Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1935 Volume 53, Number 09 (September 1935) James Francis Cooke
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation Cooke, James Francis. "Volume 53, Number 09 (September 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/837
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE zMusic oMagazine September 1935 Price 25 Cents
* * WB?Kli»®(o)Kl AMERICA'S GREAT OPERA, CONCERT AND ORATORIO BASS SINGER
OPERATIC ORGANIZA
MEMBER OF METROPOLITAN OPERA CO., 1908 CHICAGO MUSICAL COLLEGE, NEW DITSON PUBLICATIONS All Teachers of Piano STANDARD SONGS Should Know These Sung the World Over Piano Methods and Study Books
TIME TESTED GEMS OF MELODY AND VERSE For Pre-School, Private or Class Instruction Excellent Publications Season after season, year after year, these preeminently meritorious songs from the Immensely Successful Vocal Catalog of the John From the Catalog of Church Company have been vibrantly alive and are today in a niche of distinction where they have few rivals. THE JOHN CHURCH COMPANY Undoubtedly every voice teacher and singer has heard of nearly all CHORD CRAFTERS of these songs. Look over this list of great vocal favorites and order now for your repertoire or teaching use. LOUISE ROBYN PRICE. 75 CENTS
Little attention has been directed to the subject to the plane of the child’s understanding and of fundamental chord playing in the piano lit- interest. The Eight Fundamental Chord-attacks “rice <> f jssp 'A erature for the beginner. CHORD CRAFTERS are introduced with adaptable story element and will for this reason take its place as the first attractive pictures, each technical principle book introducing the EIGHT FUNDAMEN- embodied in short exercises and etudes which wmo;th.wi.p. t TAL CHORD-ATTACKS with full explana- will interest the young student and also simplify tory material and technical examples for both chord principles for the teacher, ..iaK 1 W&fw i teacher and student. CHORD CRAFTERS is designed to fill the ~ JT~" ’ • The author has in CHORD CRAFTERS needs not only of the child but also of the older adapted the complex principles of chord technic student at the piano. §1 1
fgp-IS 1 ° toSStWIAtatt. WorldL .F. c-F .60 m i THE ADULT APPROACH TO THE PIANO MORE MUSICAL JINGLES Mary Bacon Mason Price, $1.00 Dorothy Bell Briggs Price, 75 cents A delightful collection of easy and musical second-grade pieces, i The ADULT APPROACH TO THE PIANO is a method illustrating numerous musical points, namely—trill, mordent, and not merely a collection of pieces for older beginners. It pedaling, slurs, shadings, modulation, the turn, grace notes, etc. combines method and good musical literature adapted to the purpose, carefully graded and designed for quick development.
KEYBOARD TOWN Louise Robyn Price. 75 cents ” if rWere^Gjw...... Eb, d-a .60 MARCHING MUSIC This book covers a new field in the child’s early training, for it HBuilt.... Ob-«;• •«» FOR PLAYING AND SINGING supplies a link that coordinates eyes, ears and fingers, and enables the child to actually read notes fluently within a sur¬ By MARY BACON MASON prisingly short period. I . bIS: dip JS There is no more attractive book of its kind available. Mate¬ rials for grades II and III. Fine old tunes or humorous ones which have long been popular the world over. Price, 75 cents. Newly Issued
THIRTY-TWO THEMATIC CATALOG
TRIED and TESTED Sent FREE on request PIANO PLAYMATES FROM FOREIGN i TEACHING PIECES Tear off and send— LANDS Oliver Ditson Co., Inc. Wf;t-3:S J 359 Boylston Street, Boston, Mass. Margaret Tufts Price, 60 cents
Name . A collection of four fine teaching pieces. Very colorful and requiring the span of Street. HIS S - : a small hand. Grade II-III. City.State...
The John Church Company ANY OF THE ABOVE LISTED WORKS MAY BE HAD ON APPROVAL FOR EXAMINATION THEODORE PRESSER CO., Selling Agents FROM YOUR DEALER OR THE PUBLISHER 1712 CHESTNUT STREET, PHILADELPHIA. PA.
Oliver Ditson Company, Inc, 359 Boylston street, Boston, Mass. SEPTEMBER, 1935 497 WHERE SHALL I GO SPECIAL NOTICES THE ETUDE HISTORICAL AND TO STUDY? MUSICAL PORTRAIT SERIES ANNOUNCEMENTS An Alphabetical Serial Collection of The World's Best Known Musicians
Itwffl be condntd fceHca^uSl T . U ‘“o' ( a »
Sr-sitf n^dS^- puh"shf
498 JAMES FRANCIS COOKE
THE ETUDE Associate Editor EDWARD ELLSWORTH Published Monthly HIPSHER By Music Magazine THEODORE PRESSER CO. 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC PHILADELPHIA, PENNA. Vol. LIII No. 9 • SEPTEMBER, 1935
_The World of Music_
Interesting and Important Items Gleaned in a Constant IP ateh on Happenings and Activities Pertaining to Things Musical Everywhere
PERHAPS THE LARGEST BRASS THE ONE THOU¬ THE ASSOCIATION OF SANDTH CONCERT of SWISS MUSICIANS held wm uegm on eepiemuei „u, a-- -AND ever assembled was a feature of the the nation honor “The Father of American Jubilee Festival Brass Band Contest^on May the Daniel Guggenheim lately its annual reunion at Memorial Concerts of the Winterthur. An incident _.. who...___ enriched American 4th, Belle" Vue, Manchester,“ England. SMILE JACQUES- Folk-songs,” the ir Goldman Band, with Ed- „ Dalcroze of the occasion was a small music with many immortal melodies. In this massed band of more than two thousand party in recognition of the connection it is interesting to know that the players rendered the Patriot March England win Franko Goldman as seventieth anniversary of three of the mem- Mascot Pictures Corporation has prepared a and the National Anthem, with J. ri. lies leader. <>« ■ orrnt on Juh 1 th. N Hi M| bets—Emile Jacques-Dalcroze, Joseph Lau- film called “Harmony Lane,” in which some conducting. ^t of Central Park, New York City. Tht us ber and George Hauser. Works of the three of the most famous Foster songs will be woven concert of this scries was given on June 10, honorees were performed on a public program into the story of his so romantic yet tragic MME. ERNESTINE SCHUMANN- 1018, on The Green of Columbia Inivmity. and were enthusiastically received. life. A large choir and orchestra will be em¬ HEINK celebrated on June 20th her seventy- From the first, Mr. and Mrs. Danirl Guz- ployed in the production,_ of which... the lead¬ fourth birthday, by singing at the marriage genheim and Mr. and Mrs. Murry Gueecn- ABBE BRUN, of Paris, is reported to be ing actors are Douglass Montgomery,Montgi Evelyn" of her granddaughter, Ernestine Schumann- heim were the most liberal supporters oi the demanding damages for the transforming of Venable and Joseph■ Cawthorn.~ Heink, to Ensign Henry Peterson Rumble of movement; and in 1023 they relieved Dr. one of his religious compositions into a rumba. the United States Navy, at San Diego, Cali- Goldman of further worry, by assummr lull The offense was all the more irritating, as GEORGES GEORGESCO, unusually fornia. responsibility and presenting the annual printed programs announced this rumba as an competent musical amateur of Rumania, has scries of concerts as a gift to the people of adaptation from a Mass by the Abbe. been leading the Philharmonic Orchestra of OSSIP GABRILOWITSCH, it is reported, New York. Since the death of Mr. Samuel Athens, Greece, while its regular conductor, has been granted a sabbatical year, for the Guggenheim, on September 2Stb, 1930, the THE LA SCALA OF MILAN presented, Dimitri Mitropoulos, is on a foreign tour. season of 193S-1936, by the management of concerts have been the gift of the Daniel during its season of 1934-1935, twenty-one ■»-«- the Detroit Symphony Orchestra. This, which and Florence Guggenheim Foundation, operas, fourteen of which were by Italian PROJECTING THE MUSICAL SCORE will be his second such period in twenty-one through the courtesy of Mrs. Florence Gug¬ Hector on Broadway composers and seven by foreigners. And during its interpretation years with the orchestra, is to be used as a genheim. thiis is the native composer encouraged in all experiment being carried out at Brown Uni¬ time for convalescense from a recent opera- <-► but English speaking nations. When shall we versity. This makes it possible for the class , , _ THE SEXTET of the Concertgebouw oi 'hich. say the surgeons of the Ford Berlioz. Probably he would also have been a little stag¬ awake ? or audience to follow the entrance of various Hospital, will place him better physical •\mstcrdam. Holland has celebrated its twenty- Just where the Astor Hotel now stands at the junction themes or instruments, to recognize changes condition than he has enjoyed in many years. fifth anniversary with a concert on which of Seventh Avenue and Broadway in New York City, gered by the high efficiency of the players and the excel¬ WALLACE GOODRICH, director of the of rhythm, or variations in harmony, or other the leading feature was the “Carnival oi the there was formerly a long row ol brownstone resi¬ lence of their instruments. The composer of “Les New England Conservatory of Music, has re¬ technical points; by observing the musical AT THE OPERA of Paris, on June 11th Animals” by Saint-Saens. ceived from the French Government the score on a screen, while it is being played or and 13th, the “Norma” of Bellini was given dences, and in one of them lived an old French musician Troyens,” it might safely be said, rarely heard such decoration of Chevalier of the Legion of explained. with the artists and the chorus of the Opera CHARLES MANNERS (hb real name was amazingly fine performers as some of those who now Honor, this in recognition of his services to whom we knew as a child. He had one claim to glory House of Florence, under the direction of Soulhcotc Mansergh). long eminent in Great nightly play in the classical, semi-classical and popular the musical art of France. Mr. Goodrich has DUSOLINA GIANNINI, following Vittorio Gui. On the_ 12th there_ was a per- Britain as a concert and operatic basso, and and that was that he had played in the great orchestra been responsible for the first American per¬ ' appearance as Carmen at the State Opera formance of the “Manzoni Requiem’ as director of the Moody-Manners Opera of six hundred which Hector Berlioz (author of the his¬ radio broadcasts. Hector of the Rue Richelieu, trans¬ formance of many French compositions, in¬ House of Berlin, \ Company, passed away recently at the age the center of a demon- Verdi, with Tullio Serafin conducting. toric “Traite dTnstrumentation”) created for a mighty ported to Broadway, would probably be the most sur¬ cluding the major organ works of Cesar stration not usual these days. On leaving -3-—j> of seventy-seven. prised musician in the world. Yet, even with all this Franck and the “Symphonie Romane” of the theater it became necessary for the police MRS. ROBERTA CAMPBELL LAWSON, festival in Paris in 1840. Mere mention of this event Widor. Mr. Goodrich was a pupil of Widor, clear a way for her car, while members of recently elected president of the General LUISA TETRAZZINI, who in the early would make this venerable artist glow as though illumi¬ present day cleverness, there are few pieces of orchestral at Paris; and his book, “The Organ in.France,” the crowd climbed on the running board to Federation of Women’s Clubs, has not ncu- years of the century charmed us with one oi virtuosity which can equal the Scherzo, Queen Mab, from has been often commended as both timely and the most luscious voices of a generation but is nated by some internal spiritual light. To him this was contmue calhng “Brava!” and “Hoch, Gian- lected music in her acquisition of culture. the dramatic symphony, “Romeo and Juliet,” of Berlioz. authoritative. nini> _jj. She is a recognized composer, who for some now in her retirement, has been, elected presi¬ the all in all of existence. Once he said, “Berlioz, ah dent of the Italian Bel Canto Society oi Berlioz! After him there is nothing to be known about The glorious orchestral achievements of Berlioz, Wag¬ HANDEL’S “THEODORA,” an oratorio THE NATIONAL ASSOCIATION OF of^Tndkn T^Lh0- her pr°grams Milan. which has been known to America chiefly by MUSIC MERCHANTS, the National Asso¬Assn- 01 lndlan ^US1C and Legend.” the orchestra that is new.” ner, Rimsky-Korsakoff, Strauss, Stravinsky, Debussy, its beautiful aria, Angels, Every Bright and ciation of Sheet Music Dealers, and the Na¬ DR. ERNEST MacMILLAN, for many What if Hector and his old friend could come back to Sibelius and Pizzetti have brought the orchestra to such a Fair, had its world premiere as an opera when tional Retail Musical Instrument Dealers met THE ROBIN HOOD DELL season of years director of the Toronto Conservatory the Broadway of today and, after promenading through high level of technical possibilities that there now seems so presented on June 21st, 22nd and 23rd, on from July 22nd to 24th,. jciint^con'ventlon ^“fromJu™ °rches- of Music and ako conductor of the Toronto the south steps of the Field Museum of Chi¬ at the Stevens Hotel of Chicago. The funda- Z “ to *URUSt “nd, has Symphony Orchestra. was included in the re¬ that fantastic allee of permanent electrical fireworks, go to be no restraint upon the expression of musical thought. cago, with Mary Ann Kaufman in the leading mental purposes of the enterprise were to ,-n„ _ u®Prec®dented crowds to this charm- cent Birthday Honors List of King George \ into a popular musical show, here and there, and finally The Hectors of Broadway have not merely borrowed role and George Carlson conducting. exchange ideas and to take such action as Amomr . spa?ous Bairmount Park, This is the first instance of a Canadian being from the rich classical literatures but have created also will develop a higher and more profitable type Tnsz wIlrif: °“Jstan
SEPTEMBER. 1935 502 503 the etude . heard over the networks, The Wheels Go Round department include the music library which Miracles Wrought incidentally is the largest ‘working library Kirs “Wt r Hscheduled,E* APR an0 GorderVM isisdefi issued"«e'v t’ “QEVERAL STUDIOS have control- of music in the world, and the music and that effect, and the traffic division of tb! O lable acoustics for proper broadcasting literary rights department, which is charged all 'nemo’ pn*ram, those or^™ 8^ station relations department informs % of various voices, instruments and different with checking every composition and script various stations on the designated network, groups of both. Fabric curtains or fabric used, for possible restrictions. giving the exact time and detail of the pro¬ Bands Everywhere covered panels, electrically operated from “One of the chief duties of the program picked up from hotels and night * gram. These schedules are sent out to the the control room, regulate sound absorption department is to be continually on the look¬ various parts of the country, or addresses stations over special telegraph wires, ami and resonating surfaces. All studios are out for good, new material. Auditions are being delivered before public meetings. the stations reply in the same manner ai like thermos bottles, doubly corked, with held daily, for individual artists, orchestras, “The ‘nemo’ programs also include broad¬ to whether they will take the program, or two sound proof doors forming an ante¬ actors and others who believe that their casts from planes and submar.nes from have previous commitments for local broad, By Edwin Franko Goldman room to each studio. Two hundred and future success lies in radio. This belief, in ringsides and football stadiums, from the casts. Thus the networks, consisting of ninety-six of these special sound proof the vast majority of cases, is unfounded; floor of Congress, the world series, and in¬ leased telephone wires connecting the sta¬ doors are used. but the occasional exception makes the time numerable other places where events are tions, are set up for each program, varying “A special air conditioning plant is in¬ spent in listening to auditions well worth occurring as the broadcasts take place. from one to another. stalled to accommodate these sound tight while. As a rule, however, only established Eminent Band Conductor who in July celebrated “The traffic division also is responsible (and therefore air tight) studios. This is for providing special leased wires for all the one thousandth public concert given in New built in sixty-four units, each self-c trolled as to thermodynamics, by a regisl ‘nemo’ broadcasts, to connect the point of York City by the Goldman Band. These concerts ing thermostat. Twenty million cubic i origin of the programs with the networks. were first sponsored by the Guggenheim of air are forced into the building ev It also orders up the short wave facilities hour, then humidified or dehumidified which bring foreign programs across the Families and later by the Daniel and weather requires, warmed or cooled oceans for rebroadcasting over NBC ' proper temperature, and forced into stuc “Responsibility for seeing that each pro¬ Florence Guggenheim Foundation. at the rate of fifteen miles per hour, cc gram is transmitted to the proper network pletely changing the air of each studio ; rests with the department of technical oper- section of the building at least once ev ations and engineering. In this department eight minutes. All feed and exhaust are the studio engineers and the men in the Born in New York City, Dr. Edwin Franko Goldman is also essentially ducts are lined and coated with rockwoo master control room. In the technical de¬ an art product of that great metropolis, tie is a nephew of the late Nahan absorb transient sounds. These air dt partment also arc the field engineers, who Franko and of Sam Franko, both eminent orchestral authorities who, strange are connected to the inner studio walls handle the ‘pick up’ of all ‘nemo’ programs, to say, were a great inspiration to the late John.Philip Sousa. Edwin Franko canvas hose; to prevent transmission the experimental engineers, who are con¬ Goldman had many famous teachers, including Antonin Dvorak, and the vibrations to or from the studios. stantly working to develop and perfect new great cornetist Jules Levy. For many years he was the 'solo trumpeter in “There are 325 electric clocks throu and improved facilities, and the mainte¬ out the building, to synchronize all time. the Metropolitan Opera Orchestra. His band has had nation-ivide acclaim nance staff, charged with the care of all and has been heard in numerous concerts over the radio. : The fact that no “There are 250 microphone outlets in equipment. Many of these men are out¬ studios. less masters than Respighi, Holst, Ravel, Hadley and Grainger have written standing leaders in the field of radio engi¬ special compositions for this band, is one of the •greatest honors that could “Wire, 1,250 miles of it, are used in I neering and are responsible for numerous equipment; and then eighty-nine miles be bestowed upon it. advances in broadcasting. Dr. Goldman was given the honorary degree of Doctor of Music, by cable, some of it having forty strands "The departments so far described, name¬ wire, some twenty and some ten. These Phillips University, in 1934. His remarks upon "Bands Everywhere” will ly program, station relations and technical be welcomed by thousands of teachers and players.—Editor’s Note. cut in lengths varying from a few inc operations and engineering, are those direct¬ to 400 feet—10,000,000 pieces of wire ly connected with providing and transmit¬ quiririg 20,000,000 wire connections. Trai ting programs over the networks. Other union electricians, to the1 number of departments of the National Broadcasting hundred, were employed to install and c Company, less familiar to the general pub¬ nect this equipment. There is one' cs that contains 1,800 strands of wire! lic, arc artists' service, sales, press, legal, WHEN I was the solo trumpeter in identified them and asked the players, who “The central control board of the bro mail and general office. the Metropolitan Opera Company made a mistake and realized it, to put casting system and the control panel of “AH these various elements, operating in New York, we were all very up their hands, so that he would be sure air conditioning system are both visible smoothly as a single organization, despite much excited by the coming of Arturo Tos¬ that they would not do it at the per¬ visitors, from visitors’ observation roo their widely varying duties, make up the canini; and, naturally, anything he said formance. National Broadcasting Company, which, made a distinctive impression. His first through 20,000 miles of wire, provides pro¬ The Conductor’s Labors Back Stage words were “Gentlemen, I do not speak gram service to eighty-eight stations, from your language; but, since music is a uni¬ SOME CONDUCTORS lose too much bands in general, particularly the park garian Rhapsodies, when they were “WHEN A RADI° LISTEN the Atlantic to Hawaii, eighteen hours a versal language, we will get along very time in' talking and correcting things bands, had no rehearsals whatsoever. originally written for the piano, and the VV snaps on the switch and tunes day the year round.” well together”; and with that he rapped that are of no significance. Others try to I saw the great band movement in orchestral versions were not even made one of the stations of the National Bro his stick and we proceeded at once with show their pedantry by discovering naughty America coming on like a whirlwind. I by Liszt? Thousands of such instances casting Company networks, the sound wl (Next month Mr. Block will dim'1 kii the first rehearsal. fly spots on the score. saw that the time was- coming when there could be given. immediately pours from the receiving attention to the /Tactical musical side of This prophetic remark made a lasting The job of the conductor is an indi¬ would be at least' tens of thousands cf The composers themselves often arrange represents a multitude of varied activi his work in relation to his widely discussed impression upon me. It has always seemed vidual thing. There are very few really' bands in our country, and I am sure that their ideas for different combinations of which never appear on the surface. orchestrations and his musical direction of that the more work done and the fewer good conductors. The layman, who judges that number has beeji exceeded now. I instruments. Each combination sounds “The NBC organization is made up the scores of famous programs, suck, for words employed, the finer the accomplish¬ by his eyes, usually thinks that the con¬ realized that this movement could not suc¬ excellent, but with its own distinctive tonal more than 1,500 men and women who ne instance, as those of the General Motors, ment. Lately, I have found that those ductor’s job is a sinecure. He sees him ceed unless a great many things were coloring. Almost any music can be are heard over the air. These inch which sometimes cost $1,000 a minute to who talk too much music are rarely the waving a stick and does not know just standardized, and unless there were in¬ transcribed and made to sound well, if it among many others, program ‘builders,’ produce.) most practical or experienced. I have whether the orchestra is following him or cessant rehearsals. has the touch of the master mind. It is writers, talent ‘scouts’ and engineers, all of HOME OF THE NBC wallowed in endless sloughs of words about he is following the orchestra. If his ges¬ not expected that the band should sound whom contribute to the broadcasts which music, coming from people who have given tures are fantastic and the cut of his coat The Band’s Possibilities like the orchestra, or vice versa; but the reach their destinations in millions of Teaching the Portamento the weakest of demonstrations of anything suggests Bond Street, they think he is BANDS IN THOSE DAYS were not same composition can be played by each homes all over the country. like real ability and sensible technic. Most extraordinary, especially if he seems to looked upon by many musicians as and that satisfactorily and artistically. If “As the largest organization of its kind Touch of the great conductors under whom I show signs of great emotional excitement an artistic medium for the expression of there were any objection to playing the in the world, the NBC during the past year RADIO IN MUSIC STUDY have played — and they include Walter at a climax. The audience rarely realizes the finest music. I always felt that the music of the orchestra by the band, the broadcast more than 35,000 separate pro¬ By Gladys M. Stein Damrosch, Luigi Mancinelli, Gustav that the conductor’s work is done at the band could give as good an account of composers themselves would have objected. grams. Each of these had to be arranged Mahler, Albert Hertz, Engelbert Humper¬ rehearsal, not on the platform. itself as any orchestra, given the same Such musicians as Wagner, Saint-Saens, individually, rehearsed, timed, assigned to Recently one of the leaders in Government National The portamento touch seems to be a dinck, Camille Saint-Saens, and numerous Composer-conductors are rarely very fine musicians and the proper amount of Puccini, and Verdi sanctioned the band a studio, announced to press and public, and puzzling one to many young piano students. Relief Work, m commenting upon the assistance that had others—have been men of few words. good. This seems to have been true all training. There are still those who say arrangement. Only recently Ravel sanc¬ finally sent out over the proper prearranged A simple method of teaching it in measure* Mahler’s intense concentration upon his through musical history. Wagner and that the band is inferior to the orchestra. tioned the publication of an arrangement network of stations, which had been ad¬ been given to some music workers during the great de¬ like the following is to have the ptip'l P"! work left little time for words; but when Schumann are said to have been very poor It is not inferior in any way—simply dif¬ of his Bolero for band, and this was made vised of the program in advance and had pression, said: on the main beats as marked, ami then he did speak every word counted. He conductors! Richard Strauss and some ferent. The orchestra can achieve results by an American. replied that the program was desired for gently release the piano keys (by lifon? gave little thought to anything but his others seem to have had more experience broadcasting. which no band can attain, just as the band The time is unquestionably coming when it will be the wrists and relaxing the hands) on the music. Even his meals were matters of in conducting than most composers. A Sane Investment “When it is kept in mind that approxi¬ can achieve results not possible by an half beats: slight consequence. A few grapes and a mately a hundred programs are put on the impossible to supply the demand for trained music orchestra. WE HAVE SAID that there are cracker sufficed him for a meal, even after Depressing Conditions air by the National Broadcasting Company probably thirty-five thousand bands, workers and music teachers to instruct the millions who a gruelling rehearsal. One thing that Unlimited Resources each day, it is possible to get some idea of WHEN I PLAYED at the Metro¬ or even more, in America. I have jour¬ have had their musical appetites whetted by the vast feast Mahler insisted upon was the predomina¬ the complexity of network broadcasting. politan the seasons were very THERE ARE those who have cried neyed at least one hundred thousand of music provided by the radio. These people will not tion of the principal melodic part in any short, and it was necessary for many of out for years that the band is not miles in recent years, attending meetings type of music. He seemed to know in¬ the wind instrument players to get sum¬ adapted to play the music of the masters; Making the Program of bands and band leaders, festivals, con- eZ Z 08 amateursrlil they have a P™«ical knowl¬ stinctively that, if this were not so, the mer engagements in parks. These bands that is, that satisfactory arrangements of t;sts and clinics. The people of the east¬ THE NBC PROGRAM department is edge of the mysteries of the art and that can be acquired result would sound very ordinary and did not rehearse; there was no finesse and these works cannot be made for bands. ern part of the United States have directly responsible for everything only through study and playing.” ** incoherent. it almost killed me to play under such Nonsense 1 If this is so, why does Dr. practically no conception of this movement This produces a real portamento eff which goes out over the air. The depart¬ Mottl went so rapidly in his rehearsals conditions. After I had been working Stokowski make special arrangements of in the West, South and Mid-West. and gives the children something denm ment itself is divided into various sections, that he had no time for words. When under great conductors for fifteen years, Bach’s organ works for the modern or¬ Literally millions of school children are having to do with music, continuity, • Tklli in°ubstance’ has been the attitude of The Etude on which to work. he came here he knew, for instance, that since the beginnings of radio. I did not see why a band should not play chestra? Why does every orchestra play now playing in these bands; and it has speakers, special events, production, com¬ the men at the Metropolitan were familiar as artistically as an orchestra. Of course Handel’s Largo, when it was written as been invariably found that, where bands mercial and sustaining auditions, and so "IPhat love is to man. music is to with the Wagnerian scores; so he did not a great concert band, like the Sousa Band, a vocal solo for one of his operas? Why are introduced, with the necessary train¬ forth. Other subdivisions of the program arts and to mankind.—Carl Maria even stop for minor mistakes, although he was rehearsed with the greatest care; but do the orchestras play all of Liszt’s Hun¬ ing that goes with music study and band Weber. SEPTEMBER, 1935 505 the etude Why Every Child Should Have A drill, the disciplinary effect upon the instruments with which the boys seem to student groups, from the sociological and have less patience. What a gay and Food and the Voice from the moral standpoint, has been ex¬ pretty sight they make, with their smiling Musical Training ceedingly beneficial. These children are faces and their brilliant uniforms! Y ou taken away from the ordinary and often see, one of the reasons for the popularity dangerous channels, are interested in the of the band has been the fact that it is By Allison F. Barnard An interview with finer things of life, and they have their more spectacular than the orchestra. The student, who really wants to do minds coordinated and their bodies drilled (0„e of the letters which just missed winning a in safe surroundings. anything serious in music, should not con¬ The City Fathers, who promote the tent himself with the mere playing of a Dr. Leon Felderman maintenance of bands in the public schools, violin, of a horn, or of any one instrument of the band or the orchestra. He should are making an investment for the future very normal child is bom with in a normal being; it will exercise itseli go in also for the science of music, for its E AUTHOR OF “THE HUMAN VOICE—ITS CARE AND DEVELOPMENT” that is worth many times every last various organs—hands, feet, tongue It will respond to sentiments, appeals to history; and, in all cases where possible dollar spent in these post-depression days. and so on, each of which must be either good or ill. The highest importance he will find that his general musical Cities, with schools that have cut out music then should be attached to the proper in- f -\R. FELDERMAN was born December 5th, 1890, at Braila, Rumania, He came to America knowledge is enormously enhanced by the taught its proper use. Each child is like¬ to save for other things, may have to wise possessed of certain innate propensi¬ struction of every child in music, that it J_Jat the age of eleven. After graduation from the Medico-Chirurgical College in Philadelphia, in spend far more at some later date, for ability to play the piano. In fact, in all may early learn to discriminate between great European music schools the study ties of nature; and these also must be care¬ 1911, as honor man in his class, he went to the University of Pennsylvania Post Graduate School, prisons. Prisons rarely have inmates who the pure and the vulgar, and to use only inhere in 1922 he received the unusual degree of Master of Medical Science in Ear, Nose and Throat of the piano is compulsory. Any student fully directed, if the child is to fill properly have ever had a musical training. The the pure in its soul-music-conversations. work. In 1924 he was graduated from the post graduate course at the University of Bordeaux. Dur¬ of any other instrument will find that the its place in society. school band is the enemy of the gang and Among these propensities of nature, is For what, after all, is education? bit ing the World War he served as a Captain in the 326th Infantry, as a battalion surgeon. Subsequent of the gangster. Every child should be that inner self or spirit being. This spirit the possession of any number of cold, solid to the war, he was sent to a base hospital at Bordeaux, France, where he attracted much attention given an opportunity to play an instru¬ being is appealed to very strongly through facts, void of emotional feeling or control? through his work in plastic surgery. At the end of the war he received the regimental citation and ment. The child, who is interested in An Inspiring Prospect the medium of music. Music seems to be Far from it. No one can be said to be truly zvas decorated by the French Government with the Cross of the Chevalier of the Legion of Honor. music or any of the cultural arts, is not educated until all parts of his being are HE TOMORROW of band music in the language of the spirit, universal in its Dr. Felderman is at present practicing in Philadelphia, and is on the staffs of several leading hospi¬ the one who grows up and loiters about T disciplined and made to sene right pur- America is tremendous. These mil¬ application, in that in some manner it tals. His book, “The Human Voice—Its Care and Development” (Henry Holt and Co.), has at¬ the street corners, not knowing what to poses. And, is it not a fact that the feeling, tracted very favorable commendation.—Editorial Note. do with his spare time. Every legislative lions of band players are now making the speaks to all. Tongues may differ, but FELDERMAN, M. E musical America of which we so long music appeals to all alike. Music speaks the emotional side of man, furnishes in the hall and every pulpit of all denominations main the motive power, the animation for should resound with this great truth, at have been dreaming. Nothing quite equal where words fail. Schumann wrote, "That action ? This true, it is indispensable that this time when our governmental fathers to this exists in any foreign country. would indeed be a small art that gives only this part of the child's nature be properly are making laws which compel less work European visitors are astounded by what sounds and no language, no expressions for and carefully educated. Since music is the others, they are perfectly innocuous. nuts, which may be swallowed without usually very helpful, without fatigue. and more leisure. Leisure is a magnificent they see and hear. They naturally think the condition of the soul.” The Artist’s Sacrifice of it as a more or less superficial veneer If music is to be given place merely as language of the inner nature, that child who In the matter of food allergies, the proper mastication and therefore seem to thing; but it is full of dynamite, unless NE WHO IS BORN with those The Singer’s Daily Diet of training; but some of these fine school a fad or a pretty accomplishment, then its is not privileged to be taught correctly in O individual is his own best yardstick. The scratch the throat. Many singers find that it is supervised more carefully through physical and mental qualities which bands of the West are superior to many place in education may indeed be a very music is not only deprived of a culture individual must know his own limitations. it is highly desirable to avoid nuts before There are certain foods which the waking hours. Wake up, my friends, combine to make a beautiful voice so-called professional bands here and subordinate one. But if we take the view At the same time he must not become singing. Sweets and starch foods, taken should form a part of the regular we are all living in a different age. Only which may after all be the most important has a great responsibility to mankind. If abroad. I have been the judge at hun¬ introspective and worry about every mouth¬ immediately before singing, absorb a great daily diet of singers in active work. Among a few weeks ago I heard the Superintend¬ that this art, musical language, is the lan¬ part of his nature, but is also left unpro¬ the voice is to come to its fullest flower dreds of contests, and I shall never rest ful he eats. But he should note care¬ deal of water from the system and have these are carrots (preferably raw), toma¬ ent of Schools of Minneapolis advocating guage of the inner nature, the heart, that tected, a prey to the foul insinuations and and to be kept there through years, it until I bring two or three of those amaz¬ fully if he has any discomfort after eating the effect of making the throat dry If toes, and all of the leafy vegetables, espe¬ the elimination of some of the subjects this heart will hold conversation either sentiments of vulgar music of which the means that the individual cannot indulge ing outstanding bands to New York to certain foods. This may take weeks or you do not believe this, try eating a pint cially vegetables that are not overcooked, that a few years ago were considered with those appeals which refine and en¬ very air is so full in these days. in many of those things which ordinary play behind a screen at Carnegie Hall. even months to ascertain, but the knowl¬ of popcorn and you will soon see what I as overcooking robs, vegetables of some¬ absolutely indispensable, in favor of music, noble or those which defile, then we claim persons seem to enjoy. The singer must After the s»reen is removed, the critics When our nation’s laws give music its edge should be a great asset to the singer, times as much as forty per cent of their which could be of such vast importance for music a very prominent position in our preserve a regime which is looked upon and the public will find it hard work to rightful place in our educational system, a particularly the singer whose bread and vitamine content. Among meats, the lean to the student in later life. educational scheme. by many as severe in the extreme; but it realize that the members are only children. place equal in quantity and quality with the butter depend upon keeping the voice in What About Lozenges and meats are better than the fat ones. Smoked When our physical members fall into is merely a regime assuring perfect health Femininity Trails We are now producing in America band other school activities, a great step mil reliable shape and ready for all oppor¬ Cough Drops? and salted meats should be taken with disuse, they merely become paralyzed. To and that, in itself, is its own reward. players as fine as the best in the world. have been taken for the development of tunities. It means even more than this. HAT IS THE USE of the lozenge great precaution, as they are more difficult ONE OF THE astonishing things retain life they must be exercised. But, Often it seems that the kind of food that W American manufacturers are producing The singer should remember that food ex¬ to the singer? Let us examine the to digest; and, by their disturbing of the about the school band situation, par¬ with the inner nature, there is no inactivity our coming generations. the singer permits himself to take is of the best wind instruments (particularly cesses are in many ways more damaging typical lozenge or the commercial cough digestion, the colloidal equilibrium of the ticularly west of the Alleghenies, is the even more importance than vocal lessons. brass) in the world. Bands have done than alcoholic excesses. One cannot ex¬ drop. It contains, among other things (ac¬ membranes of the nose and throat is thrown number of girls playing wind and percus¬ I have known of singers who have paid far more to develop music than people pect to indulge in food sprees, without a cording to the particular brand) extract very much out of balance. The process sion instruments in the bands, such as the high prices for lessons and have practiced realize. Taking the country as a whole, cumulative injurious effect upon the voice. of licorice, horehound, eucalyptol, glycerine, of frying, which simply means soaking oboe, bassoon, French Horn, timpani and long and hard, only to destroy all of their people see and hear bands long before You just have to decide. If you are a menthol, tragacanth, peppermint (or oil of foods, whether carbohydrates or proteins, other rare and difficult instruments. And Fifty Years Ago This Month efforts by eating the wrong foods and they ever see a symphony orchestra. The singer, you have to accept a kind of train¬ wintergreen), volatile oil, and molasses or in boiling fats, seems to do something to how those girls can play! doing the wrong things. bands have grown to such an extent that ing table, as far as diet is concerned, as sugar. Sometimes the formula calls for food which, in the case of many people, In the West, music seems to mean more Of course, speaking physiologically, the there are not enough fine bandmasters The Etude said. Editorially: perceptive, the literary, the reasoning. the long as you choose to continue your career. ingredients which can be called only “throat irritates the entire intestinal tract. The to the students. Perhaps they may have singer’s relation to food is little different and teachers to go around. There is a moral—arc brought into requisition. The Tough? Well, it all depends upon how dynamite,” such as capsicum, turpentine, moment this is done, the singer’s efficiency not so many diversions. They give more “The ultimate aim and object of all edu¬ from that of any other individual who crying need in this field, for well trained, good may be developed, the bad retrained, much you think of your career. formaldehyde, camphor or phenol. In fact is very greatly reduced. Therefore the time to it, and they get more credit for cation is the elevation of human character; aspires to be supremely happy. The food naturally gifted, serious men and women; thus establishing that happy equilibrium oi the innocent looking lozenge may go dis¬ singer should avoid eating, before singing, it. Music is a part of the daily curriculum, and experience has abundantly shown it to intake must always depend upon the bodily and I am sure that there is a great future control which renders man capable of re¬ guised as a miniature drugstore. Many anything that has gone through the frying not an after school, side issue. The girls be the most potent factor of advancing needs and that simply means the time old Starches and Sweets for them. of these ingredients have an accepted thera¬ process. often go in for the more difficult and rare civilization. alizing his highest enjoyment. As teachers question of how much effort, physical and O MANY people, an overindulgence T peutic value, if used in the right way and Food should be at all times adjusted to “We must divest ourselves of the ‘old of this art. wc should endeavor to grasp mental, the individual puts forth to burn in carbohydrates (starches and sweets) at the right time; but the chief thought of temperature. In cold weather, the body croakerism’ that declares the world to have the depth of this truth and should make a up what he consumes. It is futile to con¬ seems to be very injurious. Watch these the singer is to relieve huskiness just before can dispose of far more food than in warm been getting worse since the deluge. Let practical application of it in our educational sider what kind and quality of food the foods very carefully. Their object is to singing. The singer thinks that all he has weather. Singers often make the mistake us take up the history of nations successive¬ work. ... singer should have before the matter of create heat and energy. With some people to do is to put in the mouth one of these of eating too much in hot weather. In ly, so far as it is preserved, and note the “The musical course may be made almost quantity is determined. How much food they also result in an increase of weight. Stage Fright Preventatives little pills, and, lo, the voice is immediately other words, the singer who is performing cruelty, the coarseness, and the depravity a substitute for the school course. "« ® you require depends largely upon your All spicy foods, peppers, and. especially restored 1 As a matter of fact, it only com¬ in February, at Miami, Florida, should of the ancients, and compare this with the have musical writing, reading and anth- physical habits. The actuarial tables, pre¬ vinegar and mustard, are often very in¬ Jessie L. Brainerd content himself with far less food than if By mildness, the refinement, and the culture matic; musical history, biography am pared by insurance companies, which give jurious to singers. Why? The reason is plicates and conceals the real trouble. It acts as a screen or mask. he were in Montreal, Canada. Fish foods of the moderns. . . . geography; musical grammar, rhetoric am the approximate weight you should have simple—the colloidal suspension must be are fine for singers, especially for those “Each art bears its share in this develop¬ logic. By pursuing the study in all » at your age and height, should be your preserved. “Big words,” you say? Well, Fruit Juices the Singer’s with the least suggestion of goiter; because Nearly every public performer at some importance to give to your audience, some¬ ment, but no other in so high a degree as branches, why may it not be made the guide. But you say, “There is Mme. the colloidal balance is said to exist just they contain a certain amount of iodine. time in his (or her) career experiences thing really worthwhile. Then proceed to the art of music. Many arts flourished means of the highest mental culture.' So-and-So. She is enormous and yet she as long as the vocal cords and the mucous Best Restorative The shell foods with some people, however, that awful ogre—stage fright. It may enter into the performance wholeheartedly when man was yet in a semibarbarous “Again, music may be made a means <* has a beautiful voice.” You are probably membranes of the upper air passages be¬ WHAT SHOULD the singer use and sincerely. are very indigestible; and many have spe¬ take any one of several forms; a choking stage; but music belongs to the present en¬ social development, and that of a hign referring to some unfortunate person who have normally. There is a kind of natural under such conditions? Salt and cial allergies to certain kinds of sea foods, sensation, an all-gone feeling in the pit of 4. Breathe deeply and regularly. lightened age. At a time when the arts of order. At the same time, self-confidence- is a victim of gland trouble and who would mucilage, held in suspension, which keeps warm water (one-half teaspoonful of salt such as crabs, clams, lobsters and even the stomach, rapid heart action, a nervous . 5. When you feel at ease, start. And poetry, painting and sculpture, like full- that most needed faculty—may be cul- “give anything” to be of normal size. Such the cells together and brings about that to a quart of water), orange juice, pine¬ not until then! oysters. This is something which the in¬ restlessness, cold chills or fever. In any fledged birds, soared high above the moun¬ vated by having each pupil perform tre cases are for the physician, who in some condition that provides an ideal lubricating apple juice or tomato juice stimulate the dividual singer alone can determine. form, it is stage fright. 6. Forget yourself! Become entranced tains of the Eastern Continent, music was instances can provide a cure. surface for the throat of the singer—an salivary glands (which have been described These sensations may sound silly, but in your song. quently before others. ... . Watch your diet and see the effects of a birdling in a lowly cottage nest. Piping “Let the teacher presene unwavcnnS obsolete indispensable of the ideal vocal in every detail in my “The Human Voice”) stage fright becomes a serious detriment 7. Let no noise in the audience such as these foods. If they have the least sugges¬ a few faint notes, sweet and low, it at¬ firmness, not only to maintain his dish* Are You Allergic to Foods condition. and help to bring out as good a condition to efficient performance if not overcome, a child’s cry or rustling of programs annoy tion of upsetting your stomach in any way, tracted passing travelers, who, taking it tive position, but also to set the pupn OME PEOPLE are allergic to foods. The moment this colloidal suspension is as can be normally expected, when there or at least checked. Veteran artists have you. S avoid them like poison.- It is my conscien¬ to their home in southern climes, domesti¬ example to follow: for the greatest less® This means that the acquired immunity disturbed by irritating substances or. ab¬ has been any existing irritation. Pine¬ prescribed rules for themselves and it be¬ tious belief that more singers have found 8. Relax! Not to the point of listless¬ cated it and trained it to sing songs to in the bodies of certain individuals is not normal secretions, one might say that the apple juice and tomato juice can be success¬ hooves the earnest young student to put ness, but feel a quiet restfulness and calm- to teach a pupil is how to be severe w their way to oblivion through overeating please the children or the guests. At last sufficient to offset the reaction to certain velvet in the singer’s voice departs. fully preserved or bottled, and I have a some hard thinking into the evils of stage himself. ,, than through overuse of the voices. some great, noble, liberty-loving genius toxins in certain foods. Other people may You are beginning to see now what an strong feeling that thousands of singers fright, and to do something about it. 9. Be relieved in your mind about your “At last there comes a time wh« Tobacco in moderation, in my experience, purchased its freedom and taught it how to eat the same foods with impunity. These important matter food may be to the singer. would benefit by keeping these juices con¬ These eleven practical preventative sug¬ personal appearance. Look neat and well voung bird is readv to fly. And here is not harmful; but many singers make the fly. Then, and only till then, did it exhibit must make a sacrifice. The ties of attach¬ foods seem to upset the system and par¬ For instance, I have found that vinegar, stantly on hand, so that they may be taken gestions will bear studying. groomed and dress appropriately. ticularly the mucous membrances in such which of course is merely a diluted acetic before singing. Pineapple juice has been great mistake of not using it in moderation. its latent majesty by soaring high above ment must be severed. To fulfill h.s 1. Prepare your selection thoroughly be¬ 10. Cease worrying about your audience. a- way that they. are injurious to singing. acid (whether it is made naturally, through found especially beneficial for the throat. Caruso was one thus afflicted. Singers its contemporaries and receiving from all est destiny, the pupil must go forthJ" fore performing. Learn it so well that Anticipate that they will be pleased with Strawberries are among the foods to which cider or wine, or whether it it made syn¬ A good stock of pineapple juice should be who do not smoke are affected by being men the proud distinction. Queen of the rely upon his own exertions, must only a most unusual happening can cause your efforts. Bear in mind, however, that some people are regrettably allergic. These thetically), is a very undesirable throat in every singer’s larder. placed suddenly in concert halls or club with adverse circumstances, and, becomr- you to stumble. there is no accounting for tastes. delicious berries produce, with some, a irritant in some cases. Look out for vine¬ The singer whose voice is husky can rooms where there is a great deal of strong, must learn to be his own -inasL. 2. Smile! It relieves tension, and is 11. Feel that it is up to you to give your skin .rash; and there have been cases par¬ gar if you are a singer. assist matters by taking some vocal exer¬ tobacco smoke. They develop a tobacco What a grand thing, if our training, much more becoming than looking fright- best, but remember that every one makes ticularly of infants, of middle ear abscesses Certain foods have sharp edges, such as cises with a very soft tone. This warms allergy and are unable to sing. No singer demonstrated by the observation th reached so far and has been so tlwrmfc mistakes at times; and if you do err vou that have been attributable to them. With some cereals (notably popcorn) and also up the throat in a normal manner and is (Continued on page 542) 3. Know that you have something of are not alone in your distress. study and practice of music nearh as to preclude the possibility of a hte facult.es of the mind—the perfect SEPTEMBER, 1935 50? 506 THE ETUDE Three Important Chords m Music “Why Czerny?”
Numerous ways of using the Chord of the Seventh, the Chord of By the Noted Pianist the Sixth, and the Chord of the Sixth and Fourth Marguerite Melville Liszmewska By Arthur Foote FOR EIGHT YEARS ASSISTANT TO LESCHETIZKY IN VIENNA
known pianist and Liszt exponent. This ing one written to be used by the left hand. others, as in Exercise No. 35 of Book I. Three voice writing is here of especial The chief difficulty is as to doubling the ha, Marvelling at the still youth¬ ”^HE CHORD of the Seventh one 5. The interval of a 7th frequently a collection, in three volumes, embracing the The early habit of recognizing melodic help towards mastering the complexities (the third of the original triad). Q,or’ ful virtuosity of the old Abbe T:of the most important chords the cends one or more degrees. of the 6th appear both singly and two * Liszt, then well along in his most useful Czerny studies while eliminat¬ groups or patterns, instead of groping j- wlwhole structure of music. Of course of this chord, the most important point of three in succession; and decision as to«!” seventies, Leschetizky once ventured to ing many of lesser importance, will be used along unintelllgently from note to note, there are numerous chords of the seventh; course being that the root and 7th must not only simplifies technic to an enormous doubling will depend partly on mere sound' ask him the secret of his amazingly infal¬ in the following critical survey. but in this discussion reference is made —[— be always present. It is, of course, understood that all extent but also helps to unfold the inner /|_Pl ;t —J— While formerly there was a rigid rule partly on the melodic leading of the voices lible technic. The reply was, “Every principally to the Dominant Seventh, al¬ studies should be practiced very slowly meaning of the music. Iff S =F= that with secondary 7th chords either the and at times on the necessity of avoifc morning I get up at five o’clock and, after ways built with the fifth of some key as r— mass, practice Czerny for two good hours.” until completely mastered. A firm finger- In the first Study in Book II, for ex¬ its root or fundamental tone. In the key root or the 7th must be prepared and re¬ consecutive 5ths and 8ths, as shown in Es f. A- A- A. A A 20. This, simple, and at the same time start¬ stroke, with conscious finger-tip, is what ample, the groups of five notes are just as of C this would be solved, ling statement, should be illuminating to makes progress. This can be controlled easy to visualize as one single note. They There is a valid acoustical reason fa Concentrate on the chordic notes, each those scoffers who ridicule such ideas as by the other hand testing the fingers from can be tossed off either downwards or up¬ * r r~ g r~ mm caution in this matter of doubling the third of which has a little turn or embellishment obselete—especially considering the wide time to time. If there is coordination be¬ wards, with great virtuosity, even by a of the triad and the bass- of the chord oi around it—played lighter. gap between their mediocre talents and tween the mind and the fingers they cling child who understands the idea. the 6th, in the well known overtone serif; Similar examples can be found in Book T'frn pp r r= m those of one of the most extraordinary to the keys, weighted, as it were, by the The Dominant Seventh has a “person¬ •Ex. 16 pianistic geniuses who ever appeared on thought behind. Naturally there is no I,' Nos. 51, 53, 69, 78 and 79, and in ality” all its own. It is a combination of d A d A A A A the musical horizon. And is it not signifi¬ stiffness in the wrist or pressure of any Molto vivace energico Book II, Nos. 5, 16, 21, and Book III, No. 2. a major third, a perfect fifth and a minor cant that Liszt and Leschetizky, both kind. This magnetized finger-tip, capable seventh from the fundamental tone, and no r 1 ,» -F ...I pupils of this same Czerny, should have of holding and balancing any desired If these chordic or melodic notes, form¬ other chord in any key has this peculiar given to the world either directly or in¬ amount of arm-weight, is also what pro¬ ing the musical background, were recog¬ it has come to be recognized that this was for we find that of the so-called “partial;" nized as controlling a whole group—such grouping of intervals. It is properly one of the absurd rules which forbade free¬ directly practically all the greatest vir¬ duces the most beautiful singing tone with the bass (not of the triad) is doubledthre great carrying power and capacity for pieces as Schumann’s Trauineswirren named, for it definitely dominates or es¬ dom in voice leading such as we find in the tuosi of the present day! times in the three lower octaves, and the modulation. (Dream Visions, from the “Fantasy Pieces, tablishes its key. There are however in¬ works of the composers in the last three Beethoven, the Titan who freed music stances of the fleeting use of this group Sth once, while the 3rd appears but ona After a few months of this slow con¬ Op. 12”) would lose much of their diffi¬ centuries. The 7th is now prepared only from its conventional fetters and who de¬ when the third of a supertonic or sub¬ It is not possible to make rules that shall centrated practice, it is amazing how culty and be played more often in public. when there is a reason for it. In fact, this veloped a technic of his favorite instru¬ mediant seventh chord is sharped, thus be followed strictly, but there can be cer¬ quickly velocity follows. Study No. 11 in Book II brings out chord is now treated with great indepen¬ ment far in advance of his time, accepted creating for the instant this combination tain general statements and principles og Beginners should be kept on five finger groups of four notes, three of which are dence, as shown in the following, of a very few pupils. One of these, Carl of intervals but for so very short a time which to rely, such as: Czerny, then a little boy of nine years, exercises until the hand has become ac¬ chordic and one (the third) a passing tone. as that the ear feels no new key es¬ hundred years ago, which is quoted from 1. If the bass is on the 1st, 4th, Sth or Pupils should be made to play first these The resolutions indicated by the slant¬ was privileged to come under his musical customed to a rounded position with tablished. Haydn was rather fond of this the Mazurka, Op. 30, No. 4 of Giopin. 6th of the scale, it is probable that one of chords without the passing tone, and to ing line in (a) and (b) occur often when guidance for four years, devoting himself fingers comfortably curved and the knuckle treatment of the submediant seventh and the other intervals will he doubled understand the harmonic background. a different voice takes the note of resolu¬ Ex.13 especially to the works of the great master. joints slightly higher than the wrist. uses it with delicious effect in of The tion to which the 7th would naturally go. Not only did he enjoy the unique inspira¬ The first book of Czerny, up to about Ex.3n Heavens are Telling. 6. The 7th chord may progress to any tion of Beethoven’s teaching, but, more No. 20, can be used from the start, as The characteristics of the seventh chords triad of the same key (except vii°) ; and than all, he was blessed with Beethoven’s these studies keep fairly well within the present various points of interest when 7. to any 7th chord in its own key. * * friendship and paternal affection until the close five finger position. It is advisable tabulated. Thus we find that A>t ■s ! 8. It often progresses to the tonic triad latter’s death in 1827. Often, on Sunday to play the right hand exercises also with Some groups hang on one principal note 1. If V7 is followed by I, one of the of another key, or to its inversion. afternoons, Beethoven attended pupils’ re¬ the left hand, unless there is a correspond¬ which should be played firmer than the two chords must be incomplete. Ex. 7 citals at Czerny’s house and even contem¬ Ex. 2 plated at one time making his home in the quiet, congenial atmosphere of the Czerny household. Can we not thus, reasonably assume that (p# - Czerny, above all other pianists of his day, so steeped in the Beethoven traditions over 51 a period of twenty-seven years, was pre¬ eminently qualified to pass them on to his 2. It is best not to have the interval of a 7th resolve to the 8th (one of the few we have a formula which takes us through 2. In each case (al is the usual and (b' Leschetizky had no words strong enough cases of hidden octaves to which it is the V7 of all the keys. Used musically, the exceptional resolution. If the bass is in decrying those pedantic sticklers who The following little exercise will aid necessary to pay attention). this chord is clearly an aid in modulation; on the second of the scale it is most likely split hairs over some minor detail in towards playing rapidly repeated groups. Beethoven’s music, while losing sight en¬ Ex.3 It can be extended to four or even five tirely of the great message and spirit be¬ notes. In combining groups of three and a=j= hind the notes. He would cite, to prove four notes in succession, an excellent scale his point, instances when Beethoven, in preparation can be visualized. These little *=r giving a lesson to Czerny would make him groups should be played as quickly as pos¬ improvise cadenzas to his concertos, spur¬ sible, although very articulate, with loose d=j= ALA, ring him on to greater and greater freedom but neat finger action and absolutely no of fantasy, to more brilliancy and a wider motion whatsoever of the wrist or arm. range of dynamics. So it was but natural, Ex.4 3. In the progressive V7—VI, the chord as well as logical, that Leschetizky should of the 7th is nearly always complete, al¬ insist upon a strenuous course of Czerny though (b) is possible. ^?hrratic changes a modulation can be 3. if the bass is on the third of 1 at a certain point of development in piano icallv never aouuicu introduction rf’an ^-sharp^n'^the^thTd w* '* '* prac,icallyleading, never for ad special .eff Why Czerny? Because this great peda¬ chord,rtififri oa B-flatt> fl.. in the fourth,,snar.p m th« thir<* because of v ' ” 11. With inversions of V7 the a D-sharp m the seventh, and so on. t x. or to avoid monotony gogue, in his wonderful studies, stays with regularly continued into the next chord- each problem until its purpose has been Ex. 10 The Chord of the Sixth accomplished. Not that the correct play¬ ing of each note was the ultimate goal to ?F the 6th are formed by so be achieved. When Leschetizky was satis¬ fied with the playing of one of the “Etudes,” with all the color, brilliance, 4. The pitch which was t subtle pedaling and general elan which he continued in the same voic demanded, they could well have been per¬ chord, either diatonically < formed in public. In fact, Annette Es- cally. sipoff. the great virtuosa and his first fa¬ Continue A up to the octave from the fhe n*° V™ 3ppears a‘ a sixth above mous pupil, whom he later married, often starting point; and continue B downward included a group of Czerny “Etudes’” in in the same way. Then play the study unf°ftunate ‘bat this chord of the her recital programs. with the 2, 3, 4 fingers of each hand, and A comprehensive selection from the be- finally with the 3, 4, 5 fingers. study |Uharmonntyr?dUford whilTwiffi £ wilderingly large number of works by this Various means of separating the indi¬ prolific composer who, by the way, was vidual notes of chords into interesting pat¬ also a pupil of the great Muzio Clementi, LESCHETIZKY WITH MME. MARGUERITE MELVILLE-LISZNIEWSKA terns or groups—so often used in classic has been compiled by Emil Liebling, well A portrait made in 1912 at Vienna. composition—are shown by Czerny in (Continued on Page 541) SEPTEMBER, 1935 509 THE ETL Book II, No. 36. convenient height, the next simply bounces Play the fourth finger firmly and let Book I, Nos. 21, 28, 43 and 56, and in the other three simply catch the key with¬ Book II, Nos. 9, 35 and 36. off it without letting up the weight or ST excellent pr.p.e.t.on making any conscious effort with the wrist. out letting it come up. How simple it is for the student, who for th. d?*cult Cod. » the -gond »»ve- Trills have been taken care of in Book has learned to bring out the important note Three, four, even up to eight octaves can ment of Schumann s Fantasy, Op. 1 ■ I. Nos, 18, 19, 31, 72, and in Book II in groups, to play such passages musically be tossed off in this simple manner. No. 33. Although some artists trill with The Romances of Great later on. He will realize that in Bach’s In playing legato octaves, the same idea of Maestoso a very low wrist and others with the hand Prelude in B-flat (Book I) it is the second the light thumb, as in thirds and sixths, note in the right hand which is the melodic holds good. This leaves the smooth con¬ standing almost vertical, students should one and will keep the repeating notes of nection to the fourth and fifth fingers, be made to keep a normal, convenient posi¬ the chord subdued. This can be accom¬ aided by a raising or lowering of the wrist tion without exaggerations. Musicians plished by a slight rotary motion towards -—pushing high on the black notes, falling The rotary motion, or rocking of the back on the white ones. arm in the elbow, is effectively used in In Book III, Etude No. 5, six octaves Etude 27 of Book II. Czerny- Book, No.43 can be played with one impetus, although Allegro The octave skips in the bass must be it must be remembered that the phrasing Romance in the Life of Schubert sign, the slur, always means an extra throw. made as quickly as possible, bringing the chords in each hand absolutely together. Ex.6 Allegro moderato Broken octaves should be played without raising the fingers from the keyboard. It will be found that, thanks to that part.of By Stephen West the mechanism of the grand piano called the “hopper,” a very slight rotary motion of the arm will suffice to stimulate vibra¬ It will be seen tliat the melodic notes tion. By keeping the fingers on the keys, are brought out much more colorfully by the hammers are prevented from falling all this procedure, while the repeating note, Romance is, without question, one of the strongest forces animating the way back to the bed of the keys. This acting as a pivot, is kept in the back¬ No. 17 in Book III gives us groups of nearness of the hammer to the string is ground. Naturally the fingers are kept the creative artist. Music, without the inspiration of Romance, is seven octaves, and groups of three octaves, what makes octave tremolos, such as in firm and do not move from the knuckle separated by rests. The second part of joint. A trill or tremolo also can be hardly thinkable. Just how much we owe to the wives and the sweet¬ Etude No. 29 can be simplified and made Liszt’s St. Francis walking on the waves Scales and arpeggios forming, as they greatly augunicnted in this way. to sound more musical if the right hand so simple, giving the effect of a low rumble hearts of the great masters can never be calibrated; but it is fascinating do, the backbone of piano technic, it is Special attention should be given to ad¬ chords are played in groups of sixteen, by just a slight pushing of the arm into of vital importance that a smooth crossing vance preparation of chords and of accom¬ with one impetus tapering off towards a firmly held octave. to review many of the great musical romances of the world. Stephen of the thumb under the hand be achieved. paniments in the bass. Excellent studies the end, in order to allow the left hand Czerny’s studies for broken octaves are Leschetizky’s “pinch of snuff” position, for this purpose are found in Book III, West has delved into musical history with “new eyes,” and will write in uninterrupted melodic freedom. found in Book II, No. 35 and in Book III, forming an ellipse between the thumb and Nos. 7, 12, 23. Nos. 4, 9 and 27. second finger, is the keystone supporting this series about this ever ingratiating subject. fuoco This same hopper device facilitates also the rest of the hand—the slightly raised the playing of repeated single notes as and firmly held knuckle joints allowing full in Czerny’s Etudes Book II, No. 18, also freedom for the passage of the thumb Ex.9 under the third or fourth fingers. TA-RA! The postilion sounded his rich carpets deadened the sound of his In playing arpeggios, small hands, es¬ horn, clearing the way down the footsteps, and soft chairs held open their pecially, will profit by the carrying of j-TIL-Ti 1111 Wp r_ the Ringstrasse. Graf Esterhazy arms invitingly. And see! By the win¬ PPPT- weight from finger to finger, each finger l|> G fegaa — was riding abroad with his retinue. The dow stood a little clavier! Never had doing its share towards bringing the hand Prater flew by, St. Stephen’s church, the Schubert seen such loveliness. He felt and arm along with it in either direction. Octave skips or, in fact, any skips on f >. t £ 4_- When a chord has been formed and Opera; they looked strange, thought the a surge of passionate gratitude towards This connecting of the fingers with the the piano are more accurate and much placed on the keys and then made to sound young music master, from the seat of' an his patron. If only he could thank him! arm is a great aid to tone color and se¬ easier when played with a near, lateral i l l l i by a quick upward flip of the wrist, the elegant carriage. He was a short, squat Then he seated himself at the instrument curity, while unnecessary stretching be¬ following chord should immediately be fellow, with ugly steel rimmed spectacles, and began to play. It was the best grati¬ tween the middle fingers is avoided. and a merry round face under a thatch of tude he knew. A maidservant entered with The idea of thinking in groups applies formed in the same way. Later, in play¬ “My wrists? Oh, of course.” She The walls of the room seemed to suffo¬ brown curls—Franz Schubert, the son of a great bowl of red roses. particularly to scales and arpeggios. In ing these studies up to the required metro¬ humped them high, so that her fingers cate him. Noiselessly he slipped down the the Lichtenthal schoolmaster. “The Countess Caroline ordered these playing the Etude in D-flat of Liszt, for nome mark, it will be found that accuracy dangled over the keys. stairs and into the garden. A light burned As always, melodies raced through his brought to the Meister’s room.” He example, if pupils were made to stop and and speed have been acquired through “No, they are too high now,” again he in her window. He paced up and down mind, but he made no attempt to capture carried the flowers to the clavier and stood think before each new change in harmony, economy of motion, keeping close to the corrected jocosely. before it, a hundred melodies rising up them. Time for that later. Today he there a long time, breathing in their fra¬ to place the hands over the keys and to keys. Also a more thrown staccato comes “First too low, now too high. I’m like incense. Oh, if she would but show must do nothing but be alive to these new grance. visualize the position of the chords—how quite naturally. afraid I can not quite get it.” herself at the window! wonders. A carriage! A post in the much less bungling there would be! The first studies in Book II and III Apt Teacher, Apt Pupil “But it is simple. You have only to Where had he found in words all the household of a powerful nobleman! Oh, Splendid scale studies are found in bring a combination of quick staccato AT THE CLAVIER the Countess Car- hold your hands level,” he bantered. longings that consumed him now? - Of this was the beginning of a new life. The Czerny Book I, Nos. 25, 26, 45, 67, . 71 chords with a melodic group in between. Px. oline sat practicing a Sonatina of “Perhaps, if you would show me?” She course! Rellstab! The very book she old scantiness and bitter disappointment and 74; Book II, Nos. 6, 12, 15 and 17; Mozart. In ten minutes, Meister Schubert looked at his imploringly. had given him! were done now, and forever. and in Book III, Nos. 6, 20 and 24. For would come to hear her lesson. She Schubert hesitated. Then he touched "Lightly speed my songs of yearning He was to teach the young Countess arpeggios see Book I, Nos. 50, 51, 57, 58, played- the page again. She wanted to the tips of his fingers to her wrist. She Through the night to thee.” Caroline. She had entered the room only 59, 63, 66, 73, 75; Book II, Nos. 13, 20, have it perfect—well, not too perfect. She drew back her hand so that her fingers lay A perfect serenade! In a moment he this morning, while Esterhazy stood talk¬ 22; Book III, Nos. 11, 16, 21, 31. took a rose from one of the great Dresden in his. For a second he held them clasped. had captured the vaguest, sweetest melody Helpful studies for thirds are to be found ing to him. vases and tucked it behind her left—no, Then he shot out of his chair, his face of all; with a twanging accompaniment, “Come here, Caro; here is your new in Book II, Nos. 3, 19, and in Book III, her right ear. He always sat at her right like a troubadour’s guitar; and then the music master, Herr Schubert.” Nos. 1, 3, 18, 28. side. “If my dear Countess will practice the song, simple, wistful, yearning as the notes It is well to start with staccato thirds. “Herr Schubert? Not Meister Schubert, Back to the clavier and down the page position a bit more, it will go better to¬ of the nightingale. There! Just the work A simple exercise is to play scales in again. “Hold your wrists level,” he had morrow.” of setting down the notes, and the song double thirds, using the same fingers going “Oh, no, my Lady,” murmured Franz; said, “and do not let them slump.” How A Domestic Bout was done. Only his best melodies came One of the Etudes which Annette “not Meister.” to him, ready, like that! And it was her up and coming down (? then | and f), earnest he had been, as he sat there so REATLY PLEASED was Count Es¬ Essipoff used to play with great success, “But the name. Were they not your G keeping the mould firmly in the knuckle stiffly, talking of wrists and of counting. terhazy with his new music master. song! He would give it to her tomorrow. during her American tournee in 1878. » songs, perhaps, that we heard at the Arch¬ joints and using the tiniest little throw How earnest, and shy, and dear, and—— “Truly,” he said to his wife, “the: young And then- the lovely one in A-flat, No. 1 in Book HI- duke’s last week? The Erlking, and one from the wrist, much like a stone bounc¬ “Ach, Meister Schubert, how you man’ is remarkable. He has the gift of about a lark?” ing along on the top of the water. This Ex 13 startled me!” exclaimed the frightened firing one with enthusiasm. You have Eros Challenges Euterpe “Oh, yes, my Lady, those are mine!” imperceptible little motion helps some Caroline, as Schubert entered for her only to look at Caroline. Never has she THE LESSON went perfectly. He had no idea that his songs were sung hands considerably towards clear articu¬ morning lesson. had such ardor for study.” Countess Caroline’s wrists needed no at the Archduke Rudolph’s! lation in playing legato thirds and sixths “A thousand pardons,” he apologized. “Hm,” sniffed the Countess. “Never correction, and Meister Schubert sat (as in Chopin’s Nocturne in G major). ■anil otossom , “Then Meister, indeed!” And the girl “As usual, I am awkward. But at ieast before has she blushed and started when stiffly beside her, beating time. By allowing all the weight to rest on the swept him a courtesy. She s born in New York i you like your music, if it can so engross a music master addressed her, either.” “One, two, three, and one, two, three-ee! top legato notes and by playing the lower . ,- -- -ira i ork ini sen1884. a beautiful flower which has given joy studied with Dr. Ernst Jedlicska in They were leaving the city now. This you ?” “We Esterhazys are musical,” laughed Excellently played. My compliments!” notes very lightly, freedom and speed can to the soul and has become a precious was the very road over which he had Berlin and later with Leschetisky in “Oh, I love it! Never before have I the Count. “It is in our blood.” Something pulsed in his voice. She looked be gained. memory. Substitutes or successors trudged so wearily, as a child of five, on Vienna. For many years she was an so enjoyed practicing.” “The Rockwitzes are less musical?” up at him and something glowed in her The long-loose-fingered type of pianist may be found for almost everything in assistant to the great master She his way to his cousin’s, the joiner’s ap¬ “Yes, my Lady, Mozart is a great com¬ countered the Countess drily. eyes. can play perfectly smooth scales in double life but a noble personality and genius. prentice, in the hope of being allowed to toured England, Russia. Scandinavia poser. So true, so pure.” “That is all then, Meister Schubert?” thirds and sixths, with high stroke touch. There has never been another Bee¬ touch the claviers under construction in the Moving the Muse Germany, Austria, Poland, Switzer¬ “Oh, Mozart!” cried the little Countess, “Not quite all. If my good Countess After all, the only correct method is that thoven, Chopin. Schumann, or Wagner, shop. Well, when his music was produced land and Holland, playing with many with a toss of her head. IN A SURGE of joy that was nearly has a minute to spare me?” which best conforms to the individual and there never will be. —and was paid for as well as Rossini’s— “Shall we begin?” encouraged the kindly unbearable, Meister Schubert paced his “As many as you wish.” physical equipment and which brings about Marguerite Melville Lissniewska °iLn, Wr°r,d’S grcat orchestras. In he would have a clavier of his own. It instructor. 1920 she became a member of the Fac¬ room. He loved her so greatly! And he This was the moment. Just as he had the desired results. was one of those unusual souls that was all going to be so different now! Scales were done first; then a Minuet knew, now, that she did not entirely scorn planned it! The same principle of catching several ulty of the Cincinnati Conservatory come to our earth with the fragrance Night had fallen when they reached the of Haydn. At last the Mozart. Caroline him. Surely she must feel his love? Had “I have a little song here.” He drew the bounces from one throw of the wrist or remaining there until her death on of a fine and beautiful personality March 7th last. As a study in beautiful vibration it can¬ Esterhazy estate, high in the hills. Schu¬ began in fine style. Suddenly, then, her it begun that day she had given him the freshly penned page from his pocket. “If arm should be applied to octaves. Try which cannot be replaced. We knew not be surpassed. Small hands will •* bert was shown to a splendid room over¬ She was loved by all who knew her wrists slumped. Down they went, almost volume of Rellstab’s poems? Oh, before you will allow me.” out this principle by playing repeated oc¬ her well—her great talent, her zvit, able to master the stretches by walking looking the garden. In the moonlight he -not merely for her great musical to the frontboard of the clavier. that! That night of the roses, then his He began the twanging accompaniment. taves on the same note. The first octave her rare human tolerance, her kindli¬ into the notes, as it were, carrying the could distinguish dark box hedges and gifts and ability, but also for her char¬ “Your wrists, my Lady,” corrected the first roses? Before that! All his life he Then in a soft, amateurish voice he began is thrown loosely from the arm, from a ness—and we knozv that never again armweight from finger to finger while gleaming white statues. A fire was lit, acter and consideration for others. master. had been waiting for a love like this! to sing. But at the end of the first verse (.Continued on page 552) 510 SEPTEMBER, 1935 511 the etvde ing her burningly, while that small Erlking—that was aiways a javonte familiar voice within him said, “This ij same The things he most wanted always he stopped short with an abrupt chord. Ave Maria; and then some shorter songs^ the last time, forever!” escaped him. What was wrong with him? “I can go no further,” he said breath¬ One more now, and the group would-be “Franz, forgive me! I have been so lessly. “It is for you.” He saw that her Why must he always grit his teeth and done. He would be free to go^ S watch others bearing off the prizes? Why hateful to you. If only I had known. eyes were glazed with tears and her lips excitement shone in his eyes as he began •But you must not go away. You shall not! quivered. She made the slightest gesture was he not like those others? that last song with a twanging accompani¬ He was always lost in a twilight of I do love you!” The Wisdom of towards him. ment. like a serenader’s guitar. dreams, and other men outwitted him. A thought seized him, with the sudden¬ “Franz!” Caroline started and closedJ^r JV a ness of lightning tearing open the heavens. Then he was on his knees beside her, Even now, surely, there was something he The guests listened entranced. This “Caroline, I cannot give you up. I can- covering her hands with kisses. could do? Other men would laugh at a new song! More than one sensitive lady not! It is not too late. The horse will There came a step in the corridor out¬ mere betrothal. A swift horse, a moon¬ dabbed at her eyes while Vogel sang. It carry us both. Will you come?” side, and they sprang apart. A moment less night—perhaps he could still manage was done at last, and there followed a full “Yes, Franz. Anywhere.” W. S. B. Mathews later the Countess Esterhazy bustled in. moment of pulsing silence. Through it “Hurry, then.” Schubert stooped to pick up the fallen “And where should the swiftest horse Schubert heard the stamping °f a horse s He took her hand and led her along the sheet of music, and Caroline felt for her carry you?” asked that small voice within hoofs in the paved courtyard below. Then A collection of paragraphs from the writings of one of the most handkerchief. him, that he knew so well. The life he applause rang out. The Count s guests balcony. Let them think what they liked. “Guten Morgen, Meister Schubert. could offer her would mean—yes, hunger. crowded around him, praising him wring¬ This was all that mattered. At last he “Oh! I am good for nothing but the original and distinctive thinkers in the field Have you a good lesson, Caro? But you ing his hands. This moment should have was taking fate into his own hands. He writing of worthless tunes!” He sat there, was doing something besides dreaming. seem disturbed. It is not going so well, been a triumph. then?” j( hating himself. It was over now. He was free to go. And it was symbolic. If he succeeded of American musical education There was a faint rustle of silk, and “On the contrary, my kind Countess—” In his room, the clavier, the thick carpets, now, he would succeed always. He would there stood Caroline, looking down at him. “Oh, Mamma, Meister Schubert has just the soft chairs were all inviting and lovely, make a way for her! There was a stairway “Franz I had to come.” written the loveliest song, and it touched as they had been that first night—was it to the courtyard just ahead. They would He sprang to his feet. She laid her have to pass by the great door where the hands upon his shoulders, and his senses six weeks or a thousand years ago? He The Countess raised her eyebrows ever light streamed through. Careful! Her first place one is not so sure about the reeled. Gently, then, he lifted her hands would leave it all now, and it would be so slightly, but her tone remained brisk. waiting for the next music master. Schu¬ hand was like ice in his. difficulties in them; for the essence of dif¬ “Ah, I am relieved that they are tears of and put their arms’ distance between them. Then, just as they reached the doorway, “My dear, kind Countess,” he stammered. bert hoped the next music master would ficulty is far from having been accurately pleasure. I know how moving his music take good care of the little clavier. It Count Otto approached. Prophet and Sage determined in piano music. A certain piece can be. You must sing us the new song “Oh, don’t! Franz! Franz!” "Oh, there you arc, Caro! Such a gay It took all the strength he possessed to would be good to think back to this bit THE SURETY of Mr. Mathews’ vision appears to the pupil impossible; another tonight, Meister Schubert. Come, Caro, waltz, and I have been looking all over is here shown. Forty years ago, in pupil takes it up and likes it, and plays it I shall need you to help me with my find his voice. “You must go in,” he said. for you." “Your parents would be angry, if—” America both Brahms and Tschaikowsky well. What was the difficulty in the first letters. A tedious business, all this letter¬ It Might Have Been “Oh!” “Oh!” She cried in fury. “I come here were looked upon much as many now re¬ case? Was it due to lack of proper ex¬ writing.” Schubert felt her tremble. It was all to you, and you talk of my parents! What A MOMENT more, and he would be on gard Schonberg and Hindemith. At that planation of the piece on the teacher's part ? An Interested Observer over now. Schubert knew. Everything do you know of love?” his way to Vienna. In the crowd time Mathews always kept step and was “Moreover, the valuable new pieces are “ ANOTHER THING I have never be- She was gone now, and Schubert covered about him, he slipped out to the balcony. usually a little ahead of the parade. in new styles. The ideas run differently. "I was about to escort the Countess in¬ Zi-fore seen,” said the Countess with his face. He must see the balcony again, where once “I have no doubt that Brahms is destined There is always a kind of new tonality in emphasis, “is our Caro shaken and weep¬ she had come to him. He stood there, side,” he said evenly. “I am leaving at to be ranked with the great composers; all the vigorous new writers. It is not a ing over a music master’s gift. I tell A Sought Release looking out into the darkness. once for Vienna, and I had begged a mo¬ and I have a kindly feeling for the brilliant question of some peculiarity which you can you—” « AND THEREFORE, your Excellency, “Franz!” Came a whisper behind him. ment to bid my—my pupil farewell. I Russian, Tschaikowsky, who was one of point out and prepare for; but somehow “Oh, come; absurd! An Esterhazy and Al beg you to release me. I wish to He wheeled about. There she stood, give her into your care Your Excellency. the greatest recent masters of musical the chords and positions lie differently a common music master?” return to Vienna.” her hands clasped, her eyes hollow. Goodbye, Countess Caroline.” structure, and by no means wanting in under the hands. I have a rather smart “You forget, my dear, that he is a Life was unbearable here, with every “They tell me you are going away, and "Meister Schubert! Meister Schubert!’’ ideas. Very possibly some of the other Rus¬ young pupil at the present time who has no charming fellow with a most uncommon glimpse of her deepening his grief and his tonight! I have just heard of it. Oh, it That was all. He was gone. He saw sians may have something in them. At any ear for this more recent tonality. I have gift. And as you yourself pointed out, the longing. And, since that night on the bal¬ is not true. It cannot be true?" young Rockwitz leading her from the bal¬ rate here is Brahms, who has written in to go back twenty-five years for pieces to Esterhazys are musical.” cony, she was distant to him. He would He nodded. A horse is waiting below.” cony rail as he flung himself upon his all six symphonies, it is said, two not yet give her. If I select some piece which “I shall thrash the fellow soundly and go back to Vienna, to a haphazard getting “Then that was why you sang my song?” horse. The Vienna road was bleak and being given to the public, and a variety was so popular this long ago, she likes it on get rid of him at once!” of engagements. The bright new life that Suddenly, he gathered her to him, kiss¬ deserted at midnight. of other works, all beautiful and pure, hearing, and practices it to her great ad¬ “You will do neither. He does not de¬ this summer had promised lay in ruins and all music for itself. vantage; whereas a modern piece of the serve it. Of course, they are wholly un¬ about him. The Count nodded thought¬ "Besides Brahms there must be others. French school, with its changing notes, its suited to each other; but they cannot help fully. That Troublesome Fourth Finger It is quite certain. The world has not evasive cadences, and the like, she has no being young, poor things.” Unaccountably “And when would you wish to leave us, noticed their accents as yet, but a few years use for whatever, and in fact, with ap¬ the Countess sighed. “And he has not Meister Schubert?” more may reveal to us some other composer parently all necessary good will, she never got it in him to do a dishonorable thing.” “At once, Your Excellency.” By Henrietta Dippman Griswold THE CAREER of W. S. B. Mathews A Master’s Style as commanding in his talents as Tschaikow¬ manages to play them well enough to please The Count sat a moment, frowning. “Of course, I cannot detain you. But is noteworthy because he was a type sky. Mr. Otto Floersheim writes, in his herself or any one else.” “What do you suggest, then?” HE FOLLOWING paragraphs reflect I had counted on you for our fete on of first hand investigator who did his terse and engaging way of ex¬ interesting letters to the Musical Courier, Let Rockwitz come up,” said the One day during our lesson hour at the holding the pupil's interest, we have come Thursday. The guests have been bidden. his own thinking and evolved musical ideas pressing his thoughts. They are taken from that in Berlin the works of Tschaikowsky And Write He Must Countess pointedly. piano, and after calling my son’s atten¬ to the conclusion that the following exer¬ It would oblige me if you would remain which have influenced the lives of millions his various writings. and Dvorak have been ignored until this HE MAKING of a writer could be The Count seemed relieved. “Not a bad tion to his fourth finger quite a number cises have brought the best results in the T until then.” of American students. When the late Theo¬ “A really cultivated taste in music, when season. Now Dvorak is certainly a tone- scarcely better done than in these idea, in many ways. Yes, let him come of times, he impatiently asked, “Mother, shortest possible time. Master one exer¬ '‘If it pleases Your Excellency—” he dore Presser in 1893 laid the first founda¬ not the result of fortunate heredity, is due poet of unquestionable mastery. He is one paragraphs by Mr. Mathews. up. I might even use that occasion to give why do you insist upon my using ‘that cise at a time, playing through all the began an excuse. Suddenly, then, he re¬ tion stones for what eventually became the to a combination of knowledge and experi¬ of those plain men who can take the “The men who succeed in writing are a great musical party. While the young troublesome fourth finger’ so frequently membered how he had longed to prove his keys. “Standard Graded Course,” he enlisted the ence. Many things help toward forming simplest theme and out of it spin a pleas¬ those who would die rather than tell it Meister is still with us.” when I can just as easily reach the keys gratitude for the room with the little services of Mr. Mathews in the selection, good taste; all the experience in harmony, ing and not insignificant poem in tones. When you have this in you, you have one “You are always so practical!” observed with my third?” clavier, and this glimpse of unknown editing and annotating of this work which counterpoint, thematic work, and form. All This is the art of Bach, Haydn, Mozart, of the elements of success, your next step his lady. “Son, why does your school teacher in¬ beauty. “Yes, if it will please Your Ex¬ has been used as the great broad educa¬ the practice in hearing, and all the general Beethoven; it is the art which lives and is to find out whether the other fellow sist upon your using all your fingers at A Deadly Thrust cellency, I shall remain!” tional avenue by more students than any ideas of composers picked up from reading would rather die than read it. If he would the typewriter instead of but two?” TODAY Meister Schubert was bidden “Ah, good! You are doing me a serv¬ other pedagogical course for the piano. Mr. more or less desultorily in musical peri¬ “The only chance of our knowing these you might as well give up, or else radically to take coffee with his patrons, to play ice.” The Count rose. “To develop speed, of course," he re¬ Presser’s idea was the development of geniuses of the first order, when they do reconstruct your style. These two points plied. odicals and books. What is wanted to to them and to help to plan the great fete “Only a moment more, Your Excellency. well rounded musicianship through care¬ form a really educated taste is actual per¬ come, is to have kept step with the world’s are very curious. Here is one young fellow I have a favor to beg of you.” “Yes, and for a similar reason (to de¬ for next week. Caroline sat beside her fully graded steps in pianistic progress. sonal acquaintance with the best music, and procession of music, to the end that our who means to be a writer. At least he has mother, but her eyes followed Schubert “It is granted, Meister Schubert.” velop technic), we use all our fingers at Mr. Mathews collaborated in all of the a clear perception of the qualities in the ears being accustomed to the novel com¬ one particular something which he is full burningly as he took his place at the “If you will order' a horse to be ready the piano. Not only to develop technic, original editions. Although scores of musi¬ good which differentiate it from the bad. binations will be able to discern in the new of. He writes it, sends it at a venture; for me, on Thursday, at midnight, when clavier. The Countess fanned herself but to insure smooth legato playing of cians, editors, virtuosi, composers and The common impression that all the com¬ works the part which is new by reason of it is printed and, as comment shows, is the music is over and the dancing begins ?” placidly. “Give us something of your own, scales, arpeggios and chords.” teachers have since been engaged in keep¬ positions of certain composers are good tonal combination, and the part which is read. Another has an ambition inside him “But surely you will not leave us like Meister Schubert. Something gay!” This conversation started a train of ing this work incessantly up to the very and all the works of others are bad, has new by reason of a new spirit come to to be a writer, but it smoulders unsuspected that? Alone and at night?” •Oh, he felt only too gay! He bowed thought. It was just another little diffi¬ latest substantial needs of the piano student little foundation. expression.” by the outside world. Now this one may he “I wish it very much, Your Excellency.” and played his lilting Moment Musical. culty for teacher and pupil to overcome in and teacher, the foundation was due to two “There have been certain composers ruining reams upon reams of paper on the “So be it, then,” acquiesced the Count “Delightful,” murmured the Countess. order to make piano study more interest¬ men who must always rank among the very Teaching Material sly, which some day will astonish the world. with a shrug. whose technique of composition was so mas¬ “Do you not think, my dear, that Meister ing; to make it seem more like play and greatest of American musical educators. terly that everything of theirs shows it; HE FOLLOWING pertinent remarks If he goes on pouring himself out upon less like work. T Schubert should play that at our party ? Ex.3 William Smythe Babcock Mathews was though perhaps only a moderate percentage apply so aptly to the present day that paper, print or no print, the chances are A Courtly Ball Our < Rockwitz is coming up for that!” 1 experience in childhood was born in London, New Hampshire, May 8, of them show the inner something which they seem as though written but yesterday. that he has the real thing in him, but his HUNDRED waxen tapers reflected | ^''''' At the name, Caroline started and threw A recalled; trying to strengthen the fourth 9 1837. He died in Denver, April 1, 1912. “It is curious what a tendency there is on the polished floor of the ballroom. gives music its effect upon the hearer moment has not yet come. her mother an imploring glance, which that finger and to gain independence and good He studied in Lowell and Boston, but he —namely, feeling and beauty. Many a for a teacher to run into a rut in the The Count’s guests, in resplendent toilettes, “When a man is bound to be a writer good lady happened not to see. tone. My teacher used an exercise that After a pupil has a thorough knowledge was the type of man who depended upon were waiting for a group of Meister Schu¬ composition of Bach is as clever as clever selection of the same pieces over and over, you can no more effectively discourage him “You know, Meister Schubert,” she required placing the finger tips on a table of the scale in all the different keys. (anO his great personal tenacity and endurance bert’s songs. These had been kept for the can be, and therefore interesting to musical year after year. This grows out of two than you can discourage him from going went on with the slow, even motion of her raising the fourth finger as high as pos¬ he should have, after his first six months to develop his own remarkable powers of last; and the great Vogel of the Vienna analysis, but contains little or nothing of circumstances: The well-known pieces in through with the smallpox, which he has fan, “our dear Caroline is virtually be¬ sible, then letting it drop. This had to be research. Therefore, like Wagner, Elgar Opera had come up especially to sing them. to a year of lessons), he really 'ov*s feeling. Others, again, are at the same the list have been sifted out of a large once taken. When he has got it, it' is trothed to Count Otto von Rockwitz, a done for five minutes at a time twice and many others, he was largely self Countess Caroline sat on a crimson damask play them. The advanced student and the time intensely interesting upon musical number, and from their attractiveness and there and must work through. This is the second cousin of mine.” daily. Later, at the piano, the five’fingers taught. After teaching for some years in sofa. She wore white satin, with glowing virtuoso as well, find after playing over grounds and full of the inner something sterling qualities accomplish the two things manner of the born writer and editor.” The young music master turned deathly were placed on the keys pressing them the South and after long affiliation with roses in her hair. Behind her stood young these exercises that their fingers become which is the soul of music. To play these for which pieces are commonly given. pale, and Caroline blushed painfully. If down firmly, the fourth finger going many of the greatest musical authorities Rockwitz, in the blue and gold of the more supple and respond much more latter pieces is an education. It is an act Namely, they please the pupil, and exercise The Perennial Virtuoso the Count noted it, he gave no sign. of his time, he went into musical editorial Hungarian hussars. A charming couple, fulTtone thC SamC exercise’ working for readily to the dictation of the mind. of religion. Even when we play them from an influence upon the taste and musical IN SPEAKING of virtuosi of another work and was connected with many out¬ The Clouds Darken everyone agreed. Vogel stepped forward, The exercises should be played slowly a technical standpoint mainly, before they life. In the nature of the case a teacher age, Mr. Mathews wrote: It was a splendid exercise but very N A CORNER of the dark balcony sat to a burst of applause, while the awkward at first with firm finger action and fu standing journals. He published several are well mastered the inner something learns to adapt the pieces of his standard “When Clementi first played in Vienna I monotonous and would never do for the Meister Schubert, his head in his hands, young Meister took his place, unnoticed, tone. After they can be played with mucr books which had wide vogue and from makes its way with us, and we find our¬ repertory to the needs of individual pupils. he made a great sensation, just such a sen¬ his heart like stone. It was always the at the clavier. modern student of today. As a result of ease, play with more expression and grad¬ which quotations are continually made. selves refreshed and stimulated by the ex- With new pieces there is difficulty. In the sation as Rosenthal makes now. He played experience and various experiments in ually work up to presto. 512 SEPTEMBER, 1935 513 the etude lighter, faster, more astonishingly than any¬ tioned lies in the omissions and the time RECORDS AND RADIO body else. Nevertheless those who had lost in the early years of instruction, and heard the young Mozart and the young in the want of foresight in the ordering in Beethoven found many things lacking in these early years. That is to say, take for this sensational work, and later on dementi instance any series of graded studies for By Peter Hugh Reed himself, after his famous contest with the piano and what do we find? Eight or BAND AND ORCHESTRA DEPARTMENT Mozart, modified his playing in tire direc¬ ten grades, each intended to occupy about tion of a purer art, in which music as such six months of instruction, but, as a matter Conducted Monthly by had the first place and piano playing as of fact, rarely completed in less than a Orchestra should have recorded German's such the second. year. At the end of the course, the pupil CHAMBER music on the air has as¬ VICTOR J. GRABEL “While Beethoven was a piano virtuoso will have arrived at two or three of the suredly come into its own. Ihe popular Dances from his incidental music in the sense of being the most powerful best of the Clementi Gradus, two or three Music Guild’s programs, of which to Shakespeare’s “Henry VIII” (Columbia FAMOUS BAND TRAINER AND CONDUCTOR player of his time, the characteristic note fugues by Bach and one or two Chopin we have spoken before, heard over NBCs disc 17045D), for this talented conduc¬ of his piano playing can have been little if studies; and, unless the teacher has been two networks four afternoons a week tor in his long affiliation with this organi¬ more than usually fortunate, nothing what¬ anything more sensational than his or¬ (Monday, Tuesday, Thursday and Satur¬ zation (1897-1934) has often played these ever will have been done toward the study chestra work; for at that time he indulged day), continue to provide much enjoyment dances. No one in the past generation in of musical literature as suggested in the England has made a more determined ef¬ in great freedom. His contrasts of tone for the serious music lover. volume, his liberty with the time and the first paragraph.” The average listener, who. hears these fort in behalf of British music than Sir general air of freedom and abandon which Dan, and no one, so his countrymen say, Tympani and Tympanists As Memory Grows programs in the quiet of his home, is un¬ contemporaries found in his music belong has a more affectionate regard for it. The N THE DAYS of Mr. Mathews com¬ aware of the preparation that goes into to the entire Beethoven as composer; and them. To him, for example, the work of gusto and melodic folk-quality of this Beethoven the pianist was merely an im¬ paratively few pupils thought of mem¬ music should find a wide appeal. By I. R. Schwartz orizing. Indeed there was a prejudice the technician means little or nothing. Yet perfect interpreter of those qualities which without the technician, the programs could Paul Paray, the veteran French conduc¬ against “playing without notes.” Now, pedal, to roll, and he is given exercises up to that time had never found expression not be successfully broadcast. One of the tor, who has given us the finest interpre¬ ALTHOUGH THE kettledrums are of casion, reached B-flat 251 on the small tympani and three players who beat out when even great conductors and string to develop ease in playing. Later he learns in music.” most important elements in broadcasting tation of Beethoven’s "Sixth Symphony" fundamental importance in a sym- drum, and low C64 on the larger. In the rhythm for the dance. quartets seem ashamed to appear with It is only recently that the kettledrum pedal effects, glissandos, and double¬ is the balancing of the program. It is so far issued on records, duplicates that A phony orchestra, the ordinary lis¬ each case the tone was quite pure and A Theme Still Pertinent notes, Mr. Mathews’ remarks written in has become so prominent. Originally the stopping along with playing the scores of here where the technician enters and con¬ event by giving us the foremost interpre¬ tener knows very little about them. distinguishable. HE RELATION of teaching to play¬ 1899 seem prophetic. tympani was just one of the instruments operas, symphonies, and overtures to de¬ tributes his artistry to the program. The tation on records of Moussorgsky’s melo¬ While all other drums have two heads The head of the tympani is very sensi¬ ing always interested Mr. Mathews “For many years I have undertaken to in the orchestra; but the modern com¬ velop and extend his repertoire. position of the microphone is vastly im¬ dramatic tone poem "A Night On the stretched over a cylindrical shell, a kettle¬ tive to atmospheric conditions. Any slight improve the student’s method of study posers, Strauss and Stravinsky for ex¬ This, then, is what the good tympanist very much. portant, for it can make or mar an en¬ Bare Mountain" (not a Bare Mountain, drum has just one head on a kettle-shaped change of the weather or humidity will “The relation of the teacher’s playing to through the habit of memorizing every ample, are making a solo instrument of it. is required to learn. This is why an or¬ semble. To obtain a satisfactory balance as the label says, for the event the com¬ shell. It is this shape that causes its altar the tone. Dampness will cause a the quality of the teaching is a very diffi¬ piece taken, or nearly every one. In most In Strauss’ Burlesque for Piano the tym¬ chestra that needs a tympanist must scour frequently requires hours of experiment. poser depicts was supposed to have taken strange acoustical properties. The instru¬ drum to go flat and impair the tone, while cult one to conclude satisfactorily. There cases the early stages of his effort have dryness will sharpen and clarify the tone. pani play the theme at the opening. The the world to find one. There are many The position of the microphone, for ex¬ place on Bare Mountain, which is near ment can be tuned and is played either are many very fine players who rarely or been unsatisfactory. A few pupils mem¬ The tympani are an important part of better class jazz orchestras are including other qualifications too that the tympanist ample, in a string quartet broadcast is dif¬ Kiev, Russia). (Columbia disc 6830SD.) with soft felt sticks or wooden sticks with never turn out pupils possessing their own orized their pieces and seemed to under¬ the orchestra, being used for rhythm, bass, them in their orchestrations and special must meet. He must have absolute pitch. ferent from that for a trio composed of The peasants in Moussorgsky's time are egg-shaped heads called “baguettes.” excellence; and there are some teachers stand them quite fully, but the great or special effect. From two to sixteen arrangements. And very wisely, too, for This means that he can give or identify piano and strings, or for an ensemble which said to have believed that the Witches’ The kettledrum is known, professionally, who play very little but turn out a succes¬ majority absorbed them like Lorenzo tympani are used at once, and the well- the kettledrums supply “that certain some¬ any tone without the aid of another in¬ contains wind instruments, percussion, a Sabbath was celebrated on St. John’s Eve as the tympani. The word tympani is sion of pupils that play extremely well. Dow’s sanctification—‘in spots,’ some parts Italian, tympanum being the singular and equipped symphony usually has five. The thing” which has been lacking in the or¬ strument. He must have a vast knowledge harp or a singer. Many times the tech¬ on Bare Mountain. It is this superstitious There are teachers whose presence acts as of the piece being well memorized, but tympani the plural. In musical circles, earlier composers used two tympani and chestra. There seems to be no doubt that of hundreds of compositions, and be able nician’s experiments take up more time belief that the composer has undertaken a stimulus so that their pupils surpass the varied harmonizations, modulations and however, tympani is used as both singular one player. Berlioz, in one instance, wrote the tympani will continue to rise to greater to play them at sight. He must be able transitional material remaining very inse¬ than the actual broadcast. Not so long to depict in music. The program of the themselves and arrive at a quality of work and plural. for sixteen tympani and eight players, and and greater heights and to more and more to tune in one key while the orchestra ago, when a program included pieces tone poem includes “the appearance of the which would not have been expected of cure and liable to be forgotten. I have at¬ Though of ancient principle, the tympani his “Symphonie Fantastique” has four importance in the orchestra. is playing in another key. He must have tempted to remedy this through different played on a clavichord, the technician after Spirits of Darkness” . . . the celebration them on a priori grounds. There are many is a comparatively recent musical develop¬ tympani with four players. Most of a keen sense of time value, as the tympani experimenting hours wras able to obtain a of the so-called Black Mass or glorification teachers, on the contrary, whose minute kinds of musical analysis and by lessons ment and was formerly very cumbersome Tschaikowsky’s works call for three tym¬ The Tympanist score may be written in a tempo different satisfactory result only by putting the of the Evil One, and the scattering of the criticisms seem to discourage students and in musical theory. In some cases the ex¬ and hard to tune. The early composers pani ; and Schoenberg, in his “Guerre- HE TYMPANIST IS no doubt the from the rest of the orchestra. He must microphone on a stool under the instru¬ Evil Spirits by the sounding of the village T prevent their arriving at a state of free and periment has been entirely successful, the usually scored for it in the notes of C and Lieder” (war songs) has eight tympani earliest type of musician. He was be able to count hundreds of measures at ment’s soundbox. Thus, it will be noted church bell at the break of day. finished art; and, in general, it might be pupil at the end of the time being able to G, the tonic and the dominant. Even later, and as many tympanists. originally the one who beat a hollow log a time perfectly, as in the last movement The complete final scene of Richard said that the teacher who really under¬ retain long programs of complicated music the technician is equally as important in when tympani became easier to tune, the with his cudgel so his brother neolithians of Schubert’s “Seventh Symphony.” He Strauss' "Salome” comes to us in a re¬ stands tone production in its entire varieties and to treat the same with constantly in¬ broadcasting as are the artists. notes were written as C and G, although Some Specific Uses would have a rhythm for their dances. must have absolute control over his wrists markably eloquent performance by Mar¬ and who understands the master works of creasing maturity of conception. In other The splendid gesture on the part of the the real key was specified. ANY COMPOSERS have given Later as he progressed he marched in Ro¬ (which would seem at times to be made of cases it has remained impossible to interest National Broadcasting Company to spon¬ jorie Lawrence, Piero Coppola and the M the piano and knows how they should be Mechanically tuned tympani were made special parts to the tympani. Beet¬ man and Oriental parades and beat two rubber), and be able to roll for measures the pupil in the structure of music to such Pasdclcup Orchestra (Victor discs 8662- played and knows how they should look sor such programs, as those of the Music about seventy-five years ago. They were hoven, in his “Ninth Symphony,” second large kettle-shaped drums carried by slaves without a single variation in volume. He a degree as to secure the necessary close¬ when playing, will arrive at results in Guild, without commercial alliance de¬ 63). This fine dramatic soprano, an Aus¬ unusually complicated, but were a vast movement, has them tuned in octaves F or elephants. After the Roman conquest must know how to bring the loudest for¬ ness of observation.” many cases of great excellence. Of course, serves the widest approbation; and since tralian by birth, is a leading prima donna improvement over the hand tuned type of and F. The solo consists of three sharp he was little heard of, as his brother, the tissimo roll down to a pianissimo, or vice- there will come a time in the education of radio commendation is best given by mail, of the Paris Opera. In the first complete Haydn’s and Handel’s day. The mechan¬ notes, given off first by the drums alone, military drummer, became prominent in versa, almost instantaneously. If he is SELF-TEST QUESTIONS ON MR. every intelligent pupil where the artist is we recommend that those who have en¬ recording of this famous scene from ism was principally a pedal connected to and then along with the orchestra. This the wars of the Middle Ages. Handel using five tympani, he must know exactly MATHEWS’ WRITINGS the proper teacher, and unless the previous joyed these programs, but who have not “Salome,” she conveys the fanatical emo¬ some rods fastened to the hoop around makes quite a unique effect. The tympani was about the first composer to use the which one to use and when and where. 1. What is the origin of a cultivated taste work shall have been extremely well done written in to express their appreciation, tion of the music and the text without the head. Raising or lowering the pedal have an important place in most of Ber¬ tympani or tympanist again, for we find He should also be an expert on all the the artist will find it necessary to undo in music ? do so at the earliest opportunity. For the distortion, wisely leaving much to the caused the tension of the head to be lioz’ works, as well as in works by Meyer¬ that his “Messiah” and “Water-Music” other percussion instruments, each of which 2. What is a chief constituent of the mu¬ many things. The underlying principle in future spread of such music by radio will listener's imagination. Time was when changed, and the difference in tension made beer. The latter played tympani in an had tympani scores. Since then, the tym¬ is an art within itself. He must be able the musical education of piano pupils is to sical art which lives? be, in this manner, further advanced and this scene was considered the most infa¬ the variations in tone. The mechanism orchestra conducted by Beethoven. In the panist has steadily progressed until now to interpret instantly any signal which the bring them in contact with a great deal of 3. For what two purposes are pieces hastened. mous tiling in music. Today, however, was sometimes on the inside of the kettle, dance movement of Goldmark’s “Rural he is an important member in the or- conductor might give him. Any occasion selected for pupils? good music properly selected for their spe¬ The recording made by the London people generally regard it in the spirit in sometimes outside; the principle, however, Wedding Symphony,” the horns set off a may arise in which the quick thinking of 4. Will Mr. Mathews’ definition of the cial needs. The musical stimulus combined Philharmonic Orchestra under Koussevit- which the poet (Wilde) and the composer remained unchanged. Each rod had to melody which the solo tympani echoes. Kettledrumming appears easy to the the tympanist will save everything. This successful writer apply to the musician with the inspiration of the teacher will en¬ zky, of Beethoven’s “Eroica Symphony” (Strauss) unquestionably conceived it, as be individually tuned to get an even tension Siegfried’s Rhine Journey from Wagner’s majority of people, and quite a number is why the good tympanist is a rarity. able them to overcome one difficulty after and to the music teacher? (Victor set M263) is the best performance “the insensate rhapsodizing of an erotic of the head, and this took a lot of time. opera “Siegfried” has a special bass part take it up. However, it should be empha¬ With all the cares and troubles that another and finally develop themselves into 5. Must the successful music teacher he of this famous work yet made available on and half-deranged Oriental woman,” whom Today the mechanism is much more sim¬ in the introduction for the tympani. In sized that the art of playing tympani is rest heavily upon his brow, the tympanist well-rounded players. necessarily a highly skilled player? discs. Koussevitzky senses and conveys “they do not recommend, but present as a plified and efficient, as a device has been fact, all of Wagner’s works are partial to not one to be easily mastered. The tym¬ is a happy individual. In fact, he is usu¬ “A great difficulty in arriving at a high 6. What is the history of the vogue for this music better than he did in recording specimen of what human nature can be perfected to eliminate this difficulty. By the kettledrums. The contemporary com¬ pani are actually as difficult to play as ally the most light hearted member of the standard of results in the case above men- memorising music? the Fifth. In fact, his performance is one like in certain circumstances." turning a small crank at the bottom of the posers, too, make much use of them. The the violin. Where the violinist starts on orchestra. And the next time that you of the most vivid we have ever heard, Edwin Fischer in his performance of kettle, the rods are simultaneously and complete bass accompaniment toward the his instrument immediately, the expert attend a symphony concert, be on the look¬ despite his tendency to draw our attention Bach’s “Chromatic Fantasy and Fugue evenly adjusted; and it is but a matter of end of Ravel’s Bolero is taken by the tym¬ tympanist begins first on piano. After out for a tall, dark person who occupies to detail which speaks for itself and his (Victor discs 8680-81), once again prow seconds to get the tympani in tune. pani. Johnny Green’s “Night Qub Suite” gaining a fair knowledge of this he learns a prominent place in the rear right-hand capricious use of unmarked rubati. The himself the ideal interpreter. This work The tonal range of a pair of tympani is assigns the theme to four tympani in the to play snare drum, bass drum, traps, cym¬ side of the orchestra, and is apparently M a king Sure of Responses recording is realistic and well balanced. one of the greatest of its kind ever written, from E81.5 to G194, the smaller drums Black and Tan movement. They also have bals, bells, and xylophone. This course of Sir Henry J. Wood’s new recording of is equally effective wliethcr performed on ranging from B-flat 125.5 to G194, the a special theme in Gershwin’s “Piano Con¬ study continues about five years, and then doing nothing but now and then hitting Schubert’s ever-popular “Unfinished Sym¬ the organ, for which it was originals' larger from E8I.5 to C-sharp 137. (In¬ certo in F.” A new dance rhythm in he begins the study of tympani. The some shiny kettle-shaped things. He is By Chloe H. Null phony (Columbia set No. 216) is a written, or on the piano. It has been aptly ternational pitch A-435) I have, on oc- five-four time called the “Carlo” has six tympanist learns how to tune by hand or the tympanist. straightforward performance, conceived described as the ultimate to which the and executed with dignity and without Have you ever attended a particularly music needed for the regular service is as composer attained in the advancement and false emphasis. The song-like eloquence rousing church meeting where, as a climax simple as it is effective. Clip from an old perfection of organ technique. The Fugue, and the dramatic strength of the music to the occasion, someone called for the hymnal the Doxology, Gloria Patri, re¬ founded on Bach’s own name, is not only How a Band May Acquire Beauty and Solidity of Tone are brought out however in the manner Doxology—and then this happened: You sponses, seven-fold Amen—any such music by Bach, as one writer, has said, but « of the scholar rather than of the poet. The were ready to burst forth into joyous notes that may be used regularly at your par¬ Bach, the complete Bach, triumphant as By J. Andrew Wiggins recording is lifelike and rich. It seems of praise, at the moment, but your ardor ticular church, and paste them securely to man and artist.” , almost unnecessary to add that this is the cooled while the organist leafed frantically thei music rack of the organ, placing them Ormandy stresses the exuberance and NSTRUMENTALISTS, as well as cipally of scales and arpeggios, and the Ten to fifteen minutes of each and every another point of great value will be best reproduction of the “Unfinished” so I through the hymn book, possibly turning far enough to one side so that they will elation of Mozart’s “Eine kleine Nach- vocalists, realize the importance of achieved, that is, the improvement in solid¬ far issued on records, because that was musician who can play well at sight has rehearsal should be devoted to this work, to the index before he located the necessary not be covered by the music books regu¬ musik" rather than its sentiment (**** scale practice as the first requirement accomplished that feat because he has made and if it is carefully done it will soon be ity of tone production. This in itself is discs 8588-1698) These discs are a tribute music. Or perhaps, worse yet, you were larly used during the services. The glue timePnme reaS°n f°r ’tS releaSC at this in the building of tone; indeed, one can himself familiar with most of the forms discovered that the usually weak parts of one of the major problems that most bands that organist, forced to suffer chagrin be¬ will not injure the finish of the organ rack to the string section of the Minneapolis scarcely become an ordinary player on of scales in use. have to solve in order to make a reputa¬ It is particularly fitting that Sir Dan the band, the second clarinets, second cor¬ cause of the delay you were causing the should any subsequent organist wish the Symphony and to its conscientious con¬ any instrument without much of it, and Playing of the scales well in the keys nets and horns, ye^ and even the basses tion; inasmuch as “faulty intonation” and Godfrey and the Bournemouth Municipal congregation eager to begin singing. clippings removed, but do not worry about ductor. The recording is excellent it is positively surprising the advancement in most common use can best be acquired will become remarkably proficient in the “lacking in solidity of tone” are two of A sure preventative for such situations, that—no organist who has experienced the that can be made by a band that will seri¬ by unison practice by the whole band, execution of scales, and the sure result the most common comments made by and one that will eliminate also any anxiety convenience of these clippings so placed will music t. ously spend some time at each rehearsal going through each scale, up and down will be that the whole band will play with judges at band contests. over having ready exactly on time the ever want to do without them. vital awakes from you when yc are reminded by the instru- on scales. ments."—Walt Whitman very slowly several times, then increasing a better tone. Faulty intonation is primarily due to Melodies are composed and consist prin¬ the speed, both legato and staccato. Not only will the tone be improved, but (Continued on Page 547) 514 THE ETUDE SEPTEMBER. 1935 515 COURSE MUSIC EXTENSION STUDY Analysis of Piano Musk A Monthly Etude Feature appearing in of practical value, For Piano Teachers and Students the Music Section hy an eminent of this Issue The Teachers’ Round Table Specialist By Dr. John Thompson
Roll the notes and toss them off while th theme and carries on until measure seven¬ The march of the huntsmen beginning at Schoolbells in the distance and Youth left hand keeps rather an even pace. Be teen is reached where the theme appears measure forty-five has the theme in the No question will be answered in these columns unless accompanied by the full name streaming back sun-tanned and with new careful to sustain the basses in measures in minor mode, played rather slower and left hand for the first two measures, an¬ and address of the writer. Only initials, or a furnished pseudonym will be published. vigor to accustomed routine all over Amer¬ three, seven, eleven, fifteen, nineteen, and depicting a tale of winter, bleak and dreary swered by a two measure phrase in the ica! It is heartening to think how many so on. After the short opening phrases according to the text. After the r'tard right. Alternation continues throughout give generous space to the subject of ad¬ of these young people resume music study the right hand responds with a long legato and pause at measure thirty-two the sum¬ this section. The “returning home” theme Certificates and Diplomas vertising. Fashions in printing and design as a matter of course every September. phrase which begins at the end of measure mer theme reenters played up to original at measure seventy-seven begins forte. o will seem to change with the clock. Size up Music is a primary human instinct, other- four and is in effect until the first beat tempo and with a cheerful forte. -e three music pupils \ gradually diminishing in tone to pianissimo required work for w the audience you wish to approach and ivise these busy youngsters would not ac¬ of measure eight. At measure twenty- usic. The school does at measures eighty-nine and ninety. Close MAYAN SUN DANCE make your appeal accordingly, just as cept it as part of their normal curriculum. seven a pianistic figure appears divided recital The responsibility of music teachers to with two chords, played robustly, as in¬ By Cleo Allen Hibbs planning for them 1 though you were talking to them in person. between the hands which must be made to Frankly, it is a little late to think of whom pupils are intrusted is a heavy one. dicated. The Mayan Sun Dance is a religious rite tifleate. I would like to k sound as though played with one hand. I could get the music certuicuie buu circulars just now. Better get them ready By their very attitude toivard the art they The second section in the dominant key, and therefore the treatment of this little do you think it advisable to give MARCH OF THE SEA GODS one? They will have three years of for presentation in January. inspire or cool the ardor of the student. G major opens with short two-note phrases composition should have a certain dignity Upon their choice of material for use at By Montague Ewing standard v—* —1 answered by two-note slurs in the left and solemnity. The dance is an important a in the keyboard rests the decision as to 1 I would 1 Which First? Here is another Montague Ewing com¬ hand. This procedure is in keeping with part of the worship and ritual of man)’ college. whether the flame of enthusiasm is to be position, very descriptive in character. primitive peoples. fanned into a steady glow or prematurely the intent of the title. Introduce the awe-inspiring procession The piece ends with a short Coda, the The chord progression in the right hand snuffed out. In the matter of certificates or diplomas, of sea gods with all possible decorum and should have plenty of rcsonsancc, with a Let us therefore as teachers approach last two measures of which are played The Etude has always tried to make clear pomp. The right hand should be accented little emphasis on the upper or soprano thoughtfully and in the light of modern heavily—the notes broad and dignified in that the values of such credentials de¬ knowledge the problem of guiding budding voice which carries the melodic outline. pends entirely upon the reputation for i the piano first. Some effect. The roll in the bass suggests the NOCTURNE, Op. 15, No. 2 nds have musicians aright. The material printed in The open fifths in the left hand are rem¬ ability and scholarship possessed by the dull roar of the sea. At measure five the By Fr. Chopin iniscent of the monotonous tom-tom accom¬ violin, saying The Etude merits the attention of pro¬ actual march of the legendary figures be¬ individual or institution granting the cer¬ -: is so dlfflcu. paniment so often associated with dances he wasted __ in acquiring gressive teachers and is a mine of treasure gins. Give the utmost resonance to sus¬ Of all the nocturnes written by Chopin, tificate. There is no reason why a teacher of this character. in which they 'may delve again and again. tained chords and even the staccato chords the F. sharp, No. 5 probably has the most should not give a certificate for work ac¬ s advised that The first section is in E minor. The Start the new season ivisely by giving due should have that suggested breadth which universal appeal. The haunting melody is complished. Diplomas in attractive form second is in A major, subdominant key. consideration to the possibilities of the adds to the grandiose quality and solemnity not easily forgotten and this work is con¬ may be secured from your dealer. All foundation and an ii stantly chosen for program use by great Note the accents appearing on the weit that is necessary is to have these filled in. teaching material presented each month in of the march. The tempo should not be to know your opinion i your copy of The Etude. too fast, since stateliness should pervade artist and aspiring student alike. The beats at measures twenty-one, twenty-two If you have a good engrosser or good pen¬ ter.—E. R. I. every measure. Do not be tempted to reader's attention is directed to a Master and twenty-three, causing a syncopation man in your neighborhood, this may be typical of music of this nature. After done by him, but most teachers personally In European conservatories of music it AUTUMN REVELS hurry the triplets which appear in the left Lesson on this number elsewhere in this measure thirty-two the first theme is again has long been the custom to make the By William Scribner hand at measure seventeen and eighteen. issue of The Etude, written by the great fill them in by hand. pianist Mark Hambourg. It is a compre¬ heard—D.C.—and closes on the E minor Many pupils take great pride in having study of piano compulsory with all stu¬ Have you been at a loss for a short and The second theme at measure twenty-one dents taking up other branches of the art. hensive study of the work and should be chord at measure sixteen. such a certificate or diploma. The word Reduced facsimile—real size 10 x 8 inches. effective number for a Fall recital pro¬ opens with a trumpet call which should The student who confines himself to the be clear and pronounced. Let the last read carefully by pianists of all ages and “diploma” is usually associated with a gram? very valuable because of the teacher’s rep¬ of the series is devoted to a special tech¬ violin alone can never have more than note of this call, the whole note, be given stages of development. Once, a number of DANCE OF THE DEBUTANTES special distinction or a degree conferred Autumn Revels will meet the need of utation. Leopold Auer is quoted as saying nical subject. The advantage of this is a partial grasp of the whole musical enough resonance to sing through the two years ago it was the writer’s great pleasure By Robert Nolan Kerb by a college or a conservatory. A recog¬ many teachers and students in this emer¬ to a friend, “When I charge sixty dollars that such passages begin to have musical, scheme. The indispensability of the piano measures as indicated. The trumpet call to hear Mark Hambourg play this beautiful An entirely different sort of dance from nition of merit that is too pretentious, com¬ gency. Its measures have something of an hour for a lesson, I get fifteen dollars (that is, melodic) value and hold the at¬ is self-evident to all mature musical edu¬ is repeated at intervals throughout this Nocturne. The memory of that perform¬ the preceding is this one by Mr. Kerr. ing from a private teacher, might be the gusty quality of autumnal weather. It for instruction and forty-five dollars for tention of the musician to better advantage. cators. Only through it can one gain an section and should be distinct at all times. ance is still alive and lovely and Etude This is an interesting little study in chord considered in questionable taste. However, abounds in legato flurries up and down the the name of Leopold Auer.” The special books indicated are: insight into the whole musical fabric. It It keeps building in power until the climax readers are most fortunate to have at their clusters with a certain pianistic as well a fine looking certificate is preferred by scale simulating the dry rustle of fallen And Auer was right, because according 1. Arpeggios ■ is very well to say that this can be done is reached leading into the octave passage disposal this Master Lesson from the great most students to a letter. Such a certifi¬ leaves driven before the wind. Bring pre¬ as musical value. The broken chord ap¬ to the law of supply and demand, there 2. Double Notes through the study of harmony and theory measures thirty-five and thirty-six. Russian. cate looks better in a frame and many cision and accuracy to the learning of this pears first in the measure as melody in was only one Leopold Auer among a hun¬ 3. Hands Together and to point to the case of Berlioz and The next section, measure fifty-three is students have them framed. little piece and then play it with freedom triplet form. This is played by the right dred thousand of his contemporaries. 4. Left Hand Technic others, who could not play the piano, but in G major and quieter in mood, played Again, let us say that the thing that and abandon. Some changes in pace are hand. The same chord follows next in the 5. Octaves and Chords such cases are very rare. piu legato e dolce as indicated in the text. ay CARL CZERNY counts is the signature of the teacher on marked—for example the ritard at measure left hand, the notes this time being struck 6. Right Hand Technic On the other hand, you are right in A short Coda built on the trumpet call Here is an old friend or enemy if y together and accented. Similar treatment the certificate and what stands behind that Advancing Technic seven and the accelerando at measure signature. The signature of Marchesi, Please advise me as to some worl 7. The Trill saying that a violin technic should begin which opened the second section closes the feel that way about it! continues throughout the first section. The on piano technic in exercise form fo: thirteen. Discreet elasticity should be Stockhausen, Auer, Leschetizky, Hofmann, 8. Various Difficulties. at a very early age. Why not get a start Most Etude readers of maturity “gri right hand prepares, as it were, the chord daily practice. I have just finishei employed throughout however. Hutcheson or Ganz on a letter or a certifi¬ "Finger Gymnastics, Opus 60." In with piano and then, after a year’s study, The tempo should be fairly fast and the up” on Czerny Op. 299 and so this partic to be played later by the left hand. I. Philipp, and would appreciate you: TINTINNABULATIONS cate turns a piece of paper into a valuable start the violin and continue the piano as lar Etude has been a milestone for most Alert teachers will of course recognize Circular For New Business pedalling studied. In the first theme the By Nicolas Slonimsky document. Every teacher who signs a cer¬ a collateral study? Many of the great pedal goes down on the first beat and up us along the steep, technical road to Pi in this little piece a study in chord analysts tificate should feel an inspiration to make violin virtuosi have also been accomplished This altogether charming if short sketch nassus. This encounter, however, fin as well as a possible addition to the juve¬ on the second. In the second theme the his work more and more worthy and his M. Philipp’s “Finger Gymnastics,” pianists. Kreisler, in addition to being an pedals should be prolonged because of the is descriptive of the great carrillons which our old acquaintance wearing brand m nile repertoire. There is opportunity for name better known. The United States which was written at the suggestion of excellent violinist, has written some of hang in so many old European belfries, de¬ garb. The study has been cleverly adapt that they do not sustained bass notes. The short pedal is some crossing of hands, the left over the Treasury stamps its authority upon a James Huneker, to fill an important tech¬ in this bustling the most popular piano pieces of the day. used again at measures twenty-three and caying now, but famed in history. These for the left hand, the material being us age.—B.' right and the right over the left. The piece of paper and that paper becomes nical need in American study conditions, twenty-four. Variation in dynamics will have, beside the low toned bells familiar as accompaniment to a melody in the ric title suggests of course, that this compo¬ to our ears, several octaves of high toned worth $1.00 to $1,000. J. P. Morgan can is used to amplify the same author’s “Com¬ You are quite right. The appearance of The Eternal Question lend color to this, little sketch and tones hand. sition be played gracefully and daintily. bells. sign his name to a piece of paper and plete School of Technic.” In continuation a circular has much to do with “selling What are the prospects for busi¬ should be thinned or thickened at individual The arranger, the late Madame Li' make it worth a million dollars. A very of the technical program of this great the idea.” Go to an up-to-date printer and ness for the music teacher this sea¬ discretion as the passages rustle along to Two things are of especial interest in A JUNGLE JOKE son?—F. E. mewska was one of the leading pia good question for any teacher to ask, in teacher, the student should become ac¬ get his ideas on style. The main principles the somewhat brilliant ending. this little piece. One is the harmonic pro¬ By J. Lilian Vandevere teachers in America, and her article. ; reading this Department at this moment is, quainted with his masterly work, “New of getting business remain the same as No one knows positively. All that we gressions and the other the sudden changes pearing in this issue, entitled “W in key. The first four measures are in A little humoresque for the very young “How much is my signature worth and Gradus ad Parnassum” in eight volumes. they are excellently presented in “Teach¬ know is that the sales of music and books Czerny ?” should be of the greatest interi HUNTING PIXIES A-flat major, the next four in E major is this. It has to do with the “mon*i2 how can I make it worth more to my The plan of this work is to present short ing Music and Making it Pay,” by D. K. with the dealers show a pronounced ad¬ and value to teacher and student alike. By Evangeline Lehman followed by four more in C major, only that lives in the tallest tree," and should be extracts from great masterpieces which Antrim and “Business Manual for Music vance and that piano sales for 1934 were Be sure to read and digest it. Onlv aft Stimulating to the imagination is this to return once more to A-flat major. Note treated as a sort of musical joke. It Sometimes study with a teacher becomes demand special consideration. Each book Teachers,” By George C. Bender, which eighty percent above 1932. the latter process is completed will one latest bit of descriptive writing which The the phrasing to be given this little four delight the youngsters to sing the words ab e to elicit from this study the intangil Etude has secured from the pen of Evan¬ measure subject. The first two quarters as they play and this will help to establish values which made this fine musician see geline Lehman. The first four measures are staccato followed by sustained notes the proper spirit of fun. The treatment much more than mere notes in a Czer should be lively throughout. announce the hunting horns in the conven¬ in soprano and bass against legato progres¬ exercise. 9 The Etude Music Magazine has the honor of announcing that it has secured, as the Editor of the tional progression of intervals, that is, sions in the alto and tenor voices. Note, "Teachers’ Round Table Department,” the eminent pianist and teacher, sixth followed by fifth and third. The too the change in dynamics each time this TOY TOWN SOLDIERS Important next four measures echo the horns softly. subject appears in a new key. Pedal marks By Ada Richter By Frederic Groton Next comes the start of the chase, the are very clearly indicated and if the text If you are seeking a little piece to de¬ motif of which still suggests a trumpet is meticulously followed as outlined the Groton’s little waltz is a piece d velop the drop-roll principle employed w GUY MAIER call. At this point preserve at all costs presentation of this short number should for first graders. The melody lies playing a two note phrase, here is one Announcement a good, galloping six-eight rhythm. Ob¬ be most effective. left hand throughout and remains ready to hand. This little number abounds Mr. Maier is the teacher of the distinguished young American pianist, Dalies Frantz. Mr. Maier was serve that the chase begins pianissimo and five finger position. This piece c< in two note phrases followed by staccato for some years head of the Piano Department in the University of Michigan and is Director of the builds as the hunters approach their quarry. HIPPITY-HOP used for rote work if desired. It quarters and by the time a pupil has learnw Measure thirty-seven is marked piu forte By Arthur L. Brown at rather deliberate tempo and is to play it he not only has increased Jw* Summer School of the Juilliard School of Music. As an American, trained in the finest American followed by a crescendo at measure thirty- The little rhythmical figures in the right Played gently and softly, subduing tl repertoire but has developed of a certainty traditions, he is acquainted with the best in our modern school of study for the piano. nine which reaches fortissimo at measure hand of Mr. Brown’s composition are de¬ hand accompaniment chords and giv a more graceful phrase attack. The entire ferty-one. scriptive of the title when correctly played. left hand melody the best singin piece is in march time and is played a possible. The first theme is the ] moderate tempo. 516 SEPTEMBER, 1935 517 the ETVDE A Master Lesson by Mark Hambourg FASCINATING PIECES FOR THE MUSICAL HOME
On the Nocturne in F-Sharp Major, Op. 15, No. 2, of Chopin
The Eminent Russo-Anglian Virtuoso Pianist, hailed all over Europe as The Modern
Rubinstein” presents an exceptional study of a great masterpiece
of smoothness of execution. a good singer would sing such ornaments fore proceeding to the next note. The trill THE NAME, nocturne, was first A new phrase starts in the right hand, used by the composer and pianist, to his song. on the second beat in measure 8, in the on the last half of the second beat in meas¬ John Field, to denote a quiet, re¬ treble, must have a small accent; and the ure 17; and this must be rendered in a flective kind of pianoforte piece. Its origi¬ Some Technical Helps trill itself must not be played too fast. In sadder mood than the first bright subject nal meaning was a sort of serenade, and it HE MELODY, itself, must be ren¬ measure 9 and on the second eighth note of Also, until measure 22, the tempo should was thus employed by Mozart. But John dered with a singing tone, and with the second beat, where a little ornament Field, by giving to four or five lovely strict attention given to the rise and fall leads back again into the first theme, this be somewhat slower. In measures 23 and idyllic compositions of his own the name of the melodic line. It is also most im¬ ornament and the chord in the left hand, 24 the music should return to the original of nocturne, established the title as a popu¬ portant not to forget to support the melody, on which it is based, must be played with tempo, and the sextuple! figure on the lar one for this type of pianoforte work. throughout, with the bass -accompaniment, a full tone; and a slight breath pause second beat of measure 23 should be Field’s nocturnes were intimate poems of to which must be imparted a warm quality should be made after the chord on C-sharp brought out with suppressed passion, whilst grace and charm without oversentimental¬ of sound, thus making it a satisfactory which precedes it, whilst the A-sharp, a from there onwards to measure 25 the ity, and Chopin, who later immortalized the framework for the lovely song and its con¬ dotted sixteenth-note on the second half tempo should accellerate with growing nocturne by the exquisite pieces he wrote stant ornamentations. of the second beat, must be played linger¬ emotion. In measure 25 a ritardando on under this title, owes much to Field who The Nocturne starts in messopiano tone, ingly. the reiterated A-sharps in the right hand, prepared the way for him. For Chopin’s with a gentle decrcscendo on the first beat on the second beat of the measure, leads nocturnes embody much the same kind of of measure 2, and another one (always We Seek the Soul into measure 26, where we arrive at the emotion, the same form of melody, and the keeping the music piano) on the third beat OMING TO measure 13, there should most difficult part of the Nocturne, which same delicate embroideries on the themes, of measure 3. be a small ritardando in the beginning is marked Doppio Movimento. (Doppio which characterize, on the lesser plane, In measure 5, where there is a dotted of the measure, with a return to tempo in Movimento means the same metronomic the charming lyrics of Field. It is inter¬ eighth-note on the third beat in the treble, the second part of it. A crescendo, lead¬ length of beat, but with the notes of two esting to note that Chopin himself used to a slight pause just a little more marked ing up to the sforsando on the high F-sharp of the former beats pressed into one of recommend Field’s nocturnes to his pupils should be made after this note, as though in the treble, should be observed in measure the new ones.) for the study of good singing tone. taking a breath. fifteen; and the tone should sink again to Schumann called Chopin “the boldest, Another pause just a little more marked messoforte at the end of the following The Spirit Changes proudest poetic spirit” of his time. Cer¬ should be made on the second eighth-note, measure. The last note in the bass of ERE OCCURS a change in the char¬ tainly as a composer for the pianoforte he F-sharp, in the treble in measure 7; in fact measure 16, which is a B-natural, should acter of the music; and the happy stands in a world by himself, as an inventor this pause should amount to a definite, be played by the right hand, in conjunction song which fills the first part of the piece of fascinating rhythms, haunting romantic though slight, fermata on the F-sharp, be¬ with the G-sharp in the treble, for the sake disappears. In its place we now have a melodies, of magic harmonies, and delight¬ restlcss invocation which increases in in¬ ful sentiment. tensity and yearning until measure 43, when it gradually dies down again and Every Tone to Sing sinks away into measure 49. The Doppio IN HIS TEACHING of pupils Chopin Movimento is extremely difficult to play seemed to lay most stress on the im¬ correctly, owing to the cross rhythms in portance of touch and would declare that the right hand. The lower part of the everything in his compositions must be music for the right hand is in figures of played with a singing tone, the passage as five sixteenth-notes, which must fit in with well as the melodies, and equally so the the two-four time of the melody imposed bass and the inner parts. upon it from above, whilst the bass also With regard to the fact that so many is in syncopation with the treble as a whole. players nowadays allow themselves great The first eight measures of the Doppio license in the use of tempo rubato when Movimento must be played in equal groups rendering Chopin’s works, it is instructive of five, in the running sixteenth-note fig¬ to know that he himself used a metronome ures in the right hand, the melody being while practicing, and did not encourage well brought out above it. and the passing emotional distortions of the rhythms of his notes in the melody being played very works. “The singing hand,” he said, “may lightly. trespass on the time, but the accompanying In order to master successfully the diffi¬ one must keep to it.” He would liken the culty of this Doppio Movimento, we will music to a tree whose branches are swayed here give five different ways of practicing by the wind. The trunk of the tree, he it, each of which should be studied with would say, is the steady time, the moving care. These should be found very helpful leaves are the inflections of the melody.” in mastering the technical problems of this part of the composition. A Work of Beauty First we study the melody, with the right WE ARE CONSIDERING here the hand. Nocturne in F-sharp major, which was an early work of Chopin, published in 1834 and dedicated to his friend Hiller. It opens with a simple, joyous melody which, however, is soon elaborated with all and so on, in octaves only. kinds of graceful embellishments, and these Then this figuration, embellishments Chopin seems to weave Ex.2 with ever increasing subtlety each time the fancy strikes him. The beginning of this Nocturne, in fact the whole of the first part of the work up to measure 26, should be played with flexi¬ ble rhythm and with the embellishments of the melody introduced with restrained. rubato effects. These embroideries (if I may call them so) must be played grace¬ fully, without hurrying over them, the en¬ deavor being to give the feeling of porta¬ mento from one note to another, where the and so on, bringing out the melody fr°® phrase demands it, in the same manner as F L 1 „ uimiNOWN PAINTE from the collection of Alfred Cortot below. (Continued on page 564) 518 THE ETUDE AUTUMN REVELS ir r ^ * r / 25 n 30 fyy r; ft r £ .. £ #—.# 1 3 4 5 1 3 13 4 1 K 1
The chase draws near
40 ) ^ pi-itf cresc. / 35 l « 1*- T*- « « 1*- !•- £ g g j « £ » #
March of the Huntsmen (with humor) 3| K ppi
L~-—I r « Z 45 > > / 4>:-^ f Rif £] #=t= — EF*-r ■»
l^'wl V F^FF^ =fc-JUT] =R- -K v v jt v uUJTU =g3r- 1 Sr" v •3 * r p ~m-1-- 50 r : > > > > . & l^-r > r >1 nji em Jr--7r 7I inln
_ 4 3 5 3 3 ^ V/k~ l^' - f* fa# 0 F 1* _r ^ 1 hjTI- ffe-n ^--P-££r s> 1 yc&n =M= 60 > 65 ^ > .f > A^j isp ipj " ‘ hU”‘ •«— ■ f» «». development » *3 3 1 3 3 1 ^ Allegro m.m.J. = 12o MARCH OF THE SEA GODS This p.np„u, pteee «, pi.n» writlng pictures a procession of Neptune and his court, nepnesen.^.h. grandeur and grotesque .raged, ,1. ss. It should be played with vigor and force, paying special attention to the accents and stacca o MONTAGUE EWING
Grade 4. PompOSO M.M. J =108 A A 5
TINTINNABULATIONS Very few Americans have heard the great carillons in the belfries of Europe.Therefore they do not know that in addition to the sonorous low-toned bells, there are several octaves of bells with high tones that contribute a kind of ethereal effect that is unforgetable. It is this kind of a belfry that the com - poser had in mind when writing this. .ITr,AT ct nwnucvv Or.de 4. Allegretto commodo m.mJ|=116 NICOLAS SLONIMSKY
Tf fff Copyright MCMXXXV by Oliver Ditson Company, Inc. International Copyright secured SEPTEMBER 1935 523 THE ETUDE MASTER WORKS
In Tempo and gr&dn&lly acceller&ndo. SEPTEMBER 1935 THE ETUDE 525 See Mme. Liszniewska’s article ETUDE “Why Czerny?” in this issue. Left hand adaptation of a famous Etude Grade 7. from the School of Velocity, Op. 299 CARL CZERNY Arr. by M. Liszniewska Presto M.M. J. =
526 L TEE ETUDE 7
OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES FAITH DIVINE S.E. MEKIN ALFRED WOOLER
faith, 0 Lord, I look to Thee For lov ing care and sym-pa-thy; E - ter - nal God!what-e’er be-tide, With I shall ev - er dwell in love With all the ran-somed host a-bove, In songs of praise to wor-ship Thee, In
TWILIGHT TALES
Copyright 1912 by Theo.Presser Co. British Copyright secured 528 *2nd time from here to* k THE etude / Great: Clarabella 8' A SONG OF SUNSHINE Swell: Stop.Diap.8J Salic.8' Prepare i Choir: Soft 8'& 4' Pedal: Soft 16'& 8' ROLAND DIGGLE
Owing to the diversity of organs the registration is only suggestive. Copyright MCMXX by Oliver Ditson Company International Copyright secured THE STUDS SEPTEMBER 1935 531 1. In the sweet gloom of this Septem-ber day, I wander through the paths we two have trod; And still a - 2. The stream glides on, as in the by-gdne years, And frets a - long the peb-bles in its flow; I gaze a-
long the dear fa - mil-iar way, Grow the blue as - ter and the gold - en - rod. Here Is the round with grief too deep for tears, For you did love me ^in the long a - go. Wher-e’er you
clem - a - tis with snow-y mist, Fes-tooned the boughs be-neathwhose shade I stand, Here, where the know your thoughts must turn to me, And you re - mem - ber that Sep - tern - ber day, Some-times I
Words by ELEANOR P. LANDIS SEPTEMBER
clem - a - tis withsnow-y mist, Fes-tooned the boughs beneath whose shade I stand. know yourthou^hts must turn to me, And you re- member that Septem-ber day.
Copyright transferred to The John Church Company, MCMIX Copyright 1894 by Loudon G. Charlton Copyright MCMIV by Loudon G. Charlton SEPTEMBER 1935 THE ETUDE 533 SOIREE DE VIENNE, No. 6
THE ETUDE 535 PROGRESSIVE MUSIC FOR ORCHESTRA FLUTE CLASS COLORS Tempo di Marcia MARCH R. O. SUTER
nil Ir2 1
ft* %rnHTnrmV rriYfrrif*pr*rf i, if i,
Et ALTO SAXOPHONE CLASS COLORS MARCH R. O. SUTER Tempo di Marcia
1st Bt TRUMPET CLASS COLORS MARCH Tempo di Marcia R. O. SUTER
ri *ra '
536 British Copyright secured 537 THE ETUDE September 1935 3 4 FASCINATING PIECES FOR JUNIOR ETUDE READERS A fl 1 3 R
~ *' s Gr‘,'e ' Softly and gently FREDERIC GROTON, Op.C N01 \t)|F 4r r • ■ SUMMER AND WINTER 20 ivi.M.M. ivi. J=144m - . | 4 3i i p-,r l - ■0^0-0-0 0 \-0- 0- 0 l 0- 0 L 0l 0- 0- 0- 0- hum ming-, Sum - mer’s com - ing-, Bees 5_ are 0-ve7t^ P_^
l 2 2 i* 3 4 4 1 A JUNGLE JOKE Three Important Chords in Music J. LILIAN VANDEVerk (Continued from page S08) Y B r p .->» ^ 3 4 • Earn A Teacher’s Diploma a u —s—r -— 4. Of course the bass, when on the 7th ; of the factors i of the scale (leading note), is never doubled save when forced by a sequence. When several of these chords are used The fin - est home in the in succession, especial attention must be The mon-key lives in the tall - est tree, f paid to the voice leading, (a) They ap¬ ■nf pear when used in similar motion with the j r - o - soprano a 6th above the bass, the soprano and alto moving in similar motion with y ® p p~ ft ft the bass, with the tenor adjusted so as to A Bachelor’s Degree avoid consecutive Sths and 8ths, and with While, in the eighteenth century, this the bass often doubled in alternate chords. chord, as forming part of cadences, was worked a little too hard (as was the Ex.20 diminished 7th later with Liszt and In every community there are ambitious men and women, who know the others), it has not lost its strength when / it | p advantages of new inspiration and ideas for their musical advancement, but f~ used by one who knows how and when. As with simple triads, nothing can take the still neglect to keep up with the best that is offered. • 1 place of it for certain important effects in They think they are too busy to study instead of utilizing the precious world, says he. No el - e - va - tor runs to the roof of sky, But minutes each day which now go to waste. ,/P ' The most successful musician is always busy. The demands upon his time u O --- 10 Besides its use in cadences, there are other ways in which it occurs, as between are never ceasing—yet he always finds time for something worth while. It is a triad and its repetition, as a passing note, to such a one, chiefly, that Extension Courses offer the greatest benefit. or in a repetition of the same harmony Because it is hard for him to give up his interesting class or position and go while the bass changes. It will be noticed that the fourth example is made more away for. instruction. But extension work is equally advantageous to the beginner or the amateur. natural by the stepwise progression of the The work can be done at home in spare time with no interference with one’s ?k ~ n regular work. Ex. 25 r r r r The Increased Demands for DEGREES have Resulted in $tr3 u r 1 ’ 2 -j 8 mon-key nev-er thinks he is Larger Classes for the ADVANCED COURSES offered by the up too high. He just drops in on his friends for . tea. S rit (b) when the soprano and bass are in con¬ trary motion, the bass is doubled with every UNIVERSITY EXTENSION CONSERVATORY. Look back over the last year. What progress have you made? Perhaps =£=-r ~~~ you’ve wanted”to send for our catalog and sample lessons before—just to examine b-M them. That is your privilege. We offer them without obligation to you. Ours is one of the leading musical institutions offering the finest musical instruction that Copyright 193.5 by Theodore Presser Co. can be obtained anywhere in return for the spare moments you are sure to find. British Copyright secured But you must not rely upon your good intentions, as you have in the past, or you will miss this 'opportunity. TOY-TOWN SOLDIERS There is a greater demand all the time for the courses we offer because they fit Grade 1|. Moderato M.M. J = 116 teachers for better positions. And the service offered to teachers in our classes ADA RICHTER continues long after the diploma or degree is awarded. This is an age of special¬ ization and the specialist is earning fully double or more the salary of a musician The Six-Four Chord In the following, from the Third Chorale with only a general knowledge. Openings in the music field are growing very THE CHORD of the 6th and 4th is for Organ by Cesar Franck, rapidly. There are big paying positions for those who are ready for them. formed by so arranging the tones of A Diploma is the key to the best teaching positions. Do you hold one? a triad that what was the fifth from the bass, in the original position of the chord, Our Diplomas and Degrees are Awarded by the now becomes the bass-note, while the third Authority of the State of Illinois of the original chord takes its place at a sixth above the new bass and the root of It is up to YOU. On your own decision will rest your future success. Fit your¬ the chord is at a fourth from the bass. As self for a bigger position—demand larger fees. You can do it! You can easily and quickly fit yourself right at home through Extension Courses. has been seen, the chord of the 6th presents This great musical organization, now in its 33rd year, has developed and trained many problems; but with the chord of the more accomplished musicians and more successful teachers than any other musical sixth and fourth the procedure is com¬ some of its strange effect is the result of School in existence. And we offer you the same advantages they received. paratively simple. It is used mostly as a not doubling the bass; while in this, from Now is the most opportune time to clip the coupon below. It will bring you factor in a cadence, although not infre¬ the “Sonata, Op. 1” of Brahms, information about our lessons which will be of untold value. So don’t waste quent as a passing chord (as in Ex. 25) ; another minute. Take advantage of Your Opportunity. while the bass is practically always doubled. This chord was not recognized Mail the Coupon TODAY! as a regular part of the vocabulary until well after the triad and its first inversion. University Extension Conservatory It may have come in as follows DEPT. A-34, CHICAGO, ILLINOIS Ex.23
is a rare instance of successive 6-4 chords, made to seem natural by the stepwise pro¬ gression of the bass.
□ Piano, Normal Course 0 Trumpet 0 Guitar for teachers □ Cornet 0 Ear Training and Concentration □ Piano, Course for Stu- □ Voice Sight Singing □ History of Music 0 Mandolin □ Public School Music □ Choral Conducting 0 Saxophone By Gladys Hutchinson Lutz □ Harmony □ Clarinet 0 Piano Accordion □ Adv. Composition 0 Violin
A fascinating method of procedure in penny from the left and place it on the Name . Age . Preparing the allotted work for the next right of the piano. If you should succeed music lesson is to play a “game of concen¬ three times but fail on the fourth all of the Street No. tration.” pennies go back to the left and you must City . State . Place four pennies on the left hand side start again. of the piano; select a brief passage of Such concentrated effort results in How long have you taught Piano?. How many pupils have you whatever you are about to study and at¬ definite accomplishment. In one half of ?. Do you hold a Teacher’s Certificate? . Have you tempt to perform this passage four times the time the student will accomplish more in succession without_ error of note,. rhythm. than twice as much as in any other pro- studied Hartnony?.Wouid you iiIce to the Degree of Bachelor Copyright 1935 by Theodore Presser Co. whatever principle be involved. For cedure. Teachers will find young pupils British Copyright secured 540 eachL time you 'have succeeded... take enjoying this game. of Music?. THE etude L. SEPTEMBER, 1935 singers must look forward to lives of sacri¬ the main, from any other human individual; fice. More than this, they must find a joy and the same laws of nutrition apply to in their sacrifices for their art. In con¬ him as to all others. The chemistry of sidering the matter of sinus trouble, I must food is a very involved matter and scien¬ refer to the dangers which singers may tists are still investigating its mysteries. incur from swimming. Ask your phy¬ There are certain elemental things that all sician about this. A whole chapter is de¬ should know about food. We should voted to it in my book. There is an know the chemical requirements of the body impression that swimming out of doors is and hew they ore best supplied by foods. less harmful than swimming in indoor The sources are simple. Scientists know pools. This I have not found to be the that fats are deposited in reserve in the case. The indoor pool is often safer than brain tissues, the liver, the lungs, the the outdoor pool. One good piece of ad¬ pancreas and the kidneys, and the sources vice for the singer is to avoid blowing the of fats are animal fats, vegetable oils, and nose violently after, swimming or diving. the carbohydrates (starches and sugars). All of the carbohydrates (particularly We know that the body requires nitrogen, sweets) and the irritant group (particu¬ which comes largely from the proteins we Preserving The Young Voice larly vinegar, pepper, mustard and spicy eat (meat, poultry, fish and some of the condiments) have a banal influence upon nuts and vegetables). In addition to this, any latent or inactive sinus inflammation. the body requires ozygen, hydrogen, carbon, By Cecile N. Fleming Therefore, we may say that to keep the phosphorous and sulphur, all of which are voice in good condition requires restraint, also found in proteins. The approximate knowledge, will power and intelligence; chemical constituency of the body, as given E HAVE voices and natural talents in guiding to the production of pitch and W response that approaches more nearly to and these must be directed by a self-analy¬ by various authorities, is: in our own United States that can perfection by frequent repetition. Especi¬ tone quality. sis, without becoming introspective or compete easily with those of any ally is this true among children, for they The ear is even keener than the eye. Carbon .50 to 55 per cent worrying incessantly about them. In the nation on- earth. Lawrence Tibbett, among are natural imitators. The subtleties of The faculty of hearing accurately, not only Rest at Change of l oice Oxygen.19 to 24 per cent the many who have stated their sentiments the inductive method must be transmitted pitch but even tone quality, will simplify ALLOW THE child to mature •; olden days people used to think that the Nitrogen.15 to 17.6 per cent on this theme, has said, “I honestly believe by the teacher. To improve the child’s vocal training. This faculty must be in¬ ijL both musically and vocally, through main thing about singing was just to sing Hydrogen .... 6.5 to 7.3 per cent that much of the music being written in this voice, cultivate your own so that you can duced by example. induction. Very naturally it will use the a few little exercises after a prescribed Phosphorus ... 0.42 to 0.85 per cent country by Americans—native and natural¬ illustrate correctly. Not only the singing The old fear of imitation is a hoax that head voice. If tlic voice is not turetd or fashion. Now the singing artist realizes (absent in many) ized Americans—is absolutely as great as voice but also the speaking voice will ben¬ has been long ago exploded. Our best strained, there is usually no serious break that there is a world of collateral study Sulphur . 0.3 to 2.4 per cent anything that has been turned out through efit. A child responds inevitably to beauty singers often have been those who admit¬ during adolescence. Any strenuous use of required in singing. (varies; absent in some) the ages by the acknowledged masters of of tone and an agreeable speaking voice. tedly were in close contact with vocal the voice must be carefully avoided. How¬ Of course the singer is no different, in (Continued on page 564) LESTER Europe.” The mechanics of production of tone are artists and practiced imitating their tones ever, any broken or uncertain condition ESTABLISHED 1888 But our natural vocal talent is en¬ not attractive, but acts that induce the and interpretations. In every case this in the speaking voice is conclusive evidence dangered by the typically American slogan, mechanical process can have an appeal to has proved to have been an advantage. that singing should cease altogether until The majority of wealthy “Take the short cut.” The “get wise the child mind. Example will uncon¬ Your own tonal quality must remain the disturbed vocal condition disappears. families do not practice quick” and “get rich quick” urge is par¬ sciously appeal to his hearing and create a just what it is anyhow, as far as individ¬ Delay any study of technic until adoles¬ Hind, the Strong Factor in Singing extravagance; their pos¬ alleled only by the equally vicious desire to genuine interest. uality is concerned. As soon as you learn cence has been established. This is a very make a loud noise. Spectacular power sessions are fine, yet dur¬ Teachers must give more attention to to emit tone into the resonating chambers good time to take up a musical apprecia¬ outrides artistic ideals and everyone as¬ hearing, if the ear of the child is to be able. Very often you will surrounding the nasal cavities, with com¬ tion of the classics and particularly of By Eva Emmett Wycoff pires to be a vocal Babe Ruth.- properly educated. Our aural perception find their piano is a Lester. plete relaxation of the throat and its sur¬ vocal literature—a period that can bene¬ This tendency can be corrected in the of our own tone production is an absolute roundings, you will hear your own ficially include general breathing exercises. schools by cultivating, from the kinder¬ and essential necessity. individual tone quality. The most impor¬ Unfortunately, choir and glee club garten up, the-child’s appreciation, of tone HE SINGER must feel and hear The Well Balanced Breath tant thing in that tone production is re¬ leaders in the United States allow growing T quality, thus gradually creating a desire Think the Tone his voice. He will accomplish this laxation. youth to force the voice, especially in T IS JUST as important to empty the for purity and artistry of tone instead of HE TONE of the voice is governed according to his mental grasp of T dramatic works. The voice of a child lungs properly as it is to fill them in Lester Piano Co. the bombastic and spectacular. This state by the imagination of the speaker. Simplicity a Lure what he is trying to do. The teacher must the right manner. So deep, slow breathing cannot come by reasoning, nor can it be never should be forced down to produce 1306 CHESTNUT ST. There must be a mental conception of pROBABLY the utter simplicity of good •continually remind the student to feel for is required, if one is desirous of good re¬ told or taught. It must be induced. Like chest tonality nor should the one of school tonal beauty before it can be produced. -1- tone production is most misleading. resonance and to hear the resultant tone. sults. Keeping in mind the importance of PHILADE LPHIA a thirsty sponge, the child’s mind will age be given high tenor or low bass parts. This cerebral organization can come only Any very simple act sounds complicated Keep in mind the high, steady vibration. the controlled tongue, lips and breath; absorb sound musical appreciation, will The beautiful clear head tone should be through the auditory nerves. We say when we attempt to put it into words with From one end of the scale to the other, therein lies much of the singer’s success. approximate pitch and breath for tone, if allowed full freedom in a limited range. nerves very plurally, for science has lately detail. That fact makes imperative the there is but one level of good tone—the Strong lungs and a strong body, to¬ given a good tonal example. made the startling discovery of an instru¬ At the first sign of a break, beware. The roof of the mouth (hard palate), includ¬ teaching of singing by induction, example voice of a boy goes down an entire octave gether with an inquiring mind, are the ment that permits the totally deaf to hear ing the gums of the upper teeth. And this origin of a good voice. With the mind Example Outdoes Precept leading the mind to a conception and al¬ at this period. It is imperative that sing¬ through their bones. Absurd as it sounds, gives the facial, or upper lip, and the nostril trained in the way it should think, the lowing that acquired sense to guide the ing cease, with the same consideration for THE BEWILDERING number of this may lead to some beauty of tone for muscular action. and cheek bone resonance. Prove it! careful student should make rapid progress. words that are required to describe the girls, at this time. The fact that their the deaf who are taught to speak. The Take no one’s word for it. Many singers, especially those with a a simple act robs technic of much of its This theory, while particularly success¬ voices change only a tone or two does not utter lack of tonal beauty of the deaf is high compass, lose all resonance in the usefulness. A good example will induce ful with children, in class work, is equally exempt them from care during this very proof that the ear is mainly instrumental Prove the Breathing lower part of the voice. It vanishes into pertinent to the adult. Whether you are sensitive physiological period. AS FOR breathing, test this when lying dull or dead tones, scarcely audible; while down. Do not try to breathe any par¬ the upper voice, even of the contralto, ticular way, but be perfectly quiet for fif¬ will be resonant and brilliant. This is Food and The Voice teen minutes. Then observe if your ribs because the singer fails to control the (the five floating ribs) are steadily mov¬ entire scale. He sings his scale “up and (Continued from Page 507) ing, laterally, out and in. If not, see to it down,” when the truth is that it should be sung on a level, as much so as the key¬ should be submitted to such an injurious tremens, who was very violent and was that they do so. board of the piano is level. experience. controlled with difficulty; he also suffered ■° t^.ieve,ry u Crimina,ity in all its phases affects every tissue in the human body and You will probably discover that the air is the only harvest that one can reap in the Sing of the spring, of flowers, of all a most extensive eruption of the skin, leaves its impress at the expense of the is being drawn into the lungs, the motion Alcohol a Singer’s Poison use of this terrible drug. Finally, all forms beautiful things; and accordingly be care¬ known as hives. individual's health for years to come. So of the ribs seemingly sucking in the air of insanity have been engendered by this ful about the interpretation of the songs. THE SINGER should always beware “The tendency of alcohol to congest the far as the human voice is concerned, it i= through the nostrils. That is the natural, toxic agent; and the best sanatorium* hi or diaphragmatic, breathing. (Look in the As an aid to this, songs will be done much of alcohol. It may become his great¬ upper air passages places it in the category best that a brief reference of its abnormal HARMONY BY MAIL better if the words are studied separately est enemy. I have covered this matter in of a drug and not a food, for even small dered°Uhel7l "*k^utreatin« Patients ren¬ dictionary for the definition of the dia¬ A practical ^and thorough course^of 40 lessons. dered helpless by this poison which de¬ physiologic action on the ears, nose, and from the music. “The Human Voice,” from which the fol¬ quantities, taken over a short period of throat is noted. phragm ; and in a good work on physiology, Music composed to your words. lowing passages are quoted: stroys the highly specialized brain struc- Teach yourself to read poetry, putting time, will tend to congest the nose and “One who is addicted to the pernicious for its action.) Price reasonable. “Pure alcohol, when applied to the skin, ure which nature can never replace Men Now, if you can realize it, you should the meaning into it The Psalms are very throat, giving rise to excessive mucous dis¬ use of alcohol in the form of whiskey or ALFRED WOOLER, Mus. Doc. gives a cooling sensation, and for that and women of former great prominence in sing with this kind of breathing; but, in fine for the study of interpretation. Read 1511 Boone Court Lakeland. Fla. turbances of taste and smell, and a certain cocktails will sooner or later reveal the reason it is one of the constituents of lini¬ every walk of life, individuals who were all probability, you will be lifting your them aloud. One will get an entirely degree of hoarseness which will militate effects in the alteration of the vocal tone ments for external use. When taken in¬ riding the waves of prosneritv 'Cre shoulders and chest, and doing all sorts different and more intelligent interpre¬ against the proper use of the voice. In Invariably it causes decided huskiness of KlNNE MEMORIZE MUSIC ternally in small quantities, it has a ten¬ of gymnastics, when all the time it should tation of what he is singing, through some cases head noises are an unpleasant the voice that will replace the natural Memorizing Course «uick ®nd sure dency to increase the digestive powers by be so simple. Abdominal and chest breath¬ this practice. Another help toward accompaniment. timbre, and in course of time the individual ends forgetting stimulating the secretions of the stomach; ing are not real or natural breathing, but memorizing and interpretation is to copy “The reader has seen the disastrous effects becomes periodically hoarse and an exami¬ MAR'ON KlNNE, 1324 So, Lind.nwoed St., W. Philadelphia.Pa. but in large quantities it has the opposite of the drug called spiritus frumenti, which merely bad habits. They lead to no good end. the words. effect and will produce dyspepsia and morn¬ B&ZXssssi?* nation of the throat will reveal the struc¬ is in truth a death dealer to the consumer, tures of the soft palate, uvula and larynx ing vomiting, a common condition among and whose permanent effects upon the gin markedly congested and almost to the point drunkards. In small doses it stimulates guzzler beggar description. In its wake it of being water-logged." MUSIC PRINTERS the respiratory system, whereas in large leaves hysteria, with all its physical and quantities it has the opposite effect. It is mental handicaps, obsessions, imaginary Look Out for Sinus Trouble ENGRAVERS™0 LITHOGRAPHERS safe to say that in large quantities, alcohol fears, hypochondria, and divers morbid bo‘,y- '*"»• The AVERAGE SINGER has no PRINT ANYTHING IN MUSIC- BY ANY PROCESS has a deleterious effect upon the heart, manifestations beyond cure. Alcohol, as a drug ha
the etude SEPTEMBER, 1935 545 Bands and Orchestras EASY ^^TT^Tetude FriendT~^| Organ and Choir Questions IContinued from Page 515) Answered lack of solidity, and solidity can only be half of a scale either as. &d By Henry S.Fry,aMu8. Doc.^ q
lowering in^pitch^but ^mainta’ining^ the holding Sch Ze^s’Tong^f^the^ breath
•s are not sure of tl
will1 allow! ^steadily perfevered16;^^3* mdlavor^of th^ b^d" are^Tpo'iled. The certain that surprising^results^ will ^ be sure and only way to correct this condi-
o°ff :: $0'.4o mi'iimi m ffrrtSriM «« The Etude Music Magazine key TiTwhidT ms^written^whfle i°n the down twice, then once or twice the rela-__ ▼ ^pJ^li!i7^|t2!lort hi3hly fontinuaTlyChusfed10rn The" nidody""soml hymnTunes and theta.^will°b'e Z fine Rebmltjan^
A Czerny Contest gE All ARTIST / By Nell V. 2ns
e any good edition of Czerny to Supervisors of Music, [■ P C" School Music TDirectors, I L L* anc* Band an^ Orchestra Leaders, known to us or those who properly identify themselves as color; lor irat.noo, for over, lino (.core) such. played correctly the student fills in one for studies, four for memory w block with black ink or crayon; for every one for transposition. Mary has ft A 128-PAGE BOOK line memorized he may fill a block in with for studies, none for memory a
A 64-PAGE BOOK
si'pied^frTm ^emoiy^the ^grade^af this ‘equal Wh‘Ch “ am°Unt °f Urgl"g
Tone Memory in Children
By Frances Hathaway
The necessity for keeping the practice from regular pitch. Thus the child’s empha'” Ca"n0t ** ^ ^ memorizing of t0neS WaS at fault thr°Ugh For the sake of that occasional phe-
Piano keys when they were struck in an WALTER JACOBS, Inc., i&gSJfrEj
SEPTEMBER, 1935 547 indicated by two or four dots placed in the No repeats are played in a da capo. This spaces of the staff, after the double bar- is a general rule, so that no “first time lines at the beginning, and before the bars” are taken. double bar-lines at the end of the move¬ When © is reached a jump is made to THE VIOLINIST’S ETUDE ment to be repeated. Very often, in place the Coda, a short, final movement, prob¬ CHICAGO of the second group of dots, a line is drawn ably marked with another ffi at its be¬ Edited by above the last few bars and “1st time” or ginning. just “1” is written beneath it. Following Another common arrangement of re¬ MUSICAL ROBERT BRAINE the double-bar is a similar line oyer “2nd peats exists in many types of music which time” or “2.” The implication is simple have no coda. In this, at the end of the It is the ambition of The Etude to make this department a “Violinist s Etude complete in itself. on playing the movement for the first time written piece, is Da capo or its equivalent, the “first-time bars” are played; but in the and, added to it, al fine. This fine may be COLLEGE repeat these are omitted and a jump is written at any double-bar and shows that made to the “second-time bars.” the composition ends at that point, the Rudolph Ganz, President Harold E. Ray, Business Manager Occasionally a “last-time bar” is written. da capo, without repeats, going on until This is played instead of either the “first” this fine is reached. t Complete courses leading to degrees and certificates in Music, or “second-time” in the final repetition of Sometimes, instead of the word fine, a Neglected Violin Concert! the movement. pause is written over the double-bar, and Repeats are, of course, made merely for this has precisely the same significance, Dramatic Art and Dancing, from beginner's work to artist training. economy’s sake. By means of them a great that is, it marks the end of the piece. By John Ingram-Brooks deal of paper and many “turnovers” are The “last-time bar,” previously referred Faculty of internationally recognized artist teachers. avoided. Ordinarily short orchestral num¬ to, does away with the need for any other bers are almost invariably written to fill fine. Incidentally, young students have Special students may enroll at any time. IN CONSIDERING CERTAIN violin a short cadenza may be used. If the per- case he should use his ingenuity in creating the Concerto calls for one), should be two pages so that the sheet can lie open been known to take the word fine to be concerti, as “neglected,” we would not former does not care to create his own, a cadenza that will adequately express his quite short. The first and last movements on the music-stand with no turnover being English, a sort of exclamation of the com¬ insinuate that they are never played, there are several editions to be obtained ideas of the import and intention of the require more involved cadenzas. required (this does not apply to pianists’ poser, like “splendid!” It is, of course, Truly in this sense they are not entirely that have these cadenzas. The second work he plays. The third and last movement of this copies). Italian, and is pronounced fee-nay. neglected. Once in a great while these movement, an andante, opens with a short At the time this Concerto was written, work is in the conventional Rondo form Sometimes bis is written over a bar of FIRST SEMESTER OPENS SEPTEMBER 9th works are found on recital programs, but tutti. This movement is the very essence it was conventional to have the middle of the time. Tlic theme that occurs first False Arrangement music. In this case the bar must be played these rare appearances only serve to em- of simplicity, in its entirety. However movements of all works in sonata form, is to be played andante grazioso, t» con. AN AVERAGE raise opens with a line twice. Movements in violin-music that phasize the fact that they are performed there are very few things in the whole in slow tempo. Thus the middle or sec- trast with the second theme in aiiegro m £\ of introduction; then the first move¬ have to be repeated are often marked 8va. Registration begins September 2nd all too seldom. Nor would we contend realm of music that can equal it in beauty, ond movement is marked Adagio. This non troppo. The second theme in andantt ment begins with a double-bar over which 2nd time or ff 2da. volta. Then the repe¬ that these concerti are to be successors to This movement alone should make the movement is rather short, but every bar of grasioso (at change to alia brne) is is marked the sign $. The first movement tition must be played an octave higher or such monumental masterpieces as the Concerto eminently worth while. In per- it is sheerest beauty. It is to be played to be dragged out; do not forget the chanst consists of sixteen or thirty-two bars, and fortissimo, as the case may be. Beethoven, Brahms, Mendelssohn, and forming the andante, do not hurry, for to with a tone of “spun gold.” If the per- to alia breve time. In this i^rt oi the these are repeated, making use of “first Quite frequently, in English music, the All academic courses given by the University of Chicago. other famous and universally beloved vio- do so would rob it of much of its beauty, former creates his own cadenzas, do not Rondo, the violin solo is required to hold, and second times.” One or more plain or repeat instructions are obscured through lin concerti. Rather our thought is that The third and last movement, a Gigue, make the for this movement overly in a kind of organ-point, the low G fopen repeated movements bring this part of the redundant or otherwise faulty Italian. Write the Registrar for 1935 Year Book and further information the works to be discussed here, constitute is decidedly not on equal excellence with long, so will tend to spoil the string) while the melody is played at the valse to an end. At some point in this Thus Da capo t may be written instead 1 of musical diet that can please the rest of the Concerto. It is perhaps bet- effect. latter section a mark © called the “coda of merely Dal capo or Dal segno. regarding new and unusual courses. and gratify any palate, unless, of course ter to omitt this movement, ending with The Finale, tempo presto, is not to be lx- played on the cTjtrfnZancTdie tont sign” is passed, and this time ignored. In the accompaniment of songs there the palate be so badly jaded by ultra- the andante. This may sound radical to the played at presto in the modern sense of the is not to lx- forced on cither string Along with this sign may be the words are often two or four “till ready bars.” modern confections that all essential taste very conservative, but it does not neces- word, but rather at a tempo suggesting In each of these three works analyzed alia coda or just coda. These must be played over and over until CHICAGO MUSICAL COLLEGE is gone. sarily disrupt the spirit of the work, by modern allegro. A truly wonderful move- emphasis lias perhaDs been aivrn Next comes Trio with its one or two the vocalist begins, when the verse ac¬ 64 East Van Buren St. It has been a source of constant wonder any means. this finale, and when well...„n played„i„...j will properly,. '***’.to the pen cadenzas.“.p*> DWn _?Theselvfn ’ ^ repeated or plain movements. At the end companiment must instantly be picked up. to note the extremely limited field of solo never fail to electrify an audience. of Trio is Dal segno, D.S., or $. This Usually, in this type of music, the repeats Chicago literature, that is covered not only in the Haydn Neglected written at a time when ii - brilliant in the finest sense of the word, conventional thing to have specified places indicates that one must begin to play again for the verses are not marked so that one metropolitan centres of this country, but ncerto in THE HAYDN “Concerto in C major, which is a very different thing from in the midst of various movements for the from the beginning of the first movement has to bear in mind how many repeats also in the more provincial sections. This -I. No. 1,” which — —will consider:J— next,1 being “showy,” • • terms we arc soloist to offer a display of his ability. where we observed the ?. are necessary. poverty of variety, (ever the spice of life) is one of the really outstanding works of quite prone to make. The correct per- (wT rontrarv In a piece of music which has no intro¬ The young fiddler, before entering an is not restricted to the solo repertoire of its kind for the violin. Some parts of formance of a work like this is a greater to obtain at tb some beliefs that seem the present time, this display ductory section, and therefore no ?, Da capo orchestra, should procure a few first violin sofoTnrtr bUt h0f tr~ °f °ther k SOU,ld a™,y modern- And * is al- of real musicianship, than—— _..janvofl . Z.was Z."m>t intended.ZZ to be so many musical or D.C. takes the place of D.S., and the parts of orchestral music and become solo instruments as well. However it most never found on any worth while pro- repetition begins right from the beginning thoroughly familiar with their repeats. He FACTS Of ^ern c0ncertof’ wh,<:h P?ssib'y » pyrotechnics. It was intended to demon- would seem that performers on the violin grams. Here surely is a very unjust of the movement. In either case this re¬ will thus save himself much trouble and - ABOUT THE the greater offenders in this respect; neglect. into disuse y 'S aI,OWed *° stratc th.e. musicianship of the soloist as peat is customarily called the da capo. embarrassment. perhaps this only appears to be true, be¬ The first movement of this beautiful old well as his ability as a digital gymnast. cause of the exceedingly rich literature Concerto is---, marked allegro moderato, and And Mozart, Too If the, composers. of the period had desired Standard concerto form, for this instrument. be remembered that the allegro A-pHE THIRD TM r t0 *furnishurn,s'1 their own cadenzas, they would GRADED COURSE of Haydn and Mozart was slv- Tn£lJ™ mLJrpie es t“con have done, so., ItV was ■ dearly Three "Tricks" in Bowing The Field Surveyed degrees slower than that ___ — In Ten Grades — tempo certo in D major,” by Mozart. All of Z ZZe A SURVEY OF THE programs of con- indication by a modern composer, just as six Concerti oT*Mozart'huavZt Z " thC chance to demonstrate not only his own By Herbert J. Liedle By W. S. B. MATHEWS FX certs and recitals given in the many their tuning was nearly a whole tone lower beauty and excellence. Thev 1'lSf ability to interpret their works. halls and auditoriums of New York, shows than ours. Therefore to translate the lessly rank as monument!^/ /ni ZZ his genius at creating his own cadenzas. an immense number of performances of tempo marking into a more easily under- greatest geniuses thT i- , , . Sautille Boiving stroke of the tremolo, leaving only the short up strokes to be heard. To the stu¬ the Tschaikowsky, the Bruch, the Men- stood form it should be molto moderato. quite possible that 1 are sn II ,s In learning the sautille (or fast spic- Course of Studies _ _ _ delssohn, and even the Beethoven and Unlike the Bach work, this Concerto has away from a true rellization nfTl!^ 3'*a" cato) the student is usually advised to dent who has tried every method of execut¬ ing the staccato without success, this practical. Mr. Presser and Mr. W. S. B. Brahms violin Concerti; of course the an opening tutti, of moderate length. At ness of Mozart and a double the notes until he has acquired Mathews agreed at the outset that a Where To Co procedure is recommended—of course only course designed to act as the backbone Beethoven and the Brahms are done only the entrance of the solo, it will be noticed place in the world of L si, TT*e,of h,S sufficient skill to play them singly as writ¬ for practice purposes. It gives one the for such vast numbers of people had to with orchestra, which is as it should be. the first chord for the violin is written just a moment tl ZZ .uL cUS d'Kress By Sid G. Hedges ten. A drawback to this suggestion, how¬ be “fool-proof” from beginning to end. correct “feel” in the bow arm, necessary It could contain no nonsense, no fads, Incidentally, there are several other con- thus Mn..r. ment to mention the first of the ever, is that the first of each group of two for the execution of this bowing. nothing not based upon sound pedagogical ti that should always be performed with Ex 1 wnri. • , *s a wondrous little notes is attacked with the down bow in¬ and artistic principles. All of the editing . wo^k.’ in the, key oi B-flat major, and a orchestra since they lose much of their HEN THE FIDDLER is first stead of with alternate down and up bow beauty, when done with piano. rea Joy to Play- The number was written Change of Botv editors took this into consideration. confronted with some such phrase as when playing them singly. The remedy The art of music is the same in its scope, Among the great “neglected” works ii .wZart’S_,Chi'dh?od- a"d Hke so many w Dal capo al segno c poi oBa for this is to play the notes as triplets, Many violinists, when changing the bow the piano keyboard is the same and the violin literature are the “Concerto in A which allows the bow to fall on the first at the point or frog employ only the wrist. course has been incessantly brought up minor,” by Bach; “Concerto in C major,’ This same chord, in the same construction, the ™>lin and piano sonatas is wmDletelv Z T ., nt’c":,0,n Z£ of each group of three notes with the cor¬ Usually they use a too wide movement, to date as to materials, it has been kept by Haydn and “Concerto in D major,” by ^occurscprs ^several times; and it is suggested startling in its maturity and P 7 ? ^enously the question. "Where to go from clear, direct, understandable and idealistic. time it be played Purity. Y’ and yet childlike here." To begin with, a sound knowledge rect stroke. Then, when the passage is resulting in a more or less audible “click” It has never been cheapened by the intro¬ Mozart. of musical terms and phrases is clearly played as written, the bow arm will be which mars an otherwise good tone produc¬ Musical pepper box duction of trivial material. At the same The Bach “A minor Concerto” is pos¬ Ex. 2 time all selections have been made with necessary. The following list comprises prepared to make the proper movements tion. The secret of a smooth and prac¬ sibly the best known of the three. It is sS.5=».D3tS35'j* those most commonly met with in connec¬ necessitated by change of string. tically inaudible change of bow is a com¬ To the Point used sometimes as a student’s opus, al¬ dodging h tion with repeats. bination of wrist and finger movement. No studen though this fine old work deserves better The Firm (or martele) Staccato Place the bow on the string near the tip Two rival composers of popular songs than this. It admittedly is not as great a Al, alia—to the collided on Broadway and the following material than that in the Standard Graded This change makes this chord sound much before the \ eleventh bar- to two bars Attacca—attack immediately the A great violinist was once asked how he and move it back and forth with a finger Course in its ten grades, and teachers are work as the better known “Concerto in E colloquy ensued: better. With orchesZ,6"4'3"06 °f the v'°l'n solo. produced the firm staccato. His reply was movement somewhat similar to that used urged to give as much of the collateral major,” but this is no valid reason for its following movement Abie (stiffly). “I beg your pardon.” material indicated as the pupil’s talents The lyric sections of this movement be plaved in Z accompaniment it should “I play with the up and down bow at the in writing. Keep the wrist and arm quiet. neglect. Bis—twice Ikie (with equal hauteur). “Don’t men¬ ° , (marked espresswo) «ireare xoto beDe piaveaplayed per- dicatirmdication ;isc alleam„// aTL; - .JbeT te™P° same time.” This answer is not as para¬ The stroke naturally will be very short. Capo—head, beginning tion it.” Mathews' “Standard Graded Course'* in Ten The Concerto opens with an allegro, that ceptibly slower than those marked animate this Z r!egro- ,As ' the Haydn work doxical as it appears, which may be demon¬ Next try to make a change of bow with is Bach at his sunniest, merriest, hanniest. Tn the nlarpe wher** ^ __.. may De considerec Coda—tail, final movement Abie (positively icily). “I won’t.” Grades (Price $1.00 each grade) has its moderato strated by proceeding as follows: Start a only the fingers. When this has been fairly Grade One Volume with both Clefs from the This movement is often played as if Bach keep the rhythm most pronounced other ii Da—from start (Revised Edition) or with the Treble tremolo at the tip of the bow, then push well mastered, add a little wrist movement were some patriarch with a long beard, wise it will sound uneven. Near the end two - - unaante Dal—from the Clef only start in the first few lessons (Orig¬ an andante E, ed—and the bow slightly forward with the arm, at and the result, with sufficient practice, inal Edition). Any or all grades of this course will be sent for inspection to teachers and great inclination toward asceticism, of the first movement, Haydn has indicated beirnr L * Ca"not play this without the same time keeping up the tremolo. You should be a smooth and graceful change of which he was not. The movement is to be a place for a cadenza. Practically all of „r ?. 'pr,e,ssed with the absolute sim Fine—finish, end requesting the opportunity to examine a Poi—then will find that the forward stroke of the bow, hardly perceptible to the eye and well volume or volumes of this course. played with very little variation in tempo, the modern editions have cadenzas in- Sir Tosfi! ^°Zart~,he kind of simplicZ What Brand of Music? R ipet izioni—repetitions bow with the arm eliminates the down nigh inaudible. and above all with sure rhythm and marked eluded. However some of these may not “sTmlr Z ?eynolds meant when be said Tillie the Toiler. “Do you like Bee¬ Segno—sign THEODORE PRESSER CO. v,vac'ty- , be satisfactory, and the performer may much ''//5 eX3Ct Iine betwZ tlo thoven’s works?” Senza—without 1712 Chestnut St., PHILADELPHIA, PA. Between the first and second movements, wish to play a cadenza of his own, in which for th^moTem ** E' The us^d Connie the Co-ed. “Never visited ’em. Volta—time, turn "Art is the child of feeling and imagination; science, the child of reason." 548 movement (every movement in What does he manufacture.—Westminstrel. The most common form of repeat is that —Moore.
the etude SEPTEMBER, 1935 549 VIOLIN QUESTIONS Answered Shall I Form a Junior Club? INSTITUTE OF MUSICAL ART of the By Robert Braine By Elsie Birge Baldauf MILLIARD SCHOOL OF MUSIC No question be answered in THE ETUDE unUssacco HALL I form a Junior Club; and, if The National Federation of Music Clubs ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean and ‘address of the inquirer. Only m, tuds, or pseudonym S so how shall I go about it? is headed by some of the greatest of our Thorough instruction in all branches of musical education. Private lessons To anyone who has had any experi¬ musicians and specialists in different in all standard instruments, courses in theory and composition, normal ence with'a live, successful Junior Club branches of child music training. At pres¬ courses for teachers, methods of group training for children, preparatory ent there are over twenty-five hundred courses for children, extension courses, and many others. . there can be but one answer to the first A Qraded List Public School Music course leading to degree of Bachelor of Science witn question. Returns in enthusiasm, competi¬ Junior Clubs affiliated with this Federation. Each individual club is directed by a Major in Music. tive spirit, accomplishment and even in ad¬ The Bauer-Diller-Quaile Course Counselor, who may be the teacher or an Catalog on request. vertising will amply repay the extra amount of time and effort which must be interested older person. The obligations? Book I Price .75 Book II Price $1.00 120 Claremont Avenue, New York -..A. enrh an undertaking. For there Only ten cents a year per member. The The leading class piano method, uniting the outstanding musicianship of Harold Bauer with the sound and progressive methods of instruction developed returns? Unlimited, depending entirely in the Diller-Quaile School. Of interest are: (1) the “Song Approach” in the A “L,c - tly cool In the arc •«- He*, upon yourself, because you get out of the Unfortunately tbei first volume; (2) the careful grading of reading pieces; (3) many rote pieces, for this trouble. Col Federation exactly what you put into it, each preceded by preparatory exercises; (4) writing lessons, teaching the elements that the tc of effort and enthusiasm. And what do NEW YORK SCHOOL of MUSIC and ARTS when you us ’anTil's"' of easy pieces at ui of musical theory; (5) explanatory matter, addressed to the child; (6) photo- LTb uei|» some, commencing rerr roar,,. , the children get? Anything that increases graphs of children at the piano, and of Harold Bauer’s hands. 310 West 92nd Street, New York City (At Riverside Drive) This is as it shot lug eternally at It Is perhaps the kaWT' An Experiment at Work strings, are the low use Strings’ which'a're their effort and enthusiasm will bring re¬ RALFE LEECH STERNER, Director strings. Possibly y PERHAPS a description of my own Off We Go! and Off We Go Again! Price ea. $1.00 too thick, or there .= - >me fault In, Hi.^ con- K,’,wr *t«glN. sults to both you and them. , “•—Having a good bo* Is of ik,-. little club may be helpful. The start These are two books of Poetry Pieces for the youngest children, with delightful truetion of the.violin.^ eat Importance In producing a rhymes and illustrations. A keyboard chart is printed at the top of each piece, All rates for tuition and board seeing the v‘ _I?1 to a good violin of it was a hobby which I had had for The Individual Appeal repairman,, and" he can tell you. ed tone uu the violin. A good J. '£' indicating the keys and the fingering to be used in that piece. The pieces are he uimlr of IVrnaniburro wood witkT, many years, to make pupils—not the ET US tabulate some of the things printed with one phrase on a line. Thus the child sees, as well as hears, the de¬ greatly reduced. grained stick, having a deep 1i*«m ^ 1 The Left-bounded lPl«rei% ^ ^ d|McUiMtion talented child, but just the ordinary, every¬ -» which children like about a federated sign or form of the piece. The rhythm is taught by means of the words. and skillfully haired with IhekalnlasS day pupil of any grade—able to play ac¬ aniomr Violin teachers, as to whether a Mt- line*, and with none of them rrwLj 5' club. First Solo Book Price .60 hanclctl violin player should how with the right hair sbonld be trealvd with eovZo * ceptably. whenever and wherever asked. (1) Election of officers. They like the or left hand. Many left-handed violin student* before bring rubbed on ike ck/at nJu S1 (How many children can you name, who The Solo Books have two salient virtues: (1) The pieces in them have perma¬ DANA’S MUSICAL INSTITUTE By Frederick W. Wodell This month I have gained AMERICAN and pupils from a source ysually They came, to -thedior J^varna own interes CONSERVATORY College of Music they are c pupils. The first OF MUSIC Warren, Ohio wagon, seeking to bu: He came to the door business. He had A school devoted to the study of music in all its branches. had been turned a Founded in 1886 by John J. I I think that vatory of Music is outstanding Voice, Piano, all Wood-wind, Brass and Stringed In¬ Yet he which I struments. Public School Music, Ear Training, Theory, tion or. a Musical History, Appreciation, Composition, Arranging, This time, 1 my attention. Conducting, Languages, Chorus, Orchestra and Band. Why should I Degrees granted by State Authority. though he wa guise of a sa Instruments^ Jhrb 1 ic^SchooVM1 usi c! academies, music schools and in con- away from Pupils now registering for Summer Session 1935 and tatingly ai regular school year 1935-36. D.M.I. pupils hold respon¬ and spoken However, sible positions in all departments of the music life. A that he decii school of real musical experience. And his bre good. We h Then the Catalogue on application to package of label and noti lessons, how Lynn B. Dana, president. could play his first less application. This “prospect” I see him ^hr Qlrbrlattii Jnstitirtr nf (QuHir delivering AMERICAN CONSERVATORY OF MUSIC , Ill. Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Public School Music Course in conjunction with Western Reserve University Fall Term Begins September 16 A Unique Program BERYL RUBINSTEIN: Director, 2605 Euclid Avenue, Cleveland, Ohio The program h OBERLIN CONSERVATORY OF MUSIC the well beaten p; DePAUL UNIVERSITY lttcini to our readers as School of Music m in which such an tirely out of tl Notice that it si (fcmsertmtorg »dltusic CONVERSE COLLEGE- contest t t'Lirr as school OF MUSIC FOR WOMEN honor of presenting the opening biograph SPARTANBURG, SOUTH CAROLINA Institute of Fine Arts and Affiliated ical sketch of of enthusiasm the class, at the very beginning of tions for the occasion. ?firitin:S“her12i613' “ For this outline we are indebte enterprising teacher of the Middl Miss Susan E. Greer, of Rushville ATLANTA* CONSERVATORY of MUSIC PROGRAM HUGniSctorGSON GEORG LINDNER Two Hundred and Fiftieth Anniversary of Etude Advertisements ar -BUC |choTmVusicE'normal trac¬ the birth of Johann Sebas¬ Bulletins of Splendid Buy ing, DRAMATIC ART AND DANCING tian Bach ing Opportunities - - ] Peachtree Ga. 1. A Prize Sketch of the life of uacli written for our Bach Clnh _1 2. A Scene from the childhood of JohTm ESTABLISHED 1857 Sebastian Bach, from "Musical Pig¬ lets” by J CONSERVATORY 3. Essay: “Why Bach has I the “Father of Modern Mus PEABODY 4. Sketch : “The Clavier * *l,. of the Oldest and Most tooted Music Schools in America. Exact Ryhthm for Dotted Notes By Gladys M. Stein of the next high ing the young ] dotted note and This gives a cot 555 THE ETVM ffe All Have Reasons World of Music (Continued from Page SS6) Each month we propose in the Publisher’s Monthly Letter to A FAVORITE (Continued from Page S00) PIANO SOLOS (Continued) *0* Publisher’: Title and Composer Grade Pnce COMPOSER 19164 BWM?-Rolfe ..... 4% .60 C&NEVA, SWITZERLAND, has author¬ A Bulletin of Interest for All Music Lovers 12927 Ey ewaters of Minnetonka g 4Q ized the organization of a lottery of the French type, with a portion of the proceeds SHEET MUSIC-PIANO, four hands to go towards the support of a symphony !28?f Sing. Robin. Sinz-S^uHing. 1 $0.40 Dorothy Gaynor Blake ofehestra. llllO Dance of the Rosebuds-A'eata. 3 * .50 11201 Valse Caprice—KathOun .* .10 THE DIOCESAN CHILDREN’S CHOIR of five thousand and five hundred voices, sang, SHEET MUSIC—TWO PIANOS, EIGHT HANDS on May 30th, the Second Annual Solemn Pon¬ PLANTING 18012 Menuet in G—Beethoven-Parlow 3 $0.40 tifical Mass, at the Field Mass of the Diocese of Newark, celebrated at Seton Hall College Anything Heard on the Air Herbert Witherspoon PIANO STUDIES The Etude has the Campus of South Orange, New Jersey. While the Theodore Presser Co. can not • Spring is coming— Recreative Etudes for Equalizing Both honor of paying Wand* (Music Mastery benes supply you with the special private arrange¬ on the other side of the Equator. Just #226V,)—‘Morrison...... 3 $0.60 tribute to Herbert GRACE MOORE has received the annual ments made in manuscript for certain bands now, when we are looking forward to the Selected Czerny Studies. Book I— and orchestras, we can literally supply almost Witherspoon, whose Liebling . gold medal fellowship of the Society of Arts days of golden grain, purple fruit and portrait appears on 1-00 anything in music heard on the air. If you JUVENILE PIANO METHOD and Sciences, “for conspicuous achievement hear a piece or a song that you want, check bursting cribs filled with the wealth of the the cover of this Tunes for Tiny Tots—Wiliioms. $0.75 in raising the standard of cinema entertain¬ the title and composer as carefully as you fields, our cousins below the Tropic of Cap¬ issue. His loss to ment. She is the second woman and the first can and write us. Ten to one “we have it.” American music was PIANO SOLO COLLECTIONS representative of the film industry to be so ricorn are casting their seeds into the awak¬ Tranquil Hours .•. $1-25 There is a distinct joy in reviewing and a great one. Just at Standard Compositions (Grade 3) honored. Miss Moore is reported to have studying works, such as symphonies, quartets ening earth. In the same sense, this is the the hour when he was Mathews.7S received one of the greatest ovations in the and operas, heard over the radio. In fact, coming into a new annals of the historic Covent Garden Theater, musician’s spring time. What his harvest SHEET MUSIIC—VOCAL SOLOS, SACRED many people have a library of condensed in May and June will be depends upon position as General 8276 I Heard the Voice of Jesus Say when, during the recent Silver Jubilee cele¬ scores of the leading symphonic works which (Hiph) —-Rathbun...... $0.50 brations, she appeared there as Mimi in Puc¬ what he plants now. Now is the time for Manager of the Metropolitan Opera may be bought at a very moderate price and Company of New York, in the same 80021 Rachem. Mercy (Medium )—Mana- ^ cini’s “La Boheme,” with King George V and making plans, looking over new Ynusic. add enormously to the enjoyment that a artistic arena where he served for ten •0175 Behold, the Master Passeth By Queen Mary and a large bouquet of British musically inclined person may get from the arranging classes—planting the seeds of years as a singer, he was stricken down ‘ (High)—Hammond .50 and Continental royalty present. unexpectedly. success. As a text, take for yourself these SHEET MUSIC—VOCAL SOLOS. SECULAR Here is a representative list of some of the Mr Witherspoon came from one of leading works with their prices. Watch the lines (mixed in metaphor but not in common sense) from Butler’s 30114 The Stars and Stripes Forever A BACH FESTIVAL of two days, at the the oldest and finest American families (Medium)—Sousa . $0.60 First Congregational Church of Los Angeles, programs announced by the Radio Institute nearly-forgotten Hudibras: “As the ancients say wisely, have a care He was born at Buffalo, New York' 30600 The Bird with a Broken Wing (High ) of Audible Arts (copies will be mailed gratis —Colson.60 was held early in June, with John Smallman o’ th’ main chance, and look before you ere you leap: for as you July 21, 1873. Hi* father was an Epiu 30027 Mighty Lak’ a Rose (Medium) — conducting. It was the second of these annual upon application to the Institute at 80 sow, ye are like to reap.” copal clergyman of note. Mr. Wither- Serin.50 Broadway, New York) and secure from us 30419 Boat Song (High) —Ware . ..60 events and closed with a performance of the the needed scores. This slight additional spoon was graduated from Yale in 1895 19756 Sleepy Hollow Tune (Low)-Kountz .60 great “Mass in B minor.” cost to the cost of your radio will enhance and later studied music with Gustav its interest many times. Stoeckel, Horatio Parker and Edward SHEET MUSUC—VIOLIN AND PIANO Mac Dowell. He studied voice with 22880 Fern Greens—Dalia n .1% $0.35 FREDERICK DELIUS’S body was 24222 Dance of the Rosebuds—Keatz- brought back to his native England at mid¬ MINIATURE SCORES Make Your Class An these celebrities frequently is “I think the many teachers, notably Lamperti ' Peery. 3 .65 Symphony No. 5 in C i Historical Series being by The Etude is ry J. Wood. Walter Henry Hail, Victor night of May 25th, from France, where he “Etude 100% Club” Capoul and Jacques Bouhy, and stage SHEET MUSIC—CELLO AND PIANO died on June 10th, 1934, and it was buried Symphony No. 9 in D m: 16243 Melody in D—Williams. 4 $0.50 in the churchyard of Limpsfield, Surrey, a Chorus), Op. 125 _ So many teachers are reporting that their No doubt many of these successful people deportment with Anton'ron "Fuchs*!' Brahms. String Quartet in C mi afses have become “100% Etude sub- have achieved their successes because, among Munich. After singing with the Henry VIOLIN. CELLO AND PIANO COLLECTION spot where he had expressed a wish to rest. ~ ” “ ' are following the suggestion other qualifications, they Trio Repertoire—Complete . $2.00 Memorial services were held in the parish Dvorak. Symphony No. 6 in E m ised noting W. Savage Companies for some years, church, on May 26th, with many notables the New World), Op. 91 of one of our teacher-patrons and have especially worthy undertakings, and purlieu- he went to the ’Metropolitan SHEET MUSIC—PIPE ORGAN Haydn. Symphony No. 94 in G n >r (Sur ganized an “International Etude 100% Club.” larly those things having a permanent value where he appeared thereafter in all of 25828 Nocturne—Boroweki . 4 $0.50 present, including Sir Landon Ronald, In forming the first Etude 100% Club, this m connection with their activities. One the imoortant Basso roles Vaughan Williams, John Barbirolli, Albert Liszt. Symphonic Poem No. 3, Les Preludes teacher realized that there could be no better OCTAVO—MIXED VOICES, SACRED Sammons and Lionel Tertis. Mendelssohn. Symphony No. 3 in A minor prominent New York musician said he was Mr. Witherspoon was a man of fine 35164 Gently, Lord. O Gently Lead Us—Dett $0.20 (Scotch), Op. 56 . method of insuring the pupil’s interest and “gnJ**e .h,s ‘!f! .eafhDm°n"“ mental breadth and human sympathies 35213 Hymn to Raphael the Divine—Bossi .25 Mozart. String Quartet No. 387 in G major continued patronage than through “vear in going over The Etude Historical Portrait and will be remembered for innumer- 35093 I Lay My Sins on Jesus—Speaks.15 PIANO SOLO COLLECTION Reger. Comedy Overture, Op. 120. and year out” subscription to The Etude. 35178 God Is Love—Speaks.12 COMPETITIONS „ heherazade. Op. 85,. Series and seeing what many, whose names able kindnesses. 10782 Lord God, We Worship Thee—Stults .12 Schonberg. Strir No matter whether you are in Boston, wel1 known to him. actually looked like; 21086 All Thy Works Praise Thee— PIANO DUET COLLECTION A FIRST PRIZE of five hundred dollars; London, Berlin, Calcutta, Chicago, Cape he also expressed appreciation "for the sur- second and third prizes of three hundred dol¬ hubert. mphony No. 8 inin B minor (Un- W e All Have Reasons 2C585 I WiU^Lift Up' Mine Eyes—Baines;! A5 lars each; and fourth, fifth and sixth prizes nnished) . iown or Buenos Aires, if your class is 100%, prising amount of information he got in PIANO METHOD 8 Quartern D minor (Death and tt it is entitled to join The Etude 100% Club noting their birthplaces, birth dates and In these recent months of balmy . 10616 0 How Lovely Are Thy Dwellings— of one hundred dollars each, all are offered "“ will send you, entirely without cost, other nuggets of information contained First How-Do-You-Do to Staff and 1 by Ginn and Company, for songs suitable inn. Symphony No. i in B-flat maj’o -■ -- "Iiiioui cost, , auunnauon contained in the individuals, couples, and groups of families 20880 Vesper Bells. Sacred Setting of Op. 38 . 25 f ep.rtl • te atlestms to th,s> for possible thumbnail biography accompanying each of or friends hove been making use of their Kamennoi Ostrow—Rubinstein.18 VOCAL SOLO for school use. Only native or naturalized a. Overture—The Bartered Bride . .50 *rammg m your music room. the portraits. * automobiles. . o a-flat). American musicians may compete; and full Tschaikowsky. Symphony No. 5 in E mino OCTAVO-MIXED VOICES, SECULAR information may be had from E. D. Davis, Op. 64 . -0 -.t'm “I50 S*laJL be ,gla<1 ,to h?1 your name The next best thing to following this par- -Ma"' 559 THE ETUDE SEPTEMBER, 1935 OFFER NO. 32 SABBATH DAY SOLOS rnxE^wmmmmim FUNDAMENTAL Voice TECHNICAL STUDIES LITTLE CLASSICS PRESSER'S For the Young Violinist :?,nS Advance of Publication Advance of Pub. Cash gjl Orchestra Folio MANUSCRIPT VOLUME By D. C. Dounis Pr. Each. 30c. P pd. * HE SPECIAL o FFERS Advance of Pub. Cash Price, Each Part. Advance of Pub. Cash Price, 60c, Postpaid 15c, Postpaid—Piano Acc., 35c, Postpaid THE SECOND PERIOD AT THE PIANO SINGING MELODIES mu By Hope Kammerer A Collection of Piano Solos With Words Advance of Pub. Cash CHRISTMAS CAROLS EVENING MOODS FOR TREBLE VOICES PUPIL-SOLICITING CARDS-An Aid to Mu.lc T*a c h e r» Album of Piano Solos Hu'ndSd! This card makes a dignified publicity piece for the mus1C J name and addresSi 45c a Hun- ROB ROY PEERY'S THIRD :her to use. It is post-cardst-card size and is printed inii dark blue dred. POSITION VIOLIN BOOK stock of good quality. For Class or Private Instruction BY POPULAR REQUEST—A MARVELOUS BARGAIN AGAIN IS MADE AVAILABLE TO OUR PATRONS— AROUND THE MAY "iPOLE STORIES OF THE GREAT OPERAS Eight May Pole Dance Tunes for the Piano AND THEIR COMPOSERS —By Ernest Newman TEN TONAL TALES With Instructions for Dancing WHEN VOICES ARE CHANGING Melodious Studies for the Development of By William Baines Chorus Book for Boys Style in Piano Playing By Harold Locke Complete in One Volume S-j .47 Advance of Pub. Cash SliS Cloth Bound Price, 25c, Postpaid OFFER NO. 34 EDUCATIONAL VOCAL TECHNIQUE In Song and Speech _JTZ& K* By W. Warren Shaw in Collaboration 1P„„ srarsaatjx SIX OCTAVE AND CHORD JOURNEYS with George L. Lindsay Two Volumes For Piano By Irei SACRED CHORUSES POR MEN'S VOICES Act at once to eniov the price of $1.47 a copy. (Postage is additional. If you are in the 1st Parcel Post Zone from Philadelphia add 9c; 2nd Zone—12c; 3rd Zone—15c; 4th Zone—2lc;*and if beyond 4th Zone add 26c to cover Express charges.) ^n^op^eigh^b^____^^^ Theodore Presser Co. sEs ill. TheodoRe Presser Qo. r&foV Mjr:* ■ 1 PA- 561 THE ETUDE MEMBER. 1935 JUNIOR ETUDE- (Continued) Harry's Secret JUNIOR ETUDE CONTEST (Continued) The Junior Etude will award three Office, 1712 Chestnut Street, Philadelphia, No one answered. “Well, we will con¬ shown what can be done. I shall recom¬ pretty prizes each month for the best and Pa., before the eighteenth of September. tinue. Harry, I will call on you next.” mend your name to the scholarship board. neatest original stories or essays, and Names of prize winners and their con¬ Harry rose, felt confidence in himself, I guess you would not mind having a answers to puzzles. tributions will be in the issue for December. and played surely and evenly, all the scales scholarship, would you?” he asked, smiling. Any boy or girl under sixteen years of Put your name, age and class on upper right through the circle, major and minor. “Thank you, sir,” said Harry, extending age may compete, whether a subscriber or left corner of your paper, and your address Mr. Parks stood motionless. his hand. not, whether belonging to a Junior Club on upper right corner. If your contribution “Harry, you amaze me, and you give me The class knew Harry was a hard or not. Class A, fourteen to sixteen years takes more than one sheet of paper,, do encouragement. How many extra lessons working ancf painstaking student and they of age; Class B, eleven to under fourteen; this on each sheet. did you have to accomplish this ?” he asked knew he deserved the honor, but how they Class C, under eleven years of age. Do not use a typewriter and do not have Harry dropped his head and answered, wished they had done better! Subject for story or essay this month, any one copy your work for you. “None, sir. You see, I have not been able Harry ran home to tell the good news “My Favorite Composer.” When schools or clubs compete, please to have any lessons at all this year, but I to his mother. Must contain not over one hundred and have your own preliminary contest, and practiced every day, and my mother helped “Keep it up, Harry,” she said, and re¬ fifty words. send in the five best papers. All contributions must bear name, age Competitors who do not comply with The sun was shining brightly and cast “What has happened, son?” she asked me on the scales I did not know.” member that good work will always pay and address of sender written clearly, and all of the above conditions will not be its golden rays on the eager faces of the hurriedly, not knowing what in the world The Hand-Staff “Good,” said Mr. Parks. “You have in the end.” The Lucky Four-Leaf Clover must be received at the Junior Etude considered. boys and girls as it came through the tall it might be, and of course, expecting the By Florence L. Curtiss By Elizabeth B. Martin windows of the Elmville High School worst. We call it luck, auditorium. Soft breezes wafted through “The orchestra! I have to leave the The time for music lessons The Dot's Report But it’s nothing but pluck, the tilted windows, making it almost as orchestra.” Has come for Mary Lee. And doing things over and over. pleasant inside as it was out in the school Then he told her what had taken place. She tries to learn the spaces By Gertrude Greenhalgli Walker Courage and will, “The leader does not know that I am not And lines as they should be. A Good Listener A Good Listener Perseverance and skill— It was practice time for the orchestra, taking lessons and I’ve been trying not Queen music was holding her court ceeding or following a double bar, that "This little plan," said Mother, They make the four leaves which was preparing to give a big summer to let my practice sag or my work go and receiving reports from her various (Prize Winner) (Prize Winner) Of the clover! benefit concert, to be conducted by a down, but now, Ma, I don’t know all the “May help you understand officials. She asked for Bass Clef s report Once or twice when my teacher was famous director from another city. All scales and every one who can not play The perfect staff of fingers first, and he arose and said solemly, "I plaining some passage to me and telling Right here upon your hand. about music. _ how to play it, and then asked me if I ui eyes were fixed on the printed pages ex¬ all the scales, major and minor, is going to show the position of F on the staff and section is to be repeated, and we are called music you listen t stood, my mind wandered to other part have had no trouble with my charge.” it. the piece, and I did not hear what he cept when glancing up at the teacher’s be dropped.” "Now turn your right hand this my, REPEAT DOTS. When Mozart v This^is a case of inattentiveness, or, in c baton. Harmony reigned, and all but the “Well, cheer up, son. That is not so “Trebel Clef, next,” said the Queen. “I “Sometimes we are placed over notes taken to hearlear an ooratorio, sung by the Pope's It makes the Treble Clef, show the position of G above middle C on Choir in the SistSistine Chapel. Mozart liked violins were doing very well. serious I never was much of a pianist, The five lines are your fingers, with slurs. Then we are called by another the staff,” announced Trebel Clef, “and I the music so miicl some tiling from a class, lecture,* sermon,* Suddenly the baton dropped and the but the one thing I do know is my major Called E, G. B, D, F. ward, h father found him busily v~ concert. He is attentive and takes in e players sat at attention. and minor scales and I’ll teach them to notice that more and more of our loyal thing that is said, or done, and he wii nothing to disturb his concentration or “The first violins are playing very care¬ you in less than no time.” followers are calling me G Clef,” she certainly a very good 1_ tract the attention of others from the lessly,” said the leader. “We must have “Oh will you? Good! But you would added. Although none of us can be expected to be such good listeners as Mozart, we must listen Veuxon Anderson (Age 14), better work than that.” not want to be bothered with that, with “More of my followers are calling me very attentively to be able to appreciate good Mr. Parks usually had a kindly and all you have to do!” F Gef, also,” said Bass Clef, hurriedly Italian name, PORTAMENTO DOTS, pleasant expression, but now he looked seating himself again. Helen Cembalisty (Age 13). “Sure I would, Harry. I want you to a sort of melodic, semi-staccato. Massachusetts. decidedly worried. “If we are going to keep your place in the orchestra because “I did not call on you again, Bass Clef,” “And I think Bass Clef may overlook make any kind of a success at the concert I know how you love it. We will start said the Queen, “you should have included the fact that it takes always two of us we must have cleaner technic. We would right after supper tonight.” that in your report.” A Good Listener all feel ashamed to have such a celebrated “Yes, your Majesty,” he said. to complete his signature, to show the F Instrument Puzzle Square And how they worked! “I always said (Prize Winner) conductor come here, if this is the best my knowledge of scales would come in “Sharp, have you any report?” con¬ When I hear By E. Mendes we can do. Next Friday I will hear the handy, some day,” said Mrs. Brown. tinued the Queen. violinists play their scales individually, it is” especially thematic, descriptive, Begin at the first letter on the last line, “You know, it may seem funny, but when "And in between your fingers, “Just a short one, I raise a note one half¬ tic, intellectual or rhythmical. Perha both major and minor, three octaves, so step.” move one square at a time in any direction I used to take piano lessons scales were The spaces which you see go home and PRACTICE. If you qualify “Yes, indeed,” said the Queen, nodding and find the names of six musical instru¬ the only things I liked to practice.” Arc fust the four staff spaces Double Sharp followed, at a nod from you may keep your parts, otherwise you to Bass Clef. “Please continue,” she said, ssed by some of the ments. The path from one name to the “I rather like them, too,” said Harry. the Queen. “My duty is to raise a note will be dropped until you do qualify.” Called F, A, C and E. nodding to Dot. next is continuous. So Mrs. Brown showed him the notes a whole-step, and sometimes I have a So, that rehearsal was ended in a cloud of all the scales, major and minor, and little trouble.” “We also assist the Dal Segno mark,” O H E N P X she told the Queen,” and frequently the press themselves, and this is what I try to of gloom, and quickly putting the instru¬ even told him when his tone was pure, and “Dot, have you any report?” continued distinguish in a piece. N R O H A O ments away they rushed out into the cor¬ his scales were even and firm, but she the Queen. Double Sharp uses us, also,” she added, A good listener may hear a piano composi- O B T O S N ridors. All but Harry. He loitered along could not show him how to finger them Bass Clef and Treble Clef started to seating herself. M R E N I L Letter Box with his violin under his arm, deep in on the violin—he worked that part all out smile and whisper but the Queen took her I O N A P O Dear Junior Etude : thought. He never left his. violin in for himself. gavel and rapped on the table, “Order, P A H R V I A good listener recognizes a melody when My teacher came to my house last night school, not even between rehearsals. Dot has the floor,” she said. t is transformed, strong and then faint, like and told me that I and another girl are to “Well, Harry,” said his friend Jack, l rainbow, its colors fading, then reappear- receive music pins for trying the hardest Harry started off to the scales auditioi “Your Majesty-, although I am the “Thank you, little Dot, you are certainly throughout the year. We did so well at the “things look rather serious in the orches¬ “You will be all right, son,” said Mr: smallest thing in all musical tablature, I a loyal and busy Dot, and you gave a very Glokia Booth (Age 13), recital that we are to give another. But that is not all—Jean and I are to have the ??Barge, Ship or Liner?? tra, don’t they? But I don’t care if I do Brown. ‘You know them thoroughly nave a rather long report, as I have valuable report. It is a pity that you have quit, it takes a lot of time, anyway.” privilege of planning-the program. By Florence L. Curtiss Just pay attention to what you are doin several duties to perform, depending on so many duties to perform, but, really From your friend, “But I do care,” answered Harry, “and and forget all about the orchestra,” an where I am placed.” Margaret Hofstadt (Age 13), Which type of piano student are you? “Your left hand is the Bass Clef, you do your work very well, and there is Long Island. I don’t want to quit. It is the one bright Harry promised he would, thinking wha The CANAL BARGE needs to be The Queen smiled and nodded, bidding no one who could do it for you.” spot in my program.” a good sport his mother had been to tak So place it just below. Dear Junior Etude : dragged or towed. Often this type student her continue. Bass Clef whispered to Treble Clef. “Oh, if you feel that way about it, why all that extra time for just his dull scale: Point sloivly to each finger I belong to a piano club called the Gordon will do well for a little while, but needs to If I am placed to the right of a note “She is little, but—what work!” Allegro Club. Each month one of the mem¬ don’t you take some extra lessons and get The class assembled and one by on And name them as you go. be constantly towed or dragged along to The Queen tapped the table with her bers entertains the club at her home. At up on your scales?” asked Jack. they were called upon to play their scales present we have nine members and we study get any where. Harry did not answer, because he did "G, B, D, F, and A, now gavel again, saying, “If there are no other ‘ different composers and make scrap reports, the court is dismissed.” Hn K“ Shaped like min¬ The SAILING SHIP makes fine prog¬ not want any one to know that he had mistakes ^ *** stumbled and mad Repeat ten times or more. iature grand pianos. ress as long as the wind and tide are not had any lessons at all for six months The spaces. A, C, E, and G, or rest, I increase the value of that note We are now working a play b “Boys and girls,” said Mr. Parks I an the boyhood life of Scht favorable, but when the wind dies down or Name slowly o’er and o’er. °r rest one-half of its own value, and I Answer to April Ladder Puzzle —his father could not afford them, and he disappointed. Have I failed to inspi’re yoi obstacles interfere and the work becomes was afraid he would be dropped from the am called a TIME DOT. Either of the following solutions brings Klth Morehouse (Age 11). discouraging, this type student gives up and with the art of practicing? Or have voi "IVe’ll have a test tomorrow, orchestra if it was known that he was not no ambition of your own? Or, do yoi Work hard, it will be fun. I am placed over or under a note, a correct answer to the puzzle—Sing, sang, waits for a nice breeze to come up again, taking lessons. Begin with Bass Clef, first line sank, sack, back, Bach. Or, sing, sang, or for the storm to die down. not care enough about the orchestra' t< Honorable Mention When he reached home he was rather take the trouble ?” And try to name each one.” bang, bank, back, Bach; or, sing, sink, sick, The OCEAN LINER does not mind the glum. “It’s happened, Mother!” he cried. For April Essays: (Continued on next page) sack, back, Bach. wind or rain or tempest, because within So Mary Lee got busy. The prizes therefore are given for the Ruby Dixon, Mary Ellen Brooks, Hilda M. there is a mighty furnace, reliable and en¬ a note must be instantly released, and nderson, Mary C. Solbach, Imogene Sorrell, And did her very best. neatest and most attractive papers giving during, that will drive the liner forward am called a STACCATO DOT. -’ ~ e Updike, Lily King, Mar- Next day she came in smiling, correct answers. jorie Roll, Ct._ H. Carlson, Pauline Gatz, in spite of unfavorable circumstances. "I’m ready for my test.” am 1 ,,ara placed under a Curved line I Evelyn Mendels_, ___ Hoste, F m Ca,led a FERMATA, and the beat Runkle, Charles Bowerman, Maurice Deis” This type of student has an ardent, burn¬ Honorable Mention Wesley Wills, Geraldine Taylor, Grace Neill ing heart, fired with the love of music and For April Puzzles: son, Philip Dunn, Joan June Yale, Patsy Ann ambition, that will drive him forward to¬ £(?-ry Thilmany, Evelyn Marx, largaret Ellen Schmidt, Muriel Stephen- Phyllis Ellison Robert Bratton, Eunice ward his goal, regardless of discourage¬ NOTICE Betty Jane Kuhns, Hope Elizabeth McKenna, Jean Roberts. ments. He does not need a favorable wind !er, Isobel Stephenson, Billy Turpin, Please note change of age limits in rre Champagne, Teddy Kornman, Heriieit to push him forward, nor does he need to Junior Etude Contests, beginning loniTa^k!1° k? be*d tbe performer istein, Hilda M. Anderson, Gertrude be dragged or towed. this month. Read the contest direc¬ “Wh . eonsiders it an artistic pause. ts, Audrey Kennedy, Josephine BerKman, Which type of student are you? dred Bessler, Mary Ellen Hendricks, THE HIGH SCHOOL ORCHESTRA tions carefully. Mow tltW° ,°i us are P'aced above a pile Sharp. Beatrice McEwen, Jo Par- W the m'ddle line of the staff, p, 562 the etude MEMBER. 1935 56.3 62, until the end of this measure where Food and the Voice each of the notes in the iast sex^plet Jou d Nocturne in F-Sharp Major be slightly emphasized. The last no measure 62 of the right hand, which is a (Continued from Page 543) (Continued from Page S18) C-sharp, should be held a little longer than the others and be given the effect of '1'd‘ ing up to the final A-sharp in the -treble, Sodium, iron, potassium, calcium and Follow this with D-natural, and on the thirty-fifth like an accomplished singer, or a fine violin¬ magnesium are indispensable to human life. A-sharp. These accents and pauses ist, would make a portamento in the ending Calcium is found in milk, cheese, nuts are used to give shape to the whole pas¬ of such a phrase. ... spinach, turnips, cauliflower, carrots, cat sage of notes. The whole of the last five measures, with bage and fruits. Iron is found in quantity In measure 56 an accent must be given the exquisite descending triplet and sex- in green, leafy vegetables and in beef liver. on the trill in the treble; and the whole suplet passages in the right hand, must be Copper, in minute quantities, is found in measure should be played rubato, but un¬ played tenderly and with skilfully decreas¬ marine plants such as Irish Duke* Phos. and so on, holding the melody in octaves exaggerated and with a little melancholy. ing tone, until in measure 62 it has become phorous is to be found in milk, fish roe, and practicing the middle figures for the On the second half of the first beat in meas¬ faint, almost to nothing, yet still with the eggs and in cereal grains. Iodine is found development of articulation. ure 58, where the ornamentation starts on rhythm distinct and the outlines of the sex- in dulce. Additional metals in the body And then G-sharp in the treble, a portamento should tuplets clearly defined so that the emphasis are manganese, aluminum, zinc and others be made between the G-sharp and the pre¬ on the last six notes falls naturally into in lesser quantity. ceding E-sharp, the fourth finger on E- the tone scheme. These final measures, in As for vitamins, the subject is still in sharp giving an impression as of sliding up fact, should create the impression of the some ways one of the dark continents of to the next note. At the end of this orna¬ gradual falling of the curtain over an elo¬ medicine. Many important discoveries, mentation a rallentando must be made, and however, have been made, at first] and so on, practicing with a staccato touch. the last two notes of this measure 58 should quent stage scene. empirically, of course, and later, scien¬ In the first eight measures of the Doppio tifically. The voice student who realizes Mmnmento the chords, which appear on that his body is his musical instrument : the second half of each beat of each meas¬ should be interested in the following classi¬ ure for the left hand, must strike just after fication of vitamins: the third note of the quintuple sixteenth- Vitamin A (Fat Soluble A) promotes note figure in the right hand, so that the growth, prevents and cures xerophthalmia, bass chord sounds in between the third Next Month reduces the incidence of pulmonary and and fourth notes of the quintuplet. Simi¬ other diseases, promotes longevity and larly, the last eighth-note in each measure THE ETUDE for OCTOBER, If of the bass, should strike just after the helps maintain health and vigor. Its prin¬ third sixteenth-note of the second quin¬ cipal sources are: fresh, condensed, evapo¬ tuplet. PADEREWSKI'S AMAZING rated or dried milk, butter, egg yolk, cod In measure 34 the rhythm becomes defi¬ CAREER liver oil (and other fish liver oils), alfalfa, nitely divided into twos and threes, instead Landau, whose recent book on Paderewski fresh or dried spinach, oysters, clams, kid¬ of fives, and the chords on the second half has attracted wide attention, gives a very ney fat, liver, wheat germ, raw, canned or graphic outline of the master pianist's as¬ dried tomatoes, string beans, carrots, of the first beat and on the last half of the tonishing achievements and how he reached second beat, in the bass, are struck to¬ his goal. Permission has been received from dandelion leaves and in many fats and gether with the first note of the triplet the publishers to reproduce certain of the vegetables. Green leaf vegetables contain figures in the right hand on these same most diverting and instructive parts of more than those with lighter leaves. this work. Vitamin B prevents and cures beri-beri, I keep the tone soft throughout measure TSCHAIKOWSKY S EXTRAORDI¬ promotes growth, promotes toxicity of the 34, and I play with markedly strict rhythm NARY ROMANCE digestive tract, thus minimizing infection, the thirty-second notes which begin to Nicolas Slonlmsky, famous Russlan-Amer- and similar ailments. Its principal sources elaborate further the figures from measure ican conductor, composer and critic, has are brewers’ yeast, bakers’ yeast, tomatoes, 34 onward in the right hand. In measure igxace padekewski collected Information upon this, the most cabbages, carrots, peas, navy beans, turnips, peculiar romance In musical history, which 37 there occur the notes C-natural and B will appear for the first time In THE ETUDE. whole wheat, soy beans, dried eggs, milk in both hands. These notes are two eighth- solids, plant seeds (legumes and cereals), notes in the left hand, and two sixteenth- THE LOWERED SECOND SCALE STEP strawberries, oranges, lemons, grapefruit, notes in the right hand; and each must be In this article Dr. Percy Goetschius gives a very interesting and easily oysters, milk, liver and other animal accented and brought out in imitation one understood discussion of a harmonic device which has lent charm to many a widely known composition. There are many quotations from organs. of the other. In measure 39 begins a works of the masters, illustrating its use in their works. Vitamin C. The chief value of this is gradual crescendo, and the melody should for the prevention of scurvy, which, with make a slight pause after the last note of LUDWIG DEPPE'S TECHNICAL PHILOSOPHY our modem dietary knowledge, is not a this measure, which is C-sharp in the right Dsppe, one of the most distinctive of all of the original thinkers upon matter for the serious concern of many piano technic, laid the foundation of much that we possess today in hand, before attacking in forte tone the the art of beautiful piano playing. This article Is In the remarkable people. Its principal sources are: raw octave D-naturals on the first beat of meas¬ series, "High Lights In the World’s Famous Plano Methods,” by Miss apples, bananas, fresh com, eggs, escarole, ure 40. This pause is merely a device, Florence Leonard. oranges, raw spinach, raw and canned which I have pointed out before, like tak¬ "LA BOHEME" AS A MUSICAL READING tomatoes, milk and various fruit juices. ing a breath when singing, to make more Puccini’s ever delightful opera has been arranged by Dr. Edward Ells¬ Vitamin D is necessary for growth and effective the forte note which follows the worth Hipsher, to be used as a reading—with musical selections from prevents rickets. Its principal sources are: the work interspersed—to furnish a program for schools and music egg yolk, milk, cod liver oil, puffer fish The forte continues with increasing vol¬ clubs. Similar musical readings previously published In THE ETUDE have been most useful and entertaining to our friends supervising liver oil, shark liver oil, irradiated milk ume and passion until it reaches its zenith such programs. and other substances. in the fortissimo of measure 42; and then Vitamin E cures certain forms of steril¬ it begins to die down again from the middle ity. Its principal sources are: wheat of measure 43 and finally reaches a pianis¬ embryo, commercial cottonseed oil, com¬ simo in the second half of measure 47. mercial olive oil and the seeds and green Here, on the second beat of the measure, leaves of plants. on the bass octave D-naturals, in the right Vitamin G is necessary for growth and hand there should be made a little pause— nutrition in mammals of all ages. It cures lingering on the notes, as if loth to let them pellagra and premature senility. Its Prin‘ go. The reiterated D-naturals on the first be stressed in both hands. The tempo must SELF-TEST QUESTIONS ON cipal sources, with the number of units to and second beats of the treble in measure be resumed on the first note of measure 59, MR. HAMBOURG’S ARTICLE each ounce given, are: brewer’s yeast (210- 45 should be accented; also the A-natura.1 and the bass in this measure and the fol¬ 1. Who first used the term Nocturne’ 425), moist brewer’s yeast, cake (75), liver in the broken chord in the bass of the same lowing one should be made to sound as 2. Upon what quality did Chopin insist in (257), kidnev (224), egg yolk (66). eggs measure and on the first beat of measure much as possible like the muted brass in¬ the playing of his compositions? (41), veal (43), beef (29). and milk O')- 46, in the right hand; and the E in the bass struments in an orchestra—very distinct, A list of vegetables containing Vitamin chord of the same beat. yet muffled and mysterious. 3 Rubato?^ Chot>m dcscril>a the Tempo G, with the number of food value units per And Calm Returns An Eloquent Diminuendo 4. Into how many principal parts is the ounce, is as follows: turnip tops (<*”• peas, dry (32). spinach (29), beet tops HE DOPPIO MOVIMENTO trails ACH FIRST note of the descending Nocturne in F-sharp major divided? T E (29), water cress (29), cabbage (21) a away into nothing, in measure 49; and figures in the right hand measures 59 5' ChoL’t 1>ccn,iar characteristic of ™ it ends with a fermata or pause. The burst and 60 must be stressed; namely, the octave Chop,ns ornaments m this and all of lettuce (17). his compositions?- of emotion is spent, and the happy lyrical B on the last half of the second beat in Do not get into the habit of worrying melody resumes its graceful way, em¬ measure 59, and the G-sharp, D-sharp, B, about vitamins. Let the doctor do that, bellished by ever more elaborate ornamen¬ and G-sharp in measure 60. Sir Henry Wood says, "Mechani if you have need of special diet prescrip¬ tations. In measure 61, on the third and fourth tions. Note, however, the special attention The cascade of notes in the right hand sextuplet figures, there should be first a Z'r™- hT Played the dickcns given in the foregoing to fresh green, leaty of measures 52 should start with slight slight decrescendo, then crescendo up to the vegetables, as well as carrots, milk an despondent—act I™ *0/ fish liver oils. These all have a signifi¬ accents on the first, fourth and seventh first note of the fourth sextuplet. This cheerfuL YouJanZot \tlTp ZuZ notes; namely, B-natural, A-sharp, and A- gentle rising and falling of the tone should cance. into jour million people without natural, with a little pause on the twentieth continue in the similar figure in measure some good result.” 564 SPECIALISTS IN GIVING THE HIGH STANDARD OF SERVICE DEMANDED BY ACTIVE MUSIC WORKERS, EVERYWHERE * heodore WA/cA(//&S T \a It Made / me %fei$SF Presser Mame .; Co. MUSIC PU RUSHERS P/iESS£/i AND DEALERS WORLD'S LARSEST STOCK Synonymous 1712-1714 CHESTNUT ST. Wit A MUSIC in Countless PHILADELPHIA, An Invitation to Piano Teachers, Voice The "Verdict of Approval" Has Been Given These Elementary Piano Works Through Teachers, Violin Teachers, The Popular Use of Them By Many Competent Teachers. Organ Teachers, Choir and Chorus Directors, Music MUSIC PLAY FOR EVERY DAY Supervisors and All Schools THE GATEWAY TO PIANO PLAYING and Colleges of Music. An Irresistible A M O STt ASK FOR ANY OR ALL OF Appeal to umpli" among THESE "ON SALE" PACKAGES Juveniles OF MUSIC TO EXAMINE IN YOUR OWN STUDIO. smm stSSk! poEB “Is m sa^aja-tjc _ SSr® F3 THEODOI jsKSSS8®* | iif ffi 1712-1714 i gfE&JXwt mmsm packagespacka-h ch k d I f ce im your un p ’ ms privilege ofoi examining the music they contain keeping and paying ^r only the m. SpSss gg-waSPS liSpI » CITY OR TOWN.