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

2-1-1916 Volume 34, Number 02 (February 1916) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 34, Number 02 (February 1916)." , (1916). https://digitalcommons.gardner-webb.edu/etude/621

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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‘HE SHO’ THINKS HE’S HIDIN” Painted by Edward V Brewer for Cream of Wheat Co. Copyright 1916 by Cream of Wheat Co. EMERSON PIANO COMPANY gg£5SS£r3£g Established 1849 MASS. 83 THE ETUDE THE ETUDE Quickest Mail Order House For Music Buyers Everywhere

_ TTHEO.HF.O. PRFSSKRPRESSER mCO. “flN“ON .SAIF”SALE” PUNPI AN I; C.ATAI.nr.IJFSCATALOGUES THAT AREARF S progressive music teachers guarantees satisfaction. A stock of music on hand at all times to select from, for every purpose, the same CLASSIFIED GUIDES TWO MODERN BUILDINGS large discount as though the music was purchased out¬ need the Theo Press"r ^e^posdhle Ted'in'a : of musical works, including Singer’s Hand Book, with over 30,000 square feet of floor space publish and supply promptly ev JeP ^ ^ ^ right, and a guarantee of satisfaction if you will but : Piano Study Guide, Hand Book for Music, are devoted to our business—with an incom¬ musical educaPon. ln a l g ^ ^ equipped name a few pieces or studies, so that our information Hand Book for Pipe and Reed Organ, Choir and Chorus will be of a comprehensive nature. 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 < 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 -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 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 , 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 , Berlin, Munich and contain a surprising number of notices of coming . 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 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¬ 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 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 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 —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,' 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 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. 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 , 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 , 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 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

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

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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

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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

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* 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. . .

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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 ->n

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 , 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, 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 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 --**

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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Book*’I to dSt* T,■■, Woman’s World ■ ( Save85ct*. 20—McClure .. _ Pictorial Review to mothers. $1.50 a year. pocket book. Genuine dull seal, leather facing. £fa.nzLiszt(standing) 62 Her First Lesson HI. Any™.. t McCall’s (pattern) 25—Metropolitan. 1111 GENTLEMAN’S BILL PURSE 53 Visions of Wagner 63 Inspiration KSLSXS.™ <»•> Musician . ^ "0.56° 2 subscriptions. Memorandum pad. 56 Beethoven—The 68 Dawn of a lor porch or indoors. THE ETUDE . • ) $Q00 Black. Excellent quality. Approaching Storm Masterpiece The roomy rocking “view of Review. . 4.50 THE ETUDE . .) $050 Mozart, Beethoven. Haydn, chair illustrated CARD CASES AND VISITING CARDS ~ FOR 15 CENTS ADDITIONAL here is a very THE ETUDE . $1 85 Ladies’World)" 0~ No.. Kfii_*561—3 subscriptions.- Black or brQwn s . 103 Album of Fa ‘ ~ THE ETUDE . 0 ?1 60 Modern Priscilla • \ u 184 ^UndSn/0'^810 Pupils (co®Plete). C. 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Presser Company, Publishers pu„ , pA (lfnvft’s Dirtinnarv Muoi/> onrl TV/7>,^'_i-_1 . __ ’ ^______Grove’s Dictionary of Music and Musicians, 5 vols., price $25.00, giv^Tf^Tls subscriptions. Special Prices on Hand-Made Artist Violin

Old Violins, $35 Wu^ljTzer to $9,000 200 years of instrument making

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