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

5-1-1921 Volume 39, Number 05 (May 1921) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 39, Number 05 (May 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/679

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EMINENT AMERICANS ON MORALS AND MUSIC Hon. William Jennings Bryan David Bispham Roger Babson Hon. Arthur Capper Rupert Hughes Walter Damrosch George Eastman Thomas Edison Hon. Henry VanDyke Lt. Comm. John Philip Sousa \

“The Most Difficult Thing in Piano Playing” By Ignaz Friedman

Splendid Music Section in this Issue

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hnkqperprenmnt m\CCe / TEE ETUDE MAY 1921 Page 291 The Best and Most Used Collections and Studies for Piano, Voice, Violin and Organ Suggestions for the Teacher—Recreation Material for the Student—Albums and Works for the Music Lover

PIANO TECHNICS AND STUDIES PRIMERS—RUDIMENTARY WORKS L LANDON, C. W. Writing ook for Music Pupils, ....lie Preludes and Fugues $ “ Inventions for the Piano Ill, The t i; Part IV, tsily understood pre- “ First Study of Bach (LeefsonL “ Well Tempered Clavichord, Vol. I The School of Octave BECKER, GUSTAVE L. Exercises for Developing One of the most remarkable works in the BURROWES’ PIANOFORTE PRIMER (PAPER). Accuracy in Piano Playing entire range of pianoforte pedagogy hy^an CLARKE, H. A. Theory Explained tr BERTINI, H. 25 Studies for Pianoforte, Op. 29 " 25 Studies for Pianoforte, Op. 100. SfaU American pianists and teachers. BIEHL, A. Elements of Piano Playing, Op. 30 . MATHEWS, W. S. B. First Lessons in Phrasing. 1 MORRIS, M. S. Writing Primer ... BILBRO, MATHILDE. General Study Book. “ Studies in Phrasing, Book 1. 1 CUMMINGS, W. H. Rudiment ^ No previous knowledge ofn“u®}c by “ Melodies in Difficult Keys. “ Studies in Phrasing, Book II. 1 questions for examination “ 25 Melodies for Eye, Ear and Hand Training “ STANDARD GRADED COURSE OF STUD¬ EVANS, M. G. Primer of Fact, IES. 10 volumes, 10 grades, each. 1 SUTOR? ADH.E? IvmeTpelling Book...... BLOSE, JOH. M. Pedal Book This is one of the most successful devices BUGBEE, L. A. First Grade Studies. Easy, This is the original, and in spite of dozens original, melodious study pieces. of imitators, still the one universally used course of piano study, combining and suggest¬ FOUR-OCTAVE KEYBOARD CHART (Cloth).. tapper!1 THOS? “ Children's Biographies of ing everything essential for acquiring a perfect Bach, Mozart, Schubert, Schumann, Han¬ knowledge of, as well as finished skill in,piano JOUSSE’S MUSICAL CATECHISM (PAPER) del, Chopin, Liszt, Beethoven, Mendels¬ sohn, Haydn, Verdi and Wagner. Each. BURGMULLER, F. 25 Studies, Op 10 playing. KILLOUGH, G. C. Gibbon’s Catechism of Music « 12 Brilliant and Melodious Studiel MORRISON, R. S. Second Grade Study. 10 499 Questions and Answers^ Noj-atiou, “ 18 Etudes de Genre, Characterit embellishments- etc. Op. 109 LANDON. C. W. CHORDS AND ARPEGGIOS (Orem).. Writing Bool for Music Pupils, Book I. CLEMENTI, M. Gradus ad Parnatsuc CONCONE, J. Selected Studies PALOVERDE, M. Left Hand Facility ! ■’ Op. 25; 30; 31, each Easy study pieces. PIANO INSTRUCTORS COOKE, J.F. Mastering the Scales. PARLOW. E. First and Second Grade Study Pieces 7 u Enables the teacher to^ start scale study PERRY, E.B. Lyric Studies \ KOHLER, LOUIS. Practical Piano Method, Op. “ Wrist Studies. 1 ABBOTT, Mrs. A. T. A Method for Gaining a 249. Vols. I, II and III, each. $1 highest degree1 oP proficiency with advanced Perfect Knowledge of the Notes $0 LANDON, C. W. Foundation Materials for Piano. I students. Practice material-hilly written out. PHILIPP, I. Exercises in Extension. Unique BATCHELLOR-LANDON. Musical Kindergarten Many original features found in no other work. studies. Strengthen and stretch the hand . Method.., 2 “ Op. 60. Finger Gymnastics ... 1 For the nursery and classroom. This work CRAMER, J. B. Fifty Selected Studies. ” Preparatory School of Technic. Daily practice CZERNY, C. One Hundred Studies, Op. 139 in technical essentials. 1 NORCROSS, C. I. Adult Beginner’s Book “ 100 Easy and Progressive Lessons. ” School of Technic. An exhaustive compen- . BEGINNER’S METHOD. Theo. Presses 1 “ 101 Short Exercises in Passage Playing. Op. Intended for the youngest beginners and SCHMOLL, a! S New Piano Method. In Two perfectly adapted to their needs and insuring • School ..I Vel. <1,. 299 “ The New Gradus ad Parnassum, in eight not only pleasant but^rapid^ progress. Phe- " School of Velocity. Op. 299. 4 books, each books: “ 6 Octave Studies, Op. 553 Book I, Left Hand Technic; Book II, Right School of the “ First Pianoforte Instructor, Op. 599. Hand Technic; Book III, Hands Together; BEYEr! F. PElementary School of Piano Playing Preliminary School of Dexterity, Op. 636. Book IV, Arpeggios; Book V, Double Notes; FIRST STEPS IN PIANO STUDY ...... Book VI, Octaves and Chords; Book VU, ’’ Op. 740, 6 * The Trill; Book VIII, Various Difficulties;

wABCol Piano Musi. andZar“ranged°ln pTacrical and progressive order by an expert in piano teaching. successful and most widely used works are DORING, C. H. School of Octave Playing. Op. 24 named above. ! PIANO COLLECTIONS—FOUR HANDS DUVERNOY, J. B. Ecole do Mecanisme, Op. 120 PISCHNA. Sixty Progressive Exercises. “ Ecole Primaire, Op. 176. PLAIDY, L. Technical Exercises. GREENWALD.M. 20 Progressive Studies. Grade2 1 SARTORIO, A. Instructive Four Hand Album. $ PRESSER, THEO. First Studies in Octave Playing BASCHINSKY, P. One Year in tl CURLITT, C. Easiest Velocity Studies. Op. 83. “ Selected Octave Studies. Equal develop¬ 12 little piece" “ Pleasant Hours, Eight Instructive Four Hand “ First Lessons. Op. 117. Pieces, Op. 1042. “ 35 Etudes Faciles. Op. 130 ment of both hands, flexibility and strength. I CHILDHOOD DAYS (Harthan). “ Recollections of Youth. Op. 1064 “ School of Velocity. Op. 141. RANSOM, E. Through the Major Keys for Teacher and Pupil . SPAULDING, G. L. You and 1. HABERBIER, E. Etudes Poesies, Op. 53, 59 .... ROGERS, J. H. Octave Velocity. Short, interest- CONCERT DUETS. HANON, C L. Virtuoso Pianist, Complete. a, 150 ps HEINZE.L. G. The Piano Beginner “ The Progressing Piano Player. RTORIO, A. 12 Instructive Pieces in Melody i HELLER. STEPHEN. Thirty Selected Studies. Playing and Expression, Op. 368 ENGELMANN FOUR HAND ALBUM ' 10 Melodious Studies in Velocity, Op. 380. FOUR-HAND EXHIBITION PIECES FOUR HAND MISCELLANY. “ 25 Melodious Studies, Op. 4S ‘ Melody and Velocity, Op. 81 FOUR HAND PARLOR PIECES. “ 30 Progressive Studies, Op. 4< incing Players, GAENSCHALS, C. Home Pleasures. “ 25 Studies, Op. 47 Op. 876. .. HERZ.H. Scales and Exercises... Twelve Melo in Embellishment, JUVENILe'dUEt'pLAYERs"..'. Op. 902. .. JONAS, ALBERTO. The Pianosc __ Studies, Op. 1044 .. i MARCH ALBUM. MOSZKOWSKl, M. Soanish Dances “ Finger Freedom Studies, Op. 1069. MUSIC LOVERS’ DUET BOOK. “ Studies in Syncopation, Op. 1079. OPERATIC FOUR HAND ALBUM. 22 Duet Studies for Left Hand Alone, Op. 1103. SCALES AND CADENCES (Presser). SCHMITT, A. Preparatory Exercises, Op. 16a VIOLIN MATERIAL third grade t augh al SCHMOLL, A. Studies and Study Pieces, 3 i keys with suitame stumes a..u » AIQOUNl, K. H. Practical Method for the Yc KOHLER, L. First Studies. Op. 50. i •' 12 Little Studies, Op. 157 Violinist .. •' 12 Preparatory Lessons, Op. BENJAMIN, FRANK T. Comprehensive Vi LIEURANCE. THURLOW. Indian Melodies.. 190... Method.. • • • PLF.YEL, I J. Petit Duos for Two Violins, Op. “ Very Easiest Exercises, Op. . To d BLUMENSTENGEL, A. Scale and Arpe SCHRADIECK. H. Scale Studies “ Small School of Velocity, Op. d style Studies, Vol. I . ••••• ' T clinical S udies. Vol. I KROEGER, E. IL 15 Etudes for SCHULZ, F. A. Scales and Chords. DANCLA, CH. Six Petits Airs Varies Op. 8S SEVCIK, O. School of Bowing, Op. 2, Vol. 1 DE BERIOT, C. Method for Violin Vol. I . STANDARD VIOLINIST, 32 pieces. KUNZ, cK. M. ^Twm Hundred SCHWALM, R. Daily Exercises FAVORITE OLD TIME TUNES. Vio.in and P STUDENT'S POPULAR ALBUM. 22 Favor i SMITH, WILSON G. Etudes Arabesques FRANKLIN, F. A. Operatic Selections LACK, THEO.’Op. 289. L’Art d SPAULDING, G. L. Eludes Melodiques.. “ Selected Classics.„ . TOURS, B. Complete Instructor for Violin For students just beginning third HOFMANN, R. First Studies in First Post VIOLINIST'S POPULAR REPERTOIRE.29 piece! LANDON, C. W. Playing Two Notes Against Three WATSON, MABEL M. Bel Canto Method for Viol “ Wrist Studies. ion cnwrrRI .. HOHMANN,’c°H. c^‘"e*ch°°1, ' Positively the most elementary methc LESCHETIZKY METHOD. The Modern Pianist. ,w Standard Graded Course. " Sarneln^Books’ealh11’C0I,,P ...... (Prentner) . KAYSER, H. E. Elementary and Progre, LOESCHHORN. A. Selected Studies, two vols. Studies, Op. 20. 3 Books, each LEVENSON, C. 50 Selected Studies in the 1 Position special rhythmical device. STREABBOG, L. Twelve Melodic Studies, Op. 63 Twelve Easy and Melodious Studies, Op. 64. VOGT, J. 24 Octave Studies, Op. 145. Theodore Presser Co. teOn Sale** Plan WIECK.F. Piano Studies. guarantees satisfaction. Any Presser publication will be sent for ey upon request. You may specify special items that you would A selected graded list of pieces in sheet needs and let us send you a package of material to select from. You g pay only for what you use and return the remainder The same large dis- Qjj count allowed ass though the music was purchased outright. ^minn^ THEODORE PRESSER CO., THE ETUDE Page 292 MAY 1921 T -ANNUAL SUBSCRIPTION, $2.00 II We BRAMBACH mandment." a Paramount I BABY GRAND PIANO many motion picture beau - Isn’t this the piano you have always dreamed of having in your home ? A beautiful Baby Grand Piano, wonderful in tone, compact in size and exceedingly moderate in price, riie (or a paper pattern Brambach Piano Company THE ETUDE MAY, 1921 tuiremen^of the'Bnun- Ma* P- Campbell, Pres. Single Copies 25 Cents VOL. XXXIX, No. 5 ch Baby Grand. 640 Wen 49th Street New York

Print or Publication can. I cannot call to mind a symphony orchestra conductor Whatever may be the charm of seeing one’s effusions in in the United States who is American born. All the symphony . pi int, it is certainly one that has a tense hold upon thousands orchestra conductors in Great Britain are Britishers. Native and thousands of people. Possibly because the multitude comes talent certainly makes a better showing in England than in What one thing adds most into the world with such slender chance of making any mark America. On the other hand, the American orchestras are bet¬ upon the sands of time that will last more than over night, it ter distributed throughout the country. to woman's charm? is human to want to make a record of what one may believe “London has one or two more first-class orchestras than has grown in one’s own brain for the first time. New York has, though in proportion to the population the two This doubtless accounts for the fact that fraud publishers metropolitan areas are about equally well served. Against the A WOMAN’S CHARM—how much it depends upon her complexion! banishes slight imperfections. find so many dupes. The hordes of gullible people are so famous Boston Symphony Orchestra England can set her Man¬ When dining out—or at the home of friends—haven’t you noticed that it ^Go to your druggist today^md pur- anxious to see their names and works in print that they are chester Orchestra. Against the Chicago Symphony Orchestra is the^girl^ with the dainty, radiant CreamTtTther SS'cem. or $1.00. not particular about what they have to say or whether it comes may be set the Scottish Orchestra. But what has Great Britain Begin at once to attain the attractive¬ ness of face, the beauty of complexion, out under good auspices or not. to match with the symphony orchestras of Philadelphia, Cin¬ tliat adds so much to woman’s charm. blemfshetfskm—you, too^can'achieve : 1 There is, in the mind of anyone who is really worth while, cinnati, Detroit, Minrteapolis, Los Angeles, and other cities? it, if you use Ingram’s Milkweed Cream regularly. Ingram’^Milkweed Cream Frederick F. Ingram Co. an entirely different respect for the legitimate publication put The United States, it is true, has a much larger population Established 1886 43 Tenth St. Detroit, Mich. out by a publishing house with a good reputation, a fixed than Great Britain has, yet I am convinced that there is more : policy, traditions and a publishing ideal, and for something orchestral activity in the United States than there is in the merely printed by a fraud firm willing to take its pay from the entire British Empire, which has more than four times the pop¬ Ingrams author. One is worthy of serious consideration and the other ulation of the United States, Dependencies and all. No doubt Milkweed merely a printer’s job carrying no credit to the composer. the reason is that there is more money forthcoming for the Miss Mathilde Bilbro, whose works are known to so many American orchestras. The Boston Symphony Orchestra was a Etude readers, tells us that she recently saw such a publication dead loss to its promoter for years. But after it had educated Cream in which the music was filled with printed mistakes from begin¬ the public of Boston and made itself famous throughout the ning to end. The average person knows so little about United States it was able to pay its way. The orchestra which the grammar of music that when the copies come from the has to depend on the support of a musically uneducated public printers they cannot recognize these incriminating blunders. for its existence must go to the wall.” If they had an essay or a story printed with similar gram¬ matical blunders, they would want to see it burned to ashes Edison the great, when he zvas working with his staff to in¬ The Day of Corns Sherwood Piano Lessons for vent and perfect the incandescent electric light, put in twenty rather than have it circulated as an advertisement of their is over for the folks who know ignorance. hours a day. The wizard insisted that a fine organ be played for The best rule to follow is this: Submit your composition most of the time to inspire, encourage and mentally sustain his HERE are millions of people Students and Teachers T to a half dozen of the best publishers in succession. If it is co-workers. Of course, one hears a lot about such a stimulus in nowadays who never let a these days but that was way back in 1879. What Wisdom! What accepted, you have no further concern than your business corn ache twice. rrn i7PrS^TW b at ShTerwood d^oted to each lesson enough time to Foresight! To think that music had such a splendid part in the earn at least 3100.00 in teaching. It is possible for you to get all this time and arrangements with the house. If it is rejected, put it in the They stop the pain, then end discovery of the light that illumines nearly all of the civilized energy and devotion to the art for almost nothing, compared to what it rnu Th- bottom of the trunk in the garret with other souvenirs of your world! --- the corn completely. Thus, year lessons are illustrated with life-like photographs of Sherwood at the piano They past, and go to work at something new. However, unless you on year, they are keeping free are given with weekly examination papers. To be a successful teacher one must be Harmonic Controversies in France able to give, not only the proper instruction, but to ask the right miest^n. have abundant means and are not particular about what you from every corn annoyance. European musicians interested in musical theory have been right time which will develop the students’ use of the knowledge imparted The put out, never, under any circumstances, pay anyone for put¬ ‘ , Their method is Blue-jay, either Sherwood Course is available to every teache r throughout the country. No need to entertained by the battle waged by M. Saint-Saens with the give up your present classes and leave home for private instruction. ting out your work, not until you are sure that it has been younger French master, Vincent d’lndy, over the principles de¬ liquid or plaster. edited by some one who really knows his business. In such a duced by d’lndy in his Cours de Composition Music ale. They apply it by a touch. The HARMONY A knowledge of Harmony is absolutely essential to round out case take it to a music printer, never to a fake publisher. MrtlUTiym your musical education. It adds wonderfully to l r ! , ! d’lndy, while not revolutionary in some things, starts out corn is then forgotten until it ment hoth as Teacher and Performer. Without it you limp along on loosens and comes out. unpreparedness.” We offer you a complete course of weekly HaL the crutch of with the idea that, musically speaking, chords do not exist, and small cost, by Mr. Adolph Rosenbecker.Tamous Soloist ^7nd Condu^ The first record of the degree of Doctor of Music granted in harmony should not be regarded as the science of chords. He The inventor was a chemist Richter, and Dr. Daniel Protheroe, Eminent Composer Choral Director a rrrUPl °f America zvas to Henry Dielman, who received this dictinction believes that all musical phenomena ought to be regarded from who studied corns for many years. Each lesson is an orderly step in advance, clear, ?horSugh°and co ^ Tot fernere from Gcorgetozvn University. The travesty of degrees in general mechanical application of dry-as-dust” rules, but an interacting ~ ’ not me mere the horizontal aspect rather than the perpendicular. He con¬ The maker is a surgical dressing is shown by the fact that the sole mention of Dielman in any that grips your attention from the very beginning A written method siders harmony itself merely as a result—the result of superim¬ house of world-wide rep'ute. lesson in connection with ample original work, develops your knowledgetnd’firm'lv modern biographical dictionary is the little six-point line that lie fixes the important principles in your mind. age and “rm y posing two or more melodies. What is this, if you please, but Blue-jay makes harsh methods received this degree. As life preservers in the sea of oblivion O B & B 1921 degrees are as worthless as paid puffs. counterpoint? unnecessary. It is gentle, yet Watch one corn -i i d’lndy, however, does not let the matter rest there, but nothing could be more efficient. UNPRECEDENTED SPECIAL OFFER! Watch the effect on one corn. 11 will delves into harmonic series—the major series being those six change all your ideas. 11 will win you, as Orchestras of England and America It makes paring ridiculous, for long you have studied music—what p^i'tlc^ partials derived above the prime, and the minor a similar series it has won millions, to this newer, better whether you have studied Harmony. Tell us your aee whether * l ’ ?nd paring is dangerous, and it never The Daily Telegraph of London printed a survey of the coming below. This is very like the ideas of the late Dr. Hugo method. Do this for your own sake. -ng-in short write us in confidence just wha/you wfuldt^p'/ectlytetto^Si could end a corn. The best time is tonight. us if you called in person at our school. y to te“ orchestral situation in America and in Great Britain, made by Riemann, who, in several letters to the writer, defended his We will then send you 6 lessons selected from the course you want These will not k„ Air. Clarence Lucas, whose long residence in America entitles theories upon the subject as they were attacked by various Plaster or Li quid mere sample extracts or abridgments, but the genuine, original lessons exactly such as him to write authoritatively upon the subject. We print some we send to our regularly enrolled students. We will send you our large catalo^Li • ■ German theorists. the Sherwood Normal Piano Course. Students’ Piano Course Harmonv extracts which should be interesting to Etude readers: M. Saint-Saens, we are told, has taken very severe excep¬ Conducting, Public School Music, Violin, Cornet, Guitar and MandoHn'cou^ses!0™ Blue-jay “In one respect the symphony orchestras in the United tions to d’Indy’s theories. His friends are reasoning that if as Make your selection now and the 6 lessons' 'will'he sent you with Ml detr.ile f ,t States differ from the leading orchestras of Europe in that beautiful music as that of Saint-Saens can be written by his Course. You will be unZet no obligation to us. °f e Scientific Corn Ender they are composed mostly of foreign-bom musicians. The system, why try to break it down? New York Toronto UNIVERSITY EXTENSION CONSERVATORY orchestras in England are at least 90 per cent. British, but Alas for the reactionaries! Their fate is sealed before ■ A94 SIEGEL-MYERS BLDG., CHICAGO, ILL. the orchestras in America may be less than 10 per cent. Ameri¬ they have begun. '3 Please mention THE ETUDE when addressing our advertisers. - .. : 'IP' ' f:: *ss?r 435 ' : _:■ T -v _ ■ _ * * THE ETUDE Page 29 k MAY 1921 THE ETUDE MAY 1921 Page 295

Letters from Eminent Americans Endorsing “ The Golden Hour”

HON. WILLIAM JENNINGS BRYAN THOMAS A. EDISON DR. HENRY VAN DYKE Ex-Secretary of State, United States of America The world’s foremost inventor, ivhosc discovery -of the Distinguished essayist, politician, former Ambassador The Purpose of “The Golden Hour’ “I heartily endorse your protest against the principle of the phonograph has revolutionised to Holland music preservation tendency to eliminate the moral from education “Thank you for sending me your editorial arti¬ and the spiritual from life. I enclose an address “Your editorial has struck a keynote that, if cle from The Etude, which I have read with Endorsed by Foremost American Statesmen, Educators, Economists, which presents what I regard as a broad mind, heeded, would work a revolution in morality and great interest. If we can keep the spirit of the viz.:—Back to God. In our study of material home life. Golden Rule alive in our common schools, we Merchants and Manufacturers in Terms of the Highest Enthusiasm. things we are forgetting that the things that are “I believe that you should add to it a further shall confer an inestimable benefit upon the unseen are the eternal things. We spend so much suggestion that all women’s clubs of America America that is to be.” time on things infinitely small that we are neg¬ should join in a campaign to urge all mothers to have each of their children taught in the home, HE GOLDEN HOUR is an ideal offered the children may be reached every day in the week. lecting the things infinitely large.” T or, if too poor, at public school, some musical as a remedy for our country’s greatest peril, “The Golden Hour” is a non-sectarian, non¬ instrument such as the harp, violin, ’cello, flute the lack of training in character-building organization, non-partisan ideal of devoting one or clarinet. In time this should make the Ameri¬ can home a centre of high culture and America in the cases of millions of our children. (Fifty-eight hour each day in the Public Schools to the develop¬ the land of music, from which might spring com¬ WALTER DAMROSCH million citizens attend no Church.) ( ment of character-building with the background of posers of surpassing genius.” Conductor New York Symphony Orchestra This staggering National condition, makes the music, and an adaptable outline similar to the “I am heartily in sympathy with your idea that ethics should be taught in our public schools day school the only present manner in which all following. quite apart from a religious standpoint, as, owing GEORGE EASTMAN to the many different faiths in our country, it SUGGESTED PROGRAM The greatest force in the upbuilding of the photographic would be impossible to teach the great moral art and industry in America, has given millions for truths and a perception of what is right and what the development of music at Rochester University 1. Music 6. Reading LIEUT.-COMMANDER JOHN PHILIP is wrong through any particular sect or creed, “I have read your editorial and think it is ad¬ SOUSA, U. S. N. R. F. without shocking those who follow a different £School Orchestra, Singing, Talking Machine, Declamation, dialogue, playlet or moving mirable. Too much stress cannot be put upon pictures. World’s most famous bandmaster faith. Your article ought to help in arousing etc.) the desirability of teaching social ethics to the “You have embodied in your ‘Golden Hour’ widespread activities in that di children. I wish you every success in your un¬ 2. Ethical Example 7. Inspirational Music campaign a glorious idea, a function that appeals dertaking.” to all who have the love of America and the The children are given practical problems in 8. Golden Text right or wrong to work out before the class. elevation of its people at heart. A line taken from the great religious writings of “A very old and popular form of entertain¬ 3. Music the past or from the writings of great Americans ment is a stage production of music and dialogue: —Washington, Franklin, Jefferson, Irring, Group singing, vocal or instrumental solos. a very fascinating attraction to youth is the call Emerson, Beecher, Lincoln, Van Dyke, of the stage in amateur production; when you HON. ARTHUR CAPPER Holmes, Cardinal Gibbons, Dr. Krauskopf, 4. Inspirational Talk add these to the accumulation of knowledge from Senator from Kansas, former Governor of Kansas Ralph Waldo Trine, Edwin Markham, Theo¬ excerpts from history, selections from the bright¬ When possible, by some one whose character is dore Roosevelt, etc.—this line to be memorized “I have read with much interest your editorial est musical compositions, exhibition of skill as worthy of emulation. Or reading of helpful and repeated at the next “Golden Hour.” relative to giving character building a more passages of a non-sectarian character from the ROGER W. BABSON performers and possibly the projection of mov¬ prominent place in the schools, and desire to works of the great religious writers. 9. Music Most famous living statistician, author of the widely- ing pictures made of subjects selected by the compliment you on it. I am in hearty sympathy Bright and lively to stimulate an interest in read book, “Foundations of Prosperity." youth of our schools, the educational advantages with your views. 5. Patriotic Music the work that is to follow in the school day. “I heartily approve of the plan for the Golden of your scheme loom mightily. “There is no question that in the hurry and Hour in the school day. “While perhaps the individual brain of man push to get children through school too little The great need at the has not improved since the days of the old phi¬ “The Golden Hour” should be the brightest, has met with, the fact that even when it was cir¬ attention is given to that all-important element in losophers, such as Plato, Aristophanes, Seneca present time is not for their lives—the upbuilding of theirmoral strength. happiest, most interesting moment of the whole day. culated in proof-sheet form, application for hun¬ and others, I am fully of the belief that the com¬ more railroads or more Because of our character¬ posite brain of man is much greater now than THE ETUDE has been used as a means of inau¬ dreds and hundreds of copies were received indi¬ steamships or more fac¬ istic American drive, evi¬ tories or more cities, but it was even one hundred years ago. gurating the ideal, but the plan is “non-copyright” cates that some such plan will be widely adopted. dent in the schools as for more character. “There is nothing so beneficial as attrition and I fear, a growing tendency and may be used by anyone with or without credit Etude readers may be proud of their share in “To develop the char¬ object teaching; and, when brain rubs brain, invention, imagery, patriotism, manhood and everywhere else, there is, of any kind. leaving nothing undone in their home communities acter, we must start in the home, school and church womanhood grow with the day. Let us put our to treat too lightly in the The splendid endorsement “The Golden Hour” to inaugurate this ideal. when the chidlren are shoulder to the wheel and make the ‘Golden schools, the old-fashioned young. The plan presented Hour’ a golden feast.” task and duty of teaching in your editorial is both the children along with practical and exceedingly their other lessons, the “The Golden Hour” needs you, needs your earnest, unflagging co-operation. There is no way in important. God bless you common everyday distinc¬ which the music worker can render higher service to our country at this time in your efforts.” tion between right and than by working to inaugurate this ideal in his own community. wrong. As a result we are The Editorial Inaugurating the Golden building too many jails, Hour appeared in The Etude for April giving too much business to the criminal lawyer. Reprints of this page suitable for distribution, for hanging in the Home, Church Rooms, Business Office, School or Studio will be sent, without cost, upon application. THE ETUDE Page 296 MAY 1921 THE ETUDE MAY 1921 Page 297 6 Does the Child Really Believe That You Are Interested ■ “Moral education should educate the heart and Parents, Do You Do Your Part? in His Progress? soul and body as well as the mind. The world’s Finally, nothing helps more than for parents to show a 4 demand for clean living and good habits is proved 1 By Hannah Smith real interest in the musical attainments of the little ones. in the refusal of big employers to even consider Not only in the way of insuring, by good conditions, good the applications of those whose morals fail to pass The man who buys an automobile knows when he work in the practice hour, but even more n. the results of muster. buys it that it will not run properly unless he looks the work If mother assures little daughter that it helps What is the Most Difficult Thing in “Of course, the first obligation of rearing the after it. Yet the average parent thinks that by ar¬ her to darn the stockings more quickly if little daugh¬ children rests upon the parents, and there should ranging for a; weekly music lesson all responsibility ter plays for her while she is mending them, little daugh¬ S1PM-3 Piano Playing? be no effort upon the part of any other agency ceases. ter will not" only play over all her old pieces -which % , y i to usurp their right in this respect. Nor should If your child is not doing all that you think it should * keeps them up to the mark-but make haste to learn An Interview Secured Expressly for The Etude With the Noted Piano I-C they be relieved of any of their responsibility. do here is a good list to -use in checking up. Perhaps new ones to increase her repertoire. And if father, after Virtuoso, Composer, and Pedagog a.! But the nation has an interest in the boys and it will uncover the'seat of the trouble. dinner or supper, says he would like to hear some music, girls who tomorrow are to constitute its citizen¬ it will be a real pleasure to do her best for him; especially 1. Are You Providing for Attractive Practice Periods ? IGNAZ FRIEDMAN ship, and it is a national duty to work in conjunc¬ if both father and mother at the end of the little recital tion with the parents to see that the morals of Think with what pleasure you look forward to reading politely express their enjoyment of the music and Biographical Note the children rest on a solid foundation. a new book, seeing a new play, looking at a new pic¬ thank the small performer just as they would a grown¬ (Ignaz Friedman, who has made his American debut history under Adler and composition under Dr. Ricmann, Works, prepared for Breitkopf-and Hdrtel, the Liszt com¬ ture. Does your child look forward to the practice this season, has a distinguished record in Europe and in in the same class with Max Reger. He next studied positions for the Universal Edition, all of the piano¬ “Here, then, is the opportunity for helpful up player. piano for three years under Leschetizky, and for five forte works of Bach for the Hanson edition, and has service through the schools, and the plan you period in that way? If he does not how can you expect South America. 'He was born February 14, 1882, at Podgorze, near Cracow, Poland. His father zvas a vio¬ years zvas his first assistant. He then taught alone for been engaged to do all of Beethoven and Schumann for have outlined fits naturally into such a program. progress. Even for the talented child, to whom the work is, by reason of a genuine love for music, com¬ linist and a musical director, who also played the piano. five years, having many distinguished pupils. His piano another large continental publisher. He is considered one I believe that there are splendid possibilities Handy “Definitions” paratively easy, there is much that is merely drudgery; He gave his son his first lessons, and the child soon de¬ pieces, songs and string quartets—he has ninety published of the most skillful and erudite editors living. His open¬ in it.” * s^ ing recital in New York was eminently successful and and the help that only the parent can give often means veloped into a “wunderkind.” His general education zvas zvorks—reveal him as a musician with delightful melodic By A. M. Hoffrek brought forth many sensational criticisms of his pro¬ the difference between a willing and an unwilling pupil. unusually thorough. After the customary academic work, gifts and fine artistic tendencies along modern but rational he entered the University of Leipzig, where he studied lines. He has completed the editing of all the Chopin digious playing.) 2. Is Your Child Comfortably Seated ? Three or four pages at the back of my pupil's lesson book, are reserved for "Definitions.” Every definition, or Rhythm and Color os. Technic of tone color, because he feels that he must make the time and a great deal of very important individuality. No one will question the fact that it is irksome for mark of expression which we find in sheet musn study “What is the most difficult thing in pianoforte play¬ tone. The piano is unfortunately an instrument in which Let American students stop trying to hear with the an active little being, full of life and longing for move¬ DAVID BISPHAM, LL.D. or exercise, is written there with a good definition oppo¬ ing? What do you find the most difficult? That is very the novice thinks he can find his tones ‘ready made,’ eye instead of the ear. They make the very best possi¬ ment, to sit quietly and make carefully and repeatedly ble kind of material for the teacher. They are immensely Eminent American site it. At the next lesson I ask them to defim oil these, largely a matter of individuality, but I must say that, in merely because he can strike the key. For this reason finger motions of which he scarcely comprehends the sig¬ teaching, the most difficult thing is to teach rhythm and teachers and students give far more attention to the industrious, more than anxious to please. “I think your editorial, nificance ; but how much more irksome if the piano seat not only the new ones, but all the former oik s a well, so that at every lesson we have, practically, a ri\ n-w of color.' Technic, that is, the mechanical side of technic, matter of mechanical exercises than they do to tone ‘The Golden Hour,’ is ad¬ is hard and uncomfortable, if the feet dangle, and there the rapid scales, arpeggios, octaves, etc., are mere trifles More Important Than the Teacher all the definitions in former lessons. color and rhythm. Far better thd simplest piece played mirable in substance and is not even momentary support for the back! A tender beside rhythm and color. Of the two, probably rhythm “With my own pupils I have always insisted that there When the page has been filled we have a final r, view, with beautiful tone color and delightful rhythm than the little body, even though it can in spurts accomplish feats is more difficult to achieve than color. Indeed many, most complicated work played without them. was something that was in some ways more important wonderful as to th$ idea and then I mark the page according to the percentage of activity which a grown-up could scarcely think of many pianists never develop their rhythmic side so that “What the ultimate results will be must depend upon than the teacher, and that is the habit of attending as obtained. Rarely do we have less than one hundred per itself. emulating, is speedily fatigued by an uncomfortable posi¬ they are able to play more than a very few pieces with the talent of the performer, the fineness with which he many fine concerts of all kinds as posible. In fact I “I have hundreds of tion ; which is a strain upon the nervous system as well as cent, on these pages. the proper effect. Rhythm is the life of music, color is hears and enunciates his musical thoughts. have insisted that certain advanced pupils go to concerts I find by this method that pupils study their definitions, times in my concert, talks upon the muscles. A chair of the proper height, with a its flesh and blood. Without either all interpretative art “American students are technic mad and, despite their with me. There, sitting together, we could comment back upon which the spinal column can rest at intervals, and remember them better when they know the} will be very obvious talent, they seem to think that hard labor at upon certain effects in rhythm and shading. The ad¬ and in print advocated and a footstool, are indispensable for making the prac¬ called upon to define them at every lesson. And what is “In elementary training at the keyboard, the pupil is the keyboard will accomplish everything without the vanced pupil must begin to think of the pianists of the such a recreatory daily tice period something less than a penance. still more important, a pupil who knows and under stands taught to keep time in a metronomic fashion; and almost necessary thought, attention, patience, loving care which time as his contemporaries and he must learn everything half hour of music, but his marks of expression and musical terms, will pay everyone who plays the piano can keep time fairly well. must be employed in developing tone color. The student possible from them. We build upon the past in art attention to them while playing, and not ignore them as But the rhythm is something quite apart. It is the who wants beautiful effects must imagine beautiful while we create for the future. Suppose the art stu¬ you have gone much fur¬ 3. What is Your Child’s Mood ? design of the music, the proper employment of accents dent never had any models. Suppose he could not go to The child should be started at the work in the best they do when allowed to go on without a definite and effects. He must hear with his mind’s ear and demand ther, and I wish you well to delineate that design. Rhythm seems to hold the any art museums, or ever see any beautiful sculpture, possible mood. While a regular hour is certainly most permanent knowledge of their meaning. that his fingers produce what he hears. American piece together, to make it live and have shape. Take students play a passage without ever trying to hear it in engravings or etchings of the time. What kind of an with your great idea.” desirable, to interrupt him in the midst of a game which two pianists and have each to play ten measures of any art would he be likely to produce? Would it not re¬ at the moment, is to him of much more importance than imagination first. In this way they lose much valuable composition in which the rhythm is clearly semble the Byzantine or pre-Raphaelite types ? anything that music has to offer, is to insure his begin¬ defined and characteristic. One will give the Tickets for the leading recitals and the lead¬ ning in a state of depression, if not of irritability, which Variety in Scale Practice notes between the bar-lines a kind of a swing ing concerts are just as much a means for a will, very likely, nullify any benefit that might have and plastic character that will give a unity to part of the education of the student as is the been derived from the work of that particular hour. By Josephine A. Vellanti the whole passage. The other will play the fee he pays to the teacher. This does not by The absolutely reprehensible idea of prolonging the prac¬ same notes in absolutely correct time; but any means indicate that the student should tice period as a penalty for shortcomings or trans¬ After one has learned the scales in their usual order, there will sym to be nothing to hold it to¬ imitate blindly; but he should use the expe¬ gressions in other directions is on a par with giving Bible it is quite a common fault to practice them thus con¬ gether. It has no entity, no unity, no artistic rience he gathers to make a kind of palette of RUPERT HUGHES verses to be learned as a punishment; a sure way of tinuously, until they are performed thoughtlessly, and adhesion. colors of his own which he may learn to apply making both music and the good old Book absolutely America’s most successful novelist, also 3 musician of thereby lose much of their value and pleasure. “Only the most gifted ever play in good to his musical painting with corresponding splendid attainments distasteful to the youthful mind, and so depriving it of The following variations have been found invaluable rhythm. I have often noticed that people skill. what ’ should be the greatest pleasures and comforts > 1 "Your letter followed me out in helping to maintain undivided attention : born on the borderland of different countries Leschetizky and Tone Color of a whole lifetime. The first half of the week play all scales having the ^gJjSplk | here and found me deep in seem to develop it wonderfully. By this I “Somehow the idea has got abroad that ' ; work so that I have only now, odd number of sharps and the odd numbers of flats, as mean where one race mixes with another 4. Can Your Pupil See Readily and Clearly ? Leschetizky was a kind of technic specialist. 4* after midnight, found leisure one, three, five, seven. The second half of week, play and the customs of one are welded with the Nothing could be farther from the real facts. The light, whether natural or artificial, should always the scales having an even number of sharps and an even % t0 cons'der y°ur appeal and to customs of another. These people seem to Leschetizky always gave far more attention ■ number of flats, as two, four, six. acknowledge my hearty sym- be behind and somewhat at the side of the player; so develop elasticity of temperament and quick¬ to tone teaching than to technic. He used to that it falls at the proper angle upon the music page. If The firsf half of the next week, play in the following pathy with it. ness of mind. Perhaps this is one of the shout to me, ‘Tone! Tone! Tone, always it is directly behind, the head of the player is in the way; order: “While I think that the reasons why the itinerant gypsies have such TONE!’ If anything, it was one of Lesche- and if directly, or nearly, in front—obscuring the print Scales having one sharp, then one flat; two sharps, marked rhythmic gifts. If I were to advise tizky’s defects as his interest was only for present crime-wave itself a and blinding the player—serious damage to the eyes may then two flats, etc. As a final and interesting variety, the teacher of children, I should unquestion¬ pupils who were colorful. The result was J&k, i part of the rhythm of recurrent result. It is astonishing how many house-mothers seem i take the odd and even numbers alternately, as one sharp, ably say that there should, within the first that he developed the thing that he loved HHB phases to think more of the arrangement of the furniture than two flats, three sharps, four flats, etc., and then take two two years, be plenty of examples and exer¬ most about them, whereas such pupils needed ternaling waves of rarefaction of protecting the eyesight of the child. sharps, one flat, etc. cises in rhythm. This also applies to the technic most. It was a fable that Leschetizky and condensation that carry The music rack should not be so high as to strain the Use the same order for the relative minors. violinist and the singer. As a rule they have sound, and while I believe that it has nothing to do neck of the little player. This is seldom the case on an If you follow these suggestions you cannot fail to con¬ less trouble with rhythm, as they have only was ‘technic mad’ and so many seemed to with religious teachings or instruction (since such upright piano, but on a grand the rack is somewhat centrate, because your mental and in‘ellectual interest will one or at best two lines of melody to handle; think. His preparatory teachers, such as a wave has followed every war in every country, higher. If the notes cannot easily be followed with the have been aroused. whereas the pianist has three, four, and some¬ Bree, Prenter and others, had a definite tech¬ nical scheme; but that only went so far. It Christian or pagan). I believe that the ‘Golden head in a natural position, it is usually possible to sus¬ times five different lines. pend the music by a cord or thread, and lower it to a sufficed to make an ordinary technis into a Hour’ that you propose would be of vast benefit level which will relieve the strain. What Color Means fine modern technic, in the rudimentory sense; to the formation of character, and would be a Gymnastics in the Bass “Color is the tone mixture accomplished by as far as great piano playing is concerned. It golden memory in every child’s after life. 5. Is Your Child Undisturbed ? touch and pedal. It is the control of the was only the beginning which every pianist “Character is so much more than thou-shalt By Rena I. Carver The pupil should practice in a room where he is alone. overtones of the piano by every legitimate should have. Then the greatness of Lesche¬ and thou-shalt-notting. Such pious, harmless means. It is one of the things which makes tizky came in. Of all teachers he knew how Persons passing in and out are very distracting to the at¬ Have you ever discovered the advantage of playing people have such empty character and contribute the piano so wonderfully interesting. One to make his pupils administer color and tention, and tend to develop nervousness and lack of con¬ your finger exercises for strength and endurance, in the so little beauty, grace or joy to the world, that can take a single passage and, by the different rhythm. At the same time he was most lib¬ centration. And parental admonitions during the prac¬ lower part of the piano instead of the middle of the key¬ they are really characterless. tice hour should, when not absolutely necessary, be board ? manipulation of the touch and the pedals, eral and most anxious to have his pupils “By all means let the ‘Golden Hour’ of music, avoided. Better refer matters—at least musical matters— achieve a different effect every time. Every develop along their own lines. Once at one pictures, poetry and warm prose shine upon the to the teacher in a secret conference just before the next cises withm the limits of Contra-Great C and Middl composer’s works afford a wonderful field of my concerts in Vienna he watched my youhg hearts. The better they are thetV,p better,”^pr lesson. And other children should be kept out of the The key resistance is greater in the lower octaves; for experimentation in tone color. Chopin whole performance through opera glasses, way, so that the happy sounds of their noisy sports may and Schumann offer marvelous opportunities. they’ll be.” deep bass tones are a restful change; the ear becc noting every movement of my hands. At the not provoke in the soul of the little student bitter com¬ more familiar with these sounds, than is otherwise If pianists only would listen more to their end he came up with’ the greatest enthusiasm parisons between their freedom and what, very likely, at S!ble; and the incessant wear on the mechanism of playing, better results would be achieved. and gave me the greatest compliment he ever the moment seems to him like slavery. middle octaves of the piano is diminished. The singer or the violinist thinks more paid me. ‘ou are more sympathetic to me than MAY 1921 Page 299 THE ETUDE THE ETUDE Page 298 MAY 1921 The Sky the Limit any of my pupils because you have gone the farthest in What Method Do You Use? advance of me.’ Often he would say, ‘How do you do that?’ when he heard an effect that pleased him. This By Martin Maule By Mathilde Bibro is an indication of the simplicity of the man. How many masters would say that to a pupil? One of the boys, in making out his entrance papers The old, old question; and, to the intelligent teacher for a large conservatory with which I was connected, ■ The New Epoch of Technic of music, a rather silly question! Musicians of ex¬ was asked the following question: Making Melodies and Dressing Them Properly KJSSI1 “The technic required of pianists during the past cen¬ perience have long known that there is no one method “What do you feel is the limit of your ambitions?” v tury was very greatly in advance of that demanded in extant which efficiently meets the needs of an entire class ' The boy’s answer in twentieth century slang was, “The : - A. The Second in a Series of Articles upon “ How to Begin to Compose,” previous times. Before 1830, most of the compositions of pupils. The reason is simple. The pupils being dif¬ T by the Noted American Composer demanded a technic that laid almost entirely under the ferent, require different treatments. S'rheS average1 student should always have with him the hand. Then came the myriad-colored Chopin and the Nowhere will you find a class of students who are strong feeling that, if he will only practice long enough ... . . ■ orchestral Liszt, and piano playing leaped ahead enor¬ exactly the same in taste, temperament, talent, and gen¬ and hard enough, he will be able to accomplish almost JAMES H. ROGERS mously. Now we stand probably at the apex of possible eral ability. A beginner’s method, suitable for one child anything, or that “nothing is, so difficult but that it complexities in piano playing. In the days of Mozart of mine, may be entirely the wrong thing for another of may be found out by seeking.” tion, between the soprano part in the third and fourth and Haydn, one played simply; now the pianist must play the same age. A course of study highly successful with The writer can remember the time when he fell that In my last article I laid emphasis on the value of the A hymn tune? Sounds a good deal like one. But that measures, and the tenor part in the fifth and sixth meas¬ symphonically. Brahms, Reger, Rachmaninoff, Scriabin, Madge may fail completely with Robert, although Madge if he could only play the Heller Studies well he would study of counterpoint as a stimulus to musical invention. is immaterial. What is worth nothing now is that the ures. The tenor will notice it, even if nobody else does. Debussy, and Ravel have built new technical heights. and Robert may be in the same class at school, and of be very proud of his efforts. Soon the Heller pieces Before proceeding with suggestions concerning some ear unquestionably demanded a phrase or period of eight Anyway, it all helps. Unprepared dissonances, too, as in Ravel is exceedingly hard to play, unless one has a equal mental ability in school work. came and went, and then he set his heart on the bril¬ practical features of musical composition—the modus measures. There is no feeling of finality in less. This the third and eighth measures add a spice not unpleasant thoroughly modern technic. It must also be remem¬ Intellectual ability alone, however, will not make a liant, tuneful compositions of Godard. These were dis¬ operandi of putting one’s musical ideas, if so be one has statement must of course be taken in rather a broad to the modern musical palate. But in these, as in all bered that where we met one pianist forty years ago musician, though it may produce a mathematical prodigy. placed by the simpler pieces of Chopin. Encouraged by any, into some sort of coherent form—let me offer a sense; for naturally it would be a simple matter to things, moderation is to be counseled. Let us go back with a good technic, we now meet thirty. Despite all The musician requires mental ability plus something these examples the student should realize that there is word of caution as to the possibility (rather remote, in change the note values of our phrase and get the same again to our starting point. Nothing very inspiring about that has been said, wiseacres, acquainted with the best more—and that indefinable “something more” is what nothing really too difficult for the person who has not most cases), of over absorption in contrapuntal study. effect in four measures. One has to bring common sense playing of the past fifty years, have told me enough makes music a divine art, not to be attained or pro¬ put a limit upon his ambitions; provided nature has not Many an earnest student has little to show for years of to bear on musical problems as well as on any others. Ex. 8 that I am safe in making the statement that there are duced by any one cut-and-dried system, fastened alike afflicted him with limiting restrictions. Nature i usu¬ hard theoretical work but a few portfolios of polyphonic There are even hymns.with only three lines, and of course probably at least ten pianists in this day with a technic upon the talented and the untalented. ally far kinder to most of us than we admit. exercises, maybe in five, or six, or even eight real parts, the music must correspond. It may be questioned, how¬ equal to that of Liszt. I have often been asked the, question: “What method all in the proper clefs (a useless and irksome procedure), ever, whether the result appeals to the ear as a properly do you advocate ?” I can only reply: and all conforming to the rules of strict counterpoint. rounded period. but we must throw out the anchor somewhere. Let us The New Era Demands New Means “A great many.” As a matter of fact, I have seldom Musicians and the General Public The net result is likely to be that every spark of So then, such as it is, we have a completed musical see if we can make a better continuation of the phrase. “In this day the musician and the pianist is a very seen a method of teaching music which did not contain imagination. he may have ever possessed has been thought. Yet, complete though it be, the ear is not quite Too many F’s in the first four measures. At any rate, much better educated and a very much broader man than satisfied, and demands one or two repetitions of the musi¬ they sound monotonous, and maybe that’s the reason. at least a few valuable points which might be gleaned By W. G. Riley quenched. Work at counterpoint; work at it continu¬ in former times. The conditions of the era demand it. from the whole and used to advantage with some par¬ ously; but, after the first year or so. not exclusively. cal sentence. The reason is that it is too brief to impress But right here is perhaps as good a place as any to point Precisely as the great body of technically competent ticular kind of pupil. On the other hand, I have never But as a mental “setting-up” exercise, it is invaluable. itself on the listener in a single hearing. Thus, a single out that even as in a dry time all the signs fail, so when It is probable that the Minnesingers and the M< trr- people have advanced, so do the people of our day de¬ seen any one individual course which was adequate to I have discussed a few of the infinite possibilities that stately, highly-ornamental arch would satisfy the eye; it comes to melody writing all the rules that can be de¬ singers received part of their support at least from the mand their musical supermen. With the sound-repro¬ cover the requirements of all students alike. lie in a very unpromising “row of notes.” Let us see while if the arch were small and plain of design, one would vised by theorists are vain attempts to fix a boundary common people, but in the centuries when their art was ducing instruments there will be no questions in the future Many standard publishers have their individual courses what can be done to complete such a succession of tones; expect to see a row of similar arches. Herein lies one of for the imagination. “Don’t do this;” “don’t do that.” waning it became more and more necessary for mu¬ as to how such and such a virtuoso played. These rec¬ or systems of music study, and these various methods or rather to add to them in such a way that a rounded music’s resemblances in form and conception to architec¬ I have spoken of the reiterated F’s in the phrase we have sicians to be supported by aristocratic personage Ac¬ ords will have great historic value, although they can are helpful in meeting the needs of various types of phrase, or period, comparable as to metre and accent ture. So, as we have intimated, our little melody would been working out. Consider the reiteration of melody cording to report it was not until the reign of Charles never take the place of the regular musical training. pupils. Consequently, the discriminating teacher keeps with a stanza of poetry, will be formed. doubtless serve best as a hymn-tune. Let us say it is a notes and chords in Sullivan’s Onward Christian Soldiers, II of England that the musician began to loo'; for They are, however, very valuable for the teacher and in touch with all good methods, using some more than Let us start with a very simple notive: hymn-tune, and harmonize it for mixed voices : Soprano, a tune that has a real thrill in it. I once heard it his support to the general public. At that time cof¬ for the young virtuoso, as a part of the program I have others, but binds himself exclusively to no special one. alto, tenor and bass: played by a good-sized brass band, the while thousands fee was becoming a very popular beverage in' Eng¬ previously outlined for the student, in which he shall Publishers recognize this fact, and cooperate cheerfully E*.L. of Red Cross workers, dressed in white, marched down land and coffee houses were being established rvery- hear as much good music as possible played by many in placing before the teaching public a wide diversity of Ex.6 the main street of the city in which I live. It was a where. Now and then the music in these lionbe¬ different artists. The advantage of such machines is material for study. sight to stir the pulses, and there was a real uplift in that one may not only hear an interpretation once but came so attractive that they .became crowded and the the music, too. Nothing the matter with that tune, with money wise proprietors saw the advantage of rinsing as many times as one chooses. Study Many Methods We are reminded by this that a King of France once all its reiterations; and nothing could be simpler than its “The player must realize that he must reach the emo¬ the doors and charging a small admission fee. From marched up a hill and then marched down again—a harmonization, either. So when we say that too many Both here and in Europe teachers of intelligence and tional side of his audiences as well as the intellectual that time on the musician became more and more lib¬ diatonic series of notes, from the tonic to the sub¬ F’s, with their implied (though not essential) sameness experience avoid any soi-disant method which under¬ erated from his servile position to his titled patrons. dominant and back to the tonic. It has a painful resem¬ of harmonies, account for a certain lack of musical inter¬ takes to “teach the teacher.” A teacher is his own “Warmth, nobility, definite lines of interpretation, blance to a five-finger exercise. Baldness itself. But it est, we are not treading on any too-sure ground. How¬ “method.” If he does not know how to give his les¬ clearness, lucidity in execution, these then, should be the will do. ever, let us go ahead with our tune, with a new slant to sons, then what he needs is not some hide-bound “sys¬ mottoes for every student and for every virtuoso as well. Gossec’s Grim Humor Let us first establish some sort of rhythm: it, after the second measure. tem,” or a mail-order diploma (?), but a course of They should be rehearsed and recited every morning. Suppose we set sail at once for the dominant. actual study in some conservatory or school of broad (fV mm Then, if one has talent he will progress by the surest By Carlo Magliani Ex. 2 and safest way. and liberal pedagogic quality. Such schools may be Ex.9 found. 1 tv P ~'t 'F F— i ; t r r 1? Study many methods, and then impart them accord¬ Francois Gossec, peer of any of the eighteenth cent¬ ury French composers, worked vigorously and enthusi¬ r p p r rf-fc Ir r 1 Muscle and Piano Playing ing to your own method. Is a lesson for the indifferent, What next? It is not difficult to find a suitable con- astically at his music to the time of bis death. Even at untalented, mechanical, or lazy pupil, the same you ' tinuatioti of the phrase: That gives a bit of briskness to the tune. Now we will seventy-eight he had the freshness of youth, not only in Serviceable, but not interesting. By D. G. Woodruff would give to the eager, gifted student, in whom you complete the phrase. In how many ways could this be his habits but also in the music which he wrote. Suppose we try to give the tune a somewhat richer recognize the embryonic artist? Certainly not; though Ex.3 done ? Impossible to say. That is getting into the higher Probably Franz Liszt as much as anyone else can be your own effort and attention may be impartial. As an instance of how tenaciously he treasured life harmonization: mathematics. blamed for putting what might be termed a “muscular If a teacher’s musical education is sound and thorough and the juvenile spirit, when asked to attend the funeral But this will do, perhaps: of his friend, Mehul, his jocose reply was, “No! excuse Ex. 7 tax” upon pianoforte players. Anyone who has spent (and otherwise he should not be teaching), he needs Ex. 10 a few moments now and then in the green room of a no one to tell him when and where to apply certain me; I should be giving Death a hint to take me." Both sections end on the tonic; but we still have not concert hall and has seen the average virtuoso pianist theoretical lessons. He knows how, and for what grades When he was well past four-score years, he daily the sense of completion; the ear demands something 4^J JJJIJLI I I I ny || | | | after a recital has become acquainted with the amount to make his own selections from the old masters, and hobbled to the Opera Comique. One day he fainted on more, whether what has been heard has favorably im¬ the street. of physical exertion required in piano playing. The men he knows standard publishers who will supply him with pressed the listener or not. It is as though one were to often come from the platform drenched in perspiration. the classics, old or modern, without presuming to inform say to some uninteresting speaker, “I don’t care for what his consciousness returned. Paderewski gave this matter very serious consideration. him how to apply them to his pupils—publishers who you have said so far, but finish your sentence.” Some time ago he was quoted as saying: give him credit for having sufficient intelligence to at¬ Quickly recovering his usual spirits, he naively We must certainly break away from the tonic. The plied, To the Opera Comique.” I1, f f “To play for a great length of time is often very tend to his own business of teaching. dominant is the next-door neighbor. painful. You cannot expect a player to lose himself in If one little system of teaching music were to be in¬ Let us try that in our farther progress; Which might be harmonized thus: his art when every movement is provocative of dis¬ discriminately applied, the country would soon be flooded comfort, if not actual pain. Sometimes, indeed, a great with dummy players, as wooden and mechanical as their One Minute with Ludwig van Beethoven Ex. 4 amount of playing brings on a condition known as little “system.” A program of music would sound like ‘pianist’s cramp,’ which may so affect the muscles and reciting the “table of fives” in a District School. If Selected Quotations nerves that the unfortunate artist finds his occupation your daughter is to be a machine-made musician, why “Art! Who can say that he fathoms it? Who is gone.” not buy a mechanical apparatus? It would be cheaper. capable of discussing this great goddess?” This was written long before the time when Pad¬ That is what one is always trying to do in musical com¬ Music is an art, a feeling—not a multiplication table, no- Every day that we spend without learning something erewski, unheeding his own advice, was obliged to position ; to “dress up” the theme, or motive, or melody. a chemistry formula, nor a bolt of cloth to be measured is a day lost.” To make it as presentable as possible; to develop it in discontinue playing for the better part of a season by the yard. because of overwork. The demand for his services "Handel is the unequalled master of all masters. Go, various ways; to steer clear of monotony in harmonic Who tells illustrious painters that they should impart turn to him and learn, with few means, how to pro¬ was so great that he played “enormously” for years. treatment. Comparing the two harmonizations made, we the knowledge of their divine art “thus and so” ? Who duce such great effects.” There’s a little ventilation, anyhow. He was a great believer in physical culture exercises, observe that of the four sections (corresponding to the informs the sculptor as to how he shall hold his chisel “True art endures forever.” Now to finish our phrase, say: insisting that the necessary increase in muscular power four lines in a stanza of poetry in similar metre), three or instruct his pupil? Who has the impudent assurance and endurance did not come from practice at the key¬ “I have had the temerity to introduce here and there close in the first harmonization on the tonic, and one on to tell operatic singers that all voices should be trained a dissonant interval, sometimes striking it without prep¬ Ex. 6 board alone, but from numerous physical culture exer¬ the dominant. by one cut-and-dried “method,” and the same vocalises aration sometimes leaving it abruptly. I hope this is cises. The writer has found the little booklet known as In the second harmonization two sections close on the applied to coloraturas, lyrics, mezzos, tenors and basses no high treason. Too great caution is much the same “Profitable Physical Exercises for Piano Students” by tonic, one on the relative minor (D) and one on the alike? Truly, it is to laugh, as the French say. In as timidity.” There are a few passing notes that seem to help out a \V. R. C. Latson, of very great helpfulness. minor of the sixth degree (A). This latter procedure short, you can more easily fit a dozen methods to one “Music should strike fire from a man’s soul.” certainly lends variety. The movement of the lower little. Also one forbidden interval, a skip of an aug¬ pupil than you can fit a dozen pupils to one method; for voices is more flowing, too, suggesting in a very small mented fourth in the bass. But as it follows the first music and painting and sculpture cannot be successfully half-period, or it might be better put, begins the second “Music resembles poetry. In each arc nameless graces .i , - , * .. «'*■** yin ouqnr to i way, independent melody. There is a bit of quasi-imita¬ which a master hand alone can reach. Pope. limited to one standard any more than can a sunset. the elements of music early and accurately.”_R MAY 1921 Page 301 THE ETUDE THE ETUDE Page 300 MAY 1921 ---- : ...... -- . ■ ■ -■ ■ -_ Instruction in Scale Practice half-period, it may be allowed to pass, since a good ac¬ of the melody at the hands of the writer of the “popular : ' " " • ' ' ' - ' • ' - cent is well in place there. Mendelssohn, it may be re¬ version of it have robbed it of every vestige of musical A Practical Plan called, rather liked the skip of an augmented fourth value. Nevertheless there is plainly something in the when he wanted a pungent emphasis. melody, and in the jnelody alon'e, that makes a wide ap¬ By Geo. Henry Howard Take the bass aria from “Elijah,” for example: peal. Take the sonatas for violin solo by Bach. Some¬ times there are chords that indicate the sustaining har¬ In these days of rush and hurry the teacher of music, Ex. 12 monies; not often, though. Yet modulations and har¬ Repeated Keys an«Hspecially the piano teacher, is very apt to push for¬ , »r monic basis are sufficiently obvious. M ward his work too rapidly. Rapid progress seems, so In general then, one can hardly recommend the inven¬ often, a thing to.be highly commended, and the pupil An Interesting Effect in Piano Playing Worthy of Study by Ambitious Students tion of melodies with a view to subsequent harmoniza¬ who ’thus distinguishes herself is, in many instances, “Are not His words like a fire?” tion. Melody and harmony should, indeed, go hand in highly praised, petted and, perhaps, even spoiled with And this fugue theme from the third organ sonata: hand. Yet if a melody should come unbidden to mind, By FRANCESCO BERGER vanity. But too frequently such a‘hasty advance results write it down, by all means. Many have entertained in a superficial and wholly inadequate technic. In no angels unawares. What is inspiration, anyhow? Who one item of pianistic training are such poor results to be knows? Would not impulse be, ordinarily, a better (Professor Berger, whose articles have appeared frequently in The Etude, has been professor of piano playing at the Royal more carefully guarded against by the earnest teacher word? Given equipment and impulse, and something is Academy of Music and the Guildhall School of Music in London for many years. He has been a contributor to the leading English than in instruction in scale playing. With this aim in musical journals and his engaging style, combined with his wide experience, makes his articles especially readable and entertain¬ Still we may admit that the liberties taken by great likely to result, always providing the “gift” is there; the original outlook, the zest of the discoverer. Many a view a carefully detailed plan of procedure is herewith ing as well as instructive. He was born in London, June 10th, 1834, and is still actively engaged there in musical work.) composers are not of necessity a safe guide for lesser presented. ones. It may be advisable to use augmented interval charming piece of music may be traced to extraneous Training Preparatory to the Scales skips rather sparingly. Then, too, the consecutive fifths sounds and objects as to the impulse that led to its fash¬ that could possibly be employed. Take as an example First of all it must be remembered that the piano¬ In Beethoven’s 32 Variations in C minor such a choice ioning. This is, of course, the essence of “program" In any good plan for thorough training of the mind Weber’s Invitation a la Valse. After the introduction, the in the seventh measure are pretty thinly disguised, but forte holds “keys” not “notes,” and that the printed sheet is available for those variations which include repeated music, though the general qualification would have to and fingers the following items will be found essential third measure offers a difficulty in its fingering which let that pass. holds “notes” not “keys.” The two words are often used keys, that it is difficult at first to decide which to use. include many attempts at narrative, not understandable at the beginning: not any edition that I have seen successfully overcomes. We have discussed the simplest of all musical forms; indiscriminately, but should not be. What we strike The Cotta Edition is, generally speaking, admirably without some key to the composer’s intentions. The 1. Table exercises for shaping hands and fingers and But if the student will adopt the following: • what we may term, for convenience’s sake, the four line with our fingers are keys, what we read with our eyes fingered and quite to be relied upon. But in this particu¬ hymn tune; or a tune for a stanza of poetry four lines whir (fancied, it is true) of the spinningwheel has set training them in right conditions and motions. lar the fingering there given is not recommended. The many a composer’s brain whirring, and often to excel¬ 2. Keyboard practice of location. long. There are two distinct ways of striking repeated keys, repeated keys will “tell” most easily and clearly if, where- lent purpose, as witness Mendelssohn’s Spinning Song, 3. Single-finger exercises in six or more tonalities. It is not the shortest possible time of the sort. There which, for want of better terms, may be described as ever possible, the fingers be: 3, 2, 1, repeated as often as Raff’s La Fileuse, and Saint Saens’s Rouct d’ Omplialc. are several shorter meters, also several longer ones; but 4. Two-finger exercises in the same number of tonali¬ the “vertical" and the “lateral.” Suppose a key has to necessary, with a fragment of the same in places where it will serve the purpose as a model—in the sense of an Water has many voices, too, for him who listens with ties; also, three, four and five-finger exercises. be struck three times, which, on paper, will probably be a fragment only suffices. It should be noted that the he will find the difficulty all but entirely removed. The example—of them all. the ear of the imagination. Debussy felt their fascina¬ 5. Little pieces in the compass of five notes, such as are short arpeggi, whether ascending or descending, include skip of the hand, from thumb to fifth finger on the re¬ Now this subject of melody writing is an elusive one. tion, and wrote such tone-pictures as Gardens in the found at the beginning in any piano method or in the marked as a triplet: You can contract your the first of the repeated keys and consequently this one Rain, Reflections on the Water, and the orchestral piece Very Easiest Studies, Op. 170, jby Koehler. is not to be reckoned as part of the fingering 3, 2, 1. peated B flat, which lpoks so formidable at first, is the The charm of a lovely melody cannot be analyzed, any hand into a sort of fist, holding it over one key, or. at La Mcr. MacDowell’s Sea Pieces are among his most 6. Method Analysis; that is, interval naming in these The “vertical” touch is recommended. very thing that facilitates execution. more than the fragrance of a flower, or the magic of the most, over two, and then drop each of three fingers down For the following passage in Mendelssohn’s Andante characteristic and suggestive piano works. And so we little pieces, for each hand alone. When a key has to be repeated only once (that is, supreme poets. It has been asserted that every melody in rotation, so that you will use: 3, 2, 1, while the posi¬ Cantabile in B, the subjoined fingering is best, and in might go on. But this article is getting too long. Harmonic Analysis; that is, interval naming, for ob¬ struck twice only) it is generally desirable to change the is inseparable from its implied harmonization, or rather, tion of hand will not have changed from over that par¬ order to avoid using the thumb twice at the point marked To come back to our subject of melody writing. Be it serving the intervals made by the hands together, so as finger. But this rule, like every other, has its exceptions. perhaps, a harmonization that was in the composer’s ticular place. This would constitute the “vertical” touch. +, the fingering should be altered just for once, to be understood that there is no recipe for it. Technical to learn whether the two hands make an octave, sixth, In Thalberg’s Moisc in Egetto Fantasia, for instance, the mind, unconsciously, perhaps, when he set it down. That resumed immediately after. equipment may be acquired; but it goes without saying tenth, or other combination. descending chromatic scale for the left hand will be best is a pretty broad assertion; nevertheless, it has a strong Finger Preparation executed by not changing fingers on the repeated keys, that originality must be inborn. Yet it is a curious fact 8. Exercises on the table and on the keys for the mo¬ basis of truth. All the same, there are many melodies that until they have some technical knowledge of com¬ But, if you place your five fingers (right hand) over tions of (a) passing the thumb under the finger; (b) thus: that arrest the attention and charm the ear—not neces¬ position, not many musicians feel any impulse toward five consecutive keys, in such manner that the middle carrying the hand and arm over the loosely-yielding sarily, in our present meaning, the ear of the devotee of music making. They are, indeed, likely to be somewhat finger is over the key you are intending to repeat—and thumb. really fine music—regardless of the harmonic setting. A surprised to discover that they have natural aptitude for suppose this key to be E, then on its left, the first finger good example of this is found in a song of the so-called it. These preliminaries will occupy at least five or six (thumb) will be over C, and the second over D; while “popular” type which has had an enormous vogue in the One must learn to think in terms of music. That is weeks; often more. Capacities vary so much that some¬ on its right, the fourth finger will be over F, and the last year or two. It is entitled I'm alivays chasing rain¬ the object of such illustrations as thpse afforded by our times from eight to fourteen weeks will be well spent in fifth over G. If you now shift your hand horizontally It would be different if the passage had to be played this work. bows, and was beyond doubt one of the “six best “row of notes.” Music put together in this way is not to the right, it will bring the fingers over the five next in little “pairs” thus: sellers.” The melody is identical in many measures with likely to have any artistic worth. But such manipula¬ Scale and Study Practice lying keys, and by repeating this process once again, over Of the repeated keys in the opening measures of the the melody of the middle movement of Chopin’s Fan- the next five. By this movement the middle finger, which tions (if they may be so named) develop facility. And The following items are indispensable and given in the same composer’s short Scherzo in E minor, and the man¬ taisic-Impromptu. The musician might assert, with jus¬ originally was over E, will have given place to the sec¬ that is, at any rate, tire first goal. next lesson as a separate exercise. ner in which the left hand comes to the rescue of the tice, that the harmonic Setting and general presentation ond, and this will, in turn, have been replaced by the right, I have spoken in a previous article. I will only The next article will deal with the song-forms. In the scale of F the left hand has a fingering dtnilar thumb By the time E will have been struck three times ' -allude here to the very wise use modern methods make to the scale of C, but the right hand begins with a (■ c, d, E, f, g, for which the best fingering would, of course, be: • 'of allotting an odd key here and there to the left hand group of four keys (unlike the key of C) and a group the hand will have traveled sideways from< j’ 2 3’ 4 5 1, 2 3, 2 3, 2 3, 2 3 &c. This non-change of . finger is in broader passages for the right—passages which for¬ of three keys follows for the upper part of each advisable in all passages of once-repeated keys, if the merly were executed solely by the right hand. The per¬ octave. through | 3 4 5 3 4 s’ constitutes d{ f { E{ 2 This pace be quick, for example, right hand: formance is greatly facilitated by this, and on other Sight Reading in the More Difficult Keys In the scale of B flat the fourth finger (of right the “lateral” touch. grounds there is really no reason why the left hand hand) should begin the scale, habitually, until the pupil Precisely the same, in inverted order, applies to the should rest while the right hand does all the work. has become sure of the regular fingering. A few weeks left hand. Schumann in his Carnaval gives in Reconnaisance a later, in a review, the exceptional fingerings max-, per¬ It is for the pianist to decide which of the two touches very curious instance of a key repeated by the thumb. haps, be shown; that is, third and second finger for he had better adapt for a particular case; and he will be It is ingenious, and to the performer it is interesting, but first keynote of right hand, or second finger for begin¬ partly guided by the number of repetitions, the pace, and one must confess that it sounds “exercisy” and one Introduce them early—those difficult keys of B, D In Chopin’s Valse, Op. 64, No. 2, the repeated keys cabinet and pinned a long strip of paper over the signa¬ ning keynote in left hand. the position in the key-board of the key he is about to would prefer to hear it in repeated octaves. flat, F sharp and G flat major. If they are not studied form groups of pairs, and the fingering will therefore tures, concealing them. Placing it on the piano I said: The keynote should be understood as belonging to a repeat. until the pupil has reached the third or fourth grade be: “Caroline, you like puzzles, don’t you? . Well, we group of four (F, G, A, B flat), which fact shows the Repeated Triplets The Left Hand Neglected they cause a great deal of trouble. don’t know what key this is written in, but we will try reason for beginning the scale with the fourth finger. When repeated keys are grouped in triplets, the finger¬ Take Caroline, for instance. She was at the head of Many other examples of repeated keys could be quoted to find out. Name some key that we might try.” And in the left hand the keynote should be understood ing is mostly (but not invariably) 3, 2, 1, and the touch from the works of all the distinguished composers, Liszt, her class in school, and was equally bright in music. She mentioned D major, and I said: to be employed will probably be the “vertical,” especially She always asked questions until she thoroughly under¬ as belonging with a new name, F now being discarded Chopin, Raff, Brahms, Moszkowski and others. But I “Guess number one. Now play, thinking of D major, if the figure be continued through several measures. stood every point, and as a result her two-and-a-half and the name E sharp being used instead. Next, the must content myself here with recapitulating that re¬ and see how it sounds.” Thalberg’s well-known Etude in A minor is an instance years of music study had netted her larger returns. She pupil must observe the different ways of fitting the And the same applies to his other Valse, Op. 18: peated keys can be struck with two distinct hand move¬ In a few minutes she stopped, saying: of this. But when the repeated notes are “sextolets ’ the had transposed many of her finger exercises and some fingers to the keys. Our principle of fingering by ments : the vertical and the lateral. And that in selecting “It sounds so queer.” I said, “Yes, it does. Guess fingering must be determined by the accent required. In of her pieces and studies into every major key; had the threes and fours” is still adhered to, although its ap¬ . which of the two tb employ the pianist must, in a meas¬ again.” Moszkowski’s Caprice Espagnol: scales, both major and minor, at her finger tips, and plication is modified so that the thumb shall not come ure, be guided by the number of repetitions demanded, She tried the key of C major, and said: could read correctly and play rapidly pieces in E and on black keys. Silent playing with plainly defined fill and by the pace required. There are very few instances “Well, I believe it sounded a little better, but not very Ex.l of repeated single keys for the left hand. W hen the A flat major. finger motions should precede playing with tones in Earlier in this composition the following fingering will Wishing to give her a piece in B major, I requested pretty yet.” I suggested that she start it in a still lower each scale. human race will have learned the much-desired reform key. So she began in B, and soon cried: be found most serviceable in facilitating the execution of ambidexterity in all matters of manual performance, her to play (with the eyes closed) the scale of B major while preserving the accent. very slowly up and down two octaves with the right “Oh! It sounds fine now. Please take the paper off some pianist-composer of the 30th century will arise who had it been required to emphasize only the first E, the will have the courage to compose music involving re¬ hand alone and listen carefully to each tone. Then I and see if that is the right key!” I did, and she clapped The following plan of learning the regular order of her hands and said: proper fingering would have been 3, 2, 1, 3, 2, 1 as marked Ex. 8 ' , , t , t.tl played the tonic and she sang the dominant and other the key is recommended as the best peated keys for that neglected member of the human “Oh! It was B and I got it right the third guess. above. But as it is more in keeping with the composition tones as called for. Opening her eyes she played the Teacher points to lowest C (triple C) and says: frame, the left hand. triads in the key and simple chord progressions to Let me try it now that I know the key.” to give an accent to each alternate E (three accents in The scale of C has no sharp's or flats (“blank signa- the bar) the best fingering will be: 3, 2. 3, 2. 3, 2. or establish the tonality in her ear and consciousness. I I agreed, and she thought the p'iece was lovely. Sud¬ “To make a home out of a household, given the raw ure ). He then points to 8 adjacent piano keys, 2, 1. 2, 1. 2, 1. and the “vertical” touch should be em¬ now placed before her the pieces of sheet music and told denly she laughed merrily, and said: material, to-wit, wife, children, a friend or two and a counting them aloud (C, C#, D, DS, E F Fjf G) He ployed. Whereas in the immediately following: her to read it. To my astonishment she burst out, “Oh “Here I’ve been playing in five sharps and I thought then proceeds, “Next keynote, G; the scale of G has house—two other things are necessary. These are a I couldn’t!” my! That looks hard. That’s five sharps. I can’t play one sharp which is FI” He then points to 8 adja¬ fr'1! j J good fire and good music; and inasmuch as we can do that.” I suggested that she try to read the right hand That experience taught me to present the more diffi¬ cent piano keys (being sure to begin with G, the one he without a fire for half the year, I may say music is the alone. It seemed that at sight of five sharps all her cult keys to the pupil very early. At first the pupil ended with before), pointing to G, G£, A, AS, B, C, CS It may be said of some medicines that the- nastier they one essential. Late explorers say they have found some knowledge instantly took wings. just read the notes without playing. The keys of B and and D (count each key, as before, aloud). He then taste the more good they do us, and some fingerings nations that have no God; but I have not heard of any Caroline’s fear set me to thinking. I put the music D flat are so natural for the hand and so useful in proceeds, Next keynote, D; the scale of D has two that had no music. Music means harmony, harmony the fingering should be 4 3 2 1, 5 1 and the “lateral” which at first appear unnecessarily awkward, turn out away, and while she was playing the arpeggios in B technical work that it is best to early accustom the pupil sharps, which are Fit and CS.” He should thus proceed means love, love means God.”—Sidney Lanier. touch be used. to be, when adopted and persistently practiced, the best major I selected another piece in B major from the to reading at sight in these keys. until, all the sharp keys have been represented. THE ETUDE Page 303 Page 302 MAY 1921 MAY 1921 is not open competition, but war to the knife; death, THE ETUDE Music and Commercialism or teaching of music, or any other art. Fancy, if you u iiwitimate weapons on unprincipled lines. Its can, an attempt to compel all painters to paint only one results' if successful, will be to hamper and cripple the of the same kind of pictures, and to use only the colors 2 of all honest teachers, and the progress of all By Sir Edward Baxter Perry and brushes made or handled by one specified firm, Tamest and ambitious students, and means death to many whether good or bad, and without regard to their price. long-established and reliable firms Birds as Singers and Music Teachers [Editor’s Note Whether you may or may not agree Let us rally to the defence of fair play, free choice, with the writer of this article you may be sure that it The idea is preposterous; yet with the much-abused represents his earnest convictions. lie knows how to spill long-suffering art of music, many are caught by it. It and real musical advancement. By HENRY T. FINCK the vitriol when he thinks that it is needed. In the mut¬ Beware of all methods and passe-partout stereotyped ter of correspondence instruction we know that for years is simply an attempt to corner the market in musical in England such instruction in harmony and in composition commodities, and the methods used are dishonest. courses, especially when handled as the private output of has been conducted by teachers of high standing. In the any one firm. No good musician ever uses them or This Article is One of the Most Fascinating Ever Written by the Eminent New York Music Critic case of executed music, some pupils may overcome the ob¬ Art is not an exact science, and never can be made so. ever ha= u=ed them. He knows better. Those who do stacles in the way of correspondence by mail if the course provided is sufficiently good, and if the advice received by Art is personal, and largely subjective. Individuality, most certainly belong to one of the three classes into mail is adequate. We have known of some very satisfac¬ temperament, mental and emotional capacity, hand for¬ which Spielhagen, the leading German novelist, divides tory cases, but there is nothing to equal the teacher “in mation, motor-nerve control, and accuracy of sight vary all human beings: “The deceivers, the deceived, and the the flesh,” when a good one con be obtained.] widely in different students -in quality, relative degree, Jean de Reszke, the greatest operatic tenor and artist deceived deceivers.” Two of the greatest singers the world has ever heard, of our hermit thrush is “the grand climax of all bird of his time, frequently lunched at my residence during The curse of our age is commercialism. To sell the and combination. The competent teacher must carefully Jenny Lind and Christine Nilsson, were each proud of music”? Would the great European poets have gone the years he was in New York. Of course, I never products of other people’s brains and hands and trained diagnose these, constantly analyze and correct his first Remedies for Hand Care being referred to as “the Swedish nightingale.” Was into such supreme raptures over the nightingale had they asked him to sing, but at table he often kept us convulsed skill has been found to be easier, pleasanter and judgment, and then judiciously adapt the instruction and that really a compliment? Does the nightingale or any known our thrushes? H. D. Minot, while conceding with laughter imitating the voices and mannerisms of more profitable, and is considered more genteel than to the works chosen for study, to the special needs of the other bird sing so beautifully that a world-famed prima that the nightingale is “the greatest of all bird vocalists,” By Oscar Z. Carmon other artists at the Metropolitan Opera House. Adelina work and produce them. The result is the middleman, pupil at a given time. donna should swell with pride when she is compared to declares that it has “a less individual and exquisite Patti had the same gift; Herman Klein remarks, in his or rather men, for there are usually several who stand You can no more use the same system or method, or Pianists must keep their hands in condition for the one? genius than our wood thrush.” Mathews cites a theme of the hermit thrush which, he declares, “is completely recently published book, The Reign of Patti: “From between the producer and the ultimate consumer, and, stereotyped course, and turn out musicians than you can right kind of keyboard work. So wonderful is the nightingale’s song, in the words beyond the ability of the nightingale; it is a theme childhood upward, her sense of humor, her spirit of alas, too often fleece both; so this vocation has taken put coffee, rock salt, alum, rosin and chalk into the top Hands that are strained and overworked, or chapped, of the Englishman, Charles A. Witchell (who wrote a worthy of elaboration at the hands of a master musi¬ mischief, her love of drollery and of fun, had been many who might and should be producers and adding to of a coffeemill, turn the crank, and bring forth material or calloused, are not “piano” hands. valuable book on the evolution .of bird-song), that “a cian; but the hermit does his own elaborating. . . Some allowed unrestricted sway. To those qualities she added for a wholesome beverage. There is no such thing as a Various lotions are said to lie good for chapped bands, listener is apt to forget all else than the supreme im¬ the material and intellectual assets of the world, out of of the themes are in the minor key and some in the but the one which has produced the liest results with pulse and passion of the singer * * * Now he pro¬ her extraordinary gift of mimicry—not mere talent for their legitimate and useful activities. Of course, a cer¬ correct, complete and all-comprehensive course or method major; some are plaintive, others are joyous, all are my pupils is an application of cold cream applied just longs his repetitions till the woods ring. Now his note imitation, but an intuitive faculty for faithfully repro¬ tain number of distributors and distributing centers are applicable to all pupils, and every good teacher knows melodius; there is no score of the nightingale which before retiring and the use of an old pair of gloves to seems as soft as a kiss; now it is a loud shout, perchance ducing the manner or style of whatever she saw or heard a convenience and perhaps a necessity in the complex it. And all who claim there is, and advertise it as a can compare with such records as these. . . It must be keep from injuring the bed clothes. a threat \rrrrrr)\ now a soft peeuu, peeuu, done by another person.” conditions of our present civilization; but unfortunately patent infallible cure-all for every.sort of musical de¬ remembered, however, that bird songs are most ethereal Hard water is especially bad for the pianist's hands. swelled in an amazing crescendo. Now he imitates the these have been unwarrantably and disastrously multi¬ fect, whether teachers or music houses, are either igno¬ things, a great deal like the wonderful tinting and deli¬ Soften the water with borax every time before immers¬ sip sip sip sisisisisi of the wood-warbler, now the bub¬ A Feathered Clown plied, reducing production and adding cruelly to the cost ramuses, cranks, or deliberate fakes, more frequently cate spiral weaving of Venetian glass; one must see the ing the hands in it. bling notes of the nuthatch. The scientific investigator is “How birdlike 1” an ornithologist would exclaim on of all commodities to the general public. the latter. color or hear the melody in order to fully appreciate its Hand strains, if not too severe, can lie relieved by abashed by this tempestuous song, this wild melody, the hearing these things. The mockingbird owes its very subtle beauty; the song is charming because of its To add to this, we have latterly piled up the still Harmony by Mail triumph-song of Nature herself, piercing beyond the ear, name to its habit—and amazing success—in imitating any of the good standard liniments. Absorbine, Jr., spirituality of tone and its depth of expression; how can worse -curses of trusts, monopolies, profiteering, and Let me say also that the claim to teach music by cor¬ right to the heart of the listener. He is pleading now ! almost any sound it hears, musical or otherwise. I re¬ Sloan’s Liniment, or Chloroform Liniment. the meager outlines of music notation convey such truths? graft, till living conditions have become, for the great respondence is one of the worst types of fake. It can¬ But no, he is declamatory; now weird, now fierce; tri¬ member how indignant my sister in Southern California The writer has known of a pianist who mas-aged his Who can justly report the hermit’s song? There is a umphant; half-merry; one seems to hear him chuckle, used to be one winter when I was with her because majority, practically impossible. not be done any more than a foreigner can be taught to hands with cocoa hutter every day during hi- playing silvery sustained tone like that of a flute, then a burst mock, and defy in almost the same breath.” mockingbirds so often made her run out into the chicken Even musical work in all lines is not exempt from this pronounce English correctly by letter. I speak from ex¬ season. He insisted that the habit of keeping the skin of brilliant scintillating music: destructive blight, which is being spread broadcast by perience and definite knowledge as well as reason, hav¬ of the hand soft and pliable meant much to him. Is it a wonder that Milton, Shakespeare, Coleridge, yard, thinking a hawk was after her alarmed flock. Cowper, Byron, Shelley, Keats, Heine, Longfellow and those who seek for selfish, illegitimate financial gain, by ing had a number of the unlucky victims of that fraud .... and the song’s complete, “There is a dash of the clown and the buffoon in the other great poets referred in glowing verses to the mockbird’s nature,” says John Burroughs, “which too exploiting students, teachers and artists in their own after their experience. They cannot read accidentals) With such a wealth of melody sweet “Shiftless” Shifting beauty of the nightingale’s song? Is it strange that or use different kinds of musical touch, or even keep As never the organ pipe could blow often flavors its whole performance. It is when its love- bird lovers should have exhausted their ingenuity in passion is upon it that the serious and even grand side time. I would much rather have a pupil who had never And never musician think or know 1” The modus operandi of attacking the strong-box of By Carlo Magliani trying to convey some idea of this charm to those who of its character comes out,” he adds. seen a piano or a printed note, as it is much easier to the prospective victim is very adaptable, and varies widely have never heard the queen of songbirds? Athanasius The dynamics of this thrush range from pianissimo to Many other birds possess the mocking bird’s faculty to suit the strategic possibilities in each case. To cite a avoid errors than'to eradicate them when they have be¬ In the phrase of our English cousins, a "jolly lot” of Kircher made an audacious attempt to record it in our fortissimo. The fortissimo has been heard across a lake of mimicry. The catbird, for instance, “intersperses his few flagrant examples: There are certain music pub¬ come a habit, and I could get better results in the first energy is wasted by the needless shifting of the hands musical notation; his page is reprinted in Wild Birds and at a distance of nearly a mile, while the whispered tones melodic phrases with quotations from the highest authori¬ year. when passing from the white to the black keys of the Their Music, by F. Schuyler Mathews, an admirable lishing houses, manufacturing costly materials, that keep cannot be heard farther than thirty feet away. Cheney ties—thrush, song-sparrow, wren, oriole and whippoor¬ Of course harmony, being a more or less exact science, piano. book by a thorough musician. Others have attempted to a number of able salaried agents constantly on the road compared the climax of this bird’s song to the bursting will. The yowl of the cat is thrown in anywhere, the and based fundamentally on mathematics, can be taught When seated at the instrument, the arms will carry to secure, or rather to force, the safe of their wares. give a vague idea of it by the use of letters. For ex¬ of a musical rocket that fills the air with silver tones. gutteral remarks of the frog are repeated without the to some extent by letter, if the teacher is competent and the hands over the most unusual leaps to the right or left ample: “Yes,” adds Mathews, “the tones are silver—burnished slightest reference to good taste or appropriateness, and with the utmost swiftness and ease. But, in the same How the Fakers Work conscientious, and if the exercises are all written out, Tio, tio, tio, tio, tio, tio, tio, tix. silver, and sweeter far than those of any instrument the harsh squawk of the old hen, or the chirp of the lost position, move the hands quickly from the edge of the With the more educated, intelligent, but musically sent to the teacher, and returned with corrections and created by the hand of man.” chicken, is always added m some mal a propos manner. ignorant people, who abound in every community, a flat¬ careful explanations. It is better than nothing; but tone white keys up to a place over the black ones ami notice Tzorre, tzorre, tzorre, tzorre, hi; etc. All is grist which comes to the catbird’s mill, and all is the uncomfortable jerk in the upper arms and shoulders. ground out according to the bird’s own way of think¬ tering appeal is made to their alleged common-sense, quality, rhythmic values, dynamic effects, and even With which compare the attempt of a famous German Operatic Bird Melodies practical judgment, and public interest; such people, for the rudiments of interpretation, absolutely cannot be In fact, it more or less affects the equilibrium of the ing,” writes‘Mr. Mathews. In other words, there is no whole body. bird specialist, J. F. Naumann: If Richard Wagner had carried out his plan of mi¬ instance, as country schoolmasters and committees, taught in this way. They demand the ear, the knowl¬ regularity; these birds impromsc as much as does a pian¬ Ih ih ih ih ih wati wati wati! grating to the United States he might have been accused boards of education, presidents of colleges, etc. They To avoid the necessity of shifting the hands as men¬ ist when he just follows the inspiration of the moment. edge, and the judgment of a good teacher at the pupil’s Dewati quoi quoi quoi quoi qui, of borrowing some of his Nibelung melodies from songs are told that, of course, they realize how much poor tioned, form the habit of playing with the fingers well Bird song, evidently, isn’t such a simple, “instinctive” side to detect, explain, and demonstrate what the student Ita lululiilii liilu liiluliilu watiwatiwatiwatih! of hermit thrushes heard and recorded (pp. 242-3) by musical instruction is being given by incompetent music up near the black keys, even when no white ones are apt thing as most persons imagine. It can be as fluently is doing and how it ought to be done; all of which he Ihih tatagirrarrrrrrrrrr itz, Mr. Mathews; not merely calls, like those of the cuckoo, teachers, to the permanent detriment of the pupils; that, to be immediately needed. Keep them so near that, if melodious and euphonious as Bellini, but it also rivals can never learn by himself. No matter how good the Lii lii lii lu lii lii lii lii watitititit. nightingale and quail as introduced by Beethoven into as they know, the sciences and other branches are being a black key is required, the fingers will easily rise to it modern program music, and even ultra-modern caco¬ material which is furnished, nor how carefully explained, with no apparent movement of the hand. Twoi woi woi woi woi woi woi ih, etc. his Pastoral Symphony, but real melodies like that of phony; Schonberg, Ornstein and the rest of them have taught in an orderly and systematic manner by trained, it is not sufficient. the bird which, guides Siegfried to Briinnhilde and the This comes about as near to giving one an idea of the not succeeded in reproducing the awful roar of the lion, authorized teachers, bringing adequate credentials; that a But to return to our first culprits. They try to reach Rhine daughters’ motive. certain definite grade of attainment is demanded of those bird diva’s song as one could give of a gorgeous sunset but the ostrich does it so successfully that even the keen¬ the musical profession from a different angle. The Piano Fatigue The same observer, who has spent years in the woods eared Hottentots cannot always discriminate between who are permitted to teach; also, that they will, of young, inexperienced teacher is told of the good she may with chalk and a blackboard. But there is a Victor record course, see that music should be taught in the same way (No. 64,161) which always proves a pleasant surprise with opera glass and note-book in hand, heard meadow¬ them. “Can we wonder,” asks Mr. Witchell, “that the receive from studying the lessons, and the new material larks sing snatches of melodies identical with phrases and under similar restrictions. By Nettie Gamier Barker to those who have never heard a nightingale in the woods. young of the imitative butcher-bird, when out of the and ideas with which she will become acquainted, and in La Traviata, Aida. Carmen and Ruddygorc. From nest, should squeal like a tortured frog or bird when we It is then suggested that a certain uniform standard¬ this, of course, has a grain of truth in it; also the ad¬ Unfortunately it was made by a captive bird, and birds A professor of physics at Columbia University, New in a cage are not apt to sing with the wild, triumphant a purely technical point of view this bird is less praise¬ know that the parents slay frogs and birds in the vicinity ized course or method ought to be used; that such a vantage she will have over competitors who do not take York, made some laboratory experiments which explain worthy than as a creator of melodies, his voice being course has been devised to meet this crying need by a abandon of birds in the bush. But I have heard nightin¬ of the young?” the course, nor have the prestige of these celebrated why one must have almost brute strength to perform the wiry and thin, wherefore he is not classed among our The bleating of lambs, the mewing of cats, the note specified publishing house, backed by the authority of a names as a backing and authority in their, work. This gales abroad whose song fully bore out every word writ¬ big classics. He found a ’cellist expended more than best songsters. of a kite or buzzard, the hooting of an owl, and even number of celebrated names; that all teachers and pupils also has a little fictitious value in country communities, ten by Mr. Witchell, and I can understand his indigna¬ four tons of energy in playing a simple Bach aria. Like an operatic coloratura singer is the bobolink, con¬ the neighing of a horse, are imitated by English jays so should use this and this only, incidentally paying a wildly but still not enough to warrant the price. tion at Bechstein’s assertion that this bird has “only In the light of these facts, it is cruel to compel your¬ cerning which we read that he “is indeed a great singer, closely that Montagu was deceived. A more musical kind exorbitant price for the privilege, and using only the If not Convinced, she is intimidated by the half-veiled twenty-four strains.” self to follow a program of three to six hours a day but the latter part of his song is a species of musical of “program music” results from the habit of many birds music published by said house. threat that she will lose her position or her pupils, if practice. After two hours at the piano mental and bodily The Perfect Nightingale fireworks. He begins bravely enough with a number of of imitating each other and the sounds of nature. Wit¬ The above arguments seem obviously valid and reason¬ she does not embrace this opportunity and get in line. fatigue grows on one. Better a plan of fifteen- or John Burroughs thinks the nightingale is but little well-sustained tones, but presently he accelerates his chell heard thrushes mimic the cries and songs of the able to the victims, and the proposition is at once ac¬ thirty-minute periods with fifteen minutes rest between. time, loses track of his motive, and goes to pieces in a nuthatch, wood-warbler, house-sparrow, blackbird, night¬ cepted with the joyful acclaim, “Eureka!” The better A Plea for Honesty and Fair Play Lach return to the piano brings rested muscle and keen short of perfect in all qualities. “We have,” he says, “no one bird that combines such strength or vivacity with burst of musical scintillations. It is a mad, reckless song ingale, starling, lark, chaffihch, goldfinch and a number posted and more honest teachers who refuse to fall into The strong and established teacher who is not afraid intellect to the work. Two hours of concentrated work of other birds. Robins imitate larks, blackcaps; green¬ such melody. The mockingbird, doubtless, surpasses it fantasia, an outbreak of pent-up irrepressible glee.” To line, are dismissed in favor of those who, for various is delicately approached by means of direct or indirect in short periods means more in permanent results than finches, besides the titmouse and hedge-accentor. The in variety and profusion of notes; but falls short, I imag¬ make a record of this music sung at breakneck speed is reasons, consent to do so. As a result, the aforesaid pub¬ bribery, which may tempt some. The pupils and parents six hours of continuous practice, to sav nothing about skylark has at least sixteen other birds in his repertory; ine, in sweetness and effectiveness. The nightingale will impossible until we get a recorder “with the sound- lishing house gets a strangle grip on the music trade of are caught by the promise of regular credits in their the sprained wrists and dulled brain 1 catching skill of Blind Tom and the phonograph com¬ the starling has eighteen or more; nor is even the night¬ that town or State, for I know of at least one entire sometimes warble twenty seconds without pausing to school work, to be given to those, and only those, who bined.” ingale content with his own lovely song, but must needs State that has been dragged into one tyrannical monopo¬ pass the examinations in these courses or methods, no breathe, ?nd when the condition of the air is favorable In the South the bobolink, every year, destroys two introduce in it motives borrowed from other feathered list’s trap in this manner. matter how really well-trained or ill-trained either class °lqUifrest of a11 instruments, however, is tl its song fills a space a mile in diameter. There are, per¬ haps, songs in our woods as mellow and brilliant, as is or three million dollars’ worth of rice; then he goes songsters. heimr°nC A* a T,,S was a kc-V't>oard instrument, the toi Inanimate nature also influences bird music. The being produced by a series of small bellows forcing a that of the closely allied species, the water-thrush; but north and tries to atone for the theft with his song. He Preposterous Propaganda Briefly, every clever trick which modern business voices of owls simulate the moaning of the wind in our bird’s song has buf a mere fraction of the nightin¬ succeeds, I think. To be sure, I don’t own a rice field 1 Now, it is a fact, patent to anyone with a modicum methods can’ devise, is employed to compel teachers and In Nn h SSi S°mCthinR after the fashion of tl hollow trees, such as these birds frequent. In British pollan harp. It was invented by Schell in 1789. Her gale’s volume and power.” I love to watch him as he hops along our fence in Maine, of brains and the slightest knowledge of the subject, pupils alike to buy and use only such music as is recom¬ Columbia Mr. Witchell heard what he thought was the Has America any songster to match the nightingales apparently trying to lure me away from his wife’s nest, that the proposition is idiotically absurd on the face of mended and published by a given house, to the exclusion Neither'Tf tgln • ,nvented a similar instrumer sound of a gurgling, rippling mountain stream. It of England, France, Russia, Germany and Italy? Was and then, when the danger is past, rise like a skylark, it. You cannot standardize or make uniform the study of other well-known and long-tried reliable houses. This stopped, and started again, and then he noticed that it Ste T“w,! . it patriotism that made Mathews declare that the song soaring and singing. THE ETUDE MAY 1921 Page 305 Page 30MAY 1921 THE ETUDE Good Taste in Dress for the Woman was the song of a Canadian wren. He thinks that many and hawks are scarce birds are likely to live many of the warbling birds, such as the blackcap, robin, black¬ years, and as their proficiency in singing improves from Music Teacher bird, thrush and willow-warbler, which build their nests summer to summer, the younger ones have better teachers as models and thus learn to be better singers than those near running water, are likely, when young, to be in¬ By Mme. M. B. Henry fluenced by the rippling sounds they hear. What a theme heard in cat-infested regions. for musical poets! Buffon believed that mockingbirds sometimes con¬ sciously sing for the purpose of gaining the favor of When the contract to teach at a university or college How Can I Develop a Musical Touch? Every Papa Bird Teaches Music man. One thing is certain, he says: “Its song, sung close is signed, the ‘signer is but a mortal woman if she to human habitations—in the vines and orchards and A thousand years ago it was expected that every Eng¬ plunges at once into an earnest consideration of what gardens of man’s planting—is not the same song it sings lishman at a banquet would be able, if called upon, to to wear. She is apt, however, to sketch out a plan of By PROFESSOR FREDERICK CORDER in the wild depths of the southern woods." Roaming in sing a song and accompany himself on the harp. It clothes which would better fit a hotel sojourn than the Mexican woods he could always tell when he was ap¬ makes one laugh to think of what would happen if such requirements of her new and dignified position at the Do you play like a real musician or do you hammer like a cobbler? One little thought germ from this splendid article an assumption were made at a modern banquet, anywhere. proaching a settler’s cabin by the peculiar notes of this by the distinguished teacher-composer may improve all your ideas of piano playing. Observe bird. university. And how helpless ninety-nine out of every hundred hu¬ It is a simpler matter than at first appears. The main the difference in the size of the notes in the music examples man fathers would be if they were asked to teach their Man and birds are the only animals that sing—we know why we sing. Professionals sing for money and point to be considered is comfort. Find out the climate children music! But that is what every papa-bird does! of the locality in which the college is placed. If in one Music teaching is a universal profession among birds! applause, and that's why most of them sing so badly and When I was a student there was a French expression trained to the extent of realizing each of the ten fingers is when we come to the fourth and fifth fingers. To so artificially. Amateurs sing to while away time, for of our rugged Northern States, lie sure that you have With a few and occasional exceptions, mamma-birds do much in vogue: "Touche de compositeur.’’ Those were as a separate and different bundle of nerves and has stiffen the fourth finger, who generally wants to cling the enjoyment of the music, to please friends, to express warm clothes. One-piece. frocks—to save time—a thick not sing; perhaps for the same reason that they do not the days before Leschetizky and Matthay had investi¬ learned to control each and all individually. to his neighbor for support, is hard, but see how vital happy or sad feelings, especially religion and love. Bird sweater and long heavy coat and serviceable boots, are wear the gay plumage of the males, which would betray gated the dynamics of pianoforte playing and tried to There is a very excellent test by which you can easily it is! All melody, all music—depends upon our control song is commonly supposed to be all love music. Un¬ indispensable. Have few clothes; they will go out of them, while hatching the young, to the keen eyes of make us understand just how we could produce music in¬ gauge how far you are on towards this desirable stage. over these two weaklings. Wrist rotation is a crutch for doubtedly it is at its best in the springtime of court¬ the mode, and later will crowd the trunk or suitcase in birds of prey. But the male is an irrepressible songster, stead of merely sound from our instrument. Till then Mendelssohn’s Song Without Words, No. 24 (last oi them; the stiffening of the whole hand into a claw is ship, when the male bird is eager to lure the female, and transit. A couple of dressy frocks, for recitals and danger or no danger, and every one of his little boys people with any ears had noticed that a musician—par¬ Book IV), has an accompaniment throughout of a trill positively fatal. The greatest factor in technic is to be in all probability the best bird music is inspired by ardent social occasions arc needful. A utility hat—or cap— is expected to learn to sing, as much as a matter of ticularly a composer—played somehow differently from a executed by the two thumbs, used like a pair of drum¬ able to stiffen either of those two feeble fingers and at love and fierce rivalry when two or more birds compete and dress hat are sufficient. If necessary, you can al¬ course, as our boys are expected to learn the three R’s— non-musician and got a pleasanter effect, though he sticks. This, in itself, is an admirable exercise for loos¬ the same time make the rest of the hand feel like jelly. ‘‘Reading, ’riting and ’rithmetic.” I am speaking, of for the favor of a female. On such occasions male birds ways add to your supply in the college town or by mail might not be (and generally was not) a prodigious ex¬ ening the thumbs, but when we come to the last eight The section of Matthay’s Muscular Relaxation Studies course, of song birds only. Not all birds have a vocal have been known to sing so ardently, so rapturously, that order. they fall down exhausted, and even dead. ecutant. In those days, before the art of teaching had or nine measures the trill develops into a passage which devoted to this matter is very comprehensive and alto¬ apparatus, but the world over there are some six thou¬ For the Southern States and for the classroom, a been evolved, everything was “a gift” and you either had is intended to sound like this; gether admirable. sand species which do sing. Singing for the Love of It couple of really good, soft, one-piece silk frocks are in it, in which case the teacher looked on and took all the I know an American woman who was born in Mexico order, remembering that the plainer one's dress, the Melody and Accompaniment But many birds sing in summer when the season of credit, or you hadn’t it, in which case the teacher looked and when she came to New York at the age of five she more elegant the material and the cut, the better the courtship is over, or in fall, and even in winter. Why? on and scolded you for your lack of talent. I used to In all pianoforte music the problem of melody and ac¬ spoke only Spanish. I know another American woman impression you will make upon your students. Avoid Evidently because they enjoy singing for its own sake, hear much of this touche de compositeur, every one de¬ companiment both in the same hand occurs to some ex¬ who was brought up at Lyons and when she came back just as we do. Mathews goes so far as to say (and few anything outre or too advanced in style. You will lose tent. It is when the composer has ignored the extreme lighted in using the phrase, it sounded so cultured, don’t to New York at the age of six she spoke only French. know birds so intimately) that they sing first for the nothing by conservatism in dress if you arc careful to difficulty of the task that his composition is said to be you know, and showed that they knew French (a favor¬ It is the same way with birds. If a nightingale were love of music and second “for the love of the lady.” have material of the best. Sometimes, even in the ex¬ “unpianistic,” though it may be excellent music. Nearly ite self-delusion of the English), but no one ever ex¬ but is written to be played thus: hatched and reared among robins or thrushes it would The skylark sometimes continues to sing even when treme Southern States, one feels the need of a really the whole of Mendelssohn’s Songs Without Words are plained exactly what the expression meant. I believe that sing like a robin or a thrush. Certain calls and cries fighting. Caged birds silig because they have nothing thick overcoat or of a light sweater. Wash dresses are Alleero melto much harder than they need have been, because the I can make you understand it without wearying you with of alarm seem to be inherited and instructive, but the else to do. Wild birds announce daybreak by song be¬ pretty, but if one is to keep laundry expenses down, they writer failed to perceive that what was perfectly easy technical details, and incidently make you see what the actual song of birds is acquired. The older birds are cause the dangers of the dark are past. They sing when do not pay for the teacher. In !x>th North and South for him would baffle even the advanced amateur. Less real teacher of to-day tries to teach and why. the teachers, and the younger birds learn by listening the fog lifts, or after a shower, because they are glad the evening dress is about the same, since the rooms upon eminent composers, like Joseph Wieniawski, Moszkowsky, Here is a diagram which should make it clear to the to them and trying to repeat what they heard, improv¬ that the sun has returned. Like ourselves they sing at a social occasions are usually comfortably warm. and Jensen have written the same kind of music far eye how the touch of the musician differs from that of ing from year to year, and gradually adding details and feast. “The songbird,” writes Maurice Thompson, in more practically, always taking care to make the mel¬ Let an elegant simplicity be the keynote of your attire. the non-musician, even when neither has been trained. expressive touches of their own. Some of the youngsters his charming little book, Sylvan Secrets, “is a gourmand Let the clothes be becoming, attractive and smart, how¬ Suppose they both start to play Beethoven’s Pathetic ody note and accompaniment note not be sounded simul¬ are more gifted than others, and the vocal sins of fathers of the most pronounced type, and we find him going into taneously. Of course, in advanced grades of piano¬ ever, and do not be afraid to have them youthful if Sonata, or any other piece that begins with a full chord are visited on their children. a rapture of sweet sounds oyer a feast of insects or fruit. forte music the player is supposed to have achieved this your figure and style will permit. Your personal appear¬ in both hands, here is the result: What’s the reason that in some regions finches and * * * I have seen a mocking-bird eat the best part independence of the fingers once and for all, but how nightingales and other birds sing better than in other ance will play an important part with your students, to of a lucious pear or apricot, and then leap to the top¬ say nothing of the faculty of the college. The students often do you find one who really has? Only the other places? Cats! A single cat will catch and eat a hun¬ most stray of the tree and sing as if it would trill itself are the ones who insure your salary and your return to day a pianist expressed to me her amazement that such dred or more birds each year. In regions where cats into fragments for very joy of the feast.” college the next season. The more a college can bring a passage as the following should ever have been writ¬ in through your efforts, the higher money you should be ten or played. She regarded it as quite impossible. It able to command. is the second verse of Schubert’s Barcarolle transcribed To make this sound as it should it is clear that the by Liszt. A Plea for More Imagination A seemingly small matter in choosing clothes is to right hand must play its notes thus: have them of a kind easy to get into. A surplus of By Varnum Tefft hooks and eyes and a complication of parts to lap over and adjust will not be likely to make you punctual. And punctuality is too serious a point to be overlooked in a The practice of drawing a mental picture for pupils there are not two people in the world to whom a given teacher. For the same reason, avoid the university as an aid in the interpretation of poetic music, is mare phrase would suggest the same thing. teacher’s nightmare—blouses and skirts. often abused than not. It is a serious mistake to be too Recently a new pupil came to my studio and in re¬ concrete in attempting to make these things clear to a As for actual comfort in teaching long hours at a This is not very difficult to fingers that have achieved sponse to my request that he play something, gave a stretch, the modes of to-day are very kind—loose, roomy child. Why not go the whole way and point out that independence, but absolutely impossible for those that very jerky rendition of Henselt’s Love Song, and then frocks, short sleeves, and skirts of a length that will what the composer wishes to engender in the mind and gravely informed me that the bass notes were the man have not. If you can play this passage so as to make it emotions of the hearer, is a mood through the medium show to the student your manipulation of the pedals, will sound as in Exercise 2 you know that you are on the talking and that the upper ones were the lady answering make the task of teaching go easier. If you arc slender, Using different sized notes to indicate the different of sound, similar to that which he had in mind as he quantity of sound elicited by each finger, I here show right road to become a pianist. You may even hope him, and this in spite of the fact that in the child’s mind do not cumber yourself with corsets. If of the plump wrote. that the musician would cause the melody of the right some day to master that terrible study by Saint-Saens there was no distinction between the melody and accom¬ type, let your corset be of the most pliable kind that will If the purling and laughing of water over the peb¬ hand to stand out above the crash of the heavy harmony which goes: paniment. support and keep you neat and trim, but which will not bles in an orchard brook bring to the mind of the and the bass notes to be next in intensity, although these musician a quiet exultation, then the ensuing composi¬ Another pupil who had been better taught, thought be too stiff or too long. For attention to this detail will that the melody in Chopin’s Prelude, Opus 28, No. 6, lessen fatigue in the long run. two parts arc being played with the weakest fingers. Ex.6 tion would be an attempt to produce a similar mood in The middle notes will be no two of exactly the same was suggestive of a longing to get out in the sunshine, the mind and emotions of the hearer by means strictly strength and will be much softer, although they are and the constantly recurring upper notes were the drip¬ The trouble about this is that the figure of accompani¬ belonging to the realm of music, and except in the case being played with the strongest fingers and although ping eaves following the rainstorm that had kept every¬ ment is not only in the same hand as the melody, but of a very young or materialistically-minded composer, the whole passage is marked fortissimo. The non¬ Vn00Slng y°ur recital dress, model it upon thi sometimes above and sometimes below it. To the non¬ it would not be an absurd attempt to imitate the actual one at home. Upon my suggesting that that was a little musician will endeavor to play all the notes with equal artistes gown which has most appealed to vou-the om musician this presents extreme difficulty; to the musician sounds of nature. commonplace for the great poet of the piano, she said power and will be quite unconscious that we hear the which made the most pleasing impression upon the plat very little. And this is the best example I know of the To put this into concrete form, if you must paint it could just as well be some thought that kept coming torm, both in color and in cut-then follow that as closeh notes played by the thumbs'predominating. You may word pictures for the pupil, ask him how he would feel difference between the two. To train your fingers to again and again to a person’s mind and just would in¬ as possible m the smart style of to-day. Have one after be thankful if he does not play B flat in the last chord. amid such surroundings, and suggest then that he try to trude, no matter how much one might try to throw it This would be far more useful and practicable with¬ perform miracles is all of no use if the ear be not on frock that will do for teas, receptions and semi trained to an equal extent. Only when the player men¬ play as he felt it. off. Now I am not suggesting that cither one of these Nature’s Little Blunder out the extensions for the left hand. For ordinary-sized A piano sounds like a piano and by no stretch of the pplanations would lead to an ideal interpretation, but °CCasions' A,so> since one’s privacy is not alway tally sings the melody and insists that the accompani¬ mvoilable in a college dormitory, have a kimono a In getting these two very different results we may hands these almost prohibit the relaxed condition of imagination can it be made jo sound like anything else. it shows that the pupil understood that the music por¬ ment shall be an accompaniment does such a passage as handsome and attractive as possible, and "mules” t. or may not be conscious of the fact that Nature has finger so vital to success. How is it done at all, do you Even granting that by clever spacing of notes it may trays a mood, and is not a concrete picture. this become music instead of a jumble of notes. But, of made us with our hands just the wrong way on for play¬ ask? Why, it is a simple knack, but an infinitely val¬ suggest the dripping of water or the rocking of a course, it is of little use for the finest musician to will To paraphrase Miss Amy Lowell “There are too many ing the piano, that is, with the weakest fingers just uable one. Play slowly Exercise 4 as above, holding cradle, yet without a suggestive title, and getting away teachers trying to talk down to the child’s understand¬ wc" rtn ,have an evening wrap of Polo cloth, oi the passage to be played rightly if he have not achieved where the strongest ones are needed and vice versa. the finger which plays the large note rather stiff and let¬ something of that weight, which can be worn also b; the necessary finger-control. You do hear composers from certain conventional figures of rhythm, I dare say ing, who could not possibly talk up to it if they tried.” What happens is that the musician’s ear will tell him ting the other fingers crumple up loosely the moment r !*: Pretty and useful, and, if kept ex excellent musicians—who do not possess the touche de that certain notes ought to sound louder than others; they touch their notes. What! You can’t? Then your Si OT social affairs, will not soil your light even compositeur, but pound the piano cruelly, especially if and, if he has no muscular disability, he will instinctively technic is all wrong and you must begin all over again. g gowns as would your everyday long coat. Nature has not given them good hands to begin with. endeavor to control his fingers more or less to the ex¬ Try now sensibly. Surely you can hold your thumb like 61,000 Miles in Eight Months a wooden peg and all the rest of your hand as if it had gowned ™Slfe.W^intS’ you shou,d be able to be wel tent demanded by the music. The non-musician, on the Elocution in Music Reinald Werrenrath, one of the most successful of American present-day singers, traveled 61,000 miles dent" n b'Vn<1 P'easi^ t0 D'es of stu other hand, will be entirely concerned with getting the neither bones nor muscles. There—that is it! Now do Now as regards what is called Phrasing, which is in in eight months during his last concert season, filling engagements, and ended his tour with his voice nm Ul 1 tV’ aiKl When the ^ason is over you wil notes played somehow, and at the utmost cannot do the same with the forefinger—difficult to make the thumb music just what elocution is in speech. Everybody can “as fresh as a rose." In an interview in a coming issue of THE ETUDE he tells just what he does to your trunk nnd nr Wlti' “Pessary things to cram in* more than make a vague attempt to “bring out the relax, isn’t it? Not quite so difficult with the middle emphasize his words correctly when he knows the sense much f ™ drbrt of a”-Aou will not have spent to. melody.” In both cases it is clear that a very much finger, because he is longer, you see, and can touch his stand this severe strain. of what he is saying; it is only when he is delivering the better result >vill be obtained when the player has been note a tiny bit in advance of the rest. The real difficulty s fa ,,k"y >,re6 MAY 1921 Page 307, THE ETUDE THE ETUDE Page 306 MAY 1921 Technique and Mechanism utterance of some poet or rhetorician that he is liable to speak words without the sense that should accom¬ By Joseph George Jacobson pany them, and then he gives himself away hopelessly. But many people attempt to do this in music with less Piano-technique and mechanism are two entirely chance of discovery, except by the real musician whose Technique is the sum-total of the ear can distinguish between the true and the false. different thing knowledge and ability necessary to present a composi- In a simple phrase such as this : a artistically and intellectually, while mechanism pre¬ The Musician and Education sents the different movements which occur during the execution of a composition. The differences of opinion, noticeable among all great instructors, show that the science of the mechanism of the living organism has not By W. J. BALTZELL . v advanced sufficiently to give us definite rules and points on which to rely absolutely. Modern piano-techmque is more the result of a process achieved in an empiric and Ohio Wesleyan University. He has composed ably in the [Mr. Baltzell is well known to readers of The Etude. Frederick Bridge. For nine years he was managing editor not speculative manner. For instance, not so long ago of The Etude (1897-1907) and then became editor of The smaller forms, but is known chiefly for his scholarly and His musical studies were pursued at the New England Con- Musician. He has written a very successful History of painstaking services as an editor and musicologist. Editor it was thought to be correct, for the development and the University of Pennsylvania in America. Music and an exceedingly well compiled Dictionary of of The Etude.] strengthening of the fingers, to hold the arm rigid Musicians. For one year he was the professor of music at the mechanical player would play all the notes with therewith depriving it of its freedom. To-day the op¬ much the same amount of tone and emphasis, prob¬ you may be doing, you can make no progress if you do college graduate who was entering his employ: “You ably trusting to the sustaining pedal for his legato and posite is taught. Do you recall your reflections on the occasion of your not study, with the utmost care, your experiences from have chosen a business instead of a professional career. thereby smearing the notes of the melody. The musician Then and Now In the nerves and muscles of our joints, nature has first sight of the Woolworth Tower, especially if that If you will work as hard at learning everything that day to day. would play it somewhat as follows, but the exact pro¬ provided us with all possibilities imaginable for a me¬ first sight was from a ferryboat carrying you across the This is what the so-called “practical” man does, and belongs to this business as you would find it necessary to portion between the sounds cannot be accurately shown By Lt. Comm. John Philip Sousa, U. S. N. R. F. chanical execution. It is foolish to speak of stilt lingers North River to New York? The apparently slender what he prides himself on doing. He fairly dotes on fit yourself for the law or medicine, you will win out. on paper, and would never be twice done exactly in and wrists. The cause is not in the fingers and wrists structure reaching up in the air far beyond the height of this characteristic of his manner of working. “I know the same manner. but in their lack of connecting with the nerve-forces or surrounding buildings catches and holds the vision with Go to school to your job. Have you an education, one that helps you to perform what I know,” he says; “what I have done many times currents running from the brain to the executing organs. inescapable tenacity. (Editor’s Note: The ETUDE has planned to efficiently the duties of your daily life, those which ag¬ I can do again. I believe in doing things, not in theoriz¬ The necessity for hard practice is to make these cur¬ Or, perhaps, like many thousand others who have vis¬ present in succeeding issues occasional ar¬ gregate into your business or your profession? ing about them.” rents flow easily. Anything you have done repeatedly ited the great American metropolis, you took the elevator ticles from distinguished musicians compar¬ If you tell me that you never went beyond the High This attitude may be admirable in some respects, but ing musical activity and opportunity of the you will do without thinking, by habit, automatically. ride up to the highest floor of the Tower, and there feasted School I ask if you have added to your store of educa¬ it is at fault in others. We act under the influence of past with the present. We have asked the But this repeated practicing will only have genuine re¬ your eyes on the' unparalleled vista spread out before tion by other methods since those High School days. habit, of routine. But back of that is a principle. The genial Lt. Sousa to begin the series of intro¬ sults when assisted by thought and with knowledge of you. As far as the vision could reach, except to the man who does things should master the principles ac¬ spective articles. Lt. Sousa’s youthful aspect If you tell me that you have earned a university de¬ employing correctly the mechanical ways. Kemcmber south, were evidences of the manifold activities of the cording to which he works 'and thus be the better pre¬ is indicated by his latest march"Keeping Step the old saying: “What will not go through the bead will gree I ask what have you done to build on that founda¬ with the Union,” which has all the dash, snap people of this great center, and the smoke on the far- pared for emergency. not go through the fingers.” Through continual prac¬ tion. and virility of his first great march success, off horizon to the south told of argosies on the way to The application of this thought is that day by day you tice you might acquire mechanism but never technique. The test as to an education is not Quantity but Quality ; Here we have the same tendency of the fingers to dis¬ “The Washington Post.”) other lands. The effect of such a scene is overpowering should study your experiences, what you do, what you This would be the same as if you had learned to read not the Possession of Knowledge but the Ability to tort and misrepresent the music checked by the ear and to the thoughtful person. think, what you say, what you feel, what your pupils do Arabic but could not understand what you were read¬ Apply Knowledge. musical sense, which alone can be trusted to dictate the What was your reaction to this unique and wonderful At this point some reader of The Etude may say: “I during the time they are with you—for this is part of proper emphasis. Perhaps the greatest test of musical- The boy, who has not an inordinate desire to excel in ing. Therefore do not give pupils technical problems to experience? Not to have had one is unthinkable. Per¬ your experience—so that you get the bearing and value whatever line of endeavor he may be placed, will have solve without making them understand the mechanical failed to get the kind of an education I should have. I ity is found in the works of Schumann, where the writ¬ haps it was all so strange, so gripping in its power that recognize the handicap and now desire to overcome it. of all these things upon your Big Idea. hard sledding as tK days go on. Of course, he who is idea necessary to execute them. you did not formulate your impressions. Yet you may ing is so uniform in character and all the fingers are Is it too late?” so unfortunate as to be misplaced in a trade or profession The muscles which move the fingers vertically are in commonly being employed at once. The notation also have wondered: In seeking an answer to these questions the first thing Critical Study that does not meet with his sympathy is to be pitied; but the forearm, the motor-power being carried through the What does this Woolworth Tower stand for? It is is frequently clumsy, failing to express the composer’s that I should want to know is wh ther the musician This critical study should he turned into creative ef¬ if a youngster is in love with the career mapped out for sinews to the finger-joints. To spread the fingers hori¬ musical intentions and often addressing itself merely to so absolutely and tremendously individual. refers to his general education or to the special musical fort. This makes you bigger. And as you grow so him, if he lacks in ambition and makes his slogan zontally are muscles which lie between the bones of Here is one thing for which the Woolworth Tower the eye, so that the performer has to translate, as it were, training which is comprehended under the term Music does your Idea grow. It is not working round and “Manana,” he cannot hope to reach an honorable height the hand used very little in every-day life. At first the stands: (This may explain any achievement, for that as he goes along. The well-known Arabesque, for in¬ Education. In either case the answer is the same: It round in a circle but in those spirals which scientists in his life’s work. One of the most necessary concomi¬ vertical movement of the fingers from the root joint stance, looks like a mere jumble of cross accents instead matter.) is not too late if you really want to make up for your say are the paths of the various worlds in the universe, tants of adaptability, talent or genius is capacity for work, must be considered. The strength acquired through this of a deliciously smooth piece, and in general Schumann, One Idea and Fifty Dollars previous loss. a curve with an ever-increasing radius. instead of directing the pedal to be used, writes most hard grinding and never-ending work. The milkmaid, movement is limited. If more is needed the weight of Let us assume that you are studying the lessons to be who takes her pail and sits in the middle of the field the hand and also part of the arm must be used. After At the age of twenty-six Mr. Woolworth^ had a A first suggestion is that the musician must do the of his sustaining notes with extra tails, and then, just available capital upon which to build a future, ONE IDEA derived from your experiences in the daily routine, or expecting the cows to back up to be milked, is going this is understood proceed to the horizontal touch. Here work himself, in all probability, by himself. That is the when this device is most needed, disappoints you by and fifty dollars. When he passed away a few years way most of us work after we leave school, namely, that from now on you will do. Is there not something writing an important bass part thus: home with an empty pail; and, so it is with the student the thumb plays an important role. Watch carefully that ago he had transformed that Idea and those fifty dol¬ alone. This is not to be understood as adverse to col¬ more that you can do? Must you depend wholly upon in any profession and especially in music. As far back the nail-joint does not “kick in,” a habit caused through what you can work out of your own experiences with as I can remember I studied with these objects in view— weakness and which should be corrected constantly by lars—less than a mechanic’s weekly wage to-day—into lective effort. If several musicians desire to associate sixty-five millions 1 The Woolworth Tower stands as a themselves in the work ^of repairing the deficiencies in some suggestion from those of your pupils? to be a composer and a conductor. When very young I the teacher. After this, practice the staccato movement. The way to self-improvement does not end with study¬ had the pleasure of hearing the Theodore Thomas Or¬ memorial shaft to the mental and physical endqwment their education by means of study they will benefit by The following exercise is very beneficial: 1 .12435: ing one’s own experiences. In the course of centuries chestra ; and that gave me the first idea of what beautiful 13'2435 : 132'43S : 1324'5: 13243'5. Watch the accents. of the man who effected the transformation. the class contact. the human race has accumulated a wonderful treasure and consummate musical expression could be made from So, also, that tremendous aggregation of activities of But the impulse to begin work and to continue per¬ Not until the pupil understands these movements well of experience about doing things and of thinking about instead of a combination of instruments. To me it was a glimpse of all kinds which make up the greatest city in the world sistently must be individual. The musician himself must should he begin the scales and arpeggios and wrist-move- things. Much of this experience has been recorded in heaven; and, in after years some of my happiest moments is a manifestation of many ideas and many capitals, not be filled with the consciousness of his need for more books which are accessible to every one. The stimulat¬ were spent with Mr. Thomas in discussing his genius in of the present alone, but also of the years that have and an upbuilding education, and have the will to stick ing, instructive experiences of men and women of the interpreting the works of the great masters. passed since Hendrik Hudson first landed on the Island to the work of self-improvement. present times are recorded in books and in the magazines, When I was twelve or thirteen years old I was play¬ Head Work That Counts of Manhattan and brought the ideas of Europe to the where those who wish may read the inspiring story. ing first violin in Ford’s Opera House, Washington; untutored people who then possessed the land. Have a Definite Idea But one does not get it without effort. and a travelling comic opera company came for a week’s By W. S. Cottingliam The spread-out city and the up-shooting Tower per¬ One splendid means to hold oneself to work is to have The line of study that one can lay out for himself Yes, what with unsystematic and differing methods of engagement. I took the first violin part of the opera we sonify Ideas and the Power to work them out in prac¬ a definite idea which one works to develop and to bring There is nothing that the self-help student needs should include material for General Education as well notation, the way of the pianist is a hard one unless he had been rehearsing to my teacher to mark some of the tical use and application. That is one lesson that may into realization, and through which one aims to perform more than to devote more serious attention to head as Music Education. The former is taken up first, not is a good musician. And can anybody tell me why he fingering and asked him if I would ever be able to write have been offered to the man or woman who looked out service. It is the opinion of the present writer that work. This is what he misses. The teacher is usually as the more important, but because it may well be carried should not be one ? Because you cannot say he always is. an opera. He smiled, and said, “Philip, you will write a from the Woolworth Tower. And the application should without the stimulating power of a “Big Idea,” a domi¬ the one who does the head work with many pupils. better opera than this one”; and I have every reason to follow with every intelligent, active-minded person: I nating motive and desire, no one will have the strength along with the strictly musical study. The present That is one of the reasons why the student studying believe that since then a lot of people have agreed with have ideas. How can I work out my ideas ? With what and endurance to keep persistently at the ofttimes dis¬ writer suggests, first of all, a good school grammar and alone, who realizes the value of head work, makes such him. source or reservoir of power can I connect? couraging work of upbuilding oneself. It is the com¬ a text-book on rhetoric, by means of which to review The Ace of Diamonds wonderful progress. Head work means the delightful one’s knowledge of the two subjects. A teacher en¬ I was born In Washington, D. C.; and in my almost pelling power of the Idea, the all-possessing quality of but difficult process of studying problems in advance so gaged in educational work should speak correctly and By S. E. Hitchcock infancy Washington was an armed camp and there were Ideas and Power the motive, that will simply not permit one to settle down that when the fingers are brought into play they will write intelligently and interestingly. He should study regimental bands galore. During that period the ambi¬ Mr. Woolworth is not the only man who turned one to work in a routine, humdrum manner. have countless unnecessary motions. Leschetizky once words and the way to use them in expressing thought. tion took possession of me to compose.military music. or more ideas into great achievement. In this class are By a “Big Idea” is not meant that one’s work must said, Five-sixths of modern pianoforte technic, and In addition he will find it worth while to have at hand G—F# The first march I wrote was played by the Marine Band all those men who have been called captains of industry, be on extensive lines. To put this in a concrete way, D-Fit, Ci even of purely mechanical exercises at the keyboard, is a fairly complete dictionary and by this means increase of which years later I became conductor. I cannot recall commerce, invention, finance, adventure, men of the it may be said that it does not mean thac the private -F#, Clt, GS in the head rather than in the fingers.” the vocabulary ,pf words which he understands and can any time in my life, from my very start as a student to type of the elder Bennett in journalism, Vanderlip and teacher must set himself to change his work with twenty use according to need. The well-equipped teacher should the present moment, that I have ever given way to jeal¬ Morgan in finance, Carnegie and Schwab in industrial or thirty pupils into a conservatory organization with -FS, Cit, Gf, DC, At - have a vocabulary of at least three times that of the ousy of either a fellow-student or a fellow-musician. pursuits, Wanamaker in trade, Edison and Marconi in ten or tw'enty times that number of students. Intensive Perhaps the main reason has been that I have always Essentials of Pianistic Success quality in the Idea, the way in which it takes possession average person. Other subjects of general education to invention. which the teacher who begins a course of reading for -Bb,Eb,Ab,Db, Gb felt I could be a better student or a better musician; and, of you, and the way in which you manifest it in activity, By Joseph H. Moore They were men with Ideas and Power to develop those self-improvement are poetry, history, the fine arts, and therefore, I was so busy improving my own knowledge Ideas. It is your privilege to be a man or a women is what makes an Idea “big.” Remember what the that I have had no time to bother about the knowledge mouse said to the elephant: “I am as big for me as essays. I. The student must possess natural ability and have with an Idea to transmute into Achievement. of another, unless in admiration. My career reads very The field of work in Music Education is so extensive favorably constructed hands and fingers. If the men named in the previous paragraph had been you are for you.” much like a fairy story, for I desired to be a conductor that the teacher is to begin his study as a job for life. II. Study must be begun at an early age. asked to mention one means to develop an Idea I believe Keep in mind that this is not to tuin you away from of instrumental bodies and have been one for forty years; your present activities to something else which may seem If he is so fortunate as to acquire the habit of study TV tk°C teachlng must be secured at the outset, that one means would be the same in each reply to the he will never be able to give it up; he will illustrate the The figure begins with the C, or natural scale, at I desired to be a composer and I have been recognized question: EDUCATION. Not in a restricted, but in bigger and more worth while simply because it is newer. idea “Once a student always a student.” either top or bottom. Major-scale key-notes are on the as such for at least thirty-five years; I desired to go practice ' 6 mUSt ** a good instrument on which to a broad sense; not education according to a conventional The tug boat, the small motor boat, are worth while as This is not to be interpreted as meaning that the left, their signatures on the right. Those bracketed arq, forth into all the corners of the world and conduct my system and of the schools only, but an education that well as The Leviathan, which is still laid up because of teacher is to be merely a student. On the contrary, the enharmonic. Read the key-notes downward by fifths, own organization, and I have done so; and I believe I folWtrUCti0nS °f the master must imP,icit,y helps one to make the most of his powers and the oppor¬ its great size. Your daily work offers many if not all full purpose of this writing is to lead him to apply in or upward by fourths. No'tice how every signature is an have toured over a greater expanse of territory than any tunities that come to him. It was this kind of educa¬ of the opportunities you can take care of at this time. tr YJj °"e *°ur h°UrS dai,y’ of judicious, concen- the most thorough and practical manner the best of all addition to, or a subtraction from, its neighbor. This other conductor; and possibly my compositions are as t0 tion that a business man had in mind when he said to a No matter where you may be occupied, no matter what diagram should be reproduced by the pupil from memory. well known as those of any composer. Herald P enng practice must be a rule.—Weekly THE ETUDE MAY 1921 Page 309 Page 308 MAY 1921 THE ETUDE of Mendelssohn -—— that he may gain by study, and always to be on the The Home Life lookout for something new and worth while. A teacher By Arthur S. Garbett __ of this sort is a blessing to his profession and his com¬ curred in 1837, and they made Leipzig, where Felix was munity. You know some of them. They are the men “Home” may be said to be the keynote of helix Men¬ and women who have become leaders. And why? Be¬ conductor of the Gewandhaus Concerts and director qf. delssohn’s existence. All through the rushing years the conservatory, their, permanent home. They never left cause they were unwilling to accept the limitations of ' from 1809 to 1847, when he triumphed as composer, con¬ mediocrity, or partial or superficial knowledge, but it except for a brief period in Berlin (1841) when an The Teachers’ Round Table ductor, teacher, organist and pianist, when his dazzling attempt to find Felix a place among the court musicians sought IDEAS and the means to put them into Service. personality and genial character hypnotized Europe, lie came to nothing. The music teacher should have in his library, as aids never fully escaped the home-environment. All things Conducted by N. J. COREY to his progress in developing himself professionally, His married life was supremely happy. He and Ce¬ were reported to the family at Leipziger Strasse, No. 3, cile had five children in all—Carl, Marie, Paul, Felix and authoritative treatises on the instrument which is his This department is designed to help the teacher upon questions pertaining to “How to Teach, ” Berlin. He made his father and his mother and the Lilli. “You ask me to describe our manner of life,” he specialty, piano, voice, violin, organ, etc., as the case may children, Fanny, Paul and Rebekah—especially Fanny— “What to Teach," etc., and not technical problems pertaining to Musical Theory, writes to Fanny, some years after his marriage, “f be. This is to include technic, interpretation, and the im¬ share with him his joys and sorrows, triumphs and work early in the morning, and at ten Carl comes and History, etc., all of which properly belong to the Musical Questions Answered parting of instruction. In addition the library should troubles, and all the intimate happenings of his aston¬ sits by me for an hour, reading and ciphering. At five department. Full name and address must accompany all inquiries. include the great compositions for the instrument. ishing career. Even before becoming engaged to Cecile in the afternoon I try to instill into his mind some no¬ The material of music is naturally of prime impor¬ Jeanrenaud he was careful to ask his mother’s consent tion of geography and spelling * * * Marie is learn¬ From a Young Teacher tance. The musician should devote study to harmony (his father being dead). After marriage, when he was cises, interspersing up and down wrist motions every ing the scale of C, and even that I partially forget, for Certificates of Ability and its allied subjects, to musical form and analysis, a power in Leipzig and a dominant factor in the mu¬ few seconds, in order to test the feeling of universal I made her turn her thumb under after the fourth finger, and to gaining an acquaintance with the many forms in sical world, he continued to write “home” to Fanny, now Music teachers who are working to bring about legis¬ freedom throughout the playing mechanism. These till Cecile came in upon us and was amazed." And well which music is cast, such as the symphony, the sonata, Fanny Hensel, and Rebekah, by now Rebekah Dirichlet, lative action for the registration of music teachers, who should be done slowly at first and the tempo should not she might be: the most famous composer in Europe and cantata, rondo, and the great variety of lyric and dance and Paul, who still resided at No. 3. The only real shall not be allowed to teach unless they can present be increased more rapidly than flexible conditions director of the Leipzig Conservatory, unable to remem¬ movements. calamities he ever knew were the loss of his father, his proper credentials, may be interested in the following in wrist and arms can be maintained. Correcting a ber the fingering of the C major scale! Music has a rich record of achievements; by means mother, and that last shock from which he never recov¬ letter from one of the regular readers of the Round fault of this kind is a slow process but it should be ye“4S What book should I use after Second Grade Despite this lapse, Mendelssohn was a strict disci¬ of studying these records a musician can add the ex¬ ered, the loss of Fanny. Even Cecile and his children Table, describing conditions in her city of moderate pursued with patient perseverance. Simple etudes would Melodic Studies'”—F. B. plinarian at the conservatory, when his crowded time periences of the men and women of the past and the did not seem to mean quite as much to him as Fannie, size. It will give teachers in the large centers an idea far better be used at first that the demand on your permitted him to teach. Together with his normal suav¬ 1. As there are many books of studies with the title present to his own, a most important asset in a plan of who shared his musical gifts to almost an equal degree, of what some of the workers in smaller cities have to muscles be not too great in the beginning. The tempo ity and grace, he had a sharp tongue and occasionally Melodic. I am in the dark as to just which one you refer self-development. This necessary material one finds in having been born, as her mother said, “with Bach-fugue encounter in the way of obstacles: increase should be very gradual, and your mind con¬ said more than he meant. He complained bitterly to the to. While this makes but little difference in this instance, the history of music and the biography of musicians, a fingers.” “I have read the interesting article in the Round stantly directed to conditions in your wrist and arm as Bishop of Limerick in 1847 of his short temixr at re¬ there are many cases in which it would. Therefore, as never-ending and greatly stimulating source of ideas and That home at No. 3 Leipzig Strasse was almost as Table entitled Red Rags and Bulls. Conditions here the practice progresses. how to apply them. Books of reference such as the hearsals or with his pupils. are even worse. It is not only the elevated wrists with a young musician, along with many others who need wonderful as the family in it. A great mansion of a 2. As a general principle, no. But conditions must well-known dictionaries are practically indispensable. Greatly as he loved Cecile, whose 'presence, accord¬ improper hand positions and finger action, but no time. place, set in a lovely garden of seven acres of shady regulate this. Herein comes the advantage of two these pages, you should cultivate accuracy in all these ing to Fanny, “produced the effect of a fresh breeze, It appears that few teachers have even themselves a trees and emerald lawn. Here Felix learned not only lessons a week. An unfinished assignment may be com¬ regards. It is part of your musicianship. There could How to Study and How to Teach so light and natural is she," his marriage did not cause properly developed idea of time. I have in mind a man to love music, but to love Shakespeare, too. Here the pleted in less than a week, but should be looked after be many questions which could not be answered except any break with the family. Rather he and lii.s lather But one is not to be content with a reading of ma¬ children ran their little newspaper, entertained friends who taught here four years. He had two diplomas (I before the week is up. Hence when the next lesson is by the possession of information as to the composer. In seemed drawn closer together. It was, therefore, a terial about music. The teacher’s great need is familiar¬ no less brilliant than themselves, met many of the lead¬ have lost confidence in diplomas) from conservatories. due in three days, the unfinished task may be polished direct answer to your question I would say that I do great shock to him when his father died, 1857. shortly Not one in his class could play for even a dance by ity with the principles of instruction as set forth in the ing intellectual lights of Berlin, who delighted to visit up before more is assigned, and not so much time lost. not consider it wise to give many etudes at a time. before his marriage. “Not only have I to deplore the reason of poor time. He gave a recital with them last¬ science of pedagogy which backs upon the more meta¬ the Mendelssohns. Here Felix hatched his schemes to With the next lesson a week distant, judgment will have Scales and arpeggios and such other technical exercises popularize the music of Bach. Here, too, he wrote some loss of a father, but also that of my liest and most per¬ ing four and one-half hours! His rival teacher used physical subject, psychology. In pedagogy one finds a to be exercised as to the amount of work needed before as seem necessary should be followed in practice by an of the most wonderful of his music, including the over¬ fect friend of the last few years and my instructor in the metronome exclusively without other counting. Her formulation of the principles by which instruction is something new is begun. ture to A Midsummer Night’s Dream. art and life.” Five years later his mother died also, pupils are also woefully deficient in time. How to etude. Then such pieces as the pupil needs, both in best imparted; therefore it comes to the assistance of 3. Not in the early stages, as much material must be The first break in the family circle came when Fanny after a merry family reunion for the Christinas festival. procure efficient teachers is indeed a problem. The review and advance work. One book of studies at a the teacher who wants to know how to teach. He may married Wilhelm Hensel. Felix was in London at the The greatest loss of all, however, was the sudden death suggestion that they obtain recommendations from practiced which will never be referred to again. A judic¬ time is generally sufficient. recall such items as what he studied, the methods he time, detained by an injury. It was his first trip abroad, of Fanny, from an illness which attacked her while teachers would be no guarantee, judging by examples ious selection for the repertoire should be selected for 2. This depends somewhat upon the age of the pupil. followed in learning his lessons, the suggestions his and he reported home every detail of his great successes. she was, characteristically enough, seated at the piano, memorizing. The advanced pupil with ample practice time But as a general answer, just as soon as the student here. may cultivate the memory more assiduously, as he is teachers gave to him. But the serious-minded person He even describes his costume at an afternoon recital— rehearsing her choir. This was in May, 1847. The fol¬ “I have a pupil who is giving lessons for candy and begins the practice of pieces that demand the pedal for not likely to attempt anything which is not worth may ask, is there not some system that is more efficient “very long white trousers, brown silk waistcoat, black lowing October Felix Mendelssohn himself died, his end gum! Another (thirteen) who has taken lessons six their proper effect, the use of the pedal should be care¬ memorizing. than the cue I followed years ago? And with this query necktie, and blue dress-coat.” Had he been at home no unquestionably hastened by the death of his sister, which months is also importuned to teach. Another teacher fully and cautiously taught. Your good judgment will as a motive for seeking he will find himself in a field doubt he would have accompanied the wedding anthem left him broken in spirit. “Anyone reading Felix’s let¬ informs her pupils that ‘it makes no difference how you Nervous Awe be necessary here. for study which will keep him busy for the rest of his Fanny composed in her own honor. The following year, ters after Fanny’s death,” writes Hensel, “and hear¬ hold your hands.’ There is no counting unless she. does “I have been studying with the two best teachers 3. Tone Pictures for Teacher and Pupil. Low; Very life. He will never reach the point when he will feel just before Fanny Hensel’s baby (Sebastian) was born, ing the sad, passionate F minor quartet which he wrote it for them. In spite of vigilant efforts to prevent it, in our city, three years with one who is quite First Duct Book; School of Four-Hand Playing, Book I. himself justified in thinking that he has become master he wrote a Song Without Words (Book 2, No. 2) not famous, and five years with one who is younger, in the summer of 1847, will at once feel the change my pupils drift into careless ways by these examples. 4. Selected Studies, by Czerny-Leibling, Book II, may of two phases of technic; How to Study, and How to in celebration, but, as he says, “under the impression of but equally successful. With him I can do myself which had come over his spirit: the blow was mortal.” To combat with such a ‘mess’ is like beating hopelessly no justice because of his constant criticism of my be begun, and in alternation with these the more purely Teach. that first half-anxious, half-joyful letter.” against a stone wall. The only way the pupils have of work, which I work on carefully and conscien¬ Mendelssohn lies in the churchyard of Holy Trinity at aesthetic studies of Heller, Op. 47 and 46, may be used. The system of working which has become well- After Fanny’s marriage he spent two years as mu¬ judging progress is by galloping through a book. Every tiously at home. There I can play with freedom Berlin, beside the sister he loved so well. His wife, and ease, but by the time I have finished my tech¬ known in recent years under the term Efficiency offers sical director of Diisseldorf (1833-35), where he lived teacher should have a standard, and work incessantly after his death, went to her mother’s home in Frankfort, nical work with my teacher I am so frozen by an Finger Stretchers splendid and practical help for the man or woman who a bachelor existence. Two more bachelor years fol¬ to bring her pupils up to it, regardless of months or Icy chill for the lack of an appreciative word that devoting herself to the education of her children. She wishes to improve his methods of study and teaching. lowed in Leipzig, where his friends included Moscheles years. It seems to me that every teacher ought to be I can scarcely play. He does not bluster ^ and and Schumann, Friedrjch Wieck and his daughter Clara, never recovered from the blow, however, and six years scold, but simply freezes n I would like to use Certain magazines are devoting space in reading and compelled to make a written statement explaining their suggestion?”—L. X. afterwards Schumann’s wife. His marriage to Cecile later became a victim of tuberculosis, from which she advertising columns to making such systems known. method, and how and what they teach, submitting it to Jeanrenaud, a French lady he had met in Frankfort, oc- had suffered for some years. a board of musicians who are capable of judging and It is difficult to adjudicate in the matter in which I have Books That Help rating them according to their merit. They should be no information as to how well you play, rate of progress, given a certificate if entitled to it, or otherwise pro¬ etc. After eight years, however, you should be doing Finally the teacher should not overlook the fact that Silent Bow Practice hibited from teaching by stringent means. There is talent the most advanced work; but as to this you say nothing. there are subjects which bear upon art as a whole, of I am not familiar with the stretcher you mention, but By A. E. Rice here in abundance, but it is not only undeveloped but From your description I should infer that the teacher which music is a part. Schumann, for example, said destroyed. We have a music teachers’ association in the was poorly informed as to the psychology of teaching, I have grave doubts as to the safety of any such ap¬ that the principles in creative art work are the same; I have used with very gratifying results, a method of One aim is to keep the bow-hair at all times cn, and state working for better conditions, but it is too slow one of the elementary principles of which is to try and pliance, especially if the pupil is to be allowed to use the product varies because the material of one art differs silent practice which is of great value to advanced parallel with the strip, which, as I become more and in making itself felt. Think of a teacher who has been induce the sort of mood in a pupil by which he or she it without constant oversight. Hands have been perma¬ from that of another. Browning suggests a similar players as well as to beginners. It will, in many cases, more proficient, I narrow in width until I can keep the teaching twenty-five years, who originally had only one will be enthused. He should study your temperament nently injured by such experiments. Your information thought in certain of his poems. For this reason the allow of practicing to good advantage without fear of hair easily on a strip no wider than the hair on the term of lessons in preparation for the work of destruc¬ and approach your work from that standpoint. If he as to the age and other factors in connection with the edge. musician should have a knowledge of the principles disturbing other folks who might be present or in an tion which has been going steadily on.” has discovered that criticism, especially too much of it, pupil are meager, hence I am unable to give any specific Discouraged Worker. upon which art work is based. These he will find set adjoining room. I also take a colored piece of chalk and mark my chills you, he should try another tack, even to the point information. If she is still in her teens her hands should forth in books on esthetics, under which head one may I take a piece of smooth cardboard or celluloid, about bow into lengths corresponding to the proper towing of overlooking your faults for a time in order to induce grow. The only thing in the way of a stretcher I have include criticism and essays, a most stimulating field for one-half inch wide and long enough to reach around the exercises in some study, and endeavor to divide the bow, Tense Muscles a more confident spirit in you. There are some pupils ever dared to use has been corks, just large enough to study and reading. violin where the bowing is done, pinning same together in towing, as the marks indicate. who are temperamentally so timorous that it is almost keep the fingers comfortably spread, and worn for a The books mentioned below will prove helpful to firmly in place at the back. All feats of this character are beneficial if practiced Velocity, anil impossible to teach them. It seems impossible for them limited time daily. The corks should not be so large as slowly and accurately at first. Care should to taken to to assume the attitude that they are paying the teacher teachers and those other persons who may be stimulated Taking pains to hold violin and bow in correct posi¬ to strain the joints. They can be worn for a few make the weight or downward pressure correspond as for his criticisms and to have their errors pointed out to improve any handicap in the way of musical knowl¬ tion, I practice all kinds of beneficial bowing and fin¬ minutes at a time when the pupil is reading. Your letter nearly as possible with the speed used in audible playing. you tell ino a and corrected before they develop into grievous faults. edge of which they are conscious. gering exercises. Commencing very slowly and with rather vaguely states that she can play octaves, but only One of the greatest advantages of this silent method These pupils are sometimes the despair of a teacher. So for a short time. Her training in playing octaves should The Pianoforte and its Music. Krehbiel. exactness, and gradually increasing the motion as I is that c- you see there are two sides to the question. One teacher be most edrefully planned and carried out in accordance The Art of the Singer. Henderson. become more adept in the performance. le“Tl„;'ry:,; believe ill having a pupil memorize should hesitate to criticise another before knowing all each piece V"—C. II. with reliable principles, such as, for example, may be Music Appreciation. Hamilton. the facts, which makes it difficult for me to appraise found in the Mason Touch and Technic. I know of but your teacher in this matter. Meanwhile if you have First Studies in Music Biography. Tapper. 1. In all probability you are holding your wrists in a few studies containing many passages of two and three Pure Instinct found that you and he are temperamentally at odds, in Education of the Music. Teacher. Tapper tense condition as you practice. In the beginning you notes over an octave, and in such cases it is always ex¬ By Francesco Mariano did not acquire a perfectly flexible condition of the spite of the fact that you appreciate his conscientious pected that the player, except with the most extraordi¬ Music, its Laws and Evolution. Combarieu. work with you, I should recommend that you search for The mere fact that the “Prima Donnas” of the early fingers while practicing, and hence, in the endeavor to nary hands, should arpeggio them. As to the stretcher I force them to extra speed, help is unconsciously drawn a teacher who is known for his ability to arouse en¬ should have to examine it personally before I could centuries were of the male persuasion did not deter upon the hand and arm muscles which stiffen in the thusiasm in his pupils. There are many teachers who express any opinion as to its merit or danger. The real meaning of the term orchestra is a dancing them from developing the foibles of present prototypes. process. In correcting this you need the guidance of a are not temperamentally adapted for the kind of pupil In the seventh century Charlemagne was a great sup¬ declared tto 2“ f0W,t?,n head of musical know1ed you describe, although most excellent and successful place or platform, but it has long since come to signify heen hlJ a , “T sin*ers- “Our instructions 1 good teacher. If you have allowed yourself to get into “(live us. 0 give us the man who sings at his work! a certain definite combination of musical instruments. porter of toth music and the church. He imported this habit, it only shows all the more that a careful and teachers in every other respect. Husband and wife “Possffito” T fT St Gregory himself!” sometimes fail to get along well together on purely tern- Fie will do more in the same time-.—he will do it better In this definite form, in contrast to the early haphazard musicians trained at Rome to have charge of his sing¬ discerning guide is necessary. Meanwhile your fingers peramental grounds. May the same not be true with —he will persevere longer. One is scarcely sensible of collection of instruments, the orchestra is not more than ing schools at Metz and Soissons. Soon a quarrel was Frend”"“: - are doubtless not moving freely on their joints. This teacher and pupil? fatigue whilst he marches to music."—Carlyle. ISO years old. on as to whether the Roman or Gallic singers were to means that you should take up elementary finger exer¬ THE ETUDE Page 310 MAY 1921 MAY W m Page 311 Read the Lower Notes First Dvorak as I Knew Him Dvorak opened the door and said: “Get out and never theetl-m let me see you again.” I sat in surprised silence. SOUTHERN LULLABY By William R. Thomas repetition of the prircipal Dvorak then turned to me and said: “That man tries „ idealized Afro-American be played .be of™.- „ng,g. H*. By John Spencer Camp me sorely. He will not work. If only he had brought FRANCESCO B.DE LEONE, Op. 31, N9 2 me six measures, showing me that he was trying to The inexperienced teacher will often impede the theme.Grade 4. [Editorial Note.—Mr. Camp is a well-known composer, do something, I should not have felt so.” beginner’s progress along the road to musical success, pupil of the great Czechoslovak Master.] At another time a young violin student and his not by actually imparting wrong instruction, but rather by Lento a My relation to the famous composer, Antonin mother came to see Dvorak. The mother was very neglecting some important detail, that correctly pre. Dvorak, was that of a pupil in composition and orches¬ much excited because Dvorak, who conducted the con¬ sented would enable the pupil to avoid the formation tration. I had studied harmony, counterpoint and servatory orchestra, had in his abandon during a re¬ of a bad habit, difficult to eradicate later. fugue with Dudley Buck, and thought that instruc¬ hearsal, hit the toy’s bow with his baton, breaking it. There is no more important habit for the pupil to tion from and association with a European musician The irate mother bearded the Doctor in his den, de¬ form than that of always reading the notes of a chord of world-wide fame would broaden and quicken my manding that he replace the tow as she did not have the upwards. Unless properly instructed, most pupils will money. Dvorak was much annoyed. 'The arbitrary musical nature. I have always been glad that I “think” the notes of the right hand part first, then those method of dealing with music pupils in Germany did had the privilege of studying with Dvorak and know¬ of the left hand; or (worse still) sometimes one way not seem to work here. Over there a man of his repu¬ ing at close range a man of such eminence in the and sometimes the other, and then teacher and pupil tation would have squelched mother and son with a glare musical world. wonder why so many wrong keys are struck. I have of the eye or a peremptory phrase. Here, however, it It may be asked, “What in particular did you gain found it advisable to let the pupil make his first attempts from Dvorak that you could not have obtained from was different. Finally the matter was taken up, I be¬ lieve, by the secretary and adjusted satisfactorily. at playing with the left hand alone. For example, some capable American composer?” And again, “Was when using the Beginner’s Book the pupil should Dvorak asked me what I thought about her demand for he a good pedagogue—systematic and logical in his first learn Exercises Nos. 11 to 16, then Nos. 1 to 6; or application of a well-thought-out method?” And once reparation. I had to say that in this country when any¬ body destroyed or injured another’s property, it was the if the teacher prefers they may to learned in the fol¬ more, “What were some of his personal character¬ lowing order: Nos. 11-13, 1-3, 14-16, 4-6. When the istics?” I will attempt to answer these questions custom to make good the loss. This seemed new to him as applied to such small happenings as the above, but pupil is ready to attempt the simultaneous playing of briefly. similar parts with each hand, first let the pupil go over And first, in going to Dvorak, I felt that I was upon reflection he was inclined to approve. the left hand part alone, before playing both together. going to a supreme musical court of the highest juris¬ While one might infer from the foregoing that Dvorak Exercises of this kind should to used sparingly, because diction. He was one of the leading composers of his was sometimes inclined to to impulsive, severe and even the pupil soon discovers that he can play them by simply time, and I felt that his criticisms and suggestions unjust, yet, on the other hand, he was fundamentally reading the upper part, and duplicating the same with would be authoritative and final. I also hoped that sound and sweet. He was simple in his habits, rising the left hand. Caution him against doing this, and my poor abilities might - somehow take on something and retiring early. He used to complain that the hours insist cn practice with the left hand alone. of the magic power which he wielded. Thus, while I were so late here and that in order to meet and con¬ The important point is reached when the pupil at¬ might have done as well elsewhere, I doubt whether my verse with musicians he had to sit up so late. His whole nature would have responded so completely to nature was devout and he was a sincere believer in tempts to play notes of different names simultaneous]]!, anybody else in the United States. religion. A good deal of his writing in the United and especially when the left hand part i- written on Was he a good pedagogue; a logical, systematic States was done before breakfast, as he was very busy the bass staff. Have him do considerable note-reading teacher? No. He had no system. He was arbitrary, during the day. He lived simply, thought highly and at the lesson, pointing the notes out to him in the order not always easy to understand owing to his limited worked hard. indicated by the numbers in the following illustration: command of English, and very exacting in the amount My personal relations with him were always cordial. of work required from the student. On the other Only once did he begin to uncork the vials of his musical hand, he was tremendously in earnest, and artistically wrath. But as soon as I realized the cause, I was able sincere to the core. He was also a great inspirational to make a satisfactory explanation and at once the cork force. He made one feel that nothing' but the very was amiably replaced. Anybody who worked hard and best would do, and that this “best” must be constantly earnestly was sure of consideration, personal interest, bettered. “More beautiful harmonies,” he would some¬ and a very liberal amount of time. He was modest about times say, and again, “You make that too easy for his own compositions, even while he was conscious of yoursel f; give me something more worthy and better their musical worth. When the New World Symphony Whenever two notes are intended to to played to¬ worked out.” I cannot emphasize too strongly the was first rehearsed by Anton Seidl in Carnegie Hall, gether, always point to the lower note first. Have the quality of inspiration emanating from this gifted com¬ New York, Dvorak accepted cordially the suggestion pupil read the notes in this manner away from the poser and stimulating every artistic aspiration, draw¬ of a change in the tempo of the largo, the suggestion piano for ten or fifteen minutes daily. All such exer¬ ing out from the student the very best in him. There being made by Seidl, and involving a slower tempo of cises should to played first with the left hand alone, was no “compromising;” no allowing something to the largo than the one indicated by Dvorak in the score. then right hand alone, then both together. Thi- will usu¬ “get by.” By precept and example he said to the In regard to the originality of the themes in this sym¬ ally suffice tp give the pupil a correct start, but some pupil: “Follow the gleam.” phony, there was then—and has been since—considerable pupils however will require much patient drilling, for difference of opinion. I asked him once whether these they will read notes sometimes upwards, sometimes Unfold the Student’s Personality themes were taken from any particular source or were downwards, which is apt to result in striking the wrong Nor did he try to impose his own style of composi¬ his own invention. He replied simply, “I think they keys, and unless this bad habit is “nipped in the bud,” tion upon the students. He wished them to develop are my own.” There was also quite a difference in the they will always be troubled with “crossed wires.” upon their own lines; to unfold their nature, their way people pronounced his name. In reply to a per¬ The following reasons may to given pupils for adopt¬ personality, and not to be imitators either of him or any¬ sonal inquiry he replied, Dvor-shak—the accent on the ing this method of reading. Explain that chords—like last syllable, and the a slightly shorter than a in father. one else. As before mentioned, he was very insistent houses—are built upwards, that is, the foundation comes My impressions of Dvorak, as I look back, is that of upon hard work. He seemed to take as a matter of first. Chords in their original position consist of a a sincere, unaffected, true-hearted, gifted musician and course the destruction of the work of the previous series of thirds placed one above the other, and the lovable man. It was a pity that at that time (1892-1897) week, and the reuniting of the same anew, perhaps lowest tone is the root or foundation, and therefore the conditions did not favor the gathering about such again to be relegated to the scrap basket. I remember should be named first. Play an extended broken chord a master of a larger number of the tost musical talent that one week I brought him ten to twelve pages of with alternate hands as a practical illustration, and tell in this country. But he did his best and gave fresh manuscript written for chorus with solo obbligato. the pupil that such chords occur frequently in music, impetus to the music of America by precept and example. After carefully looking it over he said: “I think you and that the tones are always played in an ascending had better write this number for solo alone.” This succession. It is more difficult for most people at first meant tearing up my work and writing something to play with the left hand than the right, it seems to entirely new. But it was good for me. I did not get The Pillars of Success respond less quickly to “brain orders,” therefore it is “stuck” on a particular way of doing something. I only fair to give it the “first chance" in reading. Write realized that my special way of doing something was By G. B. Newcomb two illustrations in the following order: not necessarily correct. I learned the value of the scrap basket—a most valuable lesson! Discipline was Tausig is reported to have been especially fond of what I needed; not coddling. Here again he was any new piece that offered a new difficulty to him. In uncompromisi-g. No soft, flattering phrases designed other words he was continually hunting out new and to make the student overestimate himself. If a thing more difficult passages, triumphing over the difficulties ' was bad, he plainly said : “Very bad!” He constantly and enjoying the process hugely". In a certain way diffi¬ sought to bring the student up to his own level as far culties are the gymnastic obstacles which must to encoun¬ as possible. Therefore when he did approve one felt tered mentally and muscularly and swung out of the that this approval meant something worth having. He way. Difficulties are physical and intellectual developers. was not a teacher for a beginner. Without previous The self-help student should learn that half the game Tell the pupil to read the first example “upward,” training I should not have done much. Many times is taking pride in conquering difficulties daily. Many and the second “downward,” and it will immediately be I was perplexed, but after reflection, based upon my students would delight in progress if they did not dilly¬ apparent that although the illustrations are the direct knowledge and experience, I saw what he meant. dally over so many things without accomplishing any one opposite of one another, they might—through careless Given a man who had been well grounded in har¬ specific thing. That is the advantage of the Graded reading be played the same. These reasons will serve mony, etc., then Dvorak was indeed a great help and Course. As soon as you master one difficulty you know to impress upon the pupil’s mind the necessity of form¬ inspiration. Personally he was arbitrary and impulsive, that there is another and possibly more interesting diffi¬ culty before you. By the time you reach the sixth ing the habit of reading the lower note first, although but not fundamentally unjust. playing them exactly tegether. One day at the Conservatory a certain talented grade this becomes one of the most fascinating occupa¬ pupil came with practically nothing prepared. I hap¬ tions imaginable. Epictetus used to say that “Difficul¬ pened to be waiting and witnessed what followed. ties are things that show what men are.” This is cer¬ * From here go back to the beginning tainly true in the case of the self-help piano student. io;, tho,fe never sing, but die with all their British Copyright secured After upbraiding him for being lazy and shiftless, music m them.—Holmes. and play to A then go to B. Copyright 1921 by Theo.Presser Co. THE ETUDE THE FIRE ENGINE M. L. PRESTON This clever little characteristic number is most effective if taken at as brisk a pace as possible. Grade 2

Allegro m.m. J=120

THE SINGER AND THE BIRD Two well defined and characteristic theme. merged Into at.nefnl ul playable drawing-roe,. piece. Gr.de 3 v j OSEPH E LL1S Andante con espressione m. m.J-72 __ a »

Copyright 1921 by Theo. Presser Co. QUEEN OP THE REVELS 1 An ornate and idealized mazurka rhythm; tobe played with grace and elegance. Grade 4. Tempo di Mazurka M.M. J=i26 _ _ __JFRANK L EYER, Op. 41, No. 1

British Copyright secured Copyright 1921 by Theo. Presser Co. British Copyright secured 1 MAY 1921 Page 315 the etude THE ETUDE To James Francis Cooke Page 314 MAY 1921 THE JUGGLER MOON MAGIC A clever, characteristic piece, light and vivacious,demanding-accuracy of rhythm and a clear touch, ra e . THEODORA DUTTON Requiring an organ-like tone and a smooth style of delivery. Grade 4 J.G. CUMMINGS Moderato assaicon molto sentimento m.m. J =88 Allegretto scherzando m.m.J=ios „—. —4 3

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# From here go back to the beginning and play to ^ Copyright 1921 by Theo. Presser Co. then play Coda. British Copyright secured British Copyright secured Copyright 1921 by Theo.Presser Co. MAY 1921 Page. 317 THE ETUDE THE ETUDE 316 MAY 1921 HUNGARIAN CZARDAS A. SARTORIO HUNGARIAN CZARDAS Primo A. SARTORIO From a new set of characteristic, original four hand pieces, not arrangements. Vivace m.M.J=126 Secondo

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W 7|J • ¥ MAY 1921 Page 319 THE ETUDE Page. 318 MAY 1921 THE ETUDE CINDERELLA CINDERELLA GRACEFUL DANCE GRACIecoLndoNCE h.a.williams An interesting duet arranged in the orchestral manner. The counter themes in the Secondo should^come out y Allegretto m.m.J=133 m ^

Copyright 1931 by Theo-Presser Co, British Copyright secured THE ETULA Page, 320 MAY 1921 TRIUMPHAL MARCH THE ETUDE MAY 1921 Page S23 Vocal Offerings By GEOFFREY O’HARA

SONGS for CHURCH, RECITAL or STUDY PURPOSES

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The Patented To hear these Brunswick records on any phonograph is, in itself, a revelation. One severe test of a phono¬ Highest musical authorities But to hear them on a Brunswick is to know that the Personality, Vivacity and Brunswick Method Genius of great Pianists have at last been given life everlasting. graph is in rendering “high have made it. And in the homes “A musical miracle,” says one writer. of Reproduction “The ‘impossible’ achieved and proof indisputable, to verify it, in two wonder¬ notes”—especially soprano. of great musicians, both in ful pianoforte renditions,” says another. re made The Bruns- Hear these vibrant examples of the Brunswick Method of Interpretation at be accept J instrument of the Europe and America, you will your nearest Brunswick dealer. He will be delighted to demonstrate them. And oth in Europe and Hear The Brunswick and note if you are interested, to show you the complete Brunswick display of instruments, findTheBrunswick Phonograph. both Standard Models and wondrously beautiful Period designs. the full range of “high notes.” Other notable Brunswick Records High C, in natural fullness and The nearest Brunswick dealer —and stars exclusively Brunswick will be delighted to. demonstrate intensity, without the slightest portrayed need no introduction to the Musical World. But the fact rd exclusively for Brunswick is significant of the universal accept- “metallic” intrusion! clear this super-phonograph. Hear it. artists of the Brunswick Methods of Interpretation and Reproduc- See it. sality” in musical expression and interpretation. toned, vibrationless. And you will marvel at so great a differ¬ Made in standard models and ence in phonographs. authentic Period designs, in n oval like the n_ is responsible for the famous wick Tone. Does away with which good music is charmingly metallic sounds. Thousands of music lovers combined with the highest ex¬ have made this comparison— pression of the cabinet makers’ and chosen The Brunswick. art.

The Ultona J3runswick Plays all makes of records at a turn of the hand. Not an “attachment" but a part of The Brunswick. The only reproducer that cushions the path of the needle by proper suspension. THE BRUNSWICK-BALKE-COLLENDER CO., CHICAGO Manufacturers—Established 1845 MAY 192f Page 327 the etude RAPSODIE MIGrNONNE HUNGARY CARL KOELLING, Op. 410 Schools and Colleges A genuine Hungarian Rhapsody in miniature, serving as a study in style and as a preparation for larger works cast in similar mode. Grade 4 ^ _ ‘ ‘ 1 VPiano,Piano Pedagogy, Public v. School Music VIRGIL Piano Conservatory William F. Sherman F” BllT k Organ, Composition THE HOME OF THE VIRGIL METHOD R. Huntington Woodman V Violin, Violoncello MRS A. M. VIRGIL, Director \ Theodore SpierinS k\ .1 \ Nicoline Zedeler TEACHER OF ADVANCED PIANO PLAYING \ Guitar 0. Hornberger „ , Public Performance k Voice \ Sergei Klibanaky Virg^1:nXaTof Teachers and Assistants 35th Season— \M:C.u Lanham Special and Yearly Courses October 4th, 1920 '^Leroy Tebb* SALES DEPARTMENT FOR— Send for Circulars Portable Keyboards and Catalogue Tekniklaviers KATE S. CHITTENDEN, Dean Bergman Claviers MAY I. DITTO, Cor. Secretary 212 West Fifty-ninth Street Child’s Pedal New York City Virgil Piano Pieces and Studies se?in Plano, VioUn, Voice ^JJ^ work References paratory and l yea™ i,™ address T.'SStlt KEshvilKT, Send for Institute »f Musical Art Interesting Catalogs OF THE CITY OF NEW YORK Atlanta Conservatory of Music Frank Damrosch, Director the FOREMOSTtShCHOOLtOF FINE ARTS VIRGIL PIANO CONSERVATORY ^ An endowed school of music conducted Advantages Equal to There Found solely in the interest of higher musical 120 WEST 72nd STREET education and providing complete and Catalog* e"oE0a F* LIOTNEK, Director comprehensive courses. Peachtree and Broad Street., Atlanta, Georgia D YEAR GLARA BAUR, Foundre Conducted acceding For catalogues address progressive European Secretary, 120 CLAREMONT AVE., Elocution—MUSIC—Languages NEW YORK CITY I ~-culty of International Reputation id repertoire II Exceptional adranteKgi ftw 1 ... Maater class for virtuoso violim SKIDMORE EUGENE YSAYE Season 1920-21 SCHOOL OF ARTS CHARLES HENRY KEYES. Ph.D., President A Women’s college offering broad general and tu^ityafor°spec!a|,*rarimn3VAiuriied sc^'nce^icm- caUtagT operT^^omem^Wi^e^relection^ro- vided-Fine and Applied Art, Home Economics, Music, Physical Education, Secretarial Science, VALPARAISO (ATlfv!ke Violin OrganSt^bUcSchool and General Course, with related subjects Four year course leads to B. S. degree. Resi¬ dence accommodations for 300 students. For , LUWMl THE SECRETARY | SlJ," Philadelphia '1Ht “Board with Furnished Room, $90.00 per quarter. Box J, Sai---Springs, New York Musical Academy C J^dpmpila mfder eminent nrtlstgt^chers^Theor^y^ I Crane Normal Institute of Music 1 Training School for Supervisors of Music BOTH SEXES . . BURROWK^OURSE^fMi^ySX c-history, chorua-conducting, methodi, THE ALLENTOWN lege., city a“d0DT°™^C) NEW YORK CONSERVATORY OF MUSIC Sen and Happy Pnpili Sat!,bed ^*r®”ll^^°,,^.^i;3^elC^j^^rY'^^^E1INE BURROWES 210 N. 7th Street, Allentown, Pa. Enthi also descriptive nw»i»» -— — DETROIT, MICH. I The Courtright System of Musical Kindergarten Strong Faculty, Thorough Instruction 3209 NORTHWESTERN AVE. Oldest and moat practical lffS'M4“Waaa For catalogue, aaaressaddress iu*the Director______—— I P 8...q Edna Are.,Bridgeport,Camp. 3bi), 3DQ, _1 !——.—---

HUNTINGTON COLLEGE CONSERVATORY fcatftfSjK "nANAS^MUSICAL INSTITUTE M ” Deparment of Huntington Cjil^Endownd, Un WARREN, OHIO ----Tr-- G oing Teachers Practical Work Applicable to Their Needs d4q FACILITIEa EXCELLENT NO SETTEE ANYWHERE THE SCHOOL OF DAILY INSTRUCTION IN ALL Special the schou branches of music The secretary will be Ple^^gdcstred. Address, Box 512 - - - HUNTINGTON, INDIANA Desk E, WARREN, OHIO , LYNN B. DANA, President- - T -ESTABLISHED 1857

FACULTYm hue ^^^^xiTUTFOT^SICALA^I■ IV^ I I 1 UiLi V/* a..*- MIDDLEi‘““ WEST’ DLlKLPli .GUYi^v JBEVtERBEVIER WILLIAMS.Wn-LIAMS.P President-re»L --^— PEABODY mSl£T A School which leading member, of the Detroit Symphony Orch; HAROLDu\dat n RANDOLPH,p AlNJnni PH. Director ^^“S'Dereoit with its own H. B. MANVILLE, Bus. Mg: ^fof the Oldest and mo?t noted Music Schools in America British Copyright secured Students May A***"* j^lS Woodward Avenue. DETROIT. MICH. ETUDe”when addressing our advertisers. Copyright 1907 by Theo.Presser.3 IP 1 THE ETUDE Pat' MO MAY 1921 CONTEMPLATION SONG WITHOUT WORDS F MENDELSSOHN, Op. 30, No. 1

Some of Mendelssohn’s half forgotten "songs without words” are now”' mtc problem .ft.. .gMn.UhWWyb; solved re.dlly by » study of being revived on concert programs. Many music lovers however have the following diagram.(bee easu e • never abandoned them. The name Contemplation as applied to No.7was | 7 — ■» [ not given by Mendelssohn himself, but by Stephen Heller. The rhyth- __i Andante espressivo m.m.J=63

7trCg < •f* __ | ’etCc^’etC

,8 Fed simile f f fCJ LLr 7 rr -1 -—± _ ~ —TTJ-^r^ \ \ dimii}. 1

7 JJ ) jz dimin. •Qr/Qi/CtC1? trjf ^ w f 1 7 4p^ ^Ji7 ^ n r r. f f 5 5 4 ? 4 a 12 | [Xfcircj^cf *[ =.!/ 5 :——2 &-iir j, p ^

8 8 ~Ti * * ^ ? 7—^ 2 i_ Ii^ p ^ J

) W ^ L» Wm. \ sfz cresc. al /™,i. J .I U 5^^ aj ggjri : -Tf.JflJJlzgi j£—- *" H 4 ki 7 7.^ = ,espressivo. , - rhi» - ifi'j m=m 3T-.dimin. TU^Cr- L, ir-' - r- lLiUT-r- -?-: f /,jPlh . , 7^^=^=q= ■=e=$= ■■ sm j. ^ ■■£=-rS.3e Cis/Jre.sstVc j^ 1 *■ J cruse. /g ;/* € , n/mVnJ 3A hJSJSz V ' Jr—r-3 Page 335 MAY 1921 THE ETUDE THE ETUDE Page 332 MAY 192i SONG OP INDIA i YOUNG AMERICAN CHANSON INDOUE ^*3 from the Legend “SADKO” RTMSKT- KORSAKOW MARCH WALLACE A. JOHNSON A fine bit of Oriental coloring by a modern Russian master. Originally a vocal number, but well adapted for the organ. ^ HARVEY B. GAUL ■ played in true military style, briskly and with crisp accentuation. Grade Andantino Tempo di Marcia m.m. J = 120 rit a tempo if ^ , • ' U 1 tringtone

* * L ^ * 1 a 4 4 1 3 -i 1 8 2 ^ D-

r "HHot its stars cease to wreaths they have won nev-er with - er sons let it «^vave, "^May the

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i x 1 . » J J ■ J 1—1—-1 5

> pi !; — rpjje^^ar - my and na- vy for - ev - er, fThree cheers for the red white and bluej^* >> I g-g- #• t > >

[-y T Copyright 1921 by Theo. Presser Co If it is impossible to use the thumb on the great organ put the lower notes upon Copyright 1921 by Theo.Presser Co. British Copyright secured MAY 1921 Page 335 THE ETUDE THE etude /1921 Page 332 NIGHT ON THE WATERS BARCAROLLE LILY STRICKLAND ing song, with agraceful swing; like two voices, singing in thirds. Grade 3 ten

3 Ap^j. | i'gj- t § r l f=j --J-rU. DIE / cresc. Jr. ffaccel. tf - If rail) 1 a ^—i—ti. '‘S

r Ig—f 4 Y Copyright 1917 byTheo. Presser Co. PLAISANTERIE Published also as a piano solo, this lively number makes*a very showy violin solo. A study in bowing.

Copyright 1921 byTheo. Presser Co. British Copyright secured MAY 1921 Page 337 THE ETUDE jhe etude MAY 1921 ’TIS SPRING

A timely naturesong, full of the spirit of Spring. Words and Music by Andante WILL H. RUEBUSH

BY THE WATERS OP MINNETONKA AN INDIAN LOVE SONG For those who do not wish to use the more elaborate accompaniment of the original, this new arrangement will be found effective and playable. RECITAL EDITION-With Simplified Accompaniment THURLOW LIEURANCE MAY 1021 Page S89 TUP ETUDE

THE ETUDE Twelve Foundation Stones for Your Record Collection THE MERRY MILE By Smith C. McGregor “Unbalanced” record collections are a The complete symphony orchestras are In the old English manner. A taking encore or recital song. common failing among phonograph own¬ now being recorded satisfactorily, and ers. You probably know several people there is a great variety of records that Allegretto m.m.J=84 SYDNEY THOMSON who have expensive phonographs and display the charms of this inspiring music. plenty of records, but who do not seem to The Triumphal March from Verdi’s get full enjoyment from them. There are a opera Aida is a fine example of the com¬ great many such record collections, espe¬ plete orchestra. cially outside the cities; for country people, Military bands have always produced as a rule, do not have the opportunity to thrilling music, and Sousa’s marches may be attend concerts and otherwise become fa¬ obtained recorded by numerous organizations, including Sousa's own band. Nearly all miliar with the best music. And unless good music predominates in a collection, the PLAYER owner is not going to receive lasting pleasure from it. PIANO ? The importance of the first record pur¬ Scott, has been recorded many times and is chases is not realized by many record buyers; a record that has lasting appeal. Let no musician hastily condemn the player. When photography and as a result, their oollection is soon The soprano and contralto voices make a was young, artists feared it would ruin their art. Instead, prop¬ cluttered up with records they really do not pleasing duet, of which Abide With Me is care for. A good start is important any¬ one of the finest examples, being a sacred erly utilized, it has stimulated art interest and aided imaginative where and this is particularly true in build- selection of merit. Tenor solos are numerous; Silver Threads creation. It^see'^^a'cominon^'tmfdency'to0 forget1 that Among the Oold is a song that will never the music one does not tire pf is to be prized die, and many eminent tenors have made Music is the art of most universal appeal. The piano is the above temporary “hits.” most practical means of bringing it into the home. Unless you have had the advantages of a The male quartet has a charm all its musical education, you may well ask, “But The player piano opens the doors of this art to those who have how am I to know the music I will always own, and one of Stephen C. Foster’s songs, not yet had time to master its technique, as well as to those like ?” Perhaps it will not come amiss to Old Black Joe, or Alma Gluck’s Cany who in the leisure of later life are unable to travel the long road offer the reminder that music, like jokes, Me Back to Old Virginny. with male is based on a few themes, and that ex¬ quartet, or Suanee River, simple though to finger playing. amples of the different types will do much they be, will afford more enjoyment than toward enabling you to select numbers some new “hit.” With taste and judgment the effects obtainable on the player having a permanent appeal. The mixed quartet is to be found at its of today are truly remarkable. A good player will cultivate and It is safe to assume that the average greatest in The Quartet, from Rigoletto, develop a love for and an appreciation of music. initial record purchase amounts to a dozen Verdi’s wonderful opera. Here is operatic selections. What, then, shall these twelve singing that offers you a chance to decide be, if they are to be varied enough to show whether you care for the music of the the principal types of music? WHY Let us first consider a representative There is one other vocal selection that violin solo. Why not Dvorak’s Humor- should be in every American home— The eske’f It can be obtained on any of the Star Spangled Banner. It is to be re¬ BUY AN leading lines of records, and is at its best gretted that so many record buyers leave as a violin solo. this out of their collection, and the best of IVERS & POND ? The violin suggests the piano, and the singing is none too good for a selection recent piano recordings show startling that holds such a place in our national life. Our experience as one of the world’s leading makers of high-class realism of tone. Beethoven’s Minuet in G uprights gives the Ivers & Pond player a notable advantage It Is not probable that you will be pleased is a satisfying piano solo. with all of the twelve selections listed ; they for in artistic effect no player can rise above the capability of The ’Cello, deeper in tone than the are given merely as examples of the types or the upright piano composing it. violin, can, nevertheless, produce some very music that have a lasting^appeal. ^also fine music, and a collection without at mfe'make^of'reconls, and a broad outlook will enable you to purchase only records that will Like all our product it is built in but one grade—the highest. least one such selection cannot be consid¬ ice. flood It offers the last word in mechanical development, refinement of ered complete. Schubert’s Ave Maria ;^but itta.tl t the e, expen expression and ease and simplicity of operation. affords a good example of ’cello appeal. the long r Whether your requirements call for player piano, upright or grand, we ask the opportunity to mail you our catalogue, , and The Power of Music acquaint you with the Ivers & Pond-the choice of over 500 Leading American Educational Institutions and 65,000 homes. We especially invite correspondence from musicians and teachers, By Mae-Aileen Erb to whom we offer professional advantages. Music has also been used successfully in “And it came to pass, when the evil sanitariums for nervous disorders. In cases spirit was upon Saul, that David took an of St. Vitus’ Dance, the soft gentle strains harp and played with his hand:-so Saul How to Buy fresc. ±--zall, Tempo ICresc. have resulted most satisfactorily in bring¬ - j* # was refreshed, and was well, and the evil ing quiet and repose to the patient. If no dealer near you sells the Ivers & Pond, you can order spirit departed from him.” While music has this quieting effect, it from our factory as safely and advantageously as if you lived near- From the foregoing quotation we must bv. We make expert selection, prepay freight and guarantee infer that music, even in early Biblical also possesses in a wonderful degree, the 7^1 Will For-tune let me? _ A " ^ she nev-er tells! Oh, should she please,and does but tease My safe arrival in your home, in any State in the Union. Liberal times, was accredited with having, not only power to arouse the soul to the highest allowance for old pianos in exchange. Attractive easy payment /T\ the power to charm, but also with the more state of courage. The story has been told plans. For catalogue and valuable information to buyers, important but less widely recognized power of an old general who served under the Duke of Marlborough years ago. He was Moving on down to the sixteenth cen¬ naturally of a timid disposition and trem¬ tury, we find another instance not unlike bled with fear and nervousness before a that of Saul. A former king of Spain battle. However, the instant that the Ivers & Pond Piano Co. Philip V was subjected to violent fits of bugles sounded and the drums commenced melancholy. So marked an effect had this to roll, he would become a changed man. 141 BOYLSTON STREET, BOSTON madness upon him, that he withdrew o His eyes would flash and his whole car¬ darkened room and nothing could induce riage denote boldness and defiance as he him to leave this seclusion nor to resume dashed unafraid into the midst of the con¬ an interest in the life around him. flict. In despair his physicians decided to .try To-day in our present war, music has the effect of music upon him. Thereupon, played the same part in inspiring the the noted Italian singer, Farinelli, was troops to valiancy. Our training camps ordered to sing in an adjoining room. resounded with song. From the very bat¬ Though at first no apparent effect was tle fronts came the stirring strains of the visible, tears finally came to the monarch s military bands. At the same time, here at eyes and he commanded his door o home, the people gathered together m opened. Farinelli, like another David, community “sings” and from patriotic airs with his soothing melodies, had br°u^ and old songs of the heart, derived order and calmness to the chaos of the strength and courage to await the end of king’s disturbed mind, and he became his the fray. Please mention THE ETUDE when addressing our advertisers. natural self again. molfocre.sc Copyright 1921 by Theo.Presser Co. .' British Copyright secured MAY 1921 Page 841 TEE ETUDE TEE etude Page 81fi MAY 1921 _ - - , So every song—no matter how simple— tones, their appropriate color, in the ex¬ as well as the grand aria or dramatic hibition of the musical content of the com¬ ■ 1 number, must be faithfully worked upon, position, and the bringing forth of all that _ in order that the singer may make full use the words contain. of his advantages in the loveliness of his

I Can! Department for Voice and Vocal Teachers .1 A certain type of vocal pupil preludes reason this out, when necessary, with the a lesson with a declaration such as, “Oh, I pupil. The appeal is to just plain “com¬ l ' Edited for May by F. W. WODELL am so tired;” or, “I know I can’t do any¬ mon-sense.” Vocal success is bought with thing to-day,” or some expression of like a price which includes far more than the n ' 5 cost of singing lessons and the time de¬ liliiil “Thank You for Your Most Sweet Voices ''—SHAKESPEARE Often these pupils have fine voices and voted to practicing and singing. real musical talent. How can the game be made to appear to the student to be worth what it costs? man seems to think that the way to de¬ Why Sing ? The teacher will not \yish to give up the him than I can possibly do while he holds Furnish a sufficient motive. The highest Monologue—Mr. A. Larynx scend is to descend, so, as he lowers the problem and let the talent go to waste. He me gripped like that. You are in a large dining-room filled possible motive for making the necessary pitch, he shoves me down, and yet down, will say to himself*: “I claim to be a good Exhorts Ah, here comes that terrible word, with people. Conversation is general. You so-called “sacrifices” for becoming a good whether I will or no. At the last lesson vocal teacher; it is therefore for me to There is that prelude to Hear Me, Ye “Death,” on a high note. I never know hear the sounds, but cannot distinguish the singer is that we owe it to the Creator, the his teacher kept him working away on the find the way to help this student to make Winds and Waves, by Handel, again! beforehand just what he is going to do words. How odd it seems to realize the race and ourselves to make the utmost of final low note with “chest high” and with the most of natural resources.” How many more times shall I have to with me at that point. Sometimes he every special gift, and particularly of the “chest low,” and with sensation of vibra¬ mere sounds and not the sense. You ask Often the student’s difficulty has a phys¬ gives me an awful jerk, right up under his gift of song, which has such great social stand for that piece? Seems to me my tion at the bridge of the nose, and. then yourself, “What is the difference between ical basis: over-eating, late hours, too much chin, and hangs on; then, all of a sudden, prisibilities. Another motive, powerful possessor might change to something else “against the upper front teeth," with a this and the chatter of a group of dancing. In occasional instances there is down I go, like a rocket stick on that with many, is the anticipation of the glory occasionally. I suppose he would like sort of “boiling feeling” in the top of his monkeys?” To you, until you understand need of the advice of a physician. There sad word, “alone,” which comes right and financial reward that may come to the well enough to change, but his teacher chest; a whole lot of curious things, try¬ the words, there is no difference. Words The quality of its tone may be nasal obstructions with resultant afterward. That is altogether too much; successful student. Another is the desire keeps him at it—says the piece is good for ing to get good quality and power down appeal to the intellect. headaches or lassitude. Abnormal condi¬ two extreme positions, one right after the tions of the tonsils sometimes affect the to equal or excel others. his low tones, and will bring 'out his “in¬ there. I suppose I have got to go through Later, during a conversation in the draw¬ enraptures the heart other. I don’t know which sounds, the whole system and react upon the mind. terpretative” powers. Has he any such it again. Yes, there we go, through the ing-room, a man begins to sing. Conver¬ These may be appealed to, at least tem¬ worst, the thin, screechy quality on the The teaclier-will’rfikke needless trouble powers? I am not sure about it. whole circle of devices. If he would only sation ceases, and the words of the singer as its beauty of con¬ porarily, but with a view to replacing them, “Death,” or the hollow, tomb-like sound for himself by trying to bring the work of My! how I dread that word “rage.” He keep that awful blast of air from the lungs are heard. But you ask yourself, “Why eventually, with the highest motive, which on the “alone.” Oh, well, life is full of the pupil to a successful issue while ignor¬ always makes such a vicious dig with the away from me, and let me alone, I am sing? You can understand the words far struction delights the ought always to be kept to the fore. ups and downs, and I suppose I must ex¬ ing conditions such as those just re¬ back of his tongue when he sings that pect to have my share. But, sure enough, certain I could give him a much better re¬ better when the man talks than when he There is real virtue in the act of saying, ferred to. word. If that is what it means to be “ex¬ if this man would only let me alone I sult and one his teacher would like. . If sings.” eye. when feeling like limiting one’s capacity pressive,” count me out. 1 am just going this man does not use me right I’ll just In the ascertained absence of physical or talent, “I can, and therefore I WILL,” could do better for him every time. Singing makes an appeal through wide obstructions, the way in which to help the to “stick” the next time, and "break” his Now, what is going to happen to me get up a good case of “chronic laryngitis,” variations of pitch and intensity, and and following this with immediate action. tone, and then we shall see him rage all and then we’ll see how happy we shall pupil is more clear. Habits which hinder The frequent repetition of this act tends to on this last descending phrase, with its through the sustaining of sound, but chiefly vocal success must be given up. There is right. Why does he not let me alone? final long, low note? Ah, I see. This all be! because of the quality and color of the Schomacker Piano reduce the inclination to “slump” in regard Well, he's done with that for now; but a certain vitality in really good singing, to one’s work, and aids in building up a tone. Even when employed without words, and the student’s vitality cannot be spent here comes that word “cohorts” again. stronger character. as upon a “vocalist,” the singing voice, if Company in other ways and yet be available for the Every time he pronounces it so as to sat¬ For the comfort of the conscientious properly used, pleases the cultivated ear. production of fervent, effective tone and isfy his teacher with the “H,” he wastes a This is “ear-tickling.” ESTABLISHED 1838 teacher it should be said that there will lot of wind on the aspirate, and then As to a Certain Use of the Imagination singing. Students often do not believe Question—Should singing merely tickle I always be cases of the type under discus-, tries to save what is left by jamming me this. They fail to realize the great im¬ the ear, or should it go farther, and ex¬ PHILADELPHIA, PA. sion, where the work of upbuilding the’ down into the bottom of his neck. Any¬ in Vocal Teaching portance of good physical health to the press feeling, even at the sacrifice of agree¬ will to succeed against obstacles should way, I don’t give him much of a tone on of the vocal organs is that obtaining when singer. They cannot have their cake and Self-consciousness brings fear, fear able tone-quality? have been begun with the pupil’s great- that. He cannot expect it while I am brings rigidity, and rigidity prevents free¬ the higher and more joyous feelings are eat it, too. Singing calls for the expendi¬ It is inconceivable that a man about to grandparents. The teacher, however, struggling to get up to my normal posi¬ dom of tone and self-expression in song. expressed. The ancients knew what they ture of nerve force, no question about commit murder by assault with a hickory should be slow to place a pupil in that tion. The mere “practicing” of vocal exercises were about when they recommended the FRECKLES that. And if the singer’s store of nervous stick would be able to sing with loveliness vitality has been depleted, he simply has class. Instead, place every such pupil in Now, did you ever see the like of that? results too often in little benefit to the use of the “smiling” eye and lip for early of tone immediately before the act, in an Now Is the Time to Get Rid the “curable” category. His teacher has made him go over the student because he does not “think” and not got it for singing. The teacher must study, and especially for the brighter color attempt to delude his victim, the words of These Ugly Spots. sentence “Like the flash of a meteor” a “feel” while he practices. of tone and the higher pitches. dozen times, at least. I call that working A certain type of pupil will forget him¬ “I love thee.” Nothing Comes Not all vocal pupils will react in the So that if we are to lie true to nature, From Nothing, a decent larynx to death. There ought self, “let go,” and come into a state of from the root of the neck upward all to be a Larynx Union, to protest against buoyant, expansive confidence, strength same degree to this sort of treatment. we have to remember that to the ugly deed The soprano pupil had no real control Some apparently will not react at all. Yet belongs the ugly tone. What shall the of the singing breath. Consequently she through the throat and mouth. Observe working overtime on some of these things. and freedom for singing when his imagi¬ that when this is done with a silent whis¬ these cases are not hopeless. If such are singer of grand opera of the modern “choked” upon her higher tones, and they Where is the sense in trying to make nation is brought into play. He becomes per, not E, or A, or any other vowel, but ever going to sing with expression they school do about this problem ? became thin and hard. your voice sound like a “flash,” anyway? for the moment poet and composer in one. AH is heard. The sensation accompanying It just can't be done. And I am “the Such an one must be led to look upon must be brought to “feel” while singing. If a singer makes his words plain to the “Hold back the breath." listener, but does net well sustain and con¬ this act is therefore called the ‘AH sen- goat.” I am jerked away up in his neck even the most commonplace exercise or There are pupils, however, who are so With the enthusiasm of the convert, the nect his tones, he ceases to be a singer. like a “jack-in-the-box” every time he vocalize as a “song without words.” Let full of “feeling” that t' -y fairly “choke” pupil overdid the matter, and the tone was “When the ‘Emptying’ is repeated, with He is merely a “talker” on pitches not left tries to pronounce that word. him be encouraged to “pretend,” while with it, becoming rigid through the very Arranging' and Correction Mss. literally “starved.” There was no water the tongue lying loosely against the lower “Caesar’s glory!” Thank goodness we to his option, but -determined for him by singing even a scale or arpeggio, that he intensity of their efforts to express. These A SPECIALTY running over the wheel, and the wheel did front teeth, this time with a slight resist¬ are through with that Recitative once is giving expression now to one and again the composer. must obviously be helped by approaching A. W. BORST, Presser Bldg., Phila., Pa. not turn. A good vocal tone is impossible ance (at the pit of the stomach and in the more; and I will get a little rest while to another sort of feeling as gladness, joy, If a singer does not make his words Composer of Cantatas. Sows. Pianoforte and Church Music SCHILLING TEACHER the problem in another way. They have without the USE of the breath. back opposite) to the tendency to cave in the prelude to the Air is being played. If aspiration, tenderness, devotion or grati¬ plain, so that the attentive listener can “Allow the jaw to hang as by strings rapidly while the ‘Emptying’ is going on. 131 W. 23rd Street, New York it were not for an occasional interlude or “too much heart,” and can best be dealt make out the sense, he is merely a vocalist tude. Let him be led to become an “im¬ the result is the ‘controlled’ USE of the Author “How to Acquire Soprano and with first upon the mechanical and mental who may be playing most delightfully upon THOSE WHO LOVE from the ears, and the tongue tip to hang prelude I should have- been worn to a provisor” in his exercise work and vocal- breath, with free, ‘open’ throat—the cor¬ Tenor Tones to High C Without Strain.” frazzle long ago. O, yes, Mr. Teacher, I planes. When they can govern the warm a well-trained instrument, but he is not a upon the lower lip. Empty through the — TO SING—Read This !— neck all the breath that can be got rid of, rect condition for the production of good Tenor book, part I., free. knew what to expect. “Hear” we go, Naturally, the dramatic, tragic, ugly heart with the-cool head they make the singer in the full artistic meaning of the caving in at the pit of the stomach and the tone. Now the breath is ‘fed’ to the voice, with the first word. “Put some ‘H’ into subjects must be avoided. The normal use best of singers. word. Thousands of Dollars back opposite, working silently. This is jn a governed, artistic manner; and there it,” you tell him. I know, I know; it The ugly tone is unmusical. If used are spent on singing lessons. There are is ‘water’ to turn the vocal wheel without Be Well and Strong thousands of leachirs, but Very few teach called ‘Emptying.’ should not be “Ear Me, Ye Winds,” but constantly, or to a considerable degree, it swamping, jamming or breaking it.” every time this man tries to make an “H” tends to make difficult, and ultimately im- how to produce a correctly placed tone. “Note the sensation of space, roominess he loses half his breath, and then takes it Bodily Poise and the “Start” \ possible, the production of a musical, GET THIS NEW BOOK! out on me, pinching me down in the bot¬ agreeable tone. Finding the Pupil tom of his neck on the vowel. A good beginning makes possible a good the pit of the stomach and under the The tone which is most effective and Practical Natural Uh-uh, “aching breast,”—I knew we ending. How to start a tone is the most shoulder-blades, at the instant of the start¬ useful to the singer is that which expresses Common Sense By D. A. Clippinger would have to do that phrase a dozen important lesson for the vocal pupil. ing of the tone, leaves the larynx and other in its “color” the higher feelings of man-, Bodily “poise” influences the position and times or more. You want the “K” sound parts of the vocal instrument in freedom, kind. Fortunately, the “ugly” deed is the Voice Technique This might serve as the basis for a talk no doubt; and the same plan might be fol¬ condition of the parts of the vocal in¬ lowed with equal success by the voice in “aching,” Mr. Teacher. That is all while at the same time supplying needed, exceptional deed. The tendency of men is on how to get pupils. On the contrary it right, but don’t forget the “kick” in that strument. teacher. automatically-governed breath pressure. to welcome the expression in song of joy, will submit a few observations on how to “K" as this man does it. I have to stand Holding the upper chest up without happiness, tenderness, sympathy, love, filial In many instances valuable time is lost For a good “start” of the tone, the THE ONLY SELF INSTRUCTION BOOK WRITTEN keep them after one has them. the “shock” and do a sort of “double strain enables the singer to use his breath¬ affection, patriotism, aspiration, gratitude, WHICH TEACHES THE DEVELOPMENT OF Tn recent years an immense energy has in voice training by reason of not having tongue and jaw must remain in a state of A BEAUTIFUL NATURAL FREE TONE shuffle” up and down every time he re- ing muscles freely and effectively. The thanksgiving. These do not call for the been devoted untiringly to the study of found the pupil. The mistake too fre¬ low or falling upper chest hinders such use. “responsive freedom”—absence of rigidity Explains in a clear concise manner, easily • peats the word. If this keeps up I am “ugly” tone-color and the constriction of understood by any one. the development the child mind. The infant mentality has quently made is that of getting ahead of combined with tonic readiness for action. going to do a little “aching” myself, and If at the moment of starting the tone the vocal apparatus which inevitably ac¬ been scrutinized from every possible angle. him, thereby making him do things that that will not be good for the tone, you the upper chest falls, the position and con¬ The type of bodily poise and action above companies that type of vocal tone. It has been pried open, analyzed, dissected, he is not mentally prepared to do. This know'. dition of the parts of the vocal instrument referred to makes it possible to retain said The singer possesses, because of the for the purpose of discovering how it may places him in the awkward.position of al¬ Now, why—just tell me—why does this are changed. If they were right for the responsive freedom, with resultant non¬ nature of music, resources for moving the he easily and properly developed along ways trying to do something that seems man think that in. order to express true production of good tone an instant before, interference by tongue and jaw with the hearts of men which, in large degree, are right lines. It is an attempt to find the difficult for him, and is likely soon to dis¬ feeling on “forsaken and undone” he has they are not right at the instant the upper proper generation of the tone. ' denied the speaker. He can at the same child, his mental attitude toward the world courage him. It is not at all uncommon got to push me away down in the cellar chest is allowed to drop. Many cases of “breathiness” may be time appeal to the intellect through the and how his mind works in the process of to find students who are made to do in the of his neck and hold me there? If he A very slight lifting of the upper chest cured by securing correct bodily poise and words. Whether he does so or not de¬ acquiring knowledge. That all of this first year what should come in the second (not the shoulders), combined with an Please mention THE ETUDE when addressing only knew what he ought to know and action, together with the giving of a good pends upon his skill in making plain the work is justified by the results there is or third. our advertisers. would let me alone I could do better for equally slight sensation of expansion at “pattern” tone. words and giving them just expression. MAY 1921 P-ago SJ4S Page 31^2 MAY 1921 THE ETUDE tee etude Great care should be taken to find out completely, but places him in position to of the ‘psalm-tune’ method, but he broke with that of Schubert; the latter is almost correct wrong concepts and ideals' My what the student’s musical experience has loose from it, largely by introducing variety purely lyrical, Loewe’s is essentially dra¬ own experience is that in order that the been, his taste, his inclination, his attitude in his accompaniments. In his immensely matic. In both we get the emotion, the lesson be successful there usually is some¬ toward music, what music means to him, successful Lost Chord it will be noticed idea that the words have suggested; and of these two thing to be done in getting the pupil jn the that the change from verse to verse is in listening the actual words do not mat¬ what kind of mental training he has had. right mental attitude to receive it, and the famous hotels now And let me say, parenthetically, that, as a rather in the accompaniment than in the ter much, as they matter when we read farther apart the lessons, the more there melody; and this song, not absolutely with¬ them quietly as a poem. But we shall find combined and added preparation for a successful musical is to be done. out merit, is a standing example of what that they matter more in the dramatic to. Hospitable. Home career, I believe strongly in the mental This finding the pupil is more important the public loves. It is written to senti¬ rendering than in the lyrical. like. Finest cuisine training that makes one logical and enables than it is generally supposed to be. We Every modern com¬ mental clap-trap that means nothing or him to grapple with and master difficult may have been studying the subject of anything, but there is just enough definite A Wordless Song fort and service. problems; for music study is full of them. voice training for twenty years, and it all emotion to make the average listener feel An entirely lyrical song passes almost How often we find students who will get seems very simple and natural to us, when LEEDS AND LIPPINCOTT COMPANY devout and good, and its meaning or lack -into wordlessness; as we find in Grieg’s just so far with a song or sonata when along comes John Smith, who has never of meaning could be grasped by the utterly familiar Solveig’s Song, where at the most their mental grasp gives way, and they are had a lesson, and we put him through a unmusical—that is to say, by the vast ma¬ poignant moment the music actually be¬ ’ ^"(halfonte-Haddon Hall always one step short of a perfect per¬ lot of things that seem perfectly obvious jority of hearers. comes wordless. May we not say that this to us, and we wonder why, in the name of formance. Such was the taste of an age that loved manner of treatment, where the composer ATLANTIC CITY. N. J common-sense, he does not get them at But to return; the mental attitude of the the compositions of Claribel, Virginia is inspired but not enslaved by his words, once. We forget that there is twenty student toward his work means success or Gabriel, Blockley, and that was raised to is distincticve of the truly artistic song, years’ difference between his viewpoint pious ecstasy by The Better Land. These and that it has not often been attained by failure. The creation or rendition of beau¬ and ours. The exhibitions of bad temper, tiful music is as important as useful, and things are “back numbers” now. Sullivan English song-writers? It would be in¬ disguised as artistic temperament, for vidious to particularize the successful as vital as anything in which a human be¬ survives, of course, though with dwindling which vocal studios are proverbial, may lie songs that at this moment hold the ears of ing can engage, and anyone with a lower reputation; there was certainly some real A Master the Voice due to failure to recognize this. The genius behind the immense bulk of often the British public; it would be unwise to D. A. CLIPPINGER of ideal than this will be hampered by reason trouble is not so much with John Smith as second-rate stuff that he produced. But speak too critically of the novelties that of it. SUMMER TERM, Five Weeks Beginning June 27th it is with us. We have not yet found him. the song-writer of to-day has passed on to are ordinarily presented at the popular This matter of finding the pupil not only Private Lessons, Class Lessons, Round Table for Teachers other methods, and in many instances to a ballad-concerts. We can frankly recognize enables the teacher to meet his needs more -SEND FOR CIRCULAR- fuller realization of what the art of song¬ that many of these reach a higher level Author of THE HEAD VOICE AND OTHER PROBLEMS, Price 31.25 Concert Songs of To-day writing demands. than was common half a century since; One of the important books of recent years many reveal a transitional groping towards “Am much impressed by its soundness and sanity,” Clara Kathleen Rogers By Arthur L. Salmon New Models a more pure artistic expression. But the Author of “MY VOICE AND I” Such changes begin at the top and work song that is really popular, that wins a following article by at English downwards. Composers, and the better circulation of hundreds of thousands, that Systematic Voice Training - Price $1.25 appeared in The Lonihm “Will restore the public’s confidence in legitimate voice teaching.” Musical Observer. While musical conditions ii England class of listener, were greatly influenced brings a fortune to its composer or its course, quite'different from by the songs that came to us from the publisher, is a song whose human appeal i much that both the studi o 'and the SeMvncemTAlL D. A. CLIPPINGER, 617-18 Kimball Hall, Chicago, Ill. Continent. It was wholly impossible to may be genuine enough but whose artistic compare such work as that of Schubert and value is actually nil. . It cannot be denied that the kind of Schumann, Robert Franz, Brahms, Loewe, We must not sneer at those who enjoy Blackheads song now popular in concert-room and Wolf, Reger, with the product that had these songs as adequately interpretative of drawing-room is in some respects an ad¬ satisfied the English concert-goer; Ger¬ their own emotions; just as we should Do You Read Music Easily? not sneer at those readers who prefer Ella “The Efficiency Idea” will help you vance on that which was loved by our many was putting us to shame. For one il piano student to read all _ the r parents and grandparents; and yet it must thing, the words were different, and the Wilcox to Wordsworth. The demand is are a confession be deplored that the popular taste still words of a song are mainly important, there; it will be satisfied whether we like runs to the inartistic. The old song, with not for their literary value, but as setting it or not—and in fact it has every right its usually unvaried three stanzas of psalm- to be satisfied. But we ourselves have also 170 So. Virgil Ave., Los Angeles, Calif* the key, prompting the sentiment. Thought¬ LACKHEADS are a confession that you are tune type, was too subservient to its words laden poetry is not desirable, nor is per¬ every right to judge its product by a B and yet not sufficiently interpretative. It fection of form a necessity; but lyrists standard other than that of the million; using the wrong method of cleansing for your dung to its verses almost as rigidly as the such as Goethe, Heine, Lenau, could give and we have every right to hope that some type of skin. Try the following treatment and day the public will reach higher percep¬ common congregational hymn, which, of alike perfection of form and perfection of see how easily you can keep your skin free from necessity perhaps, pursues its way stolidly emotion—the one desirable thing. They tions of pure musical utterance. There through five or six stanzas of fluctuating are necessarily many gradations of taste, this disfiguring trouble. ENRICO CARUSO did not gush with false or shoddy senti¬ and changing emotion. Even with this all with their legitimate demand—except mentality; their emotion was true and Apply hot cloths to the face until the skin is reddened. Then (Pronounced Enn-ree-ko Cah-roo-so) stereotyped form we know that something pure. Even this would not have been where that demand is absolutely vicious and hurtful; and it is probably useless to with a rough washcloth work up a heavy lather of W oodbury s can be done when the emotion and senti¬ enough, but the musicians who handled Facial Soap and rub it into the pores thoroughly, always with Signor Enrico Caruso is probably the ment are genuine, when there is sincerity them were artists of equal sincerity. The expect that the general taste will reach an upward and outward motion. Rinse with clear, hot water, then most celebrated tenor of this generation. behind it; and while we do not call it ar¬ song was no longer subservient to its the standard that we term classical. But with cold—the colder the better. If possible, rub your face for A thorough test of He is classed as a dramatic tenor. He tistic, we may be almost tempted to say words, but was interpretative of them; the surely the present level is a little lower thirty seconds with a piece of ice. Dry carefully. To remove the tone and touch will was born in Naples, February 25, 1873. that it can rise to something greater than two things became as one—the emotion of than it need be. It is not that the British blackheads already formed, substitute a flesh brush for the wash- cloth in the treatment above. Then protect the fingers with a convince you that the He was the son of a mechanic and prob¬ art. Similarly it was possible for the con¬ the poet was the emotion of the composer, composer cannot write good songs, though handkerchief and press out the blackheads. ably never dreamed that one day he ventional song to accomplish great things and the scope of the music was limited, his main tendencies have not been in that would be the idol of the operatic world at times. direction; there are many songs of genuine not by the external form, but by the in¬ Make this treatment a daily habit, and it will give KRAKAUER and the possessor of a fortune that artistic quality that have been published Folk Songs in a Class by Themselves ward feeling. A real lyric should suggest is the piano you have woilld have seemed fabulous to the hoy and intimate, not describe; these lyrics but remain comparatively unknown, and you the clear, attractive skin that the steady use of Perhaps the folk-song and its congeners always wanted for and his workman father. As a boy, he suggested an authentic emotion and then many others, we may be sure, that find Woodbury’s brings. must stand in a different class; such songs, your home or studio sang in the choir and studied with Ver- became more or less negligible because no chance of publication because publishers- _ let us say, as Annie Laurie or the Banks gine and later with V. Lombardi. He they had done their work. are business men who will not sink money You will find treatments for all the commoner of Allan Water, have a permanent appeal, Unsolicited testimonials from made his debut when he was twenty-one We must not suppose, that a good song in a non-paying investment. In the book and never grow old. They are pure lyric, troubles of the skin in the booklet wrapped around Musicians who appreciate years of age, at Naples, but was not a should be simply a rendering or interpre¬ world at this moment we hear that the and do not seem to be hampered by the every cake of Woodbury’s Facial Soap. Get a cake great success until four or five years tation of the verses; in a certain sense it new writer has no chance, because, with restrictions of their form. The change of KRAKAUER TONE QUALITY later, when he became the “rage” of must pass beyond this, using the words as costs so high as they are now, publishers today and begin tonight the treatment your skin needs. emotion that the actual notes do not supply Italy’s operatic center, Milan. After stepping stones. It must carry on the will venture only on the known author IN BOOKLET has to be given by the singer; in Allan A 25-cent cake is sufficient for a month or six weeks triumphant tours of European countries, words’ suggestiveness into that region whose name itself will ensure remunerative Water, for instance, the first verse is en¬ of any Woodbury facial treatment and for general use “Those Who Know he was brought to America in 1903, and which transcends the articulate. Admitting sale. This has always been the case with tirely gay, the last utterly sad, but the and What They Say” has been the leading tenor of the Metro¬ that music at its highest is wordless, the the composer, and to-day it is more so than for that time. Woodbury’s is on sale at drug stores nntsic is the same. This song, however, politan Opera flouse since that time. His verse has still its vital use as a sign-post, ever. Thus that which should be a rarely and toilet goods counters throughout the United States MAILED UPON REQUEST and many others that could be quoted, are voice is, without doubt, one of the great¬ an indication. Yet this same sign-post fol¬ artistic question becomes hopelessly _ in¬ in a class by themselves, like the popular and Canada. est voices in the.history of music—rich, lowed by different temperaments, may lead volved with matters of finance; and it is ballads of the countryside, and do not call full, powerful, mellow and very flexible. in directions that appear widely unlike, as undeniable that under existing conditions for criticism; we need not say they are He has decided gifts with his’ pen and we find in settings of the same lyric by the artistic song does not pay. Even if above it, but they are outside of it—they pencil, and could easily have become one different composers. For instance, we may published, it has little opportunity for are humanly true, authentic, enduring. “Your treatment for one week” of the foremost cartoonists of the time, compare Loewe’s version of the Erl-King being heard. if. indeed, he is not that now. His car¬ They seem to have been born rather than Send 25c for a dainty miniature set of Woodbury’s toons have great interest for artists. His made. skin preparations, containing your complete It ood- vocal records are sold more than those of With the made song on similar lines bury treatment for one week. In it you will find the any other of the great Italian operatic the case is different; we have a right treatment booklet, “ A Skin Y ou Love to Touch; singers. to criticise it, as we may criticise all Centennial of the Baton a trial cake of Woodbury’s Facial Soap; a sample KRAKAUER BROS. conscious and deliberate art and artifice. tube of the new Woodbury Facial Cream; and The baton, though used in various parts the foot. At one time the baton took the samples of Woodbury’s Cold Cream and Facial And we recognize gladly enough that Pow-der. Write today for this special outfit. In public appearance don’t sing as high this pattern has almost entirely been of the continent longer than one hundred form of a roll of paper or parchment like 193 Cypress Ave. New York City as you can, as low as you can, as loud as Address The Andrew Jergens.Co., 5605 Spring abandoned of late years. Its pervalence years, did not come into international use a manuscript. Again it would be a heavy G.ove Avenue, Cincinnati, Ohio. If you live in you can, or as soft as you can. The was perhaps chiefly broken by Sullivan, as a means of conducting until about 1820. stick with which the composer pounded Canada, address The Andrew Jergens Co., Limited, listener has pleasure only when, at what¬ ..... though something must be said for the Prior to that time conductors either played upon a table like a giant metronome. Most 5605 Sherbrooke Street, Perth, Ontario. ever extreme you attempt, he feels there work of such earlier song-writers as the violin or played at the harpischord or is still something in reserve.—H. W. modern batons are made of maple wood Bishop, Balfe, and Hatton. Sullivan him¬ piano, giving the signals to the musicians Greene. and are 21 or 22 inches long. self, in some of his first efforts was guilty by beats of their heads or by tapping by Please mention THE ETUPE when addressing our advertis MAY 1921 Page 31,9 TUB ETUDE THE etude The Art of Improvisation

[AUSTIN ORGANS) By Rev. F. Joseph Kelley, Mus. Doc. L—' Contract for the great Eastman organ, 178 stops, to the Austin firm, comes along with contracts for smaller Music, poetry, painting, sculpture and proceeding to the dominant or some at¬ organs. The same quality of work¬ the rest of the so-called arts, are but the tendant key. This mastered, the twenty- manship and care will be shown in the languages in which the concepts of art four measure improvisation may be at¬ smallest as well as the largest instru¬ may be expressed, and music, with its il¬ tempted. Until the organist has the abil¬ " ment as always heretofore. Our limitable vocabulary, provides the greatest ity to extend his improvisations to forms Department for Organists strongest advertisement is in asking large enough for preludes and postludes, prospective purchasers to inquire scope for the expression of various moods. __ generally of users of Austin organs. __ It is the language of the heart. Our first he should confine himself to the shorter Edited for May by the Rev. Father F. Joseph Kelly, Mus. Doc. melodies are those which received their forms outlined above. AUSTIN ORGAN CO. birth in the heart and which first received Each May Improvise utterance in song, and not those which 158 Woodland St. Hartford, Conn. We often hear it said, “I cannot extem¬ “The eloquent organ waits for the master to waken the spirit. DOLE were penned and corrected. It is, there¬ porize, and, therefore, I make no attempt fore, the works of those which found to do so.” I maintain that any one with expression by improvisation, that make music in his soul can acquire a knowledge the greatest and most effective appeal to of the art of improvising. First of all, The Guilmant us to-day. Improvisation is the highest one should practice clear and direct modu¬ form of musical culture. The greatest of Is the Organ the King of the Instruments? lations, enlarging upon them according as our composers have, almost without excep¬ Organ School the laws of harmony and counterpoint tion, proved the ablest exponents of this suggest. Then, take an ordinary hymn By Rev. Father F. Joseph Kelly, Mus. Doc. art. All the greatest tone masters, in early WILLIAM C. CARL, Director tune and add a counter melody to it. CANADA Calkl/ou! life, practiced expressing themselves by its Make use of all the species of counter¬ itself. The tone-color of all other instru¬ Hundreds of students now holding means with freedom and spontaneity. The Vacation Land of Ideal Summer Music/ as we know it, has no absolute peror, Constantine Copronymos, sent an piano or violin, while it can vary its qual¬ point, imitation and canon, finally trying ments practically remains unalterable. vitality and depth of feeling in their works existence. It is bound up in the quali¬ organ as a present to King Pepin, A. D. ity, so as to imitate and even excel the positions. Students aided in secur¬ fugal expositions and leadings. All this Climate is due chiefly to their power of improvisa¬ ties of the instruments which lend it ut¬ 7SS. Organs were common before the characteristic tones of most of the or¬ The organ is essentially an intellectual ing positions. Practice facilities. requires care, taste and thought; and, al¬ Hay fever is unknown in this clear, pine- tion. Some of our eminent artists found terance. The sole reason for the presence tenth century, for we read of a large one chestral instruments. instrument; for its significance it depends 22 d Year October l2th-Catalog though the improvisations will a first ap¬ and-balsam scented air. Unlimited territory greater delight and pleasure in their ex¬ to choose from—cloud tipped mountains and of any instrument, plainly lies in those obtained by Elfeg, Bishop of Winchester, upon progressions rather than upon tone pear stiff, yet with practice, they will de¬ 17 E. Eleventh St., New York City temporaneous musings than in their writ¬ rugged foot hills inviting exploration; wide qualities, which are exclusively its own. 9S1 A. D. for his cathedral. Power and Variety of Tone quality and expression. This is appar¬ velop into the means and material of fluent ently the reason why if has always been ten compositions, even when they were ex¬ valleys of woods and streams and wild flow¬ Of all the instruments, the organ by its The wonderful growth of the organ, The one outstanding characteristic of and artistic expression. An organist, espe¬ ers; turquoise lakes with sandy beaches; the ecuted by themselves. great antiquity and important literature, in the last five hundred years, corresponds the organ then as a musical instrument is accepted in theory, that real organ music ORGOBLO’ cially, owes it to himself and to the service restful relaxation of camp life or the luxury of with the growth of musical art itself; the should be in the contrapuntal style, The art of. improvisation has degen¬ shows that it is possessed of a strong in¬ its wonderful range of power and variety isthe standard of orgai he plays, to cultivate and foster this most the finest hotels. dividuality, the origin of which, as it does instrument has changed and varied to as of tone. This wonderful power sugges¬ Looked at closely, the reason for this blowing performance, erated greatly sincq Bach, Handel, Mo¬ important branch of music life. A mas¬ In Canada, your Ideal Vacation is realized; Algon- nilin Park_Muskoka Lakes —Great Lakes Cruise— not lie in the material of the instrument, great an extent as musical form; the two tive of sublimity and infinity, has inspired does not seem obvious. I localise in listening zart and Beethoven used it with such tell¬ tery of it enriches and enhances the beauty Georgian Bay—Lake of Bays-Kawartha Lakes-Tim- must be sought in its constitution. The have acted and reacted upon one another. poets of all ages, from Pope, Dryden, tc organ tone, it is more difficult to follow ing effects. Formerly the art of impro¬ of all the services of the church. organ has from very early times, consisted So much can hardly be said of any other Milton and Shakespeare up to Browning the progression of parts, than with voices vising was always taken as a test of the Extemporization is a great art, and there ingr'goi'lT "A'summer play-ground in the great out-of- of several ranks of pipes, tuned to cor¬ one instrument; this distinction belongs and Shelley, to proclaim the “organ’s or combinations of orchestral instruments, THE SPENCER qualifications of the organist, for in com¬ are few great artists. Yet, for the young Jasper Park, Alberta, and Mount Robson Park^Brit- respond with the natural series of har¬ solely to the organ. Its stately and sooth¬ wondrous praise.” for the reason that each orchestral instru¬ TURBINE CO. peting for a post, the candidates were re- oiganist, this art is not an impossible one monics. The material was neither orig¬ ing tones seem to be especially appropriate It is this special province which fits it ment has its characteristic coloring, HARTFORD, CONN. . quired to extemporize on a theme given in which to achieve some degree of suc¬ the Dominion. inal nor intrinsically of great musical to the religious style of music, suggesting so pre-eminently, for the highest of mu¬ whereas the coloring of organ tone, when the highest awards at them, at the time. In our churches to-day, cess. Hard work, perseverance and indus¬ For fall information write rest and peace after strife and turmoil, we are not required to improvise elaborate value, but it was the unique treatment sical aspirations, for, of all instruments, the one manual only is in use, is unvarying. try will make up for what one lacks in Canadian National orGrandTrunk Railways of that material which constituted the and so it has come about, that the natural organ most easily takes us to the “edge It is for this reason that the organ has preludes and accompaniments, and this ac¬ talent. It is a fallacy to suppose that even at any of the following addresses — Ask essential genius of the organ. home of the organ is the church; there it of the infinite.” With its wonderful never succeeded in establishing a position counts for the neglect of this important the most talented can sit down at the or¬ phase of music culture. Nevertheless an for Booklet K, mentioning districts During the lapse of ages, the executive has grown up and developed; there it has wealth of tone-color, and a realization of as an orchestral instrument. PIPE ORGANS gan, without any previous thought or prep¬ that interest you. been and is in constant use. It stands organist is expected to conduct a service capabilities of the instrument were en¬ its true value, and use for variety, relief, aration of what he is to do, trusting to is, 518 So unique and alone among instruments. It through smoothly, and this cannot be done Washington St. Mine larged, and this was largely instrumental contrast and emotion, it stands without an Influence of the Organ the inspiration of the moment. He must Buffat possesses at the same time the greatest without some knowledge of the art of im¬ Now York, 1270 Broadway in procuring foi it a distinct and exten¬ equal. The nature of organ tone fits it The influence of the organ on the the¬ have his plan, design, form, character of Commerce B Pittsburg, 505 Park Bldg. power and the greatest variety. The provising. The ability to extemporize Chicago, 64 W sive literature of its own. The genius of preeminently for filling large spaces, ory of music has been without doubt real subject as preconceived ideas. An organist St. Louis, 305 Merchants genius of the organ is in the direction of evinces a very high degree of musical cul¬ the instrument consists in the oneness of whilst at the same time, it is capable of and extensive, as may be seen in the de¬ must first have something to say, and then Detroit, 527 Majestic Bldg. ” StTa'Id Con4lh & Jackson Sts. expression, even though it makes use of tivation, as well as a possession of natural the “organ tone,” and its highest devel¬ the most delicate tones attainable by any velopment of tonality, the scale, harmony, find out the best and most concise way of Kansas City, 710 RaUway aaoSan rrancisco,Francisco, oo»683 marMarket Beta St. artificial means to produce different ef¬ gifts. In short, it means a mastery over Exchange Bldg. Seattle, 902 Second Aye. opment can be realized only by a compo¬ instrument. Its power of expression and musical form and styles of composition. saying it. No music is worthy of the fects. It has a virtue of its own, even technical difficulties and a thorough knowl¬ sition, which essentially represents the of tone-color gives the performer op¬ In the history of harmony, it is ever the name, which lacks coherence; that is, some [Fishing, Hunting and Camping in this particular. edge of harmony, counterpoint and a clear whole organ and nothing but the organ. portunities of almost unlimited sentiment. organ as the representative of keyed in¬ form of design. Extemporization really The claim of the organ to be regarded conception of musical form. spdWfibfen|ame co?nt"ry In NOVA 'sCOTIA^NEW Upon the organ, the theme sings out with The essence of music is sentiment in it? struments, that is guiding the way. Its needs the aid of a competent teacher, but BRUNSWICK, QUEBEC, ONTARIO, ALBERTA no uncertain voice; the richness and vol¬ as the king of instruments will be readily true sense, and it is that power of giving much may be done, and must be done, by and BRITISH COLUMBIA. For full information write sustaining power'first suggested the com¬ Improvisation the Organist’s Art G. T. Bell, Passenger Traffic Manager, Grand Trunk ume of the tones increase with their vi¬ conceded, when we consider its superiority expression that makes the organ the great* the organist himself, working on the right Railway System, Montreal, or H. H. Mdanson, Passen- over its fellow-instruments as regards bination of two melodies, that counter¬ Organists, especially, should be most ex¬ vacity, until at length, the whole organ est interpreter. This limitless possibility point which led the way to harmony;.its lines, and casting his thoughts into a unites in one stupendous blaze of dazzling power, grandeur and dignity, to say noth¬ of the organ leads composers naturally to pert in this art, at least in limited forms, chromatic keyboard necessitated the defi¬ definite form. brilliancy and overwhelming fullness, such ing of its almost exhaustless capacity for for they are obliged to practice it, day by The idea of “form,” evolving as an in¬ the subject of the highest type of emotions, nite nomenclature of chromatically altered as no other instrument can produce. the production of variety in phrasing, aspiration, endless praise and glory, to day, and their official duties often demand separable part of a musical improvisation, sounds. As new keys and modulations TINDALE MUSIC CABINETS tone-color and expression. It possesses a consideration of the wonders of the firma¬ quick thought and quicker action. No one being an inherent quality of the work were attempted, its fixed pitch suggested Just what you knows better than the organist, the great The King of Instruments purity of tone, a facility for execution, ment, for above all, the organ is “the itself, and growing with it, note by note, that adjustment of intervals, which re¬ advantage of being always prepared to im¬ expression, phrasing and part-playing, instrument of meditation,” With its vast have been wanting and phrase by phrase, as the new music The primary right of the claim of the sulted in equal temperament. Equal tem- which should be regarded, as more than range of power and t^ne-color, it is emi¬ provise with heart and soul, and he who pours forth all fresh and strong from its organ to the kingship of instruments is perapient is the one thing that has made Will keep your music possesses this priceless gem will be forever sufficient to justify its claim to the regal nently suggestive of composition, and also creator, seems inconceivable to many. Yet based on its great antiquity. The first the wondrous complex system of chro¬ in order, free from thankful, for it will save him hard work title. It is the best exponent of power of the art of extemporization. Again the this is how form should grow. Music, un¬ instrumentalist mentioned in history (Gen- matic harmony practicable, and has point¬ damage and where you and much time. As there is no royal road and sweetness in the realm of musical solidity of the organ-tone, together with der the control of well-formed instincts, ensis iv, 21,) is Jubal. “He was the ed the way to effects and combinations to learning, so there is no royal road to art. It combines the power and authority the facility for the wide spacing of the can easily find it. Va¬ institutes its own order in the beginning, father of them that play upon the harp which can only be justified on the basis of improvisation. Constant practice, with a of the characteristically strong instru¬ parts, gives us magnificent effects of maj¬ rious sizes, holding 200 and then maintains it throughout. The and the organs.” The word “organ” in its acceptance. thorough knowledge of harmony, counter¬ ments with the beauty and sweetness of esty and sublimity unobtainable on any to 1200 pieces or more. composer gives out his first inspiration, Scripture phraseology signifies indefi¬ The greatest claim of the organ to a point and musical form, are certainly great the most delicate in the art of music. Its other instrument. The scope of the organ Oak or Mahogany. and is then moved by its utterance. It is nitely, “instrument,” but the exhortation superiority over all other instruments is helps in attaining a proficiency in extem¬ possibilities in portraying different kinds is much wider than that of any other sin¬ this spontaneity and complete unity, this of the psalmist to praise the Lord “with its connection with the church. The first Send for Catalog / poraneous playing. Little by little, free¬ of expression are without limit. gle instrument, and as a medium of ex¬ TINDALE CABINET CO., 8 Em 84lh St., New York natural outburst of energy, controlled by stringed instruments and organs” would instrument to receive official sanction in dom of thought and action will assert seem to imply by the distinction that it pression it rivals even the orchestra in re¬ fine artistic instincts, that produces the The Unrivaled Instrument the services of the Christian Church was itself; and then, according to the tal¬ was a wind instrument. In the closing sources and possibilities. SEND A POSTAL FOR grandest musical art. The finest melodies the organ, and it has resisted every at¬ ent and good taste of the organist, his im¬ are those which have come spontaneously Psalm, the 150th, nearly, if not all the Mr. Abdy Williams, in his “Story of The organ is superior to all other in¬ SUGGESTIONS for the ORGANIST tempt to dispossess it of its religious char¬ provisations will develop into short mas¬ from the heart, and not those penned in musical instruments are there mentioned. the Organ,” says: “The organ has been struments by virtue of its marvelous A folder giving portions of attractive organ numbers. acter, M. Widor, the famous organist terpieces. silence at th“ desk. Similarly, the works The organ, the most ancient of the keyed called ‘The King of Instruments’ with mechanism. Sir John Hawkins is thus Collections and pieces are also listed and described. and composer, says, “It is the instrument Improvisation is not a meaningless, in¬ which have flowed from the souls of the instruments, led to the discovery of the good reason. It stands apart from all impressed: “We wonder at this noble ef¬ THEODORE PRESSER CO., PHILADELPHIA, PA. fort of ingenuity and industry, the means which can . . . create the religious impres¬ coherent joining together of chords and great, who from childhood knew well how harpischord, and this in turn to the inven¬ other instruments in its character; its sion of the Infinite.” Its history and devel¬ by which an instrument of this magnitude arpeggios without reason. It is creation to express themselves spontaneously upon tion of the pianoforte. peculiar tone causes it to predominate Superfluous Hair Roots is inflated, the variety of sound produced opment parallel that of church music. Al¬ of musical phrases, having proper balance an instrument, and whose natures were Otesibius in the middle of the third cen¬ whenever it is used with other instru¬ Now Removed at Home by pipes formed by the same materials though it has invaded and captured the and rhythm, and subject to all the laws perpetually warmed and deepened by the urate teaching device with tury B. C., is said to have invented a ments; while in its full strength, it can .concert hall, it will always remain the Glorious news for women troubled with disfigur¬ n model, lessons, a differently constructed, and at the regular ing hairy growths! By means of an entirely new of harmony, counterpoint and musical living appeal made through the sound of wa hydraulic organ. Mersenne describes an easily overpower the largest orchestra.” and artful arrangement of these for the sacred, the religious instrument. The and very simple method you can now remove not form. The simplest form in which to their own improvisations, make the most of the tuner’s art. Diploma given graduates. 17 organ carved on an ancient monument in In size, power, dignity and compass, it only the surface hair, but the roots as well! Just cast our improvisations is in the form of YEARS’ EXPERIENCE in teaching the most purpose of occupying the whole of a given power, beauty, sweetness and purity of its get a stick of Phelactine at any drug store or toilet telling effect upon us to-day. two verses, containing theme and answer, indenendent and lucrative profession by corres¬ the Mattei gardens at Rome, the form, stands without a rival. Its diapason tone, space, and lastly, at the general and uni¬ tones seem to speak to us of another and counter, follow the easy instructions—see the hair- pondence. SIMPLER AND BETTER THAN roots come out before your very eyes! Yes, you can making a complete improvisation of eight Poetry and Music ORAL INSTRUCTION. Write to-day for the operation of keys, and the bellows of is a tone, the reproduction of which has versal concert of parts, which renders the better world beyond. Its influence is al¬ hardlv vm.r oxmc if is flnnc so Quickly, measures. The next step, is to extend The art of improvising ppssesses at once FREE illustrated booklet and guarantee plan. which, closely resembled those of the pres¬ never been attempted in any other instru¬ whole of this stupendous machine obe¬ ways to raise the heart and mind to higher these improvisation's to sixteen measures, a two-fold aspect; it is concerned alike NILES BRYANT SCHOOL of PIANO TUNING ent day. Pope Vitalian is related to have ment. Its absolute equality of tone, dient to the will of the performer.” Its things. As Dryden sings, 1503 Bryant Building_AUGUSTA, MICHIGAN Tacoma Laboratories Tacoma Block, Chicago by not bringing the first eight measures to with poetry and with music, and both arts first introduced organs in Western Eu¬ throughout the compass of a single “stop” numerous contrivances for tone-color and “What art can teach a complete close on the tonic chord, but have not unfrequently been found com- Please mention THE ETUDE when addressing rope about 670 A. D. The Greek Em¬ or set of “stops,” is not surpassed by the tone-gradation place it in a class all by our advertisers. The sacred organ’s praise?”

- MAY 1921 Page Stf THE etude L - - — a S U MM Y’S CORNER Question and Answer Department Pubfic Schools of Oakland, California, says; Conducted by Arthur de Guichard

hands-SsT-v" ^ ** *W° • ^hree books for four hands, price of each book. $1.00. THE VERY FIRST LESSONS AT THE PIANO: by Mrs. Crosby Adams 90c "*4#c

READING BOOK: for pi

CLAYTON F. SUMMY CO., Publishers ^

Profitable Vacation Courses WITH THE Bj Fa Standard | History 1 Mr of Music | By JAMES FRANCIS COOKE 1

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UNDERWOOD BOOKKEEPING MACHINE We WiU Help You in Securing a Class is nearly always a success at a re- To sum up: Study how to interest vour such items as the March On a audience, not by “playing down” to them, It will demonstrate e by Handel, Prayer and Cradle but by giving them every help for the and the Funeral March and Hymn appreciation of all types of good music. how your office THEODORE PRESSER CO., 1710-1712-1714 Chestnut St., Philadelphia, Pa.

Chopin Buried in Polish Soil can cut down its _ n lived the better part knowing that he would go far upon -his 'i I YEN TO ANY TEACHER OR PROSPECTIVE TEACHER! of his life in France, died in Paris (1849) travels, presented him with a beautiful sil ___ and was buried in ’a Chaise, he ver vase filled with the soil of Poland. It I ua.MM.aMtyai&wu nevertheless was interred in Polish soil, is reported that when he died this earth

I r^ftJSsaa^yZp£S ^t^cious PoIand was strewn:"0" Page 3^8 MAY 1921 THE ETUDE MAY 1921 Page 8^9 THE etude * ' * ' ' " The Violin Nut L " ^■ MADO Shoulder Rest Can be used with any style or model Department for Violinists The nut of the violin, the little piece The notches in the nut should be shah of double screw chin 'rest; either large low. They should be wide enough to allow or small top, ebony or hard rubber. of ebony occupying a position at the upper It is of the. strongest construction, end of the fingerboard, over which the a free passage of the string; that is, the simply and scientifically planned, giving Edited by ROBERT BRAINE strings pass to enter the string box is string should respond instantly to the turn¬ the best and proper shoulder support seemingly of little importance. Yet, like ing of the peg. If the notches in the nut to the violin. The pad is large and of are too deep and too narrow, they pinch the correct shape. ‘If Nil Would. Play First Violin We Could Get No Orchestra Together.”—R■ SCHUMANN every other part of the violin, it must be made and adjusted exactly right, if the the string so that an even tuning is im¬ - THE MADO SHOULDER REST violin is to be in good playing order. The possible, owing to the fact that the string does not injure the violin or interfere with its tone in any way. It is free nut must be made of good hard ebony, as moves in jerks. Sharp, knife-like edges should be smoothed, as they are apt to saw from metal spur or projection, protect¬ the strings would cut into any softer ing the lining of the case against tear¬ Violin Types and Other Values wood too soon, and make constant re¬ the string in tuning. ing and prevents the violin from rock¬ newals of the nut necessary. It must be A child, or an adult with very slender ing while in the case. By Robert Alton nicely rounded off and only be raised fingers would require to have the notches slightly above the level of the fingerboard. somewhat nearer together than an adult Price, $1.00 Postage Paid with very wide finger tips. Care must be Several types of violins are accepted The Amati type of violin does not pro¬ built a violin with Stradivari outline, depth of the ribs, it seems feasible to sup¬ The notches cut in the nut, to receive the taken not to have the notches spaced so Musicians’ Supply Company, 60 Lagrange St., BOSTON 11. MASS. and worked upon by most modern builders. duce the strength of tone obtained from Guarneri arching, and also slightly in¬ pose that, granting Honeyman’s dictum to strings, must be exactly the right distance far apart that the G and E strings will Occasionally a maker will change his pat¬ the other patterns. It is sweet, and some¬ be correct, it is worth while to follow apart, and just deep enough so that the creased the depth of the ribs. This violin occupy positions too near the outer edges tern and work for a time upon a model what piercing in character. The tone of Stradivarius for outline, Guarnerius for strings will lie at the proper distance from was also fitted with a bridge one and three- of the fingerboard, so that the finger and different from the one he has been follow¬ the Stradivarius model, though rounder in eighths inches in depth, generally considered arching, and to increase the depth of ribs the fingerboard. If the strings lie too 'close ing. But, generally speaking, modern vio¬ character and more full than that of . after the manner of Gasparo da Salo (the to the fingerboard, they will vibrate against thumb will touch them. the maximum. The resultant tone was In order that the strings will slide freely lin makers restrict themselves to one type Amati, is still on the side of keenness round, powerful, mellow, and not a scratch originator of the fiddle as we know it),1 ' it and make a bad tone. If they are too EASY! in the notches in the bridge and nut, it is only. As these various types represent rather than roundness; but the model and whose instruments are described by Heron- high it is difficult to press them to the or piercing note in the fiddle. In previous not a bad idea, when a string is put on, to widely different ideals in violin construc¬ outline leave nothing to be desired. Alien as “grave and melancholy in char¬ fingerboard, thus resulting in a bad tone HfWoitir instruments, of both Stradivari and Guar¬ rub the notches with the edge of a cake tion, it is, perhaps, not inopportune to con¬ The Guarnerius and Stainer models, on acter.” In the instrument built by the and poor intonation. Right at the nut the neri models, the tone was considerably of toilet soap. Or a little graphite, ap¬ sider a few, and to examine the%haracter- the other hand, produce tone of a rounder author on these lines, the tone is certainly strings should clear the fingerboard suf¬ thinner and more flute-like; and, in fact, plied by rubbing the point of a soft lead Htnlttt p rttitrr istics of tone produced by each. and more mellow type, but the piercing rounder and fuller, and carries very well, ficiently to allow the passage of a playing after playing on the violin built on the pencil through the notch will answer The masters of classical violin-, building quality is not so pronounced, and tends lines indicated, the tone of the other types indeed.. Of the flute-like character there is card of ordinary thickness between the By LOUIS HINTZE net 1.25 equally as well. are four, vis: Amati, Stradivarius, Guar- rather to the clarinet tone. It must be was insufferable, and this in spite of the little evidence, but the loss of this is more string and fingerboard. , nerius and Stainer. The types of violins remembered that all these types of sound fact that previously the tone of the Guar¬ than compensated for by the mellow round¬ D PRIMER to teach the rudiments from these four makers are quite distinct, can be altered, to some extent, by adjust¬ neri type especially was much admired. ness of the tone. To those makers who and although there are minqr variations ment. For instance, a heavy, or compara¬ In this connection it is interesting to desire this type of tone, the experiment is —you can learnto play the scale melody.—At the very beginning in the models of each maker, during the Accuracy and Speed in ’Cello Playing tively heavy bridge of soft material, and note the remarks of Mr. Honeyman, who worth a trial. Once a violin is built on be playing popular airs. designed to form tuneful pieces.—The sub¬ progress of his career, yet the type of vio¬ somewhat thick post will modify the pierc¬ jects treated: bow and linger exercises, easier states that the perfect violin “lay some¬ these lines the maker can then determine scales, change of position, easy double stops. lin is distinct and characteristic. ing quality of the Amati and Stradivari By Caroline V. Wood Saxophone Book FreeteKBraK where between Guarnerius, Mazzini, and whether or not the character of sound is injazz hits, also stan- fllLk very elaborate pearl designs, and pearl Star The best violinists prefer violins made while, from the maker’s point of view, to The scrolls of all four makers, although made of genuine and imitation leather, tod 4» without our Trade Mark m dard saxophone solos, duets, trios, on fingerboard, fancy inlaid tail-piece and as Stradivarius made them, with no other consider, in view of the larger halls and ■ quartettes-2000 selections. Largest considerably different, do not enter into pegs to harmonize, black and white corded w. general dealers of saxophone music ornamentation than the purfling, except audiences of modern times, whether the our calculations here, which are chiefly edges on top and back, pearl inlay of over ««■» s“>“ *“* ^ and supplies in the world. Expert re- possibly a little ornamentation of the acces¬ perfect violin of the future will not require vw, pairing. Send for free catalog today. concerned with the variety of tone pro¬ 300 pieces. Very striking, price, $7.20.” Canada. Ask your dealer to sho'' y BROOKLYN N.Y., U S. A. sories, such as a carved ebony tail-piece, a larger and rounder tone in order to SAXOPHONE SHOP, 423 S. Wabash Ave., Chicago duced by the various types of body. Of course the prices quoted are whole- and pearl dots in the pegs. POHS MAN1—"PINn r° " Inc ’ BROOKLYN’ N-Y- U —1 fulfil satisfactorily the changed conditions. Please mention THE ETUDE when addressing our advertisers. MAY 1921 Page 851 nii? ETUDE Dependable Violin Questions Answered by Mr. Braine Professional Suggestions for .Schools and Co\\e£&& E. V. (1.—The feet of the bridge occupy a playing on it, carefully testing it. and ex¬ Directory Singers position opposite the inner notches in the perimenting with strings of different sizes. 1< s, or sound holes. It would he much bet- Why do you not take your violin to a first- A ^bona-fide list^ of gopd songs. All the tor if you could have your bridge fitted and class violinist and get his advice in regard Lake Forest University ily restricted to that voice, many being ob School of Music tamable m other keys which are equally a: Sight Reading Courses in all branches of music, *W"2$k including piano, voice, violin, theory, L MADE EASY FOR PIANISTS harp, wind instruments, etc. Special ^1 “Public School Music” course fitting i-pT7I?rp cat/vb PIANISTS can become perfect II,ZZ BEECHWOOD S55&S “cXhtful'dSofy for girls on col- combs, DUNNING S,..!SiSi EDDTgtgp&PSe ■BFftBRI fiBafflgBHS; SfSilsfelil gilberts=«ss A„ . . HAWTHORNE lillll i &££&*& wMwW* -son

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1 KNOX rZ2*55tx~.~. 5f-||*S» SAUltDlBSBEEdgSg TOMLINSON WESTERN aK££S*3S3§ §Mrnmm MAY 1921 Page 353 THE etude Child’s Own Book \ Volume of Original Preparatory School Introductory Polyphonic >ur supplies adapted to the needs wick Records! Have you tried them? Studies for the Pianoforte Liszt The Brunswick complete catalogue is now Four-Hand Pieces to the Sonatina of the commencement or graduation pro¬ Great strides have been made toward The Liszt number in this collection has gram. ready. They have some splendid artists We will issue during the summer By Franz T. Liftl taken much time to prepare, but our months a unique volume of music completion of this work. The object is to We are fully prepared to deliver on their staff, including Irene Williams Many teachers find that the material make it suitable for pianoforte pupils. teacher friends will be greatly delighted promptly an assortment of chorus or Pavloska, Jardon, Mario Charnlee and' originally written for two perform- usually found in Sonatina Albums is too with it when it appears. The text for lit¬ ers—four hands. Music in the way Polyphonic, which means many voices, is quartet numbers of all kinds, both sacred also Godowskv, the great pianist. Bruns¬ difficult for some pupils. This new book, usually connected with organ or vocal tle folks is entertaining as well as instruc¬ and secular, as well as special instru¬ wick records play on all standard ma¬ in which it was originally composed is soon to be published, will contain pieces tive, the “cut-out” pictures are fascinat¬ always preferable to any arrangement, as music, but in this volunfe we have In mental numbers, including piano solos, chines with the customary steel needle easier than Sonatinas, designed especially view continuously the pianoforte and its ing and the volume will make a splendid there are many arrangements that com¬ duets, trios, piano duos and quartets; also Let us send you folders of Victor, Bruns¬ to lead up to the playing of sonatinas peculiarities. The pieces will be selected addition to those of the eleven great mas¬ pletely destroy the composer’s intent for ensemble numbers for piano and string in¬ wick, and Cheney machines. If you (j0 themselves. Teachers generally usi dem¬ and arranged to a great extent from com¬ ters already included (Bach, Beethoven, struments. not own a phonograph, install one in your the original piece. This is nowhere more enti and Kuhlau for pupils whom they posers for the pianoforte. The greatest Handel, Mozart, Haydn, Verdi, Mendels¬ noticeable than in four-hand music. There Suggestions along these lines will be home on our easy payment plan. wish to take up this form of study, but benefit is derived from independence oi sohn, Schubert, Wagner, Chopin and found under the heading “Commencement is always a distinctly different spirit to an these works too frequently approximate in the hands resulting from the use of suen Schumann). Anyone of the volumes pub¬ original four hand piece from one that difficulty a real sonata, and are somewhat lished can be secured upon payment of 20 Suggestions” in our advertising pages. Sousa’s Latest March studies. Both hands are developed equally We cordially solicit opportunities to has been arranged from something else. in advance of the average pupil. This cents. The advance price of the new Success and each finger attains uniform strength. assist both regular patrons and new cus¬ Many players will not play anything in new volume, in addition to selections from Besides all this there is a wonderfully in¬ booklet is 12 cents. tomers in planning their programs for The wonderful infectiousness of Sousa’s the way of four-hand music but that various authors, will contain a number of tellectual training which ordinary studies this season’s final musical event. inspiring tunes is unique. It is no idle which was originally written for four original compositions in the sonatina style do not afford. We cannot too highly rec¬ Elementary Piano Instructions boast to say that more of Sousa’s com¬ hands. The volume will contain music of by Mr. Liftl, the whole making a most ex¬ ommend this volume to become a part ot cellent preparation for sonatina playing. By Herbert G. Neely MUST APPEAR PLAINLY WRITTEN Appreciation positions have been sold than those of a medium grade and by the best com¬ the curriculum of every good teacher. ON THE OUTSIDE WRAPPER. With¬ any other living composer of music. The- posers. . The special price in advance of publica¬ The special introductory price of this A book that is essentially one for be¬ Nothing is so pleasant, so inspiring as quality of putting something in his Our special price for this unique volume tion will be 40 cents, postpaid. ginners and developed along lines so un¬ out this means of identification, we can¬ a few words of honest appreciation. We volume is but 40 cents, postpaid. not guarantee proper credit to the person marches that “gets you” and won’t let go will be but 60 cents, postpaid. usual that every progressive teacher will cannot help but say “thank you” for the of you, is little short of astonishing, when want to examine it. Not that it is so making the returns. following: Juvenile Tone Stories— First Ten Weeks at the Piano Child’s Own Book—Liszt, Tapper. 2. While we do not like to refuse to one remembers the long list of his suc¬ full of novel ideas. It is the method with Composition for Beginners—Hamilton. . “The package of On Sale Music Six Characteristic By R. C. Schirmer which the old fundamental ideas are pre¬ Earlier Duets—Kinross. accept for credit any teaching material cesses. Keeping Step With the Union is Twelve Well-Known Elementary Piano Music—Neely. . sent me, is indeed very satisfactory, a stirring, full-blooded American march Nursery Rhymes Pieces for the Piano This little volume will appear during sented that makes it so much worth while. returned, we ask our patrons not to re¬ and I wish to thank you for ycur turn to us any soiled or used copies or with all the vigorous “Sousa swing,” By George F. Hamer the present month and we can positively When someone has the vision to see and prompt and courteous attention. By Greenwald tell us how the ordinary may be done in any music ordered on regular ..ccount. which carries the multitude with it. Lt.- These are six delightful little pieces state that the special price will be with¬ First Ten Weeks at the Pianoforte— “It is proving a great help to me We are now announcing for the first drawn with the next issue. The work in an extraordinarily good way, then we B. C. Schirmer. Unless understood at the time of purchase Com. Sousa had in mind in this work the time a new collection of children’s pieces lying just beyond the second grade in and The Etude is filling needs which great need at this time for aligning all this book is well suited to grown-up be¬ have something worthy of notice; and Great ^Singers on the Art of Singing— that such regular items were returnable, could not otherwise be met. So again, bv Mr M. Greenwald. This collection is point of difficulty, published together we cannot credit such items and must Americans in a united force for the best ginners. It is a dignified work by a very such is this book of Elementary Piano let me express my gratitude for your rather different from his preceding under an attractive cover. Each piece is Instructions. Every teacher of Begin¬ Introductory Polyphonic Studies. return them to the patron at his or her principles of “Americanism anil nothing aptly illustrative of its title. These are, practical teacher and is sure to make its Juvenile Tone Stories—Hamer. constant service. books. Twelve familiar nursery rhymes ners should see it. expense. but Americanism” as expressed in the The Owl; The Robin; The Cuckoo; The way into popularity. There is nothing Melodies for Teacher and Pupil (4 (Signed.) “Elsie M. Beckek, are given with the original tunes, but with that suggests the 'kindergarten or the Advance of publication price, 50 cents, Hands),—Mrs. H. B. Hudson. 3. As the transportation charges on all words of Rufus Choate in a speech made a new accompaniment, so arranged that Bogey Man; The Sand Man; Tune Up Do New Pipe Organ Collection. “Pennsylvania.” usual baby pieces that go with all ele¬ postpaid. return parcels must be prepaid, our pa¬ in 1855, “We follow no party that does the\ may be either played or sung or both Ole Banjo. Each piece is also accompa¬ Original Four Hand Pieces. trons will save themselves considerable mentary methods. It can be taken up by Preparatory School to Bach—Liftl.... By the time this issue reaches our sub- not carry the flag and keep step v illi the together. In addition thereto, full direc¬ nied by a characteristic verse. expense and possible annoyance by con¬ music of the Union.” Like Sousa himself The special introductory price in ad¬ any bright pupil as the very first book. Preparatory School to the Sonatina— soibers, the last package of the New tions are given for a group of children to Our special advance price is but 20 The Earlier Duets Liftl . sulting their local postmaster or express Music On Sale of the season will have this march is all-American, clean (hroug'n vance of publication is 30 cents, postpaid. Enssian Album for Pianoforte. act out these songs completely and each cents, postpaid. By John Kinross agents as to the cheapest way of sending been sent and Summer New Music will be to the core. The pianoforte arrangement song has an appropriate illustration. The Secular Duets . these returns to us. A package of sheet and the four-hand arrangement are the Of all Teacher and Pupil Duets, these Twelve Pianoforte Studies—Franz thought of. Many of our patrons who book will be gotten up in an ornate man¬ Russian Album Twelve Melodious Studies music weighing less than four pounds can receive our monthly New Music On Sale most practical, that is the most playable, are among the most satisfactory. The Twelve Well Known Nursery Ehymes— ner and it will prove a most interesting for the Pianoforte pupil’s parts are so easy that they may be M. Greenwald .. be sent at eight cents a pound from any Packages do not teach during the summer ever made for a Sousa march. A'reping for the Pianoforte point, and if it weighs more than four This volume is now ready but the spe¬ taken up after the first few lessons. From Violin Studies—Kreutzer . so it is our habit to stop the sending of Step With the Union will also appear n The special introductory price in ad¬ By Albert Franz Wedding and Funeral Music for the pounds, it would be advisable to follow the monthly packages except on order. for band or orchestra, as well as for cial introductory offer will be continued the very outset the pupil plays alter¬ Organ—Kraft . vance of publication is 35 cents, postpaid. This new set of studies is now on the nately the Primo and Secondo parts, thus direction as suggested alipve. Our Piano and Vocal Novelties will be chorus, in octavo edition with words writ¬ during the present month only. This press and the book is to be published will prove to be the best compilation of becoming accustomed to both the treble Just a word in closing, and that is to get sent out two or three times between May ten by Lt.-Coin. Sousa himself. The price under the title. Etudes Facites. These modern Russi n pieces yet offered. Only and bass clefs at once. Although these Settlement of Accounts your order for next season’s On Sale and October only to those of our patrons of the pianoforte solo is 50 cents. Melodies for Teacher studies will be found extremely useful for Music in early. Let us fill it for you at the best composers are represented and duets are so very easy they are, never¬ Advance Notice who desire them. A postal card will and Pupil (Four Hands) students who are just about leaving the our leisure and we can promise you re¬ bring these packages—a postal card will these by their most popular and charac¬ theless, melodious *and of real musical Although it is custoirTary for us to mail Secular By Mrs. H. B. Hudson second grade. They may serve as studies sults that will prove most helpful and sat¬ stop them. teristic works. The modern Russian com¬ in stvle and interpretation as well as in value. . . specific directions with yearly statements Duets posers have produced some of the most The special introductory price in ad¬ isfactory. We will forward this material On Sale Music for any purpose can be Many teachers prefer to give young rhvthm and technic. As they are all very in June of each year, we believe that interesting piano pieces ever written, they vance of publication is 30 cents, postpaid. on or about any date you specify so that ordered from us at any time, to either We are glad to announce that wc have students something to play as soon as pos¬ melodious thev will prove very interesting some of our patrons, those wishing to are all full of color and originality. In it will be in your care in ample #time to supplement a package or to take care of in the course of preparation a volume of sible almost from the first lesson. This to the student and a welcome relief to the make settlement of their accounts before admit of the start of a new season’s work serves to hold the interest while notation point of difficulty none are beyond the any professional needs. Our circulars on secular vocal duets. This will be a com¬ teacher from some of the more conven¬ Offers on Works in Advance June 1st, will appreciate this preliminary with a fresh and complete stock of teach¬ panion volume to our Sacred Duets. The is being learned and the hands and finger range of the moderately advanced player. notice and the knowledge that upon our this particular subject are self-explana¬ tional studies used at this particular stage ing material. tory, and will be sent to any who desire selection will he made from the best num¬ positions are being mastered. Instead of This volume should be in the library of of Publication Withdrawn receipt of the teaching materials they of progress. more information. bers in our catalogue and will include doing this by rote it has been found con¬ every pianist. The special introductory price in ad¬ The special introductory price on the intend to return for credit, we will send venient to employ capital letters to indi¬ The special introductory price in ad¬ following works, is hereby -withdrawn. revised statements of their accounts in Music and Specialties some of the most acceptable and popular vance of publication is 25 cents, postpaid. duets for concert or parlor use by the cate- ttie notes and it is astonishing how vance of publication is 40 cents, postpaid. The works are now published and can be advance of those mailed on or about June for Commencement Phonograph b st composers. It is a volume that will much can be shown in this manner. The obtained at the regular professional price, 1st. Preparations for commencement pro¬ Records Wedding and Funeral Music be welcomed by any two good singers success of this device was proven in Mrs. New Pipe Organ either on cash order or on charge account. Of course this notice is intended chiefly grams have been going on for several We have so often referred to the great Hudson's book, A, B, C of Music. In this for the Pipe Organ They may be also had for the purpose of for those of our patrons who have had On weeks and many teachers and schools whether they are two sopranos, a soprano Collection shortage of Victor Records that it is a and alto, or a tenor and bass, it is so new work the same idea has been applied By Kraft looking them over. Sale Accounts during the teaching season have already completed their arrange¬ real pleasure to announce that during the to four hand pieces, wherein the teacher’s There is always room for a new pipe arranged that there will be some duets organ collection and pieces in book form This new organ compilation is an at¬ now drawing to a close. Those of our pa¬ ments, but there is a continued and grow¬ past month, hundreds of Standard Victor part is written in the usual notation while suitable for all combinations both for are most convenient for the busy organist tempt to gather together under one cover Left Hand Proficiency (Opus 1237), by trons, however, who have regular monthly ing demand for suitable music for the Records, long missing from our shelves, tiie pupil’s part is in capital letters. This the necessary musical material for both accounts and who have not settled them occasion and it is by no means too late men's and women’s voices. As it is not to have on hand. Our new collection is A. Sartorio. Price, $1.50. have been coming in. This will be good necessary to make special plates for this is a most interesting work and should of the functions mentioned above. It is at thirty-day intervals as expected, will news to hundreds of our patrons, who will an all-around and playable aggregation This is one of the very best sets of volume it will be but a short time until it prove a great success. of pieces by standard, modern and con¬ of special advantage to have all this music certainly earn our hearty appreciation if also be glad to learn that the Victor Com¬ The special introductory price in ad¬ studies devoted exclusively to the develop¬ will be ready for the market, and we temporary writers, chiefly pieces such as together since there are many times when they, too, will plan an early settlement of Our long experience in meeting the pany promises to keep up this good wmrk vance of publication is 30 cents, postpaid. the busy organist is called upon to play at ment of the left hand. They may be advise all those who can use such a vol¬ will not lie found in any other collections. their accounts. above and related requirements naturally until the catalogue is again complete. We, short notice. In this hook a wide range taken up in the third grade and carried It is possible that when planning to attracts correspondence and orders from ume to order at once while the - pecial The new volume will be similar in style therefore, suggest that you send i.s at price is on. of selection is given and r choice of ap¬ on into the fourth grade. A goodly pro¬ make return of teaching material sent On schools and teachers everywhere, and each once a list of such numhers as you re¬ and grade to our two most successful portion of them are original, but there Our special price in advance of publica¬ Great Singers on propriate numbers. All the more usual Sale this season and which thus far has season adds to the variety and complete- quire. And just a word about Bruns¬ publications, The Organ Player and Or¬ are also arrangements of well-known tion will be 60 cents, postpaid. the Art of Singing gan Repertoire. The pieces are in van, and conventional pieces will be found in not been disposed of, certain selections the very best arrangements and transcrip¬ themes, such as Schumann’s Traumerei ous styles many of them being well may appear as worth while holding over. By J. F. Cooke tions and there is also a wealth of new and Wagner's Pilgrim Chorus. All serve In such case we will be quite pleased to Preparatory School to Bach Few of the really great singers of the .adapted for moving picture playing, as to display how much real music may be well as for church and recital use. The and most desirable material. This volume extend the courtesy of permitting these By Franz T. Liftl world have time, inclination and ability will be gotten out in a handsome and sub¬ made with the left hand alone. selections to be carried over until the fol¬ to write upon vocal matters. Yet they are new volume will be a handsome one sub¬ The Summer No Longer a Dread A new volume of studies preparatory stantial manner. lowing season, our patrons to pay us for the ones who have had the experience and stantially bound. In former years “the long, long Summer” used to be the bugbear of to the works of Bach will soon be ready The special introductory price in ad¬ The special introductory price in ad¬ Czerny Easy and Progressive Lessons what has already been disposed of; with have the secrets. Only the practical vance of publication is 60 cents, postpaid. the understanding that a complete settle¬ the ambitious music teacher. for distribution. Teachers will welcome teacher who has had experience in train¬ vance of publication is 75 cents, postpaid. _Book I, with Words, by F. M. Hudson, this new work by Mr. Liftl, the well- ment will be made at the close of the sec¬ From the middle of June until the middle of October was a period of ing singers in public work and in under¬ Price, 75 Cents. ond season. If, however, a complete set¬ waste in which the pupil squandered his time in useless indolence. known composer, pedagogue and exponent Composition for Beginners. There are few of Czerny’s studies which of the polyphonic style of composition. standing the art of song can get these Violin Studies tlement is intended at this time or after Now the largest schools in the country, many of which are carrying secrets. The author of this book after By Anna Heuermann Hamilton have the value of the One Hundred Easy The bopk will contain .examples in this By Kreutzer the teaching season closes, our earnest re¬ advertisements in this issue, are as busy in the summer months as at any manv vears in music teaching was enabled Distinctly a book for the Beginner in and Progressive Lessons. This edition is style from the easier works of Corelli, The violin studies by Kreutzer mark a quest is that it be made before the sum¬ time of the year. to meet at different times during two de¬ Composition. In the training of the unique, with the words and titles added mer is too far advanced. Our reason for If you dread a summer of indolence and have done nothing to remedy Bach,. Handel, Mozart and others, sys¬ definite point in the progress of the stu¬ to each of these easy studies. They cer¬ cades most of the great singers of the dent In a measure they correspond in young composer it “plants the seed” by making this request is because that during it you are largely to blame. tematically arranged as to difficulty and world and secured from them information first revealing a method for the ex¬ tainly will add greatly to their interest the so-called “slack” or “off-season,” we designed to serve as a preparation for musical attainment with the pianoforte and usefulness. Every teacher that has The reason for most wasted summers is that the teacher does not begin of a character very different from any¬ studies of Cramer and dementi. One who pression of the most simple melodic are able to augment our force of trained to plan early enough. the more serious study of Bach. This thing of the kind hitherto published. Each phrase. From this the student is led step used these studies in ordinary form will clerks who handle the parcels of returned work should not be confounded with the has mastered the Kreutzer studies is al¬ be greatly pleased with this new edition. Start to-day and make your plans for something so interesting in the chapter is devoted to a conference with ready a well-equipped player and so im¬ by _step out into the development of com¬ music, and thereby admit of better serv¬ way of a class in history of music, technic, harmony or interpretation that Polyphonic School we now have in prep¬ one famous singer and is prefaced by a pleted melodies of the various “forms,” ice, fewer errors and the certainty that portant are they that practically every, your pupils will look forward to continuing rather than stopping their aration, nor with the First Study of Bach, biographical sketch and a portrait of that violin student must , take them up, sooner and these attended by their appropriate Stults’ Anthem Book. Price, 35 Cents. full credit is being given for every piece lessons. Teachers desiring any suggestions or selections of music will be by Leefson, which is already in our cata¬ singer. Among the world-famed singers harmonies. Each step is so simply and of music returned. or later. Our new edition of these studies There is little that need be said with cheerfully accommodated by the Theodore Presser Co. logue. This volume by Liftl will contain included are Emma Thursby, Louise has been prepared with the utmost care .clearly placed before the mind that there Our patrons will help us materially and is no confusion of ideas, no vagueness. regard to this collection. It contains thir¬ The Guide to New Teachers, which we shall be glad to present you with¬ entirely different material, and teachers Homer, Evan Williams, Julia Claussen, and it is edited bv Mr. Frederick Hahn, as well spare themselves tjie possible de¬ teen anthems, all easy,, all melodious—the out cost, contains a complete list of the most used materials needed in the who have been using the Leefson book Antonio Scotti, Reinald Werrenrath, whose work is well and favorably known It is the very book for many a teacher lay of credit for returned music by at all best of many popular anthems written by ten grades. It will help you make a practical plan for special summer will find it advantageous to use this new Efnestin Schumann Heink, Amelita Galli- to our readers. All bowings and finger¬ and student who has been wondering how times observing the following few simple to put on paper the musical thought which Mr. Stults—no better recommendation study. A postal request will bring it to you. book covering the same general line of Ciirci, Marcella Sembrieh, Henri Scott, ings have been indicated most minutely could lie given to any work. Mr. Stults’ rules concerning the return of On Sale Melba, Pasquali, Hempel, Gogorza, Gar¬ sometimes will come bubbling up and If you are a student and want to make your Summer worth while the study, but somewhat easier. Those who and full directions are given for study easy anthems are used, we believe, to a den, Gadski, Farrar, Easton, Earnes, Dip- wanting expression. Music School advertisements in this issue should be of great value to you. wish to avail themselves of our special and practice. ... , greater extent than those of any other 1. No matter how you make returns, pel, Dalmores, Caruso, Campanan, Butt, Special advance of publication price, price offer should act promptly. The spe¬ The special introductory price in ad¬ anthem writer of this time. whether by mail, express, freight or par¬ Bispham, Amato, Alda. The advance ot vance of publication is 40 cents, oostpaid. 60 cents, postpaid. cel post, YOUR NAME AS SENDER cial price in advance of publication is 35 cents, postpaid. publication price is $1.00. Page 854 MAY 1921 THE ETUDE MAY 1921 Page 355 the etude First Position Pieces Statement Made in Compliance with for Violin and Piano the Act of Congress of This new collection is nearly ready but August 24, 1912 the special introductory offer will con¬ STATEMENT OF THE OWNERSHIP, tinue during the current month. Violin MANAGEMENT, CIRCULATION, ETC’., of The Etude, published monthly at Philadel¬ Salvini School of Singing / teaching nowadays in the elementary phia, Pa., required by the Act of August 24, stages is far more interesting than was • 1012. v ninth Mario Salvini, Director imae % Summev vSchools formerly the case. There are now many Editor—James Francis Cooke, Philadelphia. PAGES 355, 356, 357 AND 353 _ pieces to be had lying exclusively in the Managing Editor—None. 206 West 71st St., New York City Telephone: Columbus 2202 „ first position and which prove both nljao- Business Manager—None. urable and profitable for beginners to Publisher—Theo. Prcsscr Co., Philadelphia. play. In this new volume we have assem¬ Owners : A singing school living up to highest standards of art. The direct way to the jsj bled together many of such pieces. These Theodore Presser, Philadelphia, V manager, producer and impresario. Opera, concert, church, pieces are in various styles and are ar¬ hi. II. Presser, Philadelphia. ranged in progressive order. Each piece Win. hi. Ilct:ell, Philadelphia. 2 oratorio, musical comedy and teachers’ courses. £ SUMMER MASTER COURSES is a gem and a proven success. Qev. W. Norton, Philadelphia. The special introductory price in ad¬ James Francis Cooke, Philadelphia. ® PUBLIC APPEARANCES ~ vance of publication is 35 cents, postpaid. Known bondholders, mortgagees, and other June 27th—July 30th, 1921 security holders, holding 1 per cent, or mole Courses for beginners, advanced students and courses of perfection for artists. ® DAVID of total amount of bonds, mortgages, or other a> Opera department endorsed by Gatti Casazza, Director General of Metro- JOSEF Pick Your Summer Reading securities : None. E politan Opera House, Arturo Toscanini, Giorgio Polacco, Gennaro Papi a Now! THEO. PRESSER CO. ® and others prominent in the musical world. a, Here’s a list of the best publications (Signed) Theo. Pkesser, President. cn The method used by Mr. Salvini and assistants is of the Italian School IS BISPHAM which we recommend to our friends and Sworn and subscribed before me this 17th LHEVINNE _ of Bel Canto, comprising: breathing and vocal gymnastics, voice place- J subscribers. Send your subscription direct day of April, 1921. , 5 to us. Our Service Department will be [seai,] (Signed) John E. Thomas. .2 merit, solfeggio, development, diction, phrasing, analysis of the voice, "3 The American Conservatory announces the return engagement of pleased to relieve you of all details. (My commission expires at end of next V its scope, functions and possibilities, development of the vocal, rhythmi- these artists to conduct session of Senate.) cal, and musical faculties. Songs, ballads, arias, operas in the different ETUDE (For Music Lovers).$2.00 1 $2.90 MASTER CLASSES McCall’s (For Styles). 1-50J You Save 60c original languages. Address correspondence Has Your ETUDE Subscription specially designed for professional pianists, singers, teachers andad- ETUDE . Expired ? vanced students, for a term of five weeks, from June 27th to July 30th. Pictorial Review . •*Sool $3.75 MARIO SALVINI 2°6 ?ut street New york City Did you get an expiration notice from (Household Management ) j You Say. 1.25 REPERTORY CLASSES AUDITOR CLASSES us? Have you returned it with instruc¬ 0 0 ETUDE .f tions to continue, or—have you put it off PRIVATE INSTRUCTION Modern Priscilla . . 2.001 (For the Home) until later? It’s so easy to forget and yet David Bispham will also instruct in Recitation to Music so easy to send in that we take this op¬ Your Music Is Torn! Special Prospectus Mailed on Application ETUDE . portunity of reminding you—and offering Pictorial Review (Fashions >*3.o°Sl $5.50, this suggestion. It will Take One Minute to Special Notices Modern Priscilla . Repair it by Using (Needleworkers) ' - 00/You Say. 150 When a renewal letter arrives, get it off SUMMER NORMAL SESSION J your mind.—send it back okay’d. Multum-in-Parvo Binding Tape ANNOUNCEMENTS ETUDE . Lecture Courses by eminent educators. Recitals. Ninety-five Artist-Instructors. Cosmopolitan (For Fiction ) Tidol $6.65 roll of paper, 2R cent* eaeli, postpaid. of Six Weeks, JJune 2/tn xo August 6th, 1921. —~- - Pictorial Review . 3.00 J You Save 2 35 Special Awards Planned Transparent Adhesive Mending Tissue Learn How Subscriptions WANTED and FOR SALE ETUDE . SPECIAL COURSE IN PUBLIC SCHOOL MUSIC Musical America . $4.50 Count Double ^ . , r Ck/nif Ifniilhnor-dhpmrlnt . 3.00 Saye 50c Theo. Presser Co., Philadelphia, Pa. wanted—Location by expo We have just completed the preparation of pin no and theoretical bra of a new list of awards for Etude friends d€S^^ucators^of dirtinction;8' Moderate Sbn rates^nd excellent SS^ccLmodaUo^ Summer Prospectus mailed on request. ETUDE . School Music a specialty. Wes •S2-°o) $3.50 and subscribers which should prove attrac¬ 624 Arch Street preferred. Address II. S„ care Violinist .. • 2-00)You Sara 50c tive to every teacher, pupil and music ETUDE . .S2 oo) cn lover. Organist . Special attention has been paid to the Faust School of Tuning ^KS:,;?oc AMERICAN CONSERVATORY selections and exceedingly attractive music ETUDE . YOUNG BADY—Experienced piano n »- i-T A A—/ Karleton Hackett, Adolf Weidig, Heniot Lew, Associate Directors : f2.50 l $6.25 combinations are the result. You will lie desires position us piano nccompnnis Everybody's . 2.75 j You Saeel.00 surprised at the awards we offer for as soloist or orchestra. Address, E. W., it JOHN J. HATTSTAEDT, President 5rHnnT MUSIC 571 Kimball Hall, Chicago few as two, three and five subscriptions. ETUDE . 35th Year CHICAGO'S FOREMOST SCHOOL of MUolG :$ino) $5.25 We will be pleased to send you a young laid (Human Interest Stories) Plano, Theory anc descriptive bulletin and complete informa- as teacher in cc lege for ’t nf Woman's Home Companion 1 2.00 / Vou Sate 1.25 Address, A., care f The Eta FOR SALE—Lyon & Healy $900 Harp in THE MOUNTAIN .yceum perfect condition. Used only a few months. I rice reasonable for quick cash sale. Mrs. Sot.re.TS m C. Miseh. 601 Elmwood Ave., Providence. K. I. Summer School of Music QbrtSCRVATORy SOUSA’S NEW MARCH FINE TEACHING CONNECTION and Organist-Director positions for sale Singing j Birmingham, Pennsylvania in the foothills of the Alleghenies Organ, Piano. Splendid Income. Address, Elias Day, Pres, and Dir. E. L., care of The Etfde. of Dramatic Department ~~ piano Violin, Organ, Voice, Harmony. Piano Pedagogy. 7heodore Harrison, Dir. “KEEPING STEP WITH THE UNION FOR SALE—Genuine Violin (label Diuffo Pruggar) in best condition, big tone. For Appreciation of Music, etc. Dedicated to Mrs. Warren G. Harding information and picture of instrument write to H. P. Hansen Enumclaw, Box 76, Wash¬ GEORGE F. BOYLE-Piano GUSTAV STRUBE-Violin and Harmony ington. 40LDERNESS Summer GERARD DUBERTA—Voice SUMMER A TYPICAL SOUSA MARCH WITH A STIRRING and Assistants ANNOUNCEMENTS tchool of Music for Girls PATRIOTIC STORY IN ITS VIGOROUS TERM MEMORIAL DAY One of the most beautiful spots in the entire For circular, address Florence Jubb, St. Agnes School, Albany, N. Y. June 20th—August 1st RHYTHM AND MELODY Brings demands upon all THEODORE HARRISON All Branches of JSCuslc ““r1” cuneciea. Harmony, correspondence fiiE MARY W°°D CHASEyLH°°L and ‘Dramaticflrt Taught good bands for march lessons. Dr. Wooler, Buffalo, N. Y. i --—■ B Be Among the First to Play It! The'clmperXve DAILY MUSICAL INSTRUC- nmer will be credited on numbers. If you are a ARRANGING AND CORRECTION of 'ION AND STUDY, but after that only the sim- ._, of MUSICAL ARTS MSS. a specialty. A. W. Borst, Presser Build¬ 800 LYON AND HEAI.Y BUILDING, CHICAGO, ILLINOIS band leader have your ' I 'HIS MARCH is, without doubt, the greatest march since the ing, Philadelphia, Pa Fifty campers are accom- Address Registrar modated and the classej con- ______A CCITC CHICAGO, JUNE 6th t( °f J0H15 PHILIP SOUSA. “Keeping SUMMER CLASsEs julyu. Dept. E band thrill the crowds MUSIC MANUSCRIPTS corrected, ar¬ 600-610 LYON & HEALY BLDG., Chicago Step With The Union” is a musical inspiration to better “Ameri¬ ranged and prepared for publication, from with this stirring march, canism” and is a new gem in the crown of the “March King.” crude copy or dictation. Melodies harmon¬ 27thyt°oUslpt.t4th° 1921. J“ ized and arranged with attractive piano ac¬ If you are not a band companiments. Compositions perfected ; ideas ALLEN H. DAUGHERTY developed. Expert band and orchestra ar¬ —Kceilent Summer Study Advantages are Offered by Schools on This and the Following Pa8es leader the pleasure ofhear¬ We join ourselves to no party that does not carry the ; ranging. Rend manuscripts. J. Rode Jacob¬ ing a band render this keep step to the music of the union. sen, 2638 Milwaukee Avenue, Chicago, 111. MANUSCRIPTS prepar m) for publication. great march will be suffi¬ (From a Letter of Rufus Choate jn 185S Music composed to words, R. Eversole, 6124 cient reward for calling it s. Park Ave., Chicago, Ill. MUSIC LOVERS—Send 25 cents for SUMMER TEACHER’S COURSES to the attention of your FULL BAND.50 PIANO SOLO.50 Anita, the new fox trot dedicated to Anita SMALL ORCHESTRA .50 PIANO DUET .65 Stewart. Permanent representatives wanted local band leader. in every city to handle L. E. Songs. Send FULL ORCHESTRA ... .80 PIANO, SIX HANDS .80 for copy and particulars. L. E. Music Co.. -a_ TWO PIANO, EIGHT HANDS $1.25 Jacksonville. Fla. VIOLINS of all grades. Master Brand NEW YORK SCHOOL of MUSIC AND ARTS* violin strings, sample 2r,e. Wm. Buslap, 3731 1E0 RIVERSIDE DRIVE (CORNER 87th STREET) . . Concord Place, Chicago. ‘50 R1V^RSI^E

SNWeeks r,, ... e—Httk ,oSeptember M THEODORE PRESSER CO. Publishers, Philadelphia, Pa. , -.nted with your name and address for pro¬ fessional or social correspondence. 100 en¬ velopes and 150 sheets, $1.50. Write for samples. Lewis, 25 Hudson Ave., Troy, N. Y. Please mention THE ETUDE when addressing our advertisers. MA Y 1921 Page 357 fJjE ETUDE Page 356 MAY 1921 THE ETUDE - --—T ™ - — Summer mm SUMMER MASTER SCHOOL. CONSERVATORY. ‘/ftlJSIC June 27 to August 6 [Sf* Weeks] PHILADELPHIA School 37th YEAR OPENS SEPTEMBER 19th IN PROF. LEOPOLD AUER agcment!Vhe COMBS CONSERVATORY affords opportunities ni >t obtainah Master Violin Instructor of the World for a complete musical education. All branches. Normal Training Course for Teachers. Four Pupils’ OSCAR SAENGER HERBERT WITHERSPOON Recitals a week. Two Complete Pupils’ Symphony Orchestras. Celebrated Vocal Instructor Famous Singer and Teacher Reciprocal relations with University of Pennsylvania. SCHOOL OF INDIVIDUAL INSTRUCTION (Iheoretical and Applied Branches Taught Privately and in Classes) RICHARD HAGEMAN at CHICAGO Faculty: Gilbert Raynolds Combs, Piano; Hugh A. Clarke, Mus. Doc., Theory; Nelson A. Chesnutt, I Russell King Miller, Organ; William Geiger, Mus. Bac., Violin, and 75 assistant teachers. SUMMER SCHOOL Teaching in all branches will be combined during the Summer under the personal instruction and s CLARENCE EDDY JUNE 27 to JULY 30 vision ST Department Directors. Work taken during the Summer wdl be credited on regular cm FLORENCE HINKLE Dean of American Organists America’s Foremost Soprano DORMITORIES FOR WOMEN In addition to delightful, homelike surroundings in a musical and inspirational atmosphere, the d< tory pupils have advantages not afforded in any other school of Music. Daily Supervised Practk c. I RUDOLPH GANZ MME. DELIA VALERI Classes in Technic, Musical Science, Theory, Concentration and Memory Training, Physical Cu! Vocal Teacher 5 hours a day—5 days a week Vocal and Instrumental Ensemble with instruction and individual practice in conducting. Renowned Pianist SIX SPACIOUS BUILDINGS FACULTY OF 100 ARTISTS The only Conservatory in the State with Dormitories for Women 5 weeks A School of Inspiration, Enthusiasm, Loyalty and Success. Illustrated Year Book Free (Certificate awarded completion three Summer Sessions) Bees, Studios and Dorn Broad and Reed Stre< eFREE SCHOLARSHIPS; Professor Auer, Mr Saenger, Mr. Witherspoon, Mr. Hageman, Mm* Hinkle, ^Ludt&tfor singing Tph^ng^ TUITION $50.00 PER SESSION Free Scholarship to the student, who, after an open competitive examination, is found to possess the greatest gj j

Mary Strawn Vernon, Principal All that is most brilliant in the mechanics of the pianistic art.—N. Y. Tribune. Write for complete summer catalog^ le'enga^ now. Private and_Class ™. given by^all teachers. Ann Trimingham, Assistant Played with so much of poetic insight-of grandeur .. .of brilliance. _..rrAnv l rr-AlUllV*An A TinMC FALL SESSION OPENS SEPTEMBER 12th —Chicago Journal of Commerce. DORMITORY ACCOMMODATIONS Adolf Brune - Harmony His name will rank among the foremost.—Detroit Saturday Night. Louise St. John Westervelt, Chorus Singing Reminiscent of Rosenthal.—San Francisco Chronicle. FELIX BOROWSKI, President DR. F. ZIEGFELD, President Emeritus George Nelson Holt, Community Singing He is, as heralded, a master pianist.—Portland {Ore.) Journal. Chicago Musical College Willliam Montelius, Orchestra Conducting 620 SO. MICHIGAN AVM^hicagO, Ill. (fSSSSSSlfSS) CARL D. KINSEY, Vice-President and Manager Arthur Oglesbee, History and Appreciation HAROLD HENRY who will concertize abroad for the next tw o seasons The special features of the Course are Methods A and B—Choral WILL TEACH IN CHICAGO DURING MAY, JUNE AND JULY Conducting, Sight Singing A and B—Ear Training A and B— affording pianists the last opportunity in a number of years Harmony A and B—Child Voice and Rote Song, History of • for study with him in the United States. gi|& Summer Music School Music, Appreciation, Orchestra Conducting, Chorus Singing, Mr. Henry will give one Free Scholarship in his Summer Class, and Community Singing and Lectures on Vocal Technic as a means a Scholarship of Tuition for two years (in Europe with Mr. Henry) War Music and School Teachers of personal expression. will be awarded to a member of this class at the end of the session. fir Personal Direction ol FOR PARTICULARS ADDRESS L. M. STOUT, 418 FINE ARTS BLDG., CHICAGO EFFA ELLIS PERFIELD PROGRAM First Session - - June 6th to June 25th Franklin, N. C. Monday Tuesday Wednesday Thursday Friday Second Session - July 5th to August 20th Methods. . 1 hr. 1 hr. 1 hr. 1 hr. New York City i Third Session - degust 24th to Sept. 10th Choral Conducting. 1 hr. 1 hr. 1 hr. 1 hr. SUMMER SCHOOL I North Conway, N. H. Sight Singing. . 1 hr. 1 hr. 1 hr. 1 hr. I send for full program of courses. Address JUNE 20th to JULY 30th Ear Training and Harmony. . 1 hr. 1 hr. ' Effa Ellis Perfield Music School, Inc. 1 hr. 1 hr. 218 South Wabash Are.. Chicago; or Child Voice and Rote Song . '. 1 hr. 1 hr. 1 hr. 1 hr. GUEST TEACHERS 41M West 45th Street. New York City Telephone, Bryant /233 History and Appreciation ... 1 hr. 1 hr. GLENN DILLARD GUNN, Master Piano Pedagog LEON SAMETINI, Famous Teacher ol Violin Felicia Turner conduct, a session In Ohtago JULY and AUGUST Orchestra Conducting. .'l hr. 1 hr. FREDERICK SOUTH WICK, Well Known Voice Teacher , 1 hr. HUBERT LINSCOTT, Tone Specialist and Vocal Coach GEO. C. KRIEGER, Public School Music Send for Free Folder Dormitory Accommodations Community Singing Lectures. 1 hr. JTHACA CONSERVATORY APPLIED MacPHAIL SCHOOL MUSIC MINNEAPOLIS, MINN. Special advantages to , those looking to educa- "V AUSIC FIVE WEEKS SUMMER SCHOOL 95 Teachers Over 4000 Students Now Enrolled tional or concert work. JVJ_ All instruments, Vocal, . JUNE 20 to JULY 23 Dramatic Art and Physical Train¬ ing. Graduates of Musical, Public Speaking and Physical Training Resident Faculty of 60 Eminent Musicians Departments eligible to teaeh in N. Y. State Public Schools. Dor¬ PIANO, THEORY, VOICE, VIOLIN mitories and Concert Hall. MASTER COURSES NORMAL TRAINING COURSE PIANjCj^SCpOOL with world-famous artists in all departments. School of Piano Tuning in Connection Carnegie JfaJJ. NewYork. Private lessons may be had with all the teachers in any of the departments Summer School sessions open June 7th and July 5th during the Summer School and one need not enter any of the regular Address THE REGISTRAR, 1 DeWitt Park, Ithaca, N. Y. courses but may register as a special student for one or more subjects. __ COURSES FOR PIANISTS LECTURES AND RECITALS TEACHERS MR. and MRS. CROSBY ADAMS SUMMER ACCOMPANISTS Annual Summer Classes for Teachers of Piano Summer School booklet on request, address for the Study of Teaching Material The SIGHT, TOUCH and HEARING System of Teaching, Write for booklet MONTREAT, N. C. Write for booklet containing outline and strong letters from Teachers who have taken the Course^ ROY DAVID BROWN GUSTAVE L. BECKER MONTREAT, NORTH CAROLINA Columbia School

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