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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1917 Volume 35, Number 06 (June 1917) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 35, Number 06 (June 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/636
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]. PRESSERS MUSICAL MAGAZINE JUNE, 1917 THE ETUDE Page 861 JUNE 1917 iifiiiiiiiijijiiiiiwiiiiiifliitiiiiiiiiaia illllllllllllllllli 1917-1918 Teachers—Prepare Now for a Brilliant Successful Season!
America’s Greatest and Optimistic, Intelligent, Strongest Bank Active, Happy, Ready the National City Bank of New York teachers will be the ones who will take —has just issued a statement predict¬ advantage of the wise prediction of ing widespread financial prosperity New York’s $500,000,000 bank. Will you be one, by starting your Prepar¬ for next year. edness campaign to-day? Preparedness is the Modern President Wilson has Strongly Urged Law of Success all citizens in all callings to start at Here are five ways in which the music once and redouble their efforts. Our teacher may prepare to get full bene¬ national stability depends on this. fit of the great prosperity. Teachers do your share! 1— Make a sensible, progressive plan to extend your teaching business A Magnificent Opportunity through greater activity and bet¬ awaits all teachers who are READY ter methods. to grasp it. 2— Canvass your pupils now and get The Continued and Pronounced Suc¬ them to make reservations for les¬ cess of the Theo. Presser Company sons next season. indicates how profitable and conve¬ 3— Set the opening date of your sea¬ nient thousands of teachers have found son now and keep advertising it the Presser service. in print or by word of mouth all Prepare for Next Season’s Needs summer. Instruct us at once to make ready 4— Send at once for the latest and everything required for next season’s best teaching material; order work. If there are decided preferences what you require—not one give lists of pieces, studies, etc., or just week before the opening of give the outline, how many pupils are your season, but as many weeks expected, how divided as to grades, in advance as possible. Deliv¬ and our experts will get t . . i . ■ ■ ■ ....■ . THE ETUDE Page 863 JUNE 1917 JUNE 1917 Page 862 THE ETUDE THE The Latest and Best Word in Voice Building THE MASTER WORK IN AMERICAN MUSICAL EDUCATION What Shall I Teach in the First Grade ? BEST MUSIC THE VOCAL A SERIAL ADVERTISEMENT FOR TOUCH and TECHNIC INSTRUCTOR WATCH FOR NEXT MONTH’S INSTALLMENT PATRIOTIC By EDMUND J. MYER PR,CE> THE_ best doctoriris is tnethe one who Knowsknows theme mostiiiusl iciuoum.remedies and knows preciselyr.—-—J which - one- to- -give in- each case. The By DR. WILLIAM MASON • al common-sense system, based upon 1 best music teacher is the one who is acquainted with the widest range of teaching materialn---- and knows - precisely- . what. lature’s^aws’or demands, for the study andjh o give each pupil. Many teachers content themselves with a humdrum round of a few pieces, studies and exercises. OCCASIONS IN FOUR BOOKS PR1CE OF ate(1 (PaIiage School). P«T l-Tf.J-P.XK &' Brilli.nl p....,..)- "Uffi,0oi oTS Bravura PI.,*- . ■ D- t .Linn tl„ I iff. Work of Our Greatest American Piano Teacher A Method of Permanent Importance in Piano lea g . , iiftv vears in which Dr. Mason taught in New V nS ^unanimously regarded as the foremost of Amer- yort ne wa .^ers a positive genius for discov- AMERICAN PATRIOTIC AIRS dav work ot the teacner, an proclaim moo ertn Pthe° principle " embodied in technical problems and invention and his exhaustive European training with the theif explaining it so clearly that the e: l’“ for its cultivation invariably produced A-g them was the nr ^ as long association with such Ljr foremost teachers. naiciy the ideas of this greatrZ pedagog hbane been T :d in his life work. Touch and Technic, so as useful for teachers to-day as they w _T'ouch and ...... - ly by Dr. Mason, THE MOST ENTHUSIASTICALLY ENDORSED^MUSI^AL^WORK^F^TS^KIND^^^ THEO. PRESSER CO., 1712-14 Chestnut St. THEODORE PRESSER CO., PHILADELPHIA, PA. PHILADELPHIA, PA. MATERIAL SUITABLE FOR GRADE Drder 964! --Pr' NEW PUBLICATIONS ISSUED MAY, 1917 15s THEO. PRESSER CO., PHILADELPHIA Z ' •“ ANY OF OUR PUBLICATIONS CHEERFULLY SENT FOR EXAMINATION «*-*•*»» Z :3P.. . .ower "Girl!'' (Bass ° * sST^313 1.1. Farmer John'? Rustic Song 8 £ F7ii SsSSii: “ ■ "m- - JS.'SS""' P A ,„wln PIANO-LEFT HANO ALONE ^ irpsst" Z atAsB! « Iiss- ... 6496 Kernf Cari Wilhelm. In I';*- Tate. as Funeral. Op. 39, Nft5 8 3 flngw UMToVatilda. Op. 60^1 n 3% .20 i44®o Page S6U THE ETUDE USEFUL SUMMER GIFTS MAT.A71NF, BARGAINS FOR JUNE or ETUDE SUBSCRIPTIONS Practically « V - FTUDE gives to its readers, who spend a part of their spare scription or dubb'Pg .Ed we .act all ' reserved the right to advance p , Qf this opportunity to Etude readers to take immed Dollar Saving Prices, the subscribe to their favorite periodicals at Rea^ specially selected ones. Clubs presented on this page beingbut ^ q{ ^ ETODeVwSmINE GUIDE of A THOUSAND CLUBS is ready. 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This freezer is really tX^’’ ADD TO ANY CLUB AT PRICES OPPOSITE 2 quarts. Additional sizes, 3 quarts, 5 Subscriptions. Good Housekeeping.. Ladies’Horn * Additional sizes, 4 quarts, 7 Subscriptions, riptiona Shipped charges collect. OUR MOST POPULAR PREMIUM A year’s subscription to The Etude for three additional subscriptions at i SEND ORDERS ONLY TO rice. You may thus obtain your own subscription FREE. THE ETUDE, PHILADELPHIA, PA. THE ETUDE, Theo. Presser Co., Publishers, Philadelphia, Pa. JUNE Pane. SOC TIIP ETUDE THE ETUDE | i ii is tie identifying nail genuine Victrolas and ~ “ VOL. XXXV No. 6 Victor Records. JUNE, 1917 fected and come into common use. Accordingly, he built his building so that ample room was left for elevators. Peter Cooper s long suit Music, Now, More Than Ever WftS Foresight is one of the rarest of qualities. For the most part Never was the need for music greater than at this moment we live in to-day, if not in the ashes of our yesterdays. Musicians Victor Supremacy when war has driven the minds of men to the brink of insanity. The are particularly prone to live a day-by-day existence: they rarely see opportunity for the musician is greater now than ever. Do not or attempt to see what to-morrow may bnng forth. Every music consider the mere material side of the question. It is true that war teacher should have a plan, every student should have a plan. Every times are boom times”—it is true that the music halls and opera month and week for the next year—or two years—should be charted means-the greatest music houses in the great cities of Europe have been crowded to the doors out as carefully as the mariner charts his seas. It is the only way m all during the present war—it is true that when Gottschalk came which to determine progress. If you have never made out a plan of from South America to New York during our own Civil War he this kind, try it now, and see how much better your work will be. found, to his amazement, a greater demand for music than ever by the greatest artists it is true that the wise musician, who is willing to work and plan The American Piano twice as hard now as at any time in the past, may earn more than ever before, but, laying all these material considerations aside, this Be proud of the American piano. The accomplishments of is the time when every American desires to do his highest duty to It is indeed a wonderful thing to have American inventors in this field are very high. We can not, of greatest artists of all the world sing and play his home land. There is abundant employment for every man and woman, who can be spared from the conflict, but that is not enough. course, mention special manufacturers, but a glimpse at the records of the U. S. Patent Office shows how great has been the effort of for you right in your own home. Every true-hearted American wishes to do more. The instrument that accomplishes this inevit¬ Our President, in his remarkable message urging all Americans American piano makers to produce a newer and better instrument at every step. Some inventions prove undesirable with time, but the ably stands supreme among musical instruments. to double their efforts, may not have thought of the work which the best are jealously retained. Many American manufacturers are And that instrument is the Victrola. music makers can do, but there is a great work nevertheless. The Etude for years has been presenting the opinions of foremost men continually competing for the best labor and the best materials in The greatest artists make records tor the in all stations of life upon “Music as a Human Need.” Music now ia the field. Last year our exports of pianos exceeded all previous Victrola exclusively. They agree one of the great safety valves of the universe. Mme. Carreno, in records. The United States Department of Commerce reports show that only the Victrola can bring to the interview she has given The Etude in this issue, indicates what that our exports of these instruments have leaped in value from part music is playing in Europe at this time. Your part here may $335,200 in 1901 to $2,087,600 in 1916. We send over 5,000 pianos you their art and personality with a year to Australia, New Zealand and the Philippines. Last year be proportionately significant. . unerring truth. . . The Etude, during coming months, will do every thing m its 500 American pianos went to Africa. It is not at all unlikely that The Victrola is the logical in¬ power to stimulate new interest in the art. It is highly important in 1917 we shall again greatly increase our piano exports. Surely strument for your home. for teachers and musicians to cooperate with us in this, as every new this is a time of boundless prosperity, despite “wars and rumors field of musical interest created by a new Etude reader means of wars.” There are Victors and Victrolas in great variety of styles from 5510 to $400, and there are Victor dealers everywhere who will additional opportunity and security for the teacher at this very gladly demonstrate them and play any music you wish to hear. vital time. , . . If I Only Had A Chance The Etude is confident that the great crisis which has come Victor Talking Machine Co., c“mden,^N^X, U.S.A. in the affairs of the world will find America strong in those Chance? -Probably you now have all the chance in the world. e patented and a characteristics which make us proud to bear the name American. £“?/£«««* “and'with light o" use wfth Victo?Rec, ds only. All Viet One might define the great composers as “men who never had a Pe/WAs are oatented and are only licensed, and ith right of use < Profiting by two years of observation of the conditions in Europe, ■ ictor Machines a chance at the outstart of their careers.” Only a very few of the Victor Talking Machines only. Victor" isolated by two great oceans, fully capable of providing for our scientifically co-ordinated and synchr real masters have had anything other than the most humble manufacture; and their use, except wll needs in all emergencies, with every possible line of human activity ized but damaging and unsatisfactory. parentage. Many of them have come from the ranks of tradespeople speeded up to twice its normal pace, with high principles and noble New Victor Records demonstrated at and so-called “menials.” A mere list of the fathers of some must be all dealers on the 28th of each month aims we may have absolute confidence in our destiny. Music will an incentive to the young person who thinks that “chance” means t,„la” is the Registered trade mark of the Victor Talking Machine help all America maintain its mental balance. It will help us in our any desigr^ting the products of this Company only. being born with a golden spoon between one’s baby gums. fight for principles and at the same time spare us from the insanity Beethoven’s father was a chorus singer. y?tte^Sg°JtoSl^rVptornigrS?u“]products is misleading and of hate. This is the hour! Let all musicians arise to new vigor and Cherubini’s father was a local fiddler. do their important part. Victrola XVII, $250 Gluck’s father was a gamekeeper. Victrola XVII, electric, $300 Haydn’s father was a wheelwright. What To-Morrow May Bring Handel’s father was a barber. Palestrina’s father was a waiter. Rossini’s father was a baker. When Peter Cooper built Cooper Union in New York os a Spontini’s father was a farm laborer. monument to his ideas upon free education he was away ahead of his Spohr’s father was a country doctor. time. Cooper Union, for instance, was the first building with iron Wagner’s father was a police court clerk. beams—the forerunner of modem fireproof buildings. But Peter Verdi’s father was a day laborer. Cooper was not satisfied with that. He knew that his five-storv build¬ Be proud of your parentage and remember that all the “chance” ing would survive until a time when people would be earned up and in the world is right in front of you now, if you are big enough to down stairs, instead of walking. There were no passenger elevators in use in his time, but he was certain that such a thing would be per¬ grasp it. 367 THE ETUDE Page 369 JUNE 1917 JUNE 1917 Saving Time in Practice Page 368 TEE ETUDE and the only way which *i^greair ignor- Freak Minds in Modern Music way is to let our composer; grow p ^ better By Frederic .W. Burry ance of othf “ ould follow the example When one considers the prodtgious.number f>b urs By Ernest Newman for many of them if they t0 iO0k at other 0 of Motland, «bn >*“d'>M delect w, „„„ indi- that are absorbed m P‘*"°onP q{ economizing this averagessytis. amateur, the q ~rs—anci making- - the- m H,n least worthy of consideration. Wittiest Saving No. 1 The first requisite is. concentration with the mind Keep a Journal settled on the work in ^nd one may t „ laro-e saving of time, and an an ruumi By Ruth Bailey SiiSssass tiresome and wearying. Tru , Vnlnimized A commonplace. Many of «., .fw • f> ““bf tool practice ask ourselves the question: What have Concentrated Music accomplished?” and very often we think that we have It is not merely that the forms of the past have accomplished little or nothing. This .ten causes the mostly become too pedestrian for our present use^ b more timid students to give up the race f we desire a quickening of the pace of mus.c-by wh ch They have alert, receptive minds and they acquire where concentration particularly comes m. Talent in America I mean of course, not a mere acceleration of the PeTfhf°best way to prepare to answer this serious Idealism in music study! Surely this is a time for technic rapidly when they are not sb tense and rigid traction of mind is mostly laziness. A willing spmt There is an immense amount of talent i America— tempo, but a swifter and more direct way of thmkm^ question is to keep a journal. On the first page write idealism if there ever was one. Idealism may at this that relaxation becomes difficult. The basis of all but weak flesh. And just here the Will wonderful talent. Americans know how to work and Ones objection to the ordinary novel is that.a poet a candid outline of your musical knowledge being very moment be the salvation of the universe. It is technic is sensible relaxation. I have been credited ercise its authority. Calling the wander^ thoughts are willing to work hard, but their talent needs care¬ of real imagination could have said it all in fifty lines sure to tell all your musical faults, from the la g to order, that there may be creative activity that the thing which is keeping us from becoming utter with being the founder of the so-called modern or a [he most8 concentrating all the diffuse emotion and ful direction. The first thing that must be done with to the minutest detail. Then after each lesson period will be worth while. For art is simply barbarians. A man cannot be an idealist and a total relaxed method of playing the piano. It is a dis¬ the tedious circumstance of the book into half a dozen the American pupil is to remove the spirit of com¬ write down what you have learned during that lesson. barbarian, can he? tinction which I have never been particularly interested burning moments. No doubt it is some such concent a d°Some self-denial is necessary; but the results will In times of greatest stress people always need in claiming. Leschetizky said to me years ago when tion of expression that Schonberg is aiming at in his But don’t neglect to sketch in between the lessons the idealism most. I have recently had a most powerful he watched my playing, “I am interested in the manner later worlc I can think, however, of no modern work musical knowledge you gain through practice, teaching fully compensate. illustration of this in Europe. Last year I gave in which you manage your hands. Tell me, is it some¬ in which the ideal has come so near achievement as in Saving No. 2 ^owTamTure that when your year of study draws seventy-two concerts in various parts of the continent, thing you have studied or is it instinctive?” I do not the fourth symphony of Sibelius, where the music al- A common fault is taking up too many piec.es. . 1“ taking the' shortest cut across the to a close, and the doubtful question, “What have I from Roumania to Spain. One might think that at know just what he meant as I had always played in It requires considerable time even for ,‘in ac.c°" fid^s instead of plodding home by the long high roads. accomplished?” comes up before you, if you will glance this time the halls would be empty. Who could im¬ the manner that seemed most natural to me. Later But that work is incomprehensible to the casual lis¬ plished musician thoroughly and Pr0Pe^y agine that this would be the time when people would d’Albert said to me, “You are the only person I know over the pages of your journal you will proudly a single piece. And the better one mastersi h s tener whiTe such music as that of the present Schon¬ want to hear music? The fact of the matter was that who can play the Liszt Sixth Rhapsody as it should niece the more particular one becomes, new faults berg incomprehensible to every one. Every student answer, “wonders.” , I had many of the most crowded houses in my entire The benefit of your journal will not end with your keep disclosing thems.elves, until at last it « realized be played and not get tired at the end.” Later Rosen¬ nf the newest music must have noticed one unmistakable career. In Vienna the halls were packed to the doors answer to this question. If you are teaching music that perfection is an ideal only to be approx mated, thal, the most generous of colleagues, heard me play iJTlSSL- in it-.he ab«n« of at the regular prices. Never was there a time when the Butterfly Etude of Chopin, and said, "What is it flow The new composers—even composers of such there will never be a time when your journal will and one is thankful and content to feel that prog¬ the soul rest which music alone can give was more you do to get that limpid effect?” This made me different types as Schonberg and Debussy-are almost cease to be valuable to you, for the way you over- ress is being made. Rubinstein used to say he appreciated than in this hour of trial and tribulation. curious, and then I discovered that I had instinctively wholly engrossed either in the undiscovered possibili¬ , came difficulties will help your pupils to overcome missed enough notes in six concerts to make up a Some of the scenes were most trying. In the Hague been playing the piano in a different manner from that ties of harmony or in the suggestiveness of a lady came to me after my recital and said, “I want And if we turn our eyes from these conscious experi ^Our^great artists admit that they have to work employed by my confreres. To me the first consider¬ to thank you for your performance of yesterday. It m« tTa composer like Strauss, who is: saved Rom two and three years at their materia1 before they ation was the music itself, the medium always comes was the first time since the beginning of the war that the erratic movements of the others by the fact ot ms consider it fit to play in public. Not that there u second. As I have had experience as an opera singer being knee-deep in the debris of a decaying tradition, any disagreeable drudgery in doing this; the wo k I have had the blessing of forgetting.” I learned that and as a conductor it may be that the problem pre¬ tTstill see ^effort to open a new field of music. In How To Go About Sight-Reading itself is a joy-the artist feels privileged simply she was a Belgian refugee, whose family, home, every¬ sented itself differently to me. to sow the seed, not bothering much about reap Strauss’s case it takes the cautious form, clearly vis thing had been swept away. Her first solace was in- At the piano keyboard my first object was to attain ing-this taking care of itself. The practice hours Se in much of his later work, of a tentative return music. But no one wants to concertize in Europe now. the musical end by the technical means that would By Viva Harrison will be profitable and pleasurable if they are un¬ The very audiences, with fifty or sixty wounded men, offer the least resistance. The body must be in such t0Thatatendency is more valuable as a confession than dertaken in a sort of religious spirit—a work ot are agonizing. a state that it will immediately respond to the com¬ as a guide /indicates a belief that music must find love that is even more creative than any mere I. Determine what key the piece is mand of the mind. This is always best accomplished new motives and new methods or run to seed, but the consideration of duty. Most of the masters have Ideals for American Students written in and mentally play over the through the relaxed arm. The tone-colors are in the way of salvation is surely not a return to Mozart considered it better to spend time over the careful The average piano student in America has no set scale of that key before beginning the arm. The painter cannot always paint red, or green Bach any more than to Wagner. One fee s, however, and detailed study and practice of suitable pieces ideal. He (more frequently it is a she) gets wildly or blue. He must have a palate full of colors. With fhatStrauss is obeying a healthy instinct in trying to . piece. than to labor constantly with dry exercises. Not enthusiastic over something without knowing definitely a rigid fore-arm, fingers working like hammers, and simplify his expression. That concentration II. Look closely at the measure sig¬ that the scales, etc., are to be ignored by any what it is. He fails to discriminate or to determine speech^of music to which I have already referred that means; but technic, with all its importance, is only a hand bobbing up and down like a butcher’s cleaver, nature and see if there are any peculiari¬ what shall be the artistic goal to which his enthusiasm a means to an end; it is not everything, and in- curtailment of the road the melody is set tai travel, wtU may lead him. American students are lacking in a the tone-colors are so lacking in variety, so hard and ties in the time. Play accurately and dulged in to excess inclines toward sheer median- almost certainly be achieved by the next great ma sense of proportion. To them everything is “wonder¬ unengaging that it is a marvel to think that such a ians of a divine simplification of tissue, the same ical and automatic manipulation, calling for little in even tempo. ful.” The dilettante who plays with fair accuracy, a school of instruction could ever have been in the dynamic charging of a few notes wUh the most far- III. Foresee what is going to take mental concentration or musical thought. pretty touch, and some personal charm is described as supremacy for many, many years. The tone-colors reaching meanings that we get in the master lines ot ;. Teresa Carreno. place. Look at least one' measure in wonderful or grand, although she may not know the are all in the arm—the relaxed arm. Of course, there Saving No. 3 advance. Never look back—because first thing about interpretation and have no ideal mercialism. He must abandon all idea of making are times when stiffness is necessary in piano playing, The limiting of one’s self to a workable variety of what has happened can never be im¬ higher than that of securing a good-looking husband money from his art and think of the art itself. just as angularity is essential in some kinds of art. selections does not imply that one should only have with plenty of money. It is just as silly to play such a work as the Schubert- proved. Hundreds of pupils have come to me with the sole a meagre repertoire. It is the extreme of a versa¬ The mechanical piano players are doing the art ot Tausig Marche Militaire with a relaxed arm of a IV. Cultivate quick mental concen¬ purpose of utilizing their educations to make money. ; s?^ tl tility that is only superficial which should be piano playing a great deal of good. The students are certain kind as it would be to play a dreamy Chopin guarded against. Change and variation are essen¬ They have little thought of adding beauty to the world, tration, seeing everything, the fingers re¬ beginning to realize that it is hopeless^ to compete with __ _ _ nocturne with fingers coming down upon the keys like producing exactly what the eyes see. tial in their way. Contrast helps; a sane mixture the’technic'’of pnwimati.'tube"s”and "felt finger,. The Their n»i» idea seen,, fo be how .0 p«. money - fows, and wholly free of the deadening influence of the their pockets. Of course they may accomplish this, the triggers of an old-fashioned flint-lock gun. of musical material is not out of place. machine must always conquer if the race is for quan¬ Knowledge of composition, harmony and but if they think only of the money, their chances of Notwithstanding the old-fashioned rigid school “as academies. tity and speed. Is that not the case with all machinery? form is a great asset. Distribution of Practice Time becoming fine artists are greatly reduced. Let them she was taught.” the great pianists of the past and Moussorgsky’s Freshness What sensible man would want to make pins or nails V. Avoid playing pieces beyond your work for their art, for their ideals and the money will present have played with great relaxation. Rubin- /\nu just acre wc aie asn-cu uy svuk, **'■'** by hand? What woman would attempt to turn'out as When we see how much of other people is put into case in point. Playing to him mechanical skill, as this custom will re¬ the minutes of the passing hours be distributed?’ much work as can be done with a sewing machine? come of itself. Art. and commerce are born enemies, stein ;s particularly a young musician's head in the process of making a real joy. He never permitted his body to sult in stumbling and halting. Train No dogma can be laid down. Temperament ha On the other hand what woman would want to have far more antagonistic than are England and Germany composer of him, the wonder is that anything at aU of stiffen when he was at the keyboard. Everything was yourself to overcome sudden difficulties. to be reckoned with; character and special require all her embroidery done by machine? Do you see the now. They never shake hands. himself remains. What he needs is the minimum of the ments. Some are naturally quick in one direction point? Hand work is supreme in certain phases of Americans are for the most part very easy to teach. easy and simple to Rubinstein because he did not try VI. Observe the style, expression and second-hand experience of tradition and the maximum some in another. Some memorize with speed art development, and always will be supreme. Some of to make a machine of himself. I have known of of the first-hand experience of life. We owe the fresh; fingering, rendering the greatest possible the piano playing devices are marvelous, just as some [Editor’s Note.—It is some time since The Etude has others having an alert vision read quickly—and s been privileged to p’resent an interview with the pianist for many cases, of what had been called a nervous break¬ ness of Moussorgsky’s music to the fact that his te beauty in interpretation and finish, at the on. Certainly an indolent person or a phlegmati of the means for producing facsimiles of oil paintings whom the term “the Valkyrie of the Keyboard "as been down, to be entirely cured by a change in method of perament and his circumstances saved him from accu are astonishingly fine, but who would exchange the first sitting. nature will make a congenital corresponding e> reserved, lime. Carrefio is proud of the fact that she is study. One case in mind was a pupil from the middle best photogravure in the world for a real Rubens, a an American, born in Venezuela. With her husband, Signor VII. Every day sight-read pieces of pression when at the piano. None of us is quit Tagliapietra, she is a citizen of the United States, despite her West. She was so nervous that I wondered whether all-around; and the peculiar and personal make-e Van Dyke or a Murillo? It is thus that the piano the same or lower grade than those you residence in Europe for some years. A pupil of :1 I could control myself sufficiently to teach her. By of each individual cannot be ignored. Just ho players have done the student good, they have shown Mathias and Rubinstein, the friend of all of the leading are studying. More difficult pieces may him the highest ideal of the human hand at the piano artists of her time she stands at a pinnacle of accomplish¬ means of exercises, apart from the piano, and in¬ much we can conquer ourselves is a question, bi ment which is envied by all. As the teacher of oiir ow'ii be played with four hands—duets and it is obvious this desired self-conquest is not g°'r keyboard, that of highly individualized interpretation— Edward MacDowell she has many interesting Incidents to sistence upon relaxation, she became an entirely differ¬ jjigAsrrafiR- concertos. to be accomplished in a day; we must be contei the means whereby an ideal can be realized in beauti¬ relate, one of which she has been ent kind of person. Her playing improved immensely. to unfold, checking here, improving there, and wit ful tones. Etude readers i lh”wU’irS, us, I thU, .» understand out haste being willing to grow. whaU8*wrong with so much of the music of the day, THE ETUDE Page 871 JUNE 1917 JUNE 1917 Why Advanced Pupils Lo.e Inspiration --- Page 870 THE ETUDE What Pieces? By Barbara DMtd, *“>*“ Acquiring Accuracy in Musical Terms An Interesting MacDowell Story By StanleyFTwidener „ „ a fact «>». MacDowell as 'a boy and I had no . 7 u science, language, Correct Definitions and Right Applications always taken a WJol^f "sluggish, disinterested, and laxation. His foreari". j USed to sit at the key- shall I teach?’ end of trouble with him. Eddie do lt music suddenly bec0^e. d? music entirely. In tins By J. FRANK LEYE "How must I begin? pupils to become *hich 1 believe cover- but also the melting of one tone into anotherwith just Therefore it is seen that these terms indicate three the right shade of tone color. Mending sothat the » n°However, the Rhythm in music is subject to variation; hence the dent is impressed with the rhythmic effec saying of Watts. announcement of goo Lent t0 attend concerts distinct variations in method °f and all through his life tho ^ arms and hands, different signs employed to indicate the way of render- The student will be convinced by trying the dosing liberately timed pauses which are based on a f y how earnestly he worked fo [ will amuse them. If you find °.r time in the company of fngThose Jeations of a composer which contain.various measu es o this charming Liszt study how strikingly veloped rhythm sense and tone perception. I recollect a story of MacUowe when he try to spend some of your t as well moods embodied throughout the composition. The musical acquaintances especially^ L;sten;ng tQ the per. Ae rhythmic effects will be enhanced by observing the Etude readers I am sure. crhapg twenty. My central element rhythmically is the rate of movement above definitions and applying the varl°"s ra'e studied with me. 1 8 I^trious man and had as or better than you do y stimulate in you an embracing all kinds of speed, that is to say, a gradual, movement to these three musical terms, rendering them formance of If musically,.but will also hurried, slow, or sudden change of tempo. To under father had been a m°st d hi daily supervision, A plan of work is ^^^^"^ne^r attains com- in sympathy with the subtle interpretation that Liszt made me work Realizing without a systematic Plan of conscientiously ardent desire to «Press y0U appreciation of it. You stand exactly what is desired by the .composer and to serve to inspire a deep love and aPP ^ between the render a true rhythmic interpretation of the piece, th ‘Tetter compositions, whenever these three signs Rubinstein was also n u j was most anxious plete success. ,Tbe ,SUC“ d whv he does it. He keeps the great talent of MacDo ^ through student must follow closely the signs marked therein. aooear consecutively a critical analysis should be made plans what he is to d°> Jhich have proved their SytTd meaning that one ^yer e^cesin acorr, that he should not B ^ boys> certain kmds of a memorandum of all P‘« e piece> n0 matter The question at issue is whether the inaccurate defini¬ and a certam freedom allowed in the interpretation of lack of applicatio . were working on the worth through ]long u»!B ^ passages 0f perhaps an tions are cited in the dictionaries or whether composers the terms consistent with the character of the piece^ work were irksome to him. We ^ was a great be^nfluenced -'rk with broader interest have adopted a careless way of marking. In a vast num¬ Discretion must be exercised, and if the student lacks how simple, there a nasSages also simple chords ber of compositions the signs employed are at variance B minor Scherzo of Ch he had learned lt octave, there are arpeggio in all good and growing enthusiasm As softie pupils ad- sufficient experience in rhythmic expression, the teacher Whenever the ten. sign is used in Chopin’s move* favorite of his. l saiu and sustained melodies. C should study II. Irregularity m taking less.o t0 feei that with the meaning they should convey according to the wiU have to assist in deciding the question of variation vance they become «mce.te - b > fongcr. At first dictionaries. For illustration, Liszt’s compositions are of tempo; otherwise the artistic symmetry essential to splendid examples in which the performer cannot Tie decomposition might be marred. When the variation lessons are perhaps not n«M»» V > greatly with breathes a life of crystal beauty into a style through nailed to definite rhythmic rules, as these ^orks "Zgi*,He protested that rbeJ*’ s ; iWfl»—\ did not know the this irregularity may not.interfereje^g ^ ^ and prolongation in tone values, in expressive playing of characteristically exceptional; to obtain an artistic which the inspiration of Chopin is set forth. their progress, but soon the gl vacations of rhythmic passages, appear to be lacking, it is In justification of the conclusions in the ab°ve There are also pupils who take frequen^ o{ rendition the player must vary the rate of tnovemert m pupils have not the exact appreciation of the signs ually improving in/ghtT? ®'f yoUr pupil will have cerotsJ from Chopin and Beethoven regarding the defi- an elastic and liberal way. This convinces the writer values on account of the inaccurate definitions given m The age andi ^ “c““ with, the unreasonable length r' f result is loss to both nit?on and use of Tenuto as they employ it, we will much to do with his interest . ^ makes better that the student should be enlightened regarding the being “too iB ]o practice. r they them- the dictionaries. To clear up Ms show that the sign (-) which the dictiontmes_define as variations of speed and the rhythmic sign-markings m definitions we will examine each defimtion m turn critic I am invited to ^dTnne/time t0.night 1 shall know pieces you select for him. hythe melody is unbroken, themselves and the teac > progress can a Tenuto sign has nothing in common with Tenuto as the compositions of Liszt and other composers so as to ally and analytically in the course of this article. For in your home. By dinner am unaWe to play progress with a J* ” dance form. The study gis interrupted and be able to render them intelligently in the manner in- instance, a critical examination of the dictionary defim this entire work by m ^ j wiU agree to give you say in waltz or..ma,'chh^dvances technically, will get W In ^"previous issue of The Etude- I explained superficial pupil, as h nocturne, because tion of Tenuto will show that the dictionaries give the defined the sign (-) as the pressure s,gn’p^?“ed it i i i¥ » ,hrongh ’’*•* “ more out of a ‘Single has nothing to put teFoerd’example, the following three musical terms, meaning “hold for the full time;’’ but this appears to * nSJSSL- S-J5 Rallentando (rail.), Ritardando (ritard. nt.) Ritenuto classical compositions where this sign is emP‘°y d , error you must give me a k'yS , was just at the having little emotion_ . b take nothing out. be incorrect. is Sst interpreted by the pressure touch, notw.thsta^ The boy protested violen ly^ as he ^ ^ tQ be into a nocturne, consequently he the noc- (riten.), are given the same or similar definitions by But a more mature-minded pupU w. ^ ^ ^ r, ing the fact that in musical dictionaries it is defined bashful age when boys f,e ,ay d the Scherzo without most dictionaries. However, they often occur in the kissed. Night came and I^ayedtn ^ MacD 1Vs turne, or even the mpst rigid as him. esn-w.as- a <»«- same composition and it is necessary to differentiate and to point out their exact meaning. If Rail., Ward a break, greatly to . stairs and down liking, while the Jig another’s poison.” No dence and keeping up a^'“loZ'Jtking simple. Love -vsrestt u - s«-r “What is one pupil s meat and Ritenuto were interchangeable, Liszt w°uld ’■““'/LdidSsS Ue. Finally 1 IV. Being ashamed to J^"g3Tlt is not always two pupils are alike. be SUre that employ them consecutively, as in his Landscape Etud stairs all over tne kissed him on the cheek, the simple music as well playing over some that sffigTout above the surrounding notes, even though caught him in the ce la d have killed me. Mo ? The following- example will demonstrate the While giving tbeo PhP the average difficulty of the the difficult that is the of at the produced S a delicate touch, and that still b ends or. He was so mad 1 ££ faCe violently. But he from month to mon com- of the less advanced Pieces you ^ g-ve supreme test of my definitions (which are at variance compositions is :increased Do not pve 0^ ^ the with the dictionaries) as applied to the last 20 measures meRs* into the following note. In other words it mehn away. At 1-. h. had new that the notes should be played in sub way or aC positions by the same comp • the first p—■ ■«»“ “-1' of this etude, in which we first get ritenuto, as follows: cented so as to stand out above the others with a dis ideals of work and study. pPOTi,»»f" ^ of ^ « The above illustration—Beethoven Sonata, Op. 2, No. and second grades, a g ser;ous study on not tinctive tone quality which blends into the: next.note ^ ’t'stssa 3—has the ten. sign marked twice in each measure. The method of playing the pressure sign (-) is as twenty-five to a hund . ’ jjs should be taught how Yesterday and To-day It is obvious that Beethoven intended the sign ten. to follows: The key is pressed, rather than struck pro¬ more than a dozen. Th.? rPU.P’1SeaSch composer. Let us convey an entirely different meaning than “hold for its to detect the style peculiar conta;ns but the dead ducing an unique quality of tone in that it sings out remember that the printed page contam^ bu full time,” as the valuation of the note itself without Henry T. F.nck, vibrates, which somewhat isolates or ^Tncer must writes: “It is almost startl'n^fessional critic, thirty- the conjunction of (he sign ten. would be ample to from the tone produced by the blow. The Jger mort symbols of rf^ Znoser w^hes To convey. As signify the length of the tone involved. A student is when I began by most of the ideas which the P play simple also cling to the key sufficiently to make it sing out t0 VI Becoming discouraged, or not rcce'v™9 j’ . justified in asking if the Tenuto sign is not superfluous six years ago, Bach was inferior to Han- Schumann has said. , 1 ak.eA,,,,, or encouragement. Do not feel that you are not >m vibrate above the surrounding notes. The unemployed the professionals, »s well 3 Chopin t0 Schumann marking if it does not mean “hold back” or "hold for finger must glide and be at rest over the next note to p”,t ‘"iiS’ciSi™™1' * •?““ °* proving b...n,« P~P^« »• .d- Then follow eight measures, after which we get the more than the time” which we contend is the correct be struck while the pressure tone note (-) » h _T .... „or and “The St. Nicholas Songs,” Singers,” by Winge , d ^ people „ by G Page 872 THE ETUDE Why Not a Daily “Song Hour or the religious Song ^ along with the good Wilbur Conant. The l ^ should ever be Art and Common Sense in Accompanying re, in symPathf By Edna Groff Diehl old standard hymns. chnstm Night” “Oh, Especially written for The Etude ushered in with st^h songs as Silent N g , SSfo work. THE ETUDE Page 873 JUNE 1917 JUNE 1917 Page 871> THE ETUDE Watch Your Hands A Closing Address therefore be ever ready to suggest the notewhen^this By Ernst von Musselman , i9 possible by emphasizing some note in the accompan ment that will give the insecure singer the cue. It What Every Music Student Should Know About Phrasing surprising to find singers now and then who have been I, "watch your By EMERITUS-PROFESSOR FREDERICK NIECKS through a number of years of training who, never¬ OF EDINBURGH UNIVERSITY theless, are insecure in the matter of pitch. Of course conditions. It does, however, serve to give an ou ™ there are many compositions in which the singer ha which any teacher can follow m preparing her This article may be prefaced by the excellent discussion of the same subject by Professor Niecks, absolutely no guide. Such a passage as the following, from Schoenberg’s IV cm Voglein Klagen, » almost Pupils and Patrons —All educators realize which appeared in THE ETUDE for last October. impossible to anyone who has not absolute pitch. that there is no end to learning, but it is pleasan. to because the composer neglects to indicate the tests stop now and then in the course of training for a may be quoted here. Let us note, too, that ris!"g troduees transitional or intermediate notes, which the I' i'emh 1 The Fixed Metrical and Free Rhythmical Accentuation, failing notes lose their general tendency when they aie orna¬ felicitously call soudure (solder) and remplissatje (tilling special purpose, as we are doing this evening, to ^ the Latter Determined by the Conformation mental and subordinate. up). The close at the end of the period, and of its chief of the Music divisions, is called cadence. In the making and reading of what has been accomplished and what periods cadences play a most important part, for there accomplished. The artist’s accentuation must be a supple one. It must N°-8 a W the punctuation comes in, the full stops, colons, semicolbns, commas, etc. Cadences are of great variety, au? ^ave two Real Music Appreciation S*3£8SEE& fit the musical ideas as a perfect glove fits a hand. This aspects—a rhythmic and a tonal, which manifest them- selves in melody and in harmony. As to_the rhythmical What a magnificent thing it is to live at a time when free accentuation is generally called rhythmical accen¬ aspect the question is, does the last melody note or last people have a real appreciation of the higher purpose tuation. In metre and rhythm we have the difference chord of the cadence fall on the principal accented heat of the bar on a less accented or unaccented heat i in tne of music. Music, when properly taught, affords between fixed time measure and free artistic time former case the ending is called masculine, In the latter • grouping. A rhythm is a time organism consisting of feminine. To illustrate the matter in verse. The first kind of brain drill, which, in the opinion of scientist line of the following couplet has a feminine ending, tne who have made the subject a deep study, excels all not less than two notes of which at least one must be second a masculine. _nst fieait with in a personal manner, sucti as n ■■Brief life is here our portion. other kinds of mental effort, ^he mind is forced to accented. Brief sorrow, shortliied care.” think with a rapidity that is little short of a miracle Of the two kinds of accentuation the rhythmical is As to the melodic and harmonic aspects the question Is, what are the last two melody notes, the last two chords? the hands and body are trained to obey the mindl with superior to the metrical, and constantly modifies it and the same style of execution that we look for extreme accuracy, the memory is improved and the not seldom counteracts it outright. What determines The tendency of longer notes to e* the A'The11 first"'third, 'and °flfth degrees of the scale constitute long slender hand; and therefore each must be devel¬ the rhythmical accentuation in acting thus is the con¬ metrical accent^and' the melodic' tendency, is seen in the the elements of rest, which together form the tonic chord, judgment of the performer is constantly exercised in oped to the fullest along its natural lines, not however the chord of the first degree (in C major, c, e^g,) ; and formation of the music, that is, its contours, shape, examples No. 3, a, b, c, d. the other four degrees, the elements of unrest. Two of the determining the proper phrasing the proper amoun at a complete sacrifice of the attributes belonging to construction, and its thought and feeling. We find four are respectively contained In the principal contrasting of force and in other phases of expression. If ym the other. Hence, if one would bring his b^dstothe chords, those of the dominant, fifth degree (a, b, d.), and i have Tad the idea that the main end of music ,s merely that in accordance with the shape and meaning of the the subdominant, fourth degree if, a, c). When I »ay con¬ createst degree of effectiveness, it must be largely trasting, I mean contrasting with the restful chord of the ' to enable the pupil to play a few pretty P'eces p ease matter of “know thy hands,” and the acquaintance can- music the regular metrical accents are strengthened, tonic But there ts another tonal distinction to be noted, , „t it out of your head, as it does something for the weakened, suppressed, and displaced. Generally speak¬ that between the grades of restfulness In the degrees of rest: the tonic represents perfect rest, the third and fifth degiees. ! student that is far more important and valuable than n°Whnet0eachepair of hands will have, by reason of ing—except perhaps in the most ordinary and least imperfect rest. Consequently a cadence is perfect only ; hat In a recent report of the Rockefeller General artistic marches and dances and other such-like com¬ when the ionic is in the last melody and last bass note, that their peculiarly individual construction a natural ej is, completely rounded off. In every other case the cadence stances, Wagner is iuu 01 uiun. Educational Board, Dr. Charles Elliot. President- fectiveness in one particular stjle of playing, this fact positions—accentuation is, as I have already partly is imperfect that is, less conclusive. The degrees of unrest Emeritus of Harvard University, states in the strongest also differ among themselves in grade. Those lying at the The following accompaniment from a Debussy song provides no valid excuse for an absolute neglect in ie stated, not a system of blows, not an alternation of distance of a semitone only from the degrees of rest are the is significant because the singer with an uncertain sense terms that music should have a more and more development of other styles. In fact, ,f onea « peaks and plains, but an alternation of varying ascend¬ ^I O.3. TheA 1IV FactorsM. in the-- Conformation of the Music— more intense in restlessness (movement). I have mentioned of rhythm is sure to have difficulty in knowing when prominent place in the educational work of _ our himself to succumb complete y to one s parUcular y ing and descending gradients with occasional peaks and Periods and Motives only the two most common chords of unrest contrasting country. n9t because it is one of the most delightful with the restful tonic chord, but any other chord contain¬ to come in. strong forte in the way of piano literature, the only plains; or, musically speaking, an alternation of cres¬ In the first part we distinguished five ingredients, or ing an element of unrest is a chord of unrest and con¬ 0f human pleasures but because it helps the mind as trasting with the tonic chord. Cadences in which the last possible result will be a narrow-minded unbalanced cendos and decrescendos with occasional sforsatos and let us rather say, five factors in the conformation of chord is one of unrest, although forming rhythmically tem¬ few other things can. . musicianship, which can never he thoroughly satisfy ng. evenly sustained dynamics. Nearly the same goes on music—melody, rhythm, harmony, tonality and form. porary resting places, have tonally no finality about them. ■ These pupils who have played for you to-day are And wWere such a condition of one-sided music ansh l Again, tonal contrast is produced by modulation, change in the reciting of verse by a good elocutionist, the The first two are the most obvious. They are also of key. Thus by the multitudinous possibilities of mixing exhibiting but a small part of the work they taye already exists, we would advocate the use of what we superiority of sense over .form enforces a compromise generally found in conjunction. Exceptions are tune¬ the degrees of rest, of unrest, and of rest and unrest con¬ accomplished during the past year. A s.ngle p.ece ts are pleased to term “educative counter-applicants. I o between metre and rhythm, and sometimes even goes less rhythms given out by drums, cymbals, triangle, jointly, «the composer obtains a vast variety of effects ex¬ pressive of all sort of feelings. not unlike the blossom upon a tree. A great deal of better explain our meaning, we would advise the forc¬ farther. This is illustrated by most of the following and sometimes also by melodic instruments. In exam¬ wood must be formed before the blossom is possible^ ing of any pupil, whose greatest effectiveness seems tu examples, and by good editions, and good performers. ining music we find melody and rhythm forming small The blossom never comes first. There must be solid 5. More About Periods. Unperiodized Music lie in romancing amidst Chopin, into becoming nio^e Let us note also that as there are strong and weak groups of notes, and that two or more of such groups o-rowth. In the cases of the great pianists who earn Periods are short or long, single or compound, orig¬ proficient with his Bach and his Beethoven, and the beats, there are also strong and weak measures, that is, are used to form larger groups. Or if our eyes begin such huge sums for their public playing, the composi¬ wisdom of such procedure will soon be apparent in a measures with primary and with secondary accents. with embracing a larger stretch of music, we notice inal or derived, symmetrical or unsymmetrical. The tions they play are often the result of years of practice more robust, a more satisfactory Chopin. And while This is often the case where the composer has written that this larger stretch is divisible into smaller por¬ most common of all periods, however, is the 8-bar upon studies and exercises that the public will never it is true that, with such a pupil, there may be some simple instead of compound time, or in compound tions, and perhaps these latter again into still smaller period, which is divisible into 4-bar phrases and may hear. tendency to Chopinize his Beethoven, one may be led time has not placed the music on the right beats. Even portions, and so on. In fact, as there are periods (sen¬ be further divisible, though not necessarily so, into For Human Welfare to forgive even that, under certain conditions. the best masters have sinned in this respect. tences) in literary compositions, so there are periods two-bar sections and one-bar subsections. But there Les donneurs de se ^ re na des While we have endeavored in the foregoing to im¬ in musical compositions. These musical periods are are periods of any number of bars, for instance, of six In these times, when the world is half mad with the bars divided into two 3-bar phrases, of nine bars into spirit of war, music seems more and more a necessity. press upon young pianists the vital necessity for a 2. Two General Tendencies—(a) As to Melodic joined and balanced structures, which might also be three 3-bar phrases, of twelve bars divided into three Herbert Spencer, the great English philosopher, has recognition of their hands’ limitations, it has also been Direction, and (b) As to Rhythmical Duration regarded as organisms with articulated parts, growing 4-bar or four 3-bar phrases, etc. Then periods may be called music “The fine art which, more than any other our desire to encourage them into developing an et- mostly out of one, two or more germs called motives. The accentuation, then, must be in accordance with the compounded of phrases of different length; 4 and 2, ministers to human welfare.” Where there is beautiful fectiveness that will always carry them to the very conformation of the music. Now, in connection with this A motive may be very short or of greater length. It conformation there are to be noted two considerations of 4 and 3, 4 and 5, etc. In short, it is with the bars of music it is difficult for discontent to live. The Japanese boundary of those limitations. Whatever style of com¬ cannot consist of less than two notes, nor have less a general nature that come nearer to the force of rules periods as we found it to be with the beats of measures have a proverb which says that “Music is the art that position they can do especially well should he developed than anything else to lie mot with among the facts the than one accent. If it is of considerable length, it may (see Part I, No. 6). And lastly, each of the periods has the power of making heaven descend to earth. into their strongest pianistic card; whatever form of be divided into sub-motives and these utilized inde¬ (1) 4’he "tendency of' ascending successions of notes to mentioned may be extended by repetition, addition, and Nothing brings more of the beautiful to our lives playing contains their weakest musical and technical carry witli them increasing loudness, and of decreasing pendently. The motives may begin with one or more insertion, and shortened by curtailment, contraction, . Please do not think that the music teachers of the points should be carefully nurtured until it may at successions, decreasing loudness. unaccented notes or with an accented one. They may (2) The tendency of long notes to be weighty and short and elision. From 'this it will be seen that the per¬ Accelerando country desire to make any impossible claims for least partake of a certain degree of effectiveness. notes to lie light. begin at any place in a measure. Bars have no artistic former who wishes to interpret satisfactorily must be music." We know what it will do and what it will not It would, however, be wrong to conclude from these significance. Here are a few motives. natural tendencies—ascent calls for effort, descent for re¬ an analyzer. If he is not, he’ll find music more or By Madame A. Pupin do We are not like the automobile salesman who laxation ; breadth implies heaviness, narrowness, lightness— said to a customer, “There is nothing on earth that that all ascending successions have to be performed cres¬ less a pathless wilderness. cendo, all descending ones deerescendo; all long notes Thus far I have spoken only of periods, but music Some time ago I contributed to The Etude a short our car finds too steep to climb.” “Yes, there is, heavily, all short ones lightly. In the first place, there article entitled Ritardando. It appeared in the January said the customer. “Mine tried to climb a tree last ically Pronounced are always more factors than one at work, and they may does not consist solely of periods. There is also such modify and neutralize each other; and in the second a thing as unperiodized matter, also called passage work, issue. In this article I spoke of a lady who after summer, but it wouldn’t work.” (Published Serially in Alphabetical Order) place, the intention of the composer may reverse and often hearing me play in a concert, said she believed she A Beethoven Sonata will not cure the measles or does reverse the natural tendencies. that is, more loosely-strung music. If you will examine In the first three examples the melodic direction follows any larger composition you will find, along with the had heard a ritardando for the first time in her life. build a house, hut it has a place in the scheme of life Joseffv, Rafael (Yoh-ce#-fee) Hungarian pianist, 1853 its natural tendency—-in the upward winging of No. 1, a. When a pupil is told to play ritardando lie usually which cannot be filled with anything else. Leigh Hunt 1915. the dying fall of 6, and the serpentining ups and downs well-knit and well-balanced periods and groups of of c. See how in &h and cr. the melodic tendeUevtendency overridesove periods, such matter. Take, for instance, any Beetho¬ takes a slower tempo, but not a gradually diminishing savs that “music is the medicine of the breaking Kjerulf, Halfdan (Chhyair-uU) Norwegian composei the metrical accent. tempo. If he is told to play an accelerando he usually heart;” and the late W. E. Gladstone ^estimated the 1818-1868. ven sonata, and look at the middle division (working- out division, free fantasia) of a first movement and takes a more rapid tempo, but not one increasing m constructive worth of music in saying, “Music is one Kneisel, Franz (Kuigh-zl) Roumanian violinist, 186; speed. Ritardando means to decrease gradua y in of the most forceful instruments for training, for you will notice that periods are the exception and Kohler, Louis (Kay-ler) German composer, 1820-188< speed p Accelerando means to increase gradually m arousing, for governing the mind and spirit of man.” successions of phrases, sections, and subsections the Kreutzer, Conradin (Kroyts-er) German compose rule. But in short pieces, too, we occasionally come ^'imagine a railroad train coming into a station. It A Word of Thanks 1780-1849. across matter that does not rise to the dignity of period¬ comes in -puff-puff-puff-puff until it. comes« to a Kubelik, Johann (Koo-be-lick) German violinist, 188( icity. If, however, we know about periods, passage In closing, I desire to thank my pupils for their work cannot give us much trouble. To periods and stop. Going out of the station it goes PUFF-PUFF Kuhlau, Friedrich (Koo-lou, “ou” as in out) Germa faithful and enthusiastic work, to thank their parents their phrasing we must, now turn our more particular —PUFF—puff—puff—puff—puff—ff ■ and my patrons for their kindnesses to me during the composer, 1786-1832. attention. year, and request those who are going on with their Leschetizky, Theodor (Lay-scheh-fi/e/i-ky) Austria At the opening of the Adagio of Beethoven’s Sonate work, either during the summer or in the fall, to give 4. The Phrasing of Periods. Their Articulation by Venice in the seventeenth and eighteenth centuries piano teacher, 1830-1915. pathetique we have an eight-measure period, self-suffi¬ me sufficient advance, notice, so that none ,of my It is otherwise with No. 2, Cadences. Rhythm and Tonality in Cadences was ranked as one of the great music centers of the Loeffler, Charles Martin Tornov (I.cffAtr) Freni cient in beginning and end. There is no utilization of regular clientele may be disappointed in securing the If we wish to phrase a r-—.. - - - world. It boasted four conservatories of renown. All violinist and composer, 1861 - where the articulations are. and the recognition of the motives here, but the groupings of the notes are so lesson periods they desire. a a and b, there is no increase in loudness, in a even a of these institutions were derived from money set ecrease. In c the composer reverses the natural melodic motives will help the performer in locating the articulations. distinct that the articulation of the period lies open Loeschhorn, Albert (Lfi/i-horn) German teacher at tendency, and’ =-in J ' disregards it and.--, thereby «.-produces Often the latter lie openly before the reader, revealing aside for hospitals for the poor and infirm ; but these composer, 1819-1905. the expression of suppressed passion. Beethoven often uses themselves cl early by breaks, which may he formed by before us. The e natural of the fourth bar is a transi¬ foundations later were diverted to music. The hos¬ this and similar violent devices for this and similar emo¬ rests or the distinctness of the melodic or rhythmic groups. “Music is the manifestation of the inner essential - ’- -*— —-- -r less hidden either tional note (soudure), connecting closely the first with pitals themselves were endowed by private citizens. Lully, Jean Baptiste (Li/-lee) French composer, 163 tional purposes. Also the ascending and piano No. 3, b. Often, however, the breaks are more o nature of all that is.”—Beethoven. 1687. Some of them dated from the thirteenth century. . THE ETUDE ' Page 377 JUNE 1917 __ JUNE 1917 fffjg/gl2J2faigIE|greigJEnJZiare__i21Hrai2JZiclcigJg^cldKigrdieieiei«ueiagj«ua«i»c_;___ i-—- ' Page 876 THE ETUDE . alt the requisite knowledge spoken of ■ hv Pm°eSShe wonM Si have to remember that it can avail in the binary y ™ less he adds thereto another possession, 1 the second phrase Now as thereto1„ ^oducTthe The Symphony: Its Chief Characteristics and over a slur, what tan t 1 y k(_ & decrescendo effect of an articulation. accom- mmmi How to Recognize Them may say that in our example there is something ter¬ He even defies the c°^enJ°nS ^ Lsibk \o formulate I nary while being binary in proportion and key By VICTOR BIART us SS f ^nd mo, — subject, like a paragraph, in which a thought or idea sfsiisssmodulation to the key o „ ends Gf sections kind of form, ternary form, the characteristics ofQits The chief external characteristic of the symphony, episode furnished by the allegro—has been completely is expressed. The movement opens with the first the second feminine and ■ commas and expressed, and the slow movement has run its course, it most common constitution being, a i p ’ .. . easily recognized, is that it is composed of a number theme, also called the principal subject. There may and phrases are marked respectively oy of exceptions. Very-otten, now > . has 3 of separate and different parts, somewhat like the dif¬ is time for another change of scene and mood. And in another key, and a repetition of the first Part’ 'lterf* nothing but mannerisms and bad hab ts. I be a slow introduction preceding, but the movement double commas. or modified (a, b, a). As I have no space £"n o ferent acts of an opera, thus forming r. cycle. While now for some real fun! The energies accumulated during the restful slow movement, and pent up all this proper begins with the first theme. The first theme, this subject I must confine myself ^ referring tl^ V each of these parts comes to a complete end, thereby or principal subject, is the more vigorous, assertive of student to a few examples. See Nos. 6, 8, 9 13 20 28, separating it entirely from the others, and constituting time need an outlet in some bodily action. The oppor¬ tunity for this is furnished in a drncc movement. In the two. It must be so initial in character as to make &c. of Schumann's Album for the Young. The second ™™n»S'S ™:«J.°lSvid™li!», pl»y. i. it a unitin itself, it is but a member of a greater en¬ us feel that something definite has begun. More f'apid member of the form (6) may consist of merely a few the classical period in which the symphony originated, tity in which they all are merged. What is the reason notes soon appear (generally 16th notes), inner anima¬ bars, and any member of more than one period or part for this seemingly complex scheme? Simplicity itself. this dance was a minuet, that stately dance sc muck in vogue in the 18th century. But Beethoven, per¬ tion (not necessarily involving acceleration in time) (for instance a in No. 11). However beautiful music may be, however interesting increases, a higher level of tonal eloquence is soon in the expression of all the emotional experiences in haps anticipating the more buoyant unrestrained mod¬ ern spirit, substituted the scherzo for the minuet. The reached, all is stirred up more and more as the music 6. The Pianoforte’s Means for Phrasing and their accentuation and their influence on and interferenc the portraval of all the scenes of which it is capable, to courses along towards its first significant climax. Dy¬ Shortcomings word scherzo in Italian means “joke,” and explains with each other, cannot but be of great help mwwet music as to all things is that precept applicable:—va- namic increase is among the features. There are more phrasing. In addition to these fundamental statements the character of the movement, the humor and the rietv is 1 be spice of life. This was felt instinctively definite signs of the inner life of music than we are yo^nTtTo the^same? on g fflMJSSS Sg some good general advice and particular hints can be merriment of which naturally involves a rapid tempo. by the master minds that evolved the symphony. accustomed to observe And this first rise to a higher z&srgztss rs: given. In phrasing keep together what belongs to¬ Its bounding spirit is expressed in triple time and becomes a ten-measure p rases be bound to Now there is no factor more potent in determining sustain sounds. Again, you sound”, but gether, and separate what, for intelligibility s sake often a preponderance of staccato notes. Following level of expressional intensity is one of them, and is ^Sdifc«iora .nd =v» .ii8h, the character of music than the tempo in which a com¬ the first landmark to observe in following a symphony. requires separation. In this the conformation of the position moves: a waltz melody can be converted into the principal subject of this movement is a more calm music is the guide. The notation does not alwaysi indi¬ Thus the first climax marks the end of the first lap cnrrtP tin>p to modify the sounds dynamically. But wnat is that of a lullaby, and vice versa, by changing the tempo. section, to offset the vivacity or vigor of the scherzo cate this. Rests between the periods and phrases are on our journey through toneland. And in ?h?Pxa?f state of matters with the pianoforte? When the Therefore, to furnish the contrast and variety player touches a key a corresponding ha turner strikes rar^ often wanting, and slurs are misapplied, stopping, for nearly all symphonies this climax is attended that the esthetic sense of even the untrained Z«b:£ -i. however, 1, to b*., *» responding strings, and h^hinfhpSmUCThl^^roves0that the instance at the end of a bar, instead of going on to the with a modulation into another key. If the demands, though unconsciously, each of these fundamental key of the work is a major key, relation. A very »«-.» TO the player””^ uTremmunlcation with the sound onij at the first note of the next. Rinforzandos of various degrees first instant of touching the key ; he cannot in any way naturally and usually go together with dissonances, ap- separate parts of the symphony ts made to this modulation generally takes us to the key the same sort of relatl0n 1 . be The following whatever affect the further course of -the soun,3, cannot move in a different tempo, and is hence called either increase or decrease it in loudness, nor otherwise poggiatures, and the first note of the feminine ending. of the dominant; if the main key is a minor modify it? This is, of course, a terrible shortcoming But a movement So we must now discard the above "*",plbV1BelXvn, will UtastVate thi.. Here there is yet another—namely, the incapacity of sustaining I am sorry that want of space has prevented my dis¬ one, the climax generally leads to the relative term ''part,” and adopt the technical definition g;.ri.ds are eytyptoenW <° “to cussing the interesting subject of simultaneous co - major key. With this means the composer ^egtt » M SS trasting rhythms, so general in fugue and other con move me n.i. The movements of a symphony sheds a brighter light on the scene. This matters a'^lttU^'Atren^tbenYng1' the pJwe?V somewhat and trapuntal writing, but also frequent in homophon.c are thus the greater moulds in which the com¬ climax, in which musical utterance has reached poser casts the elements of contrast and Hgbg«oT8pedal ““the peda?°does ^s "this” it raises (melodico-harmonic) writing. For the interplay of te a temporary maximum of power and intensity, f' ’raVaTe^ft'S " *Lo the way o! .ec.od all the dampers and sets all strings free, enabling those:in dencies there is here wide scope, as, for instance, in variety. Each movement presents an entirely is followed by a change of mood. different picture from the other, not a concrete key”1toiCvibr*ateOIwitht*itt^inpatheUcally?e The sustaining -the case of two parts of which one rises and the other A sudden calm prevails. A new subject ap¬ picture, but an abstract one. It is chiefly a pears, quite different from the first, in its peSal is | -^^sCOnno“Vremoeveathe ‘ shortlivedn^s ‘ of change of mood. the”r?ianoforte’ sound. If, however, the instrument's powers faBut enough! I must stop. Not, however, without first vigor and animation. The spirit of the first Ire poor in this respect, they are immense in ““other I theme is offset by that of the second theme, 1 <*- marvelous and really unequaled capacity as wishing the student success and a pleasant journey in The First Movement ■ - -cb and of accent by touch. To be his quest for the. true and beautiful. which now follows. This theme, also called ??irer Page S7S THE ETUDE Preparing for Pupils’ Recitals are treated and presented in the most varied manner, inverted, tossed about from one instrument to another By V. M. Osborn The Composer in various keys, transferred from treble o bass and vice versa. It is the great scene of argument, in which subjects are presented, discussed and analyzed The , irma Heeo breath, and begins to play heat of argument naturally leads to climactic heigh^ hk -How do you manage to give such un.formly su jusTas^hethouW; who drops her hands in her lap and A Powerful and Fascinating Romaftce of Modern Musical Life neak dominating all that has preceded, and that is cessful pupils’ recitals? Your pupils have all the po.se Ci thelast note die away before rising. toTollow The great climax of the development marks of professionals, and I have never heard one brea By the distinguished writers another lap and from this tumultuous episode emerges down, though every program has been g When Something Goes Wrong Z recapMon, which is a return of the ex,on*o», “Next I speak of a matter which must be presented AGNES and EGERTON CASTLE with this fundamental difference, that in the recapitula¬ "'i" was "speaking to two successful young teachers, te , ,hp ,hemes are in the “home” key. This Authors of “The Pride of Jennico”, “The Bath Comedy”, etc. Who had been giving a very interesting series of violin retention of the fundamental key for all of the themes sfern LTuas and piano pupils' recitals m the smal town where as they pass in review in the recapitulation serves as a and^something = was spending the winter. Seeing that 1 was really bond of unity that finally welds what were elements of contrast and variety now mto anorganicentity. ,ow interested and wanted to know their ’. piano teacher sat down and told me of her expenence The plan of construction of the second, or slow, playing in public we must not stop movement is simpler, though similar. This movement and of the ideas she had worked out. In the hope tna , v^ve made a mistake, it we can also has two themes. Their natural relationship is, H mav help others working on the same problem, I S^i,wemS^P-™ however generally the reverse of that of the two na^s on her words about as they came to me. Semes of the first movement. In the second theme “During my first year of teaching, the recta s lef Though we all expect to have ou.r work so well^pre- of the slow movement it is usually the earnestn^and me in a condftion of nervous collapse The pupils ffiat tranquility that give way to a lighter freer ve ’he tTkfaway S'S Sf°eeling’ '^hat if 1 Sh°Uld way of contrast. It is like a reversal of poles. The positive and negative elements have exchanged roles “Now that we have talked things over, we go ug£ In the slow movement the develop*,** section Us o the program in order of futur\aPP"me to ight far less importance and prominence than the first don’t need to enumerate to you the horrors of the ways astonishing how many weak places come g movement; and is often, in fact, omitted altogether average small-town musicale! .pother under the test of playing before other*. take n tes The minuet or scherzo constituting the third move- “Next year Miss G. and I gave our rectals together on each rendition, and before any pupd tom " ment is in either two or three-part song or dance form, , . wp studied and experimented until we worked advised as to the sort and amount of practice to g with a middle section (trio). out » plan of preparing pupils for public his piece before presenting it to me at the next g appearance, which have become a matter of ioy an The Finale le“The next week, the piano and violin pupils meet The Finale, or last movement, is in either the rondo before a recital. I invite the proj- together and we g0 straight through the program form, in which two or three themes recur a^riiatdy pec^performer. to my stiriio. At >b'““£ in the merry manner of the round dance or m sym violin pupils are at their teachers studio, each ?£ ts, phonies of more earnest character, hke some of those bit^Fa party of the occasion, after the business of of Beethoven, the finale may be of the sa ^iT^Ttumlh.nftae^f playing and criticising is over. The ^lt of tffis s as the first movement. ,_ „ that we all become better acquainted, and the ch wren Thus we see that this vast and complex scheme-a look upon the recitals and their preliminaries as happy great cycle made up of a senes of cycles, is nothing away with the nerve-racking annoyance of whispering occasions and they are always eager forYhe't- torn, more nor less than a most elaborate sonata for or¬ and noise in the ‘green room. Besides, I may as “If the recital is to be held in a hall or a church chestra It affords to the composer ample opportunity a^it that I have hopes of the idea being passed on to for the presentation of a series of pictures or moods we take the young artists there to> get: *e to * and r.taivSP (Would that we might «„.»•« land.’ Ours became so popular that we have had and with all the variety of express,onal content and audiences as carefully as we train our performers!) give them in such a place, as we could no longer significance of which the symphony is capable these are “Then comes the caution against haste in approach- accommodate the guests in our studios. its chief and characteristic features. inz and in leaving the instrument. They are always “Perhaps this all seems like over-elaborate prepara¬ hugely delighted if I give an exaggerated ^nation of tion, but we have felt that our every effort ha^ been the little girl who rushes out, bounces up on the piano Are You in This Rut? repaid. It is a joy to have our little folks do as wel bench and begins to play, striking the wrong opening as they really can, and best of all, like to do it. chord, nearly slips off-finally rights herself but-makes Let me add that these two young teachers have built By R. E. Farley an unsteady showing, then jumps up before her hands up a community interest and a standard of excellence have left the keys, tumbling over the bench in her that might well be the envy of many an older and Tt is so easy to get into a rut, and one in which haste to be away. An illustration follows of the one longer established musician. many teachers travel is that of “The Same Old Piece. who walks out quietly, seats herself correctly and com- Year after year they give the same pieces and studies to their pupils, never taking the trouble to look up anything new. Strange to say, it is often the City teacher who appears to be most negligent in this re Famous Musical Pioneers spect In several adjoining studios the writer has for <‘Some Interesting Dates to Remember. ’ ’ (From 314 to 1836.) six years heard the same round of old-timers given tC>CertainljMhe old pieces have stood the test of time Collected by LeRoy Johnson and we do not wish to give them up, but would it not be well to introduce a few new ones for variety. the Wagner of his time and was criticised in much City music dealers always carry a supply large Pope Sylvester, Bishop of Rome, 314-335, is credited enough to furnish any amount of new teaching ma¬ the same way. Monteverde was, undoubtedly, the with the institution, in Rome, of the first singing terial and every dealer is glad to have a teacher go originator of the modern style of composition. He through his stock for the purpose of making a list made free use of dissonances previously prohibited. SCIn°604-606, Roman singers first appeared in Gaul and suitable for his work. Publishing, houses are always He allowed the dominant seventh, the ninth, and the glad to send music, by mail or express for ^muta¬ Brittany. . . TT , . , major fourth to enter unprepared, and was the first tion to teachers either in city or country. There is Le ieu de la feuillee, written by de la Hale Adam, to use the diminished septimachord. He also made and performed at Arras, France, in the year 1262, is no excuse for using the same old pieces anJ st"d'“ a special study of orchestration and developed ac¬ year after year. The old pieces are nod^buf.there now regarded as the first type of Comic Opera. companiments in a manner never before dreamed of. Franco de Cologne is considered the first writer on are plenty of new ones that are good also. If you He lived from 1568 till 1643. mensural music. He lived in the thirteenth century. are in the rut, dig yourself out. In 1594, Jacopo Peri composed the music for Daphne. The first Academies devoted exclusively to music This stands as being the first opera ever written. were found in Bologna, in the year 1482. Like the first opera in Florence, the first oratorio The first Protestant hymn or choral book is by John Let the Pupil Solve His Own Problems was also composed and performed in Rome, in the Walther, and was published in 1524, at Wittenburg. year 1600. The author was Emilio del Cavaliere. What seems to be the first attempt at composition By Alice M. Steede The first performance of The Messiah was in the for one voice, independent of counterpoint, was a form vpar 174? The problems we solve for ourselves hve longer in of song by Galilei, which he called Monody. He lived In 1759, Haydn’s first symphony was written. ,„e „- *»<■»* which ’w^" &JZ from about 1533 till about 1600. Constanzo Festa is considered as the first Italian composer who became a thorough master in counter¬ S b a oassage in the lesson where the finger¬ point. He died at Rome, on April 10, 1545. ing presents some difficulty not solved by the editor, In 1555, Palestrina’s first masses were published. itl a good plan to ask the pupil to find out the best Jacopo Peri made first use of the stilo-rappresenta- First performance of Beethoven’s Ninth Symphony, tivo, recitativo, or parlante. He lived from 1561 824. till 1633. First performance of Donizetti’s Lucia, 1835. iti, sis™“».bYu r Sb. s In 1568 the first genius of opera was born at First' performance of Meyerbeer's Les Huguenots, only that, tat it help. to form m h,m the tab.t of Cremona. This was Claudio Monteverde. He was 836. solving his own problems. JUNE 19^ THE ETUDE Page 881 Page SSO THE ETUDE How Mother and Teacher May .JUNE 1917 A comforting thought to many of *atd t enjoy Work Together Two-piano Playing as an Incentive not have to be very expert or very far advanced^ ^ to Study this pleasure. It is quite possible Qf course, By Mae Aileen Erb piano studies early in one s musical c® • £ iflt0 By Mrs. Burton Chance Before commencing lessons, an understanding should a serious musical training, a * _ , cf.iPrtions, be had between mother and teacher in regard to the In music, there is no incentive so keen, so prompt, play Kuhlau and simple Mozart and Bach child’s practice. The mother should be impressed with so life-giving as two-piano playing. Indeed, as a means quite a field of duo-music is within his reach In act the fact that the child’s progress is dependent on his of pumping vitality into the dead work of the average I know a little girl of only eleven who has ^ a regular and systematic practice. She should also under¬ piano student, of absolutely waking up his inertia and repertoire of two-piano music, which she p y stand that the responsibility for this practice rests on setting a new desire racing and tingling through his acceptably with her grandmother. the parents and not on the teacher. It is the teacher’s veins, there is nothing like it. Modern educators have part to instruct and the duty of the parents to see that Useful Two-piano Material simplified the whole subject of child-training by bring¬ these instructions are followed. ing it down to one thing—incentive. Provide a suffi¬ About the best point of departure for easy The length of the practice period and its regular study is, I think, the charming dementi Sonatina ciently strong incentive and even the problem of the time each day should be decided on and strictly main¬ lection—easy, beautiful and splendid training bot difficult child is solved. If a child is intractable or dis¬ tained. From the very start the child will thus form fingers and taste. These, in themselves, played weU, obedient we shake our heads, not at the child, but at the habit of routine work and will understand that his will form no mean accomplishment. Arensky has wr the parent, and teil him he bas failed to find the proper daily music period has as definite a time and length as stimuli. Hard on the parent, perhaps, but more than ten a delightful little book of variations and canons, have his school hours. probably true. Suppose we apply this theory to the and there is Grieg’s masterful second piano part to It is ah excellent plan, even though the mother’s study of music. If the child’s interest lags, search the Mozart Sonatas. The easier ones may very proht- musical knowledge is limited, for her to supervise the different stimuli. If he “hates to practice, you have ably be begun at this stage and gradually grown into child’s practice every day if possibb ; if not possible probably not found a strong enough incentive. In¬ as the child advances. Boccherini’s popular Minuet is centive and enthusiasm must be the basis of all live arranged for two pianos, also Weber’s Invitation to every day, then for the first three days after the work. I cannot imagine a better investment for any the Dance and some of the Wagner selections. Joseph lesson—until the child has the lesson preparation well teacher or parent who is discouraged than just the Low has composed a very beautiful duo called Allegro under way. The mother will then become familiar simple one of renting a second piano for a few months Brillante, and there is also a little set of variations by with the lesson assignment and, even though she can¬ not be right with the child at the practice hour during every year. Von Wilm. Gurlitt’s Eight Melodious Pieces about Have you ever thought that there is something nar¬ completes the list of easy two-piano music available, as the last few days of the week, she can hear if the The Antics of Ante-bellum Virtuosi row, limited and almost, one might say, local about far as I have been able to discover. playing is going smoothly and improvement is being the early steps of piano study? Violin, ’cello, flute and Such a little repertoire is not only enormously profit¬ made. By LORNA WALSH voice, all call for the companion spirit, which increases able to the child as a matter of training, but is, I be¬ This practice supervision by the mother will require a thousandfold the joys of interpretation, even while lieve, one of the surest ways of deepening and broaden¬ one-half hour to an hour of her time daily, but it will certs a newspaper called them, characterizing the I need hardV recall the case of Vieuxtemps, to whom the hill of difficulty still looms high. The piano is a ing his grasp upon the musical life, of giving him in¬ be a money-saving proposition to her, for, instead of Those were exciting and thrilling days for concert virtuosos as “intrepid wrestlers both”—the highest Bull is a mere cipher; he made nothing, whilst the particularly isolated instrument. So much of the work centive and of surely planting that love which, if it is her child studying music for six or -even years in a tourers, needing depths of courage and endurance to praise critics then thought they could bestow. He one must do alone. Like the harp and organ, it stands to bear golden and immortal fruit, he must make a latter coined a fortune. Ask William Wallace if this desultory fashion before being able to play passably brave not only the dangers of tempestuous seas and ■ toured also with Christine Nilsson in 1870. by itself, and unless the child happens to be very gifted, part of himself during his formative years. The best well, she will be rewarded by a brilliant little player in shipwreck, but the attacks of the banditti, yellow Bull netted $80,000 from his first tour of 200 con¬ what he gets out of it- in the beginning is limited, and way to prove this assertion is to give my suggestion a Vieuxtemps’ Failure just half as many years. fever and the tomahawk—risks and uncertainties, certs, and $20,000 besides for charity affairs, finally Vieuxtemps, perhaps the greatest violinist of his his enthusiasm is rather apt to cool as time goes on trial! At the same time the mother, though her own les¬ accumulating a large fortune in his subsequent five however, which were none too great for the lure of time, came unadvertised one year after Bull, but his and tempting fruit is seen to grow on other trees less sons may have been few and not of the best, will tours, the last in 1879, shortly before his death, at the deviously far away. To provide against this possible the almighty dollar; none came strong enough though great European reputation did not seem sufficient to gradually advance musically with the pupil; she will age of 70. Long before this, however, he had started waning of enthusiasm give the piano student two-piano to travel that most rugged road of all—the road of The Brusqueness of Brahms acquire a taste for good music; - - will learn facts insure his success; the bribed newspapers had no “farewelling”—Patti’s esteemed preceptor, no doubt- work. An absolutely new world will be opened to him. ideals. There were no Jogues, Marquettes or Bre- space for any praises but Bull’s; there were no musical of the great composers and of their works; she will leaving in the wake of his musical successes a crop Immediately the piano takes on the blessed bond of As a composer, Brahms had a certain affinity to boeufs ready to suffer or die for the conversion of the critics of either training, discrimination or inde¬ be better able to appreciate the effo-i- of the teachers, of baneful influences and evil precedents. fellowship. At once there is a “jacking up’’ of his will, Beethoven. In character also he shared something of musical heathen; no Juneperos to plant the musical pendent musical opinion to champion his right to first and last, but not of least importance, through her An amusing story of Bull is told by Maretzek in a new life-giving incentive, and his whole emotional the roughness of the great symphonist. He had a gardens of the future, to turn musically barren Cali- place; there were raw musical audiences, whose un¬ untiring interest, the child will keep interested. “Crochets and Quavers.” In a western city Maretzek outlook changes. He begins for the first time to know brusque manner and a bitter tongue, and seemed never derstanding went no higher than marches, gallops, Parents in thousands of homes -i: with their chil¬ fornias into states of fruitful beauty, but. like the was standing at the door of the concert hall when a the joys that should rightly belong to one who studies to consider the feelings of others, though as a matter Spanish explorers, they came, feverish with the thirst ballads, catches and glees. Sad to relate, therefore, of fact his underlying nobility of nature was such that dren in the evenings and help them with their school well-dressed young man put a broad hand on his music. work; is it not just as reasonable i expect them to for gold. What cared they for musical colonization, that Vieuxtemps, the greatest of these ante-bellum But why is not the old familiar duet enough, someone his friends endured what they did not like about him for shoulder, saying, assist the child in the preparation of those lessons for these musical forty-niners? With Ole Bull in the lead in violinists—Remenyi, Sivori, Artot, Hauser—was the may ask, why must there be always something new, the sake of the things they found of rare and sterling “Look-a-here, stranger, can’t yer let a feller know which they are paying considerable money? 1*43 there followed in the wake of his golden suc¬ least successful financially. cannot exactly the same result be obtained from sys¬ merit. In particular Brahms was bitter against com¬ when all this confounded fiddling will come to an The teacher will gladly direct am! help the mother cesses a steady stream of foreign virtuosi of broken Amid the general worship of Bull a dissenting voice tematic duet-playing? The result simply is not ob¬ posers. He even dared to fall asleep while a sonata by end?” (Bull was playing.) if puzzling questions arise. is heard from the French colony in New York, who tained, that is all. There is no spirit of adventure in Liszt was being performed for him by Liszt himself! fortunes. “Don’t you like the music?” I blandly inquired. Strictly speaking, there had been concert tours be¬ resented his exaggerated praise. Parisians, too, were duet-playing, no keen edge of excitement, no sport and When informed that some friends of Raff were getting furious, that he who had neither the beautiful French “Wall, I guess I like music, too—but why don’t yer up a subscription to erect a monument to Raff’s mem¬ fore this, by singers from the English Ballad Opera high difficulty to overcome, no vision. I do not know style, nor the four elements, science, taste, nobility begin with the show? I would like to see the Bull, ory, Brahms exclaimed: “Let them make haste; don’t Muscle Strength in Piano Playing Companies in 1767, who, being left without occupation why this should be so, but that it is, I think, is un¬ and 'elegance, that go to make up a great player, that’s sartain, then I’d ter home.” delay a moment, or he will be forgotten before you put because of the wave of Puritanism that had swept deniable. Sitting side by side at the same piano, look¬ should have excited the astonishment of America. Sivori, in 1846, and Remenyi, in 1848, reached our it up.” ing over at the other page when necessary, and by the over the entire country in regard to the theatre, looked Aside, however, from the fact of his not being the hospitable shores, copying Bull’s sensational methods Like many another who uses a sharp tongue, aid of an occasional nudge or even point “keeping in” for engagements elsewhere, in the Open Air Concerts, greatest violinist, his advertising and Pagannini tricks in advertising and interpretation, both making fortunes. Brahms sometimes got more than he bargained for, is a very different matter, indeed, from the playing of Very seldom does a musician realize the fact that i in imitation of those Vauxhall Gardens, London, open¬ to draw the crowd, he possessed a charm of interpre¬ Sivori was the only real pupil of Pagannini; both were and it is to his credit that he usually joined in the a distinct solo upon one instrument, which must in takes a great amount of power • play the pian< ing then in all the large American cities, in which tation and personality that attracted audiences. The fine technicians, played popular American programs— laugh when it was against him. When he bitingly in¬ every way coincide with the solo someone else is play¬ but science here and elsewhere ha- demonstrate American audiences tasted for the first time the de¬ “Pagannini of the North” was a poetic figure, a typical patriotic songs—each excelling in the music of his_ formed a young composer, “My dear L-, you will ing upon another instrument, each solo, though coincid¬ that the aggregate power expended even in a simpl lights of Italian arias. In 1825, Signorina Garcia, Norse of the Sagas—tall, slender, with a shock of respective country, particularly Remenyi, in his fiery never become a Beethoven,” he was nonplussed by the ing, a difficult and entire work. piece is almost incredible. The softest notes seei afterwards Malibran, seventeen only, but already a blonde hair like a minstrel of old—as he stood before interpretations of Hungarian dances, and coming A single mistake of time or expression or repetition unexpected reply, “My dear master, none of us ever to require no exertion, yet less force expended wa great artist, within the next few years to become his audiences declaiming with warmth and skill the next to Bull in popularity. Upton, the Chicago utterly confounds the whole when two pianos are used. will.” When Jenner, a young musician whom Brahms what brought about the invention of the steam er world-famous, had given a few concerts of Italian plays of his native land. He played with exquisite critic, tells of Remenyi’s quaint conceits. The former, It is, therefore, one of the best of mental gymnastics had helped financially and in many ways, brought him gme. It was the lifting of th.c kettle lid that showe tone, simple music that Americans of that time could when a young college man, had heard him play at a It helps the memory and increases the power to con¬ a few manuscripts, Brahms greeted them with such arias. Then, too, there was William Vincent Wallace, Watt the expansive power of steam, and it taki in 1840, an adventurous .Scotch-Irish gentleman, a understand—popular and patriotic songs, and airs with friend’s house, had seen him go afterwards to the centrate, that power which is in many of us so fatally remarks as, “Have mercy on the poor poem.” Some¬ clock and stop the pendulum, saying, “This clock shall more power to sound a delicate note. One ca highly versatile and noted composer of his day, the variations, rarely any classics. Dwight, our first weak. times he would apparently listen to a composition, and easily prove this by taking a handful of coins a« mark the hour when Remenyi played to you.” This author of charming piano pieces and successful operas capable critic and founder, in 1852, of the first inde¬ To play well in two-piano work one must be more when it was over make no remark about it, but discon¬ Placing them one after another on a single ke conceit extended even to celestial regions. Shortly certingly ask where the unhappy composer bought his —Maritanna, Lurline—made a fortune here, by his pendent musical journal, said, “You go to hear Ole than a “good guesser” (with which meagre and thin- until it is depressed, and then weigh the P'1 before his death he wrote Upton, saying how fit he blooded accomplishment many duet-players are con¬ music paper! He met his match, however, in Popper, masterly playing of both the violin and the piano. Bull, rather than to hear and feel his music;” again, Ihe weight will represent the exact force expend still was, “so I shall keep on, and I will play after tent). One must be prompt, resourceful, “quick at the the celebrated ’cellist and composer. A great banquet But .concert-touring as we know it to-day—extended “After hearing so many violinists for years past, Bull, on a light note. For fortissimo playing- mul I have gone, ten million years for Cherubim, Seraphim, uptak’,” as the old Scotchman said—sensitive to every was given in Vienna, after a performance of his first tours of the virtuosi—really began with Ole Bull, who considered as an executive power, excels them all, g^eater exertion is necessary, and calculations ha’ Nicht Wahr? variation of tone the pianoforte is capable of render¬ symphony, at which both composers were present. reached Boston on Evacuation Day, 1843, “When John always excepting Vieuxtemps.” Bull made extra bids shown that a force equal to six pounds weight There was Hauser’s tour in 1850, indeed, a thriller; ing. And, above all, one’s musicianship must be cor¬ Called upon for a speech, Brahms responded lamely Bull went out,” he said, “Ole Bull came in.” He was for popularity by his compositions in praise of he was not so great a technician as his predecessors, rect, for no extra emotional touch will avail, as in solo “Gentlemen, composing is very difficult; yes, very diffi¬ necessary at times on a single key. then a man thirty-five years old, with one successful American scenery, The Solitude of the Prairies, It is more difficult to find the power needed < but was more original in composition of attractive work, to cover up defects of detail. It is for this cult indeed.” After haltingly repeating this bromidic tour of Europe behind him that could compare, how¬ Niagara, the latter surely must have brought down chords, for there is not the double amount of P0* pieces, still popular with violin students, and the reason that two-piano playing is so excellent a thing statement several times, he suddenly perceived Popper ever, in no way with the sensation he created here.1 the house, if we know anything of the tastes of ladies were infatuated with him—that, above all, for beginners, training them to be exact and, at the same and saw a chance for a flash of sarcasm. “Composing expended on a single key; for though undoubted that day. time, stimulating their lagging enthusiasm. is very difficult. Copying is easier, much easier, gentle¬ a much greater force is used, it is spread o Ole Bull’s Great Triumph Vieuxtemps’ Popular Failure spelled success. Hear Maretzek again, “Should I chance to offend the female portion of America all Even the exercises and the hated metronome may be men. But on that point my friend, Popper, can give through the various fingers to the different ke! A letter sent by a New York correspondent to a Vieuxtemps, on the other hand, was too sincere to would be over with me here; nothing would remain made delightful. Sit yourself down at the second piano you more information." After the laugh had subsided Ihe following gives an idea of the tremendous lot London friend, and printed afterwards in the London use any means other than his great art to attract; but to pack up and go; the male portion visit only with your child or pupil, however apathetic she may be, Popper got up smiling. “Gentlemen,” he said, “Brahms really brought into play. Some scientists are i Musical Times, in turn appearing in The Boston his programs were of a more serious character. The houses and patronize artists and productions that they and see the clouds roll up like mists before the sun. has informed you that I know all about copying I do Ported to have made a test, taking for an exami Musical Gazette, January 18, 1846, reads. “As regards newspapers criticized him for playing “too many have thought proper to seal with their approval. It Immediately the spirit of “doing the thing together" is not know if he is right in this. I only know that if I Lhopin s last study in C Minor. It takes two a Ole Bull you are aware that it was not his talents that flourishes and not enough tunes.” They reported matters little if the gentlemen like this or that artist, felt, a distinct and biting relish is given, work becomes copied anybody, there is only one man I wouid con_ a half minutes to play this and it was estimated « backed him through the States, it was the manner in his first concert in New York, in 1844, as “A very a sport. To “keep her end going” is an all-important sider copying, and that would be Beethoven • but on e lightest playing made a pressure of two am which he had the press serve his purpose—he bribed, stylish jam, more germaine to the humor of before nor is it necessary that the musician be even a fine one, it is sufficient if Mrs. H- declares him worthy delight, and the enthusiasm of working it out together that matter my friend, Brahms, can give you mnr» bro„Ju?S: ln. the aggregate, while three tons fed and flattered all, from Mr. Bennett down to the breakfast than the abandon of vespertide.” The eats up the weary hours until, to one’s surprise, the information 1” fought to bear by the heaviest playing- editors of the less prominent journals; it cost him a calibre of American criticism is still further shown of attention. Beyond the large cities the ladies alone time is spent and the study accomplished, with, instead It is to Brahms’ credit that he joined ii other tests it was estimated that the average h patronize the arts.” the laugh mint, but it paid him back in dollars and fame in two by odious comparisons with Sivori, a clever violinist of weariness, the desire to do it again. that followed as heartily as anybody. Lhopm s music would require anywhere years. America considered him the greatest violinist of low standards and cheap programs. Vieuxtemps He toured part of his time with Jenny Lind, got twelve to eighty-f0ur tons of force. in the world. You know how little that is true. . . . toured with Thalberg in 1857, in “high pressure” con¬ into difficulties with Lola Montez, erstwhile favorite THE ETUDE Page’ 888 JUNE JUNE 1917 , ,nred the handsome, passionate Creole of New tbef ad and what admiration had he ... turn for his Page 882 THE ETUDE r, in 1»06, was even more those oays.days. Hisn» second~ tour,’ in . 1 fa;ied to reap tnc °-r • T audiences! His main points of attack were of a king but no darling of the public here. In sensational than the first. American audiences fi!r’toarding school centers. Of Rockford, near Santiago fhe spell of his playing was such that he was same rich harvest. By >s nders_“thc piano th, b he says, “It possesses three seminaries and The Teachers’ Round Table . attacked by a mob of fanatics, who accused him of had grown weary of the 1>ia ; • the concert hall, Chicag°’ furr,ish five hundred persons.” He speaks had become an intolerable nuiaance ought ro itions “as sure to awaken the atten- Conducted by N. J. COREY assi- ^the devii; iater heT£ z caped being shipwrecked in Valparaiso. T a New York musical paper of that yea °.f Cen tue pretty battalion on the right or left wing,” ., and not technical problems pertaining to musical returned home to peace and quiet, to occupy hims lf tl0"lttv girls are a majority in the States, whilst in this department is designed (o help the teacher upon questions pertaining to [‘How to TfOeh,*’ to W, and address must accompany all inquiries. like so many of his colleagues, in writing his stirring Herz American Successes or Pretty 8 the exception,” “they are the most theory, history, etc., all of which properly belong to the Musical Questions Answered department. Full na adventures. Europe y (girts from the boarding schools) Stuttering The Plano Pounders Herz sought to recoup his fort“neail0^rjjneert in interesting eiementfg icq „the ^ _ Rolling Stones That Gather Moss facture of pianos in Europe. At his fir „ which W attention rests,” “th. A Dissatisfied Pupil “I have a pupil wUq has the bad habit of striking Meanwhile, the piano-pounders had come, D«i Meyer a key several times in a nervous nla"n^r ’$for1S Bq° Philadelphia he was ^0"k‘d r t0 answer “I have a pupil I have taught the standard “Will you please give m® your opinion In the in 1846 and Tern in 1848, and such antics as they matter of a music teacher going from one town to can proceed. Can yon suggest a remedy? —M. such a flowery speech that he “ that the hall H™ S J»«- «».. - - etudes from Czerny to Cramer and Bath, the easier cut up pale into colorless tints those of the violinists. Sot ™ »«•«<*» *»on! A.”",ca” “"T Tk 1 sonatas of Mozart, Haydn and Beethoven, with another taking pupils from the local teachers/ Plenty of slow practice to begin with, and never play E . never found elsewhere in so high a degree.” neeaslonal operatic selections, and regular technic. jf a teacher has good standing should she not get The development of the piano about this ti e it; his concert Placards.b , (wj candles, but on that work where she is best known? Such teachers pose without counting aloud. Then she should never begin would be illuminated withi * SQul counting His programs were made up chiefly of his own Do you think this good preparation for a conserv¬ iron-framed instrument, capable of feats of strength atory'' Although the young lady is improving, for something superior, and people patronize them a piece until she has-first formed a mental conception auspicious night a dear demand her works, though capable of giving concerts of the because they come from a distance, and charge and dexterity, brought forth a crop of acrobatic, super- vet Jh'e is not satisfied, and says only her fingering a big price, although producing inferior results. of just how it is going to start and continue. A *. ’ and said to have been a splendid interpreter has improved. She says she practices two hours on student who can learn to think his or her music will Sil “»« C.M " gymnasts who ” ,,„vs and none on others, Is studying history —E. W. ofseethoven and Bach. One of those near brilliant anTtheiiiyl She thlnta her wort U^dry. Can you have little difficulty in'overcoming the fault you men¬ Critics of the time commented thus: “It is gratifying The conditions which you outline in your letter you tion. It is sometimes caused by a sort of unconscious to observe a citizen of our glorious republic eclipsing tractive?”—F. S. should catalogue as business trials. Every business self-consciousness. Teach your pupil to keep the mind man has difficulties to encounter, many of which seem GRAND FESTIVAL Beethoven and certain other classical old fogies.’’ Your curriculum is an excellent preparation for off from self, and concentrate upon the task in hand, superfluous and unnecessary, and yet they have a way IN HONOR OF THE The truth is Gottschalk made no attempt to educate conservatory entrance, on condition, of course that whatever it may be. If the nervous condition is DECLARATION OF INDEPENDENCE. America He acknowledged that he played what your pupil has done her work well. The fact that she of cropping up in some new direction every little physical it may require some considerable time to effect while. The trouble you mention belongs solely to the brought the largest returns obliged as he was to sup- omits her practice on some days is damaging evidence a cure. The piece or etude should not at any time be S Sdsmoniun. cans.d by the rolling of business side of your profession. The more earnest It opened with Homage to Washington perform^ by oort a large family of brothers and sisters. Still, h.s that she is careless in her study, and is not thoroughly played faster than it can be played without stuttering spools and thimbles up and down. Of course, all the and sincere you are in your own work, the more you and at the same time constantly counting aloud. 1,800 voices and 6 orchestras, a* “d^JJg y were a vast improvement upon those that convinced of the necessity of regularity. She cannot girls were taking lessons, and when not busy with will be annoyed by the unscrupulous and fraudulent bust of Washington was crowned with a floral Preceded, both in interpretation and material; his expect to make satisfactory progress under such con¬ thdr samplers or their quilting were playing the methods of fakes. It is -true that a teacher whose Ccrto d, l. «««»'■*I. technic was flawless, his touch ■: exquisite beauty. ditions. If she does not attend to her practice regu¬ Bailie of Braque or Railroad Gallops, with aids standing is good should secure patronage in Ms or will vou recommend studies to follow the feaSm as attachments to the piano to make canons bv Herz for the occasion; a speech by a y , His compositions were decidedly original and of larly and vigilantly she should not blame you for un¬ first book of Mathew’s Graded Course? Something on the rights of women and the American peop^ satisfactory progress. Possibly the work you have her own town, and for that reason you should work go off at the opportune moment, or little ra'lroad ^ musical value, though not of the most serious type, interesting and instructive for a '[ft the suffragists were just then putting forth teftrst all the harder in face of conditions such as you mention 2. Also for another pupil veato to begin the third run up and down on top. Herz and De Meyer were and are still played in boarding s-1.Is and convents. selected for her has been too dry for her intelligence. grade, who is sixteen years old. —r. M. tender shoots of oratory; and the chma The fact that she is preparing to go to a conservatory to increase your own reputation for faithful, con¬ surrounded at their concerts by these opemeyed giris, Sometimes he catered to America’s taste for magni¬ 1. The most progressively arranged collection of Columbia, played by all the un itary ba^s of PM a does not necessarily mean that she should be music¬ scientious and thorough work, Try in every way to so eager to learn that they engaged to take lessons tude-giving concerts composed of many pianos. One studies for the period you mention is Liebling’s first delphia and the surrounding cities. Some time late ally intelligent to an exceptional degree. Many stu¬ secure loyalty of your constituency. Let them feel rom them during their few weeks’ stay in each cit^ in San Francisco consisted of fourteen, before which, book of Czerny Selected Studies. Many of these m Dwight raised his voice in protest against these dents go to the large conservatories who have been that you are sure and reliable, and are right on hand They took their money, but considered the* huge at the very last moment, one of th.- pianists fell ill, doing excellent work after the poser has departed. the first book are very melodious as well as instructive. iokes <\nd how they piled on sensations for the guile- monster concerts as artistic sins in their noisy triumph and rather than trust to the local untried musicians petted by their neighborhood constituents into believ¬ If you find this progressing too rapidly at any time ing themselves marvels, but have discovered to their If your poser is producing inferior results he will soon }e3s Amerfcans! How they pummeled the instrumen —the first American critic to do so. of the city of mining camps, but loath to have one during the course of it, change to Book I of Selected Then a polish pianist named Wolowski, who had sorrow that they were hardly even mediocre in their outlive himself, and be appraised at his proper rating. with thumbs, fists, elbows and shoulders, until the instrument less, Gottschalk had the action of the piano Studies by Loesehhorn. The two together will prove suffered financial losses in the cause of the independ¬ capacity, and had to undertake a good deal of hard At worst he will likely prove nothing more than a “very sweat fairly poured frbm them; 'f ^y had surreptitiously removed, placing ^ meone there to an admirable introduction to the second grade. In ence of his country, came to mend his fortunes by study before developing an appreciation that was up temporary annoyance, and move on to the next town turned a somersault at the finish it would have been simulate the motions of playing. I . rhaps, but for his combining the two you may find it advisable to omit playing on two pianos at the same time, "d lw under¬ to standard requirements. I would suggest that in where he can find another set of gullible people. As imperfect keeping with the rest of the performance early death at forty, in 1869, in South America, he a few from each, choosing the most interesting or taking to play 400 notes in a single measure. Unfortun¬ order to awaken a greater interest in her work you soon as he becomes known in a place be can no longer They carried their audiences away in proportion to the might have exerted a more serious influence on most needed for any given necessity. Sength expended; refreshing their waning powers ately there was no greater genius there to contest his select a larger number of modern pieces. I do not get work, thus proving that there are cases in which 2, The third grade pupil should be ready to take up American taste. Amy Fay wrote tn.m Bata> at h claims and little hand bills, advertising these marvels mean “operatic selections” but genuine piano compo¬ it is better not be be too well known if one is looking the second book of Czeroy-Liebling. Mathew’s Studies during intermissions by coquetting with the lad.es i time, “What a romantic way to die. to fall senseless Thev played airs with variations, battle, were stuck mysteriously on people’s sleeves, hats and sitions by good composers of to-day. These may be for business. in Phrasing, Memorising and Interpretation you will at his instrument while playing La M He. He had a lightning and thunder pieces, numbers wnh music box coat tails. There was Jaell, 1852, of whom Boston more in accord with her temperament and through find most useful and interesting for many pupils. Do golden touch, equal to any in the world, I think the Music for Reed Organ effects many of their own compositions of a valueless though a great deal, who also prostituted his talent, them she may be led to Beethoven and Bach Have not forget that Heller’s Opus 47 belongs to this grade, infatuation that I and nine hundred a'ld^ninety-nin "Do von think that aeleetima from Bach’s although there are a number of them that may well nature' usually responding to encores with miprovisa- although, as Dwight said, “he was able to interpret you ever used in your work Stories of Standard Piano lATThn I'bbu imw, Clcmentl’s Bonatixas, etc., are other American girls once felt for him still ling tions on Yankee Doodle, Hail Columbia, or other the classics,” and had the power to raise American Compositions, and Descriptive Analysis of Piano suitable for the reed organ, to be used in connec¬ be omitted. The amount of valuable and interesting audiences, only that he was too apt “to forget himself my breast.” Works, by E. B. Perry? From these two books you tion with London's School or Beep Oboan Plat¬ teaching material is getting to be so great that a teacher patriotic songs. Sometimes De Meyer went so far ing, Vole. Ilf, IVt”—P, J. S o drum o'lt variations with a stick. These same in the gay sunshine of applause.” He tossed New Thalberg’s Coming can acquire a fund of information to help you in pre¬ can no longer afford to let his pupils spend their time senting compositions in an interesting way, as well Many of Bach’s little pieces can be played admirably over dull things. Gentlemen are said to have been quiet, well behaved England maidens pretty compliments in his composi¬ Thalberg was the first pianist of great European tion called The Belles of Boston. as lists of pieces which are of proved value. In selec¬ on the reed organ. They serve an excellent purpose Neuritis gentlemen in Germany, acting as though m the pres¬ reputation to come, in 1856. The son of a prince, New York was not then the sole arbiter of musical ting pieces described in the books, however, make sure in helping to form the taste. Some teachers use them as ence of capable critics. favorite of kings and the rival of Liszt; in the pri “If obliged to drop my playing on account of taste, this was shared in common with Philadelphia that they are in the right grade for your several pupils. technical material; but this should be disguised from the neuritis, could I teach theory in some school.' of life, forty-four years old, at the height o Meyer’s Debut and Boston, the latter taking herself very seriously pupil, for he always has a tendency to dislike anything —S. I/- career, the originator of a whole new school o P Fingering Never were plans so carefully prepared as by even then as a musical critic; she often refused to ac¬ that he considers to be an exercise. Do not give too A long letter details arm failure, diagnosis of effects; he toured the country with Vieuxtemps, P ) De Meyer for the capture of American dollars, th cept New York’s judgment in regard to new virtuosos; many of them at a time, however,or fatigue will follow. physicians as neuritis, disappointment because of fine arts of advertising reached supreme heights equaled ing only his own compositions, amounting to a, ^ Certain movements from the standard Sonatinas may “we shall wait,” we often heard her say, “to decide is the fingering based on he scale’of that key? progress in playing, and the impending necessity of only by a Barnum. Before leaving Europe h. twelve fantasies, quite the rage for a time— ^ I am always at sea when I encounter a passage also be used in the same way. Movements that are earning a living. We lave had quite a number of for ourselves.” How am I to know “Memoirs’’ were made to order by an Disb™n°* never does anything by halves—but possessed with no fingering marked. too flagrantly pianistic should be avoided. A great letters of this description, but are unable to deal with letters of vivid imagination—puffs, press notices and Gottschalk’s Platform Dignity lasting musical value. He was fittingly ca c deal of music is published now suitable for the reed the pathological side of the matter which, of course, photographs of appearances before all the crowned organ, catalogues of which may be had by addressing Exit the piano-pounders and enter the first real “Apostle of brilliant emptiness.” V> e gather * The only special rules for fingering are those which must be referred to a good doctor. If well trained in heads of Europe were invented galore, wh.ch the press playing partook of the sparkling iridescence o artist, the first real gentleman at the piano, and, de¬ apply to the scales, arpeggios, and routine passage work. the publisher. theory I see no reason why S. L. cannot teach it. Mean¬ here was bribed to print in advance. A French car lightful to relate, an American, Gottschalk, in 1853. clad mountains, rather than the warm, glow10? P In your pieces and etudes all melodic and running pass¬ Kindergarten while, there are few positions that afford enough busi¬ toonist was engaged to make a caricaturetoadornthe A handsome young man of twenty-three years, just sonality of a Gottschalk. It was quite the mos ^ ages should of course conform to the scale or key in ness in this line to give support. This being the case, top of his programs, representing De Meyer with a “How soon sbonM a child of five or six years from Paris, where he had received his musical educa¬ ionable thing to do to attend his concerts, o , which they belong. But even in this there will-be many be put at tile piano? I have been using tbe and a fair advancement having been accomplished, why couple of grand pianos slung across his shoulders, a Batchelor-Bandon Kindergarten Method, Songs for tion, where he had been feted for his musical gifts he gave often as many as three a day—morm g emergencies which will necessitate an alteration of cus¬ cannot elementary pupils in piano be attempted also? cigar in his mouth, from which issued copious fumes of Little Children, by Garner, and Pressor @ Begin¬ and attractive personality; he had toured France and evening in New York and an afternoon con s tomary fingerings. As a general principle it may be ner's Bonk. Would you advise me to continue Even though resting your arms for a year, you could smoke scattered with music note^ a h“g® bag “L^w Spain with great success, finding his pieces played Brooklyn. At the afternoon affairs tea an said that the hand should be so held that the five fin¬ tbisr—G. M. command them enough to give primary illustrations. in his hand, marked Boston, Philadelphia wd- New gers fall over five keys, unless there is extension or everywhere, returning home with decorations from were served. t . oinei In using the Batchelor-Landon Method you will need The worst of neuritis is that it is a trouble that re¬ York, whilst, with giant strides he tramped stemss chord work. Shift the hand about from one five-key kings. No more gyrations, no more ogling girls from Then the war broke out, the virtuosos " tioj to be guided by its directions as to procedure. The quires time, and sometimes a good deal of it, for a country, on a roadway paved with the bars of his com position to another as the necessities demand, just the platform, no more stolen glances at the audiences; and when all was over the serious musical ed Beginner’s Book cannot be improved upon. If the cure. Complete submission might as well be accepted, position, March Marociane. mr,n exactly as in the scale of C major, when the thumb Gottschalk was the essence of dignity and elegance of America began with the first opportunity ° child can be induced to continue two or three weeks first as last, and the less the arms are exercised, the Upon his arrival in Boston he bade forty gentlemen passes under the third or fourth finger, the hand at his instrument; he approached the latter with hands the classics, through the efforts of an America . ^ upon the table in the first exercises in training the quicker and more complete the cure. Therefore make “the nucleus of whose opinion is fame in our should quickly shift to a position in which the fingers encased in immaculately white gloves, leisurely re¬ liam Mason, and later the coming of the gr,nJ a fingers to move up and down correctly, much will be your plans to begin elementary teaching on your present musical world,” to his rooms to give them a taste of fall over the five keys beyond. This principle will moved, when seated. Berlioz said, “He possessed all flinching Rubinstein, in 1872. This marked a Tj accomplished. Not all children are patient under this equipment. Keep your nerves as quiet as possible, his choice art. He seated himself at ^ instrument enable you to settle on a suitable fingering for many the elements of a consummate pianist . . , that portant epoch in our musical life—our first c a(j. and often their parents, are not sufficiently intelligent and even take your troubles calmly. Oyer excited “a short stout gentleman with flying light hair and passages. Where there are black keys the thumb his success before an audience of cultivation was im¬ composed entirely of the classics, courageous 3' to realize what is being accomplished. There are many • nerves will retard your cure. If, as you say, it will German blue eyes. He seemed to tear up great masses usually falls on the first white key above a group of mense.” Wonderful criticism for a young man in hered to, in spite of the fact that there were who consider that they are being swindled because the be necessary to begin to earn your living after a few of chords by the roots and scatter them about with black keys. In the key you mention, for example the those days of Chopin, Liszt and Thalberg! his audiences capable of appreciating them. child is not practicing on the keyboard. During the months, why not start to lay your plans at once? Let furious joy; his brow seemed almost to lift itself thumb will fall on F and on C. This will also help However, he was not received enthusiastically at first few pages after the notes and staff have been in¬ your practicing drop, simply keeping up what you from his head; his whole body played, then he would you in many cases, although there are many excep¬ first. He says in his Journal: “At the time of my, troduced it is an excellent idea to have them first know in a very moderate and careful way. Get your straighten back and look with triumph on his audience The aim of existence should be to make our tions. You should learn to think out your fingerings return from Europe I was constantly deploring the practiced on the table, as when the sense of correct business started. Then when the opportune time again spring from his seat as if from a race horse, and better and to satisfy them. If by education we ^ so that the fingers will shape themselves as comfortably want of interest here for pieces purely sentimental motions in playing the various little pieces and exer¬ arrives, take up your piano study once mor.e, starting as the one piano was vibrating like twenty he would abolish the craving to tyrannize and oppre55’ ( over the keys as possible. Use your fingers in their • ■ • , to attract it became necessary to astonish cises has been formed, they will be less likely to Stiffen easily, however, and progressing little by little until rush as it were into the arms of the audience, laugh¬ no living being would feel it, replacing it by . natural order when there is nothing to prevent, and pass with tours de force. He had not long to complain the muscles and cramp the position when attempting you feel you have your full strength. Make the best ing and shouting with as much delight as any of them >ng to see others happy, the world would tic the thumb at the most convenient point when the passage at the marvelous things he had done. however,nowever, as an era uiof sentiment!sentim JUNE I9y THE ETUDE Page 385 Developing Absolute Pitch JUNE 1917 Page 384 THE ETUDE A Hieland Laddie A HIGHLAND LADDIE Getting the Most Out of < By Effa Ellis Perfield FRED. L. MOREY An Analysis of Mr. PerryV^mposition in this issue of Musical Magazine A descriptive analysis of this number by Edward Baxter Perry will be found upon page 384 Grade IV. THE ETUDE Why is it that, although there are many ear-trainim, a exercises on the market and a large number of teachers Allegretto - s 2 a „ - By Edward Hardy are teaching ear-training, there are so few possessed The ids. to. »< * of real inner hearing? It is because the majority 0f To get the most out of your musical magazine you quizzical character, „produced with ad- exercises are based on pitch instead of tone, and hear- should read the articles quite slowly, tuake sure you ing is not feeling through the ear. If ,t were, many have thoroughly understood each point, and mark S,; SST.£1*, musicians could not, hence would not, tolerate their either by underlining the passage with a blue pencil unmusical speaking voices. any other method-such hints that strike you as being In our public schools we do a great deal for the of use The mere fact of having underlined it will eve and touch. Pupils create drawings, paintings, help to make it stick in your memory. You shou d oaoer cuttings. They paste, mould and build. But also keep a fair-sized notebook—one with lettere lie in he, lap. Her head droops, *"d « what is being done for the inner ear? Nothing but index preferred—and write in it the hints you w.sh closed. She is evidently na' STSSnit °f a rote son JUNE i9n THE ETUDE Page 387 JUNE i917 Page 386 THE ETUDE - A T Q TT1 CONCERT POL'and well-written throughout, brilliam A fine concert or recital number, with the true rhythm and swing of the po ona , w jyj FELTON and showy but lying well under the hands. Grade VII. Polonaise moderato M.M.J = 108 Copyright 1917 by Theo. Presser Co. British Copyright secur«Ji JUNE Wi1; Page 388 THE ETUDE CHARGE OF THE CAVALRY JUNE I9i7 THE ETUDE Page 389 LUDWIG RENK MOONLIT NIGHTS SERENADE ALBERT FRANZ An interesting military piece, based largely upon bugle call effects. Grade III. An expressive song without words, introducing as its third theme a quotation from a famous moderfi piano piece. Grade III. Allegro m.m.J = Copyright 1917 by Theo.Presser Co. 8 British Copyright secure1" THE ETUDE Page 391 JUNE 1917 JUNE 1917 Pane 390 THE ETUDE OLD COMRADES OLD COMRADES H.D. HEW]TT MARCH H.D. HEWITT MARCH A brisk % movement in the military style, to be played in the orchestral manner. Grade TRIO JUKI! 1917 THE ETUDE Page 393 JUNE 1917 P,,or m PRIMO «-* 0. ZZZ^ rnf # 0 - =S#J ifl THE ETUDE Page 395 JUNE 1917 LULLABYE WALTER R0L¥E A gentle and graceful slumber song, employing some original thematic material as a fitting introduction to quotations from two famous British Copyright secured Copyright 1917 by Theo.Presser Co. T 7 JUNE HU? 2 3 -0- . -0- , Q §0 0 '•— i gTf^-i y • § , g .,, , rrn '-v.L L JZ. ^ j ^ ^ fmarcato LAifiL • f- ■ f- ■ f- 2 3 14 f ; i • JUNE 1917 Page 398 THE ETUDE IN STEP AIJ PAS T t nor.AP FONTAINE,Op. 140,No.2 WALTZ f. LISZT The well-known melody by Li«, from hie Li.Mran,,, No.s, rearranged aa a w.He-movement. Very ...raClvo and e.ey to play. Grade III. Copyright 1917 by Theo.Presser Co. — I THE ETUDE Page 401 JUNE 1917 EVENING SONG An artistic conception, affording excellent practice in left hand arpeggio work and in double-note passages in the right hand. The themes must be well brought out in both cases. Grade 4. LEON P. BRAUN, Op. 9, No. 5 » Andante con espressione m.m. J=48 Jr"- British Copyright secured Copyright 1917 by Theo.Presser Co JUNE 1917 ^,402 rnMrn, , QIGUE IN G There is an almost explosive accent upon the In the style of one of the old English dances, diatonic both in melody and harm°”1*7 . ‘ c t four to the measure. William Michael first beat of nearly every alternate measure. This gives vigor and character to the Whol*. t'Oirnt a r? t wi-rl Watson was a well-known English songwriter (1840-1889). Grade3H. _ MICHAEL WATSON Allegro vivace m.m.«I- = 1445 ^ • 3X— i 3^1^^ 4K«rT"i *13i *] pp JUNE 1917 ■Page 404 THE ETUDE R,CHARD FERBER MARIQUITASPANISH DANCE . RICHAKD BERBER A lively Spanish waltz movement, very characteristic in rhythm and tonality. Although easy to play, the effect of this c and bril Also published for Piano Solo Copyright 1917 by Theo.Presser Co. British Copyright secured JUNE 1917 THE ETUDE Page 40 7 Aigt 406 TME ETUDE JUNE 1917 AMERICAN NATIONAL ANTHEMS Since it is n,.« „„,ng — quests,., present these fine new - PUP* org,„ .rrangeneente the National Anthems.' «TAR SPANGLED BANNER ltUi blAlt SrANULDUJJis .scribed to Dr. S.nmel Arnold („40. The words are by Francis Scott Key (1779-1845). The tune once known as Anacreon m neav ^ ^ HARVEY B GAUL Modiirato • 0 r~ gleaming9r*1(,0ts*hroad r1 r r proud-ly we hailed at the twilight’s last Manual ■ Sw.Full Oh, say can you see, By the dawn’s ear-ly light,What so 1 | -p- or Tuba y — p -J— | i j vj .H-j r 1 ~irjTr r 11' “J 'Ttprr^ Ped.lS'ft 8' to Sw. And the al-lant-ly streaming? \ stripes and bright stars, tl iro’ the p<;r- il O’er the ram-parts we watch-ed were so g Sw.Full at. to Sw. p • .. 1- J-J r—. -J- -W-c/ .r r.\ w 1= j=? r ■ t=± [7 r1 Fed. to Bt. An artistic miniature by one of America’s best-known song writers. - A ^ --- A V 1 j J J J. K i—i ■^rpr c—pi i "Pr^i Charles Henry Meltzer WARD-STEPHENS A If so desired^he last three bars may be omitted. AMERICA ed;fL to ffHenryZr7 cCarey“eW, (1690-1743)690-17h*3, WOrd‘ Dr'Sa”U'‘ Fr““U S”i,h ,,808-,895>- tune, which is .nci.n, cigin.i, snnte.inte. ns.rib- YMerato 3w. Ob oi THE ETUDE Page 1,09 JUNE 1917 JUEE 1917 Page 408 THE ETUDE The Lucky Stars of Opera Stars SuPERSTrnoN and the stage have been on the stage, and in an hour he has be¬ THE LOVE OF WHICH I DREAMED as closely associated in the past as have come a famous singer, all because some A dainty and original love song. Mr. Jordan is a singer and well as composer, hence his writings all fit the voice a rmra y. some phases of superstition and religion. good fairy broke his ’cello strings. JULIAN JORDAN Actors are notoriously superstitious, and Adelina Patti, while traveling with her superstition does not always escape the husband over the Welsh hills, was com¬ opera star. There is a great American pelled to stop because of a breakdown. singer who ascribes much of his success Her husband insisted upon the diva going- to divinations of the planchette-board, fishing with him. Result: a cold that cost which the average man or woman con¬ the famous singer $10,000.00 in lost en¬ Ultra-Quality PIANOS siders a kind of superstitious machinery gagements. in which one should put no faith what¬ Sometimes a very small matter may and PLAYER PIANOS change.the entire plans of an artist. An ever. This singer tells how the roles he EVEN though your parlor is small, was to study were clearly indicated to amusing tale is told of Mme. Albani. She and you can pay only a little him through the familiar device of old- had planned to make her debut at the each month,, you may own an fashioned soothsayers. Drury Lane Theatre, under the late aristocratic grand piano and thus en¬ What is really an accidental opportunity Colonel Mapleson, if he found her voice dow your home with all the elegant is often made into a manifestation of the satisfactory. By the merest accident her distinction that a grand gives to the working out of some superstition. A cab driver took her by mistake to the most palatial residence you know of. celebrated ’cellist finds that one of the Covent Garden Theatre, where she was Write for booklet describing our superb singers is missing from the cast in a heard by Mr. Gye, whom she believed coming operatic performance. For months was Colonel Mapleson. He saw at he has listened to the opera from the once that he had a great find, and induced orchestra pit. The strings snap upon his the singer to sign a contract before he ’cello and he is late for the performance. revealed his own identity. Albani made He is met at the door by the frantic an immediate hit, and raised the fortunes manager seeking for a substitute. The of Covent Garden enormously, while ’cellist throws on the costume, walks out Drury Lane suffered. American Grand Operas World’s Smallest Ultra-Quality Grand $600 (f. 0. b. New York) Whv are there not more American Some of the recent grand operas pro¬ duced in America put many of the operas grand operas ? As well ask why are there Kranich & Bach are leaders of the not more American “Hamlets,” American in the repertoire to shame in many ways. world in the manufacture of fine grand “Illiads,” American “Les Miserables.” Yet the public demands that peculiar com¬ pianos. The Grandette is the firm’s Few people have any idea what the com¬ bination of drama, music and vocal op¬ iatest achievement. It is the only' position of a grand opera score means. portunity that often is more of an ac¬ little grand piano in which diminutive There are not more American grand cident than intent upon the part of the proportions have been attained with¬ composer. out sacrifice of artistic quality. In operas because there are not enough construction it differs from other Americans with the experience, training, Noteworthy operas by American com¬ Kranich & Bach grand pianos only in genius and persistence to write them. posers’are by no means of recent intro¬ The mere mechanical work is enormous duction. William Henry Fry, who was The tone of the Grandette is a rev¬ in itself. To copy the score of a grand born in Philadelphia (1813-1864), pro¬ elation of loveliness. Cased in beau¬ opera it is not unusual for the composer duced his Leonora in this city as early tifully finished mahogany, this dainty aristocrat is unquestionably the most to spend months and months in the most as 1845, and his Notre Dame de Paris in 1863. Many other Americans have wri tten artistic little piano obtainable. It is tiresome kind of pen labor. fit for any home and the most exacting With the patience of an Edison, the operatic works, including George W. musician. philosophy of an Emerson, the artistic Bristow (whose Rip Van Winkle was breadth of a Sargant, and the generalship produced in New York in 1855, two years of a Grant combined with high musical after Verdi’s Trovatore), J. K. Paine, talent, we may some day have an Ameri¬ Silas G. Pratt, Converse Horatio W. Test it at Our Expense can parallel to Tristan und Isolde or Die Parker, Victor Herbert (American by- Meistersinger. As a matter of fact we adoption, not by force of circumstance), have already had in America operas and lately, Reginald de Koven, whose which show a higher degree of musicianly “Canterbury Pilgrims” has handsomely scholarship than many much lauded fulfilled the enthusiastic hopes of his AN IMMEDIATE SUCCESS musical works coming from Europe. friends. “One-Opera” Composers Harmony Book For Beginners The production of a great opera is a (“Fra Diavolo,” 1830), Humperdinck sufficient triumph for any man, but the ("Hansel and Gretel,” 1893), Flotow By Preston Ware Orem natural inquiry is, “If he could write one (“Martha,” 1847), Boito (“Mefistofele,” masterpiece, why not another?” There 1868), Leoncavallo (“I Pagliacci,” 1858). Price $1.00 are many analogous instances in literature. Many others could be added, but these Gray’s “Elegy in a Country Churchyard” suffice as illustrations. Often a real in¬ Brief, Simple, Vital, Practical, New and Distinctive is a famous example. The writer of one justice is done t© the composer by the of the most mellifluous poems in the fact that an opera does not depend en¬ Admirable for Self-Help English language wrote practically noth¬ tirely upon its music in its appeal to ing else which has survived in popular Hundreds of enthusiastic letters have been received popular, favor. Many musicians contend from delighted users of this book, showing it to be favor. that much of the best music Mascagni has In opera most of the cpmposers who written is to be found in his “Iris,” “just what has been wanted for years.” are known as “one-opera” composers are which is rarely given and not to be com¬ victims of the vagaries of genius rather pared with the brutal and plebian “Cav¬ Read this letter from Charles Wakefield Cadman, than lack of effort. This may not have Successful American Composer and Specialist in Indian been the case with Rossini, whose “Wil¬ alleria Rusticana.” The combination of liam Tell” and “Barber of Seville” are music and libretto is rare. Fortunate are Music: the few men like Wagner, Boito, and the sole survivors of about forty works Allow me to express to you my sincere congratulations for the stage which ranged in plot from Wolf-Ferarri, who have had the gifts to on your new “Harmony Book for Beginners.” Cinderella to Queen Elizabeth of Eng¬ build both. Mozart, while unfortunate in I have never seen anything just like it and it fills a long- land. But Rossini was lazy—infernally some of his libretti, wrote so charmingly lazy. Other composers, however, have that his music has survived despite some felt want. Few learners of harmony can instantly grasp seriously striven to write works of per¬ very feeble plays. Verdi had the gifted the first elements of the subject because they meet with manent interest but have failed pathetic¬ Boito as his librettist for his latter works, a maze of useless words and puzzlements. It seems to ally. Among them must be included the and Puccini has been fortunate in having me you have simplified things tremendously in this following, whose masterpiece is given fine books for all his pieces. The gift little book and I am sure it will meet with ready response. with the date of its first production: of turning out melodies is exceedingly Giordano (“Andre Chenier,” 1896), Balfe rare. Mozart had it, as had Verdi, and (“The Bohemian Girl,” 1843), Mascagni some would declare that Sir Arthur Sul¬ THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. (‘Cavalleria Rusticana,” 1890), Ricci livan in his lighter pieces was similarly (“Crispino e la Comare,” 1865), Auber blessed. Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page 411 JUNE 1917 JUNE 1917 Page 410 THE ETUDE What Is My Voice ? Division of Voices, as Now Known, a Modern Feature Formerly the male voices were divided The only male voice left to describe is into only bass and tenor, and the female the "low baritone”, also called “basso can- into soprano and contralto. In the course tante”. Its best tones are usually found of time voices have developed which, so to be from far as tone-color and character, not range, is concerned, are in reality neither, Who is to Blame for Vocal Success or Vocal Failure? Teacher or Pupil ? even though belonging to the bass, tenor, soprano or alto class. The observant its probable range is from from brain-effort, recognize nothing ex¬ teacher notices not only a difference in To this I may add that our politics are become the owner of a pearl, but does Many years ago a number of railroad cept that, having a voice, what’s the use the character of voices, but also that, thought out for us by the political leader a hen ever know what to do with it. accidents occurred in Germany, none of of going to all that drudgery? A very though belonging to the same class, some or boss; our opinion of a musical per¬ So, likewise, B—may have a fine voice; which, it was ascertained, was' caused well-known singer of the New York move with greater ease than others. formance is shaped by the critic of the but does it follow that he knows how to through culpable negligence of any of Metropolitan Opera Company is reported This leads to an entirely new division of (Don Juan, Almaviva, etc.). This voice newspaper, and so forth. sing, what to make of, or with it.' To the railroad officials; but careful and to have said: "Why should I study any boasts of a velvety softness, and a very If the pretender happens to get a the public at large it suffices that one the voices. thorough investigation disclosed the fact sympathetic quality, having a tendency student whose voice is as extraordinary have a voice. It does not differentiate more? The public applauds me -and 1 A tenor voice, not possessing great vol¬ that some of the engineers could not towards brightness of color. as his physique is capable of withstand¬ between that and the art of using it- get my price.” He was unaware, when ume, of a somewhat feminine character, distinguish red from green, were color ing the onsloughts of his teacher’s ignor¬ The singer, noticing the impression he he disclosed his mental attitude towards of easy movement, and having a range blind, which circumstance solved the Determining Female Voices ance, that student will succeed, not on makes on the outside world, proceeds, or the heavenly art, that lie exposed him¬ between r"I really dorit enjoy' cause of the mishaps. Since then, every Turning to the voices of the fair sex. account of, but in spite of, his teacher. rather struts, on his “happy-hear-noth- self as a caricature of a true artist. engineer has to submit to an examina¬ remarkable fudness and roundness of going out.my complex¬ The fortune of the pretending teacher ing” path, bearing false witness of the What to the one is full of fascination tion of his eyesight, and accidents, tone united to an indescribable charm, es¬ 's, ion is so wretched is now made, because the “unthinking” art of singing and true witness of the is to the other as a troublesome fly to through colorblindness at least, do not mass, considering nothing, weighing pecially in the region of general public’s blissful ignorance. the sleeping person, a disturbing factor is •called a “lyric tenor”; whereas tones happen again, because engineers to whom nothing, investigating nothing, takes it What does the voice-hugger (a voice- which has to be kept away. This much of greater volume, a certain rugged man¬ there is no difference between red and for granted that it is that particular hugger is he who knows nothing else, and more can be said of "ideality.” liness of sound, but less agility than the green are no longer entrusted with a teacher’s merit that made the pupil; However, "sufficient unto the day is first named one, appertain to the “robust train. whereas, in reality, if is the pupil who recognizes nothing else, but the voice, the evil (reluctantly exposed) thereof”. tenor”, the range of which will be found points to a “contralto”, the range of If it had not come under my own is the making of that particular teacher. coddles it, dotes on it, worships it. It oap Now, how about style? to be between which probably comprises personal observation, I would never have But, as the majority of voices are just is the "a” and “z” of His being) know believed it possible that there are persons ■the opposite of the- extraordinary, the of ideality and style? Nothing. Only Strive for the Highest and Best —and teachers at that—who cannot dif¬ pretender will, as a rule, work as much to the thinkers, or to those whose in¬ will clear your skinjin sure! ferentiate between a v.oice of tenor and havoc among them as the proverbial bull fatuation with their voices does not Continuing to strive for the highest Resinol Soap is sold by all . Resinol Soap not only is exceptionally cleansing and druggists and dealers in toilet one of bass quality; between that of a in the china-shop. If, however, the blind them to the necessity of using and best in art, the one who. considers Although the range decides nothing, I @ refreshing, but its regular use reduces the tendency to If heard without being seen, it will easily goods. It is ideal for the hair, soprano and a contralto character. individual would think, develop his their brain, can both be revealed. On the brain as important (and more so) mention it as an additional, though sec¬ blotches, relieves clogged, irritated pores, and gives The false conclusions of ignorant voice be mistaken as issuing from the mouih critical faculty and judge for himself, the one hand, conscious and painstaking as the voice, whilst rejoicing in its new¬ ondary, criterion in testing a voice. "Nature the chance she needs to make red, rough skins baby’s easily irritated skin. For trainers are based on the circumstance of a tenor. Unfortunately composers do he soon would estimate the pretender at selection of beauty angi perfection, ex¬ found beauty, is arrested by the ex¬ The last picture, an octave lower, ap¬ white and soft. that raw voices often shout (instead of not write any more for this truly noble Bathe your face for several minutes with Resinol Soap Dept.. 19-C, Resinol Chemical his real want of value and escape his cluding everything infperfect; on the pression “style’’. It is puzzling; it con¬ plies to the "deep bass” (“basso serio” Co., Baltimore, Md. sing) the high tones, or bleat out the clutches ere much damage would have voice, and tlie few singers who possess fi and warm water, working the creamy lather into the skin other, a crass ignorance, a lack in sen¬ duces to think, and the conclusion ar¬ or "pmfondo”), with a probable range of ■ gently with the finger tips. Then wash off with more low tones. Among the many cases been inflicted. it violate it by singing roles that are much having come under the writer’s observa¬ sibility of beauty of tone. The spirit of rived at is that style, being a distinctive too high for them, because it pays better. j Resinol Soap and warm water. Finish with a dash of the one is animated jby the desire to and characteristic mode of presentation | clear, cold water to close the pores. tion the following two shall be mention¬ Students with Lazy Brains This leads me to say that nobody—all the widen his musical hoBizon by studying and expression of a period or school, Do this once or twice a day, and you will be delighted ed : A young man, whose very speaking How lazy the average student’s brain claims to the contrary notwithstanding— | to see how quickly the healing Resinol medication soothes voice disclosed a deep bass, and who, piano, harmony and history of music. it will not do to sing Handel like is, may be illustrated by the following On the other hand the "high bass” ("bas¬ can turn a baritone into a tenor, or a and cleanses the pores and makes the complexion clearer^ at his voice trial before the writer, sang That of the other is inanimate; his Schumann, or Brahms like Reynaldo contralto into a soprano. A baritone may fact; A young baritone, having come so parlante” or “buffo”) reveals the pic¬ ’fresher and more velvety. __ ^ the D in the bass clef under the five dormant state is quickened into only one Hahn. So ho! for the acquisition of force himself to sing the high tones of a to the writer to have his voice tried, ture of the lyric tenor, an octave lower | The healing, restoring influence that makes'this possi- lines quite easily, was trained by his desire, that of winning applause. The style. Books on the different periods tenor, just as a fat lady sometimes forces jble is the Resinol which this soap contains and which told him that his first teacher taught of course. Its range is; teacher for a tenor. The other one was aspect before the public is that of a and schools of music are read. In¬ herseif into a tight corset to look thin; physicians prescribe, in Resinol Ointment, for the care of him well, judged his voice rightly to that of a young seventeen-year old girl, smirk, a bow, and tl*e establishment of formation is acquired on the cultural but neither the one or the other carries skin affections. be a baritone, and developed it sanely. whose unmistakable lyric soprano was a certain intimacy between himself and history (art, literature) of the different conviction. Circumstances compelling him to move by her teacher believed to be a con¬ the occupants of the fitrst rows by means peoples; in short, a never ending desire A singer (his voice having been mis¬ tralto and trained as such, almost losing to another city, he continued his studies The possessor of this kind of voice is of nods and winks. A sort of mutual for mind-enrichment stimulates the real judged) may be led to believe that he is her voice. Whatever became of the with a new master, studying with him generally endowed with a light, flexible recognition of belonging to the same high priest of the art of singing to read, a baritone, whereas in reality he is a young man, I do not know, as, soon after for an entire year, though he felt all tongue. AN IMMENSE SUCCESS brotherhood of incompetency passes be¬ tenor; such a one may, after a time, come he commenced studying with me he had along—in a hazy sort of way—that his read, read. The other, bless him, is Sung by Mme. Julia Culp and Other Great Artists tween them. The one, incompetent to Every voice has a row of tones, gen¬ to learn the true character of his voice to leave the city. But the young woman voice was being maltreated by being also very much interested in reading— do; the other to judge. It is a fact erally comprising an octave, which ex¬ and sin? accordingly; but this can hardly is still with me and is now, after a what the newspapers have to say about forced into a tenor. The thinking that whilst the student of every other hibits the salient features above men¬ be called changing a baritone into a tenor. By the Waters of Minnetonka year and a half of hard work, in a fair his performance of the night before. student will not be blinded by the artifi¬ branch of music has acquired and is tioned to best advantage. With the lyric The neck being too short, a goose can T n t>_.By TUITDTTHURLOW HU/ LIEURANCET 1171TD A way to recover her voice which, when A merely sensuous tone-effect, how¬ An Indian Love Song cial halo encircling a teacher’s name, willing to acquire a bread musical educa¬ tenor it is never be turned into a swan. The vary¬ she came to me, consisted of only five ever desirable, is not the sole aim of High_ Voice, A (With Violin or Flute ad lib.) taking it for granted—on the strength tion, the singer alone rests satisfied with ing size of the laryngeal muscles, muscle- Low Voice, in G flat (With Violin or Flute ad lib.) half tones, all that was left of a, as the thinking singer; his understanding of the artificial halo, or the blind recom¬ mere voice culture. Atn insatiable thirst fibres and cartilages, the determining fac¬ her mother told me, once beautiful voice. Price, 60 cents Also for Piano Solo—Price, 40 cents mendation of others—that everything he for knowledge urges the singer who of the “bel canto” reaches far deeper. tor of the class to which the voice be¬ Mr. Thurlow Lieurance has had remarkable success in transcribing the various is made to do must be right; but will If the composer strives to express a longs, makes the change from one voice- How to Select a Teacher uses his brain, to sttudy foreign lang¬ tribal melodies, having lived among the Indians for that purpose. In his work, Mr. meditate, arrive at certain conclusions uages thoroughly enough to at least read poetic thought musically, the ideal singer class into another impossible. Having drawn the parallel between the Lieurance adheres faithfully to the original melodies and harmonizes and accom¬ and then ask the teacher the why and and understand, if unable to speak, them. is stirred to the depth of his soul to railroad engineer and the voice trainer, One of the rarest, but unquestionably panies them in such a manner as to preserve, if not enhance, all their original atmos¬ the wherefore. Should the teacher think His counter-type thinks himself well- convey the spirit of the poem as well phere. By the Waters of Minnetonka seems o have struck a popular chord, it is left to the reader to draw the most beautiful, voices is the “mezzo-con¬ himself so infallible as not to deign to nigh perfect by having acquired an as that of the music. Such a singer, successful has it become. The melody is quaint, ndi'tt and singable and the accom- conclusion therefrom. tralto” (such as Mesdames Albotii and (atrocious) accent of a foreign language. before the public, loses his personality paniment ripples along in a delightful manner. Again I hear the old question arise, give his reasons; or, if willing to do Shaw possessed). Not displaying the Indeed, for all practical purposes, as far Send for a Circular of Mr. Lieurance’* Complete Works "What is one to do, how is one to so, be unable to lucidly and convincingly entirely. He transcends the limits ol fullness of the contralto’s low tones, but as the latter class is concerned, it is THEO. PRESSER CO. ::-j•=Philadelphi proceed, in the selection of a teacher?” explain them,—then, too, the student his surroundings and takes his willing possessing the same velvety, smooth quite immaterial whether they sing in The answer is, "Think, and if you can’t should quit him. audience with him into the realm of quality, it displays a much larger tone- Choctaw or Aztec for all that the other do it, learn to do so.” From all sides one The day of mystery has gone forever. the immaterial world. The other, alas! range towards the height, the tones of members of the mutual admiration so¬ hears the same complaint that humanity More and more do we admit the light does not lose himself. Placing himself which are so sonorous as to be often MR. TATE PRODUCES A NEW SONG HIT ciety understand of or care for it. in the aggregate does not think. It lets to shine on subjects that formerly were above art, he multiplies before the very mistaken for a mezzo-soprano. Azucena The thinking singer, that white raven, the individual do it and the mass fol¬ guarded as secrets. The very doctors eyes of his audience, until his masculine, is written for a mezzo-contralto. The tell their patients in simple understand¬ does not rest until he has analyzed each tones a mezzo-contralto likes to sing best “Dreaming of Love and You” lows the leader blindly, as a herd of or feminine, personality fills out the One often hears of a “low baritone able terms the nature of their diseases single vowel and consonant of the Music by ARTHUR F. TATE sheep. In connection with this state¬ entire stage. and a “high baritone”, the resemblance from Words by EDWARD LOCKTON and how they will go about to cure them. alphabet in respect to- the means of their ment, I quote from Mr. Thomas Whitney These, my dear reader, are some of of the last-named to a heroic tenor with FOR HIGH, MEDIUM AND LOW VOICES FOR VOCAL DUET—Price 60 cents It is an indisputable fact that the per¬ pronunciation, articulation and tone- Surette’s article “Community Music” the a somewhat heavier voice is so great; Price, 50 cents each FOR PIANO SOLO, OR VIOLIN AND nicious activity of the pretender is the value. The representatives of the other the reasons why the one singer is pre' following passage: “The whole tendency and the roles written for a low baritone FOR MEDIUM VOICE, WITH VIOLIN PIANO cause of the broken-down voice. But class are content to call a vowel a syl¬ eminent and the other not. It is like Price, 50 c. of modern life and of modern education are so few—and these mostly in operas s range comprises quite frequently Price, 60 cents what is the reason that, having survived lable, and let it go at that. everything else on this our planet, which is to ‘delegate’ those functions which of the early nineteenth century, which are Mr. Tate has already sprung into popularity with his successful song “Somewhere the vicissitudes of the preparatory years, also consists of three-fourths water, and hi* have to do with our inner being. We now obsolete—that one may safely leave a Voice is Calling.” It is very seldom that a composer is able to strike it twice in this one singer becomes preeminent in the From Rung to Rung only one-fourth solid earth. With manner, but in this case Mr. Tate has excelled his original effort, and in “Dreaming of delegate our religion to a preacher or a “high baritone” out of one’s calcula¬ musical world, and the other an object The users of brain recognize the fact Stockton’s fascinating story “The Lady Love and You” produced a still finer song. In this song the melody seems tc cc me to a dogma; we delegate our education tion and classification. The more so, as of pity, if not of ridicule to the "con¬ that it is only by "stepping from rung or the Tiger?” in mind, I will ask a right from the heart, aptly illuminating the dainty and expressive verses. to a curriculum smoothed out to a com¬ the few operas with high baritone roles oscenti”, though to his indiscriminate to rung of the ladder” (as Mme. question, leaving it to the reader to The quality of a mezzo-soprano is some- Send for our Thematic Catalogs and Circulars of Songs by Successful Modern Writer," mon level; some of us even delegate the that are yet occasionally performed in friends an idol? The one possesses Schum-ann-Heink expresses it) that one solve it: Is the brainless singer the result THEO. PRESSER CO. :: ” :: Philadelphia, Pa. forming of an opinion on passing events smaller German and French opera houses, to a leader who presents them to us in brain, and thinks; the other has also can successfully climb to the summit of of the brainless teacher, or is the latter are sung by robust tenors. a Current Events class.” brain but never uses it A hen may the art. The others, '£rue total abstainers responsible for the first? THE ETUDE Page 413 JUNE 1917 JUNE 1917 Page 412 THE ETUDE When You Have Brushed Your Teeth your mouth-toilette is only one-half complete. The other, and more im¬ portant half, is to Clean the Mouth. To clean the mouth thor¬ oughly—to keep it in such a healthy condition that disease germs can¬ not thiive in it—use Pi oxogen {a teaspoonful in a quarter glass of water) morning and evening, as a mouth wash. This is the best possible preventiveof colds, sore throat La Grippe—all of which originate ' the mouth. 4 Keeping the Goal in Sight Concert Singers and Vocal Teachers! 250 TEACHERS ATTENDED WHEN SHADOWS FALL DARLIN’JpSS Chicago McKinley music co. S To Singers and Vocal Teachers I have S' :al for you. Something that makes better singers miracles, but a system that is free from mechan¬ New Books for Music Lovers ics and is based on sound sense, musicianship, and experience. My work with the HEAD VOICE is attracting the attention of singers everywhere. TERM, July Second to August Fourth, g&fc' D. A. CLIPPINGER - KIMBALL HALL, CHICAGO, ILL. Harry Munro, baritone Teacher of Voice and Singing from CHILD'S OWN BOOK 2! GREAT MUSICIANS A charming series of useful books for little folks Vn^exccllent collection of 1T0 songs by ancient and modern composers, to which is By THOMAS TAPPER Walter L. Bogert BARITONE Teacher of Singing Frederick H. Haywood TEACHER OF VOICE THEO. PRESSER CO., 1712 C SUMMER CLASS beginning JUNE 4th 331 West End Avenue, New York City THE ETUDE Page 415 JUNE 1917 JUNE 1917 Page 4U THE ETUDE Mixture Stops. When to Use Them and When to Avoid Them 'jjtt’f*' \\Z-2e! >» - Titi ^ ^ 1 ^ Keep Youthful! Although the mixture stops are being chord. If this cacophony is the result of the simplest chord, some idea, though “A woman can be young There is Beauty used with far less frequency by modern CONTRACT for First Department for Organists but once, but she can be in Every Jar organ builders the young organist is very faint, may be formed of the effect pro¬ Presbyterian organ, youthful always.” It is the likely to meet with them on some organ duced by the complex combinations of Germantown, Pa., 109 Edited for June by Sumner Salter face that tells the tale of and be at loss to know how to use them. modern music. Of course no sound-pro¬ stops—chancel and gallery time. Faithful use of The idea of the mixture stop is to ducing instrument is free from these divisions. This will be one supply, artificially, the upper harmonics overtones, but their intensity does not ap¬ of the largest church organs Itigt&tn’s which, on the piano, are heard when the proach that of their artificial imitations.” in the world. MilKwZed damper pedal is pressed down and the The safe rule for the young organist Smaller organs match larger Finding Suitable Music for Service other wires of the instrument vibrate in is to avoid using the mixture stops until, ones in sturdy solid work¬ by actual experience, he has become ac¬ impression of healthy cheer, hope, anima¬ the ornateness of the figuration or in the sympathy. On the organ the upper manship. console control, Doubtless every organist, in making two combinations of movements, how¬ Cream quainted with their possibilities and tion, and aspiration which comes from change of general treatment. Other por¬ harmonics are usually missing, and for ever, make too long a prelude for will keep the skin fresh and selection of what he is to play at a the predominance of major tonality, as tions of sonatas are the Adagio in the this reason some organs have a hard, dangers. Even then it is better for him The two manual Choro- practical use in most church services, but youthful. Sarah Bernhardt service, has put to himself the question: opposed to those of sorrow, despair, de¬ First Sonata, another flowing melodic gem cold flutey tone. Sir Walter Parrett, in to hold strictly to the rule laid down by phone an ideal instrument mention of them serves to indicate the began its use twenty years the great Baron Helmholtz, “They can ■‘Is this music suitable for a religious pression and gloom, induced by the of rare devotional quality, also in triple ago—today she is proclaim¬ Grove’s Dictionary, says “Draw all the for small churches and for nature of a prelude that meets the re¬ service? In other words, is it what may general prevalence of minor harmonies. meter; the Andante in A in the Third ed “young at seventy-one” SOc and 91 stops of a large organ and play the three be used only to accompany congrega¬ quirements. To supply compositions of be called religious or devotional music?” Note this feature in a number of con¬ Sonata, of lighter texture but of similar notes of the bass staff (as given at a). tional singing. When employed alone this nature, in which the two elements Milkweed Cream is a time-proven prepa¬ Perhaps it may be said at once that it crete instances. Take for example, the quality and also in triple time, and finally, ration. More than a “face cream” of the they produce insupportable noises and will be combined, opens up a wide field all depends upon what kind of a re¬ beginning of the Second Sonata of Men¬ though not least important, the very ordinary sort. A skin-health cream. There horrible confusion. But when the singing for the present day organ composer. ligious service one has in mind. Naturally, delssohn, in C minor, with the Cantilena beautiful Allegretto from the Fourth is no substitute. of the congregation gives overpowering an organist would not play at a Com¬ following, and contrast it with the be¬ Sonata, with its peaceful Cantilena for “Just to show the proper glow” use Ingram’s force to the prime tones of the notes of munion Service what wduld be quite Dignity ginning of the Fifth Sonata, in D, the the oboe in alternation with the 'cello, Rouge. A safe preparation. Solid cake—no the melody, the proper relation of quality proper at a Children’s Service or a wed¬ Taking compositions as they exist, Chorale, which we will put with the porcelain. Three shades—SOc. again in triple rhythm. of tone is restored, and the result is a ding. But these are two rather infre¬ however, pieces having a single mood Andante at the close of Sonata VI, in Send ue to in stamps for our Guest Room Package These detached movements only need containing Ingram's Face Powder and Rougstn navel powerful, well-proportioned mass of quent extremes of choice between which and being more or less unified in struc¬ the same key. Both are dignified and purse packets, and Milkweed Cream, Zodenta At least one pipe speaks each note of for their best effect a brief introduction Tooth Powder, and Perfume in Guest Room Sizes. there is the steady responsibility, of tural form, we may be pretty sure of an eminently suitable as service preludes, the bunch of sounds placed over the of more imposing tonal proportions to flu selecting mUsic that will be in keeping agreement on the proposition that as but in the former case the effect is one Frederick F. Ingram Company with the spirit and purpose of the aver¬ throw the beauty and simplicity of their service preludes they should have as that arouses emotions of conviction, op¬ Windsor. Ont. 43 Tenth St., Detroit, Mich. age church service from Sunday to Sun¬ melodic and structural outlines into their most conspicuous dominate and pression, fear and foreboding, followed in day througliout the year. clearer relief. positive factor dignity. This character¬ the Cantilena movement by sadness and Advances in the Size of Organs For our present purpose let us con¬ penitence, yearning and possibly repent¬ istic depends upon a variety of features, sider the question from the standpoint ance. In the case of the Chorale and More and Better Church Music organ, built in 1735 by Christian Muller, chief of which are quietness and breadth The advance in the size of organs is of an organist in a Protestant church the Andante there is a marked contrast, The principles here discussed — of Moller Pipe Organs which had of rhythm and a certain amount of rich¬ somewhat astonishing to the average who has music to prepare for the average both in the effect of the Chorale, which Tonality, Rhythm, Melodic quality and To Oil tv-three Hundred in use. The highest grade Great Organ . 16 stops morning and evening service, which we ness in harmony. Vitality, beauty and instruments. Gold Medals and Diplomas at Six music lover who is not familiar with the Choir Organ. 14 stops is positive in its expression of cheer, Harmonic value—may be profitably ap¬ International Expositions. Satisfaction guaranteed. will suppose has no specific object fur¬ warmth of tone-color, and melodic flow character of the instrument. In 1684, Echo Organ . 15 stops hope and courage, and of the Andante, plied to all kinds of organ music, and Catalogs, specifications and estimates on request. ther than general worship and devotion. should be present, but if there is flippancy just one year before the birth of Bach, Pedal Organ . IS stops which is a serene song of faith and wherever the standards mentioned are M. P. MOLLER Hagerstown, Maryland Let us also take conditions as they exist or vacuity in the rhythm, or shallowness Father Smith built a large organ for Total Pipes .4088 aspiration. Obviously the two selections met it will be found that the music will Church Organs and recognize the commonly accepted or emptiness in the harmony, it will will serve a distinctly different purpose: the Temple Church in London. This is This is the limit in size of the organs prove suitable for church use. Measured Latest Approved Methods. Highest obligation of the organist to play a pre¬ count but little. On the other hand, the former being more appropriate for a the schedule of its stops: that might have come to the ears of Bach 1 by these standards the greater part of the Grade Only. Established 1827 | lude and postlude, and possibly an while both solid rhythm and rich harmony deeply serious service, and the latter for Mus. Doc. Great Organ . 10 stops and Handel. organ music composed and published at Hugh A. Clarke, offertory solo, without discussion of the are vitally important factors, an excess an ordinary service of general worship. Choir Organ . 6 stops The organ at the Town Hall of Sidney, Main Office & Works kenTasgsreen’ of rhythmical accent causes an excite¬ the present time will be found to be quite LESSONS BY MAIL propriety of the use of the organ as a 2. What is the significance of the Echo Organ . 7 stops New South Wales, built in 1890, has 8,800 noise-absorber while people are entering ment of emotional feeling and an appeal unsuitable. The increasing demand for In Harmony, Counterpoint Hook & Hastings Co. metrical element in the Prelude and the 1715 pipes in all. pipes, chimes and 128 speaking stops. or leaving the church, engaged in visita¬ to primary impulses that are remote from music for recital and concert purposes and Composition “flowing movement” alluded to? Several In 1730 Richard Bridge built what was The organ built for the St. Louis Ex¬ BRANCHES: tion, etc., since its futility must be ac¬ spiritual inspiration. has occasioned a large output of pieces 4618 CHESTER AVE., PHILADELPHIA, PA. Boston, New York, Phila., Chicago, Louisville, Dallas features in this connection may be ob¬ called the “largest organ in England” at position in 1906, which was the largest cepted as one of the concessions de¬ With these criteria in mind anyone of light calibre that are designed princi¬ served (a) its unobtrusiveness; (b) its Christ Church, Spitalfields. Following is organ in the world at the time, has five manded by traditional notions of one of examining the music he has possibly been steadiness and continuity; and (c) its pally to please or to express some ro¬ the schedule: manuals and a pedal clavier. There are the functions of the “divine art.” putting to more or less use will probably buoyancy and spirit. These are more or mantic or poetic fancy. Of sixty-three Keeps Skin Smooth, Firm, Fresh find that quite a little of it will come — Youthful Looking Great Organ . 16 stops 140 speaking stops, 10,059 pipes and 99 si Bennett Organ Co. less inter-related. The fractional division pieces which have appeared in the last The Prelude under some sort of condemnation. For To dispel the tell-tale lines of Choir Organ . 9 stops mechanical appliances. It cost $100,000.00. ORGAN BUILDERS of a beat has to do with the fact that few years from a well known publishing age. illness or worry—to over- example, there are many pieces of the come flabbiness and improve facial Swell Organ ... 8 stops This organ is now in a Philadelphia de¬ ROCK ISLAND - - ILLINOIS The purpose of the service prelude, if the movement flows along steadily and house, possibly fifteen, by a liberal inter¬ contour—there is nothing quite so cradle-song type, in six-eight rhythm, Total pipes .2216 partment store, where it is played twice The organs we build are as near perfection one were to attempt to state it in general unobtrusively, but the spirit and buoy¬ pretation, might be considered usable in good as plain terms, is to put the congregation into a with a broken chord accompaniment to There were, however, larger organs on every week-day for the benefit of the as skill and money can make them. ancy of it come as much from the church service. The very pleasing char¬ Powdered SAXOLITE devotional and receptive frame of mind, a melody in single notes constructed on character and relation of the melodic in¬ the continent. At Haarlem we find an public. a slender harmonic framework; also acter, which is their intended merit for unified in attitude towards the acts of tervals as from the rhythm. In any less r-ESTEY CHURCH ORGANS-, others of the Chant Celeste or Hymn of their specific purpose, is a detriment to Maying tissue. No harm to ten- worship that are to follow. Naturally evenly sustained flow there would be a Estey standard maintained. it may appropriately foreshadow the the Nuns type, with a harmonized melody corresponding loss of dignity and earn¬ their usefulness in church. Maximum facilities. in one hand offset by an arpeggiated character of these acts and hence have a estness of expression. While the rhythm What, then, can be said to the earnest Some Facts About the Organ Highest grade of product. figure for flute in the other; then there Pioneers and leaders always. widely different nature according as the is evenly sustained, however, it is re¬ organist who wishes to maintain the is the straightforward melody in four- Examine stop action and wonderful reedless service is to be more or less festive, lieved from monotony by prolonged notes dignity and devotional character of 'his The first organ builder in America was ing alternately with their mouths through Oboe, Saxophone. Clarinet, etc. four time with a syncopated accompani¬ solemn or otherwise. For the average at intervals, marking the more significant church music? probably John Clemm, who was born in flexible tubes into a wind-chest. At first ESTEY ORGAN CO., Br.lllebore, Vermont. U. S. A. ment of plain repeated chords suggestive PRACTICAL METHOD Sunday service of general worship, how¬ points in the melody, reinforced by the My plea would be for a deeper study Dresden in 1690 and came to this country all the pipes sounded at once, unless of ragtime. All these are unworthy of FOR THE ever, it should, ideally speaking, combine changes in harmony. of the content of the selections to be silenced by the hand or fingers.” In a use as an introduction to religious in 1736, settling in Philadelphia. He was two elements: First, that of an ascrip¬ 3. The melodic element holds the at¬ played and for a more rigid application footnote he adds, “The use of skins as worship. a pupil in the art of organ building with tion of praise and thanksgiving, and tention throughout and there is variety of the standards indicated as determining YOUNG VIOLINIST a reservoir for wind, after the manner Let us now consider a few types of Andreas Silbermann, the greatest of Ger¬ The Hall Organ Co. second, that of an invocation, a musical here also in the two divisions of the the dignity and worth of the music. By K. H. AIQOUNI of a bagpipe, was a device known to the compositions presenting features of a man organ builders. He was engaged to New Haven, Conn. •expression as it were, of Whittier’s melody, the second part with the de¬ Greeks as early as 400 B. C.” different sort. Disregarding some worthy PRICE, $1.00 erect an organ for Trinity Church, New wonderful hymn, Dear Lord and Father scending fourths giving to it a more efforts of living composers, we cannot York, in 1739. He built a three-manual The following description of a fourth of Mankind, seeking to banish striving, meditative character. In this it is aided Camille Saint-Saens recently cited an Modern PIPE ORGANS do better than turn to Mendelssohn, who, The most elementary method yet offered. century organ is ascribed to Julian the strain and stress, and establish the deep by the fourth principle. amusing instance of the deficient taste instrument, containing ten stops on the “GOLD MEDAL AWARDED AT PANAMA- in his sonatas and preludes and fugues, It is possible to take up this work with the Apostate: “I see a strange sort of reeds; hush through which may. speak the still 4. The varied harmony which, though sometimes shown by members of the Great, ten on the Choir and six on the PACIFIC EXPOSITION.” furnished some excellent examples of youngest students. It is logically arranged they must, methinks, have sprung from small voice of calm. containing dissonances by close suspen¬ clergy. He was organist of the Mad Swell. It is likely that the stops did not service music. Take the Third Prelude, and progresses by easy stages. The book no earthly hut from a brazen soil. Wild The element of ascription or praise is sions at several points, is not intricate or eleine in Paris and describes the incident run through and that the Swell manual in G major. Its dignity and general is illustrated by various cuts shewing the by no means so essential as that of in¬ involved in such a way as to cause a was of short compass. Nevertheless, the are they, nor does the breath of man stir character are worthy of study and thus: One of the vicars of the parish vocation, and is seldom recognized in mental strain to the listener.* position of the hands, and diagrams of the instrument was large for those days. We them, but a blast, leaping forth from a GEO. KILGEN & SON analysis, to aid in formulating standards sent a request that I should visit him. practice, but its propriety is absolute, I called upon him, as desired, and after fingering for each string. In the beginning are told that it had a “frontispiece of gilt cavern of oxhide, passes within, beneath provided it is not given undue emphasis of judgment for general application. We The Value of Mendelssohn’s Works of the book there is some introductory text the roots of the polished reeds; while a Pipe Organ Builders may note: a lengthy discourse, which was quite un¬ pipes and was otherwise neatly adorned.” by exaggeration into noisiness or pro¬ and a complete and easily understood expo¬ ST. LOUIS. MO. Of other organ compositions by Men¬ intelligible to me, he finally came to the Organists may not care to be reminded lordly- man, the fingers of whose hands longation to inordinate length. sition of the rudiments of music. This book On. of the mn.t compl»t.Plp. Orgnn Plan!. In III. CnH.il 1. Major tonality. delssohn the most important from the point: “Do not misunderstand me. The of it, but the pipe organ in its early days are nimble, stands and touches here and These two factors, unfortunately, are 2. Quiet, steadily flowing movement. standpoint of appropriateness for service parishioners of the Madeleine are for might be used for self-instruction, but is there the concordant stops of pipes; and not found blended together in many, if was close kin to the bagpipe. Peter 3. Melodic element predominant. use is the beginning of the Sixth Sonata the most part persons of wealth, who intended for use with teacher. the stops, as they lightly rise and fall, indeed any, compositions in just the right Christian Lutkin points out in his excel¬ 4. Varied harmony, not involved. comprising the Chorale, Voter unser im frequently go to the theatre of the force out the melody.” relation and proportion. Something of lent Music in the Church that “As the STEERE ORGANS Himmelreich, and the three variations Opera-Comique, where they have become the nature of what is in mind as an ideal 1. The general effect of tonality of deeper toned pipes were exhausting to St. Jerome, says Dr. Lutkin, is quoted following in which the devotional char¬ accustomed to a style of music to which Theo. Presser Co. may be understood by putting together selections used in church is one that re¬ as describing an organ at Jerusalem acter of the theme is not sacrificed to you are expected to conform.” “Mon¬ PUBLISHERS blow by the mouth, the construction of a the Chorale and the Priere de Notre ceives much less consideration than it which had twelve brazen pipes, two ele¬ sieur l’abbe,” I replied, "whenever I shall reservoir or wind-chest followed, upon Dame from the Suite Gothique by Leon deserves. In saying that major tonality *A point of weakness In the composition is 1712 Chesnut Street phant skins and fifteen smiths’ bellows We also build t that is characteristic of more or loss all hear the dialogue of the Opera-Comique which the pipes were placed, tightly fit¬ Boellmann, or the corresponding and is desirable it is, of course, not intended which could be heard at the Mount of J. W. 8TEEKK A S< « ORGAN COMPANY of Mendelssohn s writings for the organ, viz. spoken in the pulpit, I will play music ting into holes made to receive them. Springfield, Mass. Established 1867 similar movements in the Suite in C to urge the avoidance of all minor chords, thinneSs or openness of harmony Philadelphia - - Pa* Olives, a distance of nearly a mile. caused by two great a distance between the appropriate to it; until then I shall con¬ Wind was supplied by two blowers blow¬ minor by Homer N. Bartlett. These but to emphasize the importance of the bass and the upper voices. tinue as hitherto.” JUNE 1917 THE ETUD'E Page ±17 JUNE 1917 Page ±16 THE ETUDE The Young Organist and the Music Committee The Composer (Continued fn n page 379) By Mary Richart ORGAN MUSIC And so, when she got up and went forth, o-night!—-I trusted, and you'sang. Yestcr- ay it was not my Sarolta, but I looked at -FOR- and stood at last in her place to sing, It through the minister, or through the regu¬ was not for Reinhardt stricken in his prime ou and I knew that she- was not lost to me The inexperienced organist should -not like—like the other! That could not make it a rule never to play before a lar organist of the church. that she lamented, it was not for Lothnar lave been! Du! . . . Bow you look at she sang and the piercing grief of his be¬ music committee without laving first After the young organist secures a ne! You have sorrow in your eyes. reaved genius—it was for the Sarolta that been allowed the privilege of at least a regular church position, the music com¬ Moving Picture sang my s a my Aclt, I knew it. r it! Fate couple of hours’ practice to get familiar mittee is still a factor in his life. In a The strange composition ended with t with the organ. He cannot, of course, great many cases the members of music solo which was hers to sing. As voice ana My ! t cannot perish become really “familiar” with an organ committees are not musicians; if they Playing orchestra fell into silence together, Sarolta id X—you and I together, Sarolta—i in so short a time; but he can “try out” were, it would be easier for all con¬ for the first time looked down at the con¬ goes still! We can never be separated again, IN the following named books an ductor. no more than the sound from the vibrating the stops and can get his bearings on the cerned. But frequently they are not; and abundance of music will be found Lothnar's face was livid and pale, and the organ bench so that he will be able to while they know exactly what they want, adapted for all phases of moving tears were running down it. Their eyes met; lie came a step closer to her. In look swing into the proper position, correctly they rarely know how to express it in picture playing. None of these books through those tears his were flaming. and speech he had claimed her: now that “I shall never sing again,” said Sarolta to his hands were laid upon her shoulders it to gauge his pedal reaches. If access technical terms that an inexperienced are exclusively for church use, but all to the organ is denied, he should decline contain sacred and secular music suited herself, as she swept her single curtsey to¬ was not more tangible a grasp. “Thou, white organist understands. ward the royal box, and slowly withdrew— one . . . art changed from the little to play. The probabilities are he would to all occasions; original works and her long draperies trailing. Sarolta that stood so pale, trembling before transcriptions by classic, modern and gain nothing by playing and any failures “Bringing Out the Organ” The layer was crowded, and she paused me! Art grown strong , . . and beauti¬ he might make would act as so many contemporary writers. on the threshold hesitating, then drew back ful ! Dost remember my kiss, Sarolta ? Dost remember tliq carnations I gave thee to pin obstacles to his rising reputation. But A favorite expression with music com¬ The Ideal Home Piano in the shadow of the great screen that shel¬ mittees is “bringing out the organ.” In THE ORGAN PLAYER tered the room from stage draughts. She at thy breast? All blood-crimson they were Twenty-five the majority of committees are generous is the small grand. Above is shown heard herself spoken of in many tones, high- . . When thou and I kiss again, it in this regard, and are usually willing to one instance a committee told an organist Compiled by Preston Were Orem pitched in praise and astonishment, as shall be a wonder of crimson.” organists in The Penalty arrange for the applicant to use the that he “must bring out the organ more.” Price, $1.50 our newest and smallest, a Colonial Madame Costanza, like ■ a mighty vessel in He bent his head toward her—his breath prominent New The young organist decided by this that An all around. collection of inter¬ full sail, cleaved her way through the fluttered her hair; then his grip upon her organ, especially if he requests it. model of artistic simplicity and rare throng, receiving and acknowledging felici¬ shoulders suddenly relaxed. He stepped York Churches He should have ready to play for the he was not playing loud enough and in¬ mediate difficulty, one of the most of Corns musical charm. tations with a magnificent proprietorship. back, and into the wild gleam, _ into committee a couple of preludes, an offer¬ creased his organ volume, when what the successful books ever issued, contain¬ Herr Webel, with an unwontedly beaming flaming eyes, today owe their No need now to waste tory or two, and a like number of post- committee really meant was that he was ing 33 pieces in all styles; grave, gay, countenance, entered, piloting his wife—Frau _ _ _ __ me!" he said again. appointments time soaking your feet “mixing” his combinations so much that pensive and characteristic, including Bertha, perceptibly plumper, increasingly He was shaken with a laugh. “Has Iphi- so often. Nor run the ludes, playing in all five or six selec¬ to their study the beautiful purity of the flute-tones, such representative numbers as Cho¬ Ivers & Pond self-satisfied, clad in rustling black silk (no genia become v risk of paring. tions ; but he should have one or two pin’s Nocturne, Wagner’s Pilgrim Chorus, doubt as a tribute to the departed), but turned prudish? ifraid of t! at the extras ready in case the committee calls the sweetness of the “choir invisible” and Gavotte from "Mignon", Thomas, The adorned with a highly wired spray of lily of out the ring? jsa- BLUE-JAY plasters have ended for more. After the pieces are played the majestic roll of the diapasons were Golden Wedding, Gabriel-Marie, Hymn the valley, symbolic of her new bridal state. From his little'Anger he wrenched a nar¬ millions of corns. This very PIANOS With no detriment to her evident content the row circlet. Perhaps it had been that with night thousands of people he should suggest to the committee that being lost. In other words, his organ of the Nuns, Pilgrims Song of Hope and Guilmant Organ School are built in a complete line of lady had been crying: comfortable, easy, sen¬ which he had plighted himself to her who will say goo'dbye to painful corns he is now ready to play a few hymns. playing was too noisy, but as the young many others. timental tears. once had had golden hair and who, had DR. WILLIAM C. CARL, Director organist did not understand what the grown gray before her years, and died mad. Sometimes the committee will let him grands, uprights and players, in but “Ah, yes,” she cried, as Madame Costanza Send for Catalog 44 W. 12th St., New York select his own hymns, but more often committee meant he made it even more ORGAN REPERTOIRE effusively greeted her, “from heaven, surely, He thrust it upon Sarolta's unresisting Compiled by Preston Ware Orem one grade—the best. Over 400 he has smiled down upon us this night. I finger, where it hung loose. they will call for numbers, asking the There are times when the music co “My' ring, my ring! Thon shalt have my Price, $1.50 leading Educational Institutions and cannot believe but that his presence has been organist to “give out” the hymn exactly mittee seems painfully frank, and the among us. And so does my Conrad-” ring, my name and my love—thou who hast as he would give it out to- his congrega¬ young organist’s natural inclination is A compilation similar to the above, 60,000 American homes use them. She broke off. She had caught sight of Sa¬ been given me to fulfil me. Oh, thou shalt ing wax, is applied in a jiffy. _^No tion. Fortunately the committees usually to invite the committee to take his place containing 39 numbers, all short or of rolta in the shadow, and their eyes had met sing through me in a voice such as neither Every intending buyer should have gods nor men have dreamed of before this! Schomacker ask for hymns that are much sung by on the organ bench and walk out. Bit moderate length, tuneful and well-con¬ across the to and fro. The little woman’s color heightened, and pursing her lips, she Thou shalt be beautiful for those most beau¬ this is not wisdom. He should simply trasted, original compositions and our catalogue. Write for it. their congregations, and every organist transcriptions, covering every occasion. turned her head away. tiful whom thou shalt reveal to the world determine that there is something to be through me. Thou shalt be my Helen— should make it his business to know the A wide rangeof composers will be found How to Buy She made an effort to edge herself out of learned from that particular music com¬ the room, keeping close to the wall. But the Helen, the World’s Desire. What!" Pianos familiar hymns of the different churches. including Schumann, Mendelssohn, The word rang sharply loud out of the mittee and make up his mind to learn it. sound of Lothnar’s name springing suddenly He will find that a great many of them Beethoven, Chopin, Tschaikowsky, from different sides arrested her. husky tenderness of the deep-noted, low¬ are found in Homes where BAUER & BLACK are the same. In the very beginning of When the committee sees a willingness Wagner, Faulkes, Engelmann, Wachs, voiced speech which had seemed to hang Dr. Lothuar—where was he? Ah, the the great consideration is Chicago and New York on his part to listen to the advice it has Thome, Kroeger, and others. A handy murmurlngiy in the air. Makers of Surgical Dressings, etc. his organ work he should get a list of Herr Doktor ist ja mit dem Kaiser! Yes, to offer, the battle is half won. And just work for any emergency. the Emperor had sent for Dr. Lothnar! Sarolta had made no sound, scarcely made these familiar hymns and make them a roop o e hand remember this—an amiable disposition, Wehel's smile grew broader: True, the Tonal Quality part of his daily practice. There are Fill Out and Send This Coupon to Master was with the Emperor. Then came upon which he had thrust his ring ccould s different ways of obtaining such lists. prompt attendance at every service, and ORGAN MELODIES the cry: “He is coming!” and the groups he called. But from the inert finger the They may be obtained through a friend good organ playing will win the m Gems from Classic and Modern Composers IVERS & POND PIANO CO. rolled apart, as dry leaves may before a ring bad slid off, bounded and x-olled a little In Philadelphia and New York at the Wanamaker Stores only who attends that particular church, or critical. Compiled and arranged by C. W. Landon 141 Boylaton Street, Boston, Mass. ■1 of w Blue=jay Price, $1.00 not meet (Lothnar ; she could "Was!” cried Lothnar again; from sur¬ se mail me uour neu) catalogue and oaluable She x prise the note struck on anger. A catalog will be sent upon request 47 transcriptions of famous melodies She was already walking away from him. by all the great masters, all effectively She made a swift movement of retreat, He made a savage gesture to arrest her, but- back to the dusky shadow of the screen, but The One-man Power Organ Blower arranged for the organ, with suitable it was too late.' That moment's lingering, she turned her eyes upon him, and he fell 1 registration, and especially adapted for back. While he had made his singular dec¬ Schomacker Piano Co. yielding to the bitterness if memory, had laration of love, claiming her, out of his two-manual organ. These pieces are lost her her chance. The mad blue eyes were ESTABLISHED 1838 By E. H. Pierce in practically all styles, short and easy need, in superb egoism, her eyes bad never GOLD AND SILVER MEDALS upon her. He advanced straight, disregard¬ left his face. They had been fixed on him 23rd AND CHESTNUT STREETS to play. A very useful work. ing calls, greetings, even touches, with the In spite of the rapidly increasing num¬ repetition will be followed by his imme desperately, with a kind of agony in them. PHILADELPHIA, PA. arrogance which he alone could make tol¬ Now she looked at him as if she knew him ber of hydraulic and electric blowing diate dismissal. Some sternness may b THE STANDARD ORGANIST erable. no more—nay, so great was the withdrawal devices, there are still many organs blown “With her, with her I must speak! he necessary on occasions, but in general th Price, 50 cents of her soul that it was as if he no longer by hand, and the peculiar habits and was crying. He caught her arm and drew existed. best way to secure efficient cooperation i A book of 64 pages, printed from “Mum” her into the light. "Mit Dir!” tendencies of the human blower still So she passed and went from Mm. to explain to the blower that his wor special large plates, thus avoiding She made no resistance, but it seemed^to He stood alone in the emptiness looking present problems to the organist, some¬ is of really artistic nature, and demand many turn-overs. 43 pieces are in this after her, too utterly confounded to have takes all the odor had adreadMie to see him again, dreaded the times amusing, sometimes downright skill and cafe to secure good result; collection, well-assorted, covering a room for other sensation. Then, suddenly, sound of his voice, dreaded unspeakably the as tile darkness of the wing enclosed her, it vexatious. » Then, on every occasion when his wor wide range, all of medium difficulty. thought of his touch; but now these things Blowing an organ by hand, although Such pieces as the Sextet from Lucia, out of perspiration is perfectly satisfactory, take occasion t had come upon her, and she felt—nothing. spoken, while he had spoken so much, offered somewhat of a humble art, is still an art, Mendelssohn’s Spring Song, Miserere and keeps skin and clothing fresh and sweet “IIow can one speak,” went on the grating, compliment him as a brother artist. so much ! Only by a look had she answered if you please. The strokes of the bel¬ from Trooatore, Intro, to Act III in despite the natural effects of overheating. A iiar'sh accents—these accents that once had —and this look had obliterated him from her lows, whether fast or slow, must always Most boys (and men, too) are amer Lohengrin. Prayer from Freischuetz, serve snow-white, disappearing cream — will not been the dearest music in all the world to im, Lothnar, the compeller able to this kind of treatment, but occa to make this book more than accept¬ harm the skin nor stain the clothing. her_“with this chattering, this clatter!” he long and full, never short or jerky. able to the live and conscientious He grumbled into his beard, drew his sionally even this fails, and the individu: 25c—at drug and department stores. Any attempt to make them conform to moving picture player., "Mum" is a Trade Mark registered in the Patent brows into his stupendous frown; then with Conrad Webel and a few others of the the rhythm of the music is wholly aside concerned is simply “impossible.” I r( Office in Washington, D. C. violent movements caught her by the arm Master's closer acquaintances were waiting This medal made of gold, roman finish, of sub- from the mark, and leads to bad results. member one occasion, where, besides ha\ ‘‘MUM ” MFG CO 1106 Chestnut St Philadelphia Pa again and dragged her hack to the stage. in the artists’ room as Sarolta came through. PIANO MUSIC FOR The place was empty save for a few scene- Their whispered talk fell silent at sight of »5a.So'alThegsame*?n silver,St°postp”§,’?P3°.00Pa‘d’ Instead, the blower must keep his eye ing a singularly inefficient blower, I wa MOVING PICTURES fitters. The curtain was down, the only her. Webel made a movement forward, but Theo. Presser Co., Philadelphia, Pa. on the indicator, and endeavor to keep annoyed and perplexed by certain of th light that of a standard at the wlngs-^The she swept past, gazing inwardly upon her the bellows somewhat more than half sixteen-foot double open diapason pipe In the following collections, arranged thought. full, being alert to furnish more wind failing to sound. What puzzled me mo; in progressive order, will be found a The Acme Teachers’ Agency moment was obtrusive in that space which The men looked after her curiously through wealth of suitable material. All these was that the trouble seemed to shift froi had held the glamour of Sarolta’s life. the door which she left open behind her; without delay in case the organist throws volumes are printed from special large has many calls for Teachers of Piano as well “Away with you!—and with every one— saw how she was met half-way by a tail on full organ, and preserving the greatest one pipe to another, defying my efforl plates:— as for those who can combine Voice and right away!” ordered Lothnar to the work¬ young man, who sprang forward, an immense steadiness and quietness of movement in to locate and remedy the cause. At la: PIANO PLAYER’S REPERTOIRE Piano, or Expression and Piano. If you men with a wave of his arms. Then he and wrap of sable over his arm. the soft passages, avoiding all scuffling of the mystery was solved. Entering th POPULAR HOME COLLECTION wish to teach, write The unshaded light fell on his face—it was feet, as well as all unnecessary noise with blower’s corner unexpectedly I caugl There was silence at first between them. pinched with cold and stamped with lines STANDARD BRILLIANT ALBUM 1233 Healey Bldg. Atlanta, Ga. That gaze of his! From the first it had had of anxiety. He folded Sarolta in the cloak the bellows handle. him hastily replacing Red Handed Die POPULAR RECITAL REPERTOIRE the power of reaching her inmost self, strip- withi careful gesture, lifted the high collar The worst habit found among blowers or Forty Buckets of Blood (I think th; Price of the above, 50 cents each ig her to her very soul, breaking down all about her throat, and gave her his arm. Makes the Complexion Beautiful is their attempt to fill the air chests as is the title) in the mouth of one of th > natural barriers which divide one human ‘‘Ach, is that the way with our Iphigenia ?” said he who stood closest to Webel. SOFT AND VELVETY. Money full as possible and then rest themselves large pipes. ng from another. It was upon her now; back if not entirely pleased. Mail orders solicited and filled to all parts ot demanded, it searched, it actually as- Webel looked at him blankly. until, they are empty, when they suddenly As I felt that it was impossible fc »he country. Any of our works sent on inspec¬ “I must find the Master,” he said in a Nadine is pure and harmless. Adheres until ivc tion. Our professional discounts are very liberal. lited but—she drew a long sigh—it left off. Prevents sunburn and return ot discolorat fill them again with hurried and noisy him to combine his literary diversior r unreached. She was holding the sceret troubled voice, and went heavily back to the nillion delighted users prove its value. Pol jerks of the lever. No organist should her thoughts from him. stage. The first speaker shrugged his shoul- with successful organ blowing I r< and of K Flesh, Pink, Brunette, White. SOc. by toilet permit this to occur more than once, the THEODORE PRESSER CO. Tlien he spoke, both arms outflung: Arranging Correction Mss. liters or mail Dept. T. E. quested his resignation. Since the advei ‘Du! . . .” So he had been wont to “It snows,” he said to the others. “Let A SPECIALTY blower being given to understand that , out to Reinhardt in highest, deepest us out! Who’s for a bowl of Qliihweint” National Toilet Company, Paris, Tenn., U.S.A. of his successor my sixteen-foot diapaso 1712 Chestnut St., Philadelphia, Pa- A. W. B0RST, Presser Bldg., Phila.. Pa. it is a most serious offense, and that a has spoken properly from every pipe. •ognition of creator to interpreter. “Sa- The three caught each other jovially by Please mention THE ETUDE when addressing (Continued on page 420) our advertisers. Please mention THE ETUDE when addressing addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page 419 JUNE 1917, JUNE 1917 Page 418 THE ETUDE A Perfect Trill PRIVATE LIQUIDATION SALE Few effects in violin playing are more with the trill sometimes commencing on beautiful and effective than even, well the principal .and sometimes on the aux¬ VIOLINS, Etc. executed trills in perfect intonation. For iliary note. It requires a great deal of By Order Supreme^CourLN™York some reason or other amateurs and stu¬ time and hard work to master these dents do not seem to understand that a trill exercises in Kreutzer, but the stu¬ trill consists of an exact number of notes, dent is repaid a hundredfold for his OLD & MODERN VIOLINS evenly executed in correct time. I once labor. When he has completed them, he BOWS AND ACCESSORIES OF had a pupil who had just commenced to has not only acquired the ability to play August Gemunder & Son. study trills, and asked him if he under¬ trills in all their forms, but he will find Playing With Others his left hand technic enormously im¬ on the string above or below the one on greatest care, in all positions, until the stood the principle of playing trills. He Playing with good students’ orchestras, proved and developed. Nothing could be Trills With Accompaniments which the sustained note or the trill is pupil can -play it with perfect intonation. said, “Not exactly; the way I do when or various forms of ensemble’ work, more effective for developing the left The A correspondent writes to inquire how played. The bow must cover both strings The scales are the foundation of music, I see *Tr.’ over a note, I shut my eyes, violin duets, trios, quartets, string quar¬ Showrooms 141 ,W. 42d St., N. Y. hand fingering than these studies. passages consisting of trills with an ac¬ solidly when the double stop part of the and the violin student who learns to play and wiggle my fingers as fast as I can.” them with the correct intervals will in¬ tets, playing obbligatos with good singers, There are entirely too many people One frequent mistake in trilling is Emerson Grand companiment on an adjacent string are passage is played, and the accompanying August Gemunder & Sons fallibly acquire the power of playing in playing in orchestras where choral works following the same method as this stu¬ playing one or both of the notes of the (Style B—Five feet 8 inches) played. Such passages are only met with notes must be exactly of the proper- AUGUST M. GEMUNDER tune, without which faculty no violin are performed, practicing frequently Sole Surviving Partner Liquidating dent. They play trills in a spasmodic, trill out of tune. In the first place, the in solo violin playing and may be seen duration. The sustained note or the trill possesses the rich and must be played as evenly and steadily playing is at all endurable. with piano accompaniments, sonata play¬ jerky, fast and slow style, which utterly principal note (the lower fixed note of in Viotti’s Twenty-second Concerto (the as if there were no accompanying notes. ing with the piano—in short any musical ruins their beauty. Listen to the trills the trill) must be played absolutely in cadenza), in Wieniawski’s Souvenir de sonorous character of a The accompanied trill should not be at¬ Arpeggios and Double Stops work with others is another wonderful of a really good violinist, and you will tune, and the note above, which is trilled, Moscou (Airs Russes) and many other tempted before the accompanied sus¬ Other means of sharpening the stu¬ assistance to the mental development of hear an even, smooth, undulating tone, must also be perfectly in tune. Some¬ Concert Grand. compositions. tained note has been mastered. dents’ sense of just intonation is the the violin student. In this kind of work which makes you think of a garden of times the tone above is half, and some¬ The student who wishes to perfect The student, on first attempting such study of arpeggios and double stops. the student not only learns to execute birds. times a whole tone above the principal, himself in the technic of such passages passages, will find that he is liable to Arpeggios should be studied in major his own part with accuracy and proper It is impossible to over estimate the yet we often hear singers and violinists In size it is not too large should first study the Thirty-second make a break in the sustained note or and minor, all over the fingerboard, with subordination to the others, but the feel¬ importance of, acquiring a perfect trill. trilling whole tone trills half a tone, and ^_iix the great Violinist and Con- for the ordinary music Caprice of Fiorillo, which contains some trill whenever he changes from bowing the greatest pains to play them in per¬ ing of being part of the whole in execut¬ Kreutzer, in his famous Etudes for the half tone trills a whole tone. Pupils of good examples of such passages, both on one string to two strings to make the fect tune. As the pupil’s technic ad¬ ing a master work must be in the highest cientific application and development, they far Violin, recognized that fact when he de¬ poor talent often play the trilled notes a room and yet, in volume with and without trills. The first two double stop, but with careful practice he vances he should study double stops in degree vitalizing to his musical nature. voted so many of the studies to learning full quarter of a tone too flat or sharp will finally learn to draw the bow as thirds, sixths, octaves, tenths, etc., play¬ nme to my notice in the thirty-five years of my the trill, and, incidentally, there has never without noticing it, making a very pain¬ of tone it is equal to measures of this study are as follows: xperience as Violinist and Instructor. ing the chords slowly, until the third Reading Musical Works been anything written in the way of ex¬ ful effect. steadily as if he were playing a single Vrite for History of Belgian School. Enclose note. Such passages are never met with tone (the resultant sub-bass) appears, Reading musical history, and other tamp Address Registrar, Musin’s Virtuoso ercises for the trill equal to these same A very fine effect in solo violin playing the requirements of in orchestral or ensemble work; the ac¬ which is a proof that the chord is in per¬ good musical works, also works devoted ichool, 51 W. 76th St., New York. Private Kreutzer studies. The student who is made by commencing a trill slowly and fect tune. nd class lessons given by Ovide Musin in Person. gradually increasing the speed. In very in auditorium. companied sustained note and trill, as to his own instrument, lives of great Uso Scientific Instruction By Correspondence! masters them perfectly will never have rapid trills the finger playing the trilled illustrated in the above examples, are Playing Good Music violinists, biographies of the composers, any further difficulties with trills, since only effective in solo work. etc., will be effective in inspiring and Kreutzer exhausts the subject completely. note must not be lifted too high. The Dealers in principal cities There is so much good, artistic and OUR “SPECIAL” enthusing the young violinist. He will For the purposes of study, many of these trilling finger must at all times fall and towns beautiful music in the world that there [A Novelist’s Opinion also get many practical ideas from such 10 Tested Lengths, OCp exercises are played in several different firmly on the string like a little hammer. The first two notes, B flat and E flat, is no excuse for playing trash, and yet Charles Reade, the famous novelist, a course of reading. Moreover, every 4 Silk Violin E, for£dV' ways, with longer and shorter trills, or This gives great distinctness to the trill. Write for catalog sound together as a double stop for the many violin students spend a large was a great admirer of the violin and of musician should know the history of his duration of the eighth note. The bow amount of their time in playing music of Send for Violin and Cello Catalogue violin playing. His novels have many art and its great men. is drawn steadily on, and during the doubtful value, which does them no good, MUSICIANS SUPPLY CO. passages devoted to violin playing, and Emerson Piano Co. eighth rest the B flat sounds alone. This but, on the contrary, positive harm. 60 Lagrange St., Boston, Mass. music generally, which are marked by Schumann’s Advice Playing the works by great musicians Established 1849 operation is repeated in the case of the sagacity and common sense. One of his In Memoriam develops the pupil’s musical sense and The great composer Schumann, in his next two accompanying notes, G and E hobbies was that music should be com¬ Boston Mass. taste. In playing these works his mind advice to young musicians, emphatically “EASY VIOLIN MUSIC” Orchestra, which he helped to organize, flat, the upper B flat sounding continu¬ mitted to memory in order to make the For Solo Work, Sunday School, Church and Ama- The death of Bernhard Listemann, is communing with great musical minds assured them that one does not become and which later developed into the pres¬ ously, and the bow dipping to play the proper impression on the audience. In which occurred recently at his home in which cannot fail to have a wonderfully truly musical by shutting one’s self up like |rint°r Libel'a? ’discount^t”’£^her™Scll<»ls*and. ent Boston Symphony Orchestra. lower accompanying notes at intervals of “Hard Cash," one of his most successful Chicago, removes one of the most com¬ elevating, vitalizing effect on his own. a hermit, practicing finger exercises, but ^ “Root’s Fin? Violins” an 4^ “Root’s Special Violin He met with great success as a solo novels, he says of the heroine: “She manding figures of the art of violin an eighth. If done well the effect is that The greater includes the less in every by a "many sided musical intercourse.’ violinist, and made many concert tours cultivated musical memory, having ob¬ playing in America. Mr. Listemann was of two violins, one playing a dotted half art and science, and the student who is To the developing violin student these E. T. Root & Sons, 1515 E. 55th St., Chicago in which he was heard in practically served the contempt with which men of seventy-six years of age at the time of note of three beats duration and the able to play, correctly, the music written are words of gold. every city of any size in the United sense visit the sorry pretenders to music, his death, and in one more year he other eighth notes with eighth rests be¬ by great musicians will have little diffi¬ States. He was frequently compared to who are tuneless and songless among the would have celebrated the 50th year of tween. It will be seen that in this culty in playing so-talled “popular” music, Ole Bull and Wieniawski by his admir¬ nightingales, and anywhere . else, away his career as a violinist in the United passage the bow must be alternately if he is obliged to do it in a professional ers. He devoted much time to teaching from their books. How will they manage The Vital Necessity of States. It is impossible to estimate the Capitalize YOUR Ability way, to earn his bread and butter. He during his residence in Boston, and raised and lowered to produce the double to sing in heaven? Answer me that.” importance of these forty-nine years of THE WORLD PAYS FOR SKILL who associates with the ignorant is not Straight Bowing afterwards in Chicago. His pupils num¬ slops caused by the accompanying notes. Mr. Reade was an enthusiastic col¬ service of this grand old man as a violin Mr. Bryant has invented a method of successfully likely to advance much mentally; but he The second measure of the passage is lector of Cremona violins, especially Theoretically the hair of the bow soloist, teacher and orchestral concert- ber hundreds, are scattered all over the teaching this art by correspondence. Our patented who communes with the great has his world, and many of them now promi¬ Tune-a-phone does it by mechanically proving the played in a similar manner. those of Stradivarius. He wrote an should move at all times at a perfect meister, to his adopted country. The correctness of your work. essay containing his theories on the mak¬ mind constantly energized, ennobled and mathematical right angle to the string, United States owes to him a debt which nent as soloists, orchestra players and Success is more certain than by best oral instruc¬ elevated. ing of Cremona varnish, now considered otherwise the tone loses a certain amount can never be repaid for his great influ¬ teachers. . tion. We furnish Action Model and Tools Free. Mr. Listemann had a kindly, genial Diploma granted. Indorsed by highest authorities. one of the lost arts, which is a classic Hearing Good Music of its quality and volume. The hair ence in the development of the violin Money relunded if not as represented. in the literature pertaining to the violin, should also be at the proper distance from nature and a charming personality. His Attending the opera, symphony con¬ turning their knowledge into money8 everywhere. and also wrote other treatises on the the bridge according to the bow pressure Bernhard Listemann was born in Ger¬ violin playing was of a high order of certs, chamber music recitals, piano and Mr. Daniels writes: “1 am now my own master, violin which are of great interest. and required intensity of tone. How many, and studied with the eminent merit, and no one has done more through thanks to your course and especially the lesson en¬ vocal recitals, in fact any concerts where titled, ‘Marketing Skill;’ Made $53 the First Week.” Accompanied Trills many violinists, even professionals, are violinists, David Vieuxtemps and Joa¬ the last fifty years for the development the masterpieces of music are performed, of violin playing in America than he, This profession offers big opportunities. It is In the above passage, which occurs a able to accomplish these two very difficult chim. He came to the United States in uncrowded, working conditions are pleasant, your is of the greatest value in developing feats? Go to any symphony concert and 1867, and made his debut with great suc¬ not only by his personal efforts in form¬ time is your own. Use your spare time for a few few. measures later, we have an ac¬ weeks and learn this profession! It will be an inde¬ Cultivating the Mind the student’s musical nature and- talent. sit on the left-hand side of the hall, and cess at Steinway Hall, New York. Fol¬ ing hundreds of good pupils, but by the structible resource ail your life. companied trill. The second finger must hundreds of thousands who have been Violin teachers and students do not By hearing music for the voice, or any observe the bowing of the first violins. lowing this, he became concertmeister A Free booklet describes the school and its cover both strings. The trill is played delighted and educated by his fine solo methods, with proof of its remarkable success in give as much attention as they should to instrument or instruments, performed in You will see not a little crooked bowing, of the Thomas Orchestra in New York, teaching. Send for it. Your best ulent may be de- steadily for two beats, the lower F sound¬ and much failure at keeping the bow at and later of the Boston Philharmonic playing. ing with it as a double stop for the first cultivating the mind. Many of them a masterly manner, he insensibly ac¬ seem to think that cultivating the arms the proper distance from the bridge, cor¬ NILES BRYANT SCHOOL OF PIANO TONING half beat. The trill is then played alone quires musical sense and instinct which U Fine Arts Institute Battle Creek, Mich. and fingers is all there is to violin play¬ responding to the. intensity of tone de¬ for half a beat, indicated by the half will prove of the greatest value in his sired. ing. While there is no royal road to so own studies. He should not confine him¬ eighth rest in the accompaniment, the difficult an art as playing the violin Violin soloists also are often lax in The Etude self exclusively to concerts where he will Three Violinists second F is then played with the trill for artistically, there are many short cuts, observing these two fundamental rules the duration of a half beat, and so on. hear violin playing, for the violinist can of violin playing. They may play very VIOLIN STRINGS and educating the mind is one of them. Joachim was born in Hungary. He fringed with silver, in the funeral pro- get ideas from listening to music of any well, but they would play much better if ETUDE Violin Strings offer players One thing is certain—what the mind commenced studying the violin at five cession. When Ysaye first came to Amer- A Good Solo Effect character, • either for the voice or any their bowing was more accurate. In defective and unreliable Strings. clearly conceives, the bow and fingers years of age and at seven appeared in jca to play, his repertoire consisted of This bit of solo technic is very effective handwriting, there are many gradations, The ETUDE Strings are manufactured will soon learn to execute, and the instrument or combination. He can even public with great success. He found his ninety-four pieces. for our trade and are as nearly perfect when well done and never fails to make teacher who continually strives to de¬ from the clumsy scrawl to the exquisitely get ideas of rhythm by listening to a life work in Germany, and at the height Wieniawski, one of the world’s greatest as the highest grade imported strings. a hit with an audience. People unfamiliar velop the musical sense in his pupils will hair-like and finely shaded curves of the drum well played, or how a musette ,f his career was considered by many talents> was the son 6f a Polish physi. Throe length Silk E Strings .15c. with higher violin technic cannot imagine double and treble their progress. Much art penman; so in violin bowing we have passage in a violin composition should authorities to be the world’s greatest taken to Paris at eight and Three length Gut E Strings.15c. how it is done. It requires considerable time should be given to exercises which many varieties, from the horrible rasping Two length A’s or D’s, each.ISc. sound by listening to a bagpipe. of the beginner to the exquisitely drawn classical violinist.- , ... at eleven yameugained thetrie firstnrsi prize foriur violinviuim G Strings, each...15c. practice to do it well, as the sustained develop the musical'hearing. 30 Strings, E, A, or D.$3.00 Nothing is more helpful to the grow¬ tones of the great artist. Ysaye won his presen ?°!‘!° playing at the Paris Conservatoire. He note must be played steadily and not in¬ The teacher should insist on the un¬ THEO. PRESSER CO., Philadelphia, Pa. remitting practice of the scales, espe¬ ing violinist than constant concert going. The violin teacher should be tireless in one of the wor sg^ ^ ^ made a joint tour of the United States terrupted by the accompanying notes. A cially the melodic and harmonic minor In the great European musical centers, insisting that his pupils give constant tonyofhisfather, and later had lessons with Rubinstein, creating the greatest , student who has had but little practice in modes, and see to it that the pupil knows music students go to concerts or the attention to accurate bowing and to keep¬ rom Wieniawski, who predicted his future enthusiasm. The two artists received a I double stop work should not attempt where the tone, half tone, and tone and opera every night, or at least several ing the bow at the proper distance from eminence Ysaye was greatly befriended large fortune for their work. Wieniawski passages of this kind, as it requires the IEDAGE’2 one-half (the latter in the harmonic times a week. The most eminent the bridge. The need of giving the great¬ at various times by Vieuxtemps, and when wrecked his health afid shortened his finest kind of bow control. The ac¬ minors) intervals lie. The chromatic teachers advise this course as a part of est attention to these matters is so self- that great violinist died, Ysaye carried his career by his unfortunate passion for I— r GLUE rx evident that we can only wonder why companying notes may be played either scale should also be practiced with the the student’s education. violin and bow, on a velvet cushion gambling. they are so neglected. THE ETUDE Page 'Jfil ‘ JUNE 191 JUNE 1917 Page p‘0 THE ETUDE Musical Questions Answered THE RESULT OF EXPERIEN Violin Questions Answered be informed With the rapid advances in the art of piano-making in the last fifty years, Jesse French & Sons have kept pace. Follow the News of the Day Intelligently Always send your full name and address. No questions will be answered the easier scales ffben this has been neglected. __ ken up within a few copy of a Stradivarius, by Owning a Copy of Jesse French & Sons weeks from the "time of beginning on the ir tone, notwithstanding Only your initials or a chosen nom de plume will be printed. violin. 2—Wrist bowing can be taken up by tbe fact that it is n imitation. the pupil as soon - ' - ' Make your Questions short and to the point. GRAND the long strokes you violin is correct. A Francesco Ruggieri Rand, McNally & Co.’s new Questions regarding particular pieces, metronomic markings, etc., not “Unquestioned Excellence” e third be- violin, if genuine, is worth from $500 to $2,500, according to period, <] likely to be of interest to the greater number of Etude readers, will not be IMPERIAL ATLAS OF THE WORLD 1917 Edition FRENCH & SONS PIANO CO. enth Avenue New Ca« bound in red cloth, is a large book of 191 This atlas, 1 naees each page 11 by 14 incties.inches. itIt conuuuscontains 120 >pages of large- - -X • ’ — --J —:.in the United » ttFT SSZ intinents and Each map has a marginal index, by means of Kelp i n g Yo ur Mu s i c which any town can be quickly located on the map. The Atlas also contains an alphabetical list of all the the United States and possessions, with the latest c Tindfcle Music Cabinets do aui^v having index numbers to locate each city or town u)iih all Filler and disorder, sew'diing, There is also an alphabetical list of the principal ci and unsightly confusion, exclusive of the United States and possessions, figures from the latest available sources, you to find each place on the map. * Altogether this atlas is a remarkably full of information that is wanted by YOU CAN GET YOUR COPY WITHOUT EXPENSE BY psnaHMST SENDING FIVE SUBSCRIPTIONS FOR THE ETUDE, AT THE FULL PRICE OF 31-50 EACH. § s;». THE ETUDE :: :: PHILADELPHIA, PA. ii STIRRING AND TIMELY Stand by the Flag! PATRIOTIC MARCH By R. M. STULTS THEO. PRESSER CO. PHILADELPHIA, PA. Two New Songs Suitable for Use in the CHRISTIAN SCIENCE CHURCH Money fop Vacation subscriptions to THE ETUDE. Many " f you bring THE ETUDE to their < THE ETUDE, < Z.VltlCl. lilt OTHERS MUSIC PRINTERS and ENGRAVERS THE ETUDE Page J/28 JUNE 1917 .JUNE 1917 Page Jy22 THE ETUDE On Sale Returns A Revelation for the Vocal and Settlements World. By Edmund J. Myer As the close of the Teaching Season of Mr. Myer, who is so enthusiastically 1916-1917 is near at hand, it seems timely admired by all who have read his many to call the attention of our patrons to the books upon the voice (notably the Vocal Instructor), has undertaken a new work annual settlement of ON SALE accounts of concise character, revealing what he, which are due and expected during the in his long experience as a trainer of summer months of each year. Early in voices, conceives to be the great essential June there will be mailed to ajl Schools, truth of all vocal culture. Mr. Myer Conservatories and Individuals having writes in an interesting and convincing open accounts on our ledgers at that manner, making his main point very clear. The Dinner Table Orchestra time, a complete statement. This will in¬ The book is reasonable in price and con¬ “There Was an Old Woman clude the regular monthly charges, that tains a valuable lesson for any vocal student. The special introductory price and How it Cured Jack is, the items for supplies that have been Who Lived in the Piano” is 20 cents. of Laziness purchased outright, to be paid for monthly NEW WORKS. Music For or quarterly and due at the present time, By Mrs. George L. Lewis By Thora Mason Twenty Old Hungarian Advance of Publication Offers— Community Singing and all items that have been sent out as Melodies for the Pianoforte ON SALE music also. With that state¬ “One, two. three, four! One, two „ . „, _ Special To meet a constantly increasing demand By Arthur Hartmann three, four! Oh! how I hate practicing! June, 1917. offer for such a book we are just getting out ment will be found directions to follow I despise it.” a new collection of chorus music which when returning music and the settlement We take pleasure in announcing a Artistic Vocal Album tor Low Voice. . . . i volume of Hungarian folk melodies. These With a boyish whirl around and around includes all the standard patriotic and of the account. ONE OF THE MOST Child’s Own Book, Beethoven. are in the greater part unknown to the on the piano stool, Jack Lament aban¬ Four Sacred Songs, Slater. national songs of America and the other IMPORTANT DIRECTIONS IS THAT American public. Hungary has a mine doned his evening work. Watching Grieg, Sonata, Op. 7. great nations, the best known songs that THE NAME AND ADDRESS OF THE Handel’s 12 Easy Pieces. of folk songs, and all are extremely the rather full hour glass. Jack felt a everybody sings, and some of the grand SENDER MUST BE WRITTEN OR characteristic. It is well enough for us Heins Album . old hymns one would naturally expect to little guilty as he listened to his mother’s Low, Octave Studies . STAMPED ON THE OUTSIDE OF in our musical activity to reach out into voice from the floor above. Lyric Studies, Perry. find in a book of this character. It is EVERY PACKAGE RETURNED. new and fresh fields. There is nothing “Finished your practicing, Sonnie?” Master Study in Music, Cooke designed for popular use and we have This may seem an unnecessary warn¬ more original than Hungarian music, full Melodies of the Past, Greenwald. purposely set a low price, because we be¬ Once upon a time there lived an old “Well, nearly,” he replied, eyeing his ing to some of our patrons, but we re¬ of life blood and fire. It is a great Moszkowski Album . lieve every facility should be given to en¬ pleasure to play over these wonderful w.oman in a piano. She had so many new book with devouring glances. ceive hundreds of packages during the Preliminary Duets, Spaulding . courage the distribution and use of this creations. Mr. Hartmann has written an children that she didn’t know what to do. Not waiting for a second question, Jack Revelation for the Vocal World, Myer year with no name or address on the Some day, when you are old enough, you Schmoll’s Method for Pianoforte, Book 2 kind of music, not only to-day but at all introduction to the volume and also given curled up in the easy chair before the wrapper by which to identify the sender, information regarding the origin and may count them all. (Sound keys from Stainer’s Organ . times. open fire in the dining room. The maid Standard Advanced Pieces and the dissatisfaction to all parties con¬ history of many of the compositions. one end of piano to other.) There are about thirty songs in the had finished setting the table for break¬ Standard Parlor Album . book, with words and music complete, in cerned because of such neglect can readily None of them are long and none very Some children are called “American,” fast. and Jack absent-mindedly regarded Standard Song Album . be imagined. The following general rules difficult. They all range from Grade III some “Dutch,” etc., but these children Student's Music Guide and Manuscript good, clear music type, all easy to read the bright silver. To get a better light and easy to sing. For introductory pur¬ should be carefully read and adhered to: to IV. Liszt’s Hungarian Rhapsodies are were called “Keys.” Their mother had Lesson Book. Jonas . on his book, he drew his chair a little Technical Studies for Left Hand. Palo- poses we offer one copy to each purchaser (1) Return prepaid all ON SALE simply snatches of Hungarian folk songs, a very strange way of naming them. She and a few of the ones in this volume have nearer the chandelier. Something seemed for five cents, additional copies ten cents music unused and not desired; a credit called one child (point middle C) “C,” crept into Liszt’s Rhapsodies. The special to be moving on the table. Twenty Oil each, less a liberal discount, depending memorandum for the value will be sent another "D.” the twins “E and F,” an¬ Pianofor' price for the advance offer will be 25 "Do I hear music?” he said; “sounds upon the quantity purchased. with a statement showing the correct bal¬ other “G,” then “A,” then “B.” But she Wrist Stud cents, postpaid. like an orchestra, and it sure is." Get the introductory copy and after ex¬ ance due us. PLACE THE NAME AND couldn’t have different names for all The silver forks had suddenly changed Order On Sale Music amination write for price on the quantity ADDRESS OF THE SENDER ON these children so she just began over Wrist Studies their pronged appearance into tiny violins? desired. EVERY PACKAGE RETURNED. again C-D-E and F-G-A-B. And every Now For Next Fall By Edward Baxter Perry The spoons into guitars, while the knives (2) Small packages of ON SALE time she named seven children she did Before settling down to the summer We have come into possession of these stood on end, and were resplendent violin vacation and while the subject is fresh in Commencement music should be returned by mail; larger the same thing C-D-E (etc). valuable studies. They act as preliminary cellos. The salt cellars made sturdy the mind, it is a capital plan to make ' Of course one poor mother could not Music packages by express or Parcel Post; still octave studies in sixths and thirds and drums, and the tiny spoons were flutes. arrangements to receive a suitable and fourths, and also in the form of semi¬ take care of so many children so she Commencement programs, even in non¬ larger packages in a wooden box by From behind each instrument, a fairy liberal supply of teaching material just musical institutions, necessarily must in¬ freight. The mail rate on sheet music up pieces. Their purpose is to develop a ■had servants to help her, black servants, a little in advance of the time set for dressed in spangles gazed at him. In clude one or more strictly musical numbers. to four pounds is two ounces for one cent; firmness of the hands and fingers, com¬ 1-2-3-4-5 for every 1-2-3-4-5-6-7 children. . resuming work in the early fall. The front of the orchestra stood the leader, For such occasions we have a large variety the rate above four pounds is the regular bined with a freedom and flexibility and One black servant must stay between advantages of doing this are at once ap¬ strength of the wrist. These studies are costumed in grey, with a tiny black velvet of suitable solos, duets, part songs, Parcel Post rate, varying from 5 cents to every two children (find “C”-servant-“D” parent to any teacher whose work has within the range of small hands and do choruses and anthems, as well as pieces etc.) except between the twins, for twins cap perched on one side of his head. He been retarded just at the critical moment, 12 cents for the first pound and from 1 not go beyond the third grade. Each for piano four hands, six hands, two like to stay together. Twins’ names (stop waved his long wand up and down, count¬ simply because the music supply order cent to 12 cents for each additional pound, number has a poetic description with it. pianos four hands, and two pianos eight to learn as attention is on them) are E ing: “One. two, three, four. One, two, was not sent until the last moment when, depending on the zone. The express Pre¬ One is called The Hail Storm, another three, four. See here, ’cello, keep up, even though accompanied by a strong ap¬ hands. To ensemble music of this class paid Printed Matter rate is 2 ounces for one The Rain on the Roof, and another and F. (Find "twins, E and F” up and we have recently added about twenty you are a measure behind the rest. Little peal to “rush” it through, there are always 1 cent, with a minimum of 15 cents. The one The Night Ride. The imaginative down the piano.) * bright and pleasing numbers, easily per¬ Flute why do you play so gently? Oh! I many physical reasons for delays and Express Agent or Postmaster will give faculties of the pupils are developed When the mother wants to call her consequent disappointment, the chief be¬ formed and very effective. you particular information as to the best simultaneously with technic in the use of children she sometimes calls “E, F”- - - know, that great and naughty boy. is star¬ ing that there are so many other orders We shall be pleased to send selections ing at us. He says he 'hates music.’ We and cheapest method of returning any these studies. We look forward to a very "E, F”--- “E, F”---. (Find the E’s of a similar character, most of which of this music for examination. In order¬ welcome reception of this work of Mr. and F’s that would answer.) Usually she are here to cure him of this crime. We might have been sent in and filled weeks ing it is necessary to state definitely the particular weight or package to Phila¬ delphia. Bound Books should be sent by Perry’s by the musical profession. Our calls “C-C-C-” because he is the first and will punish him.” earlier. voices or number of performers for which special price in advance of publication is Parcel Post only, but sheet music can be the rest would hear. (Find C-C-C-C- Poor Jack was greatly upset and won¬ There is no doubt that business condi¬ music is desired. 25 cents, postpaid. sent as printed matter up to 4 pounds and -.) The last in each seven is “B.” dered what would happen. The Leader of tions will remain about as they have been Parcel Post from 4 pounds to 20 pounds, (Use discretion as to number of names best fun was climbing fences. The fences five fence fails of the staff is this: each the Orchestra, hopped off the table and during the past year—probably the most Summer A Successful Indian Song and the nearby zones up to 50 pounds. about their home had 1-2-3-4-5 rails like child takes always the same place. F waved his wand in front of Jack’s eyes remarkable in the history of America— By the Waters of Minnetonka the child can learn without confusing and the music teaching profession will re¬ New Music (3) Use the gummed label which is and ears. Many thousands of our patrons took By Thurlow Lieurance this (draw They called ceive its full share of the general pros¬ enclosed with the statement, no matter You know mothers like their children’s “Now.” he said, "little Boy I have made perity. The transportation problem has advantage of our New Music On Sale by what method the returns are sent, and This song has met with really flattering pictures taken. When these keys had you blind and deaf, and you can neither become increasingly serious and with the Plan during the past year. As our gen¬ success. It has been used on the concert it a staff. One of their games (this if always write the name and address of the their picture taken they went just like see the notes, nor hear any music.” utmost promptness in shipping orders eral mail order music supplying business sender in the space provided on that stage by Madam Julia Culp and other children have learned to spell a few continues to quite a large extent during artists and has met with favor wherever this 1-2-3-4-5-6-7 and the 1-2-3-4-5 black Sometimes they have their pictures taken “Oh! dear,” sobbed Jack, “I wouldn’t there is bound to be a little slowness in gummed label. words) was to spell words by getting on the summer months' we believe that new sung or played. It is now published both men and had that group taken, then on the staff and they look like this (show want that to happen. Please forgive me deliveries, so the earlier things are started (4) ON SALE music received from us 1-2-3-4-S-6-7 and the 1-2-3-4-5 black for saying what you heard in the parlor, the safer. music sent out at intervals during those for high and low voices and for piano the fence like this music in simple exercise in music book). months would be just as valuable to during the past season and cff such char¬ solo. Mr. Lieurance seems to have a men in that group-with a few for I really have enjoyed hearing your For c 1111/ Now if “C” always takes this place, find early de teachers who do their work at that time acter as to be usable for the next season’s knack for transcribing the various tribal at the end who had not so many brothers fairy music.” work may be retained under conditions rt. face). (Find F-A-C-E on piano.) A his picture here----and here-etc. ments by freight to certian distributing as it is to those who receive the packages melodies and for putting them into usable arranged by special correspondence. This and sisters in their group (say very dis¬ strange thing about’ their play on these (So begin the idea of reading music.) Jack’s penitence was so sincere, that points at our own expense, thus saving during the winter teaching season. form, while still retaining their original tinctly) so had to be taken alone. These the Leader called out, “Cure effected, the customer the largest part of the de¬ We will seild two packages of piano or plan is suggested to save expense of atmosphere. The accompaniments seem to groups the mother piano had hung in her the Boy promises to love music, and will livery charges, always provided the orders vocal music between June and September transportation. enhance the melodies rather than detract¬ room. People would look at them and practice every day without grumbling- we in our hands not later than August to any of our patrons who desire to re¬ (5) Music that has been specially ing from them. In By the Waters of perhaps ask “What picture has the C that Orchestra proceed.” first; after that date it will be hardly ceive them. They can receive either piano ordered and correctly filled is -not to be Minnetonka the melody is particularly or vocal, or both, about ten pieces of new returned, although mistakes are cheer¬ sweet and attractive, with a certain ap¬ What Is Accent? Instantly the blindness and deafness possible in most cases to guarantee de¬ livery on these terms. music in each bundle. As in the case of fully rectified. Do not return music that pealing quality, while the accompaniment Perhaps the mother would be in the “What is accent?” asked the teacher. ago, a celebrated singing teacher said disappeared, and Jack listened with de¬ It will be worth while to take advantage the regular new music On Sale the dis¬ is soiled or disfigured in any way what- ripples along in a characteristic manner. other room- and would have to come in “A kind of thump,” answered Julia to me ‘The rule of rhythm is to keep light to the Fairy symphony. ot this plan. All such orders must in- count is the same liberal one as given on This song may be sung with violin or flute and point out the right group, so she promptly. marching.’ I never forgot the impression On and on they played, until the clock cash orders. The music can be placed (6) A credit for the return of music accompaniment in addition to the piano, thought she would have names for the ojude instructions as to the date by which The teacher shook her head and turned that this made upon me and I will add on the mantel struck nine, when the the music is to be delivered; if no time is with any other On Sale music received or cannot be given unless the name and ad¬ or it is very satisfactory with piano ac¬ groups. This “middle” group C-D-E-F- to Edith. “What do you think an accent for you, ‘The duty of accent is to push music ceased. “Good bye. little Boy, specified we shall assume that the orders to be received from us, returns and settle¬ dress of the sender is on the outside of companiment alone. It piakes an at¬ G-A-B she called the “one line group.” every package returned to us. is, Edith?” the rhythm forward.’ Think of this the called out the Leader. “The Queen of are to be filled at once on the usual terms. ment to be made once each year. tractive piano solo of the fourth grade. If anyone said “Where is that C that I next time you practice and notice how “A downward impulse.” Edith an¬ the Fairies sent us to teach you a lesson saw yesterday, she could just say “Why, much smoother your 'playing sounds. and to cure you of your daily complaint. in the ‘one line group,’ the first one.” swered slowly. ' ‘Keep marching,’ even rests must be A great problem which may be the turning point in a musical career. “That sounds very well, my dear, but We hope we have succeeded.” „ (Find.) played and sung mentally. There is “Jack, Jack, why child, where are you. The advertisements of Teachers, Colleges and Schools on pages 426, please do not think of accent as a down¬ (As story is repeated day by day add never any time to really rest when you said mother. “Asleep in the chair, when Where to Go to Study? 427, 428, 429, 430 and 431 of this issue are more important to many “two line group,” “three line group” and ward anything. Accent is not down¬ are playing. ‘Keep marching.’ and re¬ I thought you had gone to bed an hour readers of THE ETUDE at this time of the year than at any other period. Study them well and plan your work now so,, on.) ward at all, it is forward. You will get member that accent means not a' down¬ ago.” When these children went out to play a perfect idea of accent if you think of ward thump but a forward push.”—T S for the Summer and the Fall. Any advertiser will gladly send you additional information upon postal request. w “Oh! mother, see how I’ll practice to¬ all the groups mixed together. Their it as a forward push. Once, a long time J morrow.” JUNE 1917 JUNE 1917 THE ETUDE Page JJt5 Page JM THE ETUDE A Rousing articles. We hqpe to make this a record- Special Child’s Own Book of Great Students’ Music Guide and A Striking New English Song Lyric Studies Artistic Vocal Album Patriotic March! Manuscript Lesson Book breaking year for quality and for the Premium Rewards Musicians Series. Beethoven Dreaming of Love and You number of Etude readers. By Edward Baxter Perry For the Low Voice Music of a patriotic character is now in Etude subscription getting by our This remarkably successful series of By Alberto Jonas By Arthur F. Tate What we ask of you requires but a These studies were made with the Our Artistic Vocal Album in the high particular demand and we are happy to Senor Jonas is devising a real novelty premium workers should require but very voice edition has proven a very great musical books for very little music stu¬ be able to announce the publication of a Mr. Arthur F. Tate is an English com¬ minute of your time. Just write on a special purpose of developing taste in dents embraces the principle of having in this little work. Thousands of teachers poser who has had many successes. His postal card the names and addresses of little effort this year because every one music. They may be taken up after the success, consequently in response to nu¬ most inspiring march, entitled “STAND have used manuscript blank books with who is at all interested in music will merous demands we have now in prepara¬ the pupils cut out pictures from a big BY THE FLAG,” by R. M. Stults, which Somewhere a Voice is Caning is now five or more of your musical friends to studies of Stephen Heller. They are in their pupils. But the ordinary blank gladly pay the small sum of $1.50 for the tion the low voice edition of the same sheet and paste them in the places m universally known. In his new song whom you wish us to send sample copies the form of small lyric compositions. has promptly made a place for itself in book does not serve the real purpose. It many pieces of fine music and the excel¬ work. Only the best writers are repre¬ the book where they will illustrate the patriotic programs .and in the schools. Dreaming of Love and You he seems to of The Etude. This will give us a chance They are beautifully annotated by Mr. is not classified, contains no suggested lent articles which they get with a year’s sented, such as Cadman, Galloway, Gott- text. Six books were published in the The main theme is not only original but have excelled this previous effort. It is to acquaint them with its great value to Perry, and very closely fingered and exercises, no special advice upon needed one of the few instances of a composer subscription. Every one who has seen the sclialk, Rathbun, Douty, Bartlett, John first series. Each one was a biography also impressive and the interweaving of every music lover, student and teacher. of a famous master, prepared especially points and does not impress the pupil. striking it twice in a similar manner. Mail us the post card to-day. You may special Symphony number will readily sub¬ phrased. They will stand the very closest Prindle Scott, Shelley, Lieurance, and three well known national airs produces Mr Jonffs provides for the teacher who Dreaming of Love. and You is' one of the study. We take pleasure in presenting others. These writers, in turn, are repre¬ for children by Mr. Thomas Tapper the a highly effective ensemble. be interested in the premium list on page scribe, and premium workers can assure wishes the pupil to preserve special ex¬ prettiest love songs that has appeared in them to our readers. Our special advance sented by some of their very best inspira¬ list included Bach, Handel, Mendelssohn, The march is published for piano solo, 364 when you go to follow up the receipt their friends that succeeding issues will Mozart, Schubert and Schumann. These ercises and advice made upon the spur a long while. In order to give everyone of these sample copies by your friends. price will be 25 cents, postpaid. tions, such songs as Lilacs, O Heart of four hands and two pianos eight hands, be just as good and just as well liked. of the moment to cover special cases— a chance to use it we have published it in Mine, Message of the Bose, Drink to Me volumes are now upon the market and also for band and orchestra. It will be Here is a small list of a very few of will be sent postpaid upon receipt of just as a doctor prescribes for special three keys, for high, medium and low Only With Thine Eyes, So Blue Thine sent for examination with all requests for the excellent premiums we offer, that are Heins’ Album for fifteen cents each. We have in addition, cases. It should prove a most useful voices respectively, and to the medium Magazine Bargains Eye, Elaine, My True Love Lies Asleep, patriotic music, or we will supply either especially suitable for the coming season: in the second series, Chopin and Haydn, book to the progressive teacher. The voice copies is added a very attractive For June the Pianoforte Waiting, Felice, and others. Our low the band or orchestra arrangement for Ladies’ Handkerchiefs. Beautifully em¬ which are now obtainable at the above special introductory price is 25 cents, violin accompaniment. As a vocal duet Carl Heins for a number of years has voice edition will be ready in a short time, 15 cents, or both arrangements for 25 As one publication after another ad¬ broidered, packed three in a box—1 and 2 price. Beethoven is now in preparation. postpaid. for soprano and alto this song is par¬ been one of the most popular writers'of and we have no doubt that it will prove cents (cash orders only). vances its subscription price, Etude read¬ subscriptions. Six in a box—3 subscrip¬ the lighter class of piano music. All of equally as successful as the high voice edi¬ If you desire to order copies of this book ticularly good. In addition it makes a ers should appreciate more than ever the tions. Various qualities, all very attractive his work is exceedingly tuneful and most tion. The special price in advance of pub¬ in advance of publication send ten cents Advance of Publication very acceptable piano solo or a violin solo money-saving opportunities offered them and of good material. with a piano accompaniment. of his pieces are of easy or elementary lication will be 40 cents, postpaid. Technical Studies for the Offers Withdrawn through our arrangements with leading Cameras, Box Type, Premo Junior, Model B, with universal focus lens. Simp- grade, but all are musicianly in construc¬ Left Hand. By M. Paloverde The following of our new publications American magazines. Because of these special terms we are enabled to offer you - lest camera -that can be made. Produces tion and all have educational value in This new book of studies is about ready which have been announced during the Commencement addition to their many attractive qualities. Four Sacred Songs Josef Low— subscriptions for your other favorite equally good results in the hands of chil¬ for delivery to advanced subscribers, and past few months have appeared during Needs Our new Heins Album will contain the By David Dick Slater Octave Studies magazines in combination with The Etude dren or adults. Loads in daylight with this will be the last month of special the current month, and are, of course, Appropriate to the season, we desire our at real bargain prices. the Premo Film Pack. Pictures, 214 by best and most desired pieces of this The well-known song writer, Mr. David now taken off the special advance of pub¬ offer for this work. The aim of the patrons to know that we have in stock the These prices are for yearly subscrip¬ 314 inches. Instructions included with writer. It will be uniform with our other Dick Slater, has composed a set of sacred lication price. The works are now on the similar collections. The special intro¬ fifteen years. Teachers feel that volume is to furnish material for special following: tions and no other publisher or agent can each camera—4 subscriptions. songs which will be published together in market and will be cheerfully sent to any ductory price in advance of publication is there is more valuable technic to be ac¬ practice of the left hand, material which offer lower prices. Send all your maga¬ Solid Comfort Hammocks. Close canvas one volume. These songs are of moderate shall be musical as well as technical. of our patrons who desire to look at them, 25 cents, postpaid. length and just right for church use. quired through octave practice than almost Blank Diplomas. zine orders, whether they include The weave in checkered twill stripe, tab end Some of the studies in this book are so that is subject to return and charged at They are devotional in character, but they any other kind of technic. The Bravura Etude or not, direct to us and they will finish, reinforced stringing, effective color style is in itself an attractive one, and good that they might be used as separate our regular liberal professional discounts. Course of Study Certificate be forwarded promptly, thus saving you combinations. Ornamental wood bar at display the very best musicianship, to¬ The works withdrawn this month are as' Standard Parlor Album gether with a wealth of original melody. the practice is by no means dull. The pieces. All have real value. Practically (wording below) . 10 cents time, trouble and postage. foot. Spreader, valance and upholstered for the Pianoforte octave practice of late years has become every style of passage that may lie met follows: Course of Study Diploma, 21 x Here are some of the leading magazine pillow. Furnished in red or green stripes. Best of all, they are easy to sing, and the Pleasant Pastimes—Helen L. Gramm. accompaniments are effective either for almost general with all students. A com¬ with for the left hand in modern music of 16 inches. Parchment (word¬ bargains for June: Sent by express or freight, collect. 4 sub¬ This new album is another of the series Price 75 cents. This volume is full of in¬ the piano or for the organ. In several mand of the keyboard is gained better intermediate grade will be found. The ing below) . 50 “ scriptions. printed from special large plates. It will teresting little pieces for young players. THE ETUDE . instances Mr. Slater has made use of some through practice of the wrist and arm use of such a book cannot fail to bring Diploma Form, 21x16 inches 1 *1.70 The Gem Ice Cream Freezer. A famous consist almost entirely of pieces lying in We take great pleasure in recommending Woman’s World . the intermediate grades, such pieces as well-known hymn texts, but his settings than possibly any other form of practice; about real benefit and advancement. Our (Parchment) . 25 “ Plain and Fancy Needlework. 1 Save 50cte. make, is double action and freezes the it to our patrons. will prove acceptable for home playing are of such a character as to add interest and we are very glad indeed to know that special price in advance of publication is Diploma Form, 21 x 16 inches... 15 “ cream in a very short time. The gears Young Folks’ Music Study Playlets. THE ETUDE . 1 *1.75 and for general entertainment. Modern to the old words. The titles of the songs the teaching fraternity are recognizing 25 cents, postpaid. Certificate of Award, 12 x 9 inches are covered to thoroughly protect inside Price 75 cents. These playlets may be j Save 75cls. writers will be represented chiefly, and are 1 Heard the Voice of Jesus Say, this. These studies of Low have always (wording below) . 10 “ from either salt or ice. Two-quart capac¬ been recognized as one of the standard given with little trouble by any group of Certificate of Award, 12 x 9 inches 5 “ THE JETTJPE. ity—4 subscriptions; three-quart capacity only the most popular gems by these A Little While, There is a Green Hill, Schmoll Method 1 *1.85 writers will be included. Our special in¬ The Harbour Bell. The special price in sets for octave work and we take pleasure intelligent children, with or without spe¬ Teacher’s Certificate, 11 x 8% McCall’s. 1 Save 40ctl. —5 subscriptions. Shipped charges collect. advance of publication is 20 cents, post- in recommending them. Our special price, Book II cial scenery and costumes. They may also inches . 5 “ Special. Matting or cane suit cases, troductory price for this volume will be THE ETUDE . 1 *2.45 in advance of publication, is 25 cents, This volume has gone to press and this be read as dialogues. This is to Certify that very durable, 24 inches, lined in cloth, 25 cents, postpaid. Modem Priscilla . i Save 30cts. postpaid. will no doubt be the last month that an Sunday Piano Music. Price 75 cents. . has completed straps all around. These are shipped opportunity will be given to advance sub¬ The compositions in this collection will in a creditable manner a course in. THE ETUDE . 1 *2.50 charges collect. Just the thing for vaca¬ Melodies of the Past for the Standard scribers, after which time it will be sold prove admirably adapted for Sunday play¬ Music as follows.. Christian Herald . ) Save $1.00 tion traveling. 6 subscriptions. Song Album Standard Advanced Pieces only at regular rates. We have been an ing at home, or for use in church services Pianoforte. By M. Greenwald THE ETUD*E . l *2.85 Suit Cases. 24-inch Tan Cowhide suit This is a new album in our special for the Pianoforte admirer of this work for many years. It where it is not possible to have an organ. In testimony whereof . have affixed case with leather straps all around. Sent The good old tunes are always welcome They are of moderate difficulty. Woman’s Home Companion. J Save 15cts. and always in request. Hence it is con¬ series of collections printed from the extra This work will be made up principally fits in with our work so beautifully that charges collect. 12 subscriptions. large plates. The songs in this collection of the best advanced pieces that have ap¬ we were persuaded to publish an English Chopin's Etudes in 2 Volumes. Price THE ETUDE . 1 *2.45 Polar Cub Electric Fan. Makes every venient to have all the best of them 50 cents each. Chopin’s Studies, Opuses Woman’s Magazine ... grouped in one volume to which one may will be those which have appeared in The peared from time to time in this Journal, edition. Our aim has been in all our pub¬ . 19.... To-day’s Housewife . j Save 55ct». member of the family cheerful, cool and Etude at various times. There will be an such pieces as the Witches’ Dance of lishing to make music study a pleasure, 10 and'25, are usually published in one comfortable. Operates . on direct or turn with a certainty of finding the de¬ volume, but in this new edition they are sired melody. Each of these melodies is, unusually large number of songs and they MacDowell, The Chase by Rheinberger, and that is what the works of Schmoll do. Blank Progbam Forms. THE ETUDE . 1 *2.85 alternating current. Blade diameter 6 separated. They have been edited by Ladies’ World . first of all, presented with its original will be of all styles, both sacred and Fantasia in C Minor from Sonata of All his writings are musical and pleasing, Four-page folders on thick, good quality Mother’s . j Save$I.I5 inches. Handsomely finished in jet enamel harmonies, and accompanied by a verse secular, suited for all occasions and also Mozart, some of the Waltzes of Chopin, more so than those of almost any writer. Constantin von Sternberg. paper, title page in two colors. The two and nickel. Furnished complete with for teaching purposes. A particularly Romance of Sibelius, and a number of At the same time they have a tinge of THE ETUPF seven-foot cord and plug, and ready to of the text. Then follows one or two forms of title page read, “Concert given Every Week . l *3.25 short variations. These variations are good feature of this collection will lie in Liszt’s compositions, also a few of the the educational. We feel positive that Mail Order by .” and “Recital by Pupils of Woman’s Home Companion . J Save 75ct». attach to lamp socket. 12 subscriptions. not merely figurations, but they may be the fact that practically all of the songs compositions that have taken first prize you will be delighted if you procure at Music Buying ...” Price is 50 cents per hundred, regarded as further developments of the have accompaniments of moderate diffi¬ in our Prize Contests. It will be such a least one copy of this new work. Book II The house of Theo. Presser Co., more less than cost, because a small advertise¬ various themes. This volume will surely culty, such accompaniments as usually selection as the ambitious player is long¬ is about Grade III or IV. Book I, which ment of The Etude is printed on the may be played by the singers in person. is already published, is not on special than any other, has specialized in supply¬ please all, both old and young. The ing for. Our special introductory price in ing music on mail orders and to-day oc¬ fourth page. Our special price in advance of publica¬ advance of publication is 25 cents, post- offer. This second volume can still be THE ETUDE .) $4 special introductory price is 25 cents, cupies the first position in enterprises of Medals. tion for this new volume is 25 cents, post- purchased at the advance price of 30 Review of Reviews.L ,e postpaid. that kind. This prominence has been Woman’s Home Companion .) Save $1.15 Special Notices cents, postpaid. The medal which we have been selling gained through careful attention to little for a number of years has increased in Etude Special •S3 ANNOUNCEMENTS Preliminary Duets for the Master Study in Music things, prompt service, liberal terms and, price to us, and we have changed the Pianoforte Moszkowski Handel’s Twelve Easy Pieces above all, a thorough understanding of form of it to a small extent. We think Renewal Offer By James Francis Cooke the needs of teachers and music buyers. By Geo. L. Spaulding Album For the Pianoforte it is now a much more artistic piece of During the month of June, Etude WANTED AND FOR SALE Every student, every club member, The house carries a complete stock of all jewelry than heretofore. We have some Among the writers of the present day, readers will again be given the opportunity Easy four-hand pieces are always in needs a comprehensive, authoritative col¬ This new volume is now in press, but the standard music publications of the of the old medals still in stock. These are for piano, there is none more popular to obtain standard music collections for a demand. Aside from pieces lying ex¬ lection of material for the study of the the special offer will be continued during world and there is hardly anything in any Roman gold. Then we have the new UPRIGHT PIANO for sale. Standard than Moszkowski. His works are always small sum in addition to the yearly sub¬ clusively in the five-finger position these great masters of music. Moreover, this the current month. These twelve pieces class of music that is not upon the shelves medal in Rose Gold and Burnished Gold. make. Very reasonable price for cash sale. pianistic. In this work are only composi¬ scription price of The Etude. Similar new duets by Mr. Geo. L. Spaulding are material should be in vital, human form are selected chiefly from Handel’s Suites, ready for any demand that may arise. The price of all of these is $5.00 each. Also large concert grand. New. Cost $900. about the easiest that can be found. tions that have attained popularity and offers made in the past have been so much For sale at a low price. Address Piano, —that is it should tell the life motives the original compilation, with editing and The catalog of the Presser publications We have the new medal in silver, oxidized. appreciated that we have decided to make They are still easier than those in Mr. are played the most. The extremely diffi¬ annotations, being by Von Billow. Our 1712 Chestnut St., Phila., Pa. which have had a formative effect upon of over 15,000 individual items means This is rather dark in color and dull fin¬ another offer for June. Here are the Spaulding’s highly successful duet book cult ones and the very easy ones have not edition follows this one, retaining all of the composer’s artistic work—it should something to every music teacher or ished. The price is $2.50. These prices terms: POSITION—Brilliant young man, musician entitled You and I, although they are of been included. Neither have the lengthy Von Biilow’s original comments, etc. The suggest other lines of study—it should music lover in the entire world, as is evi¬ are net. Every reader of The Etude renewing and pianist (married), desires position of somewhat similar character. Musically ones. It will be a popular album of the pieces have all been carefully revised after head of piano department in good conserva¬ stimulate practice and should give that denced by the constantly increasing num- his or her subscription during the month they are very interesting, with independent best, most playable compositions of this information without which the music comparison with all the standard editions. tory, beginning next fall. Can direct chorus oer of regular patrons in Canada, South of June, or sending us a new subscription and orchestra. Long American and European parts for the two players, giving each popular writer. Our special advance lover cannot consider himself cultured. This is one of the most valuable works in¬ What You and Central America, Australia, New at $1.50, may add 15 cents to the price, training under famous masters. Former pupil something to do. Each duet is ac¬ price is 30 cents, postpaid. This book is not a musical history, troductory to the classics. It will prove Zealand, India, China, Japan, South Can Do Rudolph Ganz. Much teaching and conserva¬ making $1.65 in all, and choose any one companied by appropriate verses. The although it contains a great deal of especially useful as an introduction to the Africa, etc., to say nothing of the vast The Etude is launching a summer cam¬ tory experience. Excellent morals. Best special introductory price for this volume polyphonic style of playing. Our special of the following: references. F. L. H., care Etude. The Organ history; it is not a text-book, although it host of customers in our own land. All paign to add thousands of new readers is 20 cents, postpaid. may be used as a text-book. It is more introductory price in advance of publica¬ this is possible only because mail order to its subscription list and give them the “Tunes and Rhymes” (with words) Geo. By Stainer tion is 15 cents, postpaid. advanced than the Standard History of music buying is the easiest, as well as the benefit of the many instructive articles L. Spaulding. ANNOUNCEMENTS | Sonata for the Pianoforte, The well-known organist, Mr. E. A. Music, by the same author, although it best way in all cases where access to a that will appear during the coming “School of the Pianoforte—Beginner’s Kraft, has completed all his editorial may be read by anyone and thoroughly months. You can help us make The Etude Cover real music store is either inconvenient or Book” (Vol. 1 or Yol. 2). Theo. Presser. Op. 7. By Grieg work upon our new edition of this understood without previous musical train¬ impossible, and for the additional reason Etude more useful by pushing this cam¬ “Czerny-Liebling.” Selected Studies, in UKULELES—Prices moderate; self-in¬ This beautiful modern piano sonata standard instructor, and the work is now structor gratis. Wm. Buslap, 3731 Concord ing. The collection includes fifty and Design Contest that the Presser catalog embraces the best paign as vigorously as you have in the three books. Any one book. Place, Chicago, Ill. should be known by all players. It is in press. Our new edition will be com¬ more of the really great masters of music. This contest is now closed. None of selected, best edited and most economic- past. The unselfish efforts of its friends This is a remarkable bargain and every one of the finest exemplifications of what plete and comprehensive, retaining all of Much of the material is from sources of the designs were given any particular ex¬ mly obtainable material for all purposes. have made The Etude the'largest and Etude reader should take advantage of MUSIC COMPOSED—Send words. Manu¬ may be done with the classic sonata form Stainer’s original material, but bringing an entirely original character, in many most widely circulated musical magazine scripts corrected. Harmony, correspondence amination until the first day of June was Present and past patrons of the Presser it for the renewal of his or her own sub¬ in the hands of a modern writer of force it up-to-date. This has been found neces¬ instances special translations having been reached. This policy was followed in Lo. do not need to be told this; music in the world, and we call upon you again, lessons. Dr. Wooler, Buffalo, N. Y. and originality. It is just the sort of a sary in view of the rapid improvements made for this work from French, Italian confident that yotfr response will be just scription and should also show it to musi¬ order to be fair to ail. The designs and buyers who have not tried our system of cal friends, urging upon them this extra NOWHERE Is It possible to obtain so piece that the musician delights in turn¬ and the many changes in the organ and German references. The biographies ideas will be examined with all practic¬ ealing will find it to their interest to get as generous as ever. advantage of subscribing to The Etude. intimate and authentic pictures of Russian ing to again and again. It is only moder¬ mechanisms. Stainer’s book is so good that of Gottschalk, Paderewski, Saint-Saens, able despatch and the result announced acquainted with the house and benefit by With your help The Etude expects to musical life as in Simpson’s “Travels in The offer holds good only during the ately difficult and makes no unusual de¬ it will undoubtedly hold its popularity for Strauss, Debussy, Reger, Dr. Mason, etc., in as early an issue as possible. Inf Service- Anyone desiring catalogs or continue to extend its field of usefulness Russia.” Chapters on Russian opera, the mands upon the player. The special many years to come. Our new edition being more complete than those to be The Etude will always be glad to re¬ "formation should mention the kind of to teachers, students and musicians. The month of June. Renewal orders received Russian music publishers. Fifty half tones, introductory price in advance of publica¬ will lie found superior in all respects. The found in any other collection. A number magazine will maintain or even excel its during June, whether your subscription dozens of musical examples of working ceive designs for covers for consideration music in which chiefly interested and people's songs. Of highest academic value tion for our fine new edition of this work special introductory price in advance of of specially arranged programs are given. and will pay for those accepted at its Whether teaching or studying. All in¬ present high standard in the music pre¬ has expired or not, will entitle you to take aud Intensely readable. Cloth, price $1.00. publication is 30 cents, postpaid. is 25 cents, postpaid. The special introductory price is 50 cents. regular rates. quiries promptly and cheerfully answered. sented in each issue, as well as in the advantage of the terms of this offer. Eugene E. Simpson, Taylorville, Ill. ■JUNE JUNE 1917 THE ETUDE Page'437 Page 1,26 THE ETUDE =S3£= nmmer Schools CHICAGO Summer ^Schools THESE TEACHERS ADVERTISING AMERICAN ON OTHER PAGES OF THIS ISSUE NEW YORK CITY CONSERVATORY VOCAL TEACHERS The Fundamental Principles >\TheAmerican Institute of Applied Music /MUSIC » (Metropolitan College of Music) orthwester. of the Leschetizky Method 212 West 59th Street, New York City UNIVERSITY CLAIRE NORDEN Summer Session, June 18th to July 27th % Summer School of Music 7j Peter C. Lutkin, Dean—Six weeks', June 25th to August 4, 1917 ijv MUSIC EDUCATION announces short normal courses of ten S" CPECIAL courses in Public School Music and Piano-teaching Methods. Private lessons in piano. R weeks, in classes of two or four teachers. VOCAL5'MUSIC, PIANOFORTE, VIOLIN, HARMONY, ORGAN O organ, violin, voice. Full theoretical bourses. Credit granted both in regular courses of School ci K C* Music and College of Liberal Arts. Beautiful campus on wooded shores of Lake Michigan, near Chicago. VS Oct. 1st, Jan. 15th - 503 Carnegie Hall N Gymnasium, tennis courts and bathing beach available. For book of courses not only in the School of VS Summer Normal Courses Voice-Mr McCall Lanham. FaCU’ty “** Mr. Henry Schradfcck.St Arsis m. Music, but Summer College of Liberal Arts and School of Oratory, write 1425 Broadway NEW YORK THE PRESIDENT, Room 516 Northwestern University Bldg., FOR ALL TEACHERS OF MUSIC Pianoforte, Vocal, Public, Private Summer Session and Kindergarten Schools CALVIN B. CADY, Principal s BUSH CONSERVATORY Chicago, Ill., June 25th to July 27th CHICAGO AVENUE AND NORTH CLARK STREET Seattle, Wash., July 31st to Aug. 31st KENNETH M. BRADLEY, President EDGAR A. NELSON, Associate Director Sergei Klibansky SUMMER SCHOOL-FIVE WEEKS-JUNE 25 to JULY 28 iis-sasEsfssa SPECIAL NORMAL COURSES in Vocal Instructor Music Expression Dramatic Art Public School Music Languages Physical Culture Dancing CALVIN B. CADY School open throughout For eight years leading teacher rtificates, diplomas, and degree COLUMBIA at the Stern Conservatory, Berlin, GUSTAV L. BECKER Pianist, Composer, Lecturer Edward Collins Germany, and three years at the STEINWAY HALL NEW YORK MUSIC N w CLARE OSBORNE REED, Director Institute of Musical Art, New Dir. Am. Prog. Piano School, Author "Ex¬ VIRGIL PIANO CONSERVATORY ercises for Accuracy’* (Presser), "Graded Rowland Leach York. Course for Piano (Witmark) SUMMER SCHOOL The most efficient school in America :hool of its kind in Chicago maintaimn Summer Course after June First The “Tek” Results tell ss EDWARD H. SCHWENKER, S 212 West 59th Street NEW YORK GRANBERRY 19 reasons why the “Tek" excels the piano for SUMMER HI. practice. WESTERN M. E. FLORIO E, R. KROLLER TEACHER OF SINGING Summer Normal Course The Blanche Dingley- FOREST PARK (Tenor dramatic formerly of "La Scala,” Milan.) Five weeks beginning -WEIGESTER SUMMER SCIiOUL OF MUSIC inetruction, a apodal summer course for June 25th Mathews Piano Work TEACHERS and STUDENTS of SINGING, Summer School of Vocal Music ANNU™: COLLEGE thereby enabling those of limited time llth Annual Session at Elmira, N. Y. and means to study with this great Master JULY 5TH TO AUGUST 30TH (8 WEEKS) Send for Literature and “Tek” Catalog Summer Normal Course in the TRUE TONE PRODUCTION and ART Superior Training. Moderate Rates. of BEL CANTO. Pupils should register as A. M. VIRGIL, President Creative Music Teaching early a^possible. For terms, reservations, clare”nTprivate instractionj Wdtefor booklet 1’. R. G. WEIGESTER 11 West 68th Street NEW YORK DENVER, COLORADO Mme. E. Florio, Secretary, 177 West 88th St., N. Y.City _CARNEGIE HALL, N. Y._ July 2nd to 20th inclusive Mu&KL anyTar TtSES{SnS“s tS'f' For catalog write The Oldest and Best Equipped of Improved Music Study 3300 Baltimore Ave. DUNNING SYSTEM for Beginners MR. and MRS. CROSBY ADAMS ST. LOUIS, MO. Annual Summer Classes for Teachers of Piano Brookfield Summer School of Singing Has over 800 Teachers—Classes Larger Every Year—Teachers Earning $2500, $3000 and $' for the Study of Teaching Material Send for Prospectus to a Year with the Dunning Work Alone—Why is This 1 MONTREAT, N. C. : CHICAGO, ILL. HERBERT WILBER GREENE, 702 Carnegie Hall, New York City KROEGER Applied Harmony SCHOOL OF MUSIC Effa Ellis Perfield Music System MRS. CARRE LOUISE DUNNING NORMAL CLASS FOR TEACHERS, Houston, Texas, March 1st, (E. R. Kroeger, Director) Author of the “Russell Portland, Oregon, June 19th, Chicago, Aug. 1st, New York City, Sept. 19th. MUSICAL ART BUILDING CAROLYN A. ALCHIN Books.” Modern Meth¬ Mrs. Addy Yeargain Hall, Normal Classes, January and June, Musical Art Bldg., St. Louis, Mo. Summer Term June 25 to July 30 ods in Music Pedagogy. LOUIS ARTHUR RUSSELL Mrs. Harry A. Prentice, Normal Class, June 20th, New York City. Address 78 W. 103d St., A system that students love Normal Course and Private Classes SPECIALIST in Voice Culture, Singing, Personal Expression sod in Pianoforte, Her N. Y. City. PIANO-THEORY-VOICE—VIOLIN ROY DAVID BROWN C°AND TEACHERST New edition just out ccessor to the late Emil Liebling will conduct a Special Summer Course MR. RUSSELL’S "SHL£Z*$ Mrs. Oscar E. Busby, Normal Class, June 4th, Waco, Texas. Address Marshall, Texas. Summer Courses East, Mrs. Anna Craig Bates, Normal Class, Marshall, Texas, June 4th. San Antonio, Sept. 3rd. Summer Normal Classes at University of Six weeks, from June 25th to August 4th Teachers of the Russell Systems are always in demand. Correspondence invited. Address 3303 Coke St., Dallas, Texas. Southern California, Los Angeles Music Teachers realize that to-morrow will ROY DAVID BROWN, Lyon & Healy Building CHICAGO, ILL. Send for Bulletins, Catalogues, Gallery of Portraits of noted Teachers, Pianists and Mrs. Harriet Bacon MacDonald, Normal Class, Dallas, Texas, June 4th. Chicago after August 1st. mean more and more competition. Higher Singers through the country. Address Bush Temple, Dallas, Texas. standards, intense effort, efficient methods all Alexander Wilson, Secretary, 853 Carnegie Hall, Manhattan, N. Y. Full information and booklet of Foreign and American endorsers. 8 West 40th St., New For particulars address making the necessity for constant alertness UNIVERSITY or MISS ALCHIN apparent to any sensible person engaged in the The MAI/Y W°^.D CHASE rCH®°L 1227 So. Hoover St. Los Angeles, Calif. profession of music teaching. v® ^fAusiqal arts W TELEPHONE SUITE 800 WABASH 8703 C M I C AGO ,-YON “ HEALV BLDO‘ NEW YORK SCHOOL OF MUSIC AND ARTS ANNUAL SUMMER COURSES FOR TEACHERS OF PIANO, VOICE, VIOLIN Central Park West, cor. 95th St., New York City :: RALFE LEECH STERNER, Director Summer Vocal Study in Denver Chicago, Ill., in June_Write now for folder Ludington, Mich., in July Our new buildings give us the most beautiful and ft_• 1 C__ T«*» Unsurpassed beauty of scene facing Central Park, homelike school devoted to Music and the Arts opCCl&l tjUITlITlGlf 1 GSLCilClTS LOUfSCS which is the finest location in New York City. JOHN C. WILCOX, vocal teacher and singer of long experience, who numbers among his pupils many successful teachers and professional CHICAGO MUSICAL COLLEGE DR. F. ZIEGFELD, President Emeritus FELIX BOROWSKI. President t 51st SEASON THE FOLLOWING TEACHERS WILL BE IN ATTENDANCE ALL SUMMER:, singers, will teach all summer this season, to accommodate professional The leading and largest School of Music and Dramatic Art in America; 100 teachers of world¬ wide reputation. Courses and private lessons in Piano, Voice, Violin, Organ, Theory, Public Piano—Arthur Friedheim, the Great Virtuoso; Liszt’s Greatest Pupil. Voice—Ralje Leech Sterner, Celebrated Vocal Teacher. Violin—Clarence students. Special rates during July and August. Mr. Wilcox has a School Music, Movie Picture, Dancing, School of Opera, Orchestral Instruments, Expression, DeVaux Royer, the Eminent Violinist. Harriette Brower, Harold A. Fix, S. Reid Spencer, Frank Howard Warner, Blanche Mabelle Kelley. School of Acting. Normal Training School for Teachers in all Branches. Teachers Certificates, vital message for all earnest students. For particulars address: Diplomas, Degrees and Medals, Public Recitals, Unrivaled Free Advantages, Supplies Teachers DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE. OPEN THE ENTIRE YEAR. PUPILS MAY ENTER ANY DAY. TWO PUBLIC CONCERTS EVERY and Artists to Colleges and Schools, Students enrolled at any time. Dormitory Accommodations. WEEK. TERMS, INCLUDING TUITION. BOARD, PRACTICING, ETC., ON APPLICATION. SEND FOR BOOKLET AND BOOK OF ViEWS. Summer Session June 25 to July 28 — Fall Session Opens Sept. 10. Summer announcement and Secretary, THE WILCOX STUDIOS Wolfe Hall, Denver, Colo. complete catalog on request. 60 Free Scholarships and 100 Partial Scholarships awarded each year. SMEHLIN PIANO USED EXCLUSIVELY ^ CARLO. KINSEY, Manager, 620 S. Michigan Boul. (College Bldg., Next to Blackstone Hotel) Please mention THE ETUDE when addressing our advertlssrs. Please mention THE ETUDE when addressing our advertisers. / THE ETUDE Page , JUNE 1917, Page 428 THE ETUDE SUTTITTICI' .Schools urnmer Schools eastern BALTIMORE Schools and Colleges SUMMER SCHOOL COLLEGE OF MUSIC TEMPLE UNIVERSITY Peabody Conservatory PHILADELPHIA, PA. BALTIMORE. MD. Special Course for Public School Teachers in Music, in Harmony, Notation, History of HAROLD RANDOLPH, Director Music, Theory, Sight Singing, etc. Recognized as the leading endowed musical conseroaiory of the country Summer Session June 25th to August 4th " Howeirsortrude Hayden Fernley^ Ithaca Conservatory Emil F. inrlch Music Holthauk Gustav* Strube IN*z F.etu Damo* }.C. Van Huusxi Mabel Thomas Bart Wirtz Summer Session—July 9—August 19 Tuition $10 to $30 according to Study f s ecial attention is given to Lyccum i rainmg, Special Courses in Public School Music the Tonservatwy being ^clt:v|1uyre““so‘inaj''dha"i'^ Conducted by Inez Field Damon, Supervisor Public School of Music, Schenectady, N.Y. Ithaca Con«r0va"o“ms1Judenta arc holding many Skidmore School of Arts of the best positions available in America. (,.ad- Courses for Grade Teachers as well as Supervisors uates arc qualified to teach music in New \ ork By special arrangements with the JOHNS HOPKINS UNIVERSITY State Public Schools without the usual Slate ex¬ Established Summer Session, July 2 to August 11 Dormitory amination. a $pc^aiJs““rsjef“rant“cfh0er's Practice Pianos and Organs Aoailablc Summer School of Music throaghourcommy?USULarge'school of°Expr«s'on 1869 Circulars Mailed, FREDERICK R. HUBER, Manager and Dramatic Art. Privileges for ARRANGEMENTS FOR CLASSES NOW BEING MADE_ ^ Schools ^of Catalogue on request Ladies and by SARATOGA SPRINGS, NEW YORK students. Summer School—efficient continuation Gentlemen William H. Dana GEORGIA AND TEXAS Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH Summer Courses Advantages Equal lo Those Found Anywhere in the Summer Session Begins June 11th, 1917. Ogunquit Summer School of Music “1520 Chestnut SL, Phils. Art of Teaching Peachtree and Broad Streets, Atlanta, Georgia DANA’S MUSICAL INSTITUTE PIANO, VIOLIN, THEORY __ __Your Name Should Appear in OHIO ADVANTAGES FOR PROGRESSIVE TEACHERS “S professional A DAILY LESSON IN YOUR CHOSEN STUDY A DAILY REHEARSAL IN BAND for band pupils PIANISTS DIRECTORY For Information Address CINCINNATI CONSERVATORY of MUSIC, established tser A DAILY LESSON IN THEORY FOUR HOURS OF PRACTICE DAILY ORGANISTS (Sec page 431) HAHN MUSIC SCHOOL A DAILY LESSON IN MUSICAL HISTORY CONCERTS AND RECITALS ONCE EACH WEEK QTNirFDQ The cost is small. The WEEKLY CHORUS REHEARSALS 3919 S. Junius St., Dallas, Tex. A DAILY LESSON IN SOLFEGGIO OllNljEilVO advantage is inestimable. A DAILY REHEARSAL IN ORCHESTRA for orchestral pupils SPECIAL INSTRUCTION IN ENSEMBLE PLAYING Elocution—MUSIC—Languages including octette, sextette, quartette, trio and duo, for such instruments are used in these combinations. BRANCHES TAUGHT PUBLIC SCHOOLMUSIC Piano Organ, Stringed Instruments, Woodwind Instruments, Brass Instruments and Percussion, or Catalogue and Circular Address Public School Music and Voice. All branches of Theory taught by Modern Methods. LYNN B. DANA, President, Desk “E,” Warren, O. MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. For illustrated catalogue, address ools and Colleges CHICAGO WESTERN _NEW YORK The Western Institute of Music Louise Burton Centralizing Take a few minutes to study the Crane Normal Institute of Music I- College of Fine Arts — school announcements on these and Dramatic Art SOPRANO COURSES: Piano, Voice, Violin, Violoncello, Training School for Supervisors of Music Syracuse University Available for Concerts, Ora- School of pages. Here are the best Colleges, Theory, Music History, Teachers’ Course, Public BOTH SEXES Conservatories, Schools in School Music, Dramatic Art, Speaking Voice, Dic¬ , sight-singing, ear-training, harmony, Unexcelled advantages for the study of music. Facul¬ America. tion and Interpretation, Orchestral Instruments. listory, chorus-conducting, methods, ty of 20 specialists. Regular four-year course leads Music Frederick Schweikher, Prea. ing. Graduates hold important posi¬ to the degree of Mus. B. Special certificate courses. Gertrude Radle-Paradis es, city and normal schools. Special students may enter at any time of year. POTSDAM, NEW YORK For catalogue and full information, address, Registrar, Syracuse University, Syracuse, N. Y. Lucille Stevenson Centralizing School of Acting Edward Dvorak, Director Send for handsome Catalogue t Soprano. Teacher of Departments: Piano, Theory, Voice, Violin, BROS. EPSTEIN Available for con- Violoncello, Expression. Send for Booklet. One of the oldest and best Music Schools in the United States 4525 Olive Street, St. Louis, NEW ENGLAND Address Room N, Box 26, 20 E. Jackson Blvd. 9th Floor, Auditorium CHICAGO, ILL. Schools and Colleges THE C0URTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Building, Chicago, Ill. SCHOOL OF MUSIC PENNSYLVANIA AND NEW JERSEY Oldest and most practical system. Write for particulars of correspondence course. ES MRS. LILLIAN COURTRIGHT CARD 116 EDNA AVE., BRIDGEPORT, CONN. VALPARAISO UNIVERSITY VALPARAISO, - INDIANA. LOUISE ST. JOHN The University School of Musk of ^ • Sh in ,Piano,Voice,Violin, d ; k h Organ,, Theoryk and Public School Musi Private Teachers -'---take the regular , ’ - ' WESTERVELT who can qualify for As.ociate Faculty Membership in tu eats may atten t^ EXPENSES ARe' Vhe' LOWEST PITTSBURGH MUSICAL Normal Conservator the Western Conservatory may offer their pupils regu¬ Soprano. Teacher of Voice. lar Copieryatory Advantages^at Home^with _Certifi- INSTITUTE, Inc. THE FLETCHER MUSIC METHOD Director Columbia School of The Original Musical Kindergarten and Simplex Method of America Music Chorus. Address 4259 Fifth Avenue Pittsburgh . . Brou&ht America through the interest of the New England Conservatory Room W, 509 S. WABASH AVE. Pr«.bE.nH?SCOTT4 Schools and Colleges Schools and Colleges FOR THE COMING SEASON Schools and. Colleges < DETROIT VIRGINIA PHILADELPHIA ELEMENTARY PIANO COURSE IM. a. COREY CONSERVATORY NEWEST AND BEST OF MUSIC Pianist, Organist and Musical Lecturer Th. molt Novel. Varied end B«utiMIvIUup.ed Lecture-recital. upon 32nd YEAR Instruction throughout entire year School of the Pianoforte le Lecture-recital on the " f af MacDowell." Mr. Corey's A SCHOOL OF INDIVIDUAL INSTRUCTION y interpretation of which has the By THEO. PRESSER ally adapted for music schools and m leoretical and Applied Branches taught Privately and in Classes Normal Training Course for Teachers—A complete and thorough course 38 WOODWARD TERRACE. Deti *C7ie only Conservatory in the State with Dormitories for Young Women Vol. I, Beginner’s Book Vol. II, Student’s Book A School of Inspiration, Enthusiasm, Loyalty and Success Oar 36-page Illustrated Year Boole will be mailed upon request. THE DETROIT INSTITUTE OF MUSICAL ART PRICE, 75 CENTS EACH GILBERT RAYNOLDS COMBS, Director “Strongest Faculty in the Middle West” 1319-1327-29-31 S. Broad St. Philadelphia, Pa. Students May Enter at Any Time ^S°iduci.tionffeCorp7of ove^O artist teachc'rs. For catalogue and full information address OF SHENANDOAH Progressive piano' teachers should not fail to give H. B. MANVILLE, Business Mgr. := » » 67-69 Davenport St. THE SCHOOL OF MUSIC COLLEGIATE INSTITUTE these books a careful examination with a view to future ual advantages for a complete and thorough us ShenandOi 19 States represented. Courses- T'’— ”-*-i Tuning, Orchestration. Band In use. Both have had unprecedented success. , Schools and Colleges < jent^’2nd^.‘Regim'e, a. Regi— nn*- t indardized Collegiate co NEW YORK GUY BEVIER WILLIAMS The Beginner’s Book covers the rudiments, notation and elementary work, while The Student’s Book takes GOETSCHIUS’ CATIONAL AGENCY up the scales, etc. SYSTEM OF HARMONY MRS. BABCOCK /"OFFERS Teaching Positions, Col- The material used in both books is of the most attrac¬ taught through mail by leges, Conservatories, Schools. tive character, all bright and tuneful, yet of genuine ed¬ E. KILENYI, M.A. Also Church and Concert Engagements Professional Directory 64 E. 90th Street New York City ucational value, arranged in logical order and proceeding CARNEGIE HALL, NEW YORK SCHOOLS SCHOOLS by easy stages, in the most thorough manner. Either or both volumes will gladly be sent for examination OF THE CITY OF MIDDLE WESTERN NEW YORK INSTITUTE OF MUSICAL ART Frank Damrosch, Director Teacher of Piano Playing AMERICAN AN ENDOWED SCHOOL OF MUSIC ALLEN_ THEO. PRESSER CO. The opportunities of the Institute are intended only for students of natural ability AMERICAN i:s BILLS “ with an earnest purpose to do serious work, and no others will be accepted. For catalogue 1712-14 Chestnut St. Philadelphia, Pa. and full information address SECRETARY, 120 Claremont Avenue, New York. H. RAWLINS BAKER 1 BROWN' CINCINNATI S BURROWES COURSE of music study BEECHWOOD K&jrsr itea of Philadelphia COLUMBIA" Kindergarten and Primary—Correspondence or Personal Instruction .. & C , n-..—Prosperous Teachers. Classes are doubled by use of this method combs:::;::- DANA'S “"r"5 PROFITABLE VACATION COURSES enthusiastic letters irom icauucia u> the C< KATHARINE BURROWES CONSERVATORY 01 also descr.pt.ve l.terature *“tg°" '°VE^ NEW YORK CITY FRIEDHEIM DETROIT WITH THE Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. — knox Bentley, Director STANDARD HISTORY OF MUSIC HAWTHORNE B." Vacuity of Artist Teachers =& WESTERN | A FIRST HISTORY FOR STUDENTS AT ALL AGES THE NEW VIRGIL LEVE i he Art of Plano Play- By JAMES FRANCIS COOKE PRICE, $1.25 RWnsa VOICE Eight Delightful Weeks of History Study PRACTICE CLAVIER moulton EASTERN Far superior in its latest construction to any MICHIGAN STATE NORMAL COLLEGE On the Porch. In the Garden. By the Shore. Anywhere. other instrument for teaching and practice. HEW YORK ■ The following outline, based on the forty story-lessons in the very successful CONSERVATORY OF MUSIC t siqck.: Standard History of Music, may be employed by any teacher, anywhere. -SKtW VIRGIL SCHOOL OF MUSIC NORMAL' MIDDLE WESTERN 1st Week. How Music Began. Music in the Early Church. How Notation CHARLES LEE Was Evolved. The Troubadours and Meistersingers. Polyphonic Ypsilanti, Michigan. IRACY GROFF-BRYANT j Music. Palestrina. Early English Music. IRGIL Executive Office, 567 Third Ave., New York City 2d Week. Opera and Oratorio. Scarlatti and His Contemporaries. The Bach Family. Early French Music. The Story of the Organ, the Violin V OR A. K. VIRGIL, ST. PETERSBURG, FLA. VIRGIL and the Piano. SCHOOL OF MUSIC VIOLIN 3d Week. J. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart. VIRGIL 4th Week. Gluck, Beethoven, Schubert, Weber, Mendelssohn. , Schools and Colleges »rZs?4l5gn,*M.'p« EASTERN 5th Week. Schumann and the Age of Musical Romance. Opera Writers of the WASHINGTON, D. C. SCHOOL OF MUSIC. " Nineteenth Century. Great Teachers of the Pianoforte. VON ENDE KRIENS “ ““ a: Carnegie Hall ^ 6th Week. Chopin, Liszt, Wagner. Modern Italian Composers. Rubinstein. ARTHUR FRIEDHEIM a7 Violinist. Availablelfor Great French Composers. VON UNSCHULD SINIGALLIANO Theatre Bldg. 566 Broad St. 7th Week. Modern Masters. Brahms, Grieg, Tchaikowsky. The Art Song. WILSON-GREENE SOUTHERN Famous Pianists of Yesterday. Great Virtuosos of To-day. Great The Noted Pupil and UNIVERSITY OF MUSIC Violinists. Composers of Valuable Pianoforte Pieces in the Smaller SCHOOL OF MUSIC D D V A IIT SOUTHERN 00N8EBVAT0RY~0i U n I QN I Gilmore Ward Bryant, Dir. Esi MIDDLE WESTERN Forms. Composers of Teaching Pieces. Greatest Interpreter of 2601-47 Connecticut Ave., Washington,D.C. ■■ I Mil I All Degrees Conferred. Durhi 8th Week. Music in America. Masters of To-day. Summary of Musical LISZT Course, including practical teaching under super¬ History. Formation of a Music Study Club for Next Winter. vision. French, German, English Courses, B.M., has transferred his studio from Munich to New York City, Steinway Hall, where in the M.M., D.M. Degrees^ Dormitory in bestjesiden- in Washington. Endorsed by the world’s great- CONVERSE COLLEGE Sp THEORY AND NORMAL COURSES We Will Help You in Securing a Class future he will instruct advanced pupils and teachers, if A limited number of Tree ^ Spartanburg, S. Car. " 1 — Scholarships will be given to pupils without means. All applications are to be made to nowned orchestral and Artists FREE privilege to recognized musical leaders. Voice, Piano, Violin, . beginners. Normal T: Send us a postal request for information regarding our “Special History Dormitory students. Write for particulars. Harmony., Grand Opera, Dramatic Art, Lan¬ guages, English Literature, Classic Dancing, PEABODY nasHfes*. DONNING PAUL SYDOW, Manager 61 East 53rd Street, NEW YORK CITY Offices: 1320 F Street, N.W. - Washington, D.C. .*... Accom panying. Twelve or more free concerts by id SCHOOL OF MUSIC SsStSetsa- - — ■ ,Pri«by.h.d world-renowned artists. Inquiries solicited from S.C. FLETCHER'' THOS. EVANS GREENE, 1 Princloals Mrs. WILSON-GREENE, J Principals THE Publishers of THE ETUDE have knowledge of or personal acquaintance with THE von ENDE SCHOOL of MUSIC 1 all of the Schools. Colleges and Conservatories having announcements on these “The Foremost Musical Institution of America” Pages. In collecting these announcements We are performing an important service to Advertising is one of the indispen¬ our readers. Study these advertisements carefully, and correspond with them. You THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. NEW YORK CITY sable elements of modern business W>H find them all glad to send information, terms, etc. THEO. PRESSER COMPANY Please mention1 THE ETUDE when addressing advertisers. !7 JUNE 1917 Page b32 TEE ETUDE UKULELES Important Novelties for the Busy Teacher i Have You Studied Harmony? , nf the UKULELE is due to the ease with Selected from the Latest Publications of Theo. Presser Co., Philadelphia The astonishing popul y suitableness for accompanying singers, which it is rji.astaed and become a proficient player YOU NEED IT TO COMPLETE YOUR especially quage« smth^eweiGlessons ancHess study tin required for SUNDAYmi imiwPIANO xvi^.vMUSIC ENGELMANN FOUR HAND MUSICAL EDUCATION t omy xne popular A Collection;ion for Church or Home Comprehensive Teaching Material I album writes—JUST THE airs but also operatic selections 0nand 11 canthe be standard W tavonct Price, 75 cents____ OR THE CAMP. THING FOR:THE CHILD’S OWN BOOK OF GREAT PLEASANT PASTIMES FOR and Dr. PViid^Protirere,-! llble t‘^e8a“af MUSICIANS THE YOUNG PLAYER mi ___. mere mechanical application of drp-aa-du.t cole., boSretSatSs' inreffigent. s 1 STUDENT’S BOOK IsU- m INDIAN MELODIES THE PRICES ARE MODERATE FOR VIOLIN AND PIANO $4.00, $5.00, $7.50, $9.00 Genuine hand made Hawaiian UKULELES $10.00, $12.50, $15.00 AN INSTRUCTION BOOK FREE WITH EACH INSTRUMEN T were SUTOR’S NOTE SPELLING THEO. PRESSER CO. :: PHILADELPHIA, PA. up“a YOUNG FOLKS’MUSIC STUDY Wr.t._ Book??Pe^rninethe Notes ( ma- PLAYLETS By ADELESSUTOR Price, 30 cent. W.™..--- • By JAMES FRANCIS 0,«frs.i;,«. Other Notea when for any reason the ones written are incon- GODARD ALBUM LET US GIVE YOU SOME EXCELLENT MUSIC FOR A LITTLE OF YOUR SPARE TIME HARMONY BOOK FOR PICTURES FROM FAIRYLAND PICTURES FROM STORYLAND MASTER AND SCHOLAR By DAVID DICK SLATER Price, 75 cents By C. KCELLING Price, $1. UNIVERSITY EXTENSION CONSERVATORY, Proprietor FOR TWO SUBSCRIPTIONS ,.vS. B..L Wdl Tempered C.mbwd, Touch*' end Teehuie. Dr. Wm. Meson. Attractive Vocal Music for Every Occasion STANDARD DUET PLAYERS’ GIVE YOUR PUPILS ALBUM MOTHER GOOSE ISLAND GLEE SINGERS’ COLLECTION OPERETTA FOR MIXED VOICES A THREE-MONTHS' SUMMER By GEO. L. SPAULDING Price, 50 cent. Price, 50 cents SUBSCRIPTION to The Etude . EEPING the interest of the pupil alive during the si FIRST STUDIES IN OCTAVE the serious consideration of e THE CECILIAN CHOIR K is a tendency on the part of the student to consider the musical PLAYING ANTHEM TREASURY studies completed after the Spring Recital, especially as the teacher THE MEN’S CLUB COLLECTION is seldom in touch with the'pupil from July to October. Many teachers have found The Etude of valuable assistance in bridging over the Summer period by having pupils take advantage of THE ETUDE TRIAL SUBSCRIPTION OFFER ANY THREE ISSUES FOR 25 CENTS The receipt of The Etude each month during the Summer awakens the ORGAN MELODIES dormant interest of the pupil by furnishing at least fifty pleasing and The Convincing Test To affoi •d you a better opportunity of judging for yourself of REAL BUSINESS INVESTMENT FOR THE TEACHER the genuine value of the books listed on this page we will gladly send you any of Send a postal card request, and your order will be filled the same day. To • you in ■ thus showing their interest in the the selection of music, we have catalogues covering every ig the attention of the i tion. We will gladly send you any of these gratis. i in the Fall. They real: | tiQ„. w. wu 8>»dly ,.„d yo„ ,„y ^ ^ P>EssE„ Co | Theo. Presser Co. fo furnish special T ns for distribution. THEO. PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA. ; accounts with Theo re the subscriptions c THE ETUDE PHILADELPHIA, PA. THE ETUDE : 1712 Chestnut Street : Philadelphia, Pa. Buying Palmolive 3,ooo Years Ago The shop came to the shopper in the days of the first Palmolive. ished with the passing of 3,000 years, the world still prizes No convenient corner store no fragrant green cake, but flagons of these two great natural cleansing agents. Not alone for Palm and Olive oil brought from far countries for the toilets of their wonderful natural qualities,but for their artistocratic women. And while these ancient customs have still more wonderful combination in PALMOLIVE SOAP powder and rou&e, price 50 nts each; Palmoliv i, lip-rou&e and1 Once you become acquainted with the fragrant, profuse, creamy shavinfe stick, price 25 cents Palmolive lather, no other soap will satisfy. This is why millions use If your dealer does not irry a full stock w Palmolive. price of article desired. Palmolive soap heads the famous line of toilet specialties bearing the Week-end Package mail stamps. Contains 8 name. There is Palmolive shampoo, cold cream, vanishing cream. favorite Palmolive articles, am B. J. JOHNSON SOAP COMPANY, INC., Milwaukee, Wis. Canadian Factory: 155-157 George Street, Toronto, Ont. \