sign in sign up
<<
Home , Hne, Jeanette MacDonald, Joseph Rosenstock, Louis Speyer, Massimo Freccia, Paul Althouse

Gardner-Webb University Digital Commons @ Gardner-Webb University

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

1-1-1948 Volume 66, Number 01 (January 1948) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons

Recommended Citation Cooke, James Francis. "Volume 66, Number 01 (January 1948)." , (1948). https://digitalcommons.gardner-webb.edu/etude/177

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]. . . . m u" P i ^ IKfflKiiL .,x V : 4^4rJSfc i k > ^ ^ v Jfl 1 a pro- Spain. Later he was appointed Conservatormm. He ROBERTSON, professor of fessor at the Royal LEROY J. pedagogical works Young University in wrote a number of music at Brigham of the including “The Modern School Provo, Utah, is the winner of the $25,000 Henry W. Reichhold Symphonic Award Violin.” largest for the Western Hemisphere, the contest. JOHN C. WILCOX, na- dAre prize ever given in a composition YOU singing known The winning composition is entitled tionally 1938-39. teacher and writer, died “Trilogy,” and was written in CAUSE OF MUSIC? awarded November 20, at Denver, PART TO ADVANCE THE The second prize of $5,000 was DOING YOUR INDIVIDUAL Paulo, Colorado, aged seventy- to Caamargo Guarnieri of Sao un- seven. He had been visit- Brazil, for his composition as yet music named. Third prize of $2,500 went to Al- ing professor of ''In- Colorado College since bert Sendrey of Los Angeles for his at 1945. Prior to that he and ter-American .” Tohn C. The National Society of Music Art had been director of the ‘Wilcox Music, A LIFE-SIZE silver bust DenveKCollege of was and from 1934 to 1945 he had been active for all forms of music. of Enrico Caruso Cultivates music appreciation to develop more patrons Conservatory of Music presented recently to the at the American contributor Promotes outstanding talent, and works by American . Metropolitan in Chicago. He was a valued Financially aids worthy young artists through loans without interest. House by Mrs. Dorothy to The Etude. Caruso, widow of the Sponsors visual education in the public schools. noted . The bust MME. LULU VETTA KARST, considered concerts in English. St. Fosters opera and was made by the Italian chamber the most exacting voice teacher in Bridal March by Sir Hubert dation “for eminent services to center. Cifariello, who Handel; and for seventeen years was Approves establishing a national music and art sculptor, Mrs. Coolidge, who established Louis, and who Parry. The choir sang Blessed Be the music.” Traubel, completed it in 1910 and awards the vocal instructor of Helen Advocates creating a Federal Department of Fine Arts. caruso Father, by Wesley; and We the Foundation in 1925, made the in that God and St. Louis. Her age gave it to Caruso in October in the died November 15, in conflicts with no other musical organization. of Wait jor Thy Loving Kindness, O God, personally at a concert Cooperates with all and year. The bust was placed in the lobby eighty-seven. She had sung in most personally Coolidge Auditorium in the Library of was opera by Dr. McKie. The hymns, re- the Family Circle, where so many of the European music centers and artist selected by Princess Elizabeth, were the Congress. lovers who remembered the famous active as a singing teacher, de- Soul, mained herself, made Twenty-third Psalm and Praise My Join Your Local Chapter Now—Or Start a New One in Your Community would see it. Mrs. Caruso spite her advanced age. the King of Heaven. The chants were First Symphony the presentation, to which responses weie ELIE SIEGMEISTER’S president Psalm 67 (God Be Merciful to Us, and its premiere in November at made by Mrs. August Belmont, was given star of FULL INFORMATION ON REQUEST FROM LOS ANGELES HEADQUARTERS Lord’s Prayer and Philharmonic- ELEANOR PAINTER, former Guild and Bless Us), and the a concert of the of the opera, drama, and musical comedy, and general manager of the responses. Symphony Orchestra, conducted by Leo- Edward Johnson, retirement, known as Mrs. President Gregory I. Blarowski is now making his third personal tour of the entire , visiting various com- since her Metropolitan Opera Association. pold Stokowski. THE MUSIC TEACHERS NATIONAL ASSO- Charles H. Strong, died November 3 at munities where his advice and cooperation has been requested. She had a career in known as the CIATION will hold its annual convention Cleveland, Ohio. A NEW TEACHING CHAIR THE PALESTINE PHILHARMONIC OR- where she at in Boston from December 30, 1947, to Jan- grand opera in Germany, Walter W. Naumburg Professorship founded in 1936 by THE NATIONAL BOARD OF DIRECTORS INCLUDES: Raymond C. CHESTRA, which was toured for several years. has recently been en- uary 3, 1948. The president, Harvard-University Bronislaw Huberman, opened its season her and she ap- Naumburg Kendal, of the University of Michigan, wrote “Princess Pat” for Mr. Robert Louis Barron Mr. Frank R. Fletcher Mr. Alexander Leslie dowed at the University. Mr. city of Tel Aviv. Madame Olga Sacerdote interesting pro- in October in its home in this throughout 1915 and 1916. Amarillo, Los Angeles, California Springfield, Massachusetts $250,000 to estab- has arranged a highly peared Kansas City, Missouri had donated more that Guest conductors for the season include Mr. Walter Blodgett Mr. Massimo Freccia is to gram for the event. Some of the most Mr. Louis Lipstone Madame Olga Samaroff lish the position, the aim of which , Cleveland, Ohio New Orleans, Louisiana of the coun- Joseph Rosenstock, distin- Hollywood, California to care for outstanding music educators SIR WALTER CALPIN ALCOCK, assist the Music Department Molinari, Michael Taube, and Dr. Frederick Boothroyd Mr. Kurt Frederick will be discus- Bernardino September Mr. William MacPhail Mr. Paul Schoop number of students. try will speak, and there guished English organist, died Colorado Springs, Colorado Albuquerque, New Mexico the increasing Singer. Minneapolis, Minnesota Los Angeles, great importance George age of California sions of questions of 11, at Salisbury, England, at the Madame Lillian Boguslawski Mr. Vladimir Golschmann Mr. Francis Madeira Mr. Friedrich Schorr KAILEY, young Chicago con- to those in attendance. eighty-six. He had occupied various im- Chicago, Illinois St. Louis, Missouri Providence, EMERSON Rhode Island New York City FRANKO GOLD- for twenty ductor, presented recently the first con- EDWIN portant posts in , and Mr. Fortunio Bonanova Dr. Nicholas Gualillo Mr. Mark Markoff Mr. Frederick Schulto American chamber THE JUILLIARD MUSICAL FOUNDATION MAN, noted band director assistant to Sir Frederick Los Angeles, California Syracuse, New York Hollywood, California Racine, cert of contemporary years was Wisconsin awarded a number of commissions honored on Jan- 1893 Mr. Serge Borowsky Mr. Ignace Hilsberg to be heard in since the War. has will be Bridge at Westminster Abbey. From Dr. Walter McCray Mr. Harold Schweitzer music 1947-48. Jacksonville, Florida Los Angeles, California the for works to be composed during by the League of professor at the Pittsburg, Kansas Los Angeles. California Under the leadership of Mr. Kailey, uary 3, to 1916 he was organ Mr. Carl Bricken Mr. number those who have accepted the com- Composers in observa- organist of Ernst Hoffmann Madame Jeanette MacDonald Mr. Hans Schwieger Andre Girard Orchestra played a Among R. C. M. From 1916 he was Seattle, Washington , Texas Los Angeles, California Fort within the missions are , Arthur of Dr. Goldman’s Wayne, Indiana of works composed in America tion Salisbury Cathedral. Mr. H. Arthur Brown Mr. Lester Hinchcliff Quincy Porter, Roy Harris, birthday. The Mr. Antonio Modarelli Dr. Orley See eight years. Among these were works Honegger, seventieth El Paso, Texas Ogden, Utah last Theo- Charleston, West Virginia Oakland, California Schuman, , Leonard Bernstein, Samuel Barber, event will also mark Mr. Will H. Bryant Mr. Albin O. by William l^A Holder Mr. Frank Noyes Dr. Fabien Sevitzky and Chanier, Peter Mehnin, Vincent anniversary of the Terre Haute, Indiana Buffalo, Copland, Remi Gossmann, dore the New York Des Moines, Iowa , Indiana Aaron Dr. Edwin Franko concert was the sec- Persiehetti, and Robert Ward. League’s twenty-fifth Dr. Alexander Capurso Mr. Jose Iturbi Mr. Bernard Rogers. The Goldman Mr. Kenneth R. Osborne Gordon M. Smith Competitions Lexington, Kentucky Beverly Hills, California series of public concerts season. Walter Hendl, Fayetteville, Arkansas Manchester, New Hampshire ond in a new Radio. THE HEGEROW THEATRE at Moylan, American conductor, will lead Mr. Luigi Carnevale Mr. Otto Jelinek Madame Leta by the French National well known of one hundred dollars is Mr. Daniel D. Parmelee G. Snow sponsored 19 the AN AWARD , Grinned, Iowa Kalamazoo, Pennsylvania, gave on November band in a program of Wooster, Ohio Michigan the Goldman offered by the Church of the Ascension, New “Cadenza,” a dramatic Mr. Alan Carter Mr. Thor Johnson Mr. Izler Solomon SYMPHONY IN A MINOR world premiere of contemporary works written especially original cantata or anthem Mr. Francesco Pelosi the SIXTH York, for the best Middlebury, Vermont Cincinnati, Columbus, work was Ohio Philadelphia, Ohio its American fantasy with music. The stage composition by Percy to twenty minutes Pennsylvania of was given for band. A new for mixed voices, fifteen Mr. Saul Caston Mr. Richard Karp Mr. Henry Sopkin Dills, with an orig- The Dr. Lawrence December by the New York written by Holland Grainger, commissioned by the League in length, suitable for Ascension Day. Denver, Colorado A. Petran Atlanta, premiere in Pittsburgh, Pennsylvania Los Georgia Bueci, twenty- Ascension Day Angeles, California Orchestra under inal musical score by Mark of Composers, will receive its first per- work will be sung at a special Mr. Coullet Mr. Oliver Philharmonic-Symphony Armand Mr. Paul Katz Sovereign orchestral it will be published Mr. Harlan I. three-year old whose Service, May 6, 1948; and Jackson, Mississippi Peyton Joplin, Dimitri Mitropoulos. The formance, with the composer . Dayton, Ohio Missouri guest-conductor details Spokane, Wothington work started a works have been played by various organ- bv the H. W. Gray Company. All Madame Ruth M. Cowan Mr. Louis Kaufman Mr. Lamar Stringfield decision to program this Mr. Max Ron* these were Introduction mav be secured by writing to the Secretary, Salt Lake City, Utah Los Angeles, California Charlotte, North Carolina month’s search on the part of Mr. izations. Among Hollywood, Californio four the Ascension, Fifth Avenue at Dr. which was given five per- Church of Mr. Marion O. Dale Prof. Erich W. Korngold Max Swarthout for copies of .the score. None and Allegro, Mr. Jacques Los Mitropoulos Tenth Street, New York 11, N. Y. Los Angeles, California Hollywood, California Rachmilovich Angeles, California last, season by the Cleveland Los this country except in the formances The Choir Invisible Angeles, California Mr. Romeo existed in Mr. Orien Dailey Mr. Hugo Kortschak Tata where a full score Symphony Orchestra. Mr. Sergei Radamsky Lansing, Michigan , Wichita, Kansas New York City organist and THE PENNSYLVANIA FEDERATION Los Angeles, California deposited for copyright registering. FRANK TAFT, prominent Madame Hazel G. Tolley was has announced its tenth Mr. Desire Defauw Mr. Theodore Kratt THE NATIONAL JEWISH MUSIC COUNCIL for years OF MUSIC CLUBS Mr. Gene Redewill Los Angeles, California a copy was located in England, designer of organs, who many Chicago, Illinois Eugene, Oregon Finally, the annual State Composition Contest. The Phoenix, Arizona Dr. friend of will sponsor a music festival during residence organ de- Reinald Werrenrath the cooperation of a was director of the three differ- Mr. Samuel S. Fain Mr. Walter Kurkewicz through with the awards are for compositions in Dr. Max New York City month of' February. In keeping Company, died Tucson, Arizona Bloomfield, Reiter Mitropoulos. partment of the Aeolian I, Solo for Voice New Jersey Mr. year on ent classifications: Class San Antonio, Texas Mr. Robert Whitney plan to begin the festival each Montclair, New Jersey, Trio Mr. Arthur Fiedler Mr. Frank October 15, at with Piano Accompaniment; Class II, LaForge Mr. Louisville, Kentucky the Sabbath of Boston, Massachusetts New Miklos Rozsa the Shabbath Shirah, or eighty-six. Under his super- III, Concerto- for York City Mr. THE MUSIC for at the age of for Women’s Voices; Class Los Angeles. California Fred G. Wiegand January 24. The Mr. Arturo di Filippi Song, it will begin on were placed in many Strings. The prize is fifty dollars Dr. Richard Lert D Savannah, Georgia wedding of Princess vision, large organs Piano and Miami, Florida Bervl Rubinstein to community Hollywood, California ^, Lieut. council will give assistance of wealth. As a recital- in each of the first two classes, with a hun- Cleveland, Ohio Dr. Werner Wolff Elizabeth and American homes Chattanooga, centers, clubs, synagogues, and schools dollar award in Class III. The closing Tennessee Mountbatten con- ist, he had been heard in every part of dred Philip details presenting programs of Jewish music. the date is February 13, 1948, and all sisted of the following in the United States. He was founder of orchestras have be secured by writing to Mrs. Thomas played The major symphony Guild of Organists. mav organ numbers American Chairman, Bellevue- NATIONAL to feature Jewish music Hunter Johnson, 407 SOCIETY been asked of by Dr. William McKie, Pennsylvania. MUSIC festival. Stratford, Philadelphia 2, and A Al\ X the four weeks of the C AOI TUC DAACCV/CI T DI 111 HILIA ART of Westminster during SUITE 423, THE ROOSEVELT BUILDING organist’ MATHIEU CRICKBOOM, internationally Sonata in G, by LOS Abbey: known violinist, died recently in , offers prize ANGELES 14, CALIFORNIA Dr. Wti liam LUTHER MARCHANT, dean of music at MONMOUTH COLLEGE a Elgar; Fugue in G. by seventy-six. In the McKie California, and Louis Speyer Belgium, at the age of of one hundred dollars for the best setting Bach; Andante Cantdbile, Mills College, have years before the First World War, M. of a prescribed metrical version of Psalm Symphony, by Widor; of the Boston Symphony Orchestra from the Fourth gave many recitals in Bel- in four-voice harmony for congrega- received the Coolidge Foundation medal Crickboom 93 Man’s Desiring, by Bach; ( Continued on Page 60) jesu, Jog of gium, France, Russia, Germany, and by of the Elizabeth Sprague Coolidge FOun- selections from the “Water Music” "MUSIC STUDY EXALTS LIFE" 1 JANUARY, 1948 ! : a 2 .

Editorial N 1823, when Franz (Seraph Peter) '-n Schubert was twenty-six years of flvttWfe Pigmy iPuMicatumi I to I age and "had only five more years 1Jj cill IL works of the past and has roamed in the FAMOUS live in his tragically brief life, he wrote THEMES IN THE MODERN MANNER I jungles of Jazz. What has troubled him, Modern his immortal song cycle, “The Beautiful style settings of famous classical themes arranged by Jo Liefeld. Includes: RAINBOW mms§(£ mmqjmsflm is the question of the music of THEME from ? however, Fantosie-lmpromptu, Chopin—FAMOUS THEME from Reverie, Debussy—MOON Miller’s Maid.” (“Die schone Mullerin”) HJhither ^AtwClLjA I THEME from No. Published monthly the world will do with the 2, Rachmaninoff—TIME THEME from Polonaise in Ab, Chopin ! another 2048 and what —THREE THEMES from The work was epochal only as Humoresque, Dvorak—and others. Price $0.60 By Theodore Presser Co., Philadelphia i, pa. possible transmutations of the manifestation of the glorious melodic 479,001,600 MARCH KINGS' ALBUM the chromatic scale. In EDITORIAL and ADVISORY STAFF genius of the master. It gave the world twelve degrees of The famous marches of John Philip Sousa and other renowned march, writers presented in easy- FRANCIS COOKE. Editor- in his he has created a new nomen- to-play arrangements DR. JAMES Chief acoustical philosophies designed to revolution- order to explain scale philosophies by Leopold W. Rovenger. Contains: WASHINGTON POST March, Sousa no new harmonic or Guy McCoy, Assistant Editor —SEMPER FI ELI al- D S March, Sousa—AMERICAN PATROL, Meacham—UNDER THE DOUBLE composition. But it has managed to sur- clature, inventing many terms, including “,” EAGLE, Dr. Rob Roy Peery, Music EdiJor ize the future of musical Wagner— HIGH SCHOOL CADETS, Sousa—JOLLY COPPERSMITH, Peters-ENTRY Harold Berkley Dr. Nicholas Douty Karl W. Gehrkeos Dr. Guy ready found in the Harvard University “Dictionary of Music.” He OF THE GLADIATORS March, Fucik—and Maicr vive a century and a quarter and is as alluring as the day it was others. Price $0.60 Ruth Evans Buhman Maurice Dumesnil Elizabeth Gest Dr. Alexander McCurdv in this field, as Busoni years ago found Pietro Deiro Edna Fort George C. Krick N. Clifford Page written. The first four measures of the melody of the second song is by no means new many GRIEG FOR THE YOUNG William D. Revelli Peter Hugh cycle, (Wohin?), run: one hundred and thirteen scales of seven notes. Slonimsky’s scales Selected, arranged and in the Whither? edited for the -first year piano student by Leopold W. Rovenger. ALBUMLEA,: - FOUNDED 1883 B Y THEODORE are by no means all component parts of a single octave. He con- — ANITRA'S DANCE— IN THE HALL OF THE MOUNTAIN KING— PRESSER * Ex.l THE DWARFS—SOLVEG'S SONG-TO SPRING-DANCE OF THE ELVES-MORN- ceives of scales derived from three, four, five, seven, and eleven , NORWEGIAN DANCE No. II —and others. These easy-to-play arrangements re am a of the rhythmic octaves, divided into equal parts and producing a great variety of interest and melodic beauty of the original $0.75 C^ontentA jor ^anuarij, 194-8 patterns which may be regarded as pertinent to these scales. BEETHOVEN FOR THE YOUNG Selected, Theoreticians in musical history have customarily waited for arranged and edited VOLUME LXVI, No. 1 for the young ambitious student of the piano by Leopold W PRICE 30 CENTS Rovenger. Contains: MOONLIGHT the master composers harmonic discoveries then they SONATA (First Movementl-TURKISH MARCH from The to make and ' n!_VICTOK THEME from Symphony No. 5—FUR mur-rDm ELISE—ECOSSAISE— ANO THE WORLD OF MUSIC. have explained, codified, reconciled, and shall we say, “authorized” CONCERTO in Eb (Theme) GERTRUDE'S DREAM WALTZ-and others. Unexcelled for ini* tiatme the student to the characteristic style them. Generations, for instance, were brought up upon theoretical and forms of this great master. Price $0.75 EDITORIAL Whither Away? works which pilloried any one who committed “parallel fifths.” ADULT PROGRAM ALBUM .... 3 Now let us suppose that Schubert had written the same accom- Compiled, arranged and edited for the advancing Then Puccini used them exquisitely in “.” The pianist by Leopold W. Rovenger. Splendid MUSIC AND CULTURE paniment in the Key of G, but with the song or melody in the Key ird year material for the Adult student or Music Lover. Includes: PIANO The Mysteries of theoreticians made a right-about face and said, “Oh, well. Parallel CONCERTO No I Middle-C .. „ Theme), Tscho!kowsky_l Jama Francis Cooke, 4 of G-flat, thus: LOVE THEE, Grieg-PETER AND Prevention is THE WOLF, Prokofieff-LULLABY Better Than Cure!. dif- 56 " |ln sk''- FIRST WALTZ “IW° 5 fifths are all right, but you must know how to use them.” The !' - Durand-CONCERTO YoungMusic IN E MINOR (Theme), Must Have New . ARCO v Chopin- Tools. Nicola:. Slonimsky Ex 2 H °“ ARC'«US, Nevin-*-MEXICAN The Pianist's Page 7 ference between Slonimsky and other theorists (including HAT DANCE, Partichelo- modern AVALANCHE,AVA^NCHP HelleruT' HARK!u Mozart, the Musical HARK! THE LARK, Schubert-GYPSY RONDO, Flower of'the Rococo Perlod'.V.Reu: Eugene, J Haydn-and i ji many other kiile,^ osS. 9 p f f-f lr_ ^iji 3 Joseph Schillinger) is that he points out the direction in which fine arrangements, transcriptions and adaptations. Price S 1.00 MUSIC IN THE HOME the art is leading and surveys the material at the composer’s dis- Attcnuon t“K°Ser‘ »-»** 10 posal, in advance of its employment. . Meredith Cad man 11 We must respect the serious nature of Mr. Slonimsky’s investi- MUSIC AND STUDY gations, as he has put them forth in his voluminous “Thesaurus of The Teacher’s Round Table Odd Musical Instruments Maurice Dumesnil 12 Scales and Melodic Patterns.” Mr. Slonimsky’s book surveys the ' Important Secrets of Vocal Tone k ‘• 'man 12 Key-Kolor Holler. Sim * If, Visualizes the Key-Signatures Of course no man whose parents had given him the name of Seraph universe of tone, just as we look up to the immeasurable universe Greater and - Mary Bar,,; Better Organs for America Mason 16 A New Aler " '“ lrr could of stars, planets, suns, moons, and other heavenly bodies. Type of Music Interest Scale McCurdy 17 have dreamt of such a diabolical absurdity as this latter illus- Instrumentation eland R. Long 18 PIANISTS Why tration, but do you know, dear reader, there are many published Of what concern is all this in the work of the practical, progres- Bach Has Become a Daniel L. M rtino 19 The “"iS,udenb Art * of ExpressioT (Part One) Tsr 20 compositions by modern composers with the left hand in one key sive music teacher of today? What does it mean for the music Questions and Answers. Harold Berkley 21 An r *2 hungry people of this and other countries? In the 479,001,600 Improve your playing American Musical Policy Karl w - G e> Rens and the right hand in an entirely different one? The results are The Heart of the Song John Greytj Pune 23 often terrifying. are assured that liking them is cultivated mutations of the twelve notes of the chromatic scale, will they find Clara Edwards 24 We a by Broadwell Technique MUSIC taste and if we only play them often enough, we will adore the a treasure house of tonal beauty, or will many of these changes be learn how the Broadwell inconceivably beautiful discords. insufferably ugly? Judging from many of the carnivals of ca- Principles of Mental-Muscular Coordination and the Keyboard Patterns Method to gam proper keyboard habits can qreatly Andante, from Italian C. F. Broadhead 25 About the worst thing that could happen to music would be to cophony we have heard in recent years, the prospect is not alluring. Concerto (DiKnn i improve your Accuracy, Technique, Memorizing, Neapolitan Sightreading and Playing. Festival (Presser *27886) Johann Sebastian Bach 26 aded Memories “ have it frozen into certain vapid, meaningless forms in which old Some of the orchestral works seem like the works of musical (Presser 27885) Walter O'Donnell 28 n Dress* Parade REDUCE PRACTICE (Presser *27888) O* Scheldrup Oberg 29 melodic and harmonic cliches are repeated over and over again. flagellants, deliberately torturing themselves in some insane orgy. EFFORT— TO TO 1 yi Fems urfu ?g (Presser 27816) Robert A. Hellard 30 V rdl e Clad (Ditson) Muriel Lewis 32 In The Etude for last February the Hon. Charles Edison stated On the other hand, it is gratifying to realize that the universe of Arw K Norwoif Sabbath Da y °d w. v Music" i sa.'XE.na-. — ~~»s. as-at M™" J? Hinkle that his distinguished father, Thomas A. Edison, after going over music is so vast that we are by no means at the boundaries of our GAIN IMMEDIATE RESULTS thousands of musical compositions written in the early part of musical resources and that original minds, with fine training and jawsmur ~ the past century, scribbled on the cover of one song, “From 1800 taste, will produce masterpieces of magnificent character in the eightreadwg '' and memorising, etc. become noticed. 1 future. arpeggn*. Improved of ekSl, 2 h ‘"fj to 1860 forty per cent of all songs have this tune, with scarcely an rune, octave plages, chord skips, is unmistakably SffiZf af[er“«,e fimttfn days! atss psss 2 alteration.” In our opinion, Mr. Edison was not exaggerating. Much of musical enjoyment depends upon the individual and his . ADOPTED BY FAMOUS TEACHER-PIANISTS Looking over the publications of publishers of that period we find propensity for musical enjoyment. There is an enormous difference Xchem?sTu1ie“ 1 d PreSSer 27894) L ' Bu bee 42 * A * * 0 ‘ Sweet who has had but 6 months of previous P ed b3 8tudent Stof‘ m* about as much variety of style as one would find in a box of tacks. in individuals. We have known many charming people to whom piano inatrucTion Is weh hv »dS n ; Our musical standards were pitifully low and very restricted in music of the operatic type or the symphonic type proved most George Anson JUNIOR U BROADWELL ETUDE scope. Save for the interesting creative flights of European-trained objectionable. There are others whose perception of sound is ex- PIANO TECHNIQUE MISCELLANEOUS Elizabeth A. Gest 56 Louis Moreau Gottschalk, the songs of , and the tremely acute. When calling upon Mr. Alec Templeton at his home

Mail Coupon — No obligation 1 occasional gems coming from unknown folk song composers, there in New England, he said, as we were departing, “Let me Rear your for 008 ' 0 Voice^Quest^ons Answered""" BogeY ? was relatively little to our credit in music. In painting, however, automobile horn.” We sounded it and Jre exclaimed, “F-natural and ! ! FREE Q^estlTOs Answered. .. ! ; ^ ^ oXy 1* BOOK- "TECHNIQUE” V&£ Questionsquestions !” Answered Frederick Phillips 49 and in certain types of Colonial architecture and design, we pro- A-fiat His acute sense of hearing synthesized the tone into the - Harold Berkley 51 BROADWELL STUDIOS. DEPT. G8-A duced many men of distinction. two horns that sound when the button is pressed. We had always Covina, California it Gentlemen.- The Art of Music cannot progress without change. Changes have heard as one sound. y R E B 0 T e Khz* & been coming into the art with somewhat staggering rapidity dur- Others have great annoyance in hearing high tones. late T,,chniqu The Memori*lng, SigMreading and piSji'ng *' Accuracy, I undenta„d°Thlre h Jo'obUgmieT* ing this century. In another part of this issue we present an article Theodore Presser could not tolerate very high tones such as the NAME S3. 00 a year in U S A j Dominican a Possessions: by an extraordinary Russian-born American innovator, Nicolas high harmonics on the violin. Some string quartets gave him address ReDuhlir *r atema. also in fh„ Dk*r ’ a Pp,Q Co Honduras, Salvador * Haiti, Me££ ^‘ ?* ^Tlica, . * & i Nic C,TY * * * $3.25 a ° South ^anaiT>a, Republic of Slonimsky, who has been investigating the mysteries of scales and excruciating pain, such as the scraping of a knife upon a plate • year in • • • • • • CaniHa American r • • • • . • . . . . STATE a Single copy. nd -Newfoundland. Pr , ce 30 ceB $4.00 a , s year'm alf^toe^countoes.' new tonal combinations. Mr. Slonimsky is no long-haired musical would give the average person. 2 anarchist or faddist. He is thoroughly schooled in the great master For similar reasons, some people are able to hear passages in "MUSIC STUDY N. EXALTS LIFE' (Continued on Page 6) JANUARY, 1948 3 v - ”

Araminta Smythe, a stern, cheerless widow Music and Culture whoS6 Music and Culture red-headed son ran errands for the apothecary’s sh when he wasn’t bottling soothing syrup. P The great d° came and Mrs. Smythe arrived with a new instructi^” book in one hand and a fat music roll tucked under h arm. From here on is my recollection of what hao pened.at my first and last music lesson. The “Mrs. Smythe: ‘Good morning, Mysteries of Middle-C Charles. My! What lovely clean hands you have! I can see these little Is Better Than Cure! fingers scampering up and down the Prevention keys like dear little kittens! Don’t frown, dear: it’s not becoming to you.’ Conference with A Heminiscence “Me: ‘Yes,-M’am.’ A "Mrs. Smythe: 'You see this key, here—right under the name of the maker of the piano?’ ame 6 3,ranciS “Me: ‘Yes, M'am.’ “Mrs. Smythe: ‘Well, this key is known as Middle-C ’ “Me: ‘Why did you have to whisper it to me?’ "Mrs. Smythe: "That’s just T WAS my privilege one of my little tricks and pleasure to be present at “Ladies and Gentlemen and Music Teachers: I Internationally Renowned Soprano don't want you ever to forget that this the inaugural ceremonies of the original new build- "I is Middle-C emphasize music teachers because I know from Now strike the note several times ” ’ I ing of the Presser Home for Retired peisonal and say, “C C C c A Leading Artist, Metropolitan Opera Music Teachers observation that those who instruct the in very “Me: ’C, C. C, C.’ Germantown, in September, 1913. There were young often many have problems which would baffle a Su- celebrated speakers, “Mrs. Smythe: 'Now you know that it is including the Governor of Penn- preme Court Justice. Middle-C.’ sylvania and the Mayor of “Me: ‘How do you know it is Middle-C?' SECURED EXPRESSLY FOR THE ETUDE Philadelphia. The eminent “Mr. Theodore Presser has asked BY ROSE HEYLBUT baritone, me to make a few “Mrs. Smythe: David Bispham; the noted piano words of ’How do / know it is Middle-C? Well virtuoso musical comment today. I have often won- and teacher, Dr. Ernest Hutcheson; I’ve just told you it is Middle-C.’ and the distin- dered why he appointed me to the guished Board of this “Me: ’But American violinist, Maud Powell, Home. I why?’ One of the most popular artists before the public today, Bidu Sayao needs no introduction to were the am not a music teacher. In fact, I -American soloists. am not a “Mrs. Smythe: There was, however, one speaker. Dr. Charles musician. ‘Simply because it is Middle-C.’ readers. A native of Brazil, Miss Sayao gave evidence of her unusual gifts while She was a child. She began My first music lesson was my last one, for Heber Clark, who made an address which reasons “Me: ‘Haven’t you any better reason serious vocal study in Brazil, at the age of fourteen, and went to Paris four years later. She sought the was received I shall soon make clear. I think that than that?' with so I -must counsel of Jean Reszlce found vocal emissions excellent that much laughter that it is regrettable there have been ‘Mrs. Smythe: ‘What more reason do de who her so she needed no singing lessons as was eleven years old when one night I you want? I no one present heard my such, but accepted her as a pupil in coaching and style. After beginning her career in Paris, Miss Sayao to take it down verbatim. say it's Middle-C and it is Middle-C.' went to Italy where she sang opera, continued her studies, and absorbed the atmosphere of tradition. Once Recently , in going over some old documents, I came “Me: ‘But who told you it is Middle-C?’ launched on her career, she has sung in all the great opera houses of the world. Miss Sayao is espe- across a few more or less “Mrs. Smythe: fragmentary notes of Dr. 'My teacher, or somebody. I’ve Clark’s for- cially popular with American audiences for her frequent guest appearances on the Telephone Hour. In famous talk. It is not without the gotten.’ feeling that it private life, Miss Sayao is the wife of Giuseppe Danise, the eminent baritone. — Editor's Note. perhaps is definitely presumptuous “Me: to expand these ‘Well, if you’ve forgotten, how can vou prove cold notes, after so long a period, that I have at- it’s Middle-C?' BIDU SAYAO tempted to preserve this talk, which seemed to Mrs. Smythe: amuse ‘You don’t have to prove it, a laige audience Charlie. I of teachers and music say that it’s TRAINING of the singer lovers. It, of Middle-C and HE young American an inadequate vocal background . . . the career has for volume! Develop the voice normally, naturally, course, therefore it is Middle-C. A is not to be expected that How offers an interesting of one can capture do you know your name is Charles?’ I combination advan- been begun without a solid foundation. gradually, and it will grow, seemingly by itself.’ He from memory the wonderful flavor of the “Me: ‘I tages and disadvantages. Americans are a very is speech, as don’t. I just answer to it “It is my opinion that no singer, no matter how also assured me that the best way to build a voice originally delivered. when they call me.’ Mrs. Smythe: ’Well, why wasn’t your musical people. They have a sense of rhythm in their strong or beautiful the voice, should begin singing as to develop the middle register. Many young singers Dr. Charles Heber Clark name Bill or was one of the Board of Tom or Dick or Jim?’ blood, and a feeling for melodic line seems natural such without four years of thorough vocal preparation. with coloratura voices seem to resent this—they think Directors of the Presser Home for Retired Music Teach- ^Me: ‘You'll have to ask to them. They have an unusually large proportion of It is this early drill work that ‘fixes’ the voice gives that concentration on the mezza voce (the middle ers, from its beginning my Mother.' — in 1907. He was born at Mrs. fine voices and excellent opportunities for study. An- Smythe: 'Well, let’s get right it position, quality, endurance. The beginning of any voice) will rob them of range. As a matter of fact, Maryland, July H, 1841. His father, down to music. the Rev. William Charles other thing that astonishes me is the clever quickness vocal training should is truth! Range, as well as - everyone knows that be scales, scales, scales. These the exact opposite the J. Clark, was a prominent clergyman. ,3; this is Middle-C.’ Charles with which ! Heber ^Me: ‘Everyone but me: young Americans learn From their earliest help the voice to find its natural place; help to fix volume, develops from the perfection of the middle aik eduCated at F‘ Georgetown, D. C. He entered “Mrs. years of training, they are able to sing in all lan- the 73 , Smythe: 'Well, now the tones in the voice, and nothing can take their voice. Most singing is done in this middle voice—and field of industrial journalism in you know it. Let’s make 1865 and became this our little guages. To a foreigner, this seems remarkable. In any widely recognized secret.’ place. These preliminary scales should be sung in every it is the middle voice that indicates the status of as an industrial economist. For about ‘“Me: ‘But if France, operatic performances are given in French; possible way slowly, more quickly, legato, staccato. voice: the sound, healthy voice has a firm, sound mid- fifteen years he everybody knows it. it isn’t — was one of the editors and owners anv secret!’ of ' in Italy, they are presented in Italian. Thus, the most ‘holes’ in the th° : Never The best exploring exercise is the slow scale, each dle register while the voice that shows Evening Bulletin of Philadelphia, mind 1-11 explain everything.’ 'f and for ten “Me. experienced and accomplished singers are seldom re- note full of its powers! s ' Why isn’t this key sustained through a breath, and placed ‘right middle is nearing the end Secretal y of the Manufacturers’ here, C?‘ 13 73 Club of Mrs. Smythe: quired to sing in any other but their own, familiar in the middle’ of the voice. Philadelphia.3 He died August ‘Because it is E.’ 10, 1915 . Me: ‘Who language. Over here, the newest debutante at the opera Tone Position ely apart from found out it was E?’ “Exercises are of great importance. I hesitate to his distinguished and sedate h,*™f S lyth is prepared with Italian repertoire in Italian, French recommend specific exercises in a general interview of let say re h ® llved another Tbat has nothing to the “While I am on the subject range, me kind of life in the auesrinn ^ jr do with roles in French, and German parts in German. (By way field 7 rf T’ C and is that reaches so many readers, because no two voices that the position of the tone counts for more than hterature. Assuming the E E - Now don’t get me mixed ™ A nom de plume of un nr, n' f !!, of a digression, let me say that in my own country, 61- ’ are alike, no two styles of Cbarles - vocal emission are the same, exercises. of singing requires a differently ’ he Wr° te Be a Each kind S6VeraI b00ks and no ®ls, Rood boy and pay attention. whieh th one of Ston k-i-ti Brazil, we are now beginning to do things the Amer- and no problems which, the amusing “Out of g tbe PedMs and scratching two can be overcome in quite the placed tone—indeed, it is the position that controls the Hurly . your ears.’ Burly’’ and an- * a er “Me-Me. Alln ican way, offering the repertoires of each land in the same way. However, I b0W 0m ’” met With right. Mrs. Smythe.’ may say that no finer exercises the tone. For coloratura singing, the tone is placed widesPread success. original tongue.) OveOverr ’hriThalf a million'if° exist than those of the great teacher, Mathilde higher the chambers of resonance. For lyric singing, Don • in copies of “Out of the Hurly Burly” ’t you want to learn music to weie sold pleasepleasTpiPapa and “In the face of all these distinct advantages, you Marchesi. The Marchesi ‘method’ can be found in any knowledge of tone by the English publishers. Much Mamma?’ the throat is more open. Without a to his dis- may ask what the disadvantages can be! I think that appointment, his serious 3 ^ IaSt music shop, all over the world. Its great advantage position, the best drills are of little help! novels did not create night” after 1 had to bed, the that he dirin’f gone they are the direct result of the ease, the quickness, furore that greeted his 1Ve is that, when correctly used, it can prevent vocal diffi- “The thorough vocal background which I advocate more frivolous work. He had no 3 wboop about my learning music desire to just bpcaiK. wj? the cleverness with which young Americans approach culties from arising. This, of is shine as a humorist or a clown. 3mma Wanted «how course, much better so strongly, helps to smooth away difficulties of dy- As in the • off at the case of Charles Lutwidge Ses’ AM their studies. If I judge correctly, many gifted young than allowing them to creep in and then having to namics. Anyone can sing forte but few singers take Dodgson, eminent lecturer — upon mathematics singers confuse the possibility of working quickly with cure them! The Marchesi exercises are all vocalises, pianissimo at Oxford University, whose ^ StU1, Charlie the time to master a pure and beautiful greater naughty ’ and don 't say such the need for quickly! fame came to him as working From the moment they to be sung without words, and calculated to put the tone. I believe that a perfect pianissimo is an inborn Lewis Carroll, author of Si’ the are accepted by a good teacher, they have their eyes inimitable “Alice in Ali right voice into focus. Some of them are lovely melodies gift, like voice itself; but it can certainly be aided Wonderland” and other ’ Teacher. the precious What key is this, Mrs. the professional they terms, fantasies, Charles Heber Smythe? on goal— think in not of that seem more like songs than drills; but the drill of- the best exercises is Clark preferred to be ad- by proper development. One mired for his serious S tllc ‘How long will it take me to prepare?’ but, ‘How soon works ' value is there! The exercises are progressively difficult of tone taking one note on each full and not for his lauehable That’s C, one octave above.’ the spinning — effusions. Stephen “Me“Me. ‘a'JlAbove can I be ready?’ And that is the greatest disadvantage B. Leacock, Professor of Economics what?’ and should therefore be approached under the guid- breath, beginning it pianissimo, making a gradual a McGill CHARLES HEBER to which they could expose themselves! University. Montreal, was another CLARK ance of the teacher. But the entire set present splendid crescendo, and diminishing again to pianissimo. In famous octave above Middle-C .’ humorist whose ( 1841 - 1915 “Me- vocation was in a very serious ) 14 doing up vocal schooling! Not only do they focus the voice: this drill, of course, the tone must be not only pure, scientific “Mr* there?' T 3 Develop Vocal Background they give the to the solution of vocal ** d°ing you key any free, and well-controlled; it must be supported by a mother say UP there? ’ it>s Later in life, Dr. Clark to my father, just there, Why difficulty taught himself who was a none that's “Quite simply, there is no ‘method’, that can arise. As I have said, at least four strong diaphragmatic breath—always inhaled through to play the ous clergyman: i-00 prospe: no school, no gan nd 0T many years “ : Ut 1 years should be spent, at the beginning of was organist at St. thought this was system that can speed up the natural development vocal study, the nose! MatthewMnm?n ^ l ‘Bill, our Charlie “Mr o C.’ s Church in Philadelphia. is eleven n„„’t on scales and exercises of this kind—no songs, no arias, Wel1 ' s of a voice. The first and greatest need for any singer k th! c - and so is this and As Dr. Clark’s remarks taking this C andThu c ^ j C. which follow were musi0 is a thorough, solid, carefully developed back- not even singing with words! After such preliminary Musical Style and spontaneous '‘“k'theVputTsT'T ^°ns?" ^ ° D° you understand?’ vocal unexpected, the audience, “Me: ‘No, in which there were °f Teacher^ ground. Certainly, one can sing without such a training, the voice should be sufficiently focussed, “But the best vocal work won’t take you far in a many whayean clerical ^ S°me teachers of music who had pocketboTk and placed, and ‘smoothed’ to allow beginning of traveled a long dis S°d- U d°n t background—some people can sing without any train- the professional career if it is not solidly reinforced with How much are if understand! Well, you will stance to be present upon they?’ yoTlh'e . this occasion, was T° all! But if the artist actual singing. musical style. audience demands surprised '“ StUdy l0ng ing at young wishes to accom- a knowledge of Your ligh what en°Ugh ' N°W ted - He the time -° ld key is this, art of Grimaldi! ChkrMer plish more than singing today and tomorrow; if she good tone, but'it is never tone alone that people come fn that hllh , KpeakmgI?" he e: ‘ You Preserved an attitude of said it was ’ hopes that her voice will last through several decides The Middle Register to hear! They wish to be moved, transported, taken vrpnT \ tV “ „^ Middle-C ' V6r cracking a smile ’” ' and meeting Make^twIntySve righ of singing, she must equip herself with something bet- “While I have never had any special vocal problems out of themselves through art. How are you to do all bursts’” f aPPT S6 and cent guess laughter with pained be- gue^thethe ^oflcoll a few roles and good contract. I to overcome, this? making a thorough study of the various wilderment stand that.’ ectionsT wi; ter than a do not I began my work with a rather small By 3 “That ' forever hesitate to say that a large proportion of the vocal voice. I was worried about this and asked Jean styles and schools of music—what they mean, how decided ’ whether you like it or that I was to not. Yoif'caiTalwav study with em® problems difficulties that arise in the first five de Reszke for advice. I glad others they do. I a vivid recol- a Mr, of mber n is C by thinking and am to repeat to they came to mean what have 4 the wordworn Catcat. I c.r A. T.’ years of a singing career, are simply the results of what that great master told me: ’Never force the voice lection of Jean de Reszke’s ( Continued on Page 48) "MUSIC ( Continued on Page 6) V STUDY EXALTS LIFEfJ THE ETUDE JANUARY, 1948 - "MUSIC STUDY EXALTS LIFE 5 S ’

ly the works of one of the older living Music and Culture sational composer. We heard the work and we felt modernist the master’s He different in effect from played one of compositions seriously that it was very little which so AFTER a lecture on modern music, a lady ap- Music and Culture ears like maltese '7 Uacie<1 in “the greatest show on to our a cat walking over the music of the clown band t /\ proached the lecturer and asked: “But don’t board. Then he played another, key' Whither Away earth,’’ caricaturing Sousa’s Band. “How,” we asked, and the only dif/ rence XI. you think that music should be beautiful?” expensive to us was that the cat in this case “can you afford to put into print such an might have h This innocent question cuts to the heart of the THE MUSIC OF THE FUTURE f ( Continued from Page 3) pub- Manx cat. We asked him what 66118 work? is there any sale for it?’’ “No,” replied the other pianists problem of new music. The ideal of musical beauty - when playing this master’s works. He replied, ^ the works lisher, “it creates a sensation of extravagance "There it is longer of some modernists with great i S ° has undergone such drastic changes that no ostensible de- one, and for some time he n *y light, it is first done, and then we rent it on royalty- to or- has been too ill while others hear those passages with to aD possible to speak of beautiful and discordant music, uncon- a It reminded us of many conversations trol able disgust. chestras all over the world. It is played once as we had referring the date: beautiful circa 1900, or The first time we heard many of the hadtT” without to works of Debussy, curiosity and almost never is played again." Mr. Rachmaninoff, who sentenced modernist Stravinsky, Ravel, Prokofieff, Honeg- musTf beautiful as per 1950? When I conducted concerts of oblivion in twenty-five years. ger, Milhaud, Shostakovich, A few weeks ago there came to the office of The It seemed to us thT-.u new American music in pre-Hitler Berlin, a German and others, we found them 1 tbe most intriguing. Etude a very able pianist who had been playing public- oblivion had already arrived. The Gurre-lieder of Schonberg im- critic summed up his impressions of the modem score pressed us profoundly, but when certain of these com- Dichotomy by Wallingford Riegger in the following posers reached out beyond our normal comprehension words: “It sounded as though a pack of rats were being and tone tolerance, we systematically sidetracked them. slowly tortured to death while from time to time a in many cases 'these extreme compositions seemed like dying cow emitted mournful groans.” This quotation the nasty, smelly messes that chemists compound in a The Mysteries of Middle C occupies a place of honor in a “Dictionary of Musical laboratory as a part of a process which, in the end Invective,” which I am now preparing for publication. may ( Continued from Page 4) be significant. But among the entries in this Dictionary I find also Mr. Slonimsky, in his popular book, “The Road to “Me: the following quotation from Musical Review of De- ‘What have cats to do with music?’ there aren't any S's in music. IC WhlCh was reviewed in ’,, The Etude in December, “Mrs. cember, 1880, published in New York: “Liszt’s ‘’ 19fn^47 Smythe: ‘Nothing, but if you want to remem- "Me: ‘That’s nice, , illustrates the kow many keys are there difference between the modern ber Middle-C, on the Symphony is repelling; you feel like doing something Atonal all you- have to do is to think of cats.’ keyboard?' Polytonal, and Pandiatonic delving system through “Me: ‘I hate cats.’ unpleasant to the man who would suggest your the following amusing "Mrs. Smythe: ‘Over eighty.' arrangements of the old Ger- Mrs. Smythe: into such rugged ground and trying to get reason out man folk song, ‘Well, then think of catbirds.’ "Me: ‘Do we have Ach, du Lieber Augustin: to go through all this eighty “Me: ‘I of such distracting chaos. It may be the Music of the hate catbirds, too.’ times?’ “Mrs. Smythe: Future, but it sounds remarkably like Cacophony of I. Af ‘Well, .then go ahead ono | and think of “Mrs. Smythe: ‘No, certainly not. Soon you will be the Present.” anything that begins with C camels, — cannibals, China- playing pretty tunes like this. This is Yankee Doodle Then there is this about Beethoven, in “Music of men, canaries, castor oil, cantaloupes, centipedes.’ It’s very old.’ Nature” Gardiner, published in 1837: “Me: ‘What’s a’ centipede, by William Teacher?’ “Me: ‘Can’t. Mrs. you play anything newer than that?’ "Beethoven was completely deaf for the last ten years according to ActofCongress in theyear f66Sf&'<2mri*t.&6uak* Smythe: ‘Now, Charles, centipedes haven’t "Mrs. Smythe: ’Certainly, but you'll never Tice pf the District Court of the United States for the Southern District ofNew Y6HT anything to do with music!’ learnffo of his life during which his compositions have par- play unless you learn your keys and the staff. taken of the most incomprehensible wildness. His “Me: ‘But you just said .’ Now these notes in the four spaces S 61 on the G Staff spell imagination seems to have fed upon the ruins of his ‘ 1 kn°W 1 dld bUt '’ ’ 1 WaS joking Pace F “Me ‘Oh'’^ ACE. Think of your face and you can al- sensitive organs.” ways remember them.’ ‘ I also have in my possession a unique cartoon pub- S ' Smythe: J just didtn want you to forget Mid- dle^C “Me: ‘Whose face do they look like?’ lished by G. Schirmer in 1869 entitled “The Music of "Mrs. Smythe: ‘Nobody's. It represents large Tools : They the Future.” a symphony orchestra, Young Music ‘I Must Have Me Just spell face. New didn’t know music was so hard ’ Now this thing there, that looks like an egg. is a whole with string players madly sawing away, brass blaring, note.’ and drum players kicking the drums with their heads "Me: ‘Yes, M'am. and perforating them with their boots. In addition, “Mrs. Smythe: ‘Put a stick on the egg, like this, and there is an animal section comprising braying jack- presto, it becomes a half note!' asses and meowing cats. The conductor is suspended Me: “Me: ‘Yes, M’am.’ ‘Is the cat chasing the in mid-air beating time with both his hands and feet. ^ dog?’

s ' Mrs. M Smythe: ‘No, of Smythe: ‘Black up the egg with stick, At the foot of the podium lies an orchestral score . . course not, the and jj Charles Thev are friends. They y it becomes a quarter 1 with the suggestive inscription: “Wagner, not to be both ’ note . eat off the same plate “Me: ‘Yes, Ma’am.’ played much until 1995.” put ““ “** progressions come into universal use, they be right hand '»“ "Mrs. Smythe: If our musical grandfathers must and E-flat major in the left hand. Try it ‘Now what is this first note?’ thought that Beethoven deeply rooted in the musical consciousness. Some of over on your piano! Me: ‘An egg.’ and Wagner were ugly, what would they say of the

'' these procedures are remarkably simple, and in fact even thought^' 1 “Mrs. Smythe: jazz jive? Yet popular music would Those who are ambitious may combine thaTmyTeif ‘But I told you it was a whole note.’ modern and not ^No?’ IkS?' have been In use since Liszt, only they lack a name with Polyrhythmic playing. T"™ BUt ° be thriving if the young generation of the middle of This is accomplished by “** <«*• ," y U Said at tbe same time it was an egg!’ I ...S c “icr and a manual for use. Let us consider for instance the playing three notes of major in the SSS 3 4 Mrs. Smythe: the Twentieth Century did not regard it as extremely E right hand ‘But you are not to call it an egg any harmonization of melodies in unrelated major chords. against two notes of C major in the left hand; “Me: ‘C-sharp or D-flat’” more. Its a whole note!* enchanting and fascinating. or four Every note of the melody is regarded in this system notes in the right hand against three in left “Mrs. Smythe: ‘Yes, “Me: ‘Yes, M’am.’ the hand. it’s C-sharp . or D-flat either root, third, fifth of major Mrs. Smythe: as the the or the a Polyrhythmic practices are nothing new: Latin Amer- ‘Charles, I think you are making fun oi me. HARMONIZATION IN MAJOR TRIADS triad. For instance, C is the tonic of C major, the ican rumba players use a of three beats mediant of A-flat major and the dominant of F major. against four in their dance music e: honest (Figures indicate Intervals as a matter of - Teacher. I ** «* «* «• J^ V°‘ want to learn.’ between the Melody and the Bass) So the stationary melody of four consecutive C’s can course. « rs ' s Govvrloht, 191,7. Reproduced y« 2S£%£$£ ®ytoe: ‘Now, Charles. permission of Dodd, .f: I have a lot of notes Ex I major, Lead £ Compaq „ en an be harmonized by chords of C major, A-flat °Ur ’ tbese little y mind . cards. I’m going to mix them all TONAL “Mrs. ’ which? F major and again C major. The result is very forceful HARMONIZATION OF A TWELVE-TONE PATTERN Why torture a Smythe*?“‘Certainly 1 able and quaint tune in this way? If see what we can find. What does poor Lieber “Me: ‘You could matthat } ,,}, harmony. (See Ex. 1.) Ex. 2 Augustin were to hear call it a mutt.’ look like?’ it he might ask, The application of this major key harmony to catsup "Why put “Me: ‘An a in your chocolate soda?” or “Why omelette?’ put mustard Mrs. moving melody is very simple. When the melody goes on your strawberry shortcake?” Smythe: ‘Charles!!!’” “Me: ‘Why?’ up we consider each successive melodic note as the With the coming of M° ther 6368 6 6 565 modern music most of the came in and said: ‘How is Charles root, the mediant and the dominant of a major triad; standmg out- making our? composers became “infected.” 1 Sibelius Rich- on the iMson^Not^ y0Ur mind when it comes down we reverse the order of chords. ard Strauss, bT good* S ‘ Rachmaninoff remained ? boy*Y Yv°Ul : Just He comparatively about these find out a11 wonderfully, Mrs. Clark. Thus the ascending melody C, D, E-flat would be har- t v things some dlv ? askf^,'rh }Tn? but many of the °thers gent Questions. "Me: ‘When?’ while if But it will take a little monized in C major, B-flat major and A-flat major. trrinto the unknown,: ^ producing ™ while. Nowi? Charles, music which is so let’s get back to have tinctively dis- Middle-C. I When there is a skip in the melody, we skip a chord, different that it must r f°r HARMONIZATION IN SEVENTH-CHORDS be called entirely you ' mal. orig you Plate Middle-C is like the Home too. For instance, the ascending melody, C, E, F, will But will this music be ^ in bau, as fresh and as much fn E be harmonized in major, A major and major. °4 at6 °ne e: C F *he mUSic of Bach ' you M ‘The Home Plate?’ ’ Handel, Gluck, you like ^ the piano There are numerous examples of this type of har- Havrin M f ^ onions? if ’ Beethoven, Chopin, Schumann, Wag- Yes ' Isn,t ner,nor tAand , 6 S "Mcr that lovely?’ monization in Moussorgsky, Debussy, Puccini, and Brahms today? S ‘ h mythe Puccini: “Met ' d0 you play Moussorgsky: "" America has now We?you?rfuKup CharIeS/ “Mr} J! .f baseball?’ other composers. We can find examples of such har- become the home of tofsmyth’ he: "" (Whole-Tone Scale in the Bass) most No ’ modernist of the but 1 learned all about this in a mony even in Mozart, as for instance, in his Fantasy composers of the present day, musical largely be- 8 6' You see cause of ’ Mrs. Clark. Baseball is the in C minor, in which there is a modulation from conditions brought about by the S hw !?ng great and war JMrs. smythe: the Home Plate is the thing F-sharp major to major through the single common Our American orchestras for ‘These five lines thev an rL A D at least a decade have s I am drawing 1 Wben the and played extremely modern are a evervbnriv batter makes a strike tone in the melody. (See Ex. 2.) works, indicating a com- Z “dab*e hospitality 80 “ •« «“ Every musician is conversant with the term Polyto- that has given ; ’ - much execrable urs. T acher? <&&$?££** ng 66 nality. Yet real Polytonality is almost never used in SPeeCh ' We a11 know r.t haVeh ’ however, 1 116 say this is t0 know ’ dld that a staff - y°U 6Ver bat Bitonality, V?n i and it is a > why in have a basebaU actual music. It is mostly a combination dW n0t play the Sreat music staff your hands^^ ofth™f “Me: ‘Like Middle-C.’ of two different keys. The simplest and the most S° ‘ 0n be pIaying to effl ty 11 P seats - Mrs. Smythe: N°‘ bUt 1 often How much of the tolerance ‘Now wntpv* „ j “MomerTr wish I—’ When a new art emerges with such unmistakable euphonious polytonal combination is produced by play- shown to many, of the on dra th® ^6 the staff. funny si m then and ‘ I eS f 1 onceivable That’s the ~ gn think said: Mrs - Smythe. vigor as modem music, the duty of a critical observer ing scales in thirds and in sixths in two different keys, Another enlargement of available music resources ’ obscure, g Clef Chan- °h incomprehensible dis- how it twines reWe Clef cm-ri!l H° around ' See t '’ ende<1 is ft0 cunoslty is the Second my first ^ °day is not to wring his hands in despair and lament on for instance C major in the left hand and E major a system of chord formation which I have called ’ hard to estimate. Tin and ^ ° One of the That’s why we n the staff lastpiano leTsoS’ foremostL ^ call it ’ > European publishers once the G Clef G. the horrors of musical delinquency, but to tabulate in the right hand. It is not an easy exercise; from Pandiatonic. Reduced to the simplest terms of C major, asked us to hear a Me: ‘It perfoimance at looks like an recurrent usages and separate their the force of habit the fingers of the left hand will Pandiatonic Harmony is a free use of all white keys of a new work S turned i and classify the by a sen- Smythe: basic elements from incidental and passing phases. want to climb onto black keys to make it an all E major regardless of what happens inside such chords. Jazz 8 bandred years Heber „ Clark since Charles It stands to reason that if new chords and melodic affair. Still more difficult it is to play C major in the players have long used ( Continued on Page 60) ^ttwfvatook his "MUSIC STUDY solitary (Continued on Page 60) EXALTS LIFE” JANUARY, 1948 "MUSIC STUDY EXALTS LIFE 7 THE ETUDE Culture Much sight reading is assigned, Music and a. both en semble and individual of all types of materii Music and Culture for voice (accompaniments or instrument folk songs, chorales) to develop ’ skill in ac companying their own students or classes" There is a direct tie-up between b. theory aiJ piano, since the keyboard harmony work is over into the piano Rococo Period cartied classes through of the modulation, Musical Flower transposition, simple improvisa- Mozart, the or The Pianist’s Page tion of bass accompaniment to a melody and so forth. Music a Composer Affects His c. The students are expected to Background of prepare with- How the Historical out help of the teacher, piano accompani- for their own major ments instrument or (ju aier voice. For the latter the student must bring m along to the audition a performer. V (We have O. S. Li had some astonishingly fine ^ncjene JCltenUz, performances of Rev. £ Pianist and L Noted difficult accompaniments). The students Educator choose the pieces they prepare 'on Music their for their ladies dressed as meticulously own’. was in vogue. Cobles and which Rococo architecture court function. They weie 5. “We give the group the maximum of material period in their execution as for some to supposed to be denved from the The word, Rococo, itself, is in their dream world that not even cover, not always expecting polished performances artificial so absorbed to designate the of it. rocailles, a French word used execution .could shock them out of each piece, since the objective of the classes built mto sober reality of artificial caves and grottoes hours at her assignments caverns or ornate are told of a young duchess who spent Theory, keyboard harmony, and writing is to acquaint the students with as much of a Versailles. Leading We of the great palaces at trip to the guillotine. No course the same for all. The cross-section of piano literature as the gardens toilette preparatory to her on the blackboard are of their degree these imitated tl.e style ol costume was overlooked. It was all done teacher budgets the hour explicitly—so much time for of advancement warrants. often a maze detail of her result their creations were ^ have used if she toes, and as a care she would technique, sight reading (often done simultaneously by 6. “We find that the presentation and 'putting with the same exacting over’ curves resembling sea shells that of curves and broken in attendance at the queen's throne four pupils at two pianos), solo playing, criticism by of technique is easier and far more stimulating in unconventional in were to be work was imaginative and ascended the scaffold with per- students of each other’s performance, and so on. a group." Their and afternoon. The duchess grotesque, ornate, exaggeiated, of her exe- style without the fect poise and self-assurance. She asked Miss Rossdentscher adds: “We aim to give the stu- Strangely enough the few vulgar lines of the Baroque. moment or two that she might make a From Two Group Experts dent in the limited period of time a fruitful and usable 11 tie in- cutioner a styles of decoration had 1 hairdress. And then Rococo and Baroque last minute adjustments on her piano experience. . Miss Muriel Fouts of Rochester, New York, author . . Our groups have four to five of architectuie found fluence upon the Georgian type guillotine. . of the members. We try to keep down to four." European the successful, “Fun in Music”, herself an outstand- they did spread over all the to us, but that in England, but This all appears completely ridiculous ing group teacher, sets down some of its advantages. Thank you Miss Fouts and Miss Rossdentscher for France, Italy, Germany, continent, affecting principally Period. Every detail of living was your helpful all was life in the Rococo Of the social aspects, Miss Fouts says: “The students reports! The “grand manner” is the essence of “grand manner. and Austria. done with frill and flourish, in the become less self-centered, less self-conscious through age of the “grand style that is Rococo. It was an participating and sharing with the others. They find Those Waiting Lists also in music, painting Nobility not only in architecture but Composes for competition inspiring reason that and encouraging for there is Dozens of teachers have written of their not un- of living. It was for this half of the eight- and in the art Mozart’s life falls into the latter always some point in which each excels and which the pleasant dilemma: period has come to be called the two years that is. waiting lists of pupils as this entire historical eenth century. His death occurred in 1791. teacher underlines fulsomely. They become acutely long wish dates, the period began with Mozart as a 1948—A New Era In Piano Teaching again as their present capacity teaching hours. Rococo Age. If you the execution of Louis XVI. Since alert, aware and before and observing, and soon learn to give and This year, more than Louis XIV of France in 1715 the drawing simple matter ever, they have been overwhelmed the death of King prodigy toured the courts of Europe, T WOULD be a to make 1948 a red take criticism.” Louis XVI in 1793. boy by the deluge of young pupils avid to tickle execution of King familiar sight to him. As letter year in the history of piano teaching. The and old closed with the rooms of the nobility were a Concerning work and learning habits in 1732 (the same year Miss Fouts the ivories. Some of the teachers who have boldly Haydn, therefore, who was bom nobility were to be his customers I question is: Are there enough progressive teachers writes: period. a composer this same ‘Constant repetition heard in class fastens the tackled belonged to the Rococo general these lengthening waiting list by putting the as George Washington) , there were no concerts for the in our land with flexible and resourceful minds willing learning in the castles In Mozart’s day student’s consciousness; more efficient students Esterhazy family, lived in his bread radically different in groups have been surprised by the good Haydn’s patrons, the the composer who wished to make to add a technique to their present work habits are established architectuie. public, and because of the necessity for results. crayon portrait by Schmid. examples of Rococo the concerts "private” method of instruction? I refer Seventy-two college grade beginners at Stephens From a which were notable at music must compose for- ... to teach- study routines; new approaches and and came into and butter ideas are gained College (Columbia, Missouri) mightily. pupil, Mozart, was born in 1756, nobility. Mozart as a con- ing in small groups. . . are flourishing Haydn’s palaces of the students . This should not be from the others. at given at the The teacher saves time by being able when this brilliant age was tastes of One group of six Stephens girls Is even going all out his own as a composer must please the musical confused with the class piano systems used in the pub- to say many things can gain a more of re- scientious craftsman once to the entire group, by ITH MANY composers we with its flagrant lack c,id, or- in a strenuous combination course of piano, theory, and its height The Rococo, were hiq customers. This Mozart lic schools. In fact, I believe it would be a mistake to ganizing music if, by the noblemen who and assigning efficient and interesting sensitive appreciation of their only in stage decorations pet feet tech- music appreciation! chairman of straint, is now to be seen that his music is a truly use the “class" label, since most of the aspects of nique routines Dr. Peter Hansen, imaginations, we place and and it is for this reason and by covering much more musical the magic carpet of our architectural style of a bygone age, eighteenth cen- training small groups differ materially from the meth- the Stephens Music Department, and his enterprising reflecting the of the life and times of the material through ‘hitting the high W historical period in which the of that period. reflection spots!’ back in the very of the people Necessary faculty have ourselves also the lives and manners all the grace and elegance of a ods imposed on the public school class piano teacher. relaxing, rhythmic, embarked wholeheartedly on the project. cannot help tury. His music has and Dalcroze games, ‘conducting ’ composers lived and worked. A composer of Rococo in Bavaria, Saxony, court. In . . . choice examples evening at For satisfactory group teaching of beginners and They promise us a report at the school year’s end. spirit Many princess freshly gowned for a gay and other drills away from the piano his musical nervous system the World War II. are done with Music but absorb into Italy were demolished during Mozart tells us of the world intermediate graders, a maximum of five or six stu- zest and humor. Schools and Conservatories will be wise to industrial age. and a sparkling musical story his age. We, as moderns, live in an we dents is recommended. establish group new of so well. For this reason Four makes the ideal group, Group teaching means training with the beginning of the the hall marks of Situation and people that he knew increased earnings for teach- Scientific and industrial progress are Influence of Economic understanding o but the larger number is suggested because one semester. Now is of the deeper insight and finer of the ers, not only in higher hourly the time to enlist as one Whether we are consciously the can gain a rates, but also, since twentieth century living. make a closer examination of Continued on Page 46) group may be absent, another may drop out, and so parents pioneers in this significant movement. If you are a our Now we must Mozart’s music by a quick ( and students soon appreciate not, this fact profoundly influences in the economic forth. the fact that private aware of it or Period. The basis for it lay With the exception of beginners, it is unneces- progress in group teacher, start a group in your studio to prove tempo, the pace Rococo training equals and often mental processes. We live life at a fast the time. Nine tenths of the sary to assign students to groups of the same grade. excels to yourself that you least situation as it obtained at private work, they are willing to can do it. At first choose your the business of liv- of pay as much or nearly set by the machine. We approach lived in poverty, the greater share It is better, if possible, to keep each grade group interested, less gifted pool people of Europe as much for the group lesson as students. What a relief to impatience that it move quickly nobility. for a private hour them! ing with a hurried wealth going to the support of the separate; but few hazards are entailed in grouping Also, the teacher What a time, energy saver! If every European is able to take on at and disposition new and different happening the wealth and together pupils of the second least twice as they turn with something consequence the nobility had both and third or even fourth many students—no small up their noses and resent regimentation entire life in an As a consideration nowadays second. A movie can picture a man's “grand manner.” It was the grades. With youngsters it is necessary to segregate when drop them and the leisure to live in the good- teachers everywhere report organize a group of brand new students. want to live that way. lengthening waiting hour and a half. We almost tone to the eighteenth century. The ages, such as 7 to 9, 10 to 13, 14 to 16. Adults are a When these are well dull the nobility that gave along the way, invite the to jump from one highlight to delightfully • Nervously, we wish days in drawing rooms different story! Almost any grown-up ages can be private “dopes" to will courtier spent his —* sit in at a group lesson. They possible, the intervening waits. A — ^uiwwr comes M next, avoiding, if court life. It was a highly artificm stirred together; but, don’t forget it is always better Gladys be so stimulated its engrossed in the gay Rossdentscher who teaches college by its vitality and surprised by will be influenced by the spirit day to sexes! age studer composer writing today the only serious business of the mix the there in groups, gaiety that you will selling bubble atmosphere where most of them “secondary” have no further difficulty generation. In 1947 his music will oi giv- For best results two sixty minute lessons piano pup them of his own some new frivolity for amusement, per week who major m other on it. Several teachers rule that characteristic was finding instruments or voice. She enunx I know make it a with the nervous enthusiasm that is our scandal that was making are given. For both these lessons each student should ates only students ing ear to a succulent court these benefits of group training: who join a group may arrange for private ever new and vital rhythms; least pose. It will pulsate with went on, the nobles became more pay at as much as he would pay for one private L “An overly essons. These are of the the rounds. As time large registration has in addition to the group lessons, of a fast machine age. Listen to bril- hour lesson. been succe: course. all expressive cloistered from the world outside the fully and progressively ... it works true this and more accommodated. like a charm! of any modern composer and see how duke or baron, Group training offers a sharp challenge to the mu- Let music lighted court rooms. The French 2 m ting tWiCe a Week everyone experiment pro- Prokofieff. liantly ' for with his own group Shostakovich, an hour’ these st is: Stravinsky, the realism to see that sic teacher. Lazy, poorly equipped, or unprepared Znt !f , cedures. his fairyland world, lacked d t have hmger The sky is stu- in ™, -\ and more frequent the limit! The enthusiastic of the people teachers qualify. I contai among the masses cannot Two pianos in the studio are with the piano. ents will snap Period revolution was seething (It has often been the at almost any bait. By summer enough The Rococo The practically a necessity. Procedures must be planned case hei ata becoming dissatisfied with destitution. tofore that students should be of 1947. The who were would skim by assembled to draw definitive conclu- and I are much alive to this year in its early carefully in advance; the week’s practice routines, with a h You noble could have stopped revolution hour private ns ’ ti =bten air French lesson and a cramming up group teaching techniques, set up of 1947 are as natural to us as the technical and theoretical of pract j life and customs few ring leaders. Yet in his fairy- assignments written on the on the day of the Plans for streamlining of his stages by shooting a lesson-especially with courses. breathe. Mozart was just as much a child pleasant as a blackboard before the hour. The instructor must crowda we where life seemed just as out- practice room conditions.) th New Era open own. For the moment let land world ,m fw k waiting outside! Will you generation as we are of our than feared “the big line the work so that each student will be busy play- 3. “Many df°° dream, the noble pitied rather lackadaisical r ’ again in the or slow to interest ® or sho° it away and miss one of the the year 1947, and take up living ing, listening, criticizing, all ™.r hi us die to flash the dream was dispelled. The writing at times. Students ke PI n° “ seen bad wolf.” In a lessons because they opportunities of your teaching career? Mozart. Let us view life and the world as found should working ‘have t age of broke. The nobility be at similar general technical assign- find themselvesth f growing contemporaries. horrible French Revolution interested under through the eyes of Mozart and his guillotine. ments; the same book of studies—but not necessarily stimulation t themselves being carted off in droves to the of group study. not live in a machine age. The exchanL It is certain Mozart did the nobles the same studies—may be used for all the students; ideas, the observation Even in the darkest hour of the revolution of fellow age was it? pieces should be different, stuSte t What sort of an the Rococo Period. They selected for each pupil’s challenge initiated by Rococo still remained true children of group participation’ Of the nine the loveliest three an epoch in history known as the CHILD PRODIGY needs and preferences. Criticism, discussion, comment point 8gi It was gaily playing cards, as one by one MOZART AS A and momentum to their Are properly refers to the sat in the prisons study painting, , music, poetry, Period. The term Rococo more scaffold. France, was republishedi in Eng- from every member of the group is constantly en- 4. “The piano called them out for their trip to the This engraving, made in work can be given But thou in the eighteenth the jailer Print. in a nracfiooi art freest of the free, style of architecture which flourished described as "a scarce French couraged. to fit W was also done in the “grand manner. land in 1823 and individual needs. Examples: Matchless applied to the whole This last journey muse of harmony.” century. But it has come to be 9 8 "MUSIC STUDY —Grillparzer "MUSIC STUDY EXALTS LIFE” EXALTS LIFE” JANUARY, 1948 V THE ETUDE - :

Music in the Home Music in the Home English Texts of Schumann Songs “Texts of the Vocal Works of in English Translation.” By Henry S. Drinker. Pages, 145. Printed privately and distributed by The Asso- Symphonic Broadcasts ciation of American Colleges Arts Program, 19 West The Etude Music Lover’s Bookshelf 44th Street, New York City. Robert Schumann was brought up in his father’s book shop and on the shelves found romance and Command poetry which had much to do with shaping his life and Wide from the strong influ- Attention his future masterpieces. Apart ence of the mystic novelist, Johann Paul Frederick Any book here reviewed may Richter, and the outstanding classicists, Schumann be secured from was most moved by the large number of lyricists, in- THE ETUDE MUSIC MAGAZINE of the cluding Goethe, Riickert, Eichendorff, Chamisso, von price given on h*} Fallersleben, but especially Heine. His settings of their receipt of cJdimlscuj organ cash or check. poems are as pure and natural as the spirits of the poets themselves. These are among the rarest gems of song literature. Many of the translations of these The Philharmonic-Symphony Orchestra verses, which include poems originally in English by of New York Belying his th aS°n four score years, Maestro Arturo Tosca- of broadcasts on Octobe^ nmi Bobby Burns, Lord Byron, Mary Stuart, as well as 12 (Coirnnbia(ColWhifNetwork,N? f has revealed in his first scheduled 3:00 to 4:30 performances twelve Spanish love songs, represent a very large (J3. ^lljeretilth P.M EST) The with the NBC hg C^adtman Ce Were COt Symphony Orchestra his ability dUCted by Le ld Stokow- to make variety of texts, some extremely sensitive, such as Ski Who °P° musm m a vital w°ith Ws ? and memorable manner. Those who eard Heine’s Die Lotushlume and Du hist wie eine Blume. his performance of Tchaikovsky’s “Pathetique” Others are intensely dramatic, such as the marvelous vented an entirely new nomenclature such as Infra- the unbounded universe of melodic patterns, there is Sy“ph°ny ln the broadcast of November 15 must tf d f have "Frauenliebe und Leben” cycle and Icli Klage Nicht. inter-ultrapolation, and a whole glossary of original no likelihood that new music will die of internal P Sent Writer h0W deeply the S52S s~ta inductor It is highly desirable that the English versions convey appellations. He does not deem it necessary to finger starvation in the next 1000 years.” has has Ih,nrheHabsorbed thisfu music and how intensely he can in English the true spirit of the poet, and that the any of his scales and patterns. That he leaves to the The major potentiality of this work is to help the a W rk f thiS khld - His performance English be adapted to Schumann’s idioms. Ingenuity of the performer. All of the scales and pat- composer to discover new scale combinations leading Sough! H° m 1011 of women's S, d raWe PraiSe from chorus is seldom critics for its Henry S-. Drinker, able Philadelphia musical amateur terns are centered upon C as the initial and concluding to of the half billion (minus) combinations of even in thf f heard claidL of -E ! some the concert Wne’ Its hall emotional much less on the radio A, l puissance and its has not n ofnf diamatu; avoidance and distinguished attorney, has undertaken the trans- tone. In other words, there are no key signatures in the twelve tones of the chromatic scale. Some of this unrightfully been called 68 With which the “'Cinderella” of “““I others endow the lation of a large number of works as a service to art. the work. If the reader wishes them in other keys he will, we are certain, prove very sour to the ear of the n occasion °f infrecjuent ° - In his November fatokowski Performance. Mr ththe 22 broadcast His numerous translations from German, Russian, and is expected to transpose them. In concluding his in- average person, although they may seem like honey Stokowski has long evidenced« Maestro revived interest a flair for this tune of in Vivaldi with the DR. KARL KREUGER Latin are now available in most large libraries. troduction, Mr. Slonimsky writes: “John Stuart Mill Berg, or music and his Der to the ears of a Schoenberg, a Haba, a an interpretations of these inrpreL omsHc each Saturday once wrote: ’I was seriously tormented by the thought Ives. But as Mr. Slonimsky has written in another iZSViZ tSTS F““« - morning from 9:30 to 10:00 AM EST Back in 1925 when of the exhaustibility of musical combinations. The book, “The discord of today may be the concord of to- radio was still In knec'pantfa Musical Diary n arney octave consists only of five tones and two semitones, morrow.” Your reviewer understands that there is an " ’ wh0 dld Beneral radio chores “The Year in American Music.” Edited Julius Bloom. w E by which can be put together in only a limited number article by Mr. Slonimsky to appear in this issue and 0 3 UtUal 518110,1 WOR - was asked to Pages, 571. Price, $5.00. Publisher, Allen, Towne & .diMZAln 8^hUrry of ways of which but a small proportion are beautiful that the leading editorial discusses some phases of resr„"F f°r n pr°P°sed children’s program, Heath, Inc. cal discussion Whhom modern music. but which preparatlo >’. «nd remains, in om Estimation of knowing only that the At last we have for the first time a musical diary. It November 22 m/sner i a c° was devoted entirelv tn 5 Sp°ns r " Bnt >• made cbi’dren s toys, Carney is for the year 1946-1947 and makes a comprehensive CentUry music stennEn E f ? iSs radio listen ' and stepped “,“ssr ers before a Sophisticated Musical Verse wereAlve7a £ microphone and presented a half-hour chronicle of major events in the American musical the Maestro perform t0 hear songs “eS ®BachlCh and ’ chntter and whimsy which so scene. Since this voluminous book brings forth records “Ogden Nash’s Musical Zoo.” Tunes by Vernon Duke. Seldom has Han^l music. k ed this wr/T :‘ the manufacturer that Illustrated in color by Frank Owen. Pages, 47. Brice, beauty he was hired on the of such a copious flow of musical activity, and inasmuch broadcast ’ of the noted Air asslcal th8t day monumental from £ ’ Camey-who came to be known as it actually represents only a very small part of our $2.50. Publishers, Little, Brown and Company. “MpS” Sum appreciably toeAhhd^Th:11 d Suite more m /un performed. radl0,s ‘' Uncle great musical Twenty nonsense poems by the inimitably clever since Don"-h«s taken on some achievements (largely as seen through a 1930. The Strauss Following his custom of ualitles in ° - symphony, composed in 1914 recent vear„ t to Quote an official at WOR, “of Ole New York metropolitan telescope), we can comfortably Ogden Nash, with musical settings by Vernon Duke is a colossal score ’ a complete opera performing Mar, requiring a huge orchestra Ad on the air th/ °f be Just keeps realize that which are as smart as the verses. That is saying a lot. m „ . ‘rolling along’ with a our country has reached giant musical pro- number of gadgets radio audience ^ gave the 1 including- an bubblln wind-machine, thunder- opportunhv tn ^ K water and an inexhaustible flood portions. The Editor has striven to be impartial in his Listen to this masterpiece in rhyme by Nash: chine, and cowbells. greatest performances f the of L/ u In one long of Verdi’s ° 6 ay wblch movement of nem-iu Piece, Artdramatic^ has endeared him to children Judgments and the work should prove valuable to {f TERMITE r i0 °rk “Otello,” in the broad/ master- pvpnmrh"Ur f THE W ' expresslng 5 s Satur future the beauties 13. December 5' day-mornlng half-hour presents musical historians. and dangemmngeis Efof an Al it is to be ardently 6 and mnE?r ^ Some primal termite knocked on wood Alpine . a" ascent, reveals the mm hoped that th-bl d inimitable high S by the ® n°table . Jinks which delight the aS a Maestro and all venture CrS And tasted it, and found it good. modern orchestral tech- assoeint 8nd belps fbem ni°c?annician. iJAheIts be lost in 1 Wm take an early interest in thematic structure, however the archiveTo? mdfo not music An Epoch Making Book And that is why your cousin May larkc wh, onto Inf™ u records, so that ^ ltS Way "Thesaurus Fell through the parlor floor today. others in the^/tur Ga t 0ways to of Scales and Melodic Patterns.” By . Music” programs of Columbia enjoy Nrn/nrk Nicolas Slonimsky. Pages, 243 (sheet music size). merican School of the Air have some They will of course soon become familiar in caf6 aarists. highiv 11 Price, $12.00.. Publisher, Coleman-Ross Company, Inc. 511115 programs planned this month (time society, b.ut they are too good for any martini-muddled scheame-Thursdaysschedm!! ^ The Etude is glad to have a new theoretical work of the direction C rts 5;00 to 5;30 EST) We minds. Homes and schools will chuckle at them. "o/s/gc “ mide r PM staggering Tou./7vi t/kv* 5 0 did dimensions for review. Mr. Slonimsky, like air on °Tb n0t mlss ffle 1st, Vernon Duke, born Vladimir Dukelsky at Piskov, Tuesday “k °n ' Program of January nights the eaiipd /- some other of his compatriots, has a technically (American Br ne In tbe om- Russia, in 1903, was a pupil of Gliere and Dombrovsky work, 9:30 to ” °adcasting Net- New Yea r," for it was a broadcast 10:30 EST)t£ from hi u niscient mind which led someone to remark that “he 11 h the at the Kiev Conservatory. He left Russia in 1920 broadcasting, the Symph°nic slnging tower of New York’s River- and Boston OrchestraT”/ side Chn A seems to have been one thousand years old when he symphonic C 8 concert lived in Turkey, Paris, and London until 1929, when ensemble to ^ major from the great bells. "Around was born.” be ” None but one a heard 1 // the Bair/ with very brilliant, original, settled in America. written broadcast, air ’ Its danuary he He has many serious with Dr. initial 8 - brings Fin- Koussevitzku £ ^ land ne/m us music from and experienced mind could have written this book. “' sented ndUCtmg 81 k compositions which have been performed by foremost concert h.H« ,» from ' Was pre ' ' ®weden opportnnt.y Symphony Hall Bn 8:00 to 9:00 P-M-. EST-Sun- and South America. He also was conductor of the over. In the takes tnTr. days) is usu^ll Pages, 474. Price, $4.75. Publisher, Philosophical Jahuary 4 Among radio ’ EST broadcast, > • radio personalities kn , , Pierian Sodality (orchestra) listeners wfil a musical program - Dr. Karl Krueger, at Harvard and was in- Library. °PPOr nity to young is Don Bke to oId director NICOLAS SLONIMSKY hear ’s Carney, who and the orchest else, timately associated with Mr. Serge tata,tAT £ can- is famir i an electric ra, is, if nothing Koussevitzky. Dr. Max Graf has produced a novel and important Jeanne Don.” Ca “ , d’Arc ” , Many y Ued orotrram au Boucher baspd f _ of your children Uncl e It is, however, m maker - Sometimes conductor's as a musicologist that Mr. Slonimsky Paul Claudel, and von E , direction sut™^ the work in a field of musical literature which hitherto has which utilizes both speaking 0 nsu has won his widest and singing S veals ®cient Preparation, again it re- renown-. In his “Thesaurus of Scales only superficially explored. voices, and an adult repeattag^ 6 81^ a symnatheV most of these, it seemed to me, must have been already been The book is a popular and a children’s ch theh-^earl^'radfo ^ ^^^® 1C and and Melodic Patterns,” 01Us lhif experfe^ music. kn°w i n absorption with the he has built a world which may discovered, there could be long work upon the psychology of ' ns The t 8 and not room for a the composing process. Wr tten during the war Record Party rnmm cntaries well and was first heard ’ heard ho pn these are by be the foundation for much of the ultra-modern rlrn Belgium means helnfm , broadcasts succession of Mozarts and Webers to strike out, as Without Even the suggestion of the complicated tech- during the Occupation, 0 susta music of where curiouslv ihin g interest programs. the future. The book in no sense resembles these have done, entirely rich veins nological terms employed it was ^vitation . in the new surpassingly by psychologists, and with no also recorded without protest tn m from the Germans 1 81 l James Francis Cooke’s “Mastering the Scales 11 ; 30 to hiS year on Sundays from and Ar- of musical beauty. This sort of anxiety, may, perhaps, show of pedantry, he makes clear, through example, Among Walter’s novelties this Midnigi^Fo season will be a per- =>T—^ / , peggios,” designed as a “daily bread” practice mains Columbia still re- . book be thought to resemble of philosophers of the processes creative ’* one of network, that the of thought, and does it in a 1161 S1Xth Symphony the mi03t < which dealing with the major and will ways. mteresting programs.on the air- minor scales in all forms. Laputa, who feared lest the sun be burnt out.’ way which is both instructive recrivHtsreceive its firstfir fAmericana tm This is thn and entertaining. performance. RADIO r rarn Mr. Slonimsky’s work pioneers into formances °5 on which more first per- unknown forests of “The fears of John Stuart Mill are unjustified. There The work shows a rich intimacy with musical his- have hn/ tonality. have than y0U He presents over thirteen hundred different are 479,001,600 possible torical 10 not on any other ’ If combinations of the 12 tones of incidents and makes very profitable reading, not heard recpn?*^601 scales and pattern forms. some broadcasts missed More than this, he has in- the chromatic scale. With rhythmic variety added to only for composers, but also "MUS,C unusual - you have for teachers and students. STUDY EXALTS music LWW JANUARY, 1948 "MUSIC STUDY EXALTS LIFE” 11 THE ETUDE £ 1

Music and Study OR THOUSANDS of years man has been making Music and Study instruments to give vent to his musical thoughts. that we find in the orchestra, Stage Vright FThe instruments the band, and the home are only a few of the thousands I am bothered with that have been devised by the ingenuity of people all nervousness when I 1 1 ' 0 ' and ' 1 ,ose a great deal of over the world. Those that have been furnished by mv’ahtliE)my ability ?to remember my music and also native timber alone fill halls of museums. Many to execute. Can early Odd Musical Instruments you give me a word Round Table of The Teacher’s advice, these are wind and percussion instruments. It was please? H. C. W„ New Hampshire of very easy for the native to hollow out the trunks of Attention everyone trees, cover one or both ends with the skins of animals Here’s a topic of universal This is certainly and produce a drum. As used by the Marquesans of Grotesque Tonal Curiosities From Different Lands interest! Conducted by what Liszt had in mm„ temple drum often was more than seven anyone couId be lucky and this example is Polynesia a enough to duplicated in discover a ny feet high. The drummer stood upon a stone platform panacea against stage fright other passages of his works. it is likely that four feet high to reach the head. The drum head was he would become a mil- ^Vfiaurice ein i f made from the skin of the giant deep sea ray. There thefe are legions of those Building lip a who^fff °r Repertoire were no drum sticks and the drummer used his own by J4. C. Zliunmerman fr°m lfc and become Eminent French-American panicky In Tire evenTven hours5 Etude for May 1947 and knuckles. The drum was made of tomanu before the time comes yVOn, „„ hand to to J. R. M., Illinois, ini,. y °Ut Pianist, Conductor, Lecturer -rested nie er^My wood, resembling mahogany. p 0nt° the Pla tform. I also aspire and Uy ' It plan t„ b ,, strikesstriho b l c concert « “" haphazardly, 1st. I am a PI1 inconsiderately er- and Teacher Junior in high school ]1 ”“y: whiIe budding young one build and keep a large . artists other words r^rtoM may be immune, how can I retain a experienced veterans memorize**zea piece after I memorize ,n ? —— of a farmer’s son any given a combination jews harp of wire; and another may I can’t make a musician out never be able to rid memorize well “You themselves of but I forget ns quickly t ’<1 as easily more than you can make a whistle out of a pig’s tail,” man, Eulenstein, created a furor in London by his fine throughout their entire career. memorize. as I Caruso How many i is norlzed pieces let the matter drop. performance on sixteen harps timed to various pitches, often quoted as considered a large is and with that he having been one of repc Ire. and what its victims, the average among is But the boy was not so easily satisfied, and was not thus amassing a large fortune by his skill. but like con< l many other Angers principle, pianists? I read and it will revolutionize piano in an old issue of Tmk off. pondered the matter, and his desire Thousands of jews harps are sold every year by onductors, instrumentalists, of a pianist to be put He actors, pub- study; in fact who had a repertoire ic speakers, or it will shorten practice of about'oneThdmu to study music grew. It was the one desire of his life. English, manufacturers to the Negro tribes in Africa. politicians, he was able sand memorized to by eighty per cent.” pieces. farm and the For twenty years a controversy has raged between keep it under control. — At last there was a pig-killing on the Should R. E. C., Tennessee. For you and one risk a few mild questions boy lay in wait. He cut off a pig’s tail, dried it well, importers and customs officials as to whether the jews all others who are bothered with and mention the names of injuring skin, bored harp is a toy or a . A learned judge nervousness, I will relate Czerny, The upbuilding removed ther bone without the part of a o ( a repertoire Pischna, Tausig, Brahms, mus behold, has decided that it is a musical instrument, but Uncle conversation I had once in Hanon, Philipp, start at an holes in the right places, put it to his lips, when, Paris with an early age; In fact, the eminent Mason, or Dohnanyi (ponderous soone accomplished his Sam insists on calling it a toy. specialist who also was enough the better, and it produced a shrill sound! He had an ex- Correspondents with this Depart- where the principle of the snow cellent amateur exercises are concerned) the It is said that Birmingham, England, is the only city pianist: t0 limit let*en , smart ball steadily feat! Sto visitor growing 1LS it rolls 1 One Hundred and will not deign alon, °f US beIieve ’” Fifty Words. to answer, except Proudly he took his treasure to his father and blew in the world where jews harps are made, and that for the d°ctor said, applies here in full “iw"that ? . for a slight raising magnitude. To b, stage fright comes from of his shoulders and adequate, a shrill whistle into his ears. “See, father!” he cried, some time there has been a boom in the trade, in the an upset a smirk a concert pianist’s the of disdainful irony. repertoiri tail. face serious shortage of skilled tongue setters for emotional center tentatively must cover “I’ve made a whistle out of a pig’s Listen!” of a More a large array of located in the solar often than not these works froti exclaimed the father in surprise. the harps. Tongue setters are responsible for the ad- plexus (in the middle ation. unscrupulous the eighteenth “Why, so you have!" of the His patience exhausted, slicksters succeed century to the contem- chest below the pit he ex- in their aim which may I take music lessons?” asked the tri- justment of the metal strip which vibrates to produce of the stom- plodes in a is: porary composers. “Now ac booming voice: to transfer Program making is ar B -v massaging a goodly number the sound, and they have to be trained in this work for .. : this nerve much "And of dollars art hi umphant boy. relief I got my D. D. T. from an itself, and a difficult one may be obtained. To at the corner eager, unsuspecting indeed; several years. If the strip is the merest fraction of an this effect' drug store!” teachers but it is of inhale pocket into their utmost importance, for a a column of air, then own. care- inch out of adjustment the tone is ruined. move it Quiet is restored. ful planning down and up The attack on the Why listen to such has much to do with the repeatedly so it produces verbal nonsense or The demand for jews harps comes chiefly from the hamburger is resumed, success of a recital. a sensation of rubbing and the jive con- victim to it, when Color, variety, bal- in- gently but firmly tinues there are available United States, where jews harp bands are becoming from charging from the juke ance contrast. artistry, inside. box, shat- eXCe“ent - - and . . . proper Exhale, then ' Up t0 date creasingly more popular. One firm in Birmingham pro- do the same tering ’ ^racihi thing in its path every absolutelybsolZv length such are once or twice more. Following kitchen-fra- modem materials the ingredients which duces 100,000 harps a week, and the head of the firm this granced molecule, and books niij-st your nervous with no competition specialists l>c cleverly blended system should be relaxed like John M. In order to form not long ago returned from the United States with except the rattle of the Bernard Williams a tasty and your mental attitude dishes. Wagness, John musical dish. more 4quiet Thompson Ja££ an order for 160,000 more. and poised.” nCIS You ask !ooke >’ how you can There 5 ’ Gu Ma ier, Ada Richter retain pieces ”0t suffering Are No Short Cuts fl?. Robyn after memorizing them? myself from the annoy- ’ Mathilde Bilbro, Well, this is no a I feel very much KammererIGimm Hope problem gav® these instructions in need of a mod and others, in at all if each week you devote to some modern course in piano addition to th? friend*.1 lends Good teaching as I f,"el gieat a portion of results were reported. my methods are names mentioned your practice time to re- So very outmoded. Could above which are heres hoping suggest a vou newing. This it will do the same for good school that might ™.«, in ,Mr .u also brings more polish, you, and provide W.nd,nV£f„S more meanwhile rest assured ease in your performance through very of mvy best wishes. consolidation of finger accuracy and Section of Photography, Field Museum of Natural History mental grasp. Little by little your rep- 3 ertoire will GIANT TEMPLE DRUM Tops ’Em All y°U “ grow in quality and quan- -uch^orthe information' tity. After PIG'S TAIL .WHISTLE Three faculty -(Mrs.) several years, or a decade members are having C. A. D„ California. perhaps, lunch at the it will reach figures which at "Bean Pot,” across from Another aboriginal instrument is the Indian flute campus. the Now I am irked-really present you would They are seated irked-not at consider astronom- at a table your ical. found in Poma in Central California. It is made of laughingly ad- where question, of course, some two to “Well, I suppose 1 11 have to let you,” the immediate skyline but because I three hundred com- is formed have an idea positions, alder and has only four holes. Note that the ends taper mitted the father. by the rear that another including a dozen or so con- architectural structures Ppeddler"e r °off slightly and the ends are beveled. Indian flutes have a half of a niate„ aIs has mailed^you certos. That boy was Eben Tourjee, the founder of the New dozen or so fellows, perched some dis rbin on the literature, or quality all their own. England Conservatory. lofty stools of the perhaps called Pedaling ’ is no ru,e dis- counter, and hastily at you? Problem regarding the eating ymg t0 make In Measures i ution of hamburgers to the you feel that yom three . authors’ names and naturally accompani- methodsmethod are , Consolation “ of U®t’s each The Misnamed Jews Harp JEWS HARP 1 of a old-fashioned, No. the D liT" virtuoso will Wic outpour from that vmi tied. If 1 m R>e be guided by his own the juke shouid i ^ the bass is jews harp has nothing to do with the Jews or box throw out everything the 0 P rticular aptitudes The you hive sound is pretty P

Music and Study No less singular is a flute which is found in tne East Indies and in the Philippine Islands. It is played “p r^HERE IS but one reason for singing and that Study with the nose. Why the mouth is not used is not known. Music and I is the projection of beautiful tone. And the best Some idea of the difficulty of producing a sufficient Boogie-Woogie A thing the young singer can do is to keep that volume of air to blow a flute by this method may be Bogey? ideal before her at all times. No phase of vocal work gotten by trying it. Evidently the native Filipinos can be safely undertaken without measuring it by the have much greater lung power than Americans, to be bj Illarion yardstick of tonal beauty. The first act of measuring able to accomplish this feat. Unusually clear nasal Zf. I\ lle{l comes when the question of study arises! A young passages would also preclude the possibility of catarrhal girl has a fine natural voice, she loves to sing—well, trouble! ThinkThink" nfof hlnwincrblowing annn aria fromfrnm Mozart'sMnzarf’s ECENTLY, the esteemed Artur Important Secrets of Vocal Tone Rubinstein the obvious next step is to send her to a good teacher “Magic Flute” or Handel’s “Messiah” in this manner! mented sadly on the C°m ' addiction of our and let her study. But it isn’t so easy as that ! She R to boogie-woogie with a remark to is not ready for serious study—the foundation of her that boogie-woogie led straight 01 back to the tonal quality cannot be secure—until she is past the An Interview with Educated musicians must agree. Jungle But the di,„ formative adolescent period. Ambition and ‘self ex- fact is that the refined ear is in the pression’ have nothing to do with it! First there must The majority may be found m - turned to the newe^tT^ be a matured voice before it can be trained. I speak calf on the adolescent horizon-the den juke ZT % feelingly of this problem because I suffered bitter an- ers in particular are confounded JULce Skaw by this bogey and guish through not being allowed to take singing les-, preoccupation of youth with what ^ semis to be nT sons somewhere around my twelfth year. Many of my erate genre. Youngsters are fascinated Popular American Soprano by the rhvthm"' little friends ‘studied voice’ at that age, quite as they drive of boogie-woogie; without und.^fftf studied dancing. And their voices developed and grew Featured Soloist, Columbia Broadcasting System whys or wherefores, they derive estheUc satirffJ* from the employment of elemental , harmonfc tions. If the teacher condemns booRle-wooaie the pupil finds enjoyable and SECURED EXPRESSLY FOR THE ETUDE BY GUXXAR ASKLUND which he knows to hTT popular favor, then the teacher fail to carry wetStls Lovely Hollace Shaw finds her career upholding one of our finest traditions of American music. Robert with Shaw, the distinguished choral director, is her brother. Her sister Anne is an established radio singer suspicion his estimate of M^lrt. BcTLTeXI in South America. A younger brother is completing his musical education. Miss Shaw was bom in California; her father was a clergyman and her mother is a former concert and church singer: all her 0 life she has been surroirtided not merely with the sound of music but with its best ideal, and she has integrity^bu^h^can^stadynthls'^r-ey “ found thif early familiarity with musical standards the greatest single help in her work. Educated at thoroughness, become an auUiorlty Pomona College, Hollace Shaw prepared herself to become a music teacher taking thorough training on ij m up d take from it ^ in piano, organ, theory, harmony, solfege, orchestration, form, and analysis. Though she has sung everything that might »o"Sy his ZTe since babyhood, she was not allowed to study voice production until she was in college, where her own teaching goals. The teacher who does this will teacher was Lucille Stevenson. Since coming to New York, she has also worked under Paul Althouse. MIDGET am“Unt of VIOLIN teaching material tha M iss Shaw has had extensive experience in choir, choral, radio, and concert wort. For tour years, she sang under the name Vivian, as soprano soloist with Phil Spitalny's All Girl Orchestra. In her present zssxjl capacity as featured soloist on CBS, Hollace Shaw ranks among America's most popular singers. 0M*ctM « rnlng Pr0CCSS sss Editor's Note. ^ T” ’ the teacher eflorts — the' church, orchestra, aLd l ? wifl t what would . be the decree nf v,- P»ycholoi leal 1nation if the principled suggested to use it were t&fZffSSr**' one^he size nfTif repcUtl,m 1)1 °f bhat sbown in be learned lhe thing to picture below? . the This instrurv f problems and solutions cannot possibly extend to all. My ing flexibility. Beginning always with the slow scale, °“eS W d ^th°bo>igie-vv«>^e you own early study was made happy by the understand- progress gradually to greater and greater rapidity over 150 pounds ’ and weighs Manlp nnrt 0 ° r a flrm ing guidance of Lucille Stevenson. And here let me always challenging the quality of each tone. After a which mighMnh/bU prohlbitio'' “8 Uoard “TiftT^ digress to say that the student-teacher relationship warming-up of regular scale work, sing first legato was made for advert)*;™ « ebomzed. It nose flute is a very important thing. The great question is, not and then staccato scales. Then go on to arpeggios, New York City musical 10™ r insteK^J^iTj^ -SrS how much does a teacher know, but how well can she working through them in the same order. I have found d *“ 6Very Way ’ and if inspire you to carry out the results of her knowledge? (as, I am sure, many others have, too) that the basis be used°toplay necessalX it could « SUCh pupUs with surprisingly Miss Stevenson kept her teaching simple and natural; for a fine, crisp staccato is a smooth, even legato. It Have gratifying results. You Ever Seen made no problems of it; surrounded the wonderful, all goes back to fundamental tone quality! The young a Barrel CWn? e 1 C W008le W° natural act of singing with the upswing of exhilara- student can hardly hope to achieve a fine staccato WiU flnd ‘ first of all, 1 that The th3t stiU ieThand1'f t r «« an whlch tion that it properly deserves. One of her basic prin- from a cold start. But fine, flowing ( legato ) tone can “n^K'SS’toS^S'S in boogie. b the driving force °W bas' ciples that is, be cut off, at intervals, exactly as smooth silk thread leger s ^K^ter. often in the bass —and one I have clung to— never to make a notes The* i n0tes an ugly sound in order to develop beautiful one. can be cut off with scissors. staccato is thus SS52 block are frequently a stumbling a When i 810 src* in reading , and is in bought 1( Very Thus, she kept strictly based upon legato singing, the tone will ring. good condUio^ * on an 1 ttJe ^tercsting material me away from the nga-nga-nga notes, su stops element aru- i ? HOLLACE SHAW three barrels of 31 PVe makes use of nasals in vocalizing! (Later on, when the vocal stu- three feet w V great extent this register to any Plays 12 °f r« tunes. The which U“Uy Ulc dent has a sufficient grasp of fundamentals, It may Tonal Beauty bellows is hW neither b*‘™‘ng paP“ has crank by the l on the spindle means of a inSS n r Ule much bigger than mine, and they were given the de- be helpful to illustrate a point in terms of what not which 1“! t .° °PP°rtunity to read this “The best hints on how to keep tone pure, though, No operates register fluentiv r f chants are the barrels, 1 ®*Ve sirable parts in school plays and cantatas. All I was included in tv, a . boogie-woogie, and the to do, but at the beginning, stress should be kept on are of small value unless the young singer has an would toire incentive and the be ’ because < allowed to impossible to insured it r Unity ar° Ulere do was to sing once a week in our choir, pure, unencumbered, beautiful tone.) ideal of tonal beauty in her ears, just as suffi? the low ' and he reads the most long f register | recital notes Wind for whh° and I was miserable. Ten years later, though (it without indeD®d the pleasure and profit. Also, take “My great problem, during my student days, was a minute instructions for finding something in the closet Pipes are Pnt^,°blowing matter of fTe^T of good tone. ‘ seemed interminably long then!), voice. Two Tha exercises. How teachers the early-trained small I have never sung a single drill for the do you no good if you don’t know what you’re trying service. hymmfre , despair of eetiim.'th^ many There was pIayed at each r voices of my little friends had a time in EwL? cises P k t0 practic6 thesc exer' come to a" dead-end; purpose of making my voice bigger. Instead, I was to find! It is for this reason that I am so grateful for when barrel with fhe organs were “ America Ten iand Ta ° they cracked, they were no longer big, and the velvetly, kept on exercises (chiefly scales) to perfect tone. As quite ne I common!^ needed, and ’ where they are most the good music heard around me ever since I can without th luminous quality of C smoke-screen the a young voice had quite disap- my tone quality improved, my voice expanded quite remember living at all. My mother’s singing, the sing- right hand an net™ u effect of VC above? peared. And I was just then becoming acquainted of itself. Once you have mastered a round, perfect youngsters Try boogie-woogie. The with ing of her choir, the records and concerts we heard in their the ‘ fundamentals of vocal production and felt my tone that ‘comes out in the right place’, you can lean able rhythms bring out the dance as tiny children put something into our ears and our of the wi-^6 T naturally small voice growing, violinist ” hand Patterns, will be becoming fuller and on it exactly as a presses on his bow to ac- souls. Naturally, not every young musician has such satisfied until not the, V more secure. I heartily thankful for y bave acb * am my mother’s centuate the tone he has already found with his finger. advantages one cannot select Angered execution eved a smooth, even- — one’s home environ- eVen wisdom in holding me back from study until voice But the good tone must be there ftrst. such “ they don,t think about 11 in my — f ment. But one can accept the responsibility of finding terms P fl TJ nger had become ready for training. For the sake of future “The best way to get it is to work conscientiously at great a Patterns employed make as an ideal pure tone, whatever one’s background. The technical rt quality, then, em don’t begin serious . . scales their and as work too soon! scales . slow, even that work way up trick is to make acquaintanceship fine, even if thev most Hanon exercises, with pure tone couc “When the voice exercises begin notes, *led in terms six- has become settled and study is gradually. My own with three up —learn what It is—analyse how it differs from bad teenth notes Tn ., of chaste begun, there is still the same yardstick of tonal and back; then five notes; then an octave; then two QUicker of rhytlim I know of no beauty tone, and what elements make the difference. means of tT as one’s guide. Are octaves ultimately, three octaves, or the entire com- figuration tabdshing sureness the you working for greater volume, — “Actually, a knowledge of what good tone Is gives of , in reading a w f6 * for range, for of voice, whatever that may be. Sing scales than e ghtl1 followed flexibility? Very good—but keep any pass the the more than merely inspirational help. One of the in the renetit) by a sixteenth, and all of them secondary to the on pure vowel tone and vary the vowel constantly, -H a the 600816 basic quality of your singer's great problems, as everyone knows, is the matter of bass - 11 becomes sensation'?10°/u tones. Ultimately, all technical vocal problems find so that pure tone becomes easy for you on any vowel Problem. t le Pupil, not a mathematical matter of intonation—the ability to hit and keep to their solution through the correct projection of cor- sound. Prefix the vowel with consonants, beginning true pitch. Obviously, good intonation involves quick- rect, pure tone. with the labials. 3 61' ,la ness of ear, but the ear isn’t the whole story. A singer makes use rmony. Boogie-woogie of^TT' e?e “How to arrive at this tone? I have no ‘method’ to “Scales are also the best possible drill for perfect- with a fine, acute ear can get off Youngsters entary I-V-I-IV-I pattern, pitch without know- may be . *P suggest; indeed, 861 vocal emission is so individual that ing it. When that happens, something is radically many " harmonic functions in ways bm in j no single system could reasonably 1" apply to everybody. wrong with the tone it gets pinched, it to life, these come — or spreads, MAMMOTH the pupil functions to (Also having studied VIOLIN muTt?6e abIe The Etude since my childhood, or it does something it shouldn’t do. The cure for such m the music 10 feel their implications ancient barrel he nio I am experiencing a reasonable facsimile of stage- difficulties (for there are many of them which organ Opportunity °gle'woogie gives him the con- he npori?'., fright in being permitted to join the great company tribute to faulty intonation) hand S0, the building left is to get back to work on patterns on u,. « of the of those " first, who speak to its readers!) I am happy, the MUS1C (.Continued on Page 50) projection of pure tone. Again, a tone can be on STU»r though, to speak of my own work, realizing that my pitch and EXALTS LIFE” yet sound .flat! ( Continued on Page 46) THE ETUDE JANUARY, 1948 "MUSIC STUDY EXALTS LIFE’’ , 3 '

Music and Study HERE IS a definite change in organ building in Music and Study America, a change that is affecting every organ T being built at the present time. During the past year or two, I have played new organs built by prac- tically all the major builders in different parts of the country. The change in building is all to the good. There are some organs which may be considered too Key-Kolor Visualizes the Key-Signatures conservative for some, while there are others that are not conservative enough; but for the most part the Greater and Better Organs organs built today are better than ever. When the specifications submitted for approval are studied, one struck by the fact that the larger part of them are In, is War* &> aeon aSon excellent specifications—a complete organ, instead of a 1 of chimes, America Vox Humana, a set and a few other stops. For A few years ago most small organs were made up from a unified flute, a string and a celeste, a diapason, and a B 0^ a ^ OS , ^ n N 9 PO, Baptist missionary parentage and was a church Vox Humana, duplicated all over the manuals and ped- organist at the ag^ o° • te^ S^ p r»' 'J| |, e IOn Jn ^ma, Massachusetts, Illinois, and New als. On an organ such as this, it is hardly possible to York, studying with Adolnh W • i/$^* She 'has W°"' ^ *''*' °"d others, “play music.” the other hand, an organ has just ?aVght "la s^nce iVo "“"V On ^l Tn °r ^ sheC "u*™?has been most ly- jMexcuicL l jc Church devices to assist -t n progressive, using many kinds of major her In 1929

interest development in relation to Music others in m Study and Study While searching for a solution to 8rou Music and this eni gma ®. in attempting to settle upon the ' and various facf would have to be included, such as wbich choice ofT types of music ns hu-' ment, preferred, and „_ . U so on thl 5 worn Dattle between jazz and 6 tln,e the classics kent into mind. This was not only aggravating L?°Ppin° abandonment ’ A New Type of led to the of the project u school students are unconscionably Instrumentation dedicated t little SWin? and there was point in ’ comparing swi°n g and classical interests except for the light which it W throw upon the latter. At the risk of Uld criticism f ? of originality, a written questionnaire 3Ck Its Effect Upon the Modern Band Music Interest Scale was devel which, while ostensibly concerned with d students’ , tive interest in swing and classical music, had a m far reaching purpose in disclosing 6 details of each” dividual’s music interest pattern and in providin' 3 bij ^t)aniei csC. ^llicirtlno scheme for comparative evaluation of the deere/ iu oCefanJ oncf s e or v £ X strength of that interest. Director of Bands, Ohio University Form for the questionnaire was suggested by th ^NE of the intangibles, form used in the Eight Year an individual Study of the Progressive with dif- characteristic which has defied pure- Education Association to explore general E MUST agree at the outset that the instru- would be to experiment with musical effects ILLUSTRATION OF EXTREMES IN INTEREST AMONG ORCHESTRA STUDENTS subject mat ly objective ter interests. It was ferent combinations of instruments, such as all clar- o examination, is an im- of the check- answer type mentation of the band is still in a plastic stage, portant and wood- clue to success in musical consisted of one hundred participle and its tradition is still to be developed. inets, instruments of the same family, such as accom- phrases denoting We plishment. There is W instruments, such as brass something various types winds, or reeds, and other beyond the of musical activity. Three possible realize that the greatest defect of the band as we know sense re- There of perfect pitch, the ability to sponses could is its ineffective instrumentation, its lack and woodwinds, brass and reeds, and so forth. master be made in the three separate columns it today and intricate rhythmic these, if we are figurations, and the ca- of the answer sheet, denoting (1) of tonal balance. Transcribers for band are of the is a definite need for such studies as liking for the ac pacity to recall unfalteringly the to solve the problems of instrumentation for the band, tenuous tivity stated, (2) indifference to, or (31 dislike theory that the strings of the orchestra should be re- thread of of the melody in a violin concerto which activity. placed in the band by the clarinets; as a result, the which would yield fruitful results and genuine musical makes a Heifetz or a Menuhin. We might parts which in the orchestra would be given to the first expression. say that the power of will and AVERAGE OF *LinS* *0181108" taste of what constitutes mu- determina- AMD Of 63 B0T3 AJ.D 9 1 II8L5 FOR MUSICAL and second violins, are usually assigned to the B-flat The matter of personal tion are important ACTIVITIES a MD8XC XHTEAEST •'EJfTviif factors. But the will is clarinets. These same transcribers, or arrangers, seem sical results will naturally be left 'to the listeners, as is dependent upon a complex and will-o-the- Percent to forget entirely that orchestras also have violas, the case at the present time regarding any musical *1 ?-»]»• *4 wispish factor which, for want Cl«aale*l 9 Af Av«r«go intangible. of a better Iat«r«t*.( All Ctt«goriM ’, and string basses. This, then, is the question: organization. Musical expression is We Base Photo, Bolling Field, D. C. term, we call IOC interest. catalog it or classify it as we do chemicals. 1 What instruments are needed in the band to substitute cannot MAJOR GEORGE SALLADE HOWARD After we have measured intelligence and for the voices and tonal qualities of the viola, ’, Music means sound, and sound has to do with listening. to some extent musical Conductor, The Official Army Air Forces Band capacity, we still and string bass? Through the listening comes out personal dislike or en- have not touched upon this nucleus of energy Many solutions have heen recommended and some joyment. It amounts to a matter of opinion, due prob- which conditions success in music. The im- LIKE* with no little success. Alto and bass clarinets have been ably to musical sensibilities, intelligence, understand- achieve tbnal balance through appropriate balancing portance of interests has been stressed by ing, experience, and emotional response. qualitatively and quantitatively. many oisun added and, in rare instances, contrabass clarinets are of voices, both psychologists. Terman has stated, “. used. I am convinced that there is too much masking of both the amount and direction of one’s Bcmdstrcrtion life The instrumentation suggested by many authorities tones in the band. The clarinets,, baritones, and basses accomplishments are determined largely by for a tonal balance in the band’s principal choir, the What instrumehtation and literature are best adapt- are chiefly at fault when it comes to masking. It seems the factor of interest.” Thorndike has as- give the most satisfactory musical in- serted clarinet, is as follows: twelve first B-flat clarinets, able to the band to close harmony cannot be used in scoring for these that more work is done by students i4i twelve second B-flat clarinets, eight alto clarinets, eight results? We all agree that this problem demands more struments and other baritone and bass voice instru- who are interested, and that interests, as experimentation. satisfying bass clarinets, and six contrabass clarinets, a total of study and ments in the low register. There is too much playing, and pleasurable stimuli,” are aids forty-six clarinets in all. further suggest eight It is extremely difficult, perhaps impossible, to define duplication of voices: this makes for to learning. Dewey, a great They and therefore psychologist as in all well as flutes, two first , two second oboes, two English clearly and briefly the nature of “bandstration” poor tonal balance, contrast, and quality. a philosopher, said that interests are horns, , first second its subtleties and complications. But by a number of band music is written in pyramid dynamic, objective, and personal. two two , two Too much of our Drive—the prevalent foreign will to do bassoons and two contra . Of saxophones antitheses and comparative findings, style, and it is true that quite often the important —is basically the outcome of the development there should be a double quartet: two sopranos, two band scoring technics and methods, terms of definition melody usually found in the soprano voice is obliterated within the individual of a com- and tendencies, at least, may be studied and used to written on bination of interests in some rt altos, two , and two baritones. The soprano brass or sounds weak. The clarinet is too often particular ac- 1 tivity. instruments should be six in number: two trumpets, some extent. the staff or only a little above. I can understand this While two cornets and fluegel horns. be a I have analyzed and compared foreign and American I consider the technical difficulty from attempting to study the musical and two There should very well, when intellectual quartet of French horns, two alto trombones in F, four band instrumentation and scoring. I have also experi- two leger lines above the staff, on up. How- capacities of his band and or- High-C chestra tenor trombones, mented with bands regarding literature and instru- need to teach this higher reg- students by administering a battery two euphoniums, two E-flat tubas, ever, there is a decided of standardized two BB-flat tubas, and two BB-flat contrabass trom- mentation by arranging and transcribing with certain school clarinetists and require them intelligence and talent tests ister to our high the writer musical ideas in mind. However, I was not too success- was stumped in a search for any bones. Four players are suggested for the percussion to play in the upper register. test which would section. This constitute band of ful, for the problem demands more research and ex- the proficiency of wind in- give objective data on his would a symphony Consider for a moment students’ perimentation. interest in instrumental music. merely one hundred and four members. strumentalists as compared to that of string players. Many study I high school bands ranging from students who were superior mentally From every point of view this organization would For my used We will not deny that string playing requires much and rated high equal thirty to eighty members, amateur bands (not high result in pitch, rhythm, and tonal the present symphony orchestra as a musical more ability, experience, training, and time. As a memory were school) from twenty-eight to sixty members, and two just average members of instrument. It would surpass the orchestra in volume of these facts, what has happened in the past several musical or- In determining - ganizations; whereas, a the exact of tone and in variety of tone color and probably be professional bands. For literature I used compositions orchestras? High school or amateur orchestras number of students who were nature of the years to merely whether written or survey, average in comparative test oral several !T! , the superior of the symphony orchestra as constituted by Bach, Wagner, Verdi, Tchaikovsky, Beethoven, my have either disbanded or are overshadowed by the scores, were doing into t0 be quite outstanding consideration. In ^ taken at present. own compositions, and other compositions written by work. The thought occurred that some wav band. Many logical explanations can.be given for this reason the inventory would °f the for this difference, have to be BOTS i Frankly, I think the whole instrumenta- contemporary composers expressly for band. and in general for many concealed I'ffw GIRLS problem of unfortunate situation. differences answers would be WCere m attitude in rehearsal obtained. If tion is smattered somewhat with ignorance. In the first The school band movement originated in small and and toward home influenced TestnsV^ practice, was in the by the student’s be An Experiment With Bands degree of interest each student knowiX ILT™ 1° place, why do we insist in imitating an orchestra? A large towns where the local people still take, with possessed tors own tastes the lnstruc ' or had developed in his instrumental and preferences i band is not meant to sound or perform like an or- The problem which presented itself was in all cases justification, great pride in their band. The band be- work. highly lts W0Uld unreliable. Any form ’ be chestra. with balance of tone. an orchestra, of nrei ! Ul I believe that here is one of our mis-applica- one having to do In came popular because of its pagentry and. many out- Construction er given in a processes involved this “Mu- of a Music Interest group or sir ? in developing tions. Then too, almost any instrument can penetrate the violin section Inventory byTrS W Inven we have heard others say that a band door appearances. It has been said quite often, and bound to meet with ' W0Uld be tory,” as it was called, need not be A means fo» verifying this this objection lu desrriXXi should imitate an organ. Still others have suggested even at its greatest volume. With a violin background, rehearses for conclusion, giving objec- of furthermore,i n detaiI certainly with much truth, that a band tive the usual forms of any here; but statements relating to proof, could be had written nnecp dirrrt- rr ! that we should for example, an oboe, flute, clarinet, horn or by * l treat the band as a choral group. does the devising an °™aire U'S appearances. Fortunately, this not. seem to be instrument Ca * which with the same wouW meet act'vity were interspersed with those of would be designed to survey objection and an evt Until we find a more desirable terminology, the word solo can be distinctly heard. This is not so in the band. majority the* places interests and give ordinate requlre iCal case in the of I have visited. Be- a amount an in ~ type ’ That is were picture of the of time - Participle phrases status quo. In undertaking to adtinkl used “band” must suffice. I am of the opinion that a band It takes much rehearsing and rewriting for a section cause the band developed so fast, the public demanded this experi- the usual SC°re ww^Cb described '”en several form of ' Mso activities demonstrating an in- ^’ facts were of questionnaire - terest in performs best the music written of clarinets to balance with an oboe. importance. Interests are tion only woSl expressly for it. Yes, a band overnight, and the training and proficiency of 10 upon an evalua ' though not actually music or ’ bUt are conditloned individual basis making we’ll grant that working the high school and amateur bands, and subject to change ^ kibitzinty some orchestral music sounds better In with the average player was very inadequate. The profes- throifc*through comparative scores 656 items included as read- environment and training, which ine lihrofT* such activities through the medium of present band instrumentation I have become convinced that we must agree just what whereas intelli 6 S sional band does have technically proficient players, ' going gence and musical capacity, wvuuciit s movies and musical shows, so the psychologists ushprinc, ? than it does with orchestra. Nevertheless, we must re- should constitute a band- sound. There seems to be, at as well as. some high school bands. But generally speak- tell concerts juke are a le C0 mOditieS > even putting nickels in a frain - Man °f box— anvtv,- from imitating the orchestra, organ or choral the present time, a vast amount of ideas as to what a ing, limited, ? the answers re- 5 I the average instrumentalist is definitely i n H H blCb of ^dgardmg.findividualT student’s a wop * d indirectly give evidence groups. interests could be discov liking for mL^ true band tone is or should be. Above all, we must technically and musically. How can we build up, score h 0 e *AND, 7‘“”- Bul : Se era The band is sorely in need of literature written and and compose for, and attempt an instrumentation for cient S» ORCHESTRA COnsiderations evidenceS„c. ?to form reliable were bo™ in mind in setting expressively S conclusions up th p scored with “malice-aforethought.” We tonal if and this L balance, technique, tone, and musicianship are and volved in statements “Like" and 1 “ ln “Dislike " of must begin to treat the band more scientifically. That »r CHORUS 6^ lacking? ™ for the selection of these items were 3 b> Possible fe-u is to say, study the individual instruments as to range, There is a great need for band directors who are fine S D. Revell; 0f the ntajority a wide BAND and ORCHESTRA of students, timbre, masking effects, technical facility, and scoring musicians as well as music educators—for conductors 18 °* ^usic, and a wide spread from Edited by William D. Revelli the lpncf * ? problems pertinent to each instrument. The next step who will experiment and be (Continued on Page- 53) "MUS,C esirable to 52> STUDY the ( Continued on Page EXALTS LIFE” JANUARY, 1948 "MUSIC STUDY EXA'LTS LIFE THE ETUDE 19 u ;

Music and Study 01 vuu.cs, miu me legato demands ’ thee be very carefully planned. nn Sering ^ AME is not necessarily an attribute Music and Study One of Bach's many great qualities of artistry. There are many violin- pressiveness. His Is a gr great scale <*t , qualify as artists even of ml* e Fists who can gay, sad, dramatic, humorous, He Ca boistemf n be though their reputations do not extend or sentimental. These differences P°m In a phrase which calls for no change ol P°te very far beyond their own home towns. S'are expressed even in his shortest cl of timbre, a short crescendo or diminu- and easiest^ ear’y For artistry is not merely the ability to Why Bach is very expressive in endo is generally better made by taking Bach Has Become a “Must" his many play notes very rapidly and with impec- and that expressiveness 6 a faster or slower bow without alteration is accomplLi! “W cable intonation. Rather it is the ability The Art of Expression simple means, and with With and instinctively evaluate of pressure. Such subtle nuances are fre- melodies so eas.iu such to understand any child. We know how graspetl content and inner mean- quent in the works of Mozart, as, for ex- children are i n by the emotional ample, the two phrases from the Andante For Piano express their moods, and in Bach's eager ing of the music being performed, plus Students to music the Part One easy avenue of y find of the D major Concerto shown in Ex. A expression. an the ability to transmute into sound the In the company this appreciation. and Ex. B. of Bach, the very feelings aroused by youne , reverence. They sense earn quite unheralded violinists have In each of these examples the Up bow in time that nn al«o Many Tone Production and Tone Shading should start slowly, gaining speed as the smaU a composition, its importance how this ability; many more could easily ac- Lj ciidda and stroke continues, but without any in- & ^Jdelenti.5 be great. They realize ma quire it if they understood, and made that being % able to nbv ? of Bach the art and technique of ex- crease of pressure. In neither of these well, is a great distinction mitUlet their own, farT™ ? phrases, nor in many others that could playing what children usually 3ter than pression. call’ a Dlg be cited, is some other composer. Piece" For there is a technique of expression, any added intensity required Ralssa by Tselentis, born In Is f. (J3erl?lee therefore increase pressure Greece, an American citizen, When teaching a technique as distinct as the technique bi ^JJurold an of or a resident in the Bach try to v United States for eighteen years. She has make the change in the point of contact would be the Importance reaUj of playing in tune, and one which, in its studied abroad, as well of the inner * as in this country. Abroad, she voices Ff^ development, imperceptibly becomes an an error of judgment. studied under Frederic Lomond, himself, discover and hear these famous Beethoven interpre- inner voic^w ^' Short crescendi of this type should be ter, Leonid Kreutzer very h the art. and James Kwast. In this young, we call thU country she “treasure hunting entirely result of combining, in various degrees and taken on the attended Master 35 Basically it is a matter of phrasing and tone. Good the Up bow whenever possible, a crescendo Classes with Ernest Hutcheson, Wanda recognize in the inner voices they Landowska and nnitatlons lnV phrasing stems from musical understanding and good proportions, the following elements: (1) the pressure on the Down bow being much less natural. Similarly, Harold Bauer. Miss Tselentis we call has been asso- them "hidden treasure."- short ciate teacher with Carl Roeder, and we taste, but without control of tone production the best of the bow on the string; (2) the speed of the bow diminuendi should be played Down bow. But since at the Barrington School. out into the open every time hem 5 cul me "' ber they occur stroke; and (3) the point of contact between the bow one cannot always arrange the bowing so conveniently, and O" examiner for the Thu’, sense of phrasing is futile. For phrasing is governed by Guild p° National hunting" pays musically Gu Id of Piano\Teachers, an great dividends and the sti-ing. Though all three elements are of equal crescendi and diminuendi should be practiced adjudicator for the Music Edu- variations of tone. Tone production, therefore, will be on both e Ue given the and Young. Artists Division the subject of the following paragraphs. importance, not much thought is usually to Up Down bows. of Debut and EncE ° re Pedaling Concerts, Inc. She has presented second and third. in Town 1. pupils The first essential for a beautiful quality of sound H ° Qnd Sfel wc| al1 recitals. Several Varying Speed oi Bow students ? y 1 of her is that the player have within him a glowing ideal of As good tone-quality depends primarily on free and are 1 winners of superior musical awards She is .stJitXrV’L' uninterrupted vibrations of the string, the pressure It is not quite easy to vary the speed of the with known for her outstanding iiisf tone and an ardent wish to attain it. If he has these bow work in training Should at? the young pianist pedal Bach very delicacy finesse, .parlngly^S^^S inner qualities, then it is merely a question of finding must not be so heavy that the vibrations are checked, and and some preparatory work is the technique necessary to express them. nor so light that they momentarily cease from lack of generally required before the technique can be used Tile responsibility for a beautiful tone is shared about impetus. Actually, the pressure used when playing musically. The best exercise for this type of practice is haust first, all the possibilities softly and when playing forte varies between compara- the twenty-seventh study of Kreutzer, in D minor: of theTfands ani on equally by the left hand and the right arm. With the then use the pedal. Second, Bach rarely bow we must set up free, even, and uninterrupted tively narrow limits. Within these limits, it is deter- Ex.C Guild, and other ^ needs ve musical organizations much pedal. In Bach, pedaling mined by the dynamic indications on the music, by the can be used occasional vibrations of the string. The function of the left hand ff 0 r SUStaln duration of the bow-stroke, by the part of the bow ° ' 10te that cannot is not so easy to describe, for there is in* it an in- faTned be 511 bv the fl ^frhCrC tangible element that defies analysis. There are, how- that is being used, whether one, two, or three strings 15 Very llttle occaslon » p -=/ p-^f p -=s P J cotofn a ng ln Bncl1? must be sounded simultaneously, and by the position or atmospheric pedaling. ever, two elements which must be present: the nervous iri„ ,c ! , H It should be taken very slowly C ear on the string in which the fingers are playing. Less at first—as though the ' nnd pedalln8 should never be intensity of the finger grip and the free, relaxed qual- to hi. ’l allowe notes were quarter-notes at a moderate tempo. Using r tt pressure, obviously, will be used in playing a passage P ern - ity of the vibrato.* It is through these that a player’s ten ' °ne can use peda ' Bac the full length of the bow, very little tor creattoa von °f be in less, should be taken 11111031 8 S° for personality is projected into his tone. piano than would used playing forte, and ' and emphasizing is borIng ’ accents, an for first alwaysllea^lcuing Bach occasioning r the note, rather more for the second, notice- ’ald question grip calls too, at the frog than at the point. In the drawing of a Eve chan«lng thp Quality of The of finger for careful thought. simple “ the tone. . ably more for the third, pieces he * his maSe a li very slow bow, no matter what the dynamic indication and the rest of the bow (nearly 1 s“g estion ^ Pedal Bach It must never be allowed to degenei-ate into a dead nical skill, with tech- Wlth taste an half its length) for the the fourth note. it is very fortunate discrhninntlmi may be, less pressure can be exerted than when rapid Later the ^ f ’ ^bU pressure on the string; on the contrary, it must be that Wltl> a children Bach had so student le t us- have a spar study should be practiced with the dynamics, and wrote so manv many lnglv neHiiiH strokes are being used. This is the reason why most same but Pi6Ces performance, or throbbingly alive for the complete duration of every which we can for them. forma an underpedaled per more rapidly, in each half of the bow. By reversing the 2 t^ay for rat her note. The player should feel that an electrical contact modern violinists change the direction of the bow- Pieces they J^an an overpedaled one markings, it can also be used are, but SimpIe , for the practice of short some of themh°m T" m lg has been made at the moment a finger stops the string stroke more frequently than is usually indicated on the JTJiaie also Bach - attention pieces. real master- ! should be centered oi diminuendi, each bow-stroke starting RAISSA the cnninr.» music: they are seeking more tone. Parenthetically, it rapidly and get- TSELENTIS 6 muslc and that a current is passing through the finger into ' and not the virtuosity of tin ting gradually slower. For students who have not Perform pr mi i may be said that this fact is no argument against the another thing the violin for as long as the note lasts. Or, as one <™» learn the young very earl: reached the grade of Kreutzer, the teacher should write «» fmm n at of the writer’s pupils vividly put it; feel practicing of very long, sustained bows; the Spun Tone itsCi d ' fbey learn “You must purest 13 that pianism virtu out a few simple eight-measure form. melod ha ositv l and still phrases based on this And becatf y an. *’ —or Son file—is the most valuable exercise for de- hF t^ 1' °f that there is a large artery flowing directly from your Ce ln tlle clearly a young melod Performance of Bach o: study, being careful to include some that cross to child y 60 anv rr nn ,| veloping a control of tone production. M can easUy ££?£* , ^ley heart to your finger tips.” The violinist should ponder learn Other music W to that technl( ue is onl ! neighboring strings. is too phrase - l y clattered w fh h means to anfaCnd F this concept of a living force passing directly from are too busy ny the ' because eyen Bach's fast movement The twenty-four Caprices of Rode contain a wealth with Passages ^nds are onh- tv, Importance of Bow Pressure In Bach t H° : 6 e himself into his instrument. As it is absorbed into his pres' it can be 616 1S slon °f ex- of material for sung easily °ne line; citement ^ exaltation and spiritual the study of tone-shading. The three- Sirable t0 and phrased in it* a d consciousness he will find that his tone is gaining more To obtain a full, round tone in a passage of double- teach Bach music is easiIy ard * y ever tble line Introduction thfverTtunTfsTh^Ba, also concise ' Bac attempt at showmanship to No. 1 is especially valuable. At f music Hifeni m^ h’s There fmi> |f tu and more individuality and intensity. stops, almost twice as much pressure must be used as ‘ 4 ies melodic, they are Shment5 are not ® movements are played too fast the first, all the dynamics in these three lines should be pure embepf“ inner snint When these qualities of the left hand, an even, re- would be needed for a similar volume of sound on a hne is S ’ wllat ffl always clear, The melodi= e Greeks called “the mellos.’ produced by varying the speed of the bow, but without e ' definite is destrovprf’ laxed single string. On the other hand, in the playing of a A e ' normal life un^ vibrato and an alive finger grip, are united with ® . almost r a commonplace life out embellishments. g With or ° an authoritative perform- alteration of its pressure on the string. Introduc- tBut spirit The *lth- ance u and artistic passage in the fifth position or higher even The m he was able embSlkh "f nf r,, steadily-drawn bow strokes, a warm, singing tone will — a forte great i to reachacn size it. en4s e heightsWhtc and The phrasing, only empha- Sh°Uld llsten t0 the recordings of tions Co Nos. 6, 9, 14, and 19 should all be studied with experience exaltpri thriiic rr- thereto™ the Two be the result. passage—the pressure must be comparatively light. If cise. A Bach t^ dear and' CThreep PartD this same principle in phrase and con - Inventions played by Erno mind, while No. 13, in its en- follows the naturalnatimin Balogh But this is not enough. To play accurately in tune too much is used, the tone will become harsh and shrill It starts with an law of breathing tirety, is a supremely valuable study in phrasing and inhalation and with a singing tone is not in itself artistry; It is instead of brilliant. hie as the he 3b0Ve tone-shading. human ’ * the reas°ns we consider the study of chS Ss «*£ Bach thp l merely the foundation upon which artistry can be built. ends with an?^11 an exhalation. reCedes and guarantee for an artistic development, When the student has fairly well mastered the un- IUS a They sm- ./"E The violinist, if he is to give anything more than ade- how, a coTmU°US that 0d smmmrn continuous heaving ebb and ro°tage Is the best guarantee for even division of the bow and can vary it's speed at up and T good fr„L Tf° quate interpretation to the music, must be able so to crescendo 3 ' and diminuendo continuou.s 00188' gUaran will, he should review the exercises and studies he has ii tee for * shade and color his phrasing is flexible easiest way TWs T’the slm good^artistic tone that his been of phrasing that Plest and fruHage" working on and incorporate appropriate increases in 1 bringing them to Bach. we\ and subtle and his tonal palette varied enough to ex- contact with Bach we Haydn and COUrse S0 of the the and decreases of bow-pressure with the varying speed Mozart WOtod be b °l next teacher wvf ?f questions that confront press eloquently the wide range of emotions inherent Bach also best for " Shes of the bow. And he must note carefully possesses a Phrasing to teach Bach? It is impossible the differences unique sen to answer tv. in the music of different periods and styles. and his form, as °f archit 8U of shading and color he is producing. will his ecture Wlthin the article ' He find that and phrasing j! 8? but we can^F llmits of thls concise and ays very cl 6 a the crescendi have greater range and intensity, and can be easily ’n™ !’ ear p few that are rather important. Elements of Tone-Shading and Tone-Coloring the yo-g, thus How can V developing studen Ls to willingly? diminuendi greater subtlety of feeling. ead/t^J To acemnni-V* study Bach It is in this branch of violin playing that the tech- — wo ' Sh thls He will also find that to sense of you must have lot of patience, maintain an equalized Bach’s the art of n a nique of the bow assumes paramount importance. However, increasing or decreasing the volume of music being rsuaslon volume of tone, less a little polvnhnnio > tact, must bow and more pressure will be . and above all. you Without a tone by means of the bow-pressure alone is a crude early a sense mUSt sold on ^ finely-controlled, sensitive, and agile bow- for the develop to be necessary on the lower than on the higher strings. In bakZ T also 5’our D° not adm inister Bach arm no player way of expressing the dynamics of the music. It should wanders up V°iCes students can hope to attain more than a very and down, and ' ^ voice to 1 because study an ascending passage across three or four strings, no you feel after the or in matt his music for ,1 they should moderate degree of artistry. Many violinists whose be resorted to only other two means of in- what hands, it * What be without crescendo, the bow should must be Position 8°°d of their s Children, as well fluencing the tone the varying speed of the bow move slowly and the other statedeVe,lly as other °uk. bowing technique is wholly inadequate, nevertheless — and voices. This and hum firmly on the lower strings, gaining speed relaxing forces an above UiI * seldom because changing of its point of contact been and pendenee ™, it is good for do something produce a remarkably beautiful tone, but it remains the —have found of the fingers 0" and T'b6m pressure somewhat as the upper strings and inde- ’ but Jove are reached. IT or liking tbey will do a lot out of one single quality, lacking color, inadequate. and ^ i shading and and soon dynamically. rh S If a crescendo is required, the speed The study of ythmically 9®ntagious. love the mu- becomes of the bow, should present him one to sic of Bach vo„!. Get to truly monotonous. as a technical and develop a conscious therefo SC increase more rapidly, and the pressure maintained or dull “must” in plan for A ^ forces nd you wiU see simple it is to Tone-shading ^uaca, dev,,*. discovers early ngerin make your stud / ^ how (dynamic variations) and tone-color- It „ that you can’t S- A student l0Ve even increased slightly. an f hlm 4 00 ing (variations in the method of fingering Once Kate timbre of the tone) are almost "to nhuv‘ it4enden The method by which the speed and pressure of the Bach' teach said: “When asked whether I VIOLIN 20 music T ' 1 c 'i of the vibrato was this bow are 5 ^ , nV1 discussed in detail on page in the apportioned in making a crescendo is clearly " Cta' teach Poople." we October^ 1947 issue must partieuiari In teaching Bach of The Etude. Further comments on its artistic appli- Edited by Harold Berkley 'MUSK lar ly cation will appear ln a shown in the playing of study remember 50) forthcoming article. a ( Continued on Page 50) exyuts life* (Continued on Page JANUARY, 1948 THE ETUDE 'MUSIC STUDY EXALTS LIFE” 21 — ? 1 ’ ,

Music and Study

piano is really a sostenuto are pedal „ The following 23,^947, YYY through the entire range Wot Music and Study of notl’ fe W by the dampers, i have C0Ver never w «l a sostenuto with a 10,9 split action *n ^ 01 h” however, do Ueran not have 4i, mterests^ How Are this' for musical General They Pronounced fight . As pedal. On some, the middle nJYY , art Q. In what key is Chopin's Mr. Paine in a position with Fantasie-Im- throws the merel for ten years he was hammer rail V aScaP promptu Op. 66 written? 2. What is the nea him with ma,or Policy organization which identified Musical meaning of strings, thus shortening the Erotikon, Op. 10, No. 2 by the strT That import-t American Sjogren? 3. in An are interests How the following pro- softening the tone, as on ani musical II. 1889. an UDrivi?. Ycolumbia Pennsylvania, July nounced : Answers and others, this pedal °a " Paine W Middletown. Questions sometimes rail? M from Wesleyan College, (a) Erotikon was fl9r°roduated°du violin the base dampers He ° decree of A.B. He played (b) Sjogren (about the lower by the Late e Ct . C life. He Address of the keyboard) C0nn school and college From an (c) Signe Lund-Skabo : but since os Ms it raLY : ;hes dl University. (d) La Cucaracha of these dampers courses at George Washington in the "Yk severa the (e) Bublitchki sametaY 1 immediately entered 35 copyright law. He Conducted by does the regular damper specializing'llizina inm copy u re- —Mrs. A. S. pedal Machine Company and just the individual dampers 1 expert. He ptj'' dine as’doeY years as a copyright Qre^ fautteen Y ^ohn +lerre for A-. 1. Chopin’s sostenuto pedal, mained ™ making Fantasie-Impromptu is such a . l- artists then middle oeL V d . am the great in the key made many p management of American Society of of C-sharp minor. The fact not really a sostenuto but |927 he ente red the General Manager, rather, ' Formerly tor Victor. . Ya“‘ recordings . • that the last few measures are in the key ( breviated damper 1928 he became pedal. Authors and Publishers of C-sharp major and that the extended _Karl \JU. Cjelu’hend, nu 2>oc. Composers, middle passage is in D-flat major does In IV It w manager ot 1 general not alter the key 037 U e became of the composition as Shall 1 Be a Secretary A important the yardstick or a member and ^fficeAof many of the American artist by a whole. ASCAP H e“ was° a" UNESCO the output Professor Emeritus C If the educational program ^ of the past. It is hlgh of peace. masters . 2. Erotikon Musician? world the classical . ? means a love song, or an clubs, in thee govYment of per cent correct, and of mus YYATpYhoY by should prove to be one hundred the courage to look at American instrumental composition of an amorous Oberlin College Q. I am a secretary, twenty-seven of international ear® a that we had years of service in behalf or fifteen or twenty standards and old When I his yeare in the next ten measure it by its own nature. was n child I was given Hance^for create J squarely, and to 2 and democracy, it would standards piano lessons, as Music Editor, Webster's New but I had a poor copyright. his concept of freedom and Bach and Brahms 3. I teaser ., . upon common Beethoven am no authority on Swedish, Span- £ ASCAP in commenting a ‘ forget consequently I wa , not that peotf Interested and Deems Ta.v'^', Manager, unless we are sure ish, and Russian, but I have asked had years os our General mean nothing of achievements. to . ten International Dictionary be spanked to make me practice Y?n a A emotional reaction to rt this condi- so and maintain- it. What is their policy must accept friends of mine who are and tell after two years of torture factor in establishing right about “Any national music they for my parents was a potent here in Amer iYfW odd thing to me that we system, particularly in t e me these words would be pronounced in my teacher, and myself the lessons °» “It is a very tion In our educational were ! the standards child terminated I grew all music by acquaint the the following As up I found that ica persist in measuring education, we must ways: I - Yftis si field of music the fingering indicated in your edition. loved music very much and envied composers of Europe idiom. The little songs that a) A-ro-tee-kon those set by the classical •with the American musical who could play, so at ! Gilbert K.. I suggest also that you begin at once to twenty-five I began remember reading a book by ^ to which he has his ex- b) Sheu-gren (the “eu” being pro- to study vears ago I sings in school, the music again and for two years I essays he memorize the key signatures, repeating have Defendant.’ In one of the In most of the music nounced like the French been practicing about four hours Chesterton called ‘The be American music. “eu”) a day. argued strongly, ercises, must each scale thus: G-A-B-C-D-E-F* -G; I have a fine teacher now. book Mr. Chesterton the emphasis has been c) Seen-ya Lund Skah'-boo and I can play contained in that textbooks used in the schools fairly difficult having standards. He that signature, one sharp, F. When you have compositions well, but at intelligently, against to such an extent d) Lah Coo-cah-rah'-ch'ah and I think, on foreign music, unfortunately the last annual recital I was that woman mastered the first nine major keys attacked by wrong to consider only the idea that only for- e) Boob-litch-kee and stage fright foit tvvit it was child subconsciously gets and could not complete the Venus de Milo the scales I suggest that you require your- had the measurements of and that American music composition I was playing. I have taken® beautiful who can write good music had the physique 01 eigners This self to transpose some of your very few piano pupils, and I believe handsome who or other second-rate. ear- I could e governments. only that man is somehow Can I Study by lenm to be a good teacher’ »I MyseIf? liest exercises into several different keys. but I, feel lhat ,r .SS ; must be corrected. In the discussions perhaps 1 do not the E Q. I am thirty years old, am have background for national aspira- made married If you cannot manage the transposition There are still selfish and studies and performances becoming a . and have a family. I studied with the profe ional musician. I love from of the harmony at first, begin express themselves groups such as the Fed- same teacher from the with just music, and I still practice several hours a tions which by musical time I was about fox the melody, day, in make it difficult constantly enlarged seven until I was about twenty. I also or for that matter, play any addition to which I read and study time to time, and erated Music Clubs, took some lessons in aU Is can about music Do think peace they so harmony from a melody that you happen to know in you I to achieve the must be put forward to the study a should people effort pupil of hers and was given a certificate give up my work as secretary and to us, there- understand- number of different keys. And after you strongly desire. It is up of American music and to when she moved away. I now feel that risk a career as a musician?—H. H. and know the major to find the means it. More and this certificate is worthless and scales and signatures fore, the people, ing and comprehending that I desires practically wasted my time during the thoroughly, do the minor to filter our music must be played only too ones in the A. Thank you for writing so fully the mechanism more American last five well how hard it is to get money me and years of my study under this same way. barriers of government performers. Particularly for all the and frankly about your problems. I no through the among the teacher. I love music very much, and six things that modem life seems am in other Study of the sort you are hearts of the people Americans insist that for- months ago I began to study again at to demand; but doing is much seer, therefore I can only give you my reach the must we as a sometimes it is possible better music will downtown conservatory, than no study at all, In my opinion, who come to our shores taking piano, to re-evaluate but as soon opinion, which the countries. eign performers harmony, our needs along the vari- is that you give up single con- ear training, and history of mu- as possible you will of be the greatest concerts learn more of the ous lines, and to course begin work idea of use prove to to give sic. I have an urge to write music myself choose something that a professional career and peace-first under some fine teacher so tributing factor to world repertoire in the concerts and have done quite well in is so important that it is that you may music only resource, American my work in worth giving avocationallv—as a is to tne harmony; have regular and its primary appeal and I am playing fairly difficult up something else for. adequate guidance both as a because they give. an enricher of your own life, and as is moie material on the piano. m the selection of material emotion; and second, because it I have one other suggestion: Talk upon which means of giving pleasure to your friends My problem now is a financial one. We to to work national culture than Role the head of and in learning to perform expressive of a The Composer's are buying a home, and we need every your school about the possi- it and family. Since you enjoy teaching, you thus properly. other art forms, and culture can be dollar we can put into it, so bility of a partial any of the “I think a national there seems scholarship. Tell him all might take on a few pupils ‘‘on the side," other lands to be no money for music study. Do convey to the people in total of all the you the circumstances and assure and about will defined as the sum think I him that because you enjoy studying our Amer- could study further by myself, deeper understanding of play in a nation at you are very anxious to study How Can 1 a forces that are at and if so what should I work on? I want but that Answer This music, I suggest that you take a good One? culture. color the per- to be a fine teacher, not just an ordinary you haven’t enough money to keep ican any given time which on at Q- l-.On page 4. line course in . one, and I 4, beginning shape their never feel at peace with myself the regular tuition rates. If sonalities of the people or he offers no So far as "nervousness” is concerned. I unless I am learning more. I want to UNESCO citizenship feel suggestions, and if no Concerning destinies. There are in our secure in my knowledge financial adjust- can think of two things that might be of and I think I ment can “Unfortunately thus far, both _in are sensitive will enjoy teaching a be made in your home, talented individuals who great deal. I want then I help to you. first is that you study of The of the commissioners the ca- very much to go on studying at the con- advise you to drop all the other the makeup to these forces, and who have courses, harmony, counterpoint, and form, ap- States and servatory. but we just don’t have the take a piano teachers’ UNESCO from the United translate them into our art course, and begin plying to the pacity to money. What do you advise me to do? r your theoretical knowledge countries, and in the D. at once to build up a class of also from other forms. There are composers who can M. piano pupils, it as to is possible to compositions you are studying so there has putting all the money sustain the A and .tin establishment of the agenda, these forces into musical you take in, back produce the structure translate into staccato effect called understand their texture and overemphasis on A. It is regrettable that you feel your own study and L in been an enormous and thus pass our present cul- you thus in the in tbe feeling works course chords h^the thoroughly. This will give you a scientific interchange gen- must stop your music study at this time, of three or four years preparing educational and ture in permanent form to future measure, of not have at on for you sotmd yourself really it is too ^ confidence that you do great underemphasis understand the as though you had real adequately as a fine teach- mlchlTS!Ior 1116 “and span. and an equally Sfutos erations, that they may How ran t « V? present. that you talk aesthetic imm musical ability. You er—and perhaps a The second thing is interchange of spiritual, in 194.7 live. seem to have high composer as well. TeU the civilization in which we e 3356 to yourself you play. to be ideals too, moving ant* just before values. There seems f our culture so far as teaching is concerned, chords’ Alsn fa J and cultural JOHN GREGG PAINE In these permanent forms 1 Same yourself sternly know the com- can obtain and if you could only have Page that you a feeling that if UNESCO to peoples in other a year or two Study Without a lThandleft hand H is also passed on Teacher not in the rieht T, and position it perfectly systems of of high grade study at this point " n thoroughly, can play control of the educational better understand I be- Q. I am at a school 2- ^ P * ayed? that they, in turn, may where I cannot take Just how m a n k who is can lovely countries, lieve you might private lessons, y evs is th —probably better than anyone countries of the world, only those landscapes are. This become an excellent but I have been studying the various Apollo Belvedere, and that make us in America what we by *„»« listening. so com- the c°urses of study Each thing the things teacher. Of course one can myself for about a year. One SS?_S wSMSJTS! Then absorb yourself the textbooks, can direct the Dutch laid-out garden. appreciation of our work along by of the revise process that simulated understanding, springing from an instructors here is a good pletely you forget thought and can be one’s self and make some progress, pianist and he in the composition that eventually there will be a common measured by its own standard, much more com- but elP d e durin must be forms, is much more durable and “ g hi » ^re moments, your performers all people ev®ri c capacities art because so r ,f , , nervousness. All public that highly developed much of your early training wbut should like throughout the world; ’^ those people who have understanding that springs from an your opinion on my two and democracy,^ bv them. plete than the was deficient it seems method of work. have this trouble, and I believe the concepts of freedom are not too lazy to use even more desir- Each day I do some ex- have the same for appreciation and who concept of America. ercises from You bothers you namely, a way will unify t art other than intellectual a'ble than usual that you have adequate Schmitt's "Preparatory Book" have Quoted Y ~ remedies I have suggested, and that this in some magical odd that in no field of understand another country as well as some “It seems “How one can ever guidance now. scales, chords, and ar- Play, but more the music standards. We do not claim The work in theory and peggios not the one detailed knowledge of and secure lasting peace. we have such conceive. If a dozen re- from Czerny. Then I you^nt music do education is hard to take a piece you nYYhaV ' con- because through ear training seems especially that is even told and a more attempt to is mediocre merely important not too difficult and study me the name determined that a play on Broadway various Paris newspapers to it until of Y C° do porters were sent from to me, and you probably I have it down perfect. Position in m trol important of Emotions Goethe or Moliere. We ought to have Do you think that which thee trm.Me themselves, are the most Significance not like Shakespeare or to describe New York by using troublesome6 0 it is New York City, for example, some sort of a teachers’ this method I am building gressioneressinn occurs. propi remedies is a .very unchanging par artistry or the character of course also before upp After tlfiV nil for what I admit “The only permanent and not measure either the of Paris would know what it my technic correctly?—R. L. B are u Sterne City so that the people you do much teaching. Why not talk dreadful disease. emotional part. Emotions them with Fielding or One all human being is the our novels by comparing would be a dozen different concepts. this pian0 fivmg hum paintings was, there over frankly with your husband, tell- By all with your same in every single We do not rate our One It seems to me that what means keep on versal—they are the or Tolstoy or de Balzac. would be interested in the social life. ing him that you are you are deep they or Leonardo da reporter willing to get along Ding is excellent, SuSS 5^/^lece study. Music will always have a being. may vary in intensity, ™ standards fixed by Michelangelo aspects of the city. £ and I advise ^ from They and by the be interested in the physical you to taken fu which it aHke-1 , of art would grow 1 without some of the things you need in continue significance as you otherwise they are exactly or Van Gogh. In no field 45) mtmu, ,1thwith it,U. malting “1““'“ rhaps in your life, and stimulation, but Vinci or Rembrandt in ( Continued on Page the m«„g certain that some2™' ’ ’ 1I ca« giv measure One would be interested home for the sake of taking addi- your advice ” f Zt older and more that we do not % do we feel called upon to hand position is correct, h°W to your playing will be more so it becomes important other than music tional work that you difficulty overcome the o at the music school? I know are learning of a solace resource to you in side of people in our endeavoi to relax, and that you follow and a emotional 23 2 • Ifrr this thetne middlem'ddi life that you must necessarily live in STUDY EXALTS LIFE” 22 pedal on the "MUSIC "MUSIC STUDY troubled world. JANUARY, 194S EXALTS LIFE’ THE etude ~

Music and Study LCUUIC m onng It about u °f v I seem* . Dm ±VJ. Ject of intense interest 0 be to p^,,! a sV especially to ‘n those outside of getl the mtisfoai «ai The thought seems to be Profe prevalent that ®W direct result of some experience 3 5on of the & is a that the composer’s works com JOIE DE P°ser VIVRE are an exnro , or n in his life. I am very often asked °f ev (JOY OF LIFE) The what ri‘° wts Heart of the Song mind when I wrote By the 1 had Bend of the in The Parisian phrase chosen for the name of this composition suggests the jubilant carnival spirit which makes night life in the “City of Light” so in- occasion brought forth With the 7’ 0r u Wind n ’>'at teresting. Use the pedal moderately and “make it snappy.” Grade 4 From in Your Hair, or what "le a Conference with deep experience n,! ** the Night. P duced G.F. BROADHEAD I cannot honestly r , , answer th nto = for I do not know. I would questi Allegro moderato (J 152) ^ not go to the on? °ns however, and say that a composer’s eXtre nerVon, , ^ -& nothing to do with his ife h -9- work. I feel sure th »s (^ictrct pressions, °Ur e -r-fUM cldwcu'ils be they depicted in ex- k picture st 3 £ ° 21 £ i are in some way r Sotl the outcome of ? Well-Known American Composer of our life Iv but that they are nences; direct results of some I Saa«a or By the Bend of the Biver, Love Song, event has not been Say i A my experience As we look back over the growth f Jf With the Wind and the Bain in Your Hair of musie . that the age in which a composer 6 find lived is mnstT tant and indicative topor" of results. Let us take t^T — Bach, who turned out endless b k u £ £ SECURED EXPRESSLY scores apparentN^' FOR THE ETUDE BY LEROY V. moment's notice, with an eye a BRANT always on n?„ r?u I and 11, the ruling monarch, | | I 1 wlio gave L I I him hkii^,!" I i and to whom he was little more than a Jaid LARA 111 RDS is one We cannot see the ' ™ of America’s most I refused real Bach In the f the opiates; I lay compositions bn b est oved livin alternately reading a fav- under these driving S born J S song writers. Prom orite circumstances. , book of poetry C hei New York Riverside and tossing. Still I was unable Consider Drive studio she has to see also, Mozart, who lived - poured forth the future-it was three much of hi* *v . I f: S J » more than one hundred in the morning. One life In dire poverty r ^ beautiful sing- and want, but who 3 f ^ mS k6Pt Singing itSelf gave 6 : S °ngS throu h gay h WhiCh touch the r S my mind and charming music— ife % of menmeTanri hearts until finallyflnam I arose, such exquisite ana m and women“Tof everyday walks crept painfully from my bedroom »»»• of life and vet found r«w, „„ noll » f which satisfy the exacting no music paper, but scratched 2 ; yj. Fine demands of the staves on the stant struggle. technically b ank spaces In his Alleluia he reaches Pr0fessional musician. of an old song, wrote on h. ff On the concert staged those poorly of spiritual exaltation, f Jf ^ mfthTlon the diawn staves the and with Its SL screen, over the air, melody that had been pianistic aSm and in the legitimate and haunting me paniment he has given heaTS soon I had my first song. as a masterpiece. His V SeWd °f the River The velopment own de and the°Rn, ’ Wind "As dawn and growth, and tire the Ram in Yourv Hair, broke that morning I musical development The Fisher's Widow and knew that the die of the country, Mores of other gems was cast. I would compose. with existing conditions, £ £ of loveliness. My life are plainly Not since Mrs. H would henceforth shown, however, P ? A B ' in his W1 ° te The Year s at and larger works o n . h Me Spring, or Oley ff 1 1 S Vt haS 3ny American I I L 1 I caugS the°t f \ ^composer World Conditions Affect i i y ' ‘h*™’ Composers ^ fanCy of those wh° hve'for music i e t OVe COndlUons nre very niuch changed, Dates are boUb°‘ 1 Pno,me°UUCallyn n ^ unimportant in the life and economically, and of a , , . we find a burn- 3 ? Clara composer t a 1 3 1 2 Edwards has trained her ly f0r freedom °f mind to disregard age expression wlfich shines or dates. with n ^ rf „ They really mean y ° > little to her. The 3m through p '‘ 0’thlng he wrote, mt° hW mS she and whifh ? n )±A it Ft We " far more Ced n ‘‘ arly PVery f0rm Edward?? importaTclara Berthoven M of “USiC. t0 Study piano at lhough 3--J * a an age which she harr«ssed by disappoint- T p calls ridiculously year ?„'££»»*«« that ments and eff V m early," and ill fortune, and later 4*'il and ( became interested Continued on Page 54) r cresc. l singing. years, America's She studied at the first song writer leggiero State Normal School in „ a kat M“lnesota today, had made one p °. ; after her graduation hundred and fifty !} there she dollais ^ 0Sm0 0litan and had used Sch°o1 of Music in up most of thp tim, bu w-a, ? Chicago - n n graduatedn horn d6CeaSed - - that institution be- husband to j y1V £ t causecamp n? > the reaSrearing H Pv of her ™ of marriage. She states modestly Jane Ann. t “I also Nevertheless, Vi6nna with the i ’ and faith i i i i i did some work in which is StockholmStockholm. I had many said to move mountains, marvelous opportunities in and which cer V enna paris tain y can see , London. * into My technical the almosT impenl: trable veil of the future Clara ! SVS£ 2e S. *> '» «*. W Came °lara Edwards to write music’ these(•hm° things:t, Picture a child of glorious musical at talent first the US1C of the pmno, then as a singer. whole world. Men and Picture that child grow- m °°d have sung her songs ’ StlU Showing music include love as her grelt figures suc^worid love. PicturePwT° fher marrying as Paul Althouse, a physician with him liv- Florence East™ ing an Helen Jepson. ’ idyllic life. Picture a lovely John daughter hnrn f tv, McCormack r« two in . Moore, Sigrid ° Ce Picture the Onegin, ’ . husLnd pa^ng on somi r after the birth Swarthout, John of the daughter, the mother Charles Thomas with confronted rence W* the necessity Tibbett, of earning a livelihood. Ezio Pinza-and m letuin Picture a of others. to New York, a search Choral societies for employment Picture sing herTon^ all wax gs ' these things leading up discs carry her vv to a Christmas Eve snmA! the I had found world loves her whoIe employment in a large denari-ment sones— ’,, store, and I worked there as never had beCaU I Skefbe ane Ann (my daughter) tl?p m f ? and I needed 6 °n ' Christmas was approaching and Ung bef°re I wanted^ VmUttl money Queen^ o^Sweden^^he the for Christmas spending wellwen a! i as P>a eda as to pay our bills. ceintheShoSopT I worked so hard r floorwalker that the Her songs :col thought I was after her have been job, an" on OhrS ' every sungin^?^ mas Eve, after hours, when country in the St I went for my pTy enve woild She ope 1 found that write a song in may I had been discharged' half an hour or spend a 01 She may year on it But just a lovely woman with afTthe fenuf* nine instincts that make T ab°Ut me and only dark ' AmericanAmeriH ness~lay Iheld.^" anhood great. wom- Clara b V6 UI: ° Edwards’ comment* Piates were administered be- UP° causeaase o?Teth 7 writing which n song lntense PaIn I suffered. During follow should , T /v mv ill- uable and Pr0Ve Val ‘ h ht hr0Ugh the inspiring to situation as best I could, vou^ but still some of mP0SerS still iTI couldiH whom mfy ’ see only blackness. Then one be SstrutouJi°gglm night difficult burdens. g with 24 Richards Photo itl Wynn "MUSK STUDY CLARA EDWARDS EXALTS LIFE” Copyright MOMXLVII by Oliver Ditson Company International Copyright secured THE ETUDE JANUARY 1948 25 ANDANTE, FROM ITALIAN CONCERTO The “Italian ” (“ Concerto’ of Johann Sebastian Bach was published in 1735 as part of the second section of the “Clavieriibung” was then a mature man of fifty. He was at the Thomas Schule in Leipzig and was the authoritative teacher of his ^ time Cantor of the era. Bach graved the plates for this beautiful work. The term “concerto” was first used in 1602 by the Italian, Ludovico \ iadana. The Bach work is not *11 like the conventional and Geminiani, ° a( modern concerto, but more like the concertos of Corelli, Torelli, Vivaldi, written many years nr to the ' 3 Prev,n "“ time of Bach. Grade 6. JOHANN SEBASTIAN Bach Andante (J’ = 80) i

Copyright MCMVlll by Oliver Ditson Company

JANUARY 1948 THE Jil'UVK 27 £ — J— — r " 1 t— — — —

FESTIVAL NEAPOLITAN « 1 1 \ 3 — A A A^-" 3 -1 2 a 0 2— , U k_h- u—, IA - • Ha* t _czm — _ t1 v IJ ^ ^ 1 m • m W rm~ir~n/ rm—.- 3— ' m / — * -v H 7 7 _ r P m " Prl p ir -in/— —y- 1 ip—/— W- T F V - . . v y— Wl I 7 7 L V V t H— H __j - r — 1 — 1 F^=l 4 r— P

CODA

FADED MEMORIES Mr. Oberg has caught a fine, nostalgic sentiment with few notes in this little musical pastel. It should be played with sentiment and sim- plicity. Grade 3. o. SCHELDRUP OBERG

Moderato Tempo di Valse (<=J-= 54)

/ ^ 3 ^ 1 3 . 2 3 '3-- !5as; r4 / -Jl j-=/ -i... — : p~' — J - £3=j ^ i?- r ) 'P7=~ . a tj m a tempo ^ ~ jjoco mt>. J> ) k/7* b o' - —J- !>* - ~ r-r S'* * ^ S -4 r i_l 1 — ^ ‘2 — i 3 ‘j 4 5 j A 1 1 _l 1 1 1 1 I 1

2 *> — — — 1 J • — fi p n^ :..T -J-—— — p -J' ] 7T* & .

\\; ' — - 1 pF*\ rtl < ?/// con cspre ssione IV v D.S. 5-* NM > . > p= ’ If -r b— r r1 ^ ^ £ . p J J ^~P— — __ _ — — ;

1 1 5 l L L

Copyright 1947 by Theodore Presser Co. British Copyright secured British Copyright secured JANUARY 1948 29 THE ETUDE — 1 — 'm —

• X S 4 5 3 = -•- «— - — — — - - — /cp=p= s — ^T' ^ 0 0 0 0 0 f^ 3^F -—J 1 p#=tetX- p J*-s f: 0 0 0 0 0 0 yPPiP P pf p 7 '-1—

E - l i-i=B -M -,^p ^ I S~v y y fLp#=— !--i r 1 £ 2_i. 7 7 2 _ XI_i— ) £ — pi 1 1 ii —— L 5 j-p-r j_P X j — # j i h I 1 i 5 l i ^

4 4 2 2 3 3 j.': £ PI P £ TRIO< Pf dim. P m i i i 5 1 3 I I mm i i sempre staccato

5 4 -- a 3 ! ^ "X" 3 3 i P p ¥=* dim. " §

s± i m pp ; * P dim. m m 3 m 3 i * m i I I 1 l 1 I 1 5 m I I m2 sempre staccato

-t«H X » * *—1=«= - T=Z 3 — =^H— ^ =HH > ) =^m = — fi t= r-l— ^ f= ipf-x - - ... r X i - i- __ 7=z "P W M=^ . —t— l 1 l 1 i -i £ i 1 — P=p (

British Copyright secured THE ETUDE — — — — — j — •

SWAYING FERNS : D. S. a l-fy ? ^ wr Li , i •XL— y U f m 5, Jt \ • U / • » fJ M — • m rr~ rc T\ r ^ __ L— i i —U y IT - v— n n j i ' • — — * — < jtp m r wr^ 0 * 1 — ' + 9 Tr~ * • -j r * Vrf $ V rail jpj# V . i#- — - — —m— i— M J • p r r 9— — £- i 1 v - V 7 — _J* H J 1 7 — 7 — u—- 7 7 J. 9 — 4^ 2 t 2

.A A A I 1 | ( l | I l

WITH VERDURE CLAD FROM THE CREATION This is one of the most appealing of all the coloratura solos in the great oratorios. These fioriture passages should be played with great care and fluency, never hurriedly. Haydn went to London in 1791, was splendidly received, and made a study of English music while there. “The Creation” was finished in 1797. The melody of this lovely aria has the flavor of manyof the old English folk songs. The material for the li- bretto was selected by Lidley from the Bible and Milton’s “Paradise Lost.” It was then translated into German and produced as “Die Schopfung.” 2 ‘ FRANZ JOSEPH HAYDN

British Copyright secured THE ETUDE —

MOON BLOSSOMS a light opera composer Over fifty years ago named Meyer- Lutz wrote a composition for a stage dance known as“Skirt Dance.” This started a feature pieces of this type which have whole dvnasty of provided many of the most inspiriting compositions for years. Muon Blossoms is a happy

1 1 should be played with member of this family. dancing fingers, definite accents, good taste. Watch the staccato notes carefully. Grade 4. Brightly W=80) STANFORD KING 8-T

J m a tempt) 3 |4 4 rjJ-j-4) rr-^-T —ili J ri * 3 9 — 1 • i k--# F' i -Ft- ft'?- f- - jirVJ -Azl rii* CD t =kj y--d ^ lu ru

Copyright 1945 by Theodore Presser Co. British Copyright secured JANUARY 19is 35 9 — —

LONELY DANCER LONELY DANCER SECONDO AV itli slow, RALPH PRIMO swaying rhythm (J= 96) FEDERER FEDERer With slow, swaying rhythm (J= 96) RALPH i I i.!. ti. t L id i £

—""" ^ 3 __ i' • o S —«- ^ l t 7 y-^-jT^Yg •—PL r iL J t\ , | t —L—L— *— 5^ \ pr r-H r n

m -^1 - f* -V *- :i m- m ^ ^ i ' nj — J N= J — sT~

Copyright 1947 by Theodore Presser Co. Si

British Copyright secured JANUARY THE ETODS 1948 BELOVED Words and Music by ONCE MORE, SARAH LOUISE DITTENHAVER —

St. VIGNETTE , Sw. Salicional, Flute LAMENT Hammond Registration prepare: Gt. Melodia j 8' (ID 30 7453 000 v Ped. Gedeckt Q) ® (10) 00 6543 000 PAUL KOEPKE Moderately, with movement (To Coda) ® Sw. t

MANUALS

r 8' 1 f^f . ‘EIGt. UH JmGt. add Strings jr "J _ J- laaTjU. i jJ —*- . u 1 -p»- * ‘irW _y_fc_ Ife =fe=: */ J 1 *— 1 uL ~ /|>- £====- 1 1 1 4 ——m-J— /

‘) : . : J> -4= a -<4 -6^

Copyright British Copyright secured. 1947 by Theodore Presser Co. JANUARY 1948 41 WALTZ OP THE WILLOWS

SWEET STORY

Copyright 1947 by Theodore Prosser Co, KEEP British Copyright secured Grade IN STRIDE 2. Tempo di Marcia march THOMAS tijiyits J. J.

I * A

Copyright 1947 by Theodore Presser Co 42

British Copyright secured THE STUDS !

about our nation; and we want him to An American Musical write for us, and for our enjoyment and for our mutual benefaction. Never mind Policy the critic. “The economic freedom of the Amer- (Continued, from Page 23) THE DESERT ican composer in the field of classical IN nationalities that make up the various music can be achieved if organizations two would consider the population. No that perform the music are willing to GEORGE ANSON in the same way; and New York City make some contributions to the com- the Frenchman would have the idea that poser for the right to perform it. This City would depend entirely of New York is a right that the composer has by law; reporter’s story he read. upon which but too often the user hesitates to pay that springs “But the understanding the composer for the privilege of per- of our music the from an appreciation formance. Yet in the field of classical engendered by the emotional excitement received by the com- music the money . in our composition, the modern approach poser for the performance is too often that springs from the understanding all the money that he receives written—brings to rhythm in which it is “The majority of classical works com- subconsciously perhaps but the hearer, posed are not published. For those that the same, a knowledge thoroughly just are published the sale is very limited, America. They know us of what makes and royalties from this point of view are know our music. better because they not extensive. Nor do we find that the a Spaniard, a “Dr. Eduardo Marquina, recording companies seek to record class- culture, a man of letters, man of great ical American music. They claim there United States for the first visited the is no sale for it; and so we must begin his knowl- time last year. He said that demand for recordings of this 1 1st time to build a United States had been edge of the type of American music. This will flow his contact with the gained through naturally, I think, once we can free the American in- movies and through a few American mind from the prejudice which from time to dividuals whom he met has been ingrained for so many years Europe. He thought of time traveling in that American music is second-rate. people who us as a grandiose people, “These then are the problems that lie excitement. He waxed ricli and fat on before us in the establishment of a na- our music must be was convinced that tional music policy and it is vital and our na- imitative and not expressive of important that the problems be met and national life. tional culture and of our solved because America has much to it was direct, and Our music was simple, offer to the world. We have a feeling for a point of gaiety; it was rhythmic to freedom that exists nowhere else on the associated any of these yet he had never face of the earth. We have almost an But when characteristics with America. inborn acceptance of the inalienable he found that we of he came to America rights of life, liberty and the pursuit peo- are a simple people, a home-loving happiness. and he found ple, a very human people; “We find all these feelings expressed all is a true ex- our that our music after in our novels and in our plays and in movies pression of our culture, and the paintings and in much of our music. an untrue expression. This illustrates to Once we emancipate our classical com- „..an ear for music! understand- me clearly the fact that the posers from the critics we will find that springs from our art is a true of these things, ing which all our music is expressive appreciate fine our art Choice of those who understanding. The message that while the message of the United States those peoples of the of the world will forms convey to of America to the rest furnishings ... in good taste, . those peo- music world will eventually bring to be greater and more vital when our they people furniture-styled Everett pianos. ples a knowledge of America that expresses us and is heard by all are have today. From that under- do not everywhere.” Designs that live forever standing will grow: first, confidence in America; and second, affection for Amer- music best also ica. And out of those will flow a forceful MUSIC TEACHERS People who know and peace. Your students progress rapidly they use a good Everett for unsurpassed important this perform better when choose “No one knows how Metronome under your guidance. field voice that second point is, particularly in the beauty of tone ... a glorious of serious music, more than the com- than twice as posers themselves. They live in holy awe stays in tune more of the critics. If an American composer long as ordinary pianos. dares to travel over the same musical some com- path that has been blazed by principle for a glimpse of the new engineering poser before him, he is accused of a lack LOOK AT THE BACK— Everett the most advanced piano in of originality, and criticized as though that makes details ask your Everett it is a great crime for him to use a ford generations! For complete of why across a stream that somebody else has dealer about “Balanced Tension,” secret onty$f aun Text. Book “Metronome Techniques” found to be convenient. The result is Everett consoles have the tone beauty of a grand. NEW HAVEN, CONN. that many of our composers force them- FRANZ MFC. CO., INC., selves to write music which is in every respect different from anything that has MUSIC ever been heretofore composed, for the LEARN "SWING" cour p. er. o Quid » not ! ur Con- o7or • purpose of confounding the critics. own arrangementsr t Whole tones, etc. sequently, the composition when com- •m«'i‘'^ftl^DANclArRANGING pleted does not in any way, shape, or form express the deep feelings and emo- Write today. tionalism elmER B. FUCHS console pi of the composer. ’ ’ BrMkl,n 26 ’ N Y East 19th St. “We must somehow or other let the 335 composer know that we the public have little or no interest in the critic; we Est. 1894 have interest in the creator. We recog- IKiene11 W X TKe&tre and Culture nize that the critic's opinion is a per- t?ric Arts n S C and class. of your nearest dealer, write sonal one, result of te p™Sn^; p^vate For free piano catalog and name and is too often the gmners, i n^^ accepted Advancedc VOCAL students an nlted number ° f direction. egotistical desire to display erudition ,X“n ^r professional SOUTH HAVEN, MICH. t0r W ENGLISH and . EVERETT PIANO COMPANY, rather than to give honest evaluation to „f%EBA IN °V%m* lor the work criticized. We want the creator to Write write about us, about our life, and 45 «MUSIC STUDY EXALTS LIFE” JANUARY, 1948 GIVE YOUR CHILD Important Secrets of Vocal Tone HTURY Page 15) E ( Continued from, Important Books THIS CHANCE /V I NOW \ ISSUER Voice own experience J ] Questions This Is due to a kind of flatness which can safely say that my ite clarify dif- yo^r problems is to is not a matter of intonation, but of with diction At slight exaggera- color. The tone sounds flat because it ficult syllables by some insistance on BRUCKNER lacks overtones. My own way of solving tion, but even more by an decisive conso- such a problem would be to try the pure vowels and crisp, MAHLER ^Answered ty line like, DR NICHOLAS DOUTY troublesome tone an octave lower, on ah, nants. Take a simple scriptural SCHOENBERG kind to one another.’ Here you working my way up gradually to its prop- ‘Be thou Our pleasure In presenting these will only be and jux- equalled by your pleasure in er position on (or above) the staff. Again have enough variety of vowels using them because to they are outstanding teaching material. NEWLIN, Ph.D. by -way of a digression, a singer gains taposition of D and T consonants By DIKA At Sixteen She Sings great advantage from learning something make enunciation difficult. The trick is Difficult Operatic Arias years earlier. There is no use crying over PETITE SUITE Professor of Music Q. For the last isolated Assistant five years I have been taking spilled milk. Start them as soon as possible about the physics of sound nature of to say the line over, first in singing —the by ALEXANDRE GRETCHANINOFF College lessons, and I am now sixteen. My and work all keeping Western Maryland the harder to make up for lost tone itself, and the elements and circum- words, and then as a sentence, 3778 Etude, fb-2 teacher says my voice is definitely the colora- time. 3779 Romance, F-2 Printing 304 pp. $3.50 exaggeratedly pure, and giv- Second tura type and has excellent agility. However, 2. In stances that cause it to vary. each vowel 3780 Polkc, Bb-2 every great city in America there are in order to attain full due, without any sort of advancement, quite a few competent and trustworthy sing- consonant its 3781 Wistful Mazurka (Maz. . that “The list of vocal problems that can ing each Melancolique), Musical Quarterly . Conveys The I must be able to reach E and F above High-C. ing teachers. auditions with several the line personalities in- Have of arise is as great as the of biting-off or swallowing. Speak sense of the I number per- 3782 Russian Dance (Kamarinskaya), authentic now sing a sustained E-flat quite easily. these teachers and ask for their honest and difficulty F-2 from a real under- sons who wish to sing, and each problem that way several times and the volved which results What would you suggest as an exercise to candid opinions as to your voice. resolution of many ap- strengthen and each person must seek individual vanishes. It is important to vocalize on standing of the these very high tones? 2. 1 have 3. You should have had a piano in your SONATA MOVEMENT SERIES course of been singing one’s parent contradictions in the the Shadow Song from “Di- home ever since childhood and you should salvation. But it is quite accurate to say diction syllables, -but in preparing -4 SPINET JR. 3789 Sonatina in G, C. P. E. Ex- norah/* the Mad Scene from “Lucia ,” have “G” S89.00 Bach each composer's development. ... the Bell been encouraged to play upon it as part that every distinctly vocal problem songs interpretatively, the words should 3790 Allegretto (Sonata in D), -4 .J. can C. F. Bach stu- Song from “Lakme,” and have memorized the of your ordinary education. It is difficult . . . important to the average for MOTHER Start your child’s 3791 Allegro (Sonata in Bb), -4 tremely (t they are sung. . Mozart 1 role be smoothed out by a return to the first always be spoken before United States.' of Rosina in the Barber of Seville.** 1 us to imagine how a girl can learn her songs musical education NOW this easy 3792 Rondo (Viennese Sonatina No. I), C-3 dent of music in the have sung them all in recital and have and operas inexpensive principles of pure tone production. In Thus the organs of speech become fa- met accurately without being able to way. Teach your child and Moiart . with great 3793 Finale (Sonata in D -4 approval. I am worried because my play upon some instrument at least a little. this sense, no singer ever stops studying. miliar with them, and there is less dan- ) , Haydn learn to play yourself with the easy voice is 3794 Allegretto (Op. 14, No. I), Em-4 Beethoven apt to become strained by singing You must either get a piano or discover a At any time in one’s career, little ger of and constriction that modern course of lessons furnished some the tightness 3795 Andante (Op. 79), Gm-4 great breadth of under- these songs. Would you suggest continuing place where you can access to Beethoven Etude “With my have one or Let little fingers learn the ABC’s with SPINET Jr. difficulty may arise that will send you invariably occur in trying to sing new 3796 Andante (Op. 120), D-4 Schubert the steps of the revo- the study of such arias or going to lighter you will be tremendously handicapped. standing she troces of music on a responsive instru- 3797 Allegro (Op. 118, No. I). G-3 Schumann works? 3. I am teaching piano and I told 4. It is that SPINET has four octaves of full back (if you are wise!) to the scales and, and difficult syllables—and which spoils from the baroque Catholic Bruck- am good you speak and understand Jr. 3798 Andante (Op. I), lution ment. Spinet piano Cm-5 Brahms that I have a very good chance of doing great Italian, for the other necessary languages will A Gulbransen size piano keys with soft celeste-like drills you mastered when you were try- free tonal emission. ner, through the Semitic Mahler and things in piano as well as voice. Would you come more easily to you as a consequence. in your home today will give your tone derived from tempered aluminum ing to bring over Lost Penny, Schoenberg, to Berg. ... She indicates out your first tone. That is “In my experience, every vocal problem 3783 Rage G-4 Beethoven suggest my studying harmony, theory, solfege, Your ear has become accustomed to hearing child many hours of happiness ... bars that will not go 3784 Traviata, Prelude, E-4 Verdi-Block fine critical discernment, the dis- out of tune. The why the established singer never finds finds its way back to original quality of with and so forth, in conjunction with my piano other sounds besides the usual English ones. a future enriched with the appreci- 3799 Sorcerer's Apprentice, Fm-4. Dukas- James masters, and height of this attractive instrument is tinctions between these before trying for a scholarship in voice in To become a “magnificent , Lucia or mere coaching enough, but continues tone. Hence, the singer’s best chances for , ation of good music. New Gul- suitable for children or adults. Fin- provides the reader of today with opin- any advanced school of music?—M. J. E. Mimi” is a very laudable ambition which you straight on with a sound voice teacher bransen Spinet Pianos are more success lie in a slow, thorough, gradual, BOOGIE WOOGIE SETTINGS splendid basis for share with ished in brown leatherette. Height ions which form a quite a few thousand other talented instru- who can not only correct difficulties, but beautiful than ever, lovely 2714", length 29", width ’'. patient study of the basis of tone produc- by STANLEY comparison." A. As you learn how to produce these ex- American girls. To realize it, takes a rare I3y4 ments of brilliant tone and superb head them off before they gain foothold. tion. Remember that tone, in singing, tremely high tones, they will grow in ease combination of gifts, a fine voice, musician- If your dealer cannot supply you send 3768 Old Gray Mare & Little Brown Jug, -2 craftsmanship. Write for free -3 of production, sureness, and volume, ship, a good figure, a pleasant personality, a “Another important element in pure must be beautiful! The singer is 3769 Auld Lang Syne & Good Night Ladies, ", perhaps check or money order. not Musical America . . Fine, well written No C.O.D.’s 3770 Dark Eyes & Cornin' Through the Rye, -3 provided that they are in the natural range of pretty face, first class physical and mental booklets showing new models. projection is diction. I hesitate to tres- working in mass-production techniques, reasoned. . . . Unre- Express Collect. 3771 Hand Me Down My Walkin' Cane & and admirably your voice. If they are not, they will surely health, enormous perseverance, plus a great pass on my brother Bob’s field, but I but in art.” She'll Be Cornin' Round the Mountain, -3 servedly commended fo those who ad- continue to be difficult for you, and a slight deal of gbod luck. Work hard, waste no time. 3772 Old MacDonald Had a Farm, G-3 GULBRANSEN COMPANY WHITE-GERLAT CO. mire these masters and even to those sense of strain may be audible when you sing You must learn to deserve the success which 3773 Jingle Bells. C-3 Kedzie, HI. ." you so ardently crave. In addition to your Dept. E, 816 N. Chicago 51, 1600 JUNCTION AVE. RACINE, WIS. who do not. . . them. It is the prime business of your singing teacher to explain the production of these musical studies you should endeavor to make Manufacturers of educational instruments for Ask your dealer for Century music. If he cannot high tones and to suggest exercises to develop yourself a cultured young woman. Hear all schools and music studios. ", supply you, send your order direct to us. Music News . . Worthwhile undertak- Mozart, the Our them. You must trust him implicitly. the music and plays you possibly can, read Musical Flower of the Rococo Period complete catalog listing over 3800 numbers at ing and one which merits mony readers." NEW PIANO SOLO 2. The arias and the opera you have learned literary works of the first rank, especially 2nd EDITION—COMPLETE TREATISE ON 20c a copy is FREE on request. Sunbeam's March from memory and performed in public are poetry, not the usual popular detective novel TRANSPOSITION SO cents post paid and best sellers alone. ( Continued CENTURY MUSIC PUBLISHING CO. very difficult for a girl of sixteen. Evidently covering ALL problems of transposition from Page 9) Magazine ". . Her subject is CHAD BROWN Harper's . 47 West Street, York Y. you have extraordinary talent, both for the Send for folder to the, author 1016 Rahel Street 63rd New 23. N. of great contemporary interest and her Madison 4, Wisconsin singing and piano playing. Therefore, watch She Has a Good Voice but Fears Infected Charles Lagourgue, 35 W. 57th St., New York 19 research worthy respect." glance at the art of if you Tonsils and architecture of the mpstmrgs amateurs in building your step. It would be a great shame con- I 15 ORIGINAL COMPOSITIONS period. These give were to have a set-back, now that you have Q. have been studying the wrong method FOR THE PIANO indication of the spirit struction either. Outside Vienna, the Em- advanced so far. Your “vaulting ambition” for two and one half years, but I have now By LEOPOLD WOLFSOHN of the times, and show us some of the peror built himself a pleasant country Important Notice To should never be allowed to overleap itself. changed teachers, and I have learned more New Intriguing Melodies and influences TRAINING Harmonies that Linger. to which Mozart was subjected home, the should brought along reasonably and in two months than I did in the previous two Ideal for Studio and Concert. Used by progressive Schonbrunn, a modest affair You be teachers and artists. in the writing of his music. Etude Piano Teachers! your teacher thinks you are years. Will the extraction of my tonsils have of some 1,441 apartments and one hun- THE SINGING VOICE carefully until 1st ready for the great test audition for entrance any effect on the voice, either changing its to 2nd Grade As far as architecture was concerned, dred and NCREASE your students' interest by incorporat- Once Upon thirty-nine kitchens. At Gluck's advanced schools of music. range, or quality, or actually mining it? My a Time .30 Russian Lullaby 35 architects I ing Popular Piano Instruction. The Boston Con- into one of the were not particularly inter- death, By VICTOR A. FIELDS, Ph.D. range is Joy Waltz 30 Good Fellows March .30 Mozart received an appointment servatory has a Popular Department in connection Only then should you be permitted to take the from A below Middle-C to D over ested in The Wandering Minstrel .30 the exterior of the palaces they as chamber with their Curriculum. You now may have this long- audition, not before. High-G, the best part of it lying in the upper composer to Emperor Josef II. 3rd Grade were building. sought-after instruction. Your students will thank Director, Speech and Voice Clinic pianist must have and lower ranges. I am afraid of submitting Interior decoration was Now that in 3. The successful concert Sailors Hornpipe 40 imagination at least we you and your class will grow. For the first time, coun- to a tonsilectomy for fear that it might de- Remembrance 50 their specialty. College of the City of York a good working knowledge of harmony, Minuet They wished to create a have lived in Cavanaugh Piano Schools are giving Etude Teachers New 40 Hungaria 50 the time of Mozart, we can terpoint, and musical form, in order to present stroy my high tones. Two physicians have fairyland atmosphere for full permission to teach their famous Popular Piano Second Printing $4.00 Medium Difficult the fairy story give a more 352 pp. musical works of the modern advised me to submit to a tonsilectomy be- understanding ear to his Course. for full details. the complicated nobility. a mu- Write the New York Office LOVE SONG 40 IDYL POEME 60 By skillful handling of walls sic, because repertoire, adequately and well, to his dis- cause I have tonsilitis occasionally which we know of the CAVANAUGH PIANO SCHOOLS International ". BOLERO conditions Musician . prospec- 50 SERENADE 50 they sought to create . The criminating audiences. It would do him no sometimes sets me back in my work. an intimate atmos- under which 475 Fifth York 17, N. Y. ORIENTALE 60 REVERIE 50* this music was Avenue New tive student may well pause on the elements 2. Does age have any effect upon the voice? phere in their rooms. composed harm to understand something of the Thematic Circular upon Request The light of a and we know of the people for threshold of his career to read such a of voice production, but would only make him I am nineteen now and my voice changed whom it , TRAIN thousand candles reflected in wall I appreciate LEOPOLD WOLFSOHN EDITIONS mir- was composed. book as this which brings within its focus broader musician. However, these things are some time ago. would any advice We can feel how well his a Hotel Ansonia, Broadway at 73rd St., New York City rors further heightened the effect of 690 essential to him. On the con- or comments.—V. M. music suggests the airs concepts of vocal pedagogy culled not absolutely and graces the concentrate upon them. warmth and intimacy. Delicately wrought from 702 books and articles on the sub- trary, the singer must architectural flourishes, are indeed fortunate to have chandeliers the moulded He must learn how. to control his breath, and A. You dis- added brilliance to the pic* curves let. . . . Teachers will profit most by and prolific chords, how to form his vowel and covered a teacher who has helped you to The Actone is used and recom- TEACH Classical teachers ev» ornaments of the Results this his vocal ture. The porcelain factories of GUARANTEED! compendium of opinion, using it as such a marked improvement in your erywhere are finding Vienna, eighteenth century. We build, strengthen the voenl organs— consonants comfortably, and he must under- make mended by the foremost networks, The eighteenth not with 60una. 6C» a compass the answer Meissen, and Sevres were cen- singing lessons— but by and a gauge in their own use of the natural resona- method of singing in such a short time Your MODERN PIANO to the prob- turning out tury made a entlflesllv correct silent and voral exercises, stand practically, the record and transcription companies, fetish of charm. absolutely satisfaction search for resolves itself lems of teaching popu- exquisite The word with guarantee complete the truth. . . color, and beauty to problem of the moment into chinaware: cups, saucers, Wr,t Sent to no tors which add power, and charming” is * for Voice Book - FREE. disc jockeys, and collectors. fay . . . lar music, in our mod- much build the question “Are my tonsils diseased or are note the abused 0, '1 unleaa eUmed bv parent. voice. Upon these things he must plates. Designers nowadays Score,.*.PERFECT his ern, were devising new pat- VOICE STUDIOS, Sludie 5591 Kimball Hall BItIn. Chicago 4. IB up-to-the-minute but its use is quite in The of his technique, and his success they not?” Manifestly it is more difficult to order in describing Library Journal "This unique book is the structure method. Based on sound terns for the satins silks them. sing with a pair of infected tonsils than with Yes, the experts agree: The best insur- CHRISTENSEN and which wera S a or his failure depends very largely upon principles 1US1 HiS music compendium of vocal science, art and of music, it replacing brocades and heavy ls “charming” PIANO TUNING PAYS perfectly normal ones. In the first case the ance you can buy for your records is will help, woolens in with^fhTnall its> u opinion. not hinder inherent grace, It does not deal with interpreta- whole palatal arch is apt be inflamed and WAY the world of fashion. melodic fer- Learn Lady With no Knowledge of fo the Actone Transcription Needle. The classical studies. Fran- This was the setting tility, this Independent Profession tion or musicianship The Young and refinement of but covers vocal pro- Aspirations. stiffened, so thqt it cannot perform its natural chise Contract will give for Mozart’s detail. And one Music hut With Operatic Actone reduces record wear to the abso- music, and it was for this AT HOME duction as functions comfortably and well. It is not diffi- you exclusive right to teach t0 n° te: understood by many singers twenty and my passion is music, and advertise our Mozart was Q. 1 am lute minimum because each needle is setting that the composer intended a Clas- and pedagogues. family has cult for an experienced surgeon to decide method in your community, if not represented. much StT?sicist, not a R Some 62 pages of particularly opera; however, my Romantic. The great nnotated whether they should come out or simply be individually Shadowgraphed* to insure Our 43rd year. Write for complete details. En- of his music. In consequence there are Bee- Bibliography locate the sources never been financially able to help me study P WS temporarily treated. As two physicians have perfect point that fits the close $2 for complete, 91 page instruction book. mUSi ° his US ’ * stenographer. About a a record always an intimacy and charm in P«2l °j ^ basic volume for teachers music. I work as a Moz- ieeimgs,eeTtogs TmsT°all his teacher already advised a tonsilectomy there does not joys and sorrows. and students of month ago I sang for a local voice groove. The Actone pays dividends of art’s music that are unmistakable. In con- singing, likely fo prove uncertainty about the ques- PLAY ' possibilities and seem to be much POPULAR PIANO nd “0zart indispensable." who said that my voice had less surface noise and the maximum in s mus * The magnificent palace of F c impersonal, magnifi- tion. If the operation is done by a very skill- Versailles, pSeTpunned of could be developed. I want to be a LIKE A PROFESSIONAL his own personal the ful man, after the throat has completely clear, undistorted tone. Ask your dealer seventeen miles outside Paris, set the feelings cent Aida, Lucia or Mimi. So these are P°Ser approach Musical Digest daily: healed you should gradually experience an for Actone Transcription Needles todayl pace es music . . Touches on every I ask of you and of myself with our BREAK SHEET SERVICE for every king, duke, and baron in Hveiv objec- questions comfort throughout tively, as a craftsman Our patented TONOMETER with BEAT conceivable aspect a girl to begin vocal increased freedom and Europe. moulding of the voice. ... For 1. Is twenty too old for •In the Shadowgraph Process, each needle It brings you clever arrangements for playing extra To “keep up with the Jonses” a lovely GAUGE is a scientific teaching-tuning e a your entire range. at ase, an serious vocal shall I go about finding is magnified 200 times and shadowed choruses of eight popular exquisite creation, student, the vocal ped- training? 2. How “hit parade” tunes. Gives Versailles was their but one instrument that simplifies learning and that 2. Your question is not clear. Age, of course, against a scaled motto. There must little with agogue or I can trust? 3. Is the fact outline of a perfect you breaks, novel figures and tricky embellishments, relation assures knowl- would-be teacher, it will prove teacher whom to any accuracy with or without well know, has a tremendous effect point. If it deviates tolerance have been quite personal feelings s piano, nor have one in the as you frem a of ready to fill in. Single copies 25c, stomps or coin. a building boom in that he edge of music. tools much a necessity I cannot play the himsejf Action Model and as is a dictionary the voice but upon all the .0002 to .0015 inches, it is discarded. be 0 drawback? 4. I speak and not only upon Send $2 for ten consecutive issues. day, for all of them were building experiencing furnished. Diploma granted. Great a stenographer. home, too great a Rococo wrote his . . that a body functions. We fancy that you mean, is music with shortage of a PROF- fairly well and I know palaces at their this same tuners makes this read Italian nineteen sufficiently A Product of capitals in attitude . voice at the age of imitation of ITABLE field. several languages is necessary your ’ aS a and UNCROWDED knowledge of THE CHRISTENSEN METHOD Versailles musical craftsman M. settled for you to undertake the usual vocal and there were then some three fashion! PIONEER SCHOOL 50th YEAR. G.I. other studies would you suggest.— Suite 754, Kimball Hall, itigatamifm What place in the Chicago 4, Illinois ornament APPROVED. Write free booklet. training to fit you to make your hundred European capitals. Nor were the to further em for L. V. beliish a Rococo drawing l NILES BRYANT SCHOOL King musical world. We should certainly say that room. s Crown found a fine teacher Bryant Bldg., D. C. Press been better if it is and as you have Famous for Fine Needles Since 1892 EJ Washington 16, * 0> Co|umbio A. Certainly it would have 46 "MUSIC _ University, New York 27 a few you should continue to improve. STUDY EXALTS LIFE” you had commenced singing lessons THE ETUDE LIFE” JANUARY, 1948 "MUSIC STUDY EXALTS " - . , -

I learned to from him appreciate the and Better Organs true value of the recitativo. This foun- Greater dation of all cantdbile singing— /o* PIANO STUDENTS the very Organ and Choir Questions AMAZING AIDS CHILD of Mozart, Donizetti, Bellini— for America basis is all By the frequently neglected! Since DEVICES^ PIANO TEACHERS too by its LABOR SAVING Page 17) author of the (Continued, from very nature it carries no melodic line, to -Answered L FREDERICK PHILLIPS Pianos are essentially built for adults. Illustrated below are the two there is a tendency hurry through it HARVARD authority, could not be } MUSIC RACK. FOOT am told on good get to the 'pretty' part! The ADJUSTABLE aids attached to a Grand Piano. one is and That is a today. I plead that when DICTIONARY REST AND PEDAL CONTROL rebuild replaced mistake. The singing of a Q. Recently I have access to a choir library Personally, They can be attached to any he get expert big correct we lean to the idea of the choir the piano for tiny tots. Both the Music considering a new organ, OF MUSIC which contains two anthems by R. H. Prutting. THE ONLY PEDAL or and recitativo is one of the standards by being in view, but in their appearance and be- Rack and Foot Rest can be adjusted style piano, Spinet, Grand regarding what he has, I can find no reference to him or his music. haviour remembering that they are in view. advice which operatic art may be measured. Upright organ can or Please give me some data concerning him and In case it is necessary to the EXTENSION THAT to any type of piano—Grand, Upright. whether or not much of the have director The secret of such singing is to his works. Are they used to any extent? in and Spinet in an instant. Piano On the give front, he (or she) too should be as unob- / 1—Adjustable to Any Style of cannot be used to advantage. Also PERFORMS LIKE Desired Height full value to every word, every note— name about a dozen easy anthems for trusive as possible, and movements should be MUSIC; 2—To Raise or Lower to are many or- hand, we know there full choir without solos, which are usable and limited to necessity. The “shell” RACK 3—A Device on Back of Rack for other quite as you do in a big aria. Instead idea we are JENKINS ADJUSTABLE PIANO MUSIC j per- Masters ACTUAL PEDALS! Adjusting to Any Angle although they work and standard.—C. L. K. afraid would constitute a rather awkward ob- to V gans that, through a recitativo, RACK can be adjusted any desired might of hurrying the struction. haps make some fair sound, they height and brought forward, so that singer must learn to emphasize, to mag- A. We regret that we have no biographical As regards stops, you would need the Erz- building a fire. We are a child's eyes will be on a level with better be used for of words, notes, of the data regarding Mr. Prutting, but our records haler or an open diapason equivalent on the pressure nify the value and rests. his music and at the correct distance, certainly through with the high show his address to be 133 Warrenton Avenue, Great in addition to Melodia and Dulciana, Actually, the moments of rest or fermata eliminating eye strain. leather lipped Diapason. There Hartford, Connecticut. Doubtless he will be and we would suggest the additional of a Tibia and accentuate the motion and hence some notable Diapason the glad to advise you personally regarding his Flute d’Amour, and possibly a Gamba, 4' and are at present work. 8' aid the child’s at meaning of the flowing recitativo as a Keyboard We ourselves are acquainted with only respectively. For the Swell we recommend: To further comfort There will be choruses in this country. two of his anthems, which are in fair use, Bourdon 16', Diapason or Violin Diapqson 8', reason for the slightly (/) but the piano, we have great oigans whole. The mag- many more. We have some cn to exactly what extent we have no means of Salicional 8', Oboe 8', Stopped Diapason 8', emphasis of a recitativo is LU becoming nifying the knowing. Harmonic Flute 4', Flautina 2'. here, and they are continually u by JENKINS (KAUFFMAN'S) FOOT REST fact that this form grows out of the A list of suitable anthems is being sent to The word “tracker” has reference to the our great builders says that a better. One of you. action between the key and the pipe, rather AND PEDAL CONTROL his tragedy; and the moving and elevated every organ he builds is better than > WILLI APEL than wind supply. With modern organs the nature of tragedy requires something H Q. I have been taking piano lessons Can be used successfully on any type previous one. for over depression of a key creates electric and pneu- the everyday expression c/5 A Brief Survey of five years. 1 am much interested in Hammond, de Balzac— loftier than of matic “contacts” which open the valve at the piano. I like this quotation from u and Pipe don't read Shakespeare Pianoforte Music organs, but my mother thinks I pipe, but in the old tracker action this key FOR grandest, the speech. You as w PIANO “The organ is in truth the should have more piano training. What ability 1% depression operated a series of levers and pul- With this Foot Rest, a child sits at you would read the comics! Keep this > most daring, the most magnificent of all should one have, and for how long do you think leys which resulted in the opening of the piano at ease, with his feet resting sing recitativo! z The world-famous musicologist STUDENTS human genius. It in mind when you a person who is going to take organ lessons, valve. instruments invented by a illuminates the landmarks in platform six inches from the floor, e "Keeping in mind a disciplined ap- the should study piano?—R. K. H. noting the dangling of his legs. \ history of keyboard music from Q. I am interested in a small pipe organ for to your problems will help to * a skilled proach my home. Please tell me if it is possible to could be more uncomfortable for a press anything in response to 0 the Middle Ages to the pres- A. If in your five years study you have ac- overcome them before they become diffi- place a small organ in a home of limited than having no support for his feet and touch. Surely it is, in some sort, a pedes- ent. Seventy complete compo- quired a first class technic for the piano, and ksH PC dimensions, and an approximate price. Also — flight cult! A sound background of study en- sitions, as well as can play acceptably fourth grade studies and. tal on which the soul poises for a many shorter the address of several organ builders nearest Very important, to up-to-date piano teachers, is having the child learn the rely prevention rather pieces, including some of the easier Bach essaying on her course ables you to on selections, illustrate his fresh, my home who might give me more informa- use of the pedal. Our FOOT REST is an attachment to the pedal which forth into space, works, we should say you would be ready to I than cure.” continuous commentary. Of tion. Are small used organs ever obtainable? extends to the top of the platform. By pressing his foot on the pedal attach- to draw picture after picture in an end- take up organ work. A good foundational piano exceptional value W. C. K. cross 1 to students, technic will add materially to your progress at — shfeT ment, a child can operate the pedal without having to stretch his legs. less series, to paint human life, to scholars and musical amateurs. the organ. A. We are sending you the names of a the Infinite that separates Heaven and < num- With the MUSIC RACK AND FOOT REST, a child at the piano is 328 pages. ber of well known and reputable organ build- the longer a dreamer listens Q. hope to have our church remodeled Earth! And We ers, who will comfortable, and when comfortable, he is inclined to practice longer X be glad to give you full details and wish your ideas regarding choir loft, or- to those giant harmonies, the better he fiey.-Kolor Visualizes; $5.00 at all bookstores and prices. Even a small organ will require a and progresses more rapidly. gan, and choir. Do you think it is more effec- realizes that nothing save this hundred- fair amount of room for pipes, wind chests, v.. tive to have the choir entirely from view of and so on, but the feasibility of such an in- voiced choir on earth can fill all the the congregation so the music is heard rather ADJUSTABLE MUSIC RACK—$6.00 FOOT REST AND PEDAL CONTROL—$6.00 the Key-Signatures stallation will depend somewhat on the lay- A Roy Goodman space between kneeling man and a God than the choir being seen? Our church is Jr. Pedal provides 0 -©- * -e- —tt— u out of the home. The manufacturers will be (Continued from Page 16) # " Methodist. hidden by the blinding light of sanctuary. y glad to advise you. advantages of cor- e I new choir 4, A friend suggests having the console of the System tor Teaching Sight The music is the one interpreter strong piano teacher learning curved stem for half notes fare*ANTHEM CATALOG3G D new organ to one side instead of the middle. Q. Am a to play or- SPEED DRILLS enough to bear up the prayers of hu- I prefer the middle in case we eventually have gan. Have had but one lesson, and no access Ex. 9 'T Choir Playing to Little Tots, or Directors, Ministers the to a teacher. In playing hymn tunes I manity to heaven blended with the myri- — ^7 one person direct and play, simplifying am With Roy Goodman Junior Send for your free octavo anthemiem directing. using both feet, heel, and toe. It seems to Flash Cards ad fancies of every creed. The melodies > J y£ i pedals the piano pedal mech- Beginners of any Age and chair book catalog containing a not a shell for the director, so she can- sound better, but our organist uses only toe of Why anism is literally raised to the inspired things symbol I changed later to double-stems. by the sense of divine are a list of not be seen. I directing the choir at pres- left ioot. Am I wrong? She plays all bass on - new anthems, standard anthems, am level of the feet, avoid- By WALLACE and WINNING to if child's blent with grandeur Neither Busoni nor anyone else , my talent, and some not very good lower half of pedal board. Is that right? Is it a unknown before. gospel hymn anthems, etc. ent, volunteer ing improper posture and and in interpretation unless under direction. It permissible fojr the toe to slip from one flat Speed Drills—Consists of 32 Cards to be placed back of the Piano Keys By the chanting of the choir in response knowledge, had suggested using black # "• strain on the abdominal and SENDTODAY! time as the present arrangement is pedal to the nearest one? Should the right foot staff. I also saves back muscles. to the thunder of the organ, a veil is white notes on the traditional \ The Roy Goodman On these cards are notes corresponding to the key on the keyboard, showing RODEHEAVER HALL. MACK CO.^ such that the choir must learn an anthem very be held on swell pedal all the time?—B. L. M. that such use Junior pedals, attractively the position of each note. Thus, the student learns through woven for God, and the brightness of His became convinced, however, (CH OIR thoroughly to sing without direction. Even so, 4 CATALOG DEPARTMENT A. For a beginner you are getting off to a covered with tan leatherette, of the or attributes practical immediate £ attacks releases are none too well done. his eyes instead written spoken word. shines through it.” constituted the most 1147 Ninth St. • ^ and first class start. Winona Lake, Ind. I One of the signs of second rate fit any piano. We hope to have a (name) organ, two application of this graphic principle. The organ playing is to (1) use only the toe of the With SPEED DRILLS if is easy fo feach little folks quickly manuals. My suggestions are for the Great, a this opinion. left foot, (2) confine the pedal playing to the Provide your elementary pu- and without effort the piano keyboard. following incident confirmed Melodia, Dulciana, and one or two other stops. lower half of the pedal keyboard, (3) keep the pils with this indispensable One evening I was bored by a neigh- New - PIPE ORGANS - Used Would the Erzhaler be too heavy? What two SPEED DRILLS stress visual accuracy, recognition of key- right foot on the swell pedal. In other words, item. Teach them correct Prevention Is Better ex- Builders of pipe organs for church and studio. Ef- stops would you suggest on the bor's practicing. The errors were so additional continue the you have started pedaling from the board positions, rapidity of playing ncient, up-to-date used instruments all way —use both very start the keys, producing on hand at Great, and what for the Swell? What is a said: P ri ced very reasonably. also feet, heels, and toes, as well as the part with Roy rapid visual, mental cruciating that I went over and We rebuild and upper Goodman Junior and muscular co-ordination. rnize tracker and tubular organs, additions of "tracker” organ? Ours is a (name), and the air Than Cure! that stops,^?^f of the keyboard, (organ builders really in- pedals. $12.50 in single car- “May I show you the scale of couplers and chimes installed. Yearly care hand pressure. of is forced through the valves by With the use of SPEED DRILLS a child learns quickly organs. We solicit inquiries. tended the entire keyboard for use) . The pedal ton. Less 10% in cartons of 6 scales.’; M. ( Continued hymn?” “Oh, I know all my Is this a tracker system?^—C. W. the location and position of the keys and while learning, from Page 5) notes in organ playing should be in the legato or more. (Shipping weight 6V2 the matter?” Delosh Brothers -Organ Experts his studies become a pleasant instead “Then what seems to be concealing the choir or style (unless marked otherwise), and “punch- lbs. each.) Manufactured and game of an 391 0-1 08th Sheet Y. A. The matter of method of coaching styles. are a Corona, L. I., N. City ing” out the notes individually with the left arduous task. He had the “You see,” she explained, "scales otherwise is largely one of opinion. The writer distributed exclusively by Roy theory toe cannot result in legato playing. If you are Goodman's. that too much explanation killed cinch.” And she proceeded to prove it. remembers a very fine musical service in one Speed Drills should be used at the very first lesson, and a pupil not already following an organ method we the spirit of the thing: How of our best churches, and the choir was in the should he believed that “But this hymn is four stories deep. suggest that you procure a copy of “The Or- have a set at home for daily drill WM. S. HAYNES COMPANY loft at the rear of the church, out of sight. a person has an artistic gift, or he has all four floors at gan” by Stainer, and follow the suggestions Price 50c can I see the sharps on Something seemed lacking, but on the other none! If he has, Flutes of Distinction laid down. This may be obtained from the he will quickly under- once?” I retired to mull this over. The hand that same choir in full view may pos- publishers The Etude. stand shades of and detracted from the music rendered. of meaning, of inflection, errors continued. Finally I went back STERLING SILVER - GOLD - PLATINUM sibly have of projection. If he has no gift, the long- inked the sharped notes black, as the PIANO TEACHERS est explanations could Catalog on request Send SI.00 for will not help him! Thus, hymn was three-two time. Now she Earn Added Dividends JENKINS PIANO CHORD BOOK 108 RHYTHMIC DRILLS de Reszke wasted little time in talking color-pattern. Massachusetts Avenue, Boston 15, Mass. see each chord as a unique by including popular music It's Easy to play the chords in all keys with this about style—he spent the hour singing The mistakes stopped. “Well!” she ex- RHYTHM LESSON ONE BOOKLET Book. Pictures of the Keys and the Fingers in your curriculum! to Play for us, demonstrating like and Them the effects he ploded, “Why wasn’t music written wished. He always called re- EXPLANATORY BOOKLET PHIL SALTMAN METHOD attention to his that in the first place?” Thus same THE ILLUSTRATIONS BELOW SHOW THE NOTES ON THE of PIANO effects, however; he would say, dozens of MAGI C POPULAR STAFF WHICH CORRESPOND WITH KEYS ON THE 'Listen mark has been made to me by EFFA ELLIS PERFIELD KEYBOARD musically sound basis sharply to the way I phrase this— FINGER EXERCISER Z provides a for devel- observe others. \ A I L I Many teachers all oping the creative talents in your students. M THIS COUPON this legato, or that i n DEVELOPER portamento—pay at- For a time I used the device only Place ROY over the country are ETUDE Your Marketing | GOODMAN'S Make THE BOOK I contains basic keyboard harmony, J tention to how I articulate “Folksongs 909 Riverside Avenue 1 using this with other this passage, in I studio charts. Later, my Advertisers Open the. Doors- to Real basses, pianistic figurations, playing giving every syllable, Etude 1 Spokane, Washington material in teaching. every word its due and Famous Pictures” and other books, Opportunities styles, special arrangements, etc. Gentlemen: A copy will be mailed emphasis.’ After showing un- { us the points used it in scales and exercises and BOOK II contains advanced keyboard har- Kindly ship Junior pedals. for your inspection. to watch, he would ' demonstrate by sing- associated symbols. However, PIANO with time mony, orchestral styles, playing for lis- Enclosed find remittance in full. If not wanted, re- ing. Then S-J.i. writes from Q he would ask us to adde HOWARD' MADE EASY Enclosed find imitate because it brought results, I soon V tening, South American rhythms, etc. S5.00 deposit. Ship balance 1 RSITY - WASHING- SWING turn and money will him! After vn. ^ , or Advanced to I C.O.D. that, we songs c * : - teaches Beginnors were Teady J, ’ 5* am very proud .i. rid's easiest system to find time expression in mimeographed or .. j blues, Each book $1.25, postpaid be refunded. its effects ... congratulate you ^ J Artists! Learn runs, breaks, Mail descriptive folder. our own salvation. pu- y like Radio-Record Q 1 with on such a magnificent invention M effects, chimes. Boogie Woogie. intros. Special Discounts fo Teachers and pieces. This found useful •ks basses, negro l I Just ofTcolor. riding- l PRICE 50c POSTPAID After de Reszke, what the musician . modernistic, futuristic, weird styles. Write Teacher Service Director Name I have learned in new Is | the pils in establishing playing habits needs ...” choruses, etc. HUNDREDS of effects. J most from Mr. lody, jam-liot-blue Danise, who was ex- low prices. I Address first my keys, as in each tonality for Free Booklet No. 16 and KENM0RE MUSIC COMPANY 1 Key-Kolor f °» f’Ef LITE HATURE Send * '' MO. teacher and is 1 JENKINF MUXIC COMPANY KANTArCITY, now my husband I whic c AruFoc //sp new loose-leaf system. Write! 581 Boylston Street Boston 16, Mqss. hibits its own unique color-scheme FINGEB DEVELOPER ED- City State 1 coached operatic OSS E roles with him and (Continued on Page 55) S4'"AVE • VANCOUVER 8-C-CANAOA "MUSIC 48 STUDY EXALTS LIFE ETUDE EXALTS LIFE’’ THE JANUARY, 1948 "MUSIC STUDY 49 ”

fast an’d lightly. To execute a nimble mordent use a close finger touch. Art of Expression In Bach TREASURE The mordents should always be played on EVERY TALENTED STUDENT WILL the Violin Questions beat, they should occupy a part of the Continued from Page 21) ( principal note’s value, and never the en- of tire value, and all embellishments through an extended passage that ,1 WILKANOWSKI Violin crescendo played with the lower piano, the are neighbor should detachd sixteenths. Starting strokes near be diatonic. For more detailed informa- HAROLD BERKLEY player will take very short gradually the tion on embellishments one can read middle of the bow; A SUPERB VIOLIN OF TRUE ARTIST-CALIBRE A CELEBRATED VIOLIN MAKER the “Ornaments in Classical and lengthened in the direction Modern the immortal strokes will be Clarence The Orchestra Model is a rather Since the days of as much Music” by G. Hamilton. the point, until at the climax luthiers of Cremona, there have been of How to study or how to practice strong, the tempo will per- Bach? Concerning the Alard Studies large, full arched violin, of mere handful of truly gifted crafts- bow is being used as g a With the same care and concentration Y., New Jersey. Judging from the short J. H. R., Illinois. The 24 Etudes-Caprices by is emotionally dra- Q H Preeminent among living mit. If the passage I think finger Delphin full tone, finished in golden amber men. other music; but description you sent to me. your Alard contain much excellent material pressure will be as any there are a few American violin makers is Mr. W. additional bow would be interesting and beneficial for technique building, and they are just as matic, like exercises oil varnish, shaded to red and classic in- applied suggestions I should to make. Very pianists. do not valuable Wilkanowski. His many but it should not be both violinists and Why you in training -the student to use tech- necessary, students to struments are notable for perfection passage young study each voice sepa- a short article, describing them in detail, nique as a means of musical expression. In slightly retouched. The body and until about half way through the write workmanship and for rately, sing over and over some send it to the publishers of The Etude? I the latter respect they carry on what the pupil of wood and gradually. However, if the of the and neck are made of very old maple, and then but agree with you that many finger exer- has learned, or should have learned!, from the their brilliant tonal qualities. pres- expressive phrases until they can hear quite passage ends in a high position, the not sufficiently basic in nature. How- studies of Mazas. They vary considerably in beautifully flamed, while the Among the great symphony and concert the melodic character cises are a little clearly of each take issue with you when you difficulty; some can be used the- Studies artists the name WILKANOWSKI is sure may even have to be relaxed ever, I must with phrase. In this manner my students "the ultra prejudice of all profes- of Fiorillo, while others must wait until the top is old spruce of ranked with the fin- notes. be- write of for the final player is hundreds of sensitive to the expressive sionals.” "All” is a very sweeping word, and at home with the Rode Caprices. MONEY est and contact between come idiom close, even grain. The SEND NO The varying point of experience is that most professionals are virtuosi own and of Bach and become not only sensitive my UNUSUAL 6 DAY the vital element of tone- the lookout for new ideas, no mat- Nol a Genuine Strati are the finest treasure these cele- bow and string, always on trimmings players of Bach but also sensitive lis- Miss J. B., TRIAL OFFER brated violins. coloring, has been touched upon only in ter what their source may be. Mississippi. I am sorry to have to Madagascar ebonv. ex- teners to his music. They study each tell you that there is no likelihood of your You can actually passing. But it is so essential to all No Record of This Maker violin being a genuine Stradivarius. If it were, have a Wilkanowski Violin in your hands separate article hand separately until individual inde- pressive playing that a W. S. K, Pennsylvania. Apparently there is and even if it were only a fairly good copy, for examination on 6 day trial offer. pendence is attained. Only through this be devoted to it within the next few no record of a Mittenwald maker named the date would have been completed. Too few Here’s how it works. We’ll ship C.O.D. will way of practicing can a young student Joseph Blatz, and I am wondering if perhaps people are aware that German and Bohemian with privilege of 6 days examination in months. label. Are you sure it is not achieve the balance of voices which is you misread the factories have turned out literally hundreds your home or studio. Your money stays of tone-production, tone- The study Kiotz? Joseph Klotz was working in Mitten- of thousands of cheap violins, each of which in Express Company’s office ready for required of an artistic Bach performance. shading, and tone-coloring is limitless. wald about the date given in your violin. a "Stradivarius” label. Most of these prompt refund if you decide to return la- of course, does not mean that your vio- bels. by the way, the merchandise. Absolutely no risk! No For this reason.it should not be reserved This, were made in , where Memorizing Bach lih is a genuine Klotz. He had many very in- they were produced in large sheets like postage chance for disappointment! Either you for the advanced player only. As soon as PERFECTED ferior imitators who copied his label better stamps. are 100% satisfied or there’s no sale. Bach’s music is the best I know for a student can draw a firm and steady they did his violins. A genuine Joseph THE CASE — is strongly built in than use it training the memory. Again I ask my graceful lines with bow he should be taught how to Klotz, in good condition, would be worth from A Tempo Suggestion memorize each voice separately §200 to $350. be- sturdy, laminated TEACHERS as a means of musical expression, for the pupils to Mrs. H. E., Connecticut. The middle section of Selection of materials for Armour Strings the Andante from the Mendelssohn Violin veneer body, covered s/ sooner he learns the elements of the art and each hand separately before they gins with the Armour Buyer.-IIe makes the with heavy top-grain The Barbc Instruments Concerto should be taken only slightly faster TAKE ADVANTAGE sooner they will be part memorize the complete piece. It is also F. K, Alabama. The Barbe family produced first quality-inspection, by accepting only the leather and plush of expression the than the first and third sections. It is usually PRICES structurally; that some good violin makers, the best-known be- following the "kill” linings. OF SPECIAL of his subconscious violinistic equipment. good to memorize Bach played too fast. I am glad that your violin finest lambs. Immediately ing Telesphore Amable Barbe, who was born Is, memorize separately the theme in means so much more to you now than it in the Armour plant, raw materials are checked in 1822 in Dijon. France and died in Mirecourt formerly did. Your ambition and enthusiasm forms it occurs, the episodes, U. S. Government Inspectors—and double- whatever at the violins by age of seventy- His are worth are excellent; if you continue as you are now the counterpoint, and so on. Thus a stu- between $300 $450. F. Barbe checked by Armour Experts! Thus, all ma- The FRED. GRETSCH MFG. Co. and The who going you will derive great pleasure from your dent is forced to depend not only on made your ’cello was, I believe, his grandson. violin—and give great pleasure, as well. Good terials for Armour Strings are triple-checked, Wilkanowski The Musical Instrument Makers Since 1883 This member of the family is not so well Why Bach Has Become a muscular memory but also to include the luck! even before the processing! Armour Strings Orchestra Model— $160.00 I 218 So. Wabash Avenue 60 Broadway known nor so careful a workman, and his in- visual oral. start with the best, and stay the best due to Complete Outfit — $200.00 1 and struments do not fetch more than $250. Never- Chicago 4, III. Brooklyn 1 1 , N. Y. Schools of Music that theless, rigid quality control. In closing I should like to add you got a bargain when you bought J. C., Shanghai, China. There are a number “Must” for Piano Students your ’cello! Bach’s music should occupy only one part of fine music schools in America, so it is diffi- The perfection of Armour Strings is the of a student’s musical education. The cult to recommend one in particular. Among result of six important steps: (1) Getting A Doubtful lalicl Roch- C Continued Page 20) them are The Eastman School of Music, from student's musical diet should be properly Mrs. R. A. W., North Carolina. To have your finest raw materials; (2) Protecting quality ester, New York; The of Mu- WORKS violin appraised, all you could send it in con- EDUCATIONAL balanced to Include a thorough study of sic, New York City; The Yale School of Music, by constant refrigeration; (3) Controlling this. Our little folks are people with their fidence to Shropshire & Frey, 119 West 57th the music of the masters of the classical New Haven. Connecticut; The Chicago Musical quality by laboratory tests; (4) Precision Street, or to The Rudolph Wurlitzer Co., 120 own likes and dislikes. Somewhere they College, Chicago, Illinois; and the Oberlin and SUPPLEMENTARY period, of the romantic school, the late West 42nd Street, both in New York City. But splitting of gut; (5) An exclusive Armour might have heard Bach played without College Music School, Oberlin, Ohio. The col- lastly, the mod- I must warn you not to expect very much tanning process; Polishing to exact di- nineteenth century, and lege Schools of Music have dormitories; the (6) interest and therefore thought that there value to be attached PIANO ern and our own contemporary com- to the instrument. If the other Schools have recommended boarding mension desired. When you specify Armour MATERIAL fa is no interest in Bach, or simply label reads, in English, “Made by Nicholas decided reaped from houses. At any one of these Schools you would Strings, you know you are getting the best posers; but the advantages Amati,” it is almost certainly a factory-made that his music is not the type played at get excellent instruction in both violin and the study of will save both the German or Bohemian product. genuine More musicians use Armour Music because no other manufacturer duplicates Bach A theory, as well as other courses. parties. You are up against a prejudice Amati label perfecting student and the teacher many a labor would be printed in Latin. Strings than any other brand the Armour process of strings. then, and to get past it you need all the ex- and will also enable the student to The Is Label Authentic? LK WHEN NOTES GO WALKING BOOK wisdom you can muster and also Question of Extensions /fW all the development R- Mrs. H. M. C., North Carolina. There really y perience early in his musical R., California. I am afraid I do not quite Quality Controlled BY ARMOUR “They Step In A Row love. In such a case you must vitalize is nothing I can tell you about the violin you I Jv) ilr' artist, namely, understand what your problem is. You say you For beginner of the piano. Contains pieces for piano the delights of the true found up in the mountains. It might be any- H ( hfPi Bach and his music, you must make him have small hands gnd short arms, and that * It his music and \JIr students who ore ploying for the first time from printed tl^t of enjoying playing uie shoulder thing. Matthias Albani was a fine maker, but a person, for this student, you must rest and chin rest fit perfectly. the make copies of his label appear in many very in- A Large Collection Of Fine music. In this book, the student associates notes not working with it. But that is all. If you have trouble making him a living entity. fiddles. With that label, it is most un- cents stretches, I ferior with the keys 75 can refer you to The Etude for VIOLINS IVidianv andSrm . When should students last likely that the violin is a Strad. But in the begin the study August. On the Forum page in that issue Old & New, With Concert Tone 207 . — III . the backwoods many people think that the word South Wabash Ave Chicago 4, NOTES GO SKIPPING BOOK II of Bach? question of extensions was discussed at WHEN synonymous with the word violin. REDUCED 40% They Go” some length Strad is SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. "We Skip Where The answer is, as soon as they can Can We Tame the Send For New List. WRITE FOR INFORMATION the piano. In this book the student is given o procticol For the beginner ot readily read the easier Bach pieces. If an FRANCIS DRAKE BALLARD PUBLISHERS OF "VIOLINS and VIOLINISTS" of notes, which he need not discard, change or modify when America's only journal devoted to the violin manner reading advanced student is Collector-Dealer to be introduced to Specimen Copy 35*—$2.50 per year. he approaches the more advanced grodes 75 cents Bogey? INVENTION 50 Chippewa Rd. Tuckahoe, N. Y. Bach for the first time, it is still advisable Boogie-Woogie NEW VIOLIN to begin by having him get acquainted 14) "You feel and see—where fingers should ( Continued from Page with can now learn, at home, by MELODY BOOK KEYBOARD SECRETS his simpler music. Of course one will be." Anyone 4 JOHN MflRKERT £ CO. not will give mail. Endorsed by all great violinists. * ft ^^^^^gJ^Sjorchestra are using G. B. Virzi A First Book Sixty daily recreations to solve first have an advanced student linger too fourth, and fifth scale degrees 141 WEST I5TH ST., NEW YORK II, N. Y. We loan you violin and bow. with the purpose in view long in transposition and VIOLINS OLD 8s NEW Planned keyboord problems $1.00 the company of the him an insight into III. WL repairing our specialty. unsophisti- ATLANTIC CITY. NEW JERSEY Write to 2537 N. Bernard St., Chicago 47. Expert Repairing. Send for Catalog of teaching the letter names on the cated Bach development of this ^ e J.&J. VIRZI CORP.. 503 Fifth Ave., New York but will move him rapidly to lead him Into further VIOLIN KEYBOARD SYSTEM stoves. A helpful little book for TUNES FOR TWO hand FINNEY the grade of Bach’s music which this skill in working out original left beginners and o useful oddition to Eight piano duets for individual or Protects student will be capable of absorbing. patterns in various keys. other moteriol planned along the One music from Keep EVERY Sheet Music class instruction 75 cents thing from of is definitely sure, that only All in all, most teachers can profit dirt or some line...... 75 cents the ex- tremely musical wit damage. at Your Finger-Tips are receptive to the mu- the judicious use of boogie-woogie CREMONA Oil Varnish • a MELODY BOOK II Write for catalog sic of the more that Richly styled. TONKabinet mature Bach at first certain pupils. It often happens Strings drawer-trays per- SUPERBA Beautifully mit easy filing keep sheet Designed to come offer the pupil has contact. The average is flagg^S ; mu- student must grow pupil whose interest in music Violin Makers Supplies crafted. sic neat, orderly, two staffs. safe, find- learned the notes on the gradually and often .wi • able. painfully to the un- may be stimulated by an experience THE VIOLIN SHOP Every sheet is always at 65 cents ac By makers of your finger-tips. At your deal- derstanding and love of Bach. gently led b Bernard J. Le Blond boogie-woogie and then Student Nationally er’s. Tonk Mfg. Co., 1980 N. How should goo Residence of Mihich School of 54 Surby Ave. in Lakeview embellishments into fields. As long as music. Known Tonk Magnolia Ave., Chicago 14. be exe- more orthodox Piano, Voice, Violin. Dip- 161 cuted? inter ^ Cello. P. O. Address Box Furniture. musicianship and the pupil’s best Radio, Speech, Paint- Battle Creek, Michigan PLAYING Ceramics. CHORD There is no set rule about the teacher ca ”n0 Academics. Ages 14 execution ests are the goals, a good Sizes and P EXCellent <>uisine - Write for At The Piano of embellishments since and n booklet Bach himself assign material that is improper, F styles for way to better gave no definite react o The simplest indication. In many considerations of his colleagues’ MRS. WILLIAM HENNE Homes, TONKahinets sight-reading ond early com- cases it is a matter ma ACOUSTHEORIST of personal taste. should use of any 3001 Pacific Schools, The interfere with his Avenue new life to your violin position $1 .00 G 147 mordent Is a EIgUARANT! the most common of the will help Investigate today Bands, etc. em- terial that he is convinced Marta violins bellishments. In bayer, Piano New and old for Sheet Music Bach it should New York 19, N. ¥. be played tain those goals. VASCO MIHICH. Koice 1391 6th Avenue Isnsni TEL. CO. 5-4078 50 "MUSIC STUDY EXALTS LIFE” the etude JANUARY, 1^48 "MUSIC STUDY EXALTS LIFE” 51 ' I •

some of the modernists, were typical. This train of thought led Type Df Music to the selec- yMMwww' A New tion of others, many of them gpmgppiy personal antipathies but likely to be shared: cer- ^UlLUiUllUiUBflHB^SSaHML Interest Scale tain kinds of crooners and crooning, some "SO EASY" hill-billy music, music which is overly The NEW NOTE in MODERN PIANO INSTRUCTION jrorn Page 18) church music (Continued saccharine, which is in poor 15 piano pieces for Perfect Uninterrupted Sequence — Natural Progression taste, and so on. Also there were hum- young were included. Specific drum and monotonous tasks most desirable done in arranged by P. Ballatore MICHAEL AARON PIANO PRIMER 60 programs, titles of music, movies, radio connection with music, the mending of Michael Aaron Piano Course GRADE ONE 1 .00 and musical events taking place within music, secretarial jobs and librarianships with their upon. It was Price 60^ Michael Aaron Piano Course GRADE TWO 1 .00 the community, were selected to draw obvious that the general availability and recency in mind. questionnaire would have to include titles Michael Aaron Piano Course GRADE THREE 1 .00 All of the activities were possible for r.ny or some shoddy music and some unde- A new album for the beginner, including such favorites as Annie Laurie, Michcel Aaron Piano Course GRADE FOUR 1 00 student enrolled in the music classes in sirable activities if an opportunity for MICHAEL AARON ADULT COURSE 1.00 the high school. exercise in discrimination and a neces- Silent Night, Greensleeves, The Battle Hymn of the Republic, Santa Lucia In addition to placing all items in defi- sary balance in positive and negative re- Send for free Michael Aaron thematic brochure nite categories as to type and relative sponses would be achieved. These were and many others. complexity of function, playing and lis- kept to a minimum as far as possible, and tening activities were segregated. Often worthy activities, such as “practicing COBB a student who had developed a keen ap- scales and technical exercises” or “carry- EDWARD B. MARKS MUSIC CORPORATION • RCA BUILDING • CITY • NEW YORK by HAZEL RADIO fc5wl Four BOOKS preciation of symphonic music was not ing an instrument to and from school” THE KEYBOAR^ technically advanced enough to play this were substituted. ACQUAINTED WITH type of music. Therefore, the question- Within this list of one hundred items naire arranged so that he could in- student was asked to ^T,NG was the discriminate in Whiteman’s symphonic group, between styles of articulation as are string teach- fore we can decide what constitutes good CLASSIFIED ADS dicate his feeling with regard to each his feeling toward many activities of sophisticated arrangements, including all ers about bowing. The voices in band literature for band, we must consider two MUSIC exchanged separately, and cognizance could be taken acknowledged value, ranging from YOUR UNWANTED such the tricks of the best modern arrangers, must be treated musically with the de- other problems that is, instrumentation piece for piece, each; quality matched, of individual backgrounds in summarizing items as picking out the theme of Burpee’s Specialty Shoppe, Delton, Mich . a mu- to the unrehearsed jam session. sired effect of the composer kept in mind. and “bandstration,” or scoring. results. All statements were classified in sical composition, or organizing one’s own HARMONY, Composition, Orchestration, Outcomes which recommend the exten- Literature for foreign bands seemed to Before advancing further, let me state Musical Theory. Private or Correspondence one of five categories, Classical Listening, dance band, to reading musical scores, sive use of this or similar types of music be reserved for military bands for mili- that I am speaking of band as we know Instruction. Manuscripts revised and cor- Classical Playing, Swing Listening, Swing arranging for various rected. Music arranged. Frank S. Butler, instrumental com- include the following: tary reasons; hence, readily see it today professional. interest inventory we can —amateur and Un- 32-46 107 St., Corona, N. Y. Playing, and Related Interests. binations, or studying the lives of various reason (1) it provides an objective basis to prove how the instrumentation affected these questionably the word “band” is some- SLIGHTLY USED CLASSICS (Vocal, In- One difficulty which was, admittedly, composers. In classical music there Music to 1850. , was or disprove previous conclusions based scorings. In military bands one is apt to what out of order, when we realize that strumental). Back Popular Classics Exchanged For Old - only partially met, was encountered in the choice between violin sonatas and Lists lOf. ta upon observation alone; (2) it uncovers find a somewhat different instrumenta- almost any large combination of instru- Popular Music. Fore’s, E-3151 High, Den- the selection of items which would meet short classical solos, between symphonic vtasts* ^ new data regarding student’s interests tion and concept from that found in ments may be dubbed “bands.” For ex- ver 5, Colorado. trains the requirement studies 75c for worth-whileness, and and chamber music, between suites and- LEARN PIANO TUNING—Simplified, au- pHce and personalities; (3) it affords a broad- purely concert and symphonic bands. ample, according to the definition, we $4.00 Literature free. pressively. at the same time would be likely to elicite tone poems, between Bach and Schoen- thentic instruction — 75C er base and more detailed Information As to the actual scoring we can make have dance bands, concert bands, accor- Prof. Ross, 456 Beecher St., Elmira, N. Y. negative responses. Most music students berg, and between many of the classical ^ of questionnaire; certain observations. It be remem- dion bands, swing bands, jazz bands, mili- LEARN PIANO TUNING AT HOME. than the usual form must have many positive preferences, but few and Romantic composers. Course by Dr. Wm. Braid White. Pay as you TH!S (4) it permits a mathematical interpreta- bered that these foreign bands differed tary bands, symphonic bands, ad nauseam. learn. Write Karl Bartenbach, 1001A Wells have a proportionate number of positive In popular music an effort was made tion, revealing comparative strength and in instrumentation and concept from our Under the dictionary definition, even a St., Lafayette, Ind. dislikes. Several suggestions as to possible to suggest an equally wide range for professional copies of S breadth of interest by means of a numer- bands. The French bands are noted for symphonic orchestra is a band. INEXPENSIVE, items of this type were found in an ar- selection. The various gradations from your compositions. Willard Photocopy ical score; (5) it affords an opportunity their proficiency with woodwind instru- Hence, we can readily see that we are Service, Willard, Ohio. ticle by a well-known critic, describing “boogie woogie” to chamber jazz are ex- 10 CHARACTERISTIC DANCES for Piano Solo for exercise of critical judgment; and ments, and, therefore, these instruments in need of a word that will classify or FINGER GYMNASTICS, save hours of the pet peeves of a confirmed concert goer. tensive as one could wish. In jazz there practice, few minutes daily away from (6) it is an instrument of indoctrination were stressed in the scoring. The French define the type of instrumentation of gain Unaccompanied violin sonatas, in instrument, eliminates stiffness, by William Scher operas is the choice between “hot” and “sweet,” play in all in suggesting a number of worth-while band scoring is bright in color and rich bands as we now know them. This term speed; transposing system, other than the native tongue-, music of between *he “Dixieland Five” and Paul keys, both $1. Felix De Cola, 736 N. Mar- musical activities to the student. harmony. I compared a few of their should also indicate the scoring used by Original musical interpretations of the folk dance music of ten countries by in tel, Los Angeles 46, Calif. an eminent-teacher-composer. While much of the value to the instruc- transcriptions with American scorings of the band. But, before we can do that in- VIOLINIST! PATMOR TONEPOST In- tor of use of an instrument of this kind numbers, and found changes telligently and meaningfully, we have yet stalled $10.00; reconstruction, $15.00 Price 60c the same Guaranteed, Next year $12.00 and $18.00 comes from the information derived in in key signatures, and treatment of the to decide upon the instrumentation. respectively. Patmor, Zion, 111. "•" r " ll "" l lllllllllllllllllllllllllllllljlllj)i the process Our band scorings, as ( of checking papers, scores woodwinds and harmonic content. American we FOIL SALE: Violin by owner. Beautiful Quit based all Joannes Baptista Guadagnini 1770 known TfeCeaSed upon a percentage scale afford a The German band scores seem to stress have said, are a mixture of the above. . TONE TUNE TECHNIC as (Millant). No cracks or soundpost permanent duplicate parts, everybody play for Beginnefj in record which may be referred the brass. The arrangements are some- We have patch. Yellow orange varnish. A superb Piano by FLORENCE instrument for an artist. Will trade. FENDER BINKLEY V f IT’S HERE AT LAST! to and compared with other informa- use some in- most of the time, use only a few key sig- what thick and heavy. They Write Theodore Marchetti, 472 E. 5th ‘ freC ‘ ’ tion at disregard at the by buo >' a "' a later date. A repetition of the struments that we do not use. For ex- natures and times me- Ave., Columbus, Ohio. l developing f Cavanaugh’s Brand survey hances the 6 story technique en- New BOOK at yearly intervals should dem- ample, they have a full choir of brass lodic and harmonic voicing, giving stress COMPOSERS, SONGWRITERS, MAKE beginner’s alertness and desifemTeaTn. MONEY: We supply low cost extra copies, on to onstrate its to the lower and lowest register of the BOOK ONE How Play Popular Music effectiveness in -showing the from the E-flat cornet to the BB-flat professional copies of* your music manu- 75c BOOK development -in band. However, much has been done and scripts, songs. Musicopy Service, Box 181, TWO 75 c interest taking place. Its tuba. Cincinnati 1, Ohio. Chock-full of New Ideas . chief value lies is being done to improve these conditions. TECHNIC for PIANISTS of . . Fascinating, in the insight which the The English arrangements seem to be TEACHERS — UNPUBLISHED COMPOS- Junior Grade Easy, instructor m TWO Bigger, Better and the Best that gains, thus enabling him to quite similar to our own. I believe that With added research, experimentations, ERS: Details piano solo contest sent for BOOKS bring stamped envelope. Cash and royalty prizes. by JUNE Cavanaughs about a closer adjustment between of scoring is quite accepta- and further development in attracting WEYBRIGHT Have Ever Published their method Shelby Music School, Box 272, Shelbyville, his own and his student’s interests. there are outstanding composers to write for band, student" of the young ble in this country. I know Ind. ''dKKu'LusmftensTon 150 PS>C ° ° ‘ PAGES we are certain to provide a great future cured merely by the ordinating £ ca,ly and musically co- Showing You How many directors who will not use any but SICK-TONED VIOLINS the eyes, ears and hands. application of acoustical laws and putting to Be Just hot You've They seem to for the American concert band. BOOK Your Own PIANO STYLIST W English arrangements. them into operation. No failures. Ralph ONE 60c for! BOOK TWO. 75, Been Wishing adapt themselves quite feasibly and fa- Coss, Harvard, 111. WANTED: To buy The Progressive Series vorably to our American band instru- HUUUUHlUMUUUlUiunmuHmtmmm’.’,!!, .... and Advanced Student. Each section is fully and thoroughly Instrumentation Teacher’s Cultural Course, used or new, but in good 3 comp The ete nn<* er one cover. You receive Jazz — Jump— the fact that there Three BfETHOVEN SONATAS Newly Edited with Critical Annotations Boogie Woogie* — Swing— Syncopation mentation, except for condition. Caroline Johnson, 139 E. Broad (Continued from. Page 19) They score Street, West Hazelton, Pa. THIS MAGIC is some duplication of parts. Table by SILVIO Pm , . _ BOOK CONTAINS: Round FOR SALE: Orchestra chimes by Deagan SCIONTI 1 1’.' of Notes and Professional Introductions Endings. Ear Train. ripieno clarinets, bass clarinets in bass Note Rhythms Chords” h™ and for ( Continued from Page 12) #9155-1 Vz octaves. Write Box 422, Meridian, A ?ny song; ing, Transposing. How to Bo. d, Basses-How and WhtrlS.T £R » Hot Choruses and scientific euphonium part, and Mississippi. SONATE PATHETIQUE (Opus 13) 85 inT ModSaHom Hapnonla- Accompanying. Orchestral, on. Left Hand Melody, about these things. A band di- clef, a distinct ne ’ Arrang- Cth 9th, ini; cCd£™i7&| All Chords of Mnsic and How to Apply the rector should in treble cleff sometimes. unyielding, it is heartening to know that FOR SALE: Clavier— Fine condition. $40.00. pro ,y Pop- Hth. 13th. etc., Chromati Grace Notes. Turns. Tolls, know the band problems E-flat bass SONATA No. 9 (Opus 14, No. 1) 75 nlar SoncKSSKi’ay s "ft"' Write Mrs. C. Metz, 20 New St., Charleston Piano n ** Recording Glizzandos. How to Apply Piano Rhythm... Patterns and is very me- some famous pianists manage to “get by” Theory Breaks' ffbr’wan0 . BalfH°i$ how to handle them, should The Italian band scoring 4, S. C. Notes; v ” Si’ '?’ and Quarter and illustrations for Syncopation. Chtmts. Beds, and he No. (Opus No. H^ti J.* t a list. SONATA 10 14, 2) 1.00 and "y Vo,<* Notc £h™> Tricks. Thnmb Melody, Hokum, Jamming, Off e able *-° than harmonic. with a small One notable example SALE: Mason & Hamlin Grand. 6 ft. With Any effi *n An, Sono do the best with what instru- lodious, more melodic FOR Beat and 1001 Extras. 2 in. Dull finish ebony. Like new. Joseph . was Bernhard Stavenhagen, the brilliant mentation affords- itself. Italian band scores use the wood- Y°u in Becoming a Professional Orchestra Pianist In other words, The Holstad, 337 Oak Grove, Minneapolis, Minn. Also inplnitri Hrfu+i le the Liszt pupil whose Lilliputian repertoire 1S 3 Booklet assignments— must know each instrument winds, especially the clarinets, above BELL-TONE VIOLINS: Praised 15 each for the'Beeinnp^lwSr containing lesson to lesson as to the MELLOW Piano Books range, large could hardly make up a couple of recitals. and recommended by Francis MacMillen, KING characteristic staff. The cymbals used are quite 5 STANFORD voices singly and in eminent violinist. Bascom Hale, 2110 PIANO combination, Italian bands. They And to conclude with a bon mot concern- • A GIRL and HER The Cavanaugh technical facility, and fin- and important in the Thomas Place, Ft. Worth 7, Texas. HIS PIANO Book is the Only World gering, ing A BOY and Book of its Kind in the if he is trombones and a full choir him: DIAL-A-SONG: Beginners can learn to HOBBIES to compose, transcribe, and use the valve LET’S PLAY an ^ ar or Correspondence Course rrange Saxophones do not Once in Paris, at a reception given in play any popular song on the piano, the guarantee- Wo intelligently and musically. of brass instruments. beautiful way. No experience necessary. MISTER Plays .he Piaaa some his honor, a young lady asked Staven- .ha Piano • JUNIOR ound that dynamics, nuances, and seem to be popular or important in $5.00. Also, with our MAGIC BOOGIE MISS Ways re °fe™dir“ , keyboard slide, JUNIOR ea ment of hagen to write something in her album, piano you can Boogie Price 60c Each voices must be seriously foreign bands. song in any key. will amaze specified any This you. onsidered. Mexican band scoring is “something short,” she out $1.00. ,CE In keeping a band too soft, a I believe the Nelson Studios, 9304 Edmunds-102, COMPLETE . . . $12.50 Italians, mel- of commendable discretion. Stavenhagen Cleveland 6, Ohio. cAVAN°S!ifS amoun t of quality will be lost. rough, stressing, as do the 81 ’ postpaid in the World* ORDER Yn.iR and insured anywhere e to Rosenthal, who was also VIOLIN BARGAINS Old, handmade, at Chicago 4, III. Sllr ° w or But in addi- whispered — Lotl Angeles 14, Cal. another rather than harmony. How to order: . we must decide on ody less than half price. Fichtl 1768 Mail Check. mi , — $75. E. Jackson Bird. Postal Mo™ sical a guest: 64 41 1 W. 7th O^di 2STt0l» have a rhyth- im MILLS MUSIC, INC. “,*f SI. dynamic levels for bands. We are tion, the Mexican scores Tyrolean (approx. 1800) —$55. Brand- short’ . . straetter 1822 $80. Glass 1855 $50. nee “She said ‘something . What — — Heber- ANAUGH d of more attention to mical background. lein (3/4) 1899 $40. Others from $20. 1619 Broadway, New York 19, N. Y. piano schools that is short?” — 475£«Y eS in band problem of literature for the band can I write, Write for particulars. M. H. Brinser, 153 FIFTH AVE. DEPT. E strnT literature. Band in- The NEW YORK 17, N. Y. rs must one. However, be- “Your repertoire,” said Rosenthal. Oakview Ave., Maplewood. N. J. become as technical about is, then, a most serious 52 "MUSIC STUDY EXALTS LIFE" /ANU STUDY EXALTS LIFE" THE ETUDE ARY, 1948 "MUSIC 53 Butterfly, car- tentious and deserve first place, the leads to the climax when two minstrels and Negroes on Accidentals save the to an increasing pitch of excitement, Ah, Love But a Day, traveling signature-system emotion and imagination, songs. and The the inland rivers. His but they The Heart of the Song which suddenly stops—and in a few in- ried away by ? wharves of frighten or confuse readers. The sweep- Year’s at the Spring, set to Browning’s he tensely measures we are made sees Pinkerton coming to her. is sincere and simple, with a They cause three kinds of LESS THAN dramatic expression mental strain: WHY ACCEPT verses, have endeared themselves (Continued, from Page 24) us almost speechless by to the evidenced in Old 1) to feel the horror of the father at find- ing music leaves universal appeal, as My You must remember their after-effects American public, and justly effect. These dramatic sit- so. The Old Folks at Home. through finally stricken with complete deafness, ing his child dead! its theatrical Home and long measures. 2) When several lyrics of both are potent and Kentucky occur in various forms in “Tosca appealing to him an en- degrees gave ns the matchless Ode to Joy, which For contrast let us turn to Brahms, uations Music must have been are affected, some restored, others and lend themselves perfectly to musical his spirit, disdainful of public and "La Boheme.” language, for there Is no not, and some altered BEST finally was interpolated into Ninth that honest natural again, THE uncertainty, of Richard settings. While the songs are vastly tirely enig- In the song world, the name dif- of it. Unfortunately, backward Symphony, conceded to be the greatest opinion and somewhat of a musical record of his study glancing, and anxiety to keep be considered ferent in form and feeling, they all. sense of the extreme dramatic ma, who was to be really appreciated Strauss must certainly are his efforts were very up the tempo take of His the returns from much of the joy out of important. We invariably connect done with sound musicianship and ex- is shown when the Ode to Joy first ap- later on, as now. We are told he wrote most in comparison with their sub- sight- playing. 3) Since each sign over- his song cellent construction and are meager, his tone poems, but splendidly lies * pears, and all instrumentation is abruptly two hundred songs during his lifetime. with him importance. He died in want, six staff-degrees, it is adapted to the voice. The sequent difficult in again not the per- literature, though sometimes difficult emotional and stopped, but is resumed when the These songs do always show Schubert, although he left simple chords to associate a note with its — proper colorful, and romantic, Ah, Love But a Day, like voices have gradually brought it to a fect synchronization as found in the Erl- and hard to grasp, is bold, with its sign, works from which many others reaped especially in seconds where the note began at an moods sa well depicted, has great .... ^miMb****?'*' height of exaltation, and we are carried King, but nevertheless, they are good brilliant. His musical life warmth is fortunes. on the off-side of the stem, or sepa- nurtured, by his horn and feeling, while The Year’s at away by the beauty and wonder of it. music. The best known, and no doubt early age and was the i “The Heart of a Song”, when all is said rated from its sign by intervening signs. - Mozart, and Spring is joyous and jubilant, songs is playing father, on Bach, with a SPW- . In the great romantic period of Ger- the best beloved, of Brahms’ which defies clas- In Ex. 1, shown -ijssr done, is a thing at the beginning of this NOTE the Liszt and Wagner rushing flow of music which makes and lS man song a change took place. Music the Wiegenlied. It is entirely lacking in Beethoven and finally it Spiritual article, C sification or definition. values Rachmaninoff uses six signs to nrudd\e j igned time when the country welcome to singers and the public alike. with eS and poetry, heretofore, had been mostly dramatic force, and paints no exciting —all this at a adequately described in qualify four notes. never can be Begir>nin9 b°°\ same separate, but with Schubert, Schumann, picture, but on the contrary, one of had gone through a revolutionary crisis . writing he Folk Music a Basis mere words. I have tried, however, as and Brahms, we find them closely wed- serene calmness. With a simple folk- which had its direct effect on such an best I might, to excite the mind of the the ***£* ded—voice, piano, and text joined in like melody, and an equally simple ac- impressionable nature. His songs vary Folk music is a topic that requires A Constant Looking lesson^ reader to think for himself where he Ahead beautiful harmony. Great individualism companiment, Brahms has given us some from the simple which are never as sim- more time and space than may be taken ^ might find that well-spring of beauty to the most intricate, here. Much great music the and self-expression are introduced. Take, thing quite perfect and satisfying, even ple as they seem world over Whether you regard C-sharp as a which I have called the heart of the for example, Schubert’s well known Erl- though lacking in drama. No doubt he with little thought of vocal limitations, has been built on folk music. Of this we sound, a piano key, or knowing full well that when any a violin position, King, Goethe. is accompaniments are have numberless proofs. song, with words by Here an has written greater songs, but surely while the piano In our country it is an indivisible unit. Its symbol there- cents lover of beauty approaches that heart 60 emotional outburst, seldom so intensely none with more appeal to the masses difficult to a degree. Always however, we have a variety of music which can fore should be a simple, attained for himself a wealth of indivisible unit. song. introduced first, poetic theme. I folk he has depicted in We are than the lovely Cradle Song. there is fidelity to the be classed as music. Countless com- To subject the symbol to erudition, which riches which will be adequate by the piano, to the wild night ride on Although Puccini not what is the lovely Serenade, which is munities have their musical ,n9 was mention own distinct and is scarce, or memory, which is treacher- GRA0E *? clear, all the days of FIRST a horseback, to the pleading of lieder both vocally and for his spiritual needs THE ay then the termed a song or composer, solos vivacious and joyous, particular expression. Some of this has is >s to y ous, to cancel half its utility, and all r u-| book • for his life. t S n terrified child in his father’s arms, and from his operas are popular on the con- pianistically, but requires a sure tech- been brought . from their own un countries of its convenience. The object^ complete f° $1.00 the howling of the wind. We hear the cert stage and can be called concert nique from both singer and accompanist. by early settlers and has been adapted Swift reading demands constant for- correct, voice of the Erl-King, soft and compel- music. In his operas we find vivid action Perhaps better known is Zueignung, or by us. People are concerning 1.00 themselves ward looking. But crowded accidentals study - $ ling, and then the voice of the frightened and intense passion, rather than musical Devotion, as it is sometimes called, which, more and more about piano |t.oo folk music, both Key-Kolor Visualizes the retard even the best readers. Chopin’s child; next, the vbice of the anguished worth, with the orchestra consistently built simpler lines, has a richness on here and abroad, and it is no more a Eighth Prelude uses four hundred and father trying to calm his child, and urg- depicting what is taking place on the and intentness which, with its raptur- closed book. Invariably our »« thoughts turn Key-Signatures forty-four signs in thirty-three bars. The SS ing his horse ever' faster, while telling stage. There is always a plausible treat- ous climax, becomes one of our favorite to Foster, BOOK Stephen who has probably terrifying aspect of much modern music THE grade him it is only the sound of the willows ment of an every day emotion, be it concert numbers. fifth wr1te for given us the best expression of what we discourages even musicians from famil- THE that he hears. Then again we hear the jealousy, fear, love, 148 or anger. One of the Of the many composers who have call ( Continued from Page 48) CATALOG American Folk Music. Although he iarity with important works. The best Erl-King, now threatening, then the most popular arias, Un tel di, is found written beautiful songs in our country, was a Northerner and only in his later ear is of little help. The reader is forced voice of the terrified child. All the while in “Madam Butterfly” and sung by the only one, due to lack of space, may be years lived in the South, he seemed to coincides with its character on the key- to proceed slowly, constantly checking the constantly running accompaniment soprano. Here Puccini has used broad, considered—Mrs. H. H. A. Beach. While prefer writing about the South and the board. This practice now includes classi- back to changing signatures and preced- Ik. WILLIS MUSIC CO, and the vocal part, where the voice at sweeping phrases for both voice and Mrs. Beach has written many pieces in Southern Negro. We must conclude that cal and compositions in all ing signs And these difficulties in reading times declaims the words, carry us along orchestra—a continuous melody modem STREET, CINCINNATI 2, OHIO which various forms, some of which are pre- he absorbed this atmosphere from vari- 124 EAST FOURTH grades, and is attended with greatly en- undermine the popular appeal of all in- hanced pupil interest. struments, but the piano especially be- Admittedly Key-Kolor is a short-cut; cause many notes must be read simul- so are telephones and planes. When taneously. LEADING PIANO TEACHERS short-cuts carry us to new or greater Music still faces backward to medieval- it becomes values in less time and pain, they have ism. Like the “one-hoss-shay” are members of the INTERNATIONAL PIANO TEACHERS ASSOCIATION. Students of heavy traf- A Teachers Diploma permanent value. Key-Kolor is a short- steadily less suited to modern the piano benefit by studying from these teachers, as the teaching requirements set by cut to performance. And performance fic. Yet notation is our window on the this organization are conducive to proper and progressive piano playing. Members re- transparent. or today is at a low ebb. It is essential, how- world of tone; it should be ceive PIANO NEWS, the official bulletin of the I.P.T.A., which is dedicated to the pro- ever, to musical development. One must It guides the performance of master- motion of greater skill and higher piano teaching standards. perform constantly, associating the score pieces; it should be fool-proof. It trans- Offices of THE INTERNATIONAL PIANO TEACHERS ASSOCIATION are at ’ABachelor’s } with the instrument and with the sounds ports beauty and significance to the soul: Degree 18 North Perry Square, Erie, Penna. EARN 11 1 mind of IN to develop the inner for silent yet it should reach its port, the MUSIC ear accurate hearing of score—a mark of the Everyman. Notation is not theory nor true musician. intended to teach theory. It needs per- PIANO OR VIOLIN In Your Spare Time at from com- TEACHERS OF Home enable it to transfer fecting to Key Signatures Baffle and Repel poser to public as much music as pos- and Objections to playing usually boil down sible, as 'often, as pleasurably, N EVERY COMMUNITY there are ambitious We offer them without obligation to you. to as great a number of people as MONITOR This great the bother of deciding which notes through men and women who know the advantages of musical organization now in its 44th suc- cessful are sharps possible. new inspiration and ideas for their musical ad- We are the only school giving year—has developed and trained many musicians or flats and which are natu- / instruction in music by R B C O R vancement. It and many rals. Literacy is not the last hut the first is to those our Extension Courses are the Home Study Method which includes successful teachers. To you we offer the same To solve this problem we give the in its teaching raised INC. of the greatest benefit. all the courses advantages which have wait public condition of progress. Levels were necessary to obtain the Degree of Bachelor been given to them. Don't —professional and lay alike—Key of Music. any logger! The coupon education first by printing in The most successful musician, of course, is the very will bring you our catalog, illus- Signatures and Accidentals. in general tra SU PPLEMENT lessons the busy one. Yet he is the one who finds * and information about the lessens which A signature language of the people instead of extra time for , indicates (to the initiated) the Openings in the music field are will be of untold enabling something worth while. And to such a one Extension value. a set of seven tones from the Latin of the leisurely; next by growing very rapidly. chosen ^ACHING There Courses are the greatest boon. It isn’t always pos- are twelve read. thousand years big paying in the octave. To bear these con- all citizens to A sible to positions for those °PPort unity—Mail the give up an interesting class or position and mmlh Coupon TODAY! stantly simplify her symbols— MONITOR RECORDS are secondary piano parts for piano pieces; also, piano accom- who are ready for them. in mind is nothing to a profes- China refused to go away for instruction. practice of paniments for the violin. All are standard teaching pieces, played in true tradition. sional, for his habits ingrained in and stagnated. So will the 28^East28 j!kLJ Y4O8 are The Home Study Method is equally advantageous to ^U '*vard music Do you hold the Key ’ Chieo,3° 4. Illinois. his nervous music remain a cult until complete They extend YOUR teaching into the home of the pupil. the pieate sen system. But for the novice beginner or the amateur. Because the work can be 3 ™^ 6 * essons an< the freely in our school have marked ^ information regarding course I seven tones reading is taught done at home in spare time, with interference to the best teaching withfan' X^efow within a key are more Each elementary piece is played in two tempi: first slowly for practice; then in standard no teachers be eman- ea h,!r difficult to Only then will with one’s regular work, many minutes each day may ,’ s 0,mal Course read than foreign tones intro- system. tempo. More advanced pieces in standard tempo only. position Piano’ I,,ude.; ^ Harmony Violin teaching be used which ordinarily —a Diploma? O 5 "t s Course duced by accidentals. cipated from the primary school go to waste. Public School _ Cornet—Trumpet Cuitar A piece that stays in value slow practice!!" M us.— Beginner’s 1 of wrong "What Teacher does not know the of These records give, in effect, Pubhc School J Advanced Cornet Mandolin major looks of reading and the correction It is Mus—Advanced exactly as it does in A-flat in home, and at cost that all pupils can up to YOU. On your Advanced J Voice Saxophone study supervised practice the a afford. Look Back Over the Last Year Composition major. The notes, and devote themselves to the own decision will rest Ear Training Choral Conducting Reed Organ difference lies solely in the your Cr Sight Singing rn a new joy with these friendly companions. They are helped to practice cor- What progress have you History * Clarinet Banjo reader’s of music as literature. Pupils find made? Perhaps you have future success. Fit yourself for of Music acquired habits, or the lack of and pedagogy Dance Band Arranging e graphic notation, rectly. Incorrect technique to be "unlearned" at the next lesson is not acquired. All dull- wanted to send for our catalog and sample lessons be- a bigger position— demand m. If he has no memory of similar Key-Kolor, as a more Name. ness of "alone" practicing is gone—instead, a fresh incentive to progress is created. fore just to look into them. That is your privilege. larger fees. You eS bring vast archives of neg- — can do it! • • should help . .Adult or Juvenile. . tone-set he is at a complete bss° music-loving Street lected music to the busy, MONITOR RECORDS MARK A NEW MILESTONE OF TEACHING. The Increased Requirement for DEGREES has Resulted in No Suppose we build a foundation of Larger Demands the we used a signature system in citizen. Until Tear out and mail coupon for full defails. for ADVANCED COURSES offered by City circles ntmg English, universal literacy we will go in State. and this article an- ounced a not much farther in musical art. Inc., Rochelle, N. Y. Are you teaching now? choice of seven-twelfths of but MONITOR RECORDS New |f , e sonata ZJL UNIVERSITY EXTENSION so, how many pupils you alphabet, everyone reads his evening „ CONSERVATORY have you? Do other letters being “altered” When Please mail particulars to hold a e(1 a great upsurge Teacher’s Certificate?. * ' Suppose the with his evening paper, (Address. Dept. A-608) 28 East Jackson Boulevard. CHICAGO Have . next article chose 4, ILL. you studied Harmony?. 0 er spirit will push through set'> out the human Would you tt of thirteen possible sets, of like to earn the Degree flower in greater Bachelor of Music?. many En8 Iis h readers there the grassroots, and be? would music. "MUSIC STUDY EXALTS LIFE” THE ETUDE "MUSIC STUDY EXALTS LIFE” 55 JANUARY, i948 — ;

New Years Resolutions Junior Etude Contest And my notes will be I’ll play better this year right, Etude will award three at- you enter on Than ever before; My tone will be good; The Junior upper left comer of your WHERE SHALL 1 GO TO STUDY? I’ll do everything well each month for the neatest paper, and put I’ll be careful to count; tractive prizes your address on upper Yes, just as 1 should. or essays and for answers right corner of I’ll practice much more. and best stories your paper. Contest is open to all boys and Write (New York City) to puzzles. on one side of paper only. Do Private Teachers (Western) Private Teachers eighteen years of age. not girls under use typewriters and do not have any- to eighteen years of Class A, fifteen one copy your work for you. HAROLD HURLBUT MARY BOXALL BOYD Franz Schubert (Leschetizky) Class B, twelve to fifteen; Class C, Essay must contain Paris—New York—Hollywood age ; not over one hun- Pianist and Teacher Member Natl. Assn, of Teachers of Singing years. with 1 have had under twelve dred and fifty words and must be re- "Of all pianoforte teachers whom tJ Illarion Worth Developer of Singers of Metropolitan Opera, Chi- to do, either as pupil or associate, Mary Boxall Boyd 2n Jrancii of prize winners will appear on ceived at the Names Junior Etude Office, 1712 cago Opera, , Radio, etc. "VOICE is, in my opinion, the best." —Leland Hall, Prof, of in a future issue of The Etude. FUNDAMENTALS" (J. Fischer & Bro., N. Y. Pub.) Piano this page Chestnut Street, Philadelphia (1) Pa., by at Smith College. a chubby little boy notes come from my head so , was endorsed by W. J. Henderson (N. Y. Sun), Amato, E WAS fast I next best contributors will re- the Add. 113 W. 57th St., c/o Nola Studios, Steinway The thirty 22nd of January. No essay contest Bispham, Journet, and others of that great era. run out of paper all Hall, New York City, N. Y. Summer classes for with tousled brown hair. His the time.” mention. 2150 Beachwood Dr. Hollywood, Calif. ceive honorable appears in this month. Special contest teachers and students. H‘ big brown eyes looked shyly Spaun nodded understanding^. name, age and class in which Put your on previous page. Results in April. ISABEL HUTCHESON EDWIN HUGHES through large, horn-rimmed spec- He loved music, too, but did not have Teacher for Piano Teachers PIANISTS PREPARED FOR PUBLIC PERFORMANCE the talent of this AND FOR UNIVERSITY, COLLEGE AND CON- tacles. In his uniform, of an Imperial brown -eyed young- Modern Piano Technic: Group work for Teachers: ELIZABETH A.GEST Coaching SERVATORY TEACHING POSITIONS Chorister, with its brass buttons and ster. He did have a little more concert pianists: Conducting "Piano money, Teachers Forum." WINTER TEACHING SEASON: SEPTEMBER TO JUNE MONTHLY CLASSES IN V/ASHINGTON, D. C. gold lace, he looked neat enough, but however, and from time to time BROOKS MAYS MUSIC STUDIOS he For full Information address: October Instrument Puzzle lOOBy^ Elm Street, Dallas 2, Texas Phone C-6214 oh! how the boys laughed at him would see that Franz had a supply 338 West 89th Street New York 24. N. Y. Tel. SChuyler 4-0261 when he first arrived at the choir of the precious music paper, and Answer EVANGELINE LEHMAN: MUS.DOC. That Vocal Studio CHARLES LAGOURGUE STUDIOS Music for This and school. What fun they made of his very often he saw to it that the boy z Individual, creative training and refresher course for VOICE PRODUCTION—SINGING home-spun trousers jacket, had an extra hot meal or teachers. and cut a treat of t-i-e COMPLETE MUSICAL EDUCATION 167 Elmhurst Ave. Detroit Mich. Mr. is down from those of his older brother! some sort. 3, Logourgue the author of "The Secret"—Daily ba-t-on Vocal Exercises—Complete Treatise on Transposition ( But they did not laugh long. Franz And the music sprang from the cas-h-ier LEONA NEBLETT etc. Classes held annually at The College International of France i, £. Jt. Concert Violinist, Teacher, Coach CANNES, Q. had the most amiable disposition heart of little Franz and flag-e-olet in spilled over From Beginning to Concert Performance New York Address: 35 West 57th Street the world; and how he could sing onto the music paper. Marches, conce-r-tinas Trained and Endorsed by Louis Persinger and Georges Enesco (Teachers of Yehudi Menuhin) EDITH SYRENE LISTER dances, arrangements for the school Res. 801 S. Dunsmuir Ave. AUTHENTIC VOICE PRODUCTION EOPLE usually think of music as as it has been found that this Prize Winners for October Puzzle: Hall, makes orchestra, Los Angeles 36, Cal. WYoming 8354 405 Carnegie New York City and songs, songs, songs. Collaborator something to be listened to and them give more milk! In the banana and Associate leacher with W. Warren All Shaw A. M. Endorsed by Floyd S. Muckey M. D. & his short life it was to be so; he Class A, Beverly Hays (Age 17), Cali- EDNA GUNNAR PETERSON P C. M. Demonstration of correct action of vocal enjoyed; to be used in religious country, the sing all night women as had within him a deep well of music fornia. Concert Pianist—Artist Teacher chords shown ot Columbia Univ., Cornell Medical services; and to be danced to. That’S they carry the large bunches of fruit that never ran dry. Class B, Louise Eaton Clinic, Univ. of Vermont, Music Teachers Assoc., East- (Age 12) , New 229 So. Harvard Blvd. Los Angeles, Calif. part of the story, and a very impor- on their heads to load them on the ern Speech Conference, Hunter College— Physicians His works include over six hundred York. FE. 2597 & Artists— tant part, but not all. Music is ships. Wednesday: Troups Music Studios, Lancaster, Pa. also Class C, Cormier, Massa- songs, ten , many com- THE SAMOILOFF Thursday: 309 Presser Bldg., Philadelphia, Pa. used for many, many other purposes, In the army and in other encamp- positions for piano and string quar- chusetts. BEL CANTO STUDIOS & OPERA ACADEMY (FRANK) (ERNESTO) and its The only where you can learn the original absence would be sadly and ments, signals and messages are Honorable Mention for October Puzzle: place tette. And to the of life Samoiloff Bel Canto Method which developed such LA FORGE-BERUMEN STUDIOS seriously end his he were also received from missed. given through music; in certain parts Correct answers outstanding voices as , BIANCA prize Voice—Piano kept his friends busy gathering up Jean Kolipinski (who would have won a SAROYA, DIMITRI ONOFRI and many others. Now For instance, athletics are fre- of Europe, notably in Belgium, music age), Geral- Among those who have studied with Mr. La Forge are: The Bagpipe Player had she remembered to give her under the direction of Zepha Samoiloff. his compositions which he had writ- dine Routman, Darylene Jackson, Ann Paigett, Marian Anderson, Lawrence Tibbett, Richard Crooks, quently combined with music. Schools is played every hour or half hour on Write for Catalog, 3150 West Sixth St., Los Angeles 5 Hiley. Jean Fitzgerald, Dennis Ostrawski, and Mme. Matzenauer. ten on his cuffs, on his laundry fists, Drawn by Marcel Le Vezouet (Age 14) Kay Phone FE 8294 No charge for Audition and colleges have their bands at the carillons, high up in the bell Carol Marie Kuhn, (who submitted a beauti- MOO Park Ave., Corner 89th St., New York A French orphan of on menus, or on any scrap of paper War and member fully gotten up answer but forget to give her Tel. Atwater 9-7470 football games; music is used to give towers; in many places the time is ELIZABETH SIMPSON Schubert at age of sixteen a Junior Band in Brittany. city). Morvyth Kenney, Rita Cleary, Cherie that was handy. The world of music Burton, Jane Mekre, Author of "Basic Pianoforte Technique" RICHARD McCLANAHAN rhythm for “setting up” exercises announced every fifteen minutes by From a crayon portrait by Leopold Kupehcieser Lee Medus, Jerry Mary Carol Cawthom. Ann Ruther- Representative and other is very rich from the contributions of Freddie Turner, Teacher of Teachers. Coach of Young Artists. TOBIAS MATTHAY forms of gymnasium work; the chimes in the clock towers. Annis Stahl, Jo Bailey, lessons, class lessons in and sight-read! No boy in the Im- ford, Elreda Dillsworth, Pupils Prepared for Concert Work. Class Courses Private Fundamentals Franz Schubert of Vienna, whose McCray. Cornelia Bivens, Edwina Olsen, Pianistic Interpretation, Summer-class, Southwest Harbor, Me. for fancy diving; for figure skating. Hospitals use music to improve the Letter Boxers Doris in Technique, Normal perial Choir school Lou Day, Eugene Riggs, Adelaide Pierce, for Piano Teachers. 801 Steinway Bldg. New York City had such a sweet, birthday is celebrated this month, Mary Methods Scenes in the movies require music; conditions caused by certain kinds Nellie Van Allen, Billie Morton, Annita Traw- clear, true voice. Replies 79 McAllister St., Room 1, San Francisco; The choir master January thirty-first. will be forwarded when ad- bridge. Burton Joyce, Geraldine Dalheimer. EDWARD E. TREUMANN restaurants, cafes, and tea of ailments 2833 Webster St., Berkeley, Cal. rooms and illness; some den- dressed the neat- w-s , n. • • A I* 1 T 1 in ( were selected for said, “My altos sound entirely dif- care of the JUNIOR ETUDE. Prize winners Concert Pianist—Artist-Teacher provide it as an aid to digestion tists furnish their ness and attractiveness of their papers.) as patients with ear- ferent since young The following lines are quoted from DR. FRANCIS L. YORK Recommended by Emil Von Sauer, Moritz Moszkowski Schubert came. Hofmann. well as for entertainment; factories phones to listen to music and forget letters which our limited space does not Advance Piano Interpretation and the Theory work and Joseph His sense of pitch is Quiz No. 28 for the degrees of Mus. Bach., supply perfect.” And required and Mu$. Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. music so their workers will their hurts! permit printing in full: Mas. Special Chopin interpretation. Columbus 5-4357 New York City Franz could play, too, and Tel. was put to Quiz DETROIT CONSERVATORY OF MUSIC Summer Master Class—June 15 to August 15. produce more and better articles and Radio advertisements are fre- “I have taken violin for six years and Answers in the first violin section of Schubert Detroit, Mich. with less the school play in the fatigue; parades and pro- quently set to music; typewriting is school orchestra, and a string MME. GIOVANNA VIOLA (HULL) orchestra. 1, 1797; 2, In Vienna; 3, Franz Peter cessions are provided often quartette and also play piano. am- Private Teachers (New York City) Dramatic Soprano with music so taught to music; and there are 1. Schubert’s birthday is celebrated this My When young Singing— In Schubert; 4, ? ; 5, Yes; 6, Teacher of "Bel Canto" the heart of this shy boy from bition is the marchers will keep in step many, many month, was to play in a symphony orches- Experienced European trained Artist and other uses to which Vienna, January. In what year he played the piano, violin and organ; HELEN ANDERSON there was another ambition. tra. 1 would like to hear from music Coaching Opera, Concert and Radio have more endurance; sailors at sea music is put, showing that he born? very poor; 8, Yes, Concert Pianist Correct voice production, defective great im- He wanted lovers.”— 7, He was always very, singing corrected to compose music. “My Ruth Trimble (Age 13), Ken- course— piano, harmony Beginners accepted have sung “Chanties” down through portance is 2. Where was he born? given now; 9, 1828; Interesting attached to music. So, if tucky. but they are never Phone: Trafalgar 7-8230 head is bursting with Pupils Mon., Tues., Wed., Thurs. the ages to give tunes,” he con- 3. What was his full name? grave Many Successful rhythm and energy you are not going to be one of the 10, In Vienna, a few feet from the 608 West End Ave. New York City fided to his St., N. Y. C. Tel. Sc 4-8385 new friend, Joseph von 4. How many of his compositions can Its W. 72nd when pulling the ropes of the huge world’s greatest pianists, you can of Beethoven. CRYSTAL WATERS Spaun, “but I have r-monaise and Kachmanmolt sails; in the old days the men towing no music paper. you play? SETH BINGHAM find lots of other opportunities to Concerto. I would like Concert Singer — Teacher Look, I have marked out 5. Did he ever meet Beethoven? to hear from othe: Organist—Composer—Teacher barges sang to give rhythm and to staves on Junior Voice Building, Breathing, help people, by means of your music, Etude readers.”— Ellen Director ot Music, Madison Ave. Presbyterian Church Diction, Expression, this piece of scrap paper 6. As well as being a composer, did he Lou Gard Style. make the work seem lighter. and have uer, Theory Dept., School of General Studies, In in ways you have not yet dreamed North Carolina. Head of preparation for of. nearly finished a march, but the play the piano, violin or organ? Columbia University Radio, Screen, Stage, The American Indians sing when I am enclosing INSTRUCTION FOR CHURCH COMPOSERS Concert, 7. Did he have the luxuries of life or my solution to thi PRIVATE Opera. Puzzle. Madison Ave. New York City 405 E. 54 St. they plant; they sing when they I would like to hear from a gir 921 New York City was he very poor? ury Tel.: Monument 2-3426 Tel. Vo-5—1362 harvest; they sing when they want age who is 8. Did he write any operas? a music lover.”—Joai rain, in fact they have songs Elsie Haselton (Age for 9. In 13) , New York. what year did he die? IVldlkC MIL. DlWizu *wui nearly everything they do. bobby is much more than to b< Women OF A 3 10. Where is he buried? Etude Advertisers Open the Door to Real 6 sit sing at their spinning wheels; they g down at the piano and plaj Opportunities omethmg, because sing when rocking babies to sleep. I want to be abb PHIL SALTMAN SCHOOL (Answers on next page) 10 Play concertos and Animals are susceptible to the in- other difficul of MODERN MUSIC 1 would like to heai Your Child Two and fluence of music, too, so much so, in o Junior Has three year diploma Special Contest Etude readers.”—Marguerite the advantage of piano study with courses, fact, that it is said trained animals popular or classi- Mauney (Age a member of the 16) , south Carolina. cal. Faculty of experienced in the circus or on the stage, will This month the Junior Etude holds GUILD professionals. Day, evening. not perform their act if the wrong NATIONAL its fourth annual contest for original POPULAR DEPARTMENT of PIANO TEACHERS piece is played. Cowboys sing all compositions. Pieces may be ot any type PIANO: Keyboard har- VOICE: Microphone Inc. mony, transposition, technique, interpreta- night on horse back, keeping time and of any received Sue Phillips (Age 8) length and must oe Frances achievement for every student suitable modulation, solo per- tion, styles, musical Mexico goal of to the footfall of the horse, so that at the Junior Etude office before the New to his age and advancement. formance, orchestral comedy workshop, re- (NOT A CONTEST) training, teaching, or- dio, band, stage, twenty-second in the trios the herds of steer will hear them, of January. Results ranging, song writing, and a haVe Etude: The Better Teachers Are Members chorus. entered a compos, r Junior . April issue. several tim ... pieces where they are, and not be ‘‘ S and old. I like to play Chapters in every large music center CLASSICAL know most have gotten ex am seven years DEPARTMENT Follow the regular contest rules which of COmposition syncopated pedaling because I am FOR INFORMATION WRITE Supervisor: LEO LITWIN, Piano Soloist Boston frightened into a stampede at an I wof.m ?-, s- have u Uke our room in school that can Symphony "Pops” Orchestra. Victor Recordings. appear elsewhere on this page. If y° in hear from others only one in ALLISON, M. A. unexpected approach; in some places music. IRL Approved Veterans’ Courses wish to have your manuscript returned FOUNDER AND PRESIDENT Admissions {Secretary. Write for Catalog. From your 284 Commonwealth Awe., Boston cows are now being milked to music. to you be sure friend, 15, Mass. when the contest is over, Churchill Branches in Providence, Worcester. Wellesley Ward ( to enclose postage for this purpose. 56 January 57 THE ETUDE 1948 — c I — —

GEMS FROM THE COVER FOR THIS MONTH—Over and GILBERT AND SULLIVAN over again expression has been Arranged for Piano by Franz ’ ORT CLASSICS YOUNG PEOPLE LIKE, given in Mit|IEr__T sH various pick out suitable Compiled and Edited by Ella ways to the thought selections Piano, 7 * that a piano from the For * “ugmi nonner- helps make a of many of This skilfully edited collection Covering scale home a house. Since Gilbert and Sullivan KeMereI— tfork, intervals, arpeg- New Year's is a time when inclinations and to mold their musical delight both student and instructor. gios, rhythm and substance into will dynamics these studies run toward making resolutions for short, easy-to-play piano thirty-five musical gems in the col- wiU enable the the pieces is a task The director to make more future, it seems very fitting requiring craftsmanship are favorites of Miss Ketterer's rapid progress that the and imagination lection in his work with players January assuring the enthusiasm cover of The Etude Music Maga- PUBLISHER’S NOTES But Franz Mittler—known to own pupils, thus who have a fundamental millions for knowledge of zine should carry a reminder to parents his radio performances young pianists everywhere. Between their instruments, with .the “Firs , of but who require addi- that a piano and instruction in all Lovers Piano Quartet,” and fourth grades, this book tional OBERLII piano Music practice A Monthly Bulletin of Interest to for whom he makes the second in ensemble playing. The playing can mean in average student with re- much the life of a many transcriptions—has will supply the studies wiU be published in i done an ten books— child ”Pr. ad- and can equip him with something mirable job in the pieces for about two years. Conductor’s Score, preparation of this cital Violin, Viola, Cello, that can mean refreshment, inspiration, new book. The words single copy may be ordered at the Bass, Flute-Oboe, are given with each A Clarinet-Trumpet, F- happiness, comfort, and even, usefulness Publication Cash selection, of course. special Advance of Horn, E-flat Horn-Saxophone, and to others years in ahead when he no Prior to publication, 35 cents, postpaid. Trombone-Bassoon-Tuba, orders for single Price, longer is a by dependent child. January, 1 KEYBOARD APPROACH TO HARMONY, copies are being Single copies 948 received at the special of each of the nine If an Etude cover can initiate any such Margaret Lowry—The author of this highly FOR STUDY AND Advance of Publication Cash EIGHTEEN ETUDES Student’s Books may be ordered COLLEGE Price of 40 in ad- thinking in the minds of parents as the original work is a member of the music Piano, by William Scher—Here cents, postpaid. The sale is limited STYLE, For vance of publication at 25 cents cover' ADVANCE to the each; is displayed on newsstands, in mu- OF PUBLICATION faculty of Queens College, Flushing, N. Y., book of studies for young pi- the United States and its possessions. is a new Conductor’s Score at 60 cents, post- sic stores, and on pianos or reading tables where through her practical teaching ex- anists which will stir their imagination paid. Be sure to mention OF MUSIC in the parts de- CONSERVATORY studios and homes throughout the OFFERS perience, she has seen the need for such THE CHILD their technic. Each lit- TSCHAIKOWSKY, Childhood as well as develop sired when ordering. Cash country, there should accom- should be resultant bene- a book. It is a system of harmony with Days of Famous is devoted to a problem in Composers Series, by Lottie tle composition pany order. fits to teachers who are such good friends a “singing and playing” approach, and Ellsworth Coit All the books and Ruth Hampton—The piano playing such as legato and stac- of The Etude. of in this list are in nu- A professional music school in an attractive Why not remind your local one which presents its subject, chord by merous music trill, IN NATURE’S preparation for publication. The teachers who have found cato, double thirds, the rhythmic PATHS, Some Piano Solo De- dealer to be sure to display this issue and low chord, in piano notation rather than in earlier lights college town. (Member of the National Advance Offer Cash Prices ap- books in this series essential teach- precision, alternating hands, syncopation, for Young Players—Here is a new other issues of The Etude prominently ply only to orders the commonly used four-part voice writ- ing placed NOW. aids will welcome this forthcoming left hand scale passages, arpeggios and compilation of attractive pieces in grades Association of Schools of Music.) in the -window for the good it will do all Delivery (postpaid) will be made ing. The book is designed for use in high addition with great enthusiasm. In chords, rotary hand motion, cross hands, one and two. Since specialists tell us that active in music in when the books are it the community, includ- published. schools, colleges, and private classes, and the life Thorough instruction for carefully selected of the composer is sketched in and repeated notes. The composer is al- children are interested in nature before ing the dealer 'himself. Paragraphs describing each pub- a is divided into twenty-seven lessons. All straightforward, they are artist teachers. lication appear * entertaining manner, ready well-known to readers of the Etude interested in each other, we students in all branches of music under The happy mood of on these pages. the music-enjoying the essentials to a secure foundation in with special can readUy emphasis on his childhood Music Magazine for his excellent piano understand why many com- Special training in hand and choir direction. youngsters in this January cover picture harmony are set forth, including Tonic- The easy arrangements This new volume should posers have found that their American of five composi- compositions. most pop- bespeaks The Etude’s wishes to all its Negro Songs— For Mined Voices Dominant Patterns; Non - Harmonic Work tions, including a duet adaptation of the prove a valuable addition to the ever ular elementary piano pieces are those Write for catalogue describing Obcrlin’s conservatory friends and readers for a Happy and Tones; Subdominant; Supertonic; Ca- popular Troika, are introduced popular Music Mastery Series. inspired by things in nature. Every teach- Prosperous 1948. B°* ,c Studies lor the instruments of the to fit nat- courses and its superior equipment (200 practice Orchestra dence Formulas; Borrowed Seventh Trougott Rohner urally into the story as it progresses. One copy may be ordered now at the er of young pupils will want to use this Student's Books, each .25 Chords; Tonic Seventh; rooms, 23 modern organs, etc.). Degrees: Bachelor of Submediant; Throughout illustrative Publication Cash new collection of nature pieces. YOUR HELP IS NEEDED—All through the Conductor's Score pictures and special Advance of .(0 Diminished Seventh, and Modulation. organization drawings enliven the pages and Price, 25 cents, postpaid. An introductory copy may be ordered Music, Bachelor of School Music; Master of of the Theodore Presser Co. The Child give the Tschaikowsky—Childhood Days of Many examples from the works of Bee- there is kept alive Famous Composers book special appeal for children between now at the special Advance of Publica- an alertness to the thoven, Music, Master of Music Education. Lottie Ellsworth Coit and Ruth Bampton Chopin, Haydn, Liszt, Mendels- five LITTLE RHYMES TO SING AND PLAY, For ideal which the founder of the business, .20 and twelve, for whose use it is in- tion Cash Price of 40 cents, postpaid. sohn, Mozart, Schuber.t, Schumann, llofslnd Ver- Piano , by Mildred Children Of Theodore Presser, impressed upon Eighteen Etudes for Sfudy and Style— tended. Appended is a carefully selected — all his For. di, and p'°"0 Weber are shown. pre-school will be irresistibly attract- LIGHTER MOODS AT THE ORGAN, with Frank H. Shaw, Director, Box 518, Oherlin, Ohio. fellow workers as being of the utmost Scher .25 list of recordings of Tschaikowsky’s age Prior to publication, orders for single ed -to the familiar tunes and nursery Hammond Registration—This useful addi- importance. This was the idea of giving Gems from Gilbert and Sullivan- music. copies of this Arranged for Piano book are being accepted rhymes in this clever book. Little tion to the series of clothbound collec- helpful service to all users of music pub- Mittler .40 In advance of publication, a single copy new now at the special Advance of Publica- already includes lications. Mr. Presser Heads may be ordered at the ones will play and sing them over and tions, which The Organ also pioneered in Up!—A One-Act Operetta on tion special Cash Price, Cash- Price, 75 cents, postpaid. parents well Player, Organ Repertoire, The Chapel the granting of liberal discounts to the Federer .40 20 cents, postpaid. over again, pleasing their as as themselves. The melodies lie within Organist, and Organ Vistas, will find a teaching profession. In Nature's Paths—Some Piano Solo De- lights MY EVERYDAY HYMN In his lifetime Mr. for Young Players 40 BOOK, For Piano, by MUSIC MADE EASY—A Work Hook by Mara the five-finger position, divided between ready reception from many busy organ- Presser over and Ada Richter—Constant demand for Ville This are pressed constantly for more over again, insisted that the music teach- Keyboard Approach to Harmony... Lowry a com- valuable new book is designed the hands, and are simply arranged in ists who .75 panion book ers to Mrs. Richter’s My Own especially to follow single notes only. Memorization sight not-too-difficult melodious pieces for re- of America were the ones who built King Robert Nolan Kerr’s and All Glorious—An Easter Cantata tor Hymn Book has brought about the business 'bearing his name. Mixed Voices her prepa- All in One, but it is equally valuable as reading are stimulated by the familiarity cital and church uses. Here again the MUSICAL COLLEGE The pa- Stairs .40 CHICAGO ration of this new collection. President tronage of thousands of music Designed supplementary material with any other of the tunes and words. This collection content iS being assembled from works Founded 1867 by Dr. F. Ziegfeld , teachers Lighter Moods at the Organ—With Ham- along the same lines, it is intended holds CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. throughout the country has maintained mond Registration yg for piano method. On music fundamentals will be of great practical value to the to which the Theodore Presser Co. those young pianists whose Member of North Cenrral Association and National Association of Schools of Music this business in its unique position of hands are such as symbols, time signatures, note piano teacher of pre-school age children. exclusive publishing rights. Hammond Little Rhymes to Sing and Play— For Piano not equal ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS to the stretch of an octave. values, included. being without equal as the single source Hofstod .30 rhythm, scales, slurs, ties, and One copy may be ordered now at the registrations will be Some fifty Address Registrar, 60 E. Van Buren St., Chicago 5, liiinois of supply popular hymns will be includ- tetrachords, special book is being made ready, for any desired music pub- More constant drill and review Advance of Publication Cash While this Once-Upon-a-Time Stories of the ed under the following lication. Great Music Masters— For Young groupings: Gen- are provided. The author, knowing well Price,. 30 cents, postpaid. single copies may be reserved at the spe- Pian- eral [ Hymns; ds - Hymns Never .before in the history of our Robinson-Stairs .30 for Special Occa- that if a child actually writes the musical cial Advance of Publication Cash Price, sions; Hymns for SOUSA’S country have music teachers Music Mode Easy- Children; and Gospel notes and FAMOUS MARCHES, Arranged for 90 cents, postpaid. on the -A Work Book symbols he will learn them fE LINA C. KEITH SCHOOL OF MUSIC Mara Hymns, two of which Piano Solo by Henry Levine This collection average >been more busy, and never before Ville .25 will be The Old more quickly, provides on these pages — DILLER-QUAILE of of TOLEDO, O., presents: have these My Everyday Rugged Cross and Living Sousa’s most famous marches in easily- PUBLICATION OFFER WITH- teachers and other active Hymn Book— For Piano for Jesus, used much space for such pupil activity. Vari- ADVANCE OF by special permission. playable music workers been in need of so much Richter .40 This collection will ety of new transcriptions will afford DRAWN—Scheduled for release before School of Music be presentation and attractive illus- MAURICE DUMESNIL music. Short Classics adaptable to use in the average previously In order not to lessen the help- Young People Like For church and Sun- trations help to thor- pianist many happy hours. January first the only volume Piano day make this book as . School with fulness of Presser service Ketterer .35 services as well as Never before, because of copyright re- in the foregoing notes during Normal Course observation we in the in study oughly engaging as it is informative. announced EVANGELINE LEHMAN Sou.'o’s Famous and lesson assignments. strictions, Presser Company need your help greatly Marches—Arranged for One copy has such an array of the the past months now ready for delivery of children's classes. Piano Solo Henry to a person may be ordered Guest Teachers Season 1947-1948 in this period Levine .70 Reservations for single marches of that of a high peak of America’s copies of this now at the special Publica- Sousa been offered in one to advance subscribers is a book book Advance of Musicianship Courses for • may be_ made now at book. Here are High attention. Many Piano Clinics • Voice Clinics the special tion Cash Price, 25 cents, postpaid. School Cadets, Lib- has attracted much erty Children and Adults. Bell, The Stars and Stripes Forever, readers of The Etude have enjoyed the Repertoire • Refresher Courses • The Thunderer, and eight others, all ex- piano music that first Instruction in Piano, Voice, Private Lessons =H'S~='~” HEADS UP! A One-Act Operetta on Safety, albums of sacred =~3ffiSSS pertly We have added to our staff prepared by available to them and in- tata will meet a large part Book and Lyrics by Robert Wayne Clark the talented Henry have been made and Composition. For information address: of the Easter MORE ontf t-nnv . T creased stock quantities as Levine. One copy Notes and their fast as pos- music requirements of many °F and D. Willard Zahn, Music by Ralph Fed- to a customer may be through these Publisher's volunteer Registrar, 2268 Ashland, Toledo 10 ( O. sible, but as yet we oidered now demon- N.Y. 8-1050 have not been able choirmasters. Voung erer Here is story at the special Advance of appreciation of them has been 66 EAST 80 ST., NEW YORK 21, BU Well suited- to the abilities Pianist, — a new operetta with, Telephone: GA-0043 to overcome delays, many of which are by Grace El- f « l Publication Cash Price, interest shown in this new of the average volunteer choir, the Mu ~ and lyrics by two authorities in the field 70 cents, post- strated in the beyond music sica AfraJemenfs' paid. our control, ranging all the. oo-., . "unyements tby LouiseUuise? T"' announce- way in easy , EE.’ of is usual, with this rhythm and range embraces “o- ThoseXT^T *•«—Stairs safety training. With refreshing tunes book. As from all music printing establishments advance of publication prano, mezzo-sopmnHontmlt^Ten^ to delight the listener, it will prove both ment the special in the country having insufficient a Time AMERICAN are obtain- capac- and a cr»i/-\c • cArM.« nn . n 3 ~ Stories NEGRO SONGS, withdrawn as copies baritone solos; soprano-altoH„ and Mi« w k- byuy diverting and instructive to school and For Mixed price is ity to meet today’s demands to the in- kn°W owes, by John for exam- AMERICAN CONSERVATORY tenor-baritone the plan W. Work your local dealer, or duets; chorus wfth so- <* this community audiences everywhere. The Compiled by a able from ability of mail and 11 distinguished express services to prano obbligato; presents stories music member of the faculty of ination from the Publishers. three-part chorus for lives of ten^ of the is' intended for singers of Junior OF MUSIC—CHICAGO make deliveries as nromntlvpromptly 0 5 isk as in preore- ' C°Upled university, Sacred and women’s voices; recitatives; and !" with '**w High and elementary school ages. Six of a recognized authority Chapel Echoes. An album of Offers courses in all branches of music and dramatic art war days. mixed Jiano arra^ n tie chorus numbers. m slmplified the are music of the American Negro, Meditative Music for Pianists Young and 61st year. Faculty of 135 artist teachers The devotional spirit of of their form roles have solo parts, and there This suggests that teachers, particu- nWfTm s comprehensive Arranged by Rob Member of National Association of Schools of Music ““ »-> e u a number of sizes volume presents more Old, Compiled and for a free catalog—Address: John R. Hattstaedt, President, 570 Kimball Building, Chicago larly, £»w. ” minor roles also. The Send become acquainted with the details ideal for ».f”mS,r„rc,e°S an two hundred pianists a most use as a worship service. The Z ; of the singing groups, the Chorus, the Negro folksongs, both Roy Peery, brings to of the Presser “On Sale” plan which E s“'s 10US choir ' and grade director secular - pieces, in about may be assured of the pieces *5323 Jury, and the Safety Drill Patrol Unit More than one hun- useful collection of makes possible the maintenance “L lor childrenh' M drpri 3re of a arrival of this book for early are well known * can harmonized for four-part choral two-and-a-half, many for the first time rehearsal. Etude readers. to be governed by the resources of each u studio stock throughout the entire teach- At the great the Advance of Publication Cash producing group. changes, ^ presented with melody in piano arrangements, from 16 With simple ing season. The details of -this U ited States and text plan will Price of 40 cents, postpaid and its one music of Bach, Bortniansky, QbbrlartiJnstitatp of a single codv siom l* ^ posses- stage setting will suffice. choral (Dustr be furnished cheerfully. Send your re- may °f this be ordered now, but quantity orders book be Franck, Gaul, Maunder and Mendelssohn ordered not £5 Until Heads Up! is for the mar- quest to Theodore Presser Co., 1712 cannot be 3 SP6Cial ready pertoire of other Bachelor of Music Degree, Master of Music Degree, Artist Diploma accepted until after delivery of Advance of of choral organizations as well as sacred compositions Y Publication* r ket, orders for single are being sintrip Chestnut St., Philadelphia 1, Pa. Advance C h Price of copies ieS cents. of Publication orders. 30 cents, post- 0f thls book may be orderei outstanding composers. Price, 75 BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, O. paid received at the special of Pub- now ot°tv, Advance 16 limited to the special Advance of Publica The sale of this book is Charter Member of the National Association of Schools of Music 58 lication Cash Price, 40 cents postpaid- tion°n Cashr- if Advertisement Price, 80 cents, postpaid. United States and its possessions. ETUDE THE JANUARY 1948 ADVERTISEMENT 59 — ,

tone composition promulgated by Schon- perg, and further elaborated by CAN PLAY THE The Mysteries of Ernst Books by YOU its present state which Krenek. In it is as strict Thousands as fugal counterpoint of Bach. Surpris- 6 PIANO Middle- C ingly enough, it is quite possible to write Page 6) tonal music in the twelve-tone system. GROWN - UP” (iContinued from of BEGINNERS A Book for the in its There are several ways of splitting the Now Beginner twelve tones into four different triads, Older Were he living today he music lesson. two major and two minor. Thus through have gained in Two Parts at the changes in PIANO would be dumbfounded PLAYING own building the twelve-tone system, tonality and teaching, the greatly elevated methods of can be reconciled. By ADA RICHTER huge revenue in the cultural heart position of the teacher, the of Part One derived from the music industry through Mother and Grandmother ENJOYMENT Chicago, with greatly ex- Chords various channels (estimated at from three Price, 75 cents There are 4.79,001,600 combinations panded studio the in ACQUIRING ABILITY TO INDULGE IN facilities dollars a year) , and THE PLEASURE to four billion twelve tones of OF BRINGING Part Two which the the chromatic FORTH MUSIC IS A especially designed relatively high position of music study in WISE AND BENEFICIAL USE OF LEISURE TIME. for scale may be arranged. This figure, in Price, 75 cents general education. Yet what the world music teaching. case anybody is interested, is arrived at SHERWOOD MUSIC SCHOOL BUILDING calls “human nature,” particularly “boy Piano Teachers Everywhere by multiplying the first twelve numbers, Are Enlarging Their Pupil Lists in Using nature,” remains pretty much the same. These Books PART ONE Certificate, Diploma, Degree courses in Piano, Voice, Violin, Organ, Cello, Wind 1 by 2 by 3 by 4, and so on, up to 12. To Music teaching in the days of our grand- ~ ~ Many teachers who found Mrs. Richter's instruction material a little make things more complicated, a - for helpful achieving good results began Instruments, Public School Music, Conducting, Theory, Composition. Courses fathers was fundamentally and humanly young students so in German musician, Fritz Klein, who wrote requesting something from her pen that might be used with unlike music teaching of today. is the splendid answer for veterans under G.I. Bill of Rights. Spring Semester opens February 9. not the beginners of Junior High ages. This book under a Greek nom de plume meaning as GROWN-UP OLDER BEGINNER'S to those requests and it may be used with beginners young For free catalog, write Arthur Wildman, Musical Director, 1014 Self-Tormentor, introduced a chord con- as Junior High School ages all the way through the ages up to those in "Social Security'' retirement. In these "non-childhood'' taining not only twelve different notes BEGINNER'S BOOK South Michigan Avenue, Chicago 5, Illinois. PIANO BOOK ages not too much has to be dwelt upon in elementary notation but also eleven different intervals be- For the Piano details since usually acquaintance already has been made with those details. The "older beginner" wants to progress tween the notes. He called this By JOHN M. WILLIAMS a “Mother rapidly in ability to play favorite melodies and here Mrs. World of Music By WILLIAM M. FELTON Price, $ 1.00 Year by Year Book* The Chord.” The author of the present article Price, $1.00 Richter's skill in making simplified arrangements provides such Here is a book of piano instrui :tion material for grown-ups, high beginners with a wealth of easy-to-play, yet effective, arrange- ( Continued, from Page 1) went him one better and made up a mnn MUSIC SCHOOL pupils college •oung ments of well-known folk songs of various countries, some school age and } men and women, that really Designed Especially for chord American ditties, hymn, a favorite classic, and other selections. which he named “Grandmother leads towards a definite goal —not the digital dexterity of the JOHN M. a WILLIAMS’ ADULT BEGINNERS Annotations throughout aid in the progress and just for those Chord.” virtuoso—but the ability to pit iy the many fine compositions of intermediate grade, and the Payable who need review, the last pages of the book cover details about tional singing. The competition is open to ] arrangements of classic (Meaning AH Persons notations, the staff, note and rest values, rhythm, the keyboard, Institutional of Association of Schools of all dosing date is Febru- and standard compositions, that Member National Music composers; and the OLDER BEGINNER’S correct position, are available. It begins with the Over 14 Years of Age) playing and correct finger and the pedals. ary 1948. The details may be secured by 29, rudiments, but quickly has the “Teen-age'' high writing to Thomas H. Hamilton, Monmouth pupil playing interesting melo- school students PIANO as well as other more mature PART TWO College, Monmouth, Illinois. Clair Leonard, dies while making rapid ac- BOOK quaintance with fundamental beginners want different and This Part Two continues with gradually advancing attractive professor at College, Pough- OSMOPOLITAN of music Vassar technical problems. Keyboard faster progressing material than pieces and well-chosen studies to carry the beginner above usually utilized into fairly the keepsie, New York, is the winner of the 1947 illustrations assist in correlating for juveniles. grammar school age a acceptable proficiency at SCHOOL Here is just keyboard. Of course, is available of material to OF MUSIC Psalm true competition. the notes of the printed page the book lor such there plenty "older beginners." take the older piano beginner into wider fields of pianistic CLARENCE El 0AM, President with the keys of the. piano. It begins, as Ve. ' • ’ it naturally should, accomplishment, but the purpose of this instructor in two parts ROSSETTER G. COLE, Dean Everything in the book is de- with the A PRIZE of $1,000.00 is offered by Robert identification is to help the average individual pianistic neophyte of riper tmooo.1 - of the 41th year. Offers courses in all branches signed for the adult student— | .•tut. co notes hnd of Music. Confers certificates, diplomas Paul Merrill for the best new one-act opera in the music will their corresponding keys on the years reach a point where he finds it possible to make articulate appeal to the ami degrees. Member of N.A.S.M. piano. The first through the piano keyboard favorite songs, hymns, and other UNIVERSITY English in which the baritone wins the girl. adult intelligence, the pieces : , , , pages show Located in downtown musical center. es ng ?harts and diagrams loved melodies. In this Two, Mrs. and exercises l"'*5 ! and are given over to thorough Part Richter, through her I CHICAGO The only rules are arranged for instructioni Box E. S. Wabash Ave., Chicago4, III. governing the contest are that in the fundamentals. unusual craftsmanship in full sounding, easy-to-play, 306 playing by fully-matured hands. The work, however, advances making yet the heroine must be rapidly than is customary with piano arrangements, includes such likeable selections as the won by the baritone, While intended for use with a books for younger' be- THE Containing all twelve suggestions and Levee Song, , The Lonesome Road, River Valley SCHOOL OF explanations Red , who must not be a villain. Entries should teacher, the explanations are so Animnne™, to the point always. Chromatic and 1 feature of the book is a hymn or two, some Negro spirituals, and some choice melodies BALDWIN-WALLACE tones clear and easily understood that the group ot attractive pieces be mailed to Mr. Merrill at 48 West 48th nLTitand folk songs, which from such classical composers as Bach, Beethoven, Grieg, Mozart, eleven different intervals. the diligent self-help student have been arranged especially for the Street, New York City. m t S rado The and Tschaikowsky. Necessary but not forbidding practice ma- CONSERVATORY OF MUSIC 1/Husic may get much assistance from ™ ^' ? work covered in this book normally would require, tor younger students, terial is interspersed to develop playing facility that will permit BEREA, OHIO (suburb of Cleveland) the study of it. the better part of two years’. rambling off into the enjoyment of other A PRIZE of one hundred dollars is offered melodies. Affiliated with a first class Liberal Arts College. Offers accredited courses in Piano, by Four and five year courses leading to degrees. Faculty the New York Flute Club for a compo- PLAY of Artist Teachers. Bend for catalogue or informa- WITH PLEASURE Voice, Violin, sition for flute and piano. tion to: Organ, Public School The contest closes PROGRESSING W. BALTZ, Dean, Berea, Ohio January 15, and all details Album for the Grown-Up BOOK OF PIANO DUETS HAROLD Music, Theory, and Orchestral In- 1948, may be Piano Student secured by writing to Lewis Bertrand, Chair- PIANO STUDIES struments. Compiled and Arranged FOR ADULT BEGINNERS man, 18 East Forty-first Street. New York For the Grown-Up Student N. Y. By WILLIAM M. FELTON Philadelphia Conservatory Confers degrees of B.M., A.B., 17, By WILLIAM M. FELTON Price, $1.00 Price, $1.00 Founded 1877 and Mill. Price, $1.00 Of Music I t bo k e galbered together etudes Here is an album of 19 numbers will ?. that have all th that have a long, useful, ?hamr HiLc* «^ f "Teen-age" Maria Ezerman Drake, Managing Director Distinguished Faculty ha, ppeal t° adults; the students who have Ifenuri and pleasure-giving life ,? same type of materic around the piano in the average home. emDlovedl completed the first ENZO SERAFINI-LUPO, Opera Coach 0rS GrownUP Beginner’s Book. They hav books of in- It is ideal for this purpose, but some older beginners will find beencare fnllv^“'i J 9 ° d ln ro re ssive order, struction and pieces, as well as it especially helpful to their OLGA SAMAROFF, Special Lectures marked and Tv j*. P 9 the fingering plaint piano progress by enlisting the aid haS beenmosl adult pianists of limited attain- of playing mates, younger or older, Courses leading to Degrees Address Registrar for Bulletin GRANDMOTHER CHORD he 9 thorough. Teachers wi who have a little more delighted within" ments, or with little Young Music Must Have h comp ehe™ve ° course of time to prac- piano-playing experience. Neither part is difficult to play, (Figured out on February 13, 1938, at one ., I studies und< being 216 So. 20fh St. LO 7-1877 cover Ad^H n , tice, can lot p pils nl1 welcome the economy get a of fun out of perhaps what would be assigned to the average younger DePAUL . effected an student UNIVERSITY 3-20 P. M. while listening to a broad- will appreciate thh Y playing these numbers. There oppor,u?"y of perfecting their technique in grade 2, or early grade 3. point where thev to are SCHOOL OF MUSIC New Tools cast of Tchaikovsky’s Fourth Symphony). P °y ,he n ?t-so-diificult arrangements of folksong such as Schum^n M pieces of composer This chord chromatic a a Ha d and ballads, gems from the Room 401, 64 East Lake Street (Continued contains all twelve and NevTn V ng th * writer from Page 7) MacDoweU F r "f V”° operas and overtures, selections tones, and eleven different intervals, too numerous °' heI Chicago 1. Illinois trT^mention ^mon^lhe* moderns"* from the classics, pieces in light from a semitone to the major seventh, rhythmic style. Many are well- known as radio "signatures" FOUR-OCTAVE KEYBOARD Pandiatonic Harmony; only like with intervals symmetric to the center CHARTS the and movie "theme music." None UNIVERSITY gentleman in Moliere’s being inversions of one another, the BOSTON play “Le Bourgeois MELODIES of the arrangements requires Linen; Price 75c Flexible Cardboard; Price 50c Gentilhomme,” central interval, the iritone, being the more technical proficiency than MILLIKIN CONSERVATORY OF MUSIC who was dumbfounded to Paper; Price 15c CJl. Wlunc learn that he inversion oi itself. EVERYONE that acquired by the pianist at to play grade three music. r of DECATUR, ILLINOIS was talking grammar with- LOVES out ever having Offering complete courses in Offer* studied it, they do An Album of Piano, Voice. Organ, thoro training in music. Couraet leading to not The justification of all these extraor- Piano Pieces Violin. Cello, Brass. Woodwinds, and Percussion in- realize BOOK OF PIANO PIECES Bachelor of Music Degree. Diploma and Certifi- that what they do struments. Public School Music. Composition. Church by instinct, has for the cate in Piano, Voice, Violin, Organ, Public dinary developments in modern tech- Grown-Up Music. Musicology. Chorus. Glee Club, Orchestra. Band. School a theoretical Music Lover Muaic significance. Take, for Faculty includes members of Boston Methods and Music Kindergarten Methods in- niques pur- Compiled FOR ADULT BEGINNERS Symphony, Bache- stance, is that they serve a practical and Arranged lor’s and Master's Degrees in all musical subjects. Dorms. the added sixth at Bulletin sent fret upon request the end of a pose. To take atonal By Catalog. COLLEGE OF MUSIC, 73 Blagden St.. Boston. popular song an obvious example, WILLIAM M. FELTON Price, 75 cents W. ST. CLARE, INTURN, arrangement. Men of Price, S1.0C M Director jazz music is used to great advantage in the regard such a After the first few months of learning the "geography" of the sixth as an addition to the movies to create suspense in mystery keyboard and in getting the right finger to do the right thing at tonic triad, whereas, ROY CAMPBELL according to the the right time, there is then the chance to begin enjoying one's plays. is harmony Harmonization in major triads Facsimile of Keyboard. For Use on Table or Teacher of Successful Singers v \| books, a chord like C, E, own rendition of some attractive music. That is where this book G A eminently suitable for heroic scenes. Back of Piano Keys. would be comes in. It provides clever, easy-to-play arrangements of An Important Piece of of / \ defined as the first ’inversion To return to the question of our mu- favorite melodies from classic, folk, operatic and standard Equipment for Piano Beginners. - - Pictures • - of the o^!£F“Lc^ Radio Theatre Concert Opera submediant seventh. ° r appeal sources along with a dozen original compositions by favorite / sical lady: “Don’t that music a‘e manv bul 'here “STYLE- IZING” for Radio and the Theatre you think Y pieces included contemporary composers—-27 pieces in all. What about atonal music? will u , that There was should be beautiful?”—modern music be ‘oond in ordinary —Studio / a time when W i”°‘ col- * composers of the vanguard ° tb ® melodies 607-8 Carnegie Hall York City possesses a beauty of its own, a dynamic have beeif New cultivated atoriality arrang ed or Telephone Cl 5-9 244 / with partisan devo- « that thev , tevrsed CONSERVATORY \ quality that corresponds to modern life. ®-ay be played a” tion. In the 1920's enjoyed la v - d it was regarded as old 0111515 wbo / F MUSIC No one can predict what musical idiom had only c/f.w have \ hat to use key signatures. Seasons of The usage of will or Even ambitt study, be predominant in a generation US 7°.un gsters THEODORE PRESSER can CO. THE DUNNING COURSE 81st ANNIVERSARY YEAR unvarnished major or attempt theso / \ minor triads was S of Improved Music Study A complete school of music, dramatic two hence. But we may be sure that this although because considered a mark of Ihe harm‘°"onies Publishers art and dancing. rustic inferiority and are !u 'l Music and Dealers Gladys M. Glenn, B.Mus., M.A., Mus.D., Dean Courses lead to degrees. future music will the most PpianistioMi1 a and the incorporate ?otes ‘ y 9 of the of Education Faculty Special students may enter at any time. significance of a new work arear* wrw °°.f was durable elements tech- ha " ‘tt«n “under the Information and class dates address proportional of present-day ndl For SECOND to the number of 1712 CHESTNUT STREET PHILADELPHIA 1, PA. SEMESTER * sharps niques. The young and women of Executive Headquarters and double sharps in men I Opens January 26 the scores. music They 1710 Tyler St. Amarillo, Texas \ The must be given the new tools. haphazard practice of Write for catalog atonalitv should be instructed in their use, and 2650 Highland Ave. gave way to the Cincinnati 11). Ohio \ ordered system of twelve- warned against their abuse. 60 "MUSIC STUDY EXALTS LIFE’ 1 THE ETUDE

PRINTED IN THE U.S. A. BT THE CUKEO PRESS WORLD’S Edited and Annotated by Selected Books on Music Understanding THE PERCY GOETSCHIUS, GREATEST DOC. MUS. MASTERS OF THE SYMPHONY—By Percy Goetschius, Mus.Doc.—A careful SYMPHONIES orchestral instruments and the evolution study of the development of of chapter treatment of the the Symphony. Illustrated. Chapter by master- on The Era; musicians in symphonic writing; a chapter Modern and one books records. on American Symphonists. Lists of reference and Indexed. 393 pages. Cloth. Price, $2.00.

FROM SONG TO SYMPHONY—By Daniel Gregory Mason—A manual of ANALYTIC music appreciation. Illustrated. Chapters on; The Folk Song, The Art SYMPHONY SERIES Song, Opera and Oratorio, Piano Music, Chamber Music, Orchestral ZdittJ end Amuuiid b Indexed. PERCY GOETSamiS.Mns.Doc Music. Lists of reference books and records. 243 pages. Cloth.

Price, $1.50. TCHAIKOVSKY SYMPHONY NUMBERJ MUSICAL INSTRUMENTS—By —The story of the de- velopment of music from primitive times. Illustrated. Chapters on; The Organ, The Piano and Its Predecessors, The Violin Family, Wind Instru- ments, The Modern Orchestra. Lists of reference books, records. In- dexed. 243 pages. Cloth. Price, $2.50.

TALKS ABOUT BEETHOVEN'S SYMPHONIES — By Theodore Thomas and Frederick Stock—Non-technical analyses of the nine symphonies, with diagrams and musical quotations, by two famous conductors. 218 pages. Cloth. Price, $2.50.

THE SYMPHONY SINCE BEETHOVEN—By Felix Weingartner (Translated from the Second German Edition, by Maude Barrows Dutton) —An interesting commentary, by a famous composer and conductor, on the master sym- phonists and their works. 98 pages. Cloth. Price, $1.25.

THE AMBITIOUS LISTENER—By Leo Rich Lewis—A pocket handbook. Written in bright, colloquial, humorous style. An easy approach to appreciation Each volume of the masterworks in music. 96 pages. Paper. Price, 60 cents. contains an ex- ° Adopted by the National Federation of Music Clubs for its "Study Course in Music cellent portrait Understanding" of the composer

Beautifully printed The ANALYTIC SYMPHONY SERIES provides playable two-hand piano scores of the with clear, legible great symphonies, symphonic poems, and overtures; complete analytical notes on the text and music, and structure and orchestration; and critical notes appraising the significance of the durably bound in composition and its salient points. heavy cover-paper. FOR THE PIANO (FREE: Beautifully illustrated 28 page descriptive and thematic catalog mailed upon requestj

HAYDN MENDELSSOHN TCHAIKOVSKY

Symphony in S^m phonY_Mo-&. in_G maior (Surprise). .75 No. 3, A minor (Scotch). . . 1.00 Symphony No. 6, in B minor (Pathetic). . 1.25 Symphony No. in Symphony No. 1 1, in G major (Military). .75 4, A major (Italian). . . .75 Symphony No. 4, in F minor 1 .25

in Symphony No. 2, D major (London) . . .75 Symphony No. 5, in E minor 1.50 Symphony No. 16, in G major (Oxford). .75 FRANCK WAGNER Symphony in D minor 1.00 MOZART Prelude to The Mastersingers SCHUMANN of Nuremburg 75 Symphony^No. . G . miaoC-—^—. .75 DVORAK Symphony No. in Bj? Symphony No. 49, in C major (Jupiter). . .75 1, major 75 Symphony No. 5, in E minor Symphony in Symphony No. in major No. 47, Efc> major 75 2, C 75 (New World ) .... 1 .00 Symphony No. 35, in D major 75 Symphony No. 3, in E\) major 75 D'INDY Symphony No. 38, in D (without Minuet) .75 Symphony No. 4, in D minor 75 Symphony No. 2, in B[j major 1.25 BEETHOVEN BRAHMS SAINT-SAENS

Symphony No. 2, in D major 1.00 Symphony No. 3, in C minor 1.25 Symphony No. 1, in C minor in E\) 1.00 Symphony No. 3, major (Eroica) . . 1.25 SIBELIUS Symphony No. 3, in F major ].00 Symphony No. 1, in C major 75 Symphony No. 4, in E minor Symphony No. 1.00 1 , in E minor 1.25 Symphony No. 6, in F major (Pastoral). . 1.00 Finlandia (Tone Poem) 75 Symphony No. in A major 1 .00 7, LISZT Symphony No. 2, in D major 75 RIMSKY-KORSAKOV Les Preludes Symphony No. 4, in Bjj major 75 (Symphonic Poem) 75 Scheherazade (Symphonic Suite) 1 .50 Symphony No. 8, in F major 75

Symphony No. 9, in D minor (Choral). . . 1.50 SCHUBERT Oliver Dit son Co. Theodore Symphony No. 8, in B minor (Unfinished) .75 Presser Co., Distributors

in B\) major 1712 Symphony No. 5, 75 Chestnut Street, Philadelphia, Pa. Symphony No— in C major 1.25