here in Phila¬ by correspondence, as subscriptions often sung or not as desired, but in the case of 13365 A Lady of Quality.C. Wolf 3 acquaintances who would enjoy an annual subscription Other striking Elman ideas were the delphia. come at the end of a few tactful letters. In the Woodland Mill, Op. 77 is the one who is prepared to devote him- . “You and I” the text is printed out in F. T. Liftl 3 to the journal. Send in 15 subscriptions at 31.50 following: “To hear a well loved, we" Our organization during this present Tell your prospective subscribers how the parts for both the primo and seeondo self whole-souledly and exclusively to season has been greatly augmented. Our much you have gotten from The Etude. SIX HANDS each and we will send you the Grove Dictionary as. a communicating something of himself, his remembered piece is like having the warm players. Although the duets are very 13373 Marche Heroique business has shown a large increase, no Send them an Etude circular, such as the easy, lying chiefly in the first and second ideas, and thoughts to his pupils.” sun flash out from the clouds after > G. L. Spaulding 2% j premium,—a bonus upon your ambition and your in¬ doubt owing to the general prosperity excellent new twelve page booklet, which grades, nevertheless the parts for the two VIOLIN AND PIANO Mr. Elman considers the difference be¬ shower,” and “too many violin pupils »e throughout the country, and we are also contains a pronouncing dictionary of players are independent throughout and Among the Moon Flowers terest in The Etude. tween the great violinists of our day one taught the violin only, without proper equipped at the present moment to take 500 master musicians. We will help you Of very nearly equal difficulty. It goes 13372 Danse Rustique. . .0. Kriens 5 j of “personality” only. He said: “As a preparation in advance in harmony a«d care of every order, large and small, which by giving you these interesting circulars without saying that all of the pieces are in needed quantities. Then send the names PIANO STUDIES If you cannot send us all the fifteen subscriptions matter of fact, all violin playing is a mat- any teacher, convent or school feels justi¬ tuneful and bound to prove interesting to theory.” fied in entrusting to our care. We will of your prospects to us and let us send 13343 Second Grade Study—Rustic young players. Special price in advance Bridge . . . . R. S. Morrison 2 send us as many as you have been able to get and we fill every order economically at the best them a sample Etude without any cost to of publication is 20 cents, postpaid. 13356 Time Studies. S. Steinheimer 2-3 I you. We will do anything within reason shall be glad to send you the books as a premium, price possible, and best of all, promptly. 13379 Studies for the Left Hand Our later catalog, the Hand Book to help you arouse an enthusiastic interest. Alone, Op. 1103 allowing you a reasonable balance of the cash value. Standard First Piano A. Sartorio 3-4 1.1 nnmz-mg vjie dUII of Piano Music, the Singers’ Guide, our Your Grove Dictionaries will last you a Choir and Chorus Hand Book, have been lifetime and you will refer to them con¬ Pieces VOCAL Those having active accounts with Theo. Presser Co. 12235 Hail to the King Ole Bull was constantly doing unique Ole Bull was a giant in stature, found of great service to teachers and stantly. Such a valuable possession is There is a constant demand for volumes H. T. Burleigh 3 .( can of course, have these books charged; partial pay¬ things which kept him in the limelight. professionals, and are free for the asking. surely worth the effort when at the same of very easy piano music, and we have A Reverie...... H. Clark „ the ordinary full-sized violin looked The best proof of the value of our time you know that every subscription 12443 Moonlight-Starlight ments can thus be made at convenient periods. In the latter years of his life he played in view of publication a volume of easy H. Gilberte 5 the viofin on one occasion at the summit a toy in his hands. He used a bow method of dealing is to entrust one order you secure for The Etude extends your music containing only those compositions Calm on the Listening Ear own circle of musical influence. Why not of Night.S. Thomson 4 of Cheops, the highest pyramid in Egypt or three inches longer than ordii which have unusual merit. The scope Send your order direct to the The “On Sale” system, supplemented by write to-day and let us send you some taken in will consist of our entire cata¬ Daghestan Folk Song He was attended only by a few friends owing to the length of his arm. T. B. Galloway 3 New Music on Sale, that is, novelties sent circulars to start with. Never mind log. There will be no distinction between 13361 Waiting.H. R. Shelley 3 wu a 1body^ard of Egyptian guides. fondness for playing lengthy passag out once each month during the teaching whether you have never secured any sub¬ the new and the old. We seek only merit 13362 Waiting.H. R. Shelley 3 When the brilliant tones of the violinist’s broken chords of three and four season, is laid out on the most liberal scriptions before. Experience is not needed 13363 Waiting.H. R. Shelley 3 in this volume. Nothing will go in it but 13364 Waiting.H. R. Shelley 3 THEO. PRESSER CO. Cremona rang out in the dry, sunlit caused him to use a very flat hi basis to be found anywhere. The general so much as a little tact, a little persistence what has been tried and found to be of T Never Knew. . .H. Tourjee 3 plan was the result of the knowledge and and much enthusiasm. A good beginning Egyptian air, it is said the Egyptians which, while it facilitated his chord permanent worth. Every teacher ought to “ ‘ 4, No. 1 SOLE AGENTS PHILADELPHIA, PA. present were so surprised and fascinated experience of the head of this house in made now should place you in possession possess one of these volumes. Our special ing, made it difficult to produce his previous teaching work. Our On Sale of this wonderful 4000 page work in a advance price will be but 20 cents, post¬ that they fell on their knees, and called THEO. PRESSER CO., Philadelphia, Pa. on the name of- Allah. tone on the inner strings in the 1 plan will repay any investigation. few weeks. paid. positions. 148 THE ETUDE Shopworn Music III* Child’s Own Book of We again offer for sale shopworn music Progressive Piano Student Great Musicians By Thomas Tapper at quite a nominal rate. This music has By Theodore Presser never been sold, but it is an accumulation This work is a continuation of the Be¬ This charming series of six or m01.c EASTER MUSIC on our shelves for a number of years, ginner's Book, for which there has been Buying for the Home biographies of which two are published INDIAN SOLOS IN SHEET FORM and in this way we are reducing our fB have an extremely novel form. The child a constant demand. We hope to have stock of those things that have no particu- jj rery. Dawn of Life, The. 2 "'HE ETUDE is essentially a home paper because it deals is shown how to make his own little ho,* the book out before the winter season yH lar sale at the present time. The music ^ Keys—High and Medium.. $0 is over, and we would be very glad in¬ with the chief joy in thousands of homes of prosperous, 'The pictures arc cut out by ulc chil,j zet. O Lamb of God. With itself is most excellent, only the demand ■ Violin Obligato. High Voice deed now to receive any advance orders. from a big sheet and pasted in the book Norris. Alleluia. 2 Keys- cultured people and does not go to factories, offices, ° MUSIC for it does not warrant our keeping it. m High and Low Voice.00 then the little one binds the hook witli To all of those who have been using the shops. THE ETUDE readers in these homes wear good clothes, Rotoli. Glory to God. 3 Keys Beginner’s Book this will be the logical needles and thread. In addition to this We have a great stack of it that we will -- Day of Resurrec- —High, Medium and Low have good furniture, read good books and are fortunate in ein§ sell at $5.00 a foot, or $2.50 for a half : 2 Keys—High and continuation. The work will begin with the child writes in his own answers to Transcribed, Harmonized, able to indulge their tastes for certain conveniences, luxurie questions. The first hooks published are foot. Slinekley. In the Dawn of the the scales, which will be treated exhaus¬ ( haHiII. I Know That My Re¬ Early Morning. 2 Keys— the lives of Bach and Mozart respectively and Composed There arc certain conditions connected J deemer Lives. 2 Keys— ■ tively in this volume besides being inter¬ and comforts. High and Low. High and Medium Voice.... .60 spersed with considerable additional ma¬ The books are proving very popular. The BY with this. We have this music all put up m Shelley. Easter Triumph. 3 Many have come to buy their needs through advertisements Coombs. King of Glory. 2 terial of an entirely new kind. The suc¬ books published are now obtainable at CARLOS TROYER in bundles and there cannot be any sc- F ; Keys—High and Low Voice Keys—High, Medium and ^ that appear regularly in THE ETUDE but there are also many fifteen cents each. The books in prepat- lection made at the above rate. The : J Gelbel. The Risen Lord. 2 llttlllllllii cess of the Beginner’s Book assures the Keys—High and Low Voice Shelley. King of Kings. Vio¬ success of this Progressive Piano Student. who fail to add to their letters “I saw your advertisement m ation, Mendelssohn, Schumann, Schubert AND packages that we have made up contain jy Gelbel. The Light of Hope. 2 lin Obligato. 3 Keys- So send in your order for as many copies and Handel, may be ordered in advance either vocal or instrumental There are ' Keys—High and Low Voice High, Medium and Low.00 THE ETUDE.” at ten cents each. This is a part of our THURL0W LIEURANCE Gelbel. Hail, Glorious Morn. 2 Solly. They Came to the Sep¬ as you desire while it is still on special a variety of grades in each package and . Keys—High and Medium ulchre. Tenor (or soprano). .00 offer. Our advance price is but 20 cents, The advertiser naturally wants to know whether his invest¬ regular introductory method of selling our there is also a mixture of popular, classic, H§ Gouuoil. Easter Eve. 2 Keys HE works of Carlos Trover are a Starr. The Day of Rosurrec- postpaid. ment is a profitable one and it will pay ETUDE readers to a works at a special rate prior to. publica¬ T and educational. In fact all kinds are —High and Low Voice.... 2 Keys—High and tion. If you wish to order the set of six unique and valuable contribution Gounod. Easter Eve. With Mediui the above line to their letters when they write. found in each package. This music at | Violin and Organ Obligato. send us fifty cents and we will send you to the growing mass of compositions on $5.00 a foot is worth about $500 retail. 5J 2 Keys—High and Low Children’s Harmony Book Harding. Hail to the Risen the books already published (Bach and Indian themes, steadily winning for This is what a foot is usually reckoned U j By Preston Ware Orem Mozart) and the others as they appear. Lord. High Voice. themselves a more widespread interest. to contain. Our price is 1 per cent, of j Holt. The Lord of Ages. 2 ul is. Voice Tr The announcement of a new elementary Keys—High a: 1 Low Voice. • Their- fidelity to the Indian ceremonials this price. If there are but a small num- H Keys—High and Medium harmony has proven welcome news to the Voice. (Palm Sunday)_ Ulis. Resurrect!, Melodic Studies for the Special Artistic Vocal Album School of Violin Technics gives them a genuine romantic and her of pieces that are useful it would pay H Lansing. Lord is Risen. With Voice . many teachers who have been in search Development of the Left This new voiume^iswel advanced to- Book I Violin Obligato. 2 Keys— O Gladsome Day of a work of this nature. In this new historic interest, and musically they are anyone to have the music. It is under- H High and Low Voice. violin and 'Cello O u..j 11402 ward completion. It will be a large an By Henry Schradieek of great Impressiveness. Thesetraditional stood, also, that the music is not return- j Mueller. Sing With All the High Voice. book special attention will be given to Hand. Op. 1092 handsome book gotten out in the best style Scliradieck’s School of Violin Technics songs oftheZuni Indians arevery original able and that cash must accompany the U Sons of Glory. Medium foundational work in theory with the en¬ A. Sartorio and containing songs of proven popularity DUET deavor to present everythinguhg in as plain /v‘ oal , . .. and containing songs of proven has long held a foremost place in the esti- native Indian songs and chants, recorded order. We trust our patrons will eon- Hf Neldlinger. Christ's Victory. 3 Rockwell, G. N. Every and simple* a manner as possible, laying This set of studies has for Its purpoM by the best modern and contemporary mationg()f violin teacbers. There is rea- during many visits of Mr. Troyer among form to the above conditions. We made a RJ Keys—High, Mediui That Blossoms. (I Low . :cial- - stress• upon an-■ elementary •omrlrwur* the soecial developmentV S- TV rof theoo left nana.nnf wr>VilLC13i).ers- None of these: songs are to oe for Voicing, therefore, at the fact these tribes, and transcribed and har¬ similar offer last fall and we have not fH 1 Alto) a preparation for the practical knowl- Although the studies themselves found in any other col that a new and carefully edited edition of monized by him. heard a single complaint from anyone who ijj CAROLS IN OCTAVO FORM edge of intervals and chords and their for the left hand alone, the "ght hand such a volume as will j this work is now being issued at a reason- has purchased this music, and general |jf Gow. Ye Happy Bells of Eas- Wheeler. Welcome s ™ . , , _ l- _.i____3 a pre- Vmchas thetVio subordinate nart.part, me special dition to the library of any experien There are Thirteen Songs ter Day.io Morning. This book may be used s r first e.‘ able price. Schradieek has had, perhaps, satisfaction has been expressed in all cases. |j Sheldon. Message of the Bells. .05 ' ' anyy course in tlth, ' I ■£ +l”° 1S a more varied training and a wider ex¬ as follows: ft" will ' be found as3 up-to-date !as it is ot an tne amemiuu jj.™, - — 3S *nts. perience than any living teacher of the “Sunrise Call,” or Echo Song. ANTHEMS IN OCTAVO FORM possible to make it. The special intro- hand, and secondly the melodic qualities violin. He happily combines the solid ■leh. s It Beg 1 To r r-Adni ductory price in advance of public?*-" Thev are interesting throughout. Some of =3 Allen. Now is Christ Risen... G ran German school with the lighter and more = Alt water. He is Risen.id God Hath Sent His for this volume is 30 cents, postpaid. them are very closely bordering on pieces Fantasy Pieces in Advance of Publication jg Avery. Come, See The Place They have very interesting rhythms ana delicate Franeo-Belgian school. The first Etude Form book contains finger studies, carefully Offers Withdrawn = Where Jesus Lay.io otehkiHN. Thanks Be to God. „ _ , , ... rich and full harmonies. They are about By Gustav Lazarus ... .. r__ owe. Sing With All tile Sons New Four-hand Album grade three to four. They are suitable graded from first to seventh positions, February 1, 1916 IB Has Decked the Sky.15 of Glory. A good new set of studies for all-round double-stoppings and opportunities for all : ; Berwald. Rejoice, the Lord is lag. I am He that Liveth... The special offer on this new four-hand for every pupil as the average pupil is Time Studies, by Sidney Steinheimer. m King.15 album will be continued during the present deficient in left hand technic and these use, in which technic, rhythm, phrasing, manner of bowings. It is edited by Mr. Berwald, W. Triumphant Lord, month. There is a constant and increas- studies will go a great way toward equal¬ and expression are all combined in goodly Frederic Hahn, a very painstaking and Price 80 cents. This is a very valuable =g Thy Work Is Dor Mnrchnnt. Thanks be to God. .15 proportion. There is always need for thorough teacher well acquainted with the set of studies for second grade or early Billings-1,erman. Til Martin. As it Began to Dawn. .10 ing demand for a good four-hand album. ;zing the hands. Too much attention can- = Risen Indeed Minshall. All Glory, Laud and This volume will contain principally those not be given by any teacher towards equal- new studies in the intermediate grades, most modern developments of violin tech- third grade work. It contains just such Honor. .08 pieces that have appeared in The Etude izing the hands. This will be the last set the continued use of just a few nic. Advance of publication offer rhythmic problems as are bound to con¬ Miusliall-Nevln. Christ is Risen from time to time* all printed on good Gf special studies that will be issued by works is apt to become monotonous. Mr. • School of Violin front the young student, and all are paper and bound .securely. They will be this composer, so this will be the final Lazarus is a successful composer and worked out in an interesting and pleasing the very best selection of duets in perma- opportunity you will have to procure such teacher, who has made a specialty of edu- manner. Easter Triumph, TRIUMPH. (New). Bind Your Copies of orrison, R. S. Christ tile Lord nent form, containing both- classic and „a work- at the nominal rate of 15 cents, cational works for the pianoforte. These The Little Artist, Album of Pianoforte Brackett. Glory, O Go is Risen To-day . popular and easy and difficult, but all will postpaid, i studies may be used to advantage The Etude Permanently Pieces, by Frances Terry. Price 50 cents. Evermore . eidlinger. Jesus Christ is be of a playable sort. There will not be with any third grade student. Special in¬ For $1.00 or $1.25 it is possible for yon Braekell. Hail, Thou Risen To-Dav . An excellent little volume from which to Despise ’ ’ eweonib. Dav of Resurrection a dull piece in the entile volume. How- . , p troductory price is 15 cents. to obtain from the publishers rtf this select the very first pieces. Although iehol. Now is Christ Risen .. ever, this is unnecessary to state because Teacher and Pupil journal a substantial binder, cloth sides, naturally they are as easy as possible orris. As it Began to Dawn, we all have an opportunity to examine By Carl Koelling .. _ c . so manufactured that the back will hold erelppe. Come Ye Faithful. . . to play, nevertheless every number pos¬ ereippe. How Calm and the kind of duets that have been placed TWs Jg 3 p0sthura0us work of this most MUSIC on S>aie exactly twelve issues, any one or all of sesses real musical value. The pieces are in The Etude from month to month. Oar popuiar writer, and it will he the last Our patrons have not appreciated the . ______Beautiful the Morn. phich can be taken from the binder in a interesting but not trifling in nature, every ereippe. Lift Your Glad special Introductory price for this volume ^0£k of this orjginax composer that will advantages that we place at their disposal fractional part of a minute. The $1.00 Brander number being in characteristic vein with will be but 20 cents. This about covers be pubusbed. The work is a set of four- by new music on sale. All our customers binder is one sold by us for a number of Christ Our Passover. an appropriate title. Camp.' Behold, I Tell You a . Christ the Lord is paper and printing. hand pieces for the teacher and pupil, are privileged to receive the new pieces years and has given excellent satisfaction. Torday (Easter Pro- The pupil’s part is within the compass of right from the press in small packages, The one for $1.25 is a much heavier binder, Toy Shop Sketches for the Pianoforte, Chappie. Christ our Passover Fasv Octave Studies five notes. The pieces are not unlike the which we send out monthly during the nlore substantial than the other. In addition to the above we have by James H. Rogers. Price 75 cents. A Chase. Risen to Reign. published an Indian Music Lecture Coombs. The King of Glory.. . F J.b Piano Diabelli duets, but vastly more modern, winter season. This music can all be kept volume of very entertaining pieces suitable Costa. Hosanna in the Highest. Tor tne nano They commence with grade one and go until summer time when the unsold is re- Magazine Subscriptions to be given as a part of the program in for second grade .work. Each piece is il¬ from '■Eli” . Beautiful the Morn. We have in the course of preparation a a iitye beyond grade two. They are in turned to us. This is a great advantage „ f I? oHnciai Prirnu connection with the above music. Those lustrated with an appropriate border Dunks. Christ the Lord is Sliackley. Christ our Passover. purchasing the entire set receive the Simper. Hallelujah, Christ is set of very easy and interesting octave various keys with most interesting rhythms to teachers living at a distance. They , . . , . printed in two colors. Mr. Rogers is one Risen. studies. They will be selected from all and harmonies. The volume is one of those get the new issues to examine, with only ,nore P°Plllar means of mdua g lecture free; otherwise 50c, of the foremost American composers, who Christ is Risen.20 Smallwood. Thanks be to God. sources and from the works of the best that the ils will delight in, and we take the cost of postage. If you desire to subscriptions to magazines exists to-cli) Solly. Behold I Shew You a Thurlow Lieurance has worked is equally at home in the writing of easy Wm. 'Tis Glorious writers on piano studies. The most difficult pjeasure jn giving this volume our heart- receive our new issues for the rest of the than^that of^ combining two :r Morning . .10 me real in tne , 7. . - . , . among the Indians for a long time. He teaching pieces or in works of larger Solly.' He was Crucified and octave study ii i i_ i <*0 be- approval. Our special advance price season, kindly notify s by post card and a rvHuctum from the price of each. Each year certain publishers of maga¬ is otherwise a practical musician and calibre. This would make a very accept¬ yond Grade 2*/2. 7—hlJ^ - h/TLfTll- fo^the s e will be but 20 cents, post- welcome a volume of this kind, and there zines combine together and offer special successful composer. His volume of able gift book for a young student. Enstlmni, W. H. Hallelujah, is nothing that develops a sure and ac¬ bargains. Any two magazines can he ob¬ Nine Indians Songs retailing at #1.25 The Greatest Love, by H. W. Petrie. Christ Is Risen. contains melodies from various tribal East ham. W. H. Why Seek Ye Exalt Thee .... curate piano technic better than the study tained at a reduction. The result of tins Price 75 cents. A cantata for Easter or sources. Wonderful to relate the songs the Living?. ALLELUIA! of octaves. We are making every effort practice for a number of years has general use, full of melody, has real musi¬ Flagler. Christ is Risen. Hal- have real artistic merit—they are not cal character and merit, just the right to have this volume meet the constant brought about the condition that there are Sabbath Was Past.... demand for music of this kind and our Indian Musical Curiosities. They are length for a special ' musical service. Christ the Lord few studios or homes that don’t contain real native songs. The author includes en To-da SI nils. As It Began to Dawn. patrons may look for something of un¬ A Good Income All Next Summer n wealth of magazines. A musical maga¬ Twelve numbers, divided up for four Regina Sudds. This is the Day. many descriptive notes regarding the Trowbridge. Hallelujah, Christ usual merit. Our special advance price zine, one of fiction and one of current soloists and a chorus. Duration 40 min- is Risen. HE difference between the joy of putting money in bank Indian customs and ceremonials. Other is but 15 cents, postpaid. T events is almost a necessity in every home. compositions by Mr. Lieurance are as ilricli. Awake Thot Trowbridge. Why Seek Ye the in the Summertime and the annoyance of drawing out The following are valuable combinations Scherzando. Musical Game. Price 30 Living? .. follows: For piano solo—By the Waters Goodrich. Sweetly the Birds Watson. Give Thanks unto the Harmony Writing Book your savings is very great. THOUSANDS of teachers of the current season: of Minnetonka—An Indian Love Song, cents. Designed particualrly for young are Singing. The Etude, Collier’s Weekly, and W By Joseph H. Moore have turned their time into money during recent Summers by $0.40; Indian Suite, $0.40; Indian students, elementary staff notntion being Gounod. Blessed is He who set/’s Magazine, a value of $5.00 for $W» Cometh. For practice in interval, chord and conducting special Summer Courses. March is not a bit too Flute Call and Love Song, $0.25; and the basis. The scheme of play is similar The Etude, Current Opinion, and Am«r>- two songs: By the Waters of Minne¬ to many games along the same line as scale writing nothing better can be found early to commence advertising your Summer teaching courses can Magazine, a value of $6.00 for $■>■"• tonka (with violin or flute ad lib.) $0.60; Complete Easter Services for Easter Herald than this little book. It is about the same the well-known game of Author*. Pro¬ Collection of Anthems by Various Composers in THE Etude, if you would lay the foundation that others The Etude, American Magazine, an The Sacrifice,—Indian Morning Song, duces familiarity with clefs, signatures, Sunday-schools size as the usual music writing blank Delineator, a value of $4.50 for $8.65. book, but it contains a series of writing have laid for a Summer of profit instead of a Summer of waste note names and note values. HAIL FESTAL DAY! by R. M. Stults The Etude, World's Work, and exercises as mentioned above. Series of Successful Summer Schools have been taking more and more The above five works will be ready for politan, a value of $6.00 for $4.50. THE RISEN KING by Various Composers In addition to our own public intervals are given to which the student space in THE ETUDE year after year. A one month printed Any or all of the above will be distribution as this issue appears from the The Etude, •Woman’s Home Cotf* ent on inspection to our patrons have a large and complete steel applies the proper names, and series ot introduction in THE ETUDE will help but the more months you $4.50, W press. The special advance price on all DAWN OF HOPE by R. M. Stults and Others Music for the Sunday-school a intervals are given for the pupil to form. , and • American Magazine, if our usual large discounts. Single Copies, 5c Per Dozen, (prepaid) 55c Solos, Duets, Quartets, Anthen get in the larger your opportunity to inform the musical public of them is withdrawn with the date of this Space is given for the writing of all the Per Hundred, *4.00 of your coming Summer activities. *To same address. : issue. Any of these works or others pub¬ major and minor chords and of the seventh lished by this house, or even kept in regu¬ All sent on Selection at our tsual Liberal Discount. chords. In addition there is a series of Copy for the March issue must be in before Februarv 10th The Etude, McCall’s, with pattern, an THEO. PRESSER CO. Music Publishers, Dealeri Everybody’s Magazine, $3.50 for $2.85. lar stock though published by other houses, THEODORE PRESSER CO. PHILADELPHIA definitions in the form of questions and Write THE ETUDE for rates, particulars, etc. will lie cheerfuly sent on inspection to re¬ answers covering all of elementary theory. The Etude, Delineator, and Ereryoo j sponsible parties. ' Iliilllllllllliillllllllllllllllllll Special introductory price for this book is $4.50 for $3.00. ^ For other combinations of less value n THE ETTJBE when addressing o but 15 cents. page ICO in this issue. mm..
THE ETUDE THE ETUDE 151 150
Conservatories—Schools —Teachers De^el] chicag0 l Conservatories—Schools—Teachers I western
-^ISRAELI Centralizing COLUMBIA SCHOOL OF MUSIC Effa Ellis Perfield The National Conservatory 15th Year CLARE OSBORNE REED, Director VIRGIL PIANO CONSERVATORY School of A superior school for desirable students. Eminent faculty of 60 teachers. Offers a complete education in of Music of America MUSIC-EDUCATION PIANO, VOICE, VIOLIN, THEORY and PUBLIC SCHOOL MUSIC, leading to graduation and degrep., Special Trai Incorporated In 1885 and Chartered Famous for Instruction in Technic, Pedalling, Interpre¬ CALVIN B. CADY In 1891 by Special Act of CongresB. Music tation, Theory and Harmony Playing. LEcolcmbul jlmwroSf5*’ Ellis Perfield Music School, Inc (JEANNETTE M. THURBER, Founder and President) National Conservatory of Mi Special Courses for Teachers. because their standard is so hig,-high and - ments are so 6trict. Many teache Semi-Annual Entrance Exams. Centralizing School of Acting >upils hold Keyboard Harmony certi Fall Term begins Sept. 27th, 1915 LECTURE AND Edward Dvorak, Director THE COLLEGE OF MUSIC OF CINCINNATI _but few hold the Teaching Syste la NOT condi^ted^for^Pr^fit^^AIl^It3^Earmng8 Are Returned To the Student, in the Form of Increa.ed Diploma authorized by the State of IIline Singing, Piano, Violin, etc. FOR INFORMATION WRITE NORMAL COURSE ENGAGEMENTS ! Departments: Piano, Theory, Voice, Violin, ider corporate seal and accredited by t! ON THE PACIFIC COAST Violoncello, Expression. Send for Booklet. Board of Edu< ' Write For Our Catalog and Booklet. Why not affiliatet Address Faculty of Renowned Specialists MRS. A. M. VIRGIL, Director 11 S with headquarters and temporary address Box 26, 20 E. Jackson Blvd. THE COLLEGE OF MUSIC OF CINCINNATI ™ Portland, Oregon, 715 Everett Street. National Conservatory of Music Addrees Secretary, CHICAGO, ILL. Elm St., opp. Washington Park Cincinnati, Ohio w EFFA ELLIS PERFIELD, Dirt- r Suite 950 McClurg Bldg., 218 S. Wabash, Chi 126 W. 79th Street, New York City THE “TEK” is The “reaZ thing” for piano practice. UNIVERSITY SCHOOL AMERICAN DETROIT INSTITUTE Cosmopolitan School °f Music GENEVIEVE BISBEE Of the greatest advantage INTERNATIONAL OF MUSIC and Dramatic Art to players and comfort of ALBERT A. STANLEY, A.M., Director CONSERVATORY LESCHETIZKY METHOD OF MUSICAL ART MRS. W. S. BRACKEN, President the household. Ann Arbor, Michigan Also Church and Concert Engagements /MUSIC Assisted by eminent faculty of 50 ar¬ Appreciated by teachers, Advanced courses are offered in all branches of Offers courses in Piano, Voice, Violin, tists. Offers to prospective students pupils and artists. CARNEGIE HALL, NEW YORK Organ, Public School Music, Diction, courses of study based upon the best mod¬ Dramatic Art, Languages, etc. Diplomas ern educational principles. Diplomas and Saves wear of the piano. and Degrees. Located in finest residen¬ degrees conferred. Many free advantages. tial district. Excellent dormitory. 19 reasons why it excels Learn Harmony and Composition Fall Semester begins October 4 Students may enter at any time CRANBERRY PIANO SCHOOL “Ann Arbor—An ideal city for summer study” the piano for practice. Addreas Secretary far catalog For particulars address Secretary Cosmopolitan Detroit, Michigan, Teachers’ Training Courses EXPLANATORY CATALOG ON REQUEST 67-69 Davenport St., Box 22 Auditorium Bldg., CHICAGO, ILL. FAELTEN SYSTEM. Booklet Address MRS. A. M. VIRGIL - 11 West 68th Street, NEW YORK Wilcox School of Composition iox E. 225 Fifth Ave., New York City, N. Y. CARNEGIE HALL - - NEW YORK MR. and MRS. CROSBY ADAMS Annual Summer Classes for Teachers of Piano Private Teachers Be a Teacher of Music Crane Normal Institute of Music for the Study of Teaching Material who^can qualify for Associate Faculty Membership in Training School lor Supervisors of Music MONTREAT, N. C. : CHICAGO, ILL. lar ConsVrvaloo'Advamage3/at Homljmth'certlfi- qualify for teaching Drawing*! Home Economics, Physical Write for booklet containing outline and strong Training, Mann&l Training, Industrial Arts, Penman- letters from Teachers who have taken the Course. THE von ENDE SCHOOL of MUSIC vantage. For particulars write to “The Foremost Musical Institution of America” MONTREAT, NORTH CAROLINA Pres. E. H. SCOTT Mailers Bldg., Chicago The Secretary, 3029 West Grand Boulevard,Detroit,Mich. ILLUSTRATED BOOKLET NEW YORK CITY POTSDAM, NEW YORK WILLIAM H. PONTTUS, Director Department of Music. CHARLES M. HOLT, Direotor Department of Oratory and Dramatic Art SCHOOL OF MUSIC THE EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATION and COMPREHENSIVE COURSES MAKE THE Accredited VALPARAISO UNIVERSITY VALPARAISO, - INDIANA. MINNEAPOLIS SCHOOL OF MUSIC, ORATORY AND DRAMATIC ART The University School of Mu: ic offers courses in Piano, Voice,Violin, Organ, Theory- 42-44 EIGHTH ST., S. MINNEAPOLIS, MINN. 1 the Music School and also take the regular work at the University. The Recognized Leading Inetitution of the Northwest SCHOOL OPEN ALL THE YEAR THE EXPENSES ARE THE LOWEST Courses in all branches of Music, Oratory and Dramatic Art, from Elementary to Post-Graduate, equal in standard to THE NEW VIRGIL Tuition, S35.50 per qt ...._ith Furnished Room, ?26 to £28 p . ,_ similar courses given in European Schools and Conservatories of first rank. Faoulty of Forty-four. Each department under NEW YORK SCHOOL Catalogue will be mailed_ fn _, B. Brown, President, orOliver P. Kinsey, Vice-President. Masters of vride reputation. Recital Hall seating 500. Two-manual pedal ripe organ.^ Fully equipped stage for acting and PRACTICE CLAVIER 43RD YEAR—STUDENTS ACCEPTED AT ANY TIME. Far superior in its latest construction to any OF MUSIC AND ARTS other instrument for teaching and practice. ^ Central Park West, cor. 95th St., New York City ^ CINCINNATI CONSERVATORY of MUSIC THE DAILY LESSON SCHOOL CLARA BAUR, Foundress VIRGIL SCHOOL OF MUSIC RALFE LEECH STERNER, Director Faculty of International Reputation DANA’S MUSICAL INSTITUTE :: WARREN, OHIO Our new buildings give us the most beautiful and Unsurpassed beauty of scene, facing Central Park, All Departments Open Throughout the Summer Forty-seventh year. Daily instruction in all branches of music. Chorus, Orchestra WINTER SE SSION IN ST. PETERSBURG, FLA. homelike school devoted to Music and the Arts which is the finest location in New York City and Military Band. Dormitories for ladies and gentlemen. Weekly Concerts. For Particulars address Secretary Elocution—MU SIC—Languages All Branches of Music and Arts Taught from the Beginning to the Highest Artistic Finish by a Also Special Summer Course in Send for Catalogue and Blue Bool WINTER TERM OPENS NOVEMBER 22d Faculty Composed of A; y.RG H. Executive Office, 567 Third Ave., New York City PUBLIC SCHOOL MUSIC OR A. K. VIRGIL, ST. PETERSBURG, FLA. Many European Celebrities and Eminent American Teachers Location and surroundings ideal for Summer study INCLUDING For Catalogue and Circular Address Arthur Freidheim, The Great Virt Liszt's greatest pupil. MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. !SF. OF MUSIC STUDY Zalfe Leech Sterner, Celebrated Vocal Teacher. BURR0WES C0UF ‘ e Eminent Violinist Kindergarten and Primary—Corres pondence or Personal Instruction I INSTITUTE OF MUSICAL ART Happy Pupils—Satisfied Parents- Prosperous Teach. ers. Classes are doubled by use of this method AN ENDOWED SCHOOL OF MUSIC S. Reid Spencer, Frank Howard THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS MARY WOOD CHASE. DIRECTOR—Author of “Natural Law. in Piano Technic.” s&srs i[CATHARINE BURROWES I The opportunities of the Institute are intended only for students of naturar ability Dormitories in School Buildings and Proper Chaperonage STUDENTS MAY REGISTER AT ANY TIME D. 502 CARNEGIE HALI NEW YORK CITY, or I with an earnest purpose to do serious work, and no others will be accepted. For catalogue Dept. D. 246 HIGHLAND AVE., HIGHLAND 1PARK, - - DETROIT, MICH. I and full information address SECRETARY, 120 Claremont Avenue, New York. Open the Entire Year. Pupils May Enter Any Day. Two Public Concerts Every Week, Complete Courses in all branches of music and dramatic art. Coaching students for rnns, including Tuition, Board, Practicing, etc., on application 8 Send for Booklet and Book of Via concert stage. Special Normal Course for Teachers. For Year Book address the Secretary. 630 FINE ARTS BUILDING - CHICAGO \ The American Institute of Applied Music BEETHOVEN CONSERVATORY .StiKn. (METROPOLITAN COLLEGE OF MUSIC) One of the oldest and best Music Schools in the United States N. W. Cor. Taylor and'oiw. Sis., St. Louis, Mo. ml 910212 WestWiese 4- 59thROfU StreetCfwQof MnttrNew YorkVawIj- CCity1 It-.. NEW YORK INSTITUTE OF MUSIC ATT Dry ~ND AVENUE (Corner 87th Street) GUY BEVIER WILLIAMS Complete courses in Voice, I Piano, Stringed Instruments, Public ARTISTIC PIANOFORTE PLAYINGerr, arcs VALUABLEVALUABLE COURSE IN MODERN PEDAGOGY MUSIC DEPARTMENT School Music, Thi d and Historical branches ALL BRANCHES TAUGHT BY EMINENT PROFESSORS and Head of Plano Department,ent, Detroit Institute of-* Mu 1 *-* iiETimn. .. ► Davenport.—1 Street 1303 Auditorium Building 30th Season—September 28, 1915. Send for circulars and catalogue VICTOR kuIdo g Accomm°dations Students in Building THE BREWER TEACHERS’ AGENCY JOHN B, CALVERT, D.D., Pres. KATE S. CHITTENDEN, Dean Established 1882 CHICAGO Director ” IVRITE FOR CATALOG ii YOU WANTED THAT POSITION COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Detroit Conservatory of Music MRS. LILLIAN COURTRIGHT CARD :: 116 EDNA AVE., BRIDGEPORT, CONN. ALBERT ROSS PARSONS _ . . „ Finest Conservatory in the West-42nd Year A THOROUGHLY PRACTICAL COURSE BY CORRESPONDENCE Students Qualified Francis L. York, M. A.. Pres. Students may enter Teaching, Sight Reading, Rhythm, Ear Training and Transposing as Concert Pianists £&.”,th“™chc. MICHIGAN STATE NORMAL COLLEGE WRITE FOR PARTICULARS OF THE NEW WORK FOR 1915 and Teachers : : Albert Ross^PiurTons, CONSERVATORY OF MUSIC
violin and theory. ITCourses for training supervisors and teachers and YOUR SUMMER CLASSES WILL GET A GOOD START ■ads to a life certificate valid in most states of the Union.^ Trotai hvmg LOUISE BURTON Soprano i :ory”^f MusIc/box" 9, Ypsilanti, Michigan. e Arts Bldg., Chica IF YOU BEGIN YOUR ADVERTISING IN THE MARCH ETUDE Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDEETUDy. when addressing our__ advertisers .. *Tini\VL 1 1 THE ETUDE THE ETUDE
About People and Things Conservatories—Schools—Teachers Orchestral conductors frequently let the 1 orchestra go through a passage without a time beat, which indicates that the or- The Jesse French & chestra has been drilled to perfection. Combs Broad Street Conservatory Sons Baby Grand Hans Richter would sometimes, lay down THE FLETCHER MUSIC METHOD his baton and let the men go without The Original Musical Kindergarten and Simplex Method of America Much of the prestige of this school any more signal than an occasional nod. and the success of its graduates and Brought to America through the interest of the New England Conservatory- pupils may be traced to the policy of He commanded them with his eye. eighteen years ago; and during that time taught to over 700 music teachers (every one critical selection of its Faculty. of whom could be employed in Boston alone); the demand is growing-rapidly for Anton Rubinstein visited America i Fletcher Music Method teachers in spite of the many cheap copies of this system. In keeping with this policy, the Board 1872-3; he brought with him the great The next class opens in January, 1916. Applications should be made early. of Directors announces, among other violinist Wieniawski. They gave many Read, “What is the Fletcher Music Method?” price $52.00. additions to the Faculty, the appoint¬ For full information regarding Normal classes and lectures for Educational, ment of such an eminent exemplar of the concerts in the United States and created Musical, and Mothers’ Clubs, apply directly to rigid ideals of the Combs Conservatory a great furore. of Music as MRS. EVELYN FLETCHER-COPP At a Boston concert where they w 31 YORK TERRACE_BROOKLINE, MASS. Herman Sandby playing Beethoven’s Kreutser Sonata, the E string snapped during the last moi Director of the Department of Violoncello ment. Wieniawski without the least e Mr. Sandby is the distinguished solo barrassment continued and finished the ’cellist of the Philadelphia Orchestra and movement. DUNNING SYSTEM has appeared with marked success with IMPROVED MUSIC STUDY FOR BEGINNERS that organization in Philadelphia, New Upon rising Rubinstein turned and A HEART TO HEART TALK^WITH TEACHERS ^ ^ ^ York, Baltimore and other large musical HE Jesse French Wt said “Bravo,” at the same time giving him centers throughout the country. He has T out availing yourself of the opportunity to possess a Musical Training which, as hundreds of teachers who & Sons Baby Grand a pat on the back; the audience responded Building for have taken the Dunning course declare, “Opens to them a new world in music”? also appeared in Scandinavia, England, Can you afford to let another year pass and not possess a systematized method of instruction which Germany and other parts of Europe. represents the supreme with the greatest enthusiasm. will increase 100 per cent, the standard of efficiency among your old pupils and bring you a larger follow- - effort of our 40 years of Excellence In addition to his fame as a celebrated Ernest Perabo says: “In music, Bach ing of new ones? Progress the Demand of the Hour ^ characteristic of this • LP1jnt^ manufacturinS- is the instrument Out of the many fine pieces __soloist, Mr. Sandby is also a noted c< is my ideal—the most adorable spirit, and livin^fie ^alKmesP? endeavor—E^eitfonalt^oUticaT andSodaL Specially is thiYtrue in the study the finished player is justly entitled to. It is the ideal of mountain spruce lumber set of music. Hundreds of teachers of the “Divine Art” have found in “The Dunning System for Beginners ' HERMAN SANDBY poser' piano for all. cne who was worthy to set the finest aside for HADDORFF sound¬ passages of the Bible to music. Beet¬ ing boards, only a few are GILBERT RAYNOLDS COMBS, Director Liberal exchange offer on your old piano. Easy terms. hoven is very great and most beauti¬ finally chosen and used in the 1335 S. Broad Street, Philadelphia Our illustrated catalog on request. ful ; hut less distant, more winning and HADDORFF instruments. The lovable, yet strong and honest with i others, watched for months in Jesse French & Sons Piano Co. finite resources of richness, purity, and Shenandoah ESTABLISHED 1857 the drying, have developed NomalConsewaiyM 1802 Seventh Ave. New Castle, Ind. heavenly joy is Franz Schubert. Owing Collegiate Institute faults—perhaps slight in them¬ CONSERVATORY to his tenderness, the great critic Robert selves, but enough to bar them Music, — and School of Music — Schumann called him “the wife of Beet¬ forever from this superb piano. BALTIMORE, MD. hoven.” Could I have set eyes upon PEABODY There are a hundred stages him, comforted him, and put my ar HAROLD RANDOLPH, Director in the manufacture of the around him, something irresistible tells me to offer exceptional advantages in music culture in all grades and tranche, HADDORFF where a choice is within that I could have loosened his offered between using ordina¬ chain of misfortune, and loved him with Atlanta Conservatory of Music rily good materials and methods- unspeakable devotion. There are those and using the very best ma¬ st-Recitalists. All departments who think his works too lengthy. Let jl Orchestra and Chorus. Public terials and methods. For the them have patience, for they will never HADDORFF the best is invari- Ten Years An International again he called upon to exercise it upon 1 ably chosen, in materials and in -uch a plane. As for modern products, J processes of manufacture. Emerson may he quoted when he says, J The result is the transcendent tone STUDY HARMONY Record Holder . ‘Whenever I see a new book advertised, 5 glories of the HADDORFF. and COMPOSITION I go to my .library and read an old one.’ ” HADDORFF Catalog on Request by MAIL This stamps the The Education Three Complete Easter Services for Sunday Schools A friend said of Robert Schumann: OF THE Haddorff Piano Co. HAIL FESTAL DAY THE RISEN KING DAWN OF HOPE “He moved so little in real life that as 26 Ethel St., ROCKFORD, ILL. ratCT.'composera- MsI?corrected. By R. M. STULTS tad others a result, the most alive of his creations ALFRED WOOLER, M By R. M. STULTS UNDERWOOD les. While th ever carried with them traces of a dream. Music Teacher ne high plane As Supreme in the Typewriter Field catchy, but good, and the \ All who have enjoyed his personal, ac¬ THOMAS TAPPER’S LATEST rit of the Quo In 1915 the Underwood repeated quaintance will find this statement con¬ The Latest and Best Word PRICE OF EITHER SERVICE firmed by his whole manner. When he AND MOST HELPFUL BOOK ingle copies, 5 cents. Per dozen (prepaid), SS cents. Per hund red (prepaid), $4.00 a success it had achieved for in Voice Building PRICE $1.50 A 2-cent stamp will bring a sample of all. nine years by winning spoke, it seemed as though he were first THEO. PRESSER CO., Publishers, 1712 Chestnut Street, Philadelphia, Pa. compelled to come to terms with an inner New Tune-A-Ph The movement for a more thorough IN OPEN COMPETITION vision; everything appeared to beam in THE VOCAL education of the music teacher is national the a radiance from another world. His Method in its scope. The main point of Mr. An amazing invention—a marvel of science. INSTRUCTOR Tapper’s new and interesting work is to glance, his speech and motions seemed -Teaches piano tuning by new scientific show what the teacher must know to EASTER CANTATAS ONE THOUSAND DOLLAR veiled. The gentle flower image of his principle, either as a big paying professi By EDMUND J. MYER PRICE, $1.00 achieve the widest success and then how NEW ATTRACTIVE SINGABLI inner life unveiled itself only to the or for the pleasure of having at all tin this knowledge and proficiency may be TROPHY CUP a perfectly tuned piano for your own u attained. The captions of a few chapters moonlight. One became imbued with the make clear the great value of a work of THE GREATEST LOVE awarded for feeling that to him all the phenomena Absolutely unfailing. Makes all i velopment&of3the singing voicc-principte follow¬ of, sound easily understood. Tc ing principle in logical sequence. This book is this character. CANTATA FOR EASTER OR GENERAL USE SPEED - ACCURACY - STABILITY of the actual world were hut correlative proven, GUARANTEED. 1o his dreams.” GRADUATES EARN BIG MONEY Fundamental Requisites Words by R. BRONNER Music by H. W. PETRIE Price, 75 cent Equipment and Success $5 to $15 a Day ahout the riedu length1 fomiiw.’jft !uitable .f?r Performance by any quartette or chorus choir. It is of ju Mendelssohn relates this incident in one Music in the Home choral society There ere8PCClal mu?.lcaJ *«vi«, or it might be included in the program ol a. of his letters: “He (Goethe) did not todevelop the singer physically^and vocally.^ The Public School Music S sm^TsroM ior%^.-otuCJ:.?.”U®bJerLd,vld^ U.P he.svecn the four soloists and. the chorus. 1 UNDERWOOD wish to hear anything of Beethoven, but The Basis of Music Memory Music Teaching as Service “The Machine You Will Eventually Buy” I told him that I would not let him off, Pedagogy and played the first part of the C minor Community Music THE DAWN OF THE KINGDOM symphony. It seemed to have a singular Efficiency EASTER CANTATA effect upon him. At first he said ‘This Teaching Material Text by Rev. PERCIVAL HUGET, D.D. Music by J. TRUMAN WOLCOTT. Price 50 cer causes no emotion, nothing hut astonish¬ ment. It is grandiose.’ He continued The work comprise. 224 pages and is han ZABEL BROTHERS THEO. PRESSER CO. somely bound in cloth. This work will grumbling in this ..way, and after a long pause began again: ‘It is very grand, 1712-14 Chestnut St. of price. P MUSIC PRINTERS m ENGRAVERS Send for Itemized Price List and Samples wildly mad; it makes one fear that the PHILADELPHIA, PA Theo. Presser Co. - Philadelphia, Pa. THEO. PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, _ house is about to fall down, and what COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. Please mention THE ETUDE when addressing our advertisers. must it be when played in concert?’” mention THE ETUDE addressing our advertisers. Please mention THE^ETUDE when addressing 154 THE ETUDE
When George Washington Teach Living Musical History Went to the Opera professional directory alrinitg ^rljuol of GUjurrl) tMuaxr George ^Vashington was very fond of A Training School for Organists, By Eva M. Clare he theatre, particularly, it is said, when SCHOOLS SACRED SCHOOLS 'he “star” conductor of the day was in current musicTl eventsV'hard'to"find Pupils may be bored with good music, CANTATAS i Carl iafjpss disinclined to study musical history, un¬ willing to look up the lives of Bach or DAWN OF THE KINGDOM Mozart, but ask them about I illlli SSBE •Musical Leader pig® tiHE Published Weekly, $2.S0 a Year have heard In Early Opera in Mr. O. G. mown pianist, to write about. VICTORY DIVINE BEECHWOOD ter,:!!?; 1™ Detroit - MT50Ifo^yeare8“Iar.P“e| 50 iapers to copy from. Give them access o your own library for the same pur- ""SXVa:8Ular.Pn.C.e: I FOR B?™ >c.se. Give them picture post cards of COMBSrnSggpfe^ he different living artists. In a week you will be surprised at the nterest aroused. A mere name will have : PifsMvi tSSsSSm bs^®''™ FILE Your Music Alphabetically! Exclusive **One Class S" cS„rr is — -* HAWTHORNE FLORIDA 1teHENRY SS&F-'E EAST“L,-^rr ™ ^•tion of George Washington. ^ j|| fflS 1“^ This new service means maximum comfort at minimum coi
$34.80 ^turTays378 (^rlp ) Friday*7 $43.30 exterior The seats and front were NtW_TlJfmNEW'YORK «§&'a»"are...o..‘A,,.,isewYork FftLK...- John w,_Tenor. _()gwrt.,jtocitol.,
issiKWSsaa mmhmwb; Sgisst MUSICIANS DOUBLE INCOME Learn Piano Tuning at the Original School ggpSlSii-s patterson sc&m-I S'S.Tf.^Ar?^ PETERSILEA“S'“"s* GROFFBRWHTfaK®. N CLYDE-MALLORY LINES military attended. _ sS°a g^^r) four --** Canada i CO., 1712 Chestnut St., Philadelphia, Pi m - :
THE ETUDE 156 THE ETUDE What is an Internal Bath? You Can Weigh §? Have You Studied Harmony?! Exactly What By R. W. Beal You Should Harmony is the grammar of music, a knowledge < or“ eal y°HarmonT MUCH has been said and vol- sary for the attainn umes have been written de- but the most essent scribing at length the many that of giving their b kinds of baths civilized man care, has indulged in from time to tittle. Would you bhss net and privacy of your own mind7 has. been brought into play to internal bathing can make you healthy fashion new methods of bathing, but, and maintain your physical efficiency iasnion ne g, , ;ndefinitely? Granting that such a sim- blemigriabborkbJithZtten strange as '* seem- *h® beneficial Ple P^o^dure as this will do what is se. Read what eminent authorities say and of "all baths, the “Internal Bath,” has f°r if IlfM |'^eu been given little thought. The reason lear_n1:T fh;f c^ , and it Your Great Opportunity i and in all
P. C. Lutkin, Dean of the of health. t Pe°P^ don>t see” biHs^tokeei^he JllZ Tnwnb, hiha vou^ would*ifave body7’free" Horn" accumulated body- define an internal bath you would have waste (poisons). Their doing so would
“.s*;;:,'- «.'=f t‘"^r.ptn=™.“„iheofb,°.^ nary ones in the Divinity School^ of the University of Chicago, and in my bmS>donC<3?|' what Toistitutes”1^ body, and health would be the inevi‘ >r of the New York Symphony Orchestra, writes: internal bath, let it be said that a hot water enema is no more an internal If you v bath than a bill of fare is a dinner. your hear If it v FREE™ YOU and ffill1UdetaikbfCffielegHa ony Lesson"- llsb^urWsVib Piano flSdS5 daxed, and be able to ’enjoy ™ of youth in your declining sights they would see a ■ they would learn would prove ot such t"“ lasting benefit and impress them so Sln tQ-da3 profoundly that further argument in Now that your attention has been have everything to gain and nothing to terested. Get the catalog, then decide. favor of internal bathing would be un- called to the importance of internal Siegel-Myers School of Music, df£’ profitable absuch an^experi- mind^YoTwIn pVotablywant ence would doubtless prove to be. to know WHAT an Internal Bath is, There is, then, only one other way to WHY people should take them, and get this information into their hands, the WAY to take them. These and and that is by acquainting them with countless other questions are all an- 1 enable them to swered in a booklet entitled “THE MAKES MUSIC STUDY DOUBLY FASCINATING of this long- WHAT, TIJE WHY and THE WAY OF INTERNAL BATHING,” written people realize what a very little bY Dr- Chas. A. Tyrrell, the inventor The Standard History of Music is necessary sometimes to im- of the “J- B. L. Cascade,” whose life- A First History for Students at All Ages Also, long study. ’ ’ ’ this’ ' 1 of how make him t lority b'Htrir'careles! neglect can be the fundamental cause bathing saved and prolonged Dr. Tyr¬Tyt A Thoroughly Practical Text Book ol the most virulent disease. For in- -rell’s own life, but the lives of a multi- stance, that universal disorder from tude of. ssra’b'nS'dffi.iSiiissr ,he ,he “■ SggSgSsS-ilgffeS Let Us Help You Form a Musical Club
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: men are trying to do portion of work on half a man's power, ever, the truth of these statements, and This applies equally to women. if the reading of this article will result That it is imoossible to continue to ”> a ProPer appreciation on your part do this Ldefinhely must be apparent f the value of internal bathing, it will BLANK MUSIC PAPER t°t&11 humatT'orgaffisi ftt? otmS
£i , v -nrl5 ftiHsfst Krirl-n nnrtninlxr it this book will give you that informa- eannotbnit ^no boremore tnanthan na tnbhinemaemne. Theremere sgndtion- > D°^ n °‘gg P^Ut ngw °ff wll doin;ie St }jethis matte- hutr T-ETS’ s e beat copy books on the. COPY BOOKS t trworid^7 and iS freSh in y°Ur mind' s n e wo . “Procrastination is the thief of time.” A thief is one who s *^2= ; ■TlB!”" : : ;X ■ sistxsss-s TX^r-Wbnd Itronlr’rE D°n>t a,1°W — H— - tie time, healthy. It is unnatural to be sick, Vtesa; i people Why be unnatural, when it is such a e neces- simple thing to be well?—Any. THE ETUDE THE ETUDE My Facial Beauty New ] THEODORE PRESSER COMPANY, PHILADELPHIA, PA. Exercises IMPORTANT RECENT PUBLICATIONS f THE jj M PIANO
AMONG people who love good music, f\ who have a cultivated knowledge iiis x of it, the BALDWIN PIANO is recognized everywhere as the best. In such an atmosphere it is happily at home and with kath^nmurr^ch]c^^ every day endears itself more and more to its
The same is true of the “ialhurat iHatutahi” BWSlII*t Trial Size Box the successful unification of the most artistic piano with the most scientific player action made in the world. There is absolutely nothing better, nothing more perfect on the market, neither as a piano nor as a player piano. Contemplating the purchase of either a piano ju should not fail to examine l"®3 Prices and terms will suit you.
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THEO. PRESSER CO., 1712 CHESTNUT STREET* PHILADELPHIA, PA. THE ETUDE Substantial Rewards for Obtaining Subscribers to THE ETUDE LOW PRICED MAGAZINE COMBINATIONS GENERAL INFORMATION INDISPENSABLE MUSIC WORKS OUR MOST POPULAR PREMIUM -- “1 Magazines in these oHers are The awards described here are unquestionably Your Own Subscription FREE not interchangeable. Canadian No. For ONE Subscription No. For TWO Subscriptions Subscriptions are for one year, new EXTRAORDINARY COMBINATION 101 Album for the Young. Robert Schumann. 34.50 pays for four yearly subscriptions to The offer to those who assist us in obtaining new 1223 Chaminade Album. Etude (your own subscription and three ad¬ or renewal, and can go to different and foreign postage additional. Etude friends. Every music lover has several 103 Album of Favorite Pieces. Engelmann. 206 Chopin. Lighter Compositions for the Piano. 104 Album of Lyric. 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Each Etude 117 Duet Hour. 222 First Recital Pieces. 37 j subscription in a magazine club will be credited 122 First Dance Album. 26 Selections. 225 Four Hand Miscellany. Eirst ?rtep^ P,ianoforte Study. Theo. Presser. 229 Handel Album. 16 pieces for the piano. than your own except when stated otherwise. 128 Four-Hand Parlor Pieces. 17 Duets. Grades 231 Harmony. A Text-Book. Dr. H. A. Clarke. Canadian subscriptions, 31.75. 235 Loeschhorn Studies. Op. 65 , 66 or 67. Juvenile Duet Players. 16 Duets. 237 Mason’sTouch and Technic. In 4 vols. Any 2vols Little Horne Player. 28 pleasing piano pieces. 239 Masterpieces for the Piano. 25 best known pieces MISCELLANEOUS ARTICLES 139 Mathews’ Sta Vol.l, Grade 220 Mathews’ Standard Graded Course of Studies. CASH COMMISSIONS COMBINATION SCISSORS , x* . v n, uraae /. Any < Any five grades. 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The Elegant Rudolph Violin Case,, $5.98 Wurlitzer Co. Dept. 2292 S. Wabash Ave. lODaysTrial Chicago Choose a violin fl-toin i • t 4th Street, Cincinnati Leather Walrus grain. silk-plush lined «olm case—with silk bow ribbons and Please send me without obligati, removable bottom pad. Regular SI 5.00 tree and prepaid the catalog i value, now on this special offer. S5.98. checked below: _ * liDerty to do so, □ The special catalog illuatratin Brass Band Instruments, too collection of new violins, vio accessories. Terms D Art catalog of old violins. □ General catalog of all musical in □ Bargain list of used and sample □ Special $15.00 Fiedler Violin C D Special $25.00 Baader Outfit. O Special $50.00 Wurlitzer Creme □ Special Catalog of Band Instrun Write for Special Circular 10c a Day ng the coupon. y n° 0b"Bat'ona » »=nc The Rudolph Wurlitzer Co Dept.2292 T 4th St., Cincinna S. Wabash Av.,Chicaa