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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1925 Volume 43, Number 01 (January 1925) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 43, Number 01 (January 1925)." , (1925). https://digitalcommons.gardner-webb.edu/etude/719
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]. JANUARY 1925
MVS I C ETVWE MAGAZINE
Price 25 cents $2.00 a Year PRESSER’S MUSICAL MAGAZINE SUBSCRIPTION PRICE, $2.00 per year m the United States and Possessions, Argentine, Bolivia, Brazil, Columbia, Costa Rica, Cuba, Dominican Re¬ PIANO TEACHING WORKS public, Ecuador, El Salvador, Guatemala, Mexico, EXCELLENT^ PIANO ALBUMS Nicaragua, Paraguay, Republic of Honduras, Spain First Year at the Piano including Balearic Islands, Canary Islands and Pos¬ Program Pieces sessions in North Africa (Ceuta, Mellila and Tan- 33 Piano Solos Price, 75 cents This is the latest edition to the series known By John M. Williams Price, $1.00 as “Reasonably Priced Albums,’ made up from A progressive and modern beginners’ book by REMITTANCES shoul especially large plates and containing a gener¬ a recognized authority on pianoforte pedagogy. ous assortment of' excellent music. The pieces Among its features that will appeal to teachers MONTHLY JOURNAL FOR THE MUSICIAN, THE in this book are between Grades 3 and 5 in point are: the introduction of both clefs from the MUSIC STUDENT, AND ALL MUSIC LOVERS. of difficulty and are particularly J°r beginning, the hands play in the five-finger posi¬ Edited by James Francis Cooke recital or exhibition playing. The. best com tion throughout the first part, the use of little Assistant Editor, Edward Ellsworth Hipsher posers, classic and modern, are represented and rhymes to give the correct idea of phrasing, fishers arefpleased'to extend credit covering a Twelve Vo! JANUARY, 1925 some genuine novelties will be found in the and the placing of phrasing as, the basis of the Months’ subscription beyond expiration of the paid- .e P. 0. a . . mi - «■-1—>inft wishing to i. 16, 1884, list of contents. study of the piano. Every up-to-date teacher _ r_ -iod. Those of our s , 3, 1879. should examine this work. vail themselves of this . of for U. S.f .and Great Brit: M. L. Preston Album of Compo¬ iter will please send a not Tunes for Tiny Tots sitions for Piano By John M. Williams Price, 75 cents Price, $1.00 The piano compositions of M. L. Preston This little work may be used to advantage (Matilee Loeb-Evans) are great favorites with preparatory to any beginners’ book or method, piano players of moderate ability and are fre¬ especially with very young children. The grad¬ The World of Music quently used by teachers for students in the ing is more gradual, the explanations of greater second and third grades. The pieces in this col¬ simplicity than those usually found in beginners’ books. The GRAND STAFF, treble and bass i tlie Cathe- Thirty Guineas ($150) for lection are in various styles, drawing-room ttccini, most popular of < The Fai an “Irish > tional Anthem" has gone beg¬ clef, is introduced at once and the names and drill Ilorian Linz-on-the- pieces, reveries, nocturnes, dances and charac¬ ■ in lian composers of opera, Bruck was long .... ging becausi un work was submitted which values of notes, time, etc., are thoroughly ex¬ hospital it Brussels on November 2.. „axnbe, . . of the judges d imed of suitable quality. teristic pieces and all lie well under the hands. a, June 22, 1858, he became_ organist, Is to be restored Many teachers will use this album for pupils plained. 0 hold the centenary of his led that the Festival Theati s family t 1 Central Powers TV. H. Xeidlinger. the well-known sight-reading material. :ly enlarged and improved, Wm __ ..i the musical 'world of fewlli4J organs of _e not removed and teacher and composer, died suddenly at his Comprehensive Music Writing . lie was educated at the Conservatorio which the “ home in Orange, New Jersey, on the night of USEFUL SONG COLLECTIONS e stage mechanism. ilauo, on a pension from the Queen, o ammunition during the World War December 5. Mr. Neidlinger i Book • Fonchielli. His first triumph was Jo1u, Philip was given ail un- Brooklyn, July 20, 1863. He studied with By Anna H. Hamilton Price, 60 cents ••Iai Boheme,” ill 1806. This was 101- ugnal celebration m ...» recent seventieth Du(Ueyudley I)uckE...... an(....-, c. c_.. --—-Mtlller in New York,- Songs for Girls More aptly named this book couldn’t be. It I hv “La Toscn. in 1900. ami ny anniversary, at Milwaukee. Led by tne id IS. Daniireuthor in London. Returning A COLLECTION OF STUDIO SONGS lama Butterfly,” in 1904. The latter, Marquette University Band, a committee of America, he attained a prominent place is a most comprehensive writing book, a thor¬ , 71 Oxford I ho rh hissed at its premiere, soon won offlcl^ls and business men escorted the a teacher of singing, a choral director and Price, $1.00 ough course in musical notation. It starts at laritv with opera audiences throughout famong March King to the new plant of a composer, his works including two Many teachers having in their charge young uusical world. Of three earlier operas, j0,lrnajt where a huge birthday cake lerns many piano compositions and about the very beginning but goes much further than JK_Jane Lauben- girl students avoid giving them for study or re- |ut” is the only oim nowjome- was presen' ..‘ to hundred songs and choruses. the average writing book. The author is a cele¬ rMPne£ini heiiner. daughter Of the Chief of Police. In A NEW THEORETICAL WORK cital numbers, songs that treat of romance or brated teacher whose works on piano and theory • Puccini the pvening a banquet was held at the of La religion. There are many good songs published are very extensively used by the best teachers. i l, i „Un„, „rchestrntion .. typically... Milwaukee Athletic Club, when the cit Metro- wherein the texts do not treat of these sub¬ t Italian melody, with a distinct'Ct sense ,.pprespntPfi officially by Mayor Hoan ai ...... _. York, has re- Theory and Composition of Music he dramatic. Chief of Police. _ the honor of having a gold medal jects and in this volume the best of them have Album of Scales conferred upon him by the municipality of By Preston Ware Orem Price, $1.25 been included, due attention having been given, STUDY PIECES FOR SPECIAL PURPOSES Prize of Two Tliousu Gustav Holst, the English composer, A manual of refreshingly new and interesting ncs is offered„„„ for „a “Natioi_Anthem" been awarded the Howland Memorial.- P- Milan. This was a tribute to his work in . of course, to selecting songs in which the range Price, 75 cents that section of Syria which for achievement in the fine arts,s, by Yale-T— tpP successful presentation of Bolto's “Nerone material for the study of Advanced Harmony, of the voice part is not too extended for young Includes Beirut and the Lebanon Hills. I'niv-prsitv Thi* is the first time- the--jig prize UL- ^- ov
How do you measure? Your position may be secure—you may be satisfied with the than the recent additions to the size of your class—but are you prepared for bigger things? You can’t afford to stand still. Theo. Presser Co* Song Catalog
MANY LEADING SINGERS AND VOICE TEACHERS This is an age of specialization and the specialist is earning fully double or more the ARE CARING FOR CONCERT, CHURCH AND TEACH¬ ING SONG REQUIREMENTS WITH THESE SONGS- salary of the musicians with only a general knowledge. Opportunities in the music field EVIDENCE OF THE MERIT AND DEPENDABILITY OF are growing very rapidly. Prepare yourself for something better, with one of the courses PRESSER'S NEW SONG OFFERINGS!
listed below. A Superb Sacred Song—Suitable for Concert These New Songs are Ones with and Teaching as well as for Church Use. Which Singers will be Delighted You can use your originality, adapt the lessons of a IN THE GARDEN OF SAHARA “ETERNAL LIGHT’ by A. Buzzi-Peccia Words by CHAS. 0. ROOS Musk by CHAS. WAKEFIELD CACMAN great artist to your teaching and gain independence. English and Italian Words High Voice, Range (! to a Hal -Catalog Ni,. A Few New Fine Sacred Songs to F (opti 19707 .Price, 40o. HIS ALMIGHTY HAND Low Voice, Range b ,t to E flat—Catalog No. 1 Words and Music by BERNARD HAMBLEN igh Voice, Range E to g—Catalog No. 19934, ^ Music by GERTRUDE M. ROHRER Start the New Year Right >w Voice, Ilange c to E flat—Catalog No’. : No. 199.10 .Price, 35c. TO Lightrn of Love,-- In ,reace ami em-eT- LOVE, YOU ARE MY KEEPER MASTER, I WOULD FOLLOW THEE Words by J. MARTVN WALSH Musk by PAUL AMBROSE High Voice, Range E flat to F—Catalog No. Now is the time to take “inventory.” • It’s the time for new resolutions. Degree—you will benefit greatly by these lessons, which are yours for P pandshitse Look back over the year that has just passed. If you are not making the asking. more money than you were a year ago, it’s time for you to make the Many Etude readers are now using our courses with success. The start that will put you ahead when another year passes. If you are con¬ Musk by HOMER GRUNN THE LITTLE BIRD OF LOVE courses are endorsed by the world’s greatest musicians and by thousands Words by FRED G. BOWLES Music by ROBERT COVERLY tent to go on in the same old way instead of standardizing your work, of teachers who have completed them. Don’t take the advice of someone High Voice, Range (1 to g—Catalog No. this announcement will not interest you. If you are ambitious—sincere who hasn’t had the lessons, but let those who have tested them help you LEAD THOU ME ON in your desire to enlarge your class, work for Teacher’s Certificate and to decide. is by MARION ROBERTS Musk by R Hum Voice, Range E flat to E flat- >g No. 19885 . Special Certificates Awarded Our Study in Your Own Home with the Best Here is a New Cadman Number that One of the Latest and Best Songs Graduates to Teach in the Public is a Most Satisfying and Artistic by a Favorite Woman Composer Schools without Examination Teachers in the Country Song REEDS MY GARDEN “ High Voice, Rr Mr. George Clarke, of Wilson, Okla., Two New Humorous writes: The busy music teacher, whose days are filled with lesson hours, can keep “up-to-date” and continue Encore Songs or his own study at home at the same time hd is teaching. The greatest teachers are those who never “Thank you for prompt delivery of Musical Readings cease to be students, and the teacher who devotes all his time to teaching and none to his own advance¬ Diplomas. They have been recognized By ment makes a great mistake. CLAY SMITH by the State University and a life cer¬ tificate issued me. Through them I have The development of the Extension Courses during the past 21 years is ample evidence of the . secured a position with an increase in CUDDLES fact that it is possible for our teachers to establish contact with students all over the country and con¬ salary of $50.00 a month.” duct courses by mail to the satisfaction of the students and to the satisfaction of the State Examin¬ Another graduate writes: ing Board. “I have just been selected as director of For several years we have offered sample lessons as a proof of our work. Send for these les¬ i Od t J3-J~n m ,j~n m-m & J- ■ * the voice departmeht in a Music College sons now by using the coupon below. We will give you full details of our offer to teachers and stu¬ sr j|- as a result of my lessons with you.” f ft f r ft dents. Get the catalog and lessons—then decide for yourself. The lessons are sent to Etude readers (|y* {&-— i ~ i ~ J. v \ : P i ft— A teacher who has had four courses with us without any obligation and special terms are quoted on complete courses. writes: Examination Privileges Vocal Duets “The instruction in your Extension to Voice Teachers Sacred and Secular A Truly Beautiful Neu) Song with a Wide Appeal Courses is the best possible for one to PUBLISHED obtain. The person who knows and can use his knowledge to SUNSHINE TWO KEYS enable him to do as well and just a little better, usually gets UNIVERSITY EXTENSION CONSERVATORY, Dept. C-14 HIGH VOICE ahead—regardless of the method by which he received his Langley Avenue and 41st Street, Chicago, Illinois Words by R. ADAMS GUTHRIE :ange E to g flat information—whether in college or with a book by an open Please send me catalog, four sample lessons and full information regard¬ Music by R. M. KOUNTZ ataiog No. 19947 Catalog No. 19764.Price, 50c. fire-place, or during his spare moments under the written direc¬ ing course I have marked with an X below. THE0. PRESSER CO Music Publishers and Dealers tion of a teacher a thousand miles away. This is my third □Piano, Course for Students SPIRIT DIVINE □Violin □ History of Music Mail Order Supply House year in charge of the Music Department in the Normal School. □Piano, Normal Training .Sacred Duet for Soprano 1 IMandolin □Voice and Tenor Catalog No. 19948 For Everything in Music Course for Teachers Publications I have nothing but praise for your courses, which have been of □Guitar □Public School Music Words by ANDREW REED □Cornet, Amateur Music by MRS. H. H. A. BEACH inestimable value to me in my work.” □Banjo □Harmony □Cornet, Professional Catalog No. 18101... 60c. □Organ (Reed) □Choral Conducting □Ear Training and Sight Singing □Advanced Composition A BALLADE OF JUNE ROSES University Extension Conservatory Duet for Soprano and Alto By HENRY HADLEY LANGLEY AVENUE and 41st STREET Catalog No. 19165.Price, 75c. DEPT. C-14 CHICAGO, ILL. Please mention THE ETUDE wlicn addressing our advertisers. THE ETUDE Page 4 JANUARY 1925 ,
THE v A New Modern Piano Book
Every music lover who enjoys piano composi¬ PERFECT tions of the modern (not ultra-modern) type will find this collection the most remarkable THE ETUDE MODERNIST ever published. JANUARY, 1925 Single Copies 25 Cents VOL. XLII, No. 1 A Simplified Method of we are putting out in our country about $2,000,000 worth of It is perfectly safe to Station E. T. U. D. E. Harmony Without Rules pianos a week. This indicates that the figure often quoted say that no such won¬ In the most approved American slanguage your editor is by The Etude in estimating the American daily expenditure “Up in the Air.” In other words, he has actually owned a BY derful array of modern radio set for some time and has already done the customary for music as about $2,000,000, is probably a little low. piano compositions has fussing with it, together with a great deal of thinking If the radio were considered a musical instrument (and the Frank Patterson ever before been assem¬ about the radio in its connection with the future of music in chief interest in the radio is the musical progress heard over it) bled under one cover, the $2,000,000 figure might easily be doubled. Music has be¬ ^_r America. and that no one of It came about in this way. The editor stopped in at a come one of the foremost industries of the new world. This book does away with rules these pieces has appeared little radio shop and the anxious dealer turned a few knobs. Mexico and Australia are our biggest export customers in other collections. In The first thing the editor heard was one of his own songs for pianos, but, according to the Music Industries Chamber of Commerce, most of our' American-made pianos are purchased and offers in their stead a series of looking over the index coming out of the great ether. The next thing he knew was at home, since the total number of all pianos expoi’ted is 799 printed below, be sure to that he had bought the set. basic principles which, being funda¬ (value $253,644). note the number of pieces Then he proceeded to get a very bad radio cold—a disease not yet recognized in standard works on pathology. That is, by contemporaneous com¬ mental, cover fully and completely he found that distant stations “came in” about the usual time Is the Day of Thumping Past ? posers which have a to retire. Divesting himself of his coat and vest, he would get The Chevalier Antoine de Kontski, a Polish pupil of every problem by which the peculiar interest at the Pittsburgh; minus the collar and necktie, he would reach Cinci- John Field, lived to the age of eighty-two and spent most of present time. There are natti; sans shoes, he would listen in on Detroit; but by the his life as a touring pianist. He was a virtuoso possessed of harmonist may be confronted. 34 compositions—all of time he reached Davenport, Iowa, he was frozen to the marrow an exquisite delicacy of touch and really good taste. But the unusual beauty. and spent the next week barking and sniffling. public would have none of this. It wanted to hear the piano ALL art is governed, of course, by individual taste, and in nearly all earlier Meanwhile came the surprise that under proper conditions roar and, consequently, de Kontski made it roar. To this end methods of harmony efforts were made to guide and control this individ¬ music was transmitted quite marvelously over the radio. What¬ uality by submerging it beneath the weight of tradition and authority. he wrote a very mediocre parlor piece called “Le Reveil du This is the Complete Composer Index What the classic masters did was “right”; what they did not do was ever may be the improvements in reception and transmission in Lion.” Nightly de Kontski waked the lion from its slumbers. “wrong”—and the advance of every generation beyond the last was looked Albenis, I.Cadiz (from Spanish Suite) the future, it is already a fact that apparatus is procurable at His public applauded and furnished him with bread and butter. upon with suspicion and distrust as iconoclastic and savoring of disrespect Arensky, A.Ne m’oubliez pas (Forget-me-not) a reasonable price which is almost “fool proof,” very durable towards this authority. Furthermore, the very fact of the existence of Nowadays no pianist of standing could “get away” with this authority—authority not founded upon some natural laws, but merely Barmotinc, S.Norwegian Scene, Op. 6, No. 2 and designed to convey the best music almost as though one were such nonsense in any centers of culture. In fact, the day of upon the procedure of a few great masters—was a source of constant Blumenfeld, F.Prelude, Op. 12. No. 2 in the same room with the performers. piano pounding seems to have gone. Gott sei gedankt! It temptation to students, who, perversely, were prone to do just what the Brahms, Jolt.Intermezzo, Op. 117, No. 1 authorities did not permit, because the teacher was never able to give This radio age has come with such a rush that everyone is would have passed long ago if John Sebastian Bach’s son Catoirc, G...Prelude, Op. 17, No. 2 any real, definite reason, except authority, why they should not. And dumbfounded, except the small boy expert who can explain Cliaminade, C.Piece Romantique, Op. 9, No. 1 Friedemann had had his wTay. Read what he says about the it is perfectly evident that some of the modernists have been animated by everything. Its value to music, like the talking machine, is too the same sort of perversity. Debussy, C.Ballade proper way in which to perform his father’s Concerto in D great to even estimate. minor: # Nothing, therefore, In this book is based upon that sort of authority— Dcvcrcaux, A.Londonderry Air (Transcription) Dvorak, A.Largo (New World Symphony) Both the talking machine and the radio have their own “Thumping and loudness is not the true interpretation of Everything in this book is based upon the solid founda¬ Fibicli, Z.Poeme, Op. 41, No. 4 fields. Possibly if the radio had been invented first and the this work; for it must be remembered that the composer was tion of basic principles. It offers suggestions for the Flocrshchn, 0.Elevation talking machine last, the talking machine would seem even more a true poet as much as a great contrapuntist. He wanted guidance of taste, not based upon the taste of some other Franck, C..Danse Lente marvelous to us now. Both are necessary adjuncts to the mod¬ the instrument to sing and not to groan in the hands of the composer or composers, but upon the fundamental prin¬ Granados, E.Spanish Dance ciples which underlie all music. ern musical home. The talking machine has great educational player.” _ Grctchaninow, A...Caresses, Op. 61, No. 3 value because when one buys a record he has a permanent The statements made admit of no exception, because natural laws are Grieg, Ed....Puck, Op. 71, No. 3 masterpiece that he may hear when he chooses and as many Is Jazz the Pilot of Disaster ? rigid and unchangeable. Kopylozv, A.Reve d’Enfant times as he chooses, even long after the composer and the The sociological significance of music at this time, when Liadow, A...A Music Box Op. 32 It niakes no great tax on the memory artist are dead. This is truly a marvelous thing. The editor MacDowell, Ed.Poeme, Op. 31, No. 3 regarded from certain aspects, is horrific. The kind of music has employed a talking machine in his home for years and would because it does not tabulate the progressions and resolutions that have Massenet, J.Entr’acte-Berceuse employed most by the general body of mankind must have a been invented generation after generation until their number is so great Merowitsch, A.Spring, Op. 8, No. 1 not know what to do without it. It has become as staple as the powerful influence upon our whole welfare. We have gone that no human mind could ever hope to know them all. Moussorgsky, M.Un Larme kitchen stove. There is hardly any better fun than playing, let through an orgy of Jazz, a satumalian musical revel such as It offers no restrictions to the number of combinations Palmgren, S.Les Adieux (Farewell) us say, the Schubert Unfinished Symphony as recorded by a the world has never known. The Etude has given extensive of notes, chords and dissonances Posca, G.By the Ocean (Am Strande) great orchestra and following it over and over with an orches¬ and we hope, entirely fair, consideration of the problem. The except public taste as it is today. Rachmaninoff, S.Melodie tral score. vote of our readers upon this subject is presented later in this Rimsky-Korsakozv.Chanson Arabe (Sheherazade) Then radio, on the other hand, unlocks the doors of space. editorial. We conducted this discussion because we recognized It offers a guide even to the music of the future Schiitt, Ed.Dreaming Pierrot, Op. 48, No. 5 The wonder of sound is the marvelous rapidity with which it in Jazz a general kind of danger in some ways too big to Sibelius, J.Impromptu, Op. 5, No. 2 as to the direction of its advance, sim usic must be just as subject travels. Thus we get, in a few seconds, music from distant measure with words. We realize all the delight of sprightly, to basic principles as any in the past o Skabo, S.L..Prelude, Op. 17, No. 2 points that would take days to reach in the fastest auto¬ Skabo, S. L.Legende, Op. 16, No. 1 inspiriting rhythms, of fresh tone colors, introduced by Jazz The book has intentionally been made mobiles. Mr. Victor Saudek, of Station K. D. K. A., has an things, the student must be made to und tand'th*? hpossible’ beca,U! anything Stojowski, S.Melodie, Op. 1, No. 1 instruments. On*the other hand, we know' that on thousands of practical about composition by learning w excellent article in this issue. There is as yet no Station ; muscles by reading a book on physi Strauss, R.By the Spring, Op. 9, No. 2 dance floors all over America tonight, any one who cares to culture! The bigger the book, the gmore ysical ;actly Ssaht, P...Intermezzo, Op. 3 E. T. U. D. E., but we want our radio friends to know that we investigate will witness in public dances of the most wanton iciples c are with them in their delights and distresses. n the p; t of the st Tschaikowsky, P.Trepak (Russian Dance) character, dances that would have been suppressed in a low burlesque show only a few years ago. These things are in¬ PRICE, 75c More Pianos Being Manufactured spired by Jazz and maintained by Jazz. Remove the music and For Sale at all Modern Music Stores The automobile industry is not the only thing indicating they could not exist. Yet the whole land from coast to coast is INTRODUCTORY PRICE—POSTPAID, 75c (Not Sold in Canada) r Cash With Order—This Offer expires April 1st, 1925 an enormous expansion. In 1923 (according to the report of still in the throes of this form of musical epilepsy. If you X jT the Department of Commerce) there were pianos to the value of doubt this, “listen in” on the radio any night. $111,144,808 manufactured in the United States, or 51 per Tap America anywhere in the air and nine times out of THE JOHN CHURCH COMPANY cent, over the quantity manufactured in 1921. In other words, ten Jazz will burst forth. A great deal of this may, of course, CINCINNATI—109 W. 4th St. 318-320 W. 46th St.-NEW YORK THE MUM1L PUBLISHING CO. The House Devoted to the Progress of American Music 207-217 West 25th St, New York City JANUARY 1925 Page 7 THE ETUDE
... , However the original and interesting Errors That Young Pianists Make be a background of entirely innocent fun. It may bring great Te Victor Herbert “Serenade Suite” By the Famous Russian Piano Virtuoso and enlivening stimulation to hard workers who need just that (» iUen for The Wliitem.n Orchestra) and many s.m.lar MARK HAMBOURG thing. On the other hand, we know that in its sinister aspects, bers played by the unique orchestral groups which record for .Jazz is doing a vast amount of harm to young minds and the talking machine companies, rise so far above w a is no bodies not yet developed to resist evil temptations. This is This article is the third in the current series written by Mr. Hambourg for "The Etude". TheolherscppeuredinOctoberandNovember. as “Jazz” that they do not deserve to be classed m the same no mere editorial bias. Fortune has cast us into deep life category. They represent a new note in the American music and Beethoven before attempting Chopin and Liszt, be¬ channels and we have come to regard these problems in their It is sometimes useful to comment upon the most Many strange and garbled performances are given too by pupils, through neglect of searching for the best fin¬ cause in the simple clear technical passages of the older relation to the cosmic scheme of things. We know that good ordinary faults to be found in young pianoforte students masters the progress of the young student can more as they occur to one who is constantly being asked to gering, especially in awkward places. Fingering is music, allied with good morals and ethics, has an edifying and No Good for Anything But-! enormously important on the piano. If correctly applied, easily be noticed and his progress in scale playing and purifying value to the state, particularly when inculcated in listen to their playing. I shall, therefore, enumerate finger technic better be displayed. This letter arrived on the editor’s desk this morning: some of the most salient errors which I am continually it not only imparts agility but also improves the quality the minds of children by some such plan as “The Golden Hour,” of the tone. It is one of the commonest errors of the “My employer insists that a musician is no good meeting with in the performances of the students who Better Play One Piece Well Than One Hundred Poorly young to get all tied up into inextricable positions on which we have promoted persistently for many years. come and play to me. for anything but music. Will you please give me the keyboard, through lack of study of the easiest and It is the idea of most pupils to learn as many pieces It' is a source of great and deep gratification to wit¬ First of all, I would mention their habit of playing as possible, not caring very much whether they play your opinion on this matter?” much too difficult pieces for their technical capacity, most obvious fingers to use in certain passages. ness Collier’s Weekly and other magazines inaugurating at¬ them with exactitude, as long as they are able to show The writer has appealed to the wrong oracle, because the which fault generally ends in the humiliation of the per¬ tempts to reach this goal. It is now being widely recognized as Exaggerated Movements a smattering of all sorts and kinds of music. This, too, editor is proud to point to two decades of service as a Profes¬ former. Many teachers give their pupils such pieces is bad, for it should be the great aim of the learner to the most serious of our national aims. What our children are Another most irritating fault is tremendously exag¬ sional musician and as a teacher before becoming editor of this to study as are only possible of proper performance by gerated. movements with the arms while playing. And give a perfect performance of one piece, rather than to-day, that will be the America of to-morrow. Nurse them a master, and allow them to play these without sufficient periodical. He may be prejudiced. He may have his opinion not only the arms, sometimes the head, the shoulders, slap-dash through a whole repertoire. To be able to solely upon the inebriated rhythms of Jazz and what may preparation. Then the pupil gets into the bad habit of the whole body are distorted to help the student express play one work almost to perfection will advance the so warped that he cannot see fairly and squarely the attitude breaking down; slurring over difficult passages, and gen¬ we expect for our future? all his emotions and his difficulties. But, does it help? student more and he will learn further from the effort of the employer mentioned. erally deteriorating his technical powers in vain efforts at complete mastery than any amount of superficial How seriously this problem is regarded by scientists may God forbid! It only dissipates the energy which should Wc think that we realize very clearly what the employer against odds too great for him. This very pernicious be concentrated on the wrists and fingers, and on the knowledge of much music will give him. I am, of course be seen in the following statement made to the New York Times meant. There is a certain type of emotionalized youth who i> fault mostly arises from over-ambition on the student’s manipulation of the keyboard, to expend it in gestures speaking purely from the point of view of learning to part and cannot always be blamed to the teacher. The by the eminent Professor of Neuropathology at the New York none too fond of what the world calls work. He is not like the which have nothing to do with pianoforte playing. This play the piano well. Naturally it is a good thing for student wishes to shine in some well-known masterpiece Post Graduate Hospital, Dr. M. P. Schlapp, who is also the old tar who went to-the ship’s surgeon and said, “Doctor, I is not to say that all exuberance and show of pleasure the general musical education of the student to be de¬ of great difficulty and persuades his professor until he should be debarred from performance, but that is a veloped as widely as possible, by getting to know all Chairman of the Medical Board of the New York Children’s don’t know what’s the matter with me. I eats well, and I sleeps allows him ‘to learn it against his better judgment. Any¬ kinds of music. But from the standpoint of perform¬ Courts—a court which is constantly confronted by thousands different matter from throwing oneself about and mak¬ well, and I feels well; but as soon as I see a job of work I m how, these cases of premature ambition almost always ing faces as though in extremes of pain, like many ance, perfection in one piece is the most important and of cases resulting in part from the condition wc have described. defeat their own object and, by causing over-strain, ail of a tremble.” young players do! hardest thing to attain, and should be striven for most over-anxiety, nervousness, prevent the student from Dr. Schlapp says: Oh, no—this youth likes to work and he works enormously I have not yet mentioned the worst of all faults and earnestly. doing himself justice at all or making advancement. “We are headed for a smash in this country, if we keep on at anything that entertains him. Unfortunately he is so ab¬ the commonest, namely, too much pedalling. Oh, you I also find that too often the learner is so completely poor “Soul of the Piano”! How you are abused! Dis¬ wrapped up in his own work that he takes little interest the way we arc going. There is a curve in the emotional stabil¬ sorbed in being entertained by his work that he soon gets the Learning Pieces Too Quickly sonant harmonies slur into each other, heavy murky in, and neglects to go and listen to good concerts. This ity of every people which is an index of their growth and power The next error I have noticed is that of learning idea that he can do nothing else. chords and passages dim the musical atmosphere, unclean is very much to be deplored, as he can gather so much pieces much too quickly. Music for performance should as a nation. On the upswing the nation expands and prospers Explain to such a lad that, if he desires to succeed in tone pervades, all through your agency! Therefore, to his profit from hearing others play. The education of be learned slowly, dividing it into sections of from eight and gains in power with the normal development of emotional students, do, I beseech you, keep your right foot with hearing first-class concerts is a very necessary part of more practical things he must work just as hard upon them to sixteen measures at a time, thoroughly digesting thesfe ■ mercy off that alluring forte pedal which helps you to the student’s development. life. Then comes a time when emotional instability sets in. as he does upon his art, and he refuses to understand and be¬ before proceeding farther, and not dashing through the dpown your difficulties in bad places, but which can so As fast as I write, there come constantly to my mind When it reaches a certain point there is a collapse. We have comes defiant. He lives in a land of phantasy and dreams. whole piece in a slipshod fashion. Often I have found spoil all you do! Study its effects, and its applications more and more of the faults which are general amongst almost reached that point. This emotional instability causes that, when asked to repeat some measures of the piece He becomes childish in his view of humanity and useless in with the greatest care and precision, that it may be really young students. It is quite depressing to think of how they have been playing, students are quite incapable of crime, feeble-mindedness, insanity. Criminal conduct is a path¬ almost any rational enterprise. But do not. blame music or a source of strength and sweetness to you, instead of many there are; yet, if these did not exist everyone starting anywhere in the middle of the music; they can ological matter, just as are these other disorders. the worst of weaknesses. would be a master at once and would scarcely need to art for him. Pie is really a case for the psychopathic specialist. only start all over again at the beginning, or at an learn! The next thing that occurs to me is the bad “Our emotional instability is the product of immigration, There is no reason why a normal person with great life obvious double bar repeat. This is because they do not Listening habit of adding chords to octaves in the bass part, so as automobiles, jazz and the movies. Foreigners who have come ideals cannot study music, become a musician, and at. the same really know their music inside-out, they have learned In connection with the pedal, I must notice the small to amplify the tone and make more volume. It is a to America have left a peaceful, orderly life without any par¬ time succeed splendidly in a business career. We know literally it only superficially. If one really knows a piece well amount of care and attention given by most students to enough to play it before people, one should be able to very reprehensible practice however, as it overloads the ticular emotional shock and have been plunged into a nervous hundreds of men, to whom music means as much as business, quality of sound and fine tone production. They do not symmetry of the harmonies and produces heaviness of begin playing it at any bar in any part of the music. seem to listen enough to what they do. As long as the maelstrom. A mere uprooting of their former lives is enough who have become famous. Music seems to stimulate the right atmosphere. Then, also, neglecting to bring out bass I consider this a most important point in pianistic educa- notes are correctly played, so many pupils seem to think to cause considerable emotional disturbance, but this is height¬ kind of a business mind. To some men it is like champagne. accompaniments which are necessary as a foundation to of nothing else. Yet this is where real playing only begins. support the melody, and vice versa, the fault of produc¬ ened by the enormous increase in the nervous stimulation and It builds up enthusiasm, develops nervous energy, enkindles Serious students, as a rule, also do not give their atten¬ The notes must be properly learned first of all, in order ing a too heavy elephantine bass which swamps the right shock of American life. It is bad enough for Americans, but tion nearly enough to playing before people. They study, to begin to study how to play the music by adding beauti¬ ambition and increases the business man’s output. Indeed, hand's part, these also are very tedious and common study, study, and practice, practice, practice, by them¬ ful tone and color of sound. far worse for those who have not grown used to it. The tre¬ with some of the most active business minds of the country, faults. So is the one of playing chords .with one hand selves, or for their own teacher, and find they arc get¬ And rhythm, the sauce of every interpretation, what mendous growth of pleasure automobiles and moving pictures music has been indispensable. Else why have so many granite- always attacking slightly after the other. Students do ting on beautifully; and when at last they have once to flabbiness, what lack of outline where it is absent! Great in this country compared with others and the phenomenal sweep this who suffer from an excess of pleasure and emotion minded merchants seen fit to give millions and millions for the play to a larger audience, the demon of “nerves” takes attention must be given to it; no note must be held while playing; and, in their enthusiasm to get everything of Jazz across the country have drained off far more nervous cultivation of music? possession of them, and they go all to pieces. Of course, longer than its true value; every bar must be made to they can express into the music, their intensity makes vitality from our people than from those of .other countries We know of the many instances of musicians who have some people undoubtedly possess more temperament for feel the rhythm’s pulsating beat. them drag one hand after the other. The danger of this playing before an audience than others. But there is- Scarcely a student that I ever heard gave nearly without putting anything in the way of energy into the reser¬ switched from the professional field to business and are now very amateurish error is that it becomes so quickly a a large element of habit in it, and the student who ac¬ enough attention to scale playing. After all, most of voir of our national strength.” holding some of the highest business positions in the country— habit and is very difficult to break away from. For the quires this habit as soon as possible, from constant play¬ the running passages in piano music are but elabora¬ ear of the player gets so accustomed, after long indul¬ Perhaps this is the explanation of America’s enormous crime possibly far more lucrative and important parts than the ing to people, gains a confidence and a mastery of his tions of scales, yet many times someone will come and gence, to it that lie ends by being unable to detect the rate at present. Perhaps this reveals why our murder rate is employer who sponsored the statement which heads this means of expression which cannot be too highly valued. play a Ballade of Chopin with pride; but ask him to annoying want of simultancousness in the striking of his twice that of Italy and seven times that of England. What editorial. —---- Very often students fall into terrible errors and diffi¬ play a simple scale, and behold, he cannot begin to! culties through their own initial fault of not bothering Therefore it is better to learn the early works of Bach two hands. will it be in 193.5 unless it is stopped now at the source, in child¬ Inane Encores to choose the very best available teacher to start with. hood ? With many people the encore becomes a habit. We re¬ This is such a very essential point, for bad teaching can Dry, Hard Tone As a result of The Etude’s “Jazz” issue of last August, peatedly hear performers encored, when they have not done do irremediable harm even to the most talented. I have still two more faults in my mind. One being wc have received a large number of opinions upon the subject especially well, and largely because it is the custom to encore. the dry hard tone that is often forthcoming in staccato Listen to What the Teacher Says passages, the fingers performing an action like pecking from our readers. Some wrote excellent little articles but wc This is no prop to art. The abuse became so great that most Another thing I have noticed. with students is that, at the keyboard, accurate and correct maybe, but ex¬ think that the subject has been sufficiently aired in The Etude of the great orchestras refuse to permit encores. In London, while having their lesson, they are so anxious to keep tremely uninteresting to listen to. and so many excellent articles were presented that it would be Dame Clara Butt recently sang at an orchestral concert in on playing that they do not really listen to what the The other fault is keeping the hands glued to the almost unfair to publish only one. The result showed that Albert Hall. Her reception was as customary, and then the teacher is saying, or merely listen perfunctorily, while piano, not lifting them off enough, which lifting gives about twenty-five per cent, were in favor of the “better kind of encore hogs got to work. After the fifth encore, a self-reliant only longing to play over again, the passage which is being corrected. I have often heard a pupil, after having so much freedom, lightness, grace, and helps suppleness Jazz,” while seventy-five per cent, were emphatically opposed Britisher rose in the gallery and shouted, “I came here to hear been stopped by the teacher and told he was playing of technic. The raising of the hands from the key¬ to Jazz. the orchestra.” The Scottish Musical Magazine rightly com¬ wrongly, just repeat the whole of the music in exactly board at certain places is to the pianist what the taking ments, “No singer has a right to take five encores.” We One reader drew this picture. On one side was a desolate the same way as he did before, having not really taken of a new breath is to the singer. It gives renewed old back yard, filled with rubbish, tin cans and weeds, repre¬ should think that no audience has a right to demand them. in at all what was said to him in criticism. He was so life to everything, and strength to continue. And on the senting Jazz, with a beautiful sunflower growing out of the intent on playing as much as possible that lie had not piano it is so easy to lift the hands at times, as the pedal London, New York, Paris, Chicago, Berlin, Boston, heap representing “the better kind of Jazz.” On the other side apprehended at all what the teacher wanted. There¬ is there to hold on notes to their full value, and give Rome, Philadelphia, Melbourne, San Francisco and other was a glorious garden representing good music, beautiful fore, students, do not during your lessons commit the respite for the relaxation of the tension by the brief great music centres of the world, will be represented in music. stupid error of trying to play all the time, or to quickly removal of hands. Many young students play with their “The Etude” for 1925, by many of their greatest musical fingers, wrists, hands, arms, everything, stuck to the key¬ We must admit that, the comparison was a powerful and authorities. repeat a corrected passage! But listen quietly and at¬ tentively to the advice of your professor, and think it board, afraid to release their position for one moment, over well before trying to repeat the music according to especially in difficult passages, thereby making every¬ his directions. MARK HAMBOURG thing look and sound labored and stiff. THE ETUDE JANUARY 1925 Page 9 Page 8 JANUARY 1925 THE ETUDE The Finger Elastic Touch I will end my category of faults which beset the pupil The Playing Class by giving an instance of how necessary it is not to lose By Olga C. Moore The So-Called “Soft” Pedal presence of mind in the nervousness which devours the By Patricia Rayburn novice in public. A very young pianist was making his There are times when a pianist’s fingers feel as “stiff By SIDNEY SILBER debut at an important concert and dashed on to the plat¬ as clothes-pins.” In young students, it may be the lack form when his turn came, feeling as though his brain Each music student should have three to five, or even of sufficient practice of the right kind; in advanced Dean of the Sherwood. School of Music had temporarily left him for a voyage to the stars! more, selections ready to play in good form at all times. players, it may be because “out of practice. When he sat down to the piano, he found that the chair The child, however, cannot be expected to keep these One of my pupils is a stenographer, who complains more particularly, a change in tone quality (timbre). A common experience in music-making is the effect of was placed too far away from the instrument for him One of the outstanding indications of amateurishness in good shape solely by his own efforts; and the wise of this stiffness. Now we know there is a vast differ¬ This results in the following interesting manner. When surprise caused by an unexpected harmony or modulation. to reach the keyboard in comfort. For a moment he teacher will make provision for such work other than among large numbers of teachers and pupils is their ence between “playing” on a typewriter all day and the hammers are in their normal position, they strike The following excerpt, is one. of many examples of; a looked absolutely non-plussed, miserable,—then suddenly the mere instructions to review now and then. This is attitude and use (rather, abuse) of the so-called “soft” playing on a piano. So when a stenographer takes a the strings with portions of the felt which have become similar nature. he began seizing the piano and straining every muscle to best done by holding, about every two weeks, a "playing or “una corda” pedal. While the latter term still per¬ piano lesson in the evening, after operating a typewriter indented and: thus hardened. The tone quality is then Schumann, Fantasia, Op. 17 bring it towards him, instead of simply pushing his chair class.” sists among composers and publishers, we shall presently all day, it is easy to see which “touch”, predominates. bright, brilliant and clear. When the hammers are nearer the instrument. He was so flustered he no longer This need not be advertised individually, but mention see that the former is based upon an utter misconcep¬ shifted, the soft, or ■ relatively less used portions of the knew what he was doing. The audience began to laugh: For this peculiar “musical rheumatism” I have pre¬ tion. Probably, it was called the “soft” pedal in con¬ should be made of it in your regular cards and adver¬ felt strike the strings, resulting, first of all, in a smaller they enjoyed the unusual tussle between the piano and scribed the finger elastic touch. One may practice tradistinction to the so-called “loud” pedal, which latter tising matter something after this manner: “The second tone, and then in a darker, drier quality. Lastly, a the player. The piano won! It was inexorable, it re¬ merely a five-finger exercise or the scales with this should have been, and still should be called the “damper” and fourth Thursdays of each month, at 4 P. M., Play¬ very interesting phenomenon, most characteristic of piano fused to budge. The pianist retired defeated, humiliated, ing Classes. The pupils, their parents and any others touch. It is made by setting the hand in rounded posi¬ pedal. to seek for his lost presence of mind. tion lightly on top of the keys. While balancing the Mechanisms of Upright and Grand Pianos Compared— sound, takes place, known by the scientific term sym¬ interested may be present.” pathetic vibration. In other words, those strings which hand, extend one finger above the key as straight as the Upright Piano The affair is very informal. A child may be stopped, are not struck nevertheless vibrate sympathetically with A “Limbering-Up Exercise” corrected, or made to play the number several times in possible. Now “spank” the key with the flat tip of the In the standard upright pianos of today, the mechan¬ finger in a quick, crisp, decisive stroke that draws half those set in vibration through the hammer stroke. The order to secure a desired result. ism of this pedal (which is the extreme left lever) is result iis an altogether piquant, tender, veiled and harp¬ By Izane Peck If your pupils can do this good-naturedly and with¬ the finger underneath, pressing the flat tip of finger simple enough. Its use effects a slight forward thrust like sound. out venom—for any good effects will be obliterated against the palm. At the same time that you draw under of all the hammers, thus lessening the momentum with Functions of the Shift Pedal Fingers will get stiff—from many causes. Even those otherwise—ask them to criticize constructively the per¬ the finger making the stroke, the entire hand springs up which they strike the strings. Added to this, the key¬ customarily very flexible will have their days when they formance of their fellow pupil. Children and young from the keys and all the fingers are contracted tightly board is slightly depressed, thus lessening the “dip” of While this pedal does not lend itself to the almost in¬ need a “lubricant.” people in general are keen observers, and valuable sug¬ against the palm. the keys—another means of decreasing the force of the finite number of effects of the Damper Pedal, it is, Here is my one “best exercise.” It will not eliminate gestions will ofteh be made. Do not make a fist, but keep the back of your hand hammers. Inasmuch as there is thus a resulting diminu¬ nevertheless, a most valuable adjunct in the production all awkwardness by magic, but will produce a marked In this manner each child will be able to retain a flat up to the middle joints of the fingers; Kcwise tion of sound produced, I take it that the term “soft” of “color” and “atmosphere.” As will be seen in the limbering up of unruly fingers. The exercise is a simple good repertoire in good condition, so that, whenever he the thumb, which must be struck on the side of the tip, came into vogue since by far the largest number of following illustrations, it is mostly used in conjunction sh\fl pedal one, consisting of the first five notes of all major keys is called upon to play, he can respond immediately and not flat. Hold the contracted position in the air above teachers and students use the upright piano in their with the Damper Pedal, though novel effects are often It is frequently advisable to subdue the effect of har¬ taken chromatically—scale of C, of Db, of D, of Eb and make a credible showing. the keys for two counts. Suddenly relax the lingers daily teaching and practice. produced without the same. Students should resist at monic figurations of an accompaniment to a single so on. The original exercise was given me by Mr. John and hand with a little shake and set lightly on top of all times the temptation to make it a substitute for piano melody tone, which stands out more boldly in relief if The Grand Piano Hattstaedt of The American Conservatory. I use it with the keys again in rounded position ready for the next and pianissimo touches. The words “ tre corde” mean¬ the Shift Pedal is immediately taken after it has been Touch and Hearing ing three strings, or “tutte corde”' (all strings) indicate some adaptations as follows: finger stroke. Do not hold dozen the keys; merely In the grand piano, on the other hand, the mechanism sounded, as in the following: • is -radically and vitally different. The keyboard is the release of the Shift Pedal. Ex. 1 balance the hand on top of keys while lifting the one Chopin, Etude Op. 25 shifted to the right (in a few makes it is shifted in By E. Constance Ward finger that is to make the stroke. Repeated Periods or Short Sections Do tlxis kind of practicing only very slowly, for it is the opposite direction) while the key-dip and the striking The most common use of the Shift Pedal is illus¬ dreadfully tiring to the joints of those who arc not distance of the hammers remains undisturbed. The Do you ever consider what a strong sympathy exists trated in the repetitions of short sections of eight or rift*! ^ accustomed to it. This touch is very beneficial, if one German term “Verschiebung” (meaning Shift Pedal) between the senses of touch and hearing, but at the is here very apt and descriptive. sixteen measure periods. An abundance of these will same time how their development in conjunction with will take it seriously enough to be willing to try it be found in the shorter pieces by Schumann, Scenes out for a few minutes before each day’s practice. Let us now inquire into the influence on sound pro¬ -f--f- each other is often to a great extent neglected? To a duction which this pedal exerts in the grand piano. At from Childhood, Fantasy Pieces, the Songs Without musician the sense of hearing is of paramount import¬ When a difficult running passage occurs in a piece or Words by Mendelssohn, and others. It is the most Each group of five notes, in all the keys, should be the very outset, bear in mind that The Shift Pedal is ance ; still, in spite of that, how greatly we rely on the study, try playing the notes very slowly with this finger natural thing in repeating such short periods tc play »*!// pedal *fo,de pedal given this rhythmic treatment. the only mechanical contrivance for altering the tone sense of sight to guide our fingers and hands during elastic touch, and immediately after play the same pas¬ them more softly than when first announced. While High finger action brings the best results. Also try quality (timbre) of sounds produced. In making this Echo and Harp Effects our practice as musical executants. sage with a slow, heavy, clinging, legato touch. You this illustration covers a very large range of playing, it for equality of touch. After the exercise can be played interesting inquiry, it is first necessary to examine the Supposing your sense of sight were suddenly to be lost, are able to play a much more overlapping legato after¬ does not by any means cover all of this particular The Shift Pedal lends itself most admirably in the slowly1 with ease, attempt it with your eyes closed. When piano from the standpoint of One, Two, and Three- would you be able to continue playing your usual favor¬ ward by practicing the finger staccato first. Not the type. Any hard-and-fast rule would soon become production of entrancing echo and harp effects. It is you can do that without a mistake you will have added String Registers. ite works? To some extent, probably you might do so; careless finger staccato, but the finger staccato that stereotyped and result in conventional, if not artificial well to bear in mind that in such effects the touch must a bit of key measuring knowledge to your finger agility. While a comparison of various sizes of grand pianos, but soon hesitation would come to the fingers, they exercises the joints of the fingers, namely the finger playing. For example, it is probable that a repetition be appreciably altered as regards pressure and weight This exercise is especially good for the weak fourth from the Baby (Miniature) Grand to the Concert Grand, would miss their guiding friend, the eye, to tell them elastic touch. of a short period might prove very interesting and musi¬ exertion. In these procedures the ear and the player's in¬ fingers. reveals minor differences, it is well to note that there nate aesthetic sense are the sole guides and superinten¬ the exact spot where they must be placed. are in all sizes three distinct string registers. These cally justified, by a change of the dynamics or even dents. Now, as an experiment, try a little diversion during Scale Practice will follow rather closely the plan: Counting from the of the tempo. Repose in Teaching the practice time. Out of one hour devote two periods lowest bass key—one string for the first eight keys; Repeated Short Phrases Debussy Nocturne of five minutes to playing with the eyes closed. Com¬ By S. M. N. two strings for the next fourteen keys, three strings What is true of the repeated period is likewise true By Aletha M. Bonner mence with a very easy combination of notes, a scale for the next sixty-six keys. of the repeated phrase. The following example is typi¬ is excellent; decide on the kind of touch you wish to Scale practice is the beginning and end of pianoforte cal of a large number of advisable uses of the Shift The Dampers use and concentrate on that, and the tone produced; let technic, and complete relaxation of the muscles is neces¬ Pedal. How often do we find teachers keyed up during a the fingers feel their way guided by the ear, and your In this style of grand piano we also find that only sary in securing a beautiful scale. Anv unnecessary Bx j Mendelssohn, Song Without Words, No. 1 lesson period to what they call “highest pitch.” They knowledge of the construction of the scale. the first sixty-eight keys are supplied with corresponding walk the floor, wring their hands, or give way to other contraction of the muscles makes itself heard in the On the piano, the amount of key resistance will be tone quality of the different fingers. The stroke of the felt dampers—the upper twenty keys have none. Now forms of perturbation, which in turn only tend to mud¬ more acutely felt in this way, legato and staccato more depress the shift pedal and notice what effect it has dle the brain of the pupil and to upset an otherwise tourth finger becomes very weak, that of the middle easily felt and judged, and the ear will become capable finger harsh. In a perfect scale all the notes are pre- on the number of strings actually struck. Hammers, well-balanced equilibrium. Nor is this the most harm¬ of a much finer discrimination of tone quality. After a‘>ke, and the tone is full, round and musical. which in the normal position of the keyboard struck ful result of such a display of “nerves.” the scale, take the simple extended chords and get C'f/ Many difficulties are to be overcome in playing a good but one string (the one string register), still continue Of all the arts, music is said to be the best language used to spacing the different intervals with the fingers, scale on the piano; and it would be well for every stu- to strike one string; those striking two, now strike but in which to express an ideal. In view of this fact, we each hand in turn. Then play firm chords, same posi¬ dent, the beginner in particular, to keep in min'd the one; and finally, those striking three, now strike but two. ask the question: “Can such a colorful language be tion of chord to be repeated through four or five grasped by a pupil who is reduced to a state of trepi¬ following rules during the scale practice period. Terminology octaves, each hand separately, so as to bring arm move¬ I. correct position of the arm dation through the agitated antics of an instructor?” ment into play, trying to pass over the intervening notes The words “una corda,” meaning one string, are Contrasts of all Kinds Frankly, there is but one answer; namely, the musical in one arched leap of the hand, the arm moving relaxedfUSdeS °f ^ shoulder’ elbow and wrist must be derived from the Italian. They arose from the fact Thus far we have seen that literal repetitions are vocabulary will be too limited for self-expression by laterally along with it in an easy position, no cramping that in the earliest instruments there were but two effectively heightened by the judicious use of the Shift such a student, rather will the phraseology pertaining to be allowed. Practice this first with the eyes open in keys ^'ngers not 'n use must be kept raised above the strings where we now have three. In using this pedal, Pedal taken in conjunction with the Damper Pedal. to the art be merged into a tumult of disquieting notes. order to get the correct position at the piano and gauge on those instruments, only one string was actually struck This principle may be extended to contrasts of all kinds, Music, therefore, demands repose on the; part of those 4. Keep fingers in a curved position, the distances of the hand movement from one octave —hence the term. It is well, however, to bear in mind whether literal or not. In the following example we teaching its language. It calls for controlled nerves, to the next. This you will find quite a difficult exer¬ stroke P thUmb in itS place’ PrePared for its that, even in the earliest instruments, there was always find an apt illustration in which it is easy to imagine for sane emotions. Let us heed the call. cise with the eyes closed, though you may do it with a one-string register for the lowest bass strings, which an orchestral solo instrument promptly answered by remained unaffected, as in the modern instruments. after the arpeggios have been played. comparative ease with the eye to guide your movements. 7 T?,!tX^nger:? and thumb after striking. several instruments. o' p, ” .e ”ad i°int °f the thumb toward the hand, Thus the term “una corda” was never scientifically cor¬ Just Wondering The fingers must endeavor to retain their relative rect—it has always been a misnomer. It is particularly To the Etude: is one tone * u and listen for **««* legato; that positions through each successive octave; and the hand, tween them y )0,ns the other without silence be- so to-day. It persists, as do many other misnomers, I had been without a piano for eight years, except being carried by the arm, must learn to judge the dis¬ because, on the one hand, it is difficult to root out terms the few and far-between visits I made to my old Ken¬ accent and th * °n y by playing the scales with strong tance and to know just when to descend on to the notes. dSeto XXT “» Precision sod in- which have gained universal currency, and then, per¬ tucky home; and, really, it required all the nerve thdt You will soon learn the feel of the hand for different scale thrnmrh tb fin?ers are acquired. First play the haps, because no better one was found. It is well to I possessed to keep going. I was so far behind; but chords, and the association of the sound with the touch "o«s according to the note in pasing, that the words “due corde” (meaning I persisted, and a few months ago when I paid my note instead of n ,*et the accent fall upon the weak two strings), which would be today more nearly ac¬ daddy a visit all the friends and relatives were eloquent will strengthen the ear for distinguishing various ■.S •I1' «"« •», and pl,y ,he scale, curate, are urged and used by Arthur Whiting in his in their praise of my playing. sounds in combination. Also the fingers will become cent S Afterward, place the sc very excellent Pedal Studies (two volumes). I am just wondering in how many homes there is a much more sensitive to gradations of touch in tone for¬ piano with no one to play it, that could be turned over mation. This practice with the eyes shut .will be found note This J t, 1 note; tIlen> uP°n every fourth What Effect Has this Pedal Upon Timbre? to some ambitious one who, for some cause or other, to be quite fascinating, the powers of concentration will is the s.,,/4, ,*“d,eT“n'i °f an
The Neglected Up-Stroke
By Leslie Fairchild
“My playing is anything but immaculate; my tone is, un¬ Rule 2. The wrist must be held somewhat lower than healthy; passage and scale work is not clean cut; and I the knuckles. can’t seem to get that decided rhythmic swing that others Rule 3. On the “up-stroke” the finger should maintain have in their playing: Miss X has given only a little more a curved position and be raised to the highest possible than half the time that I have to music, still her playing sounds so clean cut; her scale and arpeggio work so pearly Rule 4. On the “down-stroke” the finger should strike and brilliant that I am just at a loss to know how to go the key firmly, without the slightest sign of the nail joint about it to acquire this clearness in my own playing.” caving in. This student's complaint could be traced directly to the manner in which her fingers were released from the keys, Rule 5. Extremely Important 11 At first the tempo or in other words, the “up-stroke” of the fingers. Person¬ should be taken deadly slow but with lightning rapidity of ally, in all my years of study, great stress has been laid as the up and down stroke of the finger. to “attack” but very little said in regard to the manner in Rule 6. Use finger strength only. Do not employ the which the fingers were released from the keys. slightest weight of the arm. Ex. IV. Same as above using fingers 3 4 S • This highly important point in piano technic, which 1 2 4 leads directly to a finely articulated touch, can be readily Originate similar Examples. acquired in a surprisingly short time, by those who will conscienciously give the following exercises their earnest Ex. 5 efforts. Like always attracts like; slow, lazy, sluggish finger actions can only resolve into an unhealthy technic, while live, quick, virile finger movements result in a clean .cut, articulated technic which helps to strengthen the M. 176 rhythmic swing and gives us a real wholesome, clarified tone, even in pianissimo passages. Ex. V. This scale study should 1* worked through All the exercises given will greatly improve this several keys. neglected “up-stroke” and will improve the “down-stroke” Ex. VI. Same principle with arpeggios. or “attack” to a marked degree. The following rules must be strictly adhered to Ex. VII. Use principle on studies similar to the throughout all the exercises, if the maximum results are Hanon Ex. M-176. This ex. is highly beneficial. to be expected in the shortest possible time:— Fifteen minutes a day for a period’of from two to Rule 1. The hand should assume a vaulted position. ree weeks will show marked improvement in the (This can be nicely illustrated by holding a large orange clarity of one's playing. in the palm of the hand.) Take care of the up stroke and the down stroke will more readily take care of itself.
Happy New Year Greetings to All “Etude” Friends!
We trust that all our “Etude” admirers have as many reasons to be happy as has th of workers. Our circulation has been going regularly ahead every month. Our friend ^ an^ large family features we have introduced. From all over the world come splendid letters from “ S€em ^Whted with the many new ready to go out of their way to tell their friends about the advantages of “The Etud ” enthusia8t» who seem ever could we ask to make it happier? May we all have the joy of work and prosperity for 192. HaPPV New Year! ” What
THE ETUDE rrrrp pt ITT) F JANUARY 1926 Pig?- 2/ Page 26 JANUARY 1925 T THROUGH THE AIR CAPTAIN KIDD ARPEGGIO WALTZ CARL WILHELM KERN,Op.525 The folk were glad they were still alive A wry pretty teaching piece,affording“cross hand"and arpeggio practice. Perfect evenness should be striven for.Grade 2^- j^ Tempo diVillse O, Captain Kidd was a bold, bad man And they cared not for the loss. , 7L 1 h a 4 5 \ 4 5 jAM.M.si- = 63 * Intro._JJ- -A -- ' And he sailed the briny sea. With gold and jewels he sailed awhile He fought with knives and he knew no fear, Until he came to a desert isle He wore a ring hanging from each ear, Then buried the chest with an evil smile He was a dashing buccaneer— And carved the skull and crossl No fiercer man than he. And to this day (at least people say) He sailed the seas_ all ready for a fight Folk hunt the sea for that isle and tree And stole the gold from other ships at night. And the chest of Captain Kidd. Dorothy Gaynor Blake Taken from a new set of piano pieces: Three fferoes of the Child World (the other heroes being Columbus and Robinson Crusoe). The composer is deservedly popular with young students. Grade 2£. DOROTHY GAYNOR BLAKE tone and cjireful phrasing. Play in a bold sty le with big 5 _5 ,__ 5, , 4 l\'
1 1 i (The sea) 8 ' ^ ' *
^mysteriously
4 1 “I if* r— y ° —
British Copyright secured Copyright 1924 by Theo.Presser Co. the etude JANUARY 1925 Page 29 POLISH DANCE ALFRED PRINCE, Op. 9 Allegro vivace m. m. J = 126 PRIMO 8'L.a. ^ A A ^ •fr Jen.
ten. m rrr*rr y* a tempo ^ poco rit. m yf p ^ m f * m if y pip (itf11 trrr poco rit. ^Fri/all »/* . ft‘a A || graztoso (A j Ef^EEf IeEE rfF#i Efcfe t1 M ild: •1 r ^ 1-1 ~JI ^ WfffP is- 5 2 1 4 A * 1 kflgrrrtpr*rr1 /pft, =±-fA_ N \W--— - . i or?o rit_ : tempo A. A * r ) 0 T n 2 5 5 J 5 ^ ' « H 3 43 '-t1 LitF .: ■ *, 1H 1 \ r 4 34 - 4 fH; UL ^hIB 1 57r = LJ- -1 5 -i L«-jrf^Tf =*; iSg ^ tO.G# I */* L ^-*4 - fr r 5r7r ifiA M# ; iNtfp ? \\0im /*/« /a»/a e tegoto & tep^_ 51.—^4 )fl^i :L £«;: 1 sQ* ~P lli4^=E '4- 1 r ^ sy-u^ E7 ^>7 *= 5*==lerr r PP i£ _ am>/. 4 nf _ * r*- i 3 -11-p*—^I4 v£r-^iii »V *5 ^ ^ 1 r’i- 5 a 1 1 5 H -
Copyright 1924 by Theo. Presser Co. # From here go back to this beginning and play to Fiu^ then pi f British Copyright secured Page 30 JANUAR Y 1925 THR RT(j/ip TWE ETUDE JANUARY 1925 Page 31 YALSE YALSE THE ETUDE m- ~-| i ^ j—TPM. ,8rf^ Tf,lU^. ,J
t\ 1 , " 3| | "1 ' j dim. _ ^Eilr^ R -#• -#*• ■#*• “0* ^ t* Ts. “T _
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CODA fT'-* l7r—^ —_ ppp-^l _
INTROSPECTION SONG WITHOUT WORDS FRITZ HARTMANN,Op.172
International Copyright secured Copyright 1924 by Theo.Presser Co. JANUARY 1925 Page 35 Page 34 JANUARY 1925 THRBTURr the etude
A richly harmonized modern style waltz. A good MARIANNA FRANK H.GREY dancing or drawing-room number. Grade 4. . T VALSE Moderato Tempo di Valse m.m J.=63 Jr Jr >y^
The Mason & Hamlin with the Ampico
ANOTHER GREAT PIANO CAN NOW OFFER YOU THE AMPICO
THE whole wide world of music will appreciate the sig¬ vibrate, each note sounds and stops or is sustained exactly as the artist who made the recording intended. Yet neither ri ~ ~-1 nificance of this announcement. The Mason 6s? Hamlin H-M | *| j ji, _an instrument that has for years held a place of highest in the appearance of the piano nor in its action when it is distinction among artists, professional musicians, and the played by hand is the presence of the Ampico suspected. f - nrp P • Y • more accomplished amateurs—may now be bought with The Ampico brings to your piano the unblemished art the Ampico of Levitzki, Rachmaninoff, Rosenthal and hundreds of the Only in these pianos great pianists of this generation, including Vincent Lopez, Adam Carroll, J. Milton Delcamp and other famous inter¬ :^1 Hitherto the Ampico has been obtainable in the Knabe and ss preters of dance and popular music. The Ampico library the Chickering. The addition of the Ampico to the Mason is a rich treasury of piano compositions, faultlessly, thrill- 1 1 ^ 6? Hamlin means that now three of the four great pianos in Last time ingly played. * „ ---. * ^^ ^ , 4 ^ ^ \ general use on the American concert stage are equipped with the Ampico. The silent or player piano you now own will entitle you to an allowance on the purchase of your Ampico. This The Ampico is also found in five other pianos, instru¬ exchange privilege and convenient terms of payment make ments that have held recognition for generations as pianos it possible for you to experience without delay the myriad of quality. They are: the Fischer, Haines Bros., Marshall 6? joys of owning an Ampico. Foot-power models, $795. Wendell, Franklin, and in Canada the Willis also. The Electric models, $985 to $5000. With freight added. Up¬ Ampico, with its priceless endowment of the playing of the rights and grands. greatest pianists, is limited to these pianos. All of them are fine enough to do justice to its music. Have you heard the Ampico ?
What is the Ampico ? If not, take the first opportunity to hear it at any store The Ampico is the marvelous device that produces on the where any of the pianos mentioned are sold. strings of your piano exactly those effects which were Perhaps you will want to learn more about the Ampico secured on another piano in our recording laboratory when before hearing it. A booklet describing the Ampico, listing a great artist sat before it and played. its hundreds of artists, and outlining the large library of The keys go down, the dampers rise and fall, the strings Ampico recordings will be sent on request.
The ALL of the Piano Copyright 1924 by Theo.Presser Co. 1). S. al Fine British Gopyright secured THE AMPICO CORPORATION • 437 FIFTH AVENUE ' NEW TOfUC THE ETUDE JANUARY 1925 Page St Page 3G JANUARY 1923 THE ETUDE
Radios GreatestzAchievement ! is embodied in this newest and most remarkable of musical instruments — The Brunswick Radiola
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HERE is an instrument unique in the annals of as only a Brunswick can musical art. An instrument immeasurably in a play them. Remember—Brunswick now offers the liekl of its own, educationally, musically and as a never Nothing in music — music ending source of home entertainment. in the making, the current choice of two supreme musical in¬ Multiply whatever previous ideas you may have had triumphs of famous artists of tlic miracle of radio; and yet—yoS will be amazed of the New Hall of Fame, struments : the Brunswick Phonograph when you hear it. Multiply your previous ideals of the music of yesterday, to¬ alone without radio, and the Brunswick the ultimate in a musical instrument, and still you will day, tomorrow—is thus be¬ fail in rendering it justice. yond your reach. Radiola, which is a phonograph and The Brunswick Method of Reproduction, which in recent years has attracted virtually every famous Moderate prices— a radio in one. artist of the New Hall of Fame to the Brunswick Phonograph, has been subsidized to do for radio that Liberal terms of payment— which it did for phonographic music. The result is a Instruments now on display musical revelation. So' as to bring this instru¬ The Brunswick Radiola ment within the means of —what it is every home, many different types and styles have been developed—and liberal terms of payment provided. The The Brunswick Radiola marks the joint achievement of the leader in musical reproduction with the leader Some are priced as low as $190, embodying the master in radio. A scientific combination, developed by the craftsmanship in cabinet work which characterizes Brunswick Radiola Brunswick laboratories in connection with the Radio Brunswick. These famous artists of Corporation of America, which embodies the best that Some embody the noted Radiola Super-Heterodyne. Super-Heterodyne men know in music and in radio. Others the Radiola Regenoflex, the Radiola No. 3 It is in nowise a makeshift (simply a radio receiver set in a phonograph), but a perfected, tested and proved —some remarkable features: THE NEW HALL OF FAME combination. An instrument you can buy with the same positive and absolute assurance of lasting satis¬ The phonographic part offers you the world-accepted record exclusively for the Brunswick Phonograph faction throughout the years to come, as a regular Brunswick Phonograph, embodying the unique Bruns¬ 1 Requires no outside antenna—no Brunswick phonograph. and the Brunswick Radiola wick Method of Reproduction which brought phono¬ ground wires. You can move it graphic music into the realms of higher musical art. from room to room—plays wher¬ ever you place it. are on Brunswick Gold Label, Double-Face At the turn of a lever, you have radio's greatest thrill, The radio part embodies the current achievements of Records. New the amazing Radiola Super-Heterodyne or Radiola the Radio Corporation of America’s famous Radiola wTckrRecCori“”UOUSly “ffCre<1' A1Wa),S new on Bruns- Regenoflex to bring the mysteries of the air into your receiving sets, plus the emphasis of the Brunswick 2 Amazing selectivity permitting home, with tonal possibilities multiplied. Method of Reproduction. A combination resulting in you to “cut out” what you don’t At another turn, you have the recorded music of all a clarity, beauty and tonal quality equalled only by want to hear and pick out instantly Michael Bohnen time at your command—your favorite records played the remarkable versatility of this amazing instrument. Giacomo Lauri-Volpi what you do. Consider what this Karin Branzell THE BRUNSWICK-BALKE-COLLENDER CO. means in big centers. MINNEAPOLIS SymPHONY Giuseppe Danise Manufacturers—Established 1845 Henri Verbrugghen, Conductor General Offices: Chicago Branches in All Principal Cities 3 Combines the superlative in radio Claire Dux Marie Morrisey with the superlative in phono¬ graphic reproduction •—a phono¬ 1 he Cleveland Orchestra Elly Nf.y — graph and a radio in one. Nikolai Sokoloff, Conductor cThc Sign ofSMusica! Prestige Sigrid Onegin Florence Easton Tino Pattiera Elsiiuco Trio Elisabeth Retiiberg Leopold Godowsky Max Rosen Josef Hofmann Richard Strauss Bronislaw Huberman Willem Willeke Maria Ivogun i/cnru/nMMCK Ukrainian National Chorus PHONOGRAPHS Demons • o Anim as THE ET JANUARY 1925 Page 39 Page 88 JANUARY 1925 THU ETUDE PROCESSIONAL MARCH THERE IS A PIANO BOOK FOR EVERY PURPOSE IN THE “WHOLE WORLD” MUSIC SERIES MODERN OPERA SELECTIONS CONCERT PIANO PIECES PIANO PIECES Contains more than 30 selections from Containing 70 classic, modern, light Contains 44 of the greatest compositions modern French, German, Italian and Rus¬ ever written. A book for the advanced operatic masterpieces which every one c“n sian grand opera. enjoy. player. Price, $1.25 (Paper Binding) Price, $1.25 (Paper Binding) $3.00 (Paper) $5.00 (Cloth)
GRAND OPERA AT HOME MODERN PIANO PIECES RECITAL PIANO PIECES Contains the stories, words and music of Contains 47 representative recital compo¬ Contains 70 standard pieces by the most the 12 greatest grand operas, arranged for famous modern composers of all nation- sitions by famous classic and modern com- the piano. Price, $1.25 (Paper Binding) Price, $1.25 (Paper Binding) Price, $1.25 (Paper Binding)
LIGHT PIANO PIECES PIANO DUETS LIGHT OPERA AT HOME Contains 54 light piano pieces which will Contains 40 classic, modern, light, sacred Contains the stories, words and music of be greatly enjoyed in the hours of recrea- and operatic duets which every music the 12 most popular light operas, arranged lover will enjoy. for the piano. TRIO Price, $1.25 (Paper Binding) Price, $1.25 (Paper Binding) Price, $1.25 (Paper Binding)
CHILDREN’S PIANO PIECES SACRED MUSIC DANCE MUSIC Contains 150 charming compositions for Contains 25 sacred piano compositions, Contains more than 90 standard marches, young folks in the first to the third in addition to the finest sacred songs and waltzes and fancy dances of every descrip- well-loved hymns. Price, $1.25 (Paper Binding) Price, $1.25 (Paper Binding) Price, $1.25 (Paper Binding)
These books are for sale at all modern music dealers or can be obtained direct from the publishers D. APPLETON AND COMPANY, 35 W. 32nd St., New York tisSrWrite for free 56-page descriptive catalogue, containing the complete contents of these books
Serving the World with Sung with Immense Everything in Music Publications Success by MARIE SUNDELIUS By Prompt and Accurate Mail Order Service Mach day’s mail brings to us orders from all parts of the United A Serenade States, Canada, Great Britain, Europe and South America. Africa, Australia, Cuba, the Bermudas, West Indies, India, China and Japan are represented frequently in our large mail order In Seville patronage. Every member of our organization is imbued with the aim to Words by James Francis Cooke render prompt, accurate and courteous service on each and every Music by order. JOHN PHILIP SOUSA ■ n Unequalled Stock of Music Publications and a corps of the best and most experienced music clerks make possible a satisfactory service to all music buyers. Specialists in Musical Educational Material. Teachers are given Liberal Examination Privileges and Discounts. Con- Charge Accounts opened for Teachers and Active Music
upon our books, should As practically all music is 1,1 price, it invariably is Where the prices are mould be sent to insure always when there is an
„ T ^ You Are Interested in Piano. m Vocal, Violin, or Organ Teaching Material and Let Us Send Our Helpful Catalogs on the Branches Taught Everv Teacher should also request details of our “On Sale” plan. ' Y ■ E Would Be Glad to Send Catalogs and Descriptive Fold- °n Any Branch of Music Publications Desired—
Solos! Violm Collection^ oSn S^os^O^^lS^^tiST
0rchestra M,,sic’Musi-
THEO. PRESSER CO., St' Phila., Pa. JANUARY 1925 Page 41 Page, 40 JANUARY 1925 THE ETUDE IN SCHUBERT’S DAY
# From here go back to the beginning and play to Fine-, then play Trio. British Copyright secured Copyright 1924 by Theo.Presser Co. THE ETUDE Page 42 JANUARY 1925 THE BREATH OF SPRING MELODY CHARLES ANCLIFFE In two contrasting sections: the first, song-iike; the second in dance style. Grade 3. j Anrianfef.on AsnrASfl .. Andantemoderato M.M. J=72
CODA
Frotn a new set of easy teaching or recreation pieces, by a popular American writer. Grade 2.
S 1 Copyright MCMXXIVby A.Hammond & Co. Copyright 1924 by Theo.Presser Co. British Copyright secured
tueetuue Page 46 JANUARY 1925 the ETUDE JANUARY 1925 Page 47 CANZONE MY LITTLE HOUSE Nancy Boyd Turner GERTRUDE MARTIN ROHRER British Copyright secured Copyright 1924 by Theo.Presser Co. THE etude JANUARY 1925 Page Prods for Piano Students
The student who is anxious to derive (6) Observe the measure signature and the utmost benefit from* his “practice accent accordingly. period” should bear in mind the follow¬ (7) Listen to each separate tone, and ing suggestions: note its quality. (1) Decide in advance the time to be (8) In practicing legato passages let given to the different items to be practiced each finger hold its key until the next —-scales, exercises, studies, compositions. finger is actually upon the key it is about (2) Practice slowly and carefully. to play and just upon the point of sound¬ Whenever a mistake occurs, recommence ing it. The tones should exactly join, the passage, and continue to do so until with no silence between them. it can be done correctly. (9) Correct and unvarying fingering is (3) Do not play a whole piece through most important. The fingering which is at first. Practice small portions at a best for the average hand is usually marked. In places where it is not, select (4) Play at first with each hand alone. such fingering as seems most fitted to the Concentrate upon your work as much as nature of the passage and to your own possible. hand. (5) Before commencing to practice a (10) Do not practice when mentally or new piece determine the key in which it. physically tired, is written, by looking at the key signature. (11) Keep the muscles well relaxed, for Then play over the scale of the key in relaxation is the key to artistic touch and which the piece stands. beautiful tone-production.
Using “Odd” Minutes
By Abbie Llewellyn Snoddy
At first glance, a few spare minutes that playing it once, at ten intervals, during seem of little account. One feels that it the day, will make a deeper impression Over 500 Musical Directors have Selected is hardly worth while to go to the piano, and serve as a better test of the memory, when aii interruption is imminent. But than to play it the same number of times fifteen minutes, even ten minutes, can be in immediate succession. A few minutes, THE turned to good account, if one is truly snatched here and there from a busy day, persistent. Study must necessarily be in¬ may soon suffice to memorize a short com¬ tensive, when the time is short. So do position. not attempt to play a long composition The next time a pupil is late, then, in¬ IVERS & POND through, when you know that you will be stead of fuming and fretting, seize the forced to lay it aside, with a feeling of time for your own practice. Use it as if baffled rage, as soon as the inevitable in¬ it were the most golden and precious at terruption comes. Instead, take up that your disposal. You will be surprised and new piece you have been wanting to learn, gratified to find how much you can ac¬ PIANO and concentrate upon its first two or three complish in a few weeks. It may even be phrases. Even one phrase makes a begin¬ interesting to keep tally on these spare When acquiring precious jewels, valuable paintings, rare ning. If it is well learned, it is a good be¬ moments and check them up at the end objets d’art, expert advice is highly prized and eagerly ginning, and one phrase a day will be of each month. Bankers tell us wonderful sought. thirty phrases in a month, three hundred tales of how a few cents saved every day, In the realm of musical art, and of the piano, its fas¬ and sixty-five in a year. Worth trying. count up, with interest, into worth-while cinating exponent—there exists a class of experts—the amounts. Surely the wasted minutes, that college musical directors—who must, by results, prove But it is in memorizing, perhaps, that can be saved, with no cost except a little the faith that is in them. these spare minutes can be used to great¬ thought and persistence, yet can be applied Upon these teachers of this art of universal appeal, falls est advantage. Many students find that it to a permanent mental achievement, are the responsibility of selecting pianos for the departments even more valuable to the student and is the constant recurrence of a theme that over which they preside. Their training qualifies them as music lover. wears a groove in the memory cells, and musical experts, to judge tone, action and construction. Their choice must rest upon the piano best satisfying their requirements, and vindicating over the years their judg¬ A “Missed Lesson Letter ment as experts. Under such conditions 500 educational institutions are To the Etude: ruling. This has been deemed necessary, since arrangements are usually made in the now using the Ivers & Pond—one, the far-famed New A letter similar to the enclosed has Fall season and it is difficult if not impos¬ England Conservatory, having bought more than three many times helped to smooth threatened sible later in the year to fill hours not so hundred Ivers & Pond Pianos. The purchase of expensive difficulties with patrons; so I am sending engaged. jewels is often made on a single expert’s action; should not it as a possible assistance to others. the combined opinion of half a thousand leading music My dear Mr. Q The question is in individual cases, how¬ ever, more an ethical than a professional instructors inspire confidence in the minds of piano buyers? As I imagine the question on the enclosed matter; and where for any reason parents bill is from you, I am answering it directly, trusting that you will readily understand feel this decision an unjust one, we are at liberty (since we are not members of a the situation when I explain it from the chartered institution) to use our own judg¬ point of view of our profession. ment. Whenever it can be conveniently Our Unique Selling Plan All music teachers of any standing fol¬ arranged Miss X. and I are always glad If we have no dealer near you, we can supply you from our factory as low .the precedent of organized education¬ to make up missed lessons between the safely and as satisfactorily as if you lived near by. We make expert al bodies such as Conservatories of music, selection and guarantee tbe piano to please, or it returns at our expense regular ones. colleges, and private schools; that is, les¬ forfreight. Liberal allowanceforold pianosin exchange. Attractive easy I hope you will tell us quite frankly if payment plans. For catalog, price and full information, write us today. sons are contracted for by the season or you feel that these lessons should^ not have the half-season, and there is no obligation been charged, or that we might more just¬ regarding missed lessons unless the fault ly divide the loss, since Mary has been Ivers & Pond Piano Company lies with the teacher through illness or away for several weeks, and we shall be other emergency. This has been made a very glad to defer to your wishes in the 141 Boylston Street Boston, Mass. rule of the profession, and the National matter. Music Teachers’ Association has requested Very sincerely yours, M. M. Watson. all private teachers to adhere to the same
‘ The Etude” for 1925 promises to be better than ever before in its history. Please mention THE ETUDE addressing our advertisers. Page 52 JANUARY 1925 TEE etude JANUARY 1925 Page 58 PEW situations are more delicate than but the tone will “sound” much a the first vocal lesson. The student is of a sausage “looks.” s tlle end Why An Aria? venturing on a strange, and to her an un¬ charted, sea. She is wondering what is The Tone Beautiful The voice_ i essentially an instrument of voice production, but also in the finer going to happen. She has her misgivings The Singer’s Etude Right here, one of the most designed for melody. Periodically there qualities of bcl canto, with its easy flow as to her ability to do what shall be asked things for the student to acquire • Se"tial -s a press rumor that an individual has of words and more elemental emotional hhe is conscious that her every move and perception of a beautiful tone Tn t keei> i:..„0''ercd that he can produce two tones requirements. And to develop these qual¬ sound is under criticism. She lias a Edited for January by nothing is so valuable as the listening Y at the same time; but the rumor trails off ities, what has been produced to equal naturally sensitive shrinking from the greatest of the artists. Often one the ant0 silence and soon we have again the arias of the classicists- and best com¬ mention of, more especially,'some of the EDWARD ELLSWORTH IIIPSHER, A.R.A.M. from one of them some thrillingly^at.ch settled back into our primitive conviction posers of the last century? They possess muscles and organs used in breathing. tone which will remain in the mind ,uau dul that "There ain’t no sich animal.” a finesse of vocal melodic line, associated Jhese qualities become exaggerated when It is the Ambition of THE ETUDE to Make This Voice Department Nevertheless, the conviction prevails with an emotional restraint, the mastery the teacher happens to be of the opposite out life as the ideal to which to wolk'°A8h' “A Vocalist’s Magazine Complete in Itself ” that the human voice is still unparalleled of which furnishes the student with just sex. Nor is the situation much relieved having this ever before the mind as a A"d as an instrument of melody and for the the stimulus which her undeveloped ■f the teacher chances to be the one of tern will have a wonderful influence i„T interpretation of the human emotions. And powers can grasp in a manner that through the feminine gender. And so the very approximating of it by the student * jn the latter sphere it must, of course, them new capabilities may be awakened. first requirement of the successful teacher 1 years Pass, an ideal of pure lieauty will a forever remain peerless, for is it not of What, for instance, could give the voice of using the voice in song is the ability velop which will all the time standi ' itself a part of the human organism? a more grateful task than the singing of to establish a feeling of confidence and A First Lesson in Singing monitor to warn of departures from „ Granting that the latter is true, the Mozart’s The Violet, or his Batti, Batti trust m the pupil, so that her mind, best of which one is capable. ine voice must follow natural human laws in from “Don Giovanni;” Haydn’s My thoughts and acts shall be free from re¬ By Edward Ellsworth Hipsher A few trials of the exercise we were its development. Any attempt to force it Mother Bids Me Bind My Hair; or With straint. The teacher who can be frank mg and the pupil should be given somethin^ outside its natural limitations can do noth¬ Verdure Clad, if the voice has sufficient but not fresh, who can establish a friendly, to fC JaW’ alIowinS the sub-maxillary check on the formation of mannerisms as of fresh interest. Any single vocal exercise °ial of “sown weight, and this till the ing less than lead to disaster. And for compass; Handel's He Shall Feed His fraternal feeling between himself and the well as a guage of the acquisition of often repeated, sets up a strain on the car this reason the chief problem of the vocal¬ Flock, and 0 Thou That Tcllest, or pupil without becoming sentimental or in¬ L"PfUmCTly separated ‘hat the tips pleasing qualities of posture and facial ex¬ ticular muscles producing it, as well i spiring such a feeling in the other, already • l m‘ddIe fingers’ with their pression. With time it will become a ist, whether teacher or student, has been, Angels Ever Bright and Fair? For the nails laid side by side, may be inserted be¬ risking the danger of the mind wanderine has passed the first milestone toward suc¬ friendly critic as to the formation of the is, and always will be, the development male voices there are many similar selec¬ tween them. This should be repeated from its keenest critical activity. So the cess. Without being either prudish or lips and tongue for various vowels and of this sensitive vocal instrument along tions from both opera and oratorio. Study¬ several times till the proper opening be¬ pupil should proceed to singing this single gross, he must discuss the action of the consonants. By cultivation it will become lines that are natural, physically, emo¬ ing these types of songs will develop in comes quite automatic. And now, simul¬ tone, but on changing pitches as in this The utmost physical organs involved with an ease and a trustworthy friend, never to be dis¬ tionally, esthetically and any other “ally” the student a sense of proportion that will taneously with the dropping of the jaw, study. authority that raises his treatment into carded. Nordiqa tells us how she—the that pedagogs, psychologists or lexicog¬ serve well its purpose no matter how high he pupil will inhale an easy, deep breath the attainments may reach. In fact, it the pure realm of science. Queen of American Sopranos—spent hours raphers max- choose to invent. in music accomplishment the veraP1 ly ^ aI1°W1'"g * to settle to before a full-length mirror when adding Voice is the product of muscular action; is only by building well on such a founda¬ tion that the greatest heights become pos¬ As the shadow nimbly follows the leaping, curving dancer, The Breath Z ryl0Wer parts of the huigs, and do- new songs or roles to her repertoire; while and muscles, to develop normally, must ” g ]t w>th a yawning sensation. By prac- the Weaver Piano responds to each mood of the artist—now Breath is the life-blood of the voice, it is on record that the supreme Patti have consistent exercise and this dis¬ sible, if we are to accept the judgment of those who have triumphed. Lillian merry and boisterous, now subdued, now thundering like the n the ease and steadiness with which it fiffine^of th°T a" a'mOSt histantaneous spent hours before the mjrror on the one tributed over a sufficient period of time fil ing of the lungs without disturbing the to allow for natural growth. Nor can they Nordica, who represents the very pinnacle great god Thor himself. flows, and on the bountifulness of its sup¬ detad. of managing her train as Lucia Because the Weaver more than fulfills the most exacting be constrained to perform a work for of the American singer’s achievements, ply, will depend a major part of the beauty mtdes8 Th fU”Cti0nS °f a’ly °rgans hmch 1S genius; and those who would demands, it has been chosen from among the -world's finest says “Work first with things with English and spontaneity of the tone. Because of Te Of ia T^1S ,yawn,ng sensation is really follow must pay the price. The successful which they have not been properly pre¬ pianos by many world-famed artists. Let us direct you to the this, almost a literature of buncombe has V»n «i MblO Ute essentials. The natural pared by careful practice. words, and especially on oratorio. Begin nearest Weaver dealer. Weaver Piano Co., Inc., York, Pa. yawn establishes automatically the exact singer does many things besides sing. And sprung Up relating to this elusive sub- now we will sing. Because the muscles and ligaments con¬ with the more simple songs, and gradually Weaver, York and Livingston Pianos and Player Pianos. physical conditions desired by the singer ject, when the truth is that Nature has trolling the voice are of such a delicate increase their difficulty.” Lilli Lehmann, The uvula will rise and the root of the provided for the singer’s exigency, if only The First Tone texture, the nature of the materials used who for years shared honors with Nordica tongue sink so that the back portion of he in the most exacting of the Wagnerian We return to where we left our stu- in their development becomes a matter of eaacherngeTWi11 '?* ^ to origlS mouth will be left open, relaxed and free This, done once very carefully, is sufficient the greatest importance. An undue strain roles, began, as did Nordica, her career T:ue,_ that sineu’g requires a as a sound-chamber for the voice. If the dent w,th the secret of breath exhalation. of its style of work for one time. WEAVE R variation of the rhythmic flow of the placed upon any portion of the vocal mech¬ in the lighter coloratura roles of the Ital¬ ear part of the tongue seems disinclined As the breath was taken, there has been breath, and so do many other acts which Then there should lx- a study for chang¬ anism, lie fore it has been properly devel¬ ian opera and then through years grad¬ to sink, a feeling of swallowing it in Nature prompts. One runs and exhausts pitchTct ?" tHe .Pr"° a *°ne of medium ing of pitch while sustaining a tone. It oped for the accomplishing of the feat, ually ripened her vocal and interpretative conjunction with the yawning will be much out the |1S S3y’ G.j As tbe breath starts should lie something very simple like the powers. Both these great artists builded the oxygen ,n the lungs and blood; and out the larynx will be allowed to open is a foolhardy flying into the face of fate, more ,effective than any conscious effort to one which follows. so far as the singer's future is concerned. their great futures by a natural, sane de¬ push this member down. The act is and the air playing over the vocal cords takes” n a d ^ the mouth a"d And in no way do we sec this more often velopment that left them always able to 7W ,ln a deeP> generous gasp, or yawn really much simpler in the doing than in (which ever you choose) of breath and 7The “AF’C f F°”r the “Italiai1 A” put to trial than in the selection of songs give their best to the work at hand. And e telling, as will be discovered by a care- (the Ah of English.)™ As the breath A Complete Course of Vocal Technique for the unfinished student. Songs requir¬ to their methods of achievement Tetraz¬ singer6! ’e- e?U1,ibrium- Now what the FOR DRAMATIC AND COLORATURA SOPRANO werVnerfedtia" 1* nU!SdeS of tbe throa‘ ing the full equipment of the mature artist zini, whom we often erroneously class as forestallestall th’thisS disturbance.the °PTheeration skillful and hX of thf i y re,aXed: and for the mak- for the surmounting of their merely a product of the hothouse type of culture, vocalist inhales, quickly but naturally a adds her hearty endorsement. Diaphragmic breathing, to even tones messa de voce—attack Exhaling the Breath technical features are only too often as¬ The tone should flow steady, pure and signed to the one who is yet on the early Looking back over the centuries of vocal And now, as the breath has been taken Legato and (stacco, stroke glottis) portamento and ornaments. andaqndTn° then, byaiV using 6qUal it t0sparingly, a fu"’ *" allows■> b" athisth clear, as before, the changes of pitch be¬ steps of the holy stairs of the vocalist’s art, and drawing a lesson therefrom, the m company with the above directions we ° now: out naturally but slowly, at the ^E,S“Z'TZS0,f,A ing made with absolute neatness. There art. Yes, it is all right to say that we young singer and the teacher of the young (Graded list of songs and list for Dramatics and Coloratura.) are ready for exhaling. This is the act passivity, and all possible of V" * same . time. turnine-lulIlins it into tone waves bv; must be no slurring, no sliding, of the “learn to do by doing;” but we do not singer can do nothing that will add more wh,ch controls all tone-production, and so tion of this should be retained in (To be sung in English) of singincr Tip ta,ned 111 ‘he act tones from one to the other. The voice create a symmetrical work of art when we to her possibilities for an extended suc¬ s^u^ W°Iner:St°,ne °f the entire tonal on theg breath » °ne ^ slraPIy “float must, as it were, step daintily from one attempt the impossible. cessful career than to choose for the ZZ Iua Yu the lungs wel1 and care- The modern art song is an achievement MRS. E. H. JONES fu ly filled, there is little to be said other Pitch to the next, lie that going either up earlier years of her studies those airs and Three Tone Essentials or down. This exercise should be con¬ in itself. Its demands on vocal resources songs which keep well within her capabili¬ BOX 1147 San Antonio, Texas waves in the resonance chambers, the anow.itdlow itt to Aflow86 evenly6 h,°ld out. °n theThe breath body wasand In singing this single tone on- “r» .1, tinued up to G and back, beginning a group and technic, as well as upon temperamen¬ ties, not only in vocal equipment, but also singer will experience an invigoratina tal capacities, fit it for no early place in so wisely built that the muscular actions thr” on each note that was sustained in the in emotional technic. As these grow she pleasurable sensation. Attack of Tone, first study. With very exceptional voices a student’s development. To do it justice necessary in the process will take care of will find her field ever widening and her Sustaining of Tone it may lx; advisable to raise or lower the requires that the interpreter has had a long Position for Singing ITh p’ if aI,0Wed to d° s° untram- Close of Tone. schooling, not only in the fundamentals feet always on safe ground. SUMMY’S CORNER It does sound easy, does it not? And melled^ For the sake of acquiring an even tiy ,‘beSe two studies; hut with all flow of breath and at the same time to in _ The tone must begin with* no * t t is. the pupil is standing in plain view ticeable to the ear TW Stroke no~ iceable ^ ^ °f C Wi" prove quite serv- crease the length of its flow, there is no Profitable numbers for concert or recital in fourth and fifth grades. °hf t lef teacher- Her position should be By this time the pupil will have had that of any lady who walks or carries better exercise than, when ready to exhale ’ about as much as most minds can well Each selection supplying at least one element of virtuosity. herself well m her drawing room. Her to close the lips, allow the smallest possible absorb at one time—if the right sort of shoulders will be erect, unstrained and Listen to Singers Talk a 3 ^ 35 H admit the of ention and effort have been sustained, well-balanced; her head upright and easily a pencil, and then through this allow the JUBA (Dance)—By R. Nathaniel Dett 60c The tone must "ome „ th”0”1 a dista"<*- “Voice study requires the following in From the Suite “In the Bottoms” poised, especially with a view to relieving tbe ideal plan would be that the pupil “Correct breathing is the greatest health¬ Bints tPaS? 1,1 a VCry slow’ evel! ftream the order named: Intelligence, industry any possible tension of the neck and throat. till its natural capacity is reached. Do not clear, with no extraneous sound's to"4 ** »uld have daily lessons for some time; giving force in the world.” but, as the cases where this is possible are and enthusiasm; easy, natural breathing, ecome a i glo o s as to the amount of —Frieda Hempel CONCERT GAVOTTE—By Charles C. Vardell, Jr. 75c chest "so"! 3; ',h'S Wi“ have raised ^e breath you possess but rather as to how it'must flow evenly^ °f so exceptional, we will now dismiss her effortless and without strain or tension, • , ’ ° as t° become a responsive sound¬ Splendidly developed; in B Flat minor and major. Octave supremacy contrasted with ing-board when a tone is attempted. The long a normal amount can be put to use th' 1 ct adrnon'tion to practice not more “Why should not the singer have as with perfect poise of the body, and a feel¬ feet may be in one of several easy posi- Not how much breath but how slowlv i* man fifteen minutes at a time, about three thorough an education as the pianist or ing of inspiration—thus producing a nat- IRIDESCENCE—By Hubbard W. Harris. 60c ceptance of that abomination Th“T aC' moves. 1S the vital matter. Three or four t uCn 3 day’ with the m°s» diligent care, Scintillating type of composition. A fantasie cadenza in the middle section gives a ‘XS’ S°Tg0ng asLthey remain near each voice has of itself whZ V human violinist? Singing is a great art.” brilliant touch of modernity. other The weight of the body may be ‘ill her next lesson. . —Elena Gerhardt onMx!a”S °f ^'S exercise is the limit for duced, a natural “w’armS Care,fu"y Pr°- divided evenly between the two or one THE JUGGLER—By N. Louise Wright 60c its resonating in the cavv”051""* from Interlocking melody with octaves. Develops grace and accuracy and is a great of them may support most of the weight The time has now finally arrived for “Thus in the coloratura passages of Mo¬ favorite to play. the production of the real tone- but be- “As to the charge that coloratura in while the other is temporarily relieved ant/4?,y Was tbe cradle of opera and song. zart’s arias I have always sought to gain NOVELETTE—in G Flat—By Rossetter C. Cole 75c Artists differ in their practice, though fore that is done, there must be one digres¬ ( or more than two centuries singers dramatic music is unnatural and undra- ot every collI)trv wcnt (Q [ta|y t0 iearn expressiveness by crescendi, choice of sig¬ An expressive number calling for much tonal consideration. The unusual pulsing Schumann-He.nk, for instance, has been sion. In all that has passed has the stu¬ irsszxZZtrJJi: nificant points for breathing, and breaking matic, those who argue thus surely over¬ accompaniment to the sustained melody is interesting to master. observed to stand mostly “straight up,” dent been observing herself in a mirror Tt.,i-art °‘ canto. Consequently, the °ff of phrases.” look the fact that all opera might with JIGCERMERIG—By Gabriel Hines. 60c with both heels squarely on the floor. an indispensable of the vocal studio? From l aban method was the very first and best, equal justice lie disposed of in the same A vigorous number requiring skillful-octave playing. By comparison the middle sec¬ initiating the tone; after 11 u 3Ct of —Lilli Lehmann tion is offered in thirds in "badinage" style. Especially adapted to the recital. By this time the pupil is becoming just a the very first the singing student should ?d£!red anri adopted by all the world. An manner. People do not express themselves and throat may close Thi/ ?he moutb in song in real life, any more than they little anxious to know when we are to be- become accustomed to singing before the ins- 'i'3 German or French school of sing- “Do not let a scale discourage you, and Subject to the Usual Discount. mirror, singing "to herself.” After the mouth and throat must S ' °l ng °f the speak in blank verse, as they are made to gin singing; and so we will relieve her ”g, d°es not exist, the method used in do not say you cannot get it. Anyone who edly, else, if it shouM w 7“ cbed Sard¬ do in Shakesperean drama. Yet we are feelings. First she is to relax the mus- self-consciousness engendered by the first suit,-. C0?nt%es IjeinS only an imitation, re- works can get a scale, and no one knows CLAYTON F. SUMMY CO., Publishers few trials has worn off, it will be a 's ended, there will the to"e glad to have “Don Giovanni” and “King ■ng been squeezed off; A homely fied h T tbe °*d Italian method, modi- how to sing until the scales are done 429 South Wabash Avenue Chicago, Illinois y . c respective national language thoroughly and properly.” Lear” none the less!” and musical taste.’-MARcHEsr. —Lillian Nordica —Luisa Tetrazzini, in How to Smg. Page 5J, JANUARY 1925 rim m-in THE etude JANUARY 1925 Page 55 Such is Fame -and bacK Children’s Technic aminjor By E. E. H. By Constance Savage Roe Back in the fifth decade of the last that the printing office of the little town Before the beginner is taught the keys Wicked Witch; and that is by no means 0cMOR&/ century the resourceful press agent, with was able to furnish, d notcs, be should be given a little four- the teacher’s ambition. The child’s trust a nimble daily press, had not yet been “The trick, if trick it could be called, ? er exercise, to accustom unused mus- and regard must be won first, and then he able to create familiarity of the public was intended to impose upon no one, and Xs in his hand and arm to new work. will be ready to be led into the serious mind with all musical artists in high very certainly imposed upon none of the This is supposing the pupil to be a small exactness of music study. places. Max Maretzek, American operatic female half of the inhabitants, succeeded, v.-th Others require other methods. An observance of the playing apparatus dictator of the time, writes thus in 1855 “Two-thirds of the audience were ladies, The muscles in a child’s hand are sur¬ of children is convincing proof that here in his ('ratchets.and'Quavers: hut the other third of it, which would prisingly helpless, at first, and the C scale is no material to work with technically. “Some dew years since, I sent two decidedly not have come to hear anything to G and back is as good an exercise as Yet many round little hands struggle nobly prinm donnas of reputation, a clever pian- that anybody could sing, provided that (halfonte- any It is absolutely useless to attempt to look like those of much training and ex¬ ist and a celebrated basso on a concert anybody was unknown to them by reputa- anything like scientific technic with baby perience, as per instructions. tour. On arriving in a city in New Eng- tion, consisted of gentlemen. But imagine, Children hands, because the control is simply not At first the best thing is to let the fingers land, the agent who preceded them found my good friend Fiorentino, what was my HaddonHaii there, even for see-saw exercises. To fly any way they wish. They will un¬ that the estimation accorded to these agent’s intense astonishment on the fol- loVe -— teach from the beginning curved fingers, doubtedly fly out straight. That is all artists m New York, Boston and Phila- lowing morning, when, on wishing to ATLANTIC CITY correct position of the hands, etc., usually right. The main idea is to make the begin¬ delphia had not yet travelled there. They settle the hotel bill for the artists, he found On the Beach and the Boardwalk. In the v.™ of things. Ho,pliable, homelike. ^ Vr is wasted effort, and may injure the child’s ning as easy as possible, else interest will were comparatively unknown. After some these strange items on that which was Every season of the year is enjoy, flag. Let the child play with most or ali reflection, he therefore determined to make handed to him by the very gentlemanly playing apparatus. See-saw exercises have able at Chalfonte-Haddon Hall of the length of his fingers if he wishes, if the names of the composers, whose pieces official standing behind the desk of the been very popular for child-pupils; but Marvelous Winter recreations outdoors in¬ often, in the effort to curve the fingers, he is learning to read and count. There is Bakers were selected for the evening of the con- principal hotel in the place: clude Golf, Riding on the Beach chubby hands will ball up almost into fists, plenty of time for serious technic study Aviation Boardwaik Activities! with the fingers clenched. Beginners are after the pupil has become familiar with New Invention "Mk. *■* .*■»«• **«*«„ Mild weather. Invigorating sea air selves. Consequently, the names of the . vr^T’ .ll too conscious of their hands to keep their notes and bars and has reasonable control by Susanna Cocroft of his fingers. Cocoa last-mentioned appeared in small type at Mr- Handel, Do, Do, Do. 7 50 a..««ra*co joiaer ana rates on request minds on them and the notes and keys too. You can look 20 years younger at once Many promising pupils drop their study the head of the bills, while those of Han- “Mrs. Bellini, Room, Meals, LEEDS and LIPPENCOTT COMPANY After the child has learned to read it by wearing under your hair this after a few lessons, because it is not inter¬ del, Bellini, Beethoven and Mozart occu- Bath and Carriage . 9 00 V • ■ is practical to teach the system of scales. simple invisible face lifter Besides stretching exercises there is no esting. What do they care for tedious Their active, energetic, little pied the most conspicuous places on them, “Mrs. Beethoven, Room and and rejoiced in the most sizeable letters Meals .. 4 50.” better maker and preserver of technic. one-two-three exercises, even if the teach¬ AS effective as a {52000 surgical opera- Stretching exercises come later on in the er does maintain that these will be good for ■ tion without the expense, danger and disadvantages of the knife. New York bodies frequently require a course, however. them? Most children simply wish to learn to play, and have no very great ambitions. FREE! and Paris society women delighted with Aside from the uselessness of endeavor, immediate and lasting results. Here are large amount of Notable Musical Anniversaries of 1924 ing to teach scientific playing to a small It is vastly different if the pupil in ques¬ the guaranteed effects: child, it is actually dreadful to the child tion is an infant genius. However, an or¬ to be compelled to sit straining the muscles dinary teacher should never keep a genius 1. The sagging muscles are taught to support themselves. nourishment and By Sidne' Taiz 2. The lines from nose to mouth, and about the mouth and eyes, are lifted of his fingers, hand, arm and shoulder, for his own pupil. Genius pupils require genius teachers. But this advice is given out of their creases. ^much of this is while the teacher sits by, apparently enjoy¬ 3. The eyes look young and rested. Anton Bruckner, Austrian composer, “Silent Night, Holy Night (Stille Nacht, ery Teacher Should Send a Poilal fer a Copy of Oui for the teaching of average American was born in the village of Ansfelden, on ing the performance. The child then re¬ 4. The face immediately takes on a brighter and more youthful expression. Heilige Nacht)” was sung for the first “GRADED THEMATIC CATALOG OF gards the teacher as an Awful Ogre, or a boys and girls. September 4, 1824; and his centenary was PIANOFORTE COMPOSITION" supplied by Baker’s time to a group of villagers, at Obern- Interesting, illustrated folder FREE. Mailed in plain envelope. Write to quite generally celebrated, especially in Shows Portiona o/ZM Waoo Compositions dorf, Austria, on August 15, 1824. Cocoa in a readily central Europe. GRACE-MILDRED CULTURE CO., Dept. E, The “Manzoni Requiem” of Verdi was Bedrich Smetana, founder of the Bo¬ THEO. PRESSER CO., 1712 Che.tnul St., Phil.., Pa. The Music Teacher’s Typewriter 1991 BROADWAY, NEW YORK CITY assimilable form. first produced in St. Mark’s Church of hemian school of music, was born March Milan, on May 22, 1874. Its jubilee was 2, 1824, and the centenary was widely By Fred. J. Tighe Celebrated by an elaborate performance at celebrated. the London Crystal Palace on June 21. The North American Saengerbund Before we had the telephone, we did original has been handed to the pupil, a Beethoven’s “Missa Solemnis” was first celebrated its three-quarters of a century not need it—now that we have it, it is memo is made on the teacher’s duplicate kWalierBaker&Co.LM. performed in Russia, in 1824. The Ora¬ of any music given to the pupil, or music | ESTABLISHED 1760 by a jubilee convention in Chicago, in PINS-RIMGS an absolute necessity. If every teacher torio Society of New York celebrated this ^^v-lteInI‘,“'l!.r“,„Cd Oa'alo^FR^^ „r to be ordered for next lesson. Dorchesler.Mass. Monlreal.Can. June. used a typewriter for three months it centenary by a brilliant presentation of would thereafter be considered indispen¬ During the week the teacher may have ) BOOKLET or CHOICE RECIPES SENT FREE the work. Carl Reinecke, distinguished teacher of * c. K. GROUSEScb?°n”’ sable. occasion to phone or write the pupil. We Rossini made his first season as con¬ piano and composition, was bom June 23 I have a machine within reaching dis¬ have heard of the commercial value of ductor of the Italian Opera at the King’s tance at all lessons, and-in the machine a "personal interest” in business. Now the Theatre, London, in 1824. The Gesangverein of Basel, perhaps the sheet of paper with carbon paper dupli¬ individual characteristics of each pupil , Mendelssohn began studies with most musical city of Switzerland, cele¬ cate. First, down goes the name of the cannot be kept in mind, but the teacher Moscheles in 1824. PERSONAL brated this year its centennial. pupil, with date and hour of next lesson; refers to the duplicate of next lesson The Norfolk and Norwich Festival, Beethoven's “Ninth Symphony” had no misunderstanding on this point, as we memo, and before the phone message or England, celebrated its centennial by four \LjTSt Performance in Vienna, on May 7 STATIONERY each have a copy. letter is finished, makes some remark gala performances from October 29 to Then, as the lesson proceeds, a memo on the preparation of the lesson. The November 1. 1824. Its centenary was celebrated' at numerous concerts throughout the world 200 SHEETS and M.OO of what is to be prepared for next lesson pupil, or pupil's parents, give the teacher 100 ENVELOPES 1 is recorded. Errors or wrong habits are credit for having such a special interest pointed out orally, and incidentally on the in the pupil’s work as to remember these Recent Books on Singing Printed With Your lesson memo. Thus admonitions do not details—the teacher was able to give that Name and Address go in one ear and out of the other; the impression by jogging his memory from Bow to Sing. By Lilli Lehmann Cloth pupil has a written memo of faults to be Clear, white bond paper, with overcome before next lesson. After the his duplicate. envelopes to match. Your name the little0 bSokmis and address printed in beautiful, miVoXluWinShed°Pon fXr^of gSgt rich blue ink, on both paper and Warning! I# ill*b,v 011e of tbe greatest song-artists of .all time, one who triumphed in youth in Bedford. Bound a . By He envelopes, and sent to you post¬ Premier Aristocrat Model Italian fiorature and later jToO^o^i^i^tali^eatinent.01*0 a“d Pari3 2 rose °n this fundamental preparation to out¬ $1.20Splr co v‘e 0xfor(jaUniversitytx>reIi paid, for only 31.00. (West of By Elizabeth Leach 5 feet, 3 inches long Price $725 Years Lifted FromVour Age shine all others in portraying the great W,i"- SnSfHodridail/fitesticy *2 ft? amazing results froi /‘e “'je interested in the modern tt ®s's„sippi river and outside < r Boncilla .Beautdfier. Such thankful expressions as nerian heroines of the Music-Drama, a more ."vinu uuaccoiunaccompanied song this strain of the nerves and muscles of the Am delighted beyond words/* “Didn’t believe Authoritative book can scarcely be imagined volume has much of ™i„. Th/’auThor “i* U. S. 31.10.) If inconvenient 1 The tragic experience of a friend, re¬ The institution that made the Small Grand Piano the instrument of few minutes could make such a change,’* “It too The text is profusely illustrated with exer¬ dently has made an exhflii«SfiYrT'":*“^t“ul ' put every wrinkle,’* “All my friends ask me wha study of this garding her piano practice, has led to her universal appeal is back of this quality Small Grand. cises leading to the mastery of the subtleties 3 After ten months of inability to use her improved my complexion so quickly/’ etc. CODhC money’ we wiI1 shi permission to pass oil this story, with the 26—$2 Treatments for only $1 Tril'i0?, ifn^nlC'fWHat °'-e ehapter on the arms her condition is beginning slowly to The Premier Aristocrat Model is the product of the largest institution in your druggist for this special $1 size of Bon- ,njn 1S wcl! "orth the price of the volume. hope that it may save some one from un¬ The pages teem with hints of the greatest improve. All the specialists whom she has the world concentrating on the production of Small Grand Pianos only. — ’ HtT doesn^;* sell ^6yetf Bend ft 5 and artistic value, the following of Money returned if you are nc wittingly allowing a similar disaster to en¬ we’ll forward prepaid. If you prefer, se consulted blame the finger exercises for onld be the salvation of hundreds of lines of a number of typical longs. 6 VocaI more than satisfied. danger a promising career. This instrument, then, is a combination of quality and price without equal. no singe wreck ami ruin. The library of the trouble, and it remains to be seen how She was anxious to gain greater firm¬ Before selecting any piano, see and hear the Premier—sold nationally by considered cornet/wRhotV this^volume” b6 Order Today! much she will ever be able to play in the th
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START THE NEW YEAR RIGHT' tewm****' “■•'''SS™*"-- Page 60 JANUARY 1925 j 4 fjjE ETUDE JANUARY 1925 Page 61 r T is very dangerous for anyone pos- Playing Second Violin j„ L sessed of only a slight knowledge of e eye on his music and the other on the learn by experience; and, if he is alert, the violin, either to buy or sell a violin sup¬ the Orchestra ° n °n iductor. It is practically essential that the process of learning need not be long posed to have been made by some famous ?e violinist learn to beat time with his nor troublesome. Turning-over is always maker, when the transaction involves The Violinist’s Etude By Sid G. Hedges right foot—not audibly- or clumsily, but done by the player sitting on the left of more than $300 or $400, unless some well- iust as much as is perceptible to himself a music desk. Tuning up must be done known expert has specified that the price Orchestral work requires playin„ . alone One of the principal secrets of as swiftly and quietly as possible, and one is about market value and that the violin Edited by ROBERT BRAINE a very special kind. This will ]L .7®.o{ -keeping time” is the proper accenting must not be twanging strings at every is a genuine specimen of that maker’s of music. Ordinarily, unless special signs pause in the playing. “Coming in” and handicraft. to any violin student who observe??5 It is the Ambition of THE ETUDE to make this Department second violins in a theater orchestra u direct otherwise, there should be an accent “finishing” together are points of utmost If one buys such a violin it might be “A Violinist’s Magazine Complete in Itself” first things to catch the attention o{* e after every bar line, and, when the top importance. At the opening and close figure of the time signature is an even difficult to get a refund of the money, novice will be the tremendous power,! of every piece one’s attention must be fully even with a lawsuit, if the violin proves tone that the professional player. „d number, at the second half of the measure. on the conductor’s baton. To struggle on The first of any group of notes is always not as represented. Again, if one sells to get, and the unmelodiousness J T half a beat after the remainder of the such a violin, and the purchaser learns accented. ' chuck-chucks which they seem to J' orchestra has stopped is a sure way of from some expert that it is not what it Violin Experts always playing. 10 ■* One rather disturbing peculiarity of or¬ attracting unpleasant notice. Similarly, it is represented to be, it might be difficult chestral work is the violinist’s inability cheap imitation, worth only a few dol- r.ati Symphony Orchestra. I found'the em- In a lesser degree, the same quaiiti,( is essential that the bowing of the string or impossible for the seller to return the to hear his own notes; that is, if the lars. All this time I had been unpack- inent violinist entertaining a party of required by a professional man are ner players should coincide, particularly a" money, as it might already have been orchestra is large. It is thus impossible ing the violin and at last literally forced friends at string quartet practice. He sary to any young violinist who Zu each end of a piece of music. spent, and might lead to troublesome liti¬ for him to tell if his intonation is fault¬ it into his hands. At the first glance his kindly consented to examine the violin, play in an amateur orchestra The a ' From all these things it will he seen gation. less or not. The obvious remedy is to be expressionssion changedrharmsH instantly, —iand he ex¬... One glance was enough: “A Strad,- No,” ant, on hearing good players, soon comes' that, given a good, well-sounding technic, perfectly sure that every note is stopped If one is doing business with a respon¬ amined the violin with great respect. “Ja, to realize that such things as knowle? what the orchestral aspirant next needs he exclaimed, “nothing like it A real in tune; for other people, including the sible firm of violin dealers, it is of course das ist ein echtes Ruggieri” (Yes that is of every position, ability to play all ScZ Strad,” he explained as. he- drew the bow conductor, will be able to hear although most urgently is actual orchestral practice. different. Leading dealers warrant the a genuine Ruggieri), and a very fine one m three octaves, and to play several con’ over the strings, “speaks out like a can¬ the player cannot. He should get it as soon as some lenient violins they sell, and will return the money certi from memory, have little to do wifi,’ non . This is a nice little parlor fiddle The new man in an orchestra has many amateur body will permit him to make a if the violin proves not as represented. ones qualifications as a member of an The clerks changed their tune, and I worth about $40.” little points of custom and etiquette to start. If y ou Private parties often sell imitation violins orchestra. with counterfeit labels, as genuine, not strutted out of the place as proud as Lu- Thus another Cremona bubble was Perhaps the most obvious distinction knowing that the violins are imitations. I cifer, with the envy and admiration of all bursted. this is your Opportunity! ‘,-present.j' The sequel came later, when I NowXT"~ here were two striking examples of all between the professional and the have known instances where violins have amateur is in power of tone. This, of Litt’e Hints been sold for five or ten times their real showed the violin to a leading New York of how little the two experts (?) first Thousands of beginners—boys and girls—young men course, can be developed; and the student value in this manner. expert. Why that is not a Ruggieri, nor consulted, knew about violins. Any ordin- If your violin has open cracks, or any should be sent by express, and insured for and women—are buying Saxophones and learning to anything like one,” he said, “That is a ary non-musical person or even many vio- eager tq qualify for or astral work can¬ of the parts have become unglued, or an amount which the owner considers its play. They are teaching themselves because there are Many people are mistaken in the idea yeripan violin; and, while it is a fine old linists would have supposed that a pro- not start too early to gain this “solidity” other repairs are needed, have the work full value. If a violin is shipped for re¬ few teachers. that any good violinist or music dealer With your fundamental knowledge you can master the Saxo¬ instrument worth about $400, it is nothing fessional violinist who had been educated of playing Second violin parts abound done by a good professional violin re¬ pairs from Canada, Mexico or other phone in a few weeks. You’ll find it the easiest instrument you who handles violins can certify to the c an ItalianItalian” tmrlpr ptninmif miHam it.. ~— > _ with double-stopping, and such work is. pairer. Do not take it to the nearest car¬ foreign country to the United States for ever tried to learn. . . . , t authenticity of any violin, and judge its under eminent masters in Europe, and a And it is iust as easy to teach, because it is so easy to learn. You excellent for increasing power. The last penter or cabinetmaker, nor to an amateur repair, arrangement should be made with get such quick results. You can soon make a reputation for your¬ value correctly. Where the imitation has The other experience was with a sup¬ professional violin maker and music deal- self as a Saxophone teacher and you 11 enjoy it. part of Kreutzer has many unequalled violin maker, who tinkers a bit at violin the custom authorities so that it can be been made by a master craftsman it re- poseaposed Stradivarius.stradivarius. During a vacation cr’ who had made hundreds of violins Send the coupon or a postal for free copy of our book. The studies for all varieties of double-stops. repairing. returned free of duty to the county from Story of the Saxophone/ * illustrating the first easy lesson. quires a master expert to judge whether trip I made the acquaintance of a minister himself and bought and sold thousands These should be worked at assiduously, If you live in the country, or in a town which it was shipped. BUESCHER BAND INSTRUMENT CO. (142) the violin is a real speciman of the mas¬ m a small town in Ohio, who said he had would have been able to teil at once that particularly those which entail playing at where there is no good violin repairer, In getting repairs made, the question of Everything in Band and Orchestra Instruments ter whose work has been imitated. The a genuine Strad. He unpacked it from neither of the violins submitted to them 397 Buescher Block, Elkhart, Ind. the nut. Intonation is especially difficult in you can get in correspondence with some the value of the violin enters. It cer¬ real expert must be able to recognize all ancient looking case. It was a dark col- were real Cremonas. The opinions olof double-stops. In the sixth—E, first finger of the firms of violin dealers who adver¬ tainly would be bad policy to pay an the peculiarities and characteristics of the ored instrument with brilliant varnish, and both these supposed experts, however on the D string, and C, second finger on tise in the Etude about the repairs. Some expert repairer $35 to put a $10 violin in work of all the famous makers. This it had the famous Strad label. The tone were glaringly at fault, the A string—for example, the fingers repairs, such as a new fingerboard, new proper condition. The owner of the violin takes years of experience and study. For was clear and sweet but not very loud. I am forced to this day to smile when must not be pressed so closely together neck, sound-post or bridge, have a fixed should seek to learn the true value of his this reason anyone buying or selling a My Clergyman friend told me the usual thinking how hopelessly these men fell ^TrueTone as when a semi-tone is being played on price, which could be quoted on applica¬ violin, and should get an estimate of what valuable violin should have the written wgmarole about its having "been in the down in trying to classify these violins one string; for the fingers spread apart tion ; but in the case of cracks, parts which the repairs would cost before he decides opinion of such an expert, unless thele ;,amt y tor ages> having been brought to as neither the one looked anything like a SAXOPHONE will almost pass each other, and the semi¬ have become unglued, and many other re¬ to have them made. If the violin is sent transaction is made with a reputable vio¬> *hls “TV* by a Peddler, or a pirate, I real Strad nor the other like a real Rug- tone will thus be much too small. pairs, the violin must be seen before an to an honest firm, or individual repairers, lin dealer. The opinion of an alleged ex¬ orget which. In those days I knew noth- =,eri- I could relate many similar stor- Scales in thirds, sixths and octaves estimate of the price of the work can be who have reputations to sustain, they can pert, with but a slight knowledge of vio¬ jng about Cremona violins and was con- Ies, some of them where violins changed should be practiced a good deal, always given. be relied on to advise the owner whether Increase Your lins, is but a broken reed on which to s.deraldy impressed. I asked the minister hands at a high price on the guarantee of fortissimo. So many learners are afraid it would be worth the outlay to have the lean. If the violin must be shipped, it should ill might :take it home to sh'ow it to my an expert who did not know what he was to play more than an uncertain mezzo- work done. teacher, who had been educated in Berlin talking about be placed in its case and the case then Income Through Two experiences in my boyhood days- forte. “Solidness" of tone results only packed in a wooden box, with excelsior Having the violin placed in perfect play¬ and was supposed to be a remarkable ex- The world is full of these alleged ex¬ in Ohio made such an impression on my •from much fortissimo work. The violinist or other packing material placed around ing condition makes a wonderful differ,- pert. io my surprise he consented. perts who have never learned the trade of youthful sub-conscious mind, that I have who ,cai? P'a* very loudly can usually sink it. In the case of a valuable violin, it ence in its tone. Class Piano been wary of experts all my life. The My teacher, who had seen hundreds of is a Profession in to pianissimo; but the reverse is not so first, was with an alleged Francesco Rug- famous violins in Berlin, was greatly in- 1.7’ d whlch takes as much time and often' true. Instruction gieri Cremona violin. I had bought the terested. After playing on the» violin for study to acquire as the profession of law Martellato playing, too, is a splendid What is the Viola D’Amore? violin from a German emigrant who came Halt an hour he said it was very probably medicine. thing for increasing power of tone, and tically to the scale.) The instrument is a to my house one day with several violins a genuine Strad and added, “It must !n the- case of^ a violinviuun priced at $300$ such studies are Kreutzer 2, 5, 6, 7, 10, The revival of occasional interest in “The Melody Way” trifle larger than the ordinary viola in size. carefully wrapped up in an old horse 7be worth"7“‘ ”overVC1 $1,000 aatt 'east."least.” inIn those ~ “e question as to who was its and Fiorillo 20, 26, 27, 28, 29, should be the Viola d’Amore is interesting. This blanket, and who said his father was a used constantly. quaint instrument, once so popular, de¬ The scope of an instrument of this type cheapcheap.C rem°na mS W6re Comparatively mudTless oftte P°rtanCe> since is limited because it must be played in the violin dealer in Germany and had sent - -- price is ™due to the mak¬ But orchestral second violin parts are pends for its sonority very much upon Hundreds of parents hesitate to start Likewise it affords a means of increas¬ key in which the instrument is tuned, or him these violins to sell in America. Still I was i er s name, than would be the case where quite a distinct type of music, and copies additional strings which are not played, their children with piano lessons because ing a piano teacher’s income consider¬ 't completely satisfied the immediately adjoining keys. The After considerable bargaining as to the of the actual stuff should be procured and but which vibrate sympathetically. These they fear that their child may lack the ably, both through revenue from the price, I selected an aristocratic looking old and, on the advice of a friend,'' took the cerne“T?6 An^mhlt' “instSt,.rument™ was con- strings of brass or steel are customarily Viola d’Amore was once very popular. classes themselves, and through new Vjolin to Cincinnati to show, to Henrv rv ’ A ™tatlon of any of the great studied by the aspirant. He will soon necessary music talent. fiddle with a Ruggieri label. In those days find that the absence of any melody makes seven in number. They are suspended One writer has suggested that the name, individual pupils gained from the classes. Schradieck, the famous Cdmist and aC«®ona. »akers; if made by a firAaS I had the usual faith of the novice in under the regular strings, passing through instead of suggesting that it is the “viol Miessner’s “Melody Way” of Class it very awkward if one’s place is once “The Melody Way” Course, and Teach¬ labels, and thought I had secured a won¬ writer of studies for the violin, who had $200 to^OO “soW’ 18 WOrth from lost. Clearly the professional must never holes in the bridge and under the finger¬ of love,” is really the “Viola da Mori,” Piano Instruction overcomes this obstacle recently been engaged to come from musical £ ItS merits as a er’s Manual, created by W. Otto Miessner, derful prize, as the price he asked was lose his, for there would be practically board. The main strings of the instru¬ by providing a means of getting a start Leipzig to Cincinnati to direct the Cincin- maker. *’ wlthout respect to its or “Viola of the Moors,” thus indicating composer and music educator of over a only a fraction of the then market price ment are tuned to the chord of D, thus in piano education at a very low cost to no chance of recovering it. So, then, sight¬ a Moorish ancestry for the instrument. quarter of a century experience, can now of Ruggieri’s instruments. Still I thought ascending from D on the third line in the parents. reading is the next great requirement of 1 In Mozart’s time the instrument was be obtained by mail and successfully it might be well to have the opinion of an the orchestral violinist. Sight-reading is the bass clef—D, F sharp, A, D, F sharp, expert, as to whether the violin was' gen¬ know as the violet- Twenty children- can be taught in a put into operation by you at once. The no gift—it is a talent to be acquired by A, D. The sympathetic strings are tuned, course is complete with instructions for uine, before further jubilation. In those The bass viol, with sympathetic strings, class; they are able to play a number of Fiddle Re-makers much hard work. It can be learned only on the contrary, to. the diatonic scale of organizing and teaching classes; includes days there was a violin maker, who also was known as the Viol Bastarda. simple pieces in less than twelve lessons by actual practice—not by reading or L. (Sometimes they are tuned chorma- all material needed to carry on the work. had a music shop, in Cincinnati, Herr H seems a little singular that much of delicately construct j by the Class Piano Instruction method. thinking about it, but by doing it. They advance rapidly. And they make And the cost is surprisingly low. The -—, who was considered one of the he best talent among violin makers of instrument ThereW h S° beautiful an Every student should apportion a good coupon will bring full information. Mail leading violin experts in Ohio and who the present time is devoted to re-making highest priced specialist and ^ greater progress when they start later share of his daily practice for sight¬ How the Violin got its Waistline withjndividuai lessons. even in those pre-war days, was able to violins rather than to making new ones. P?V him a large figure to rena r Th V° reading. Of course, to do the thing thor¬ sell the violins he made at $200 each The present-day makers, with few excep- The instrument may need-re™' ■V'° m’ oughly one needs to be always doing fresh (equivalent to at least $400 now). tions, bow before the art of the makeS -storing the beli ef / music. Go straight ahead, that is the By P. A. Ganinni I took the violin to this German violin of past centuries rather than attempting faPe. adjusting the bass bar, filling wor« one rule. Never mind how many blurs maker’s store and timidly announced to devised a stringed instrument that was MIESSNER INSTITUTE to make new instruments to surpass them. k°les- fltting the blocks and linings-Th" or wrong notes occur, do not pause to A very interesting article could be writ¬ s'* 154 Reed Street one of the clerks that I had a genuine to be partly guitar in shape and partly One of the reasons for this is purely thmg® recJu>re something far more than repeat or adjust anything; think only of ten upon the subject of how the violin Ruggieri, which I wished to show to preserving, at any cost, the vital rhythm like the violin, that this new form became commercial. The old violin, bought at a Su.r,e band and S°od craftsmanship The* got its waistline. Let it be remembered Herr-. At this all the clerks in the °f the music. distinguishable. This instrument is sup¬ IN ST^ IT U T E /c—details about "The Melody Way,” and that prior to the violin the bowed instru¬ store grinned, but one of them volunteered fancy price by the artist or by the connois- ,for brains and experience. Do ™ posed to have appeared first in Provence. No violinist need consider himself at ments were either of the monochord, or 154 Reed Street / to fetch the great violin authority from seur, immediately becomes a most valuable W°nder that they cost money? There Gradually came the convex back and the adequate professional standard until he can one string on a box” type, or they were Milwaukee, Wis. his sanctum. It was some time before he convex front, allowing for a bridge of Piece of property. Its owner, having toTeSr^ Wh° have the skill read the “William Tell” or the “Cosi fan °f the type of the. kind of lute with a would consent to waste his time looking lutti” overture at sight. proper height in the proper position. These Street and Number . semi-pear-shaped body. These instru- at what he was sure would prove to be a signed the check for his new property, is naturally their stvic mStrUments; a"d instruments were, for tire most part, larger ^ City and State. loath to let any bungler tamper with so pay. command large Sight-reading, of course, implies time¬ ments lacked the sonority and vitality of than the violin of to-day, but not as large reping, and in orchestral work this is no the violin, and it was not until some un¬ Please mention TItE ETUDE when addressing our advertisers. easy matter. The player needs to keep known inventor in the thirteenth century as the ’cello. JANUARY lif'. THE ETUDE JANUARY RYAj D«[ HiiM JANUARY 1925 Page 65 Page 6Jf JANUARY 1925 THE etude UDE King of Glory Day Before Yesterday World of Music To the Choir Master What to Play— (Continued from page 1) Making Early Easter Choral Cantata for Easter Opera3 Burlesque Operetta for Children What to Teach By R. S. Morrison By Cynthia Dodge A Statue ot Wagner is being erected Preparations Book and Music By Harriette Brower in the Palm Garden of Leipsig. By John W. Brigham The raising0 of.- the curtain-_ shows i„„ „ This book is aimed at one of the great- Many choir masters during January A Prologue in an Easter Cantata Gabriel Faurfl, one^oUthe foremost look over Easter Anthems, Cantatas and which in this work is made up 0f the fir t sheer hilarity is the best description of history book’s pages actually opening and est problems of the teacher and the pupil, Solos in order to secure material to meet four numbers, gives us something new u- extremely clever musical absurdity. the queer, quaint characters of the past It is like those invaluable menus which with their requirements that will make up The Cantata itself takes up the story 0f „„nes are truly funny and the music stepping out into the present. The music housewives find so practical when they are Neidermeyer worth while musical services for Easter the Resurrection and thus is pureil Thent at all difficult although good in is written in unison and most catchy and racking their brains about what to order, lied similar Sunday and other special services at Easter and joyous in character with no 1S ", sense. Glee Clubs, Community Or- easily learned while the dialog is in terse If it merely suggests a score or so of good terms which means much to the voting teaching pieces, it will prove worth while positioi successively at fet. Ionore, St. Eastertide. Theo. Presser Co. extends touch of the Lenten atmosphere. The text SLtTons and all Men’s Clubs will wel- ind the Madeleine. Ii L890 he fol- liberal examination privileges to ehoir has been compiled by the composer and is gnme this work. It is a real novelty. The actors, and therefore, to the audience. The to the teacher. It does far more than that, j^ull’ice assenet as professor i masters and, upon receipt of information strictly Biblical, or from well-known uC requires about forty minutes in ren- time of the play is a little over half an however; it tells about each piece and then vatolre iuiu 11. MLceeded Dubois as its hour. The score contains sketches of ali presents them arranged in desirable pro- directoi which position ne held till 1919. as to the capabilities of a choir and solo hymns suitable for the work. There feion which provides the better^ part of upositions include operas, incidental singers for whom material is sought, is short solos for each voice which may be a„ evenings„ * entertainment. The solo characters in costume and also all stage gram form in different grades. The Hisi « to several plays, a cantata, two e carefully treated so that any directions for dances as well as move- special advance of publication price of reqUien i, a symphony and many composi- glad to make up special selections and done in unison, except the one soprano less pretentious forms. send them for examination. solo which gives good opportunity for in¬ amateurs may give a satisfactory produc- ments of the actors. This is a npw plot, 75 cents, postpaid, will be available for tions ii A few of the latest Easter Music pub¬ dividual work. Mr. Morrison has con 1 “ 0f the comedy. An examination of new music and the novelty oi the situa- only a very short time now. Han lei’s “Tamerlalne” was recently ed at the Badisehe Landestheater, of lications are: trived to enliven his cantata with much * copy will prove of utmost interest and tions make the whole story one of great in- . perform terest. The costumes are very easily made How tO Succeed 111 Singing Karlsru he, in celebration of the second cen- NEW WORKS that any of our catalogs would be of as¬ Do, the Winter is Past, Anthem by variety by using different combinations L feel assured this work will fit in to sat¬ of its first production. sistance to you, let us know the classifica¬ Preston Ware Orem. of the voices, but the work is never diffi¬ isfy a long felt want. All characters and the staging is very easily done at a By A. BuZZi-PeCCia Advance of Publication Offers •ize of 50,000 Lire (about ?10,- tion desired, and we will make immediate Christ Our Passover, Anthem by R. M. cult and always melodious. Good volun¬ should be men or boys, but Cleopatra gfljUjTminimum of expenditure.*■■■’•" \ye not pretend that even as famous January, 1925 * mailing. Our advance of publication price for is been offered by Jl Secolo, ot Milan, Stults. teer choirs will welcome the work as most might be taken by a mezzo-soprano. The a teacher as Signor Buzzi-Peccia, teacher for stimulation of opera"’-'m,n Album of Arpeggios for the Pianoforte. 0 A great many teachers have found of one copy only is 40 cents, postpaid. Album of Song Transcriptions and Varia¬ Rejoice and Be Glad, Anthem by W. grateful for study and most satisfying in costuming and staging is very simply done of Sophie Braslau and Alma Gluck, can successful work is to be tions for the Pianoforte. especial value, the little booklet, “Guide Berwald. rendition. The time required in produc¬ and fully described in the score. The act¬ tell in one book all that we should know ing Italian opera house. A1Mm Jf1TranscrlPtions for Pipe OrginU 0 to New Teachers On Teaching the Piano- King of Glory, Easter Cantata by R. S. tion is about 40 minutes. ing practically suggests itself. Schubert Album about “How to Succeed in Singing.” If Tlle Famous “Hollywood Bowl” has 0 forte” which lists according to grades ex- Morrison. We are offering this cantata in ad¬ Our advance of publication price for For the Pianoforte* iauv,w» be could, the book might be worth thou- become the property of Los Angeles County, 0 cellent teaching pieces, collections, meth- S^atr/T'°Pera ®uriesclue—Brigham.! The Dawn, Easter Cantata for 2-part vance of publication at the special price one copy only is 40 cents, postpaid. Albums of Piano Selections from Schu- afnds of dollars a copy. However Signor California tWinsuring It. P^uity «,« Dawn of Spring—Cantata for 2 Pt. Treble 0 ods and studies. A copy of this may be Treble Voices, by Wm. Baines. Voices—Kountz . 0 had free upon request. of 30 cents, postpaid, one copy only to bert’s writings are not numerous. He has Buzzi-Peccia does tell many of those se- musical entertainment, He is Risen, Easter Solo by Paul Am- each purchaser. Order a copy of “King monv that we have been forced crets he has been giving to his pupils tor Day Before Yesterday—Operetta for Chil- Naturally these points of service are Ruth—Sacred Cantata many gems that we have been forced, !in(1 w}ii(.hs ml®t in a measure About Four Thousand Singers dren—Cynthia Dodge .... of Glory” while it is obtainable at this ?SnntZ-Pian°r Pedagogy—iviacklin.'.’ ? but incidental to the great feature of our for Women’s Voices issue a volume of his pianoforte music account for much of their success, toe jIusjcaj Festival, which was held Eleven Indian Love Songs—Three-Part ’ business, which is the prompt attention to special rate and you will receive your John M. Williams’ By Paul Bliss which contains his very best selections, bailee °f publication price of the work Northern Polytechnic and UeMingtg Cen- Chorus of Women’s Voices—Lieurance ) all mail orders, whether large or small. copy in ample time to examine it for in¬ How to Succeed in Singing—A. Buzzi- clusion in the Easter program. These selections will not include any of J« 60 cents, postpaid. tral Library Hall from November — Peccia. We carry practically everything in music Normal Class A Bible story of women, set to music for a women's chorus. The story of Na¬ his• long• and' difficult- numbers‘ but’ ■ mostly■’ Toti Dal Monte won a brilliant triumph Joily Jingles for Little Firigers^Cramm I publications and with this stock of music Mr. John M. Williams, recognized her American debut in “Lucia di Lammer- King of Glory—Easter Cantata for Mixed authority on matters pertaining to musical New Orchestra Book omi and Rutli is well-known and in this from the popular pieces and a few of the Album of Arpeggios Voices—Morrison . publications and our own catalog, which oor” with the Chicago Civic Opera Com- | contains many of the best selling and most educational work, will conduct a Normal For the School Orchestra thirty-minute cantata it is told in such an transcriptions of the famous “Schubert” For the Pianoforte rany, on November 9th. Light—Cantata for Treble Voices—kountz effective musical setting that it gains new t/°iks« Music story Book—Cooke i successful teaching works on the market, Class on Pianoforte, teaching students in songs. This excellent series of educational _ , 1 had iIts first Little Suite for Two Violins in First Posi- We are preparing a new collection of charm. The work may he sung by a large Our special advance price on this volume works. Study Pieces for Special^Purposes, presentation in English i tion—A. Hartmann . we have the material at hand to care for Philadelphia the fihst two weeks in ..’ ~ ./ * . .-i---- .. * ' American presentation ir ^ March, 1925. school orchestra music following the lines four-part chorus, or the second alto may should receive the attention of all accurate negie Hall, New York, .... — -0 - Music Scrap Book, The—Wright. 1 practically any demands for music publi¬ laid down in our earlier publications of Musical Moments—Piano-Hudson. cations that are made of us. Teachers in Philadelphia are having be omitted entirely, making it a cantata teachers, particularly the hook on arpeg- November 10 by “The English Grand Opera this class, “Presser’s Popular Orchestra gios We have now published the one on Company’’ untett. baton M^Kno^. New Anthem Book. . brought to them an opportunity that for first and second sopranos and altos. Little Folks’ Music Story Book New Orchestra Book—Parts,' each.'.'.' Cover Design Book” and “The Crown Orchestra Book.” trills and scales. All the divisions of formance giiVe promise that the organization New Orchestra Book—Piano should not be overlooked. Enrollment for There are solos for soprano, mezzo and By James Francis Cooke Contest These collections have been so successful alto. The text is strictly cliurchly and technic will receive attention in these vol- would fill a creditable place in our musical PeHands^Grieite’ N°‘ 1"Pian0> Four the Philadelphia two weeks’ course of We have just been looking over t daily lessons of two hours each should be that we have the utmost confidence that the cantata may lie given at any season umes and most likely the next one will be life- We are going to press for the Jan the new one will enjoy a large sale. It final proofs of this work and examining P1Wrieh°r the ^eve*°Pmeht of Technic— issue late in November. The E nL made early, as the class must be of a lim¬ of the year and for any service which ren¬ on wrist motion. This series is not, The Reflections for Music Students—Silber ited size. will include several particularly effective ders it invaluable in every choir-dircctor’s some of the brand illustrations made night^ lieuc supposed,CUj purely technical.-. These—- -- _ _ - [petition for Cover Design Prize Contest does not frankly the very ,)(4S contain simple pieces in the second ^fellowship„ ___sting of $1000 a year for Ruth—Cantata for Women’s Voices_Paul The “John M. Williams System of Fun¬ original compositions specially arranged repertoire. Many volunteer organizations for the book. It close until December first, hence no deci¬ for the work, also several standard num¬ easiestsiest history of music conceivable and it ,,nd third grade which cover these points three years and $1000 each year for travel¬ sion can be announced at this time. Of damental Training” Normal Classes have find tenors and basses unreliable or unob¬ ing expenses. Study and residence in the enjoyed tremendous success in Chicago, bers that are universal favorites, such as tainable, so in this work we are pleased to ~ interesting to the last word. All ot the of technic xhe object is to make the Academy, with six months of travel each course, it is already obvious to us that “Poet and Peasant” and “William Tell” pictures are to be cut out and pasted in stu(jy. as pleasing as possible and this can year are offered.__-Oculars " ’ from' ”Roscoe New York, Seattle, San Francisco, San offer a unique arid meritorious cantata for executive secretary, American certain covers, indicating that the artists Overtures, somewhat shortened, and the by the pupil. The advance sale is already be ^ £ mosf6caseS) through pieces just Guernsey, have been very limited in their artistic Diego, Los Angeles, Salt Lake City and treble voices wliich requires not too much Rome, 101 Park Avenue, New elsewhere. ‘Tannhauser” and “Aida" marches. The study, but which is sure of a cordial re¬ very large. Teachers and pupils will be ag weU ag through studies. There are York, 1925 Calendars experience, can not hope to compete suc¬ delighted when their first copies arrive. more arpeggios used in pianoforte play- cessfully with others who have spent years The system is devoted solely and exclu¬ contents will include other marches be¬ ception by the hearers. Directors of Richard Strauss has resigned as director For Music Lovers Thisrr,, ,?-,,,-.— will occur very soon. Insure receiv- '.ing , tha., ^1 T„y other division- •• of- technic,■ ■ ™; IZ ^TTSStJoaSt under able teachers in developing a technic sively to the training of teachers of piano sides several excellent concert pieces, slow women’s schools, colleges and choruses movements, etc. With special tliought to will be glad to examine this. ing yours now by sending to-day tne spe- therefore, this is the most important vol- he has declared his intention of quitting the Each year we must supply the demand of the brush and pencil. We shall hope playing and its allied theoretical subjects cial introductory price of 50 cents, post- ume 0f tjie ent;re series and we advise all villa which the city recently built for him ji for a calendar having some special rela¬ to make an announcement in February. and is planned to meet the needs of music the needs of school and amateur orches¬ Our advance of publication price for parks. Failure of his tion to music. We feel that the 1925 teachers who wish to become more efficient tras, the instrumentation will include the one copy only is 25 cents, postpaid. paid. teachers to procure at least one hook. The “Whipped Cream” ballet and disagreement Album of Song Transcriptions instruments represented in the collections advance price is 30 cents, postpaid. with the Austrian chancellor as to his salary calendar is one of the best that we have in their work. A booklet describing the aie said to have been at the root of the been able to present in a number of years. and Variations mentioned above, embracing the usual or¬ Eleven Indian Love Songs _ _ . New Anthem Book trouble. Leo Bleieh will succeed to the posi¬ There is a good variety in that sixteen for the Pianoforte tT/office ^ h3d by addreSsin« chestral combinations with E flat and B for Three-Part Chorus of The Music Scrap Book tion left vacant. His “Intermezzo” had its composers are utilized in the 1925 series flat saxophones, solo and obbligato violins, The success of this series of Anthem world premiere at Dresden, November 6, There are many hymns and songs, old Women’s Voices By N. Louise Wright when he and the cast were called before the and there are four different color combina¬ Album of Transcriptions B flat clarinets, etc. The arrangement Books, has been rather phenomenal. It Rv Thurlow Lieurance Very often it is discovered with very curtain twenty times. The libretto is by tions. The size of the 1925 calendar is 6% and new, which have been transcribed very will be confined to the easier keys and gives the average choir, a great variety of By Thurlow Lieurance young pupils, it is necessary to use some- Strauss himself, and the germ of the plot is effectively as piano solos. Many players for the Pipe Organ x 10% inches, and there are what might every concession will be made to the re¬ anthems at a remarkably low price. Gen¬ Tliis book is. now on the press and the 'tj,ing still more elementary than the usual a quarrel between a famous conductor and enjoy these and they are always appre¬ By Orlando A. Mansfield his wife. be termed two mats, the back mat being quirements of the amateur. erally there are sixty-four pages to these edition will be ready very soon. High instruction book. It is for such purposes a trifle larger than the front mat, showing ciated in the home. Usually, sucli trans¬ From time to time there have appeared Prior to publication we are booking or¬ volumes. The selections are the choicest school choruses and musical clubs will find that Miss N Loujse Wright's The Music The American Women’s Symphony criptions are of intermediate grade. Our m our catalog original numbers for piano ders for the “New Orchestra Collection” in our catalog. This new book will be therein some most interesting novelties for 8ef B()ok is wr;tten. In taking up a Orchestra made its first public appearance a contrasting color border around the -* "he Sixty-fifth Convention of the New whole of the back mat and the front mat resources are unequalled for the compila¬ solo and for violin and piano, whicli have at a cash price of 15 cents for each orches¬ along the popular order. It will be with¬ programs. These songs are all taken work of this type, it is not necessary for tion of such a volume and we aim to make City Federation of Women’s Clubs, has a round cut out two inches in diam¬ been found to be particularly well suited tral part and 30 cents for the piano part, in the ability of the average volunteer from Aboriginal material and in some tbe y0ung student to know anything about recently held, this the best collection of the kind ever eter which frames an excellent portrait of for transcription as pipe organ solos. A postpaid. 1 1 choir. There is absolutely no risk in or¬ cases the genuine Indian texts are em- fractjons or the alphabet either, for that published. Some of the melodies are number of these transcriptions have been dering a copy of this new anthem book. ployed. The choruses are not difficult to matter> since a knowledge of notation is -p^“aVd“"5*fiaTft‘Jdfedp^eee”Sv8ilnl£Parlse an old master that is attached to the back Light mat. These portraits are beautifully merely transcribed so as to become effec¬ made by Dr. Orlando A. Mansfield and Of course, the advance price is limited to sing and they are all most effective, quite incuicated through some very clever object Born at .Tupille near Liege, Belgium, March tive piano solos, while others are more tinted in soft lithographic tones. A plain they have met with much success. Re- Cantata for Treble Voices a sample copy only and not for sufficient different from the usual run of such num- jessons, in this little book the student haS 9, 1848, he was educated at the conserva- elaborate, some even having variations. border design is printed on the front mat cently Dr. Mansfield has made some new By Richard Kountz copies to supply a choir. The name has bers. Arrangements of some of the most something to play almost from the very ofhisief^cae?seSeDesa?6-HPynbergaVand In this whole volume beauty of melody is Hot as yet been selected, but the material popular Indian songs by Mr. Lieurance gtart The work w;n surely prove ihterest- Leonard. Later he studied under Joachim and a short biographical sketch of the t?n moTe^Alf^ iS upon A May Festival work with a two piano composer is given. predominant, the various ornamental still more All of these will be assembled has been given a great deal of attention. are included, such as IFturn, and By the . to youn„ students. in Berlin, which was followed by tours of accompaniment, which Is something new in passages and variations being employed m one volume. The pieces are in various It will be issued in a short time. We call Waters of Minnetonka. The special introductory price in ad- of" violin in th^Pmris^ConsCTvatSre merely to enhance the charm of the origi¬ tne held of music and very much desired, S!? aS a!U of intermediate difficulty the attention of all choir leaders to see The special introductory price in ad- vance publication is 30 cents per copy, from i S92 to 1900 and also had a consider- Real Service nal themes. chiefly adapted for church use but avail’ ihe text is a story of the origin of Light ,-ance of publication is 30 cents per copy, postpajd, able reputation as a composer for the violin. and is written in the first person. The en¬ ™at they receive a copy of this new an¬ to Music Teachers The special introductory price in ad¬ able also for picture playing. Some of them book. Twenty cents is our advance postpaid. vance of publication is 40 cents per copy, tire subject matter relates to Nature and ieel Auditor- the pieces are: Melody in D William* °t publication, cash price. Capriccio Brillante ____— - million dollars, Real service to music teachers is what postpaid. • 11 is therefore usable at any time by any Little Suite for Two Violins for the Pianoforte was dedicated with concerts by . the Sousa the Theo. Presser Co. constantly endeavors SHohatn rGa,m’ °hristiani—Melody of oody of singers. The choruses are written Band on the afternoon and evening of Octo¬ Hope DeLeone—Pastoral Calm, Parker—■ Dawn of Spring in the First Position, Op. 19 By F. Mendelssohn „„ber 17, and a season of five performances to render. Thousands of busy teachers in Elementary Piano Pedagogy Woodland Idyl, Zeckwer-Spirit of the in three parts with occasional divisions for all parts of the country know that this By C. V. Macklin Cantata for Treble Voices By Arthur Hartmann Mendelssohn’s Capriccio Brilliante is by the San Carlo Opera Company «« utium other possible effects. The melodies are one of the best exhibition pieces for school 20, 21, and 22. means promptness, accuracy, liberal ex¬ Rhm’ Johnson~ln Remembrance, von haunting and appealing, and the two In this Little Suite for Two Violins (in “Fine,” were the words our critics used By Richard Kountz — conservatory use. Without being inor- amination privileges, convenient charge when they read the manuscript of this The special introductory price in ad pianos furnish sufficient support for a big accounts, every possible consideration as All of the music in this cantata is writ- " " requires. a well- Bulletin of the Presser Home for Retired book. We need more literature which will chorus. Orchestration may be rented, tea tor solo, unison or two part singing, " — -J„- M, usic Teachers Mtilig work. The composer is one of the equipped performer fa. give it an adequate to teachers’ prices and helpfulness in every help the average young teacher just start¬ postpaid. PU 'ati0n iS 60 C6ntS Per ihis work is a dignified and difficult opus conceivable way. which renders it most useful in grade estmg w°r . vioijnjgts of the pres- interpretation. Although written origin- The Presser Home for Retired Music ing to learn some of the fundamental prin¬ and should prove most attractive for festal schools for commencement time or to The matter of helpfulness covers many Jolly Jingles occasions. The time required for rendition nrteda°; a^d heChas"L devoted a freat ally for piano with orchestral accompani- oYltsTeS ciples underlying the teaching of begin- Women’s schools or colleges. The twenty- deal o/his time to composing and arrang- ment, it goes very well with the aecom- {,ents during the past months. things, ranging from a great number of ners. Mr. Charles V. Macklin, the author for Little Fingers is twenty-five minutes. individual queries on all sorts of musical ve unnutes required in rendition is just deal— otT„ nis this, , jLittle gSuiteu;te for Two paniment ofot a secondsecona piano or withwiui a littlemuc Charlesunarms uimertGilbert »piSpross^the ot this work, has had extensive experience Our advance of publication price for enough for special musical occasions. The Jth Mr. Coghill, business questions that we cheerfully answer daily, By Helen L. Cramm one copy only is 25 cents. ViolinsTh^haT ke\)tSit entireiy in the first fnanagement, .it may be ^ EEgtfSffiZ_ Church Company, visited here and abroad in teaching problems. We story is all about a day in .spring and the jtjon and at the same time has ‘worked through as a piano solo. Our new edition the home In Noveml,-ember. Mr. Spross gave an to the making up for examination of spe¬ are very glad to make the announcement Miss Cramm must have had a jolly time position „ d b will be in score, that is to say, it will give impromptu pianofort „ cial packages of material along the lines a m composing these little pieces because Reflections ®le<* with word-pictures of nature of this work on our special introductory Which Mr. Kountz has dressed out in ercis'es—-the 1 tHB^tremolo, the pizzicato, the solo piano part in full with the second teacher is seeking and also to the furnish¬ offer. We shall issue it as soon as pos¬ Just what the name suggests for Music Students ing of catalogs covering any class of mu¬ araiinf? melodies and harmonies. The v. the arpeggios and double piano part on a separate and smaller Through the courtesy of Fortune Gallo, sible, meanwhile telling you from time to Childhood demands merriment; and^usic By Sidney Silber chromatics, f e score All previous editions have been director of the San Carlo Opera Company. sic publications desired. that is merry and pretty satisfies this lilt ness Bie tunes and the fascinating time in this column more of its particular its of the varied rhythms comhine to St The "wide-awake teacher who wants compared _ carefully and the editing and H™, . the ^ We have catalogs that are graded and characteristics and merits. Just now you craving. The result is that the student , T.*le ]ast chance offer on this excellent classified, descriptive catalogs of collec¬ goes ahead a great deal faster and a great ° wisdom condensed in small para- no Va rno's*' charming cantata. As it is omething just a little different for h.S togeriDg is of the !oes ^ t t tovltel to attend are probably interested in learning that w time to prepare for spring festivities something just a “,'^d“‘“a“V 0f this The special introductory price in ad- as tlieir guests'several performance's of the tions, methods and studies and catalogs you may secure a copy upon publication deal happier. It will pay you to order a SfJl j ls n?w at hand. The book is being 1 mted, and, unless you order a copy at e urge a careful consideration of this To?k It the spell introductoryypr«ce in vance of publication is 30 cents per copy, '&&S32SZ showing portions of many worth while by sending us the special advance of pub¬ rtti7 #fnthlS "T and fascinating work for new work. e special introductory price very soon, of publication of 30 cents a copy, postpaid. season in Philadelphia throughout the last piano or vocal publications. If you feel lication price, 75 cents, postpaid. little folks, at the special advance of pub¬ lication price of 30 cents, postpaid. your opportunity will be gone. The" special Our advance of publication price for P tPumsher’s Notes*. weeks of November.“ price is 50 cents, postpaid. e copy only is 30 cents, postpaid. JANUABY 19.1-0 Page 67 Pago 00 JANUARY iy& fUli lirl’DB
Musical Moments •n Busy Fingers, by Mabel Madison Plenty of Bargains in for the Pianoforte Wataon Etude Music Magazine Clubs Bv Mrs. H. B. Hudson Introducing this little teaching work ac- . . .. „ , COMBS CONSERVATORY L, “7.“, . , quaints the student with rhythm, develops The following is a selected list orof high-mgn- This is a pleasant little recreation book finger efficiency, independence of hands class publications which can be purchased ' ,3 ah if rio S- and SeCpnd ;,nd what Mrs Watson has been pleased i" combination with The Etude at very grade work. AH the little pieces are very to term “keyboard geography” This is substantial savings. If you wish a maga- A School of Individual Instruction A School of Public Performance nielodious and well adapted for small a practical, modemwo“at teachers dne not listed, write to us and we will be Four Pupils’ Recitals a week give ; :unity for Public Performance nZd atlJrL',„^.areMarra»gTentS m«ht utilize t0 advantage in early glad to club it with Etude at the lowest the Pupils’ Symphony Orches- lard. Peda* s offer exception! wide experiere “TLX.' SSe, ffto " •“* f°r ers. Dcgi IDE MUSIC MAGAZINE.$2.0( - —orial Review. 1.5< Ex.-. Ila (Stories of Real Life along these lines. This book may be used This JhZJ 7 f ■ , ■ ‘ „„ _ ■ $4.85 Courses ior Public School Music Supervisors ^grS‘Zrsfh ^ inStrUcLn b°°k P* colpTsitZs,a,nselIcteyd from the -> Regular price.$0.001 The special introductory price in ad- ^ Badl "if “ Six Spacious Buildings Dorm A School of Inspiration, Enthusiasm, Loyalty and Succ postpaid. I>ubl'ca*;ion is 35 cen^s Per coPy> whole plan ^of Ms WorkT to^evip ^ *7.7™floo} *- Illustrated Year Book Free music appreciation, interesting students Youth’s Companion . ( $4.85 Peer Gynt Suite, No. 1 first of all through their rhythmic percep- „ , GILBERT RAYNOLDS COMBS, Director 0ffic£o“ ■i tion and thus introducing to their under- °_p for Piano—Four Hands standing the works-----etude of the best composers. MUSIC MAGAZINE.$2,005 Rcmit . . By E. Grieg School supervisors should make certain of M°d,c™ PriscII1“ . 2.00 I For AI1 FABRIi Training Courses The Peer Gynt Suite No. 1 is of the Showingknowino- this work and.nJ-i___ many piano 4.—tteach- Christian Herald. 2.00 > £4 gQ for Teachers ARTHUR de—SINGING, |most-- popular of orchestral_ works. It is ers will he able to put it to good use. The Regular price.$6.0C GUICHARD- Faculty of 56 Zeckwer-Hahn made up of four numbers taken from the l,r*ce this work is $1.00. ETUDE MUSIC MAGAZINE. $2.0( m Specialists in incidental music to Ibsen’s play of the same Reverie Album for the Pianoforte Q ITMC M® all departments Philadelphia IhE furtisInstitutE of iusic name. As arranged for four-hands, it is Judging by the demand for a volume of > $2.85 Musical Academy Founded by Mary Louise Curtis Jioh particularly effective, either when played pieces of a character found in this album __‘gular price . . .$3.50/ HAWTHORNE Pittsburgh Musical Institute, Inc. as pure music or to accompany readings tlle Reverie Album is destined to enjoy a ETUDE MUSIC MAGAZINE.$2.00\ Both 31-133 Bellefield Avenue Pittsburgh, Pa. from the play. In the four-hand arrange- -successful sale. The pieces are within the Vl:l,th’8 Companion . 2.50
U mmmm- ^JUNIORr ETUDE
CONDUCTED BY ELIZABETH A GEST
Musical Terms Lester and the Four Giants An Ambitious Lad
List No. 13 'Said a lad from Havana, who played on the harp, “I am making mistakes, I must learn to B#; For if I don’t rectify errors like that,
Puzzle Corner
A Dolls’ Concert
VERTICAL 1. The measurement of rhy Some of my pupils, after having studied ggested to all my pupils, 3 they prepare a “pro¬ composition, would go on to new ones 5". An ornamc gram” and give a concert to their dolls. nd let the old ones “go stale.” They ly.” One doll might be Hofmann; one, Pader¬ elt, somehow, that, when the lesson for 9. A musical he week had been practiced, they had done ewski; one, Leginska; and so on, naming each doll after a famous pianist. This, I HORIZONTAL heir duty. One pupil said, “Whenever 1. A musical sound. vc have company I play my old pieces. explained, would make them feel that they had a very critical audience, so that they 2. A Mother always likes to have me play for 4. A hem” “But,” I replied, “arent you would need careful practice in order to have a presentable program. 6. A .shamed to play pieces that you only half 8. A fast emember?” She hung her head and said My little pupils readily grasped this suggestion, with the result that every now 10. A horrible 1 lothing. „ ... ., . 11. A character “Playing for others”—evidently that and then they give me a report of their 12. Part of the vas one way of keeping up a repertoire. “concerts.” 13. Part of the Page 72 JANUARY 1927, THE ETUDE
JUNIOR ETUDE—Continued SPLENDID REWARDS
Junior Etude Contest l Honorable Mention for Essays in October ETUDE SUBSCRIPTIONS Alice M. Roggeninosspr, Helen Dummet, Tiie Junior Etude will award three Joyce, I. Lennon, Gwendolyn Stuart, Thelma pretty prizes each month for the best and Huston, Olive Lewis, Alma It. Gargass, Doris A Few Listed Below—BUT Send for Premium Catalog—It will Surprise YOU! fcgfgsaste CIGARETTE CASE "The value of ear-training.” Must KEY Only Two New PURSE Subscriptions
Only One New Handy for the smoker; BUTTER DISH size of case, 7x2J^ inches Subscription Three Subscriptions open, finished in black pin BON-BON DISH grain, carries package of Pressed glass with bright nickel Six hooks, solid cowhide, finished in black, Only Two Subscriptions twenty cigarettes. size, 4 x iy2 inches closed. Any man will French gray finish, gold lined. be delighted with the convenience of this novelty. Keys always handy and pockets SCISSORS SET Put your name and age on upper left HANDY NEEDLE OUTFIT absolutely protected from wear. Only Three Subscriptions Self-sharpening shears; button¬ Only Two Subscriptions hole and embroidery scissors; all Contains everything in the way of the scissors necessary for any needles; all sizes; superfine; the package kind of work. is everyone’s friend.
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Ten of the Ten Thousand Important Questions Answered in Gr< No College, Conservatory, Did Schubert ever write any oratorios ? 5. Is the upper auxiliary note of a turn Convent, Studio or Home See 35,000 word article under always the next degree of the scale Oratorio with 25 notation examples. the principal H'-4"'’1 Music Library is complete aPWHBt What is the difference in the manner without this splendid collec- in which the long mordent and the Srllh7Tu^d^Z short mordent is played? 9. What wer See excellent article under Mordent 6. Why did Garcia refuse to te of the fol . with 16 notation illustrations. Jenny Lind for eleven months? Who wrote the first booh on Har¬ isSSEYA^ mony and what was the nature of it? See well illustrated 11,000 word (Sfjw-i^a-ss article on Harmony. Of which Irish folk song was Bee¬ clavichord to the piano? thoven especially fond? See 15,000 word article on th See 1200 word article on the Last History and Manufacture of th Bose of Summer. Pianoforte with 18 illustrations. EXUDE MUSIC MAGAZINE, Gift Department sSFi'^S'i.HfgS' JS 1710-1712-1714 CHESTNUT STREET, PHILADELPHIA, PA. mmmm then my Dentist smiled and said, ‘Use Colgate’s
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