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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1926 Volume 44, Number 09 (September 1926) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 44, Number 09 (September 1926)." , (1926). https://digitalcommons.gardner-webb.edu/etude/738
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Music on the Other Side of the World, by Mischa LevitsKi - How to Play Beethoven's Sonatas, by FredericK Corder The RemarKable Art of Bizet, by Heinrich KraliK Interpreting Beethoven’s “Fifth Symphony,’’ by Victor Biart THE ETUDE SEPTEMBER 1926 Page 623
I OutstandingContributionsto Piano Literature Music Definitely Planned for Teaching
M. Philipp is ranked as the foremost Piano Technical Works by I. Philipp, IVhich IVill Surely Interest Pupils which have been used extensively by writer of Technical Works since leading teachers everywhere. No Czerny and Tausig. He is Professor special or proprietary course is re¬ of Pianoforte Playing at the Paris quired to adapt them to daily teach¬ Conservatoire. ing.
Preparatory School of Finger Gymnastics Complete School of Technic By I. PHILIPP Opus 60 Technic gJUPERB material for the completion of BY I. PHILIPP fingering work in extension—one of the BY I. PHILIPP most original works on technic to be found in The Beginner’s Book of Practical Exercises A Compendium of Modern Teaching the whole literature of piano materials. The contents are so arranged that they can be ATANY piano teachers consider this out- excellent work that may be taken up apportioned judiciously in daily practice, ac¬ ^ standing course of studies as an indis¬ in early grades of study and continued cording to the weaknesses and particular pensable adjunct to the student’s routine of in whole or in part over several years as daily needs in the student’s technic. daily practice. It is an extraordinary and practice material. It contains all technical es¬ Price, $1.50 valuable technical work for students of mod¬ erate attainments, and is exhaustive in all de¬ sentials, including splendid preparatory scale Exercises in Extension tails, including fingering exercises, scales, and arpeggio work that will give the student For the Fingers chords and arpeggios, octaves, double notes, a substantial foundation for this important By I. PHILIPP Catalog No. 5649 trills, tremolo, etc. The regular use of these phase of Piano Study. It may be used to 'T'HE studies in this volume serve as an exercises will develop flexibility and inde¬ precede the author’s Complete School of A introduction to finger gymnastics for pendence of the fingers and will give the stu¬ Every Teacher Should Get Copies of These Three Books Technic or in conjunction with any system the earnest student, being designed to give dent a good mechanism. Such a work as this furnishes ideal daily practice material for or method of teaching. the greatest flexibility to the fingers and to strengthen the hand and wrist. use throughout one’s entire career. Price, $1.25 Price, 75c. Price, $1.25 -The New Gradus ad Parnassum- Academic Edition of Selected Studies for the Pianoforte Revised and Compiled by I. PHILIPP—In Eight Books The “New Gradus” volumes comprise an exhaustive treatment of the various departments of technic in separate books, and below is given a brief outline of each book. The major portion of the studies used in these volumes fall in grades 5 to 7. This is the same ma¬ terial used by M. Philipp in his master classes at the Paris Conservatoire.
. Left-Hand Technic Right-Hand Technic Hands Together Arpeggios A remarkable grouping of study In this volume studies are so ar¬ “Hands Together,” stressing the A perfect handling of the arpeg¬ important principles of contrary material for bringing the left hand ranged that the player’s attention gio may be acquired through the is concentrated upon the right hand, motion, is suitable for the student use of the “New Gradus,” volume keyboard work up to a satisfying advancing to new heights in key¬ the left-hand accompaniment being four, which gives the arpeggio in quality. M. Philipp has utilized board proficiency. It is an excel¬ made quite simple. They are in lent work for any pianist whose a fine variety of forms. Some of compositions from the world’s progressive order, and original ma¬ technical ability is above moderate the most satisfying effects in piano greatest piano technicians in pre¬ terial by M. Philipp is presented in attainments. A perfect mastery of compositions are found in these addition to the best of appropriate these studies equips one for the un¬ senting advanced study material for gems which the compiler has drawn studies by other world-famous dertaking of studies that progress from classics and the works of this department of technic. piano authorities. into the virtuoso class. well-known pedagogic writers. Price, $1.00 Price, $1.00 Price, $1.00 Price, $1.00 ,-----♦> Book 5 Catalog No. 8694 Book 6 Catalog No. 8695 Book 7 Catalog No. 8696 Book 8 Catalog No. 8697 Double Notes Octaves and Chords The Trill Various Difficulties This book offers invaluable aid There is always a need for oc¬ The trill is an interesting techni¬ Twenty excellent studies that to piano students in handling the tave and chord work, and the ma¬ cal device and the piano student is make an exceptional grouping of complicated double-note work in terial in this volume offers the best given an excellent drill upon it in study material for the student who major and minor thirds and sixths in this line of technic. Such studies the studies in this volume. A vari¬ is really developing into a proficient that will confront them when at¬ as these should receive daily atten¬ ety of forms are presented with Player. They will assist develop¬ S^&r^de ^ BTi°”Y MEM»YIJESS tion from students sufficiently ad¬ work for the left hand as well as tempting to render many of the ment in general, there being studies vanced to profit by the use of them. for the right hand, furnishing ex¬ that cover the tremolo, two-hand favorite compositions for the piano. M. Philipp has gone thoroughly in¬ ercises that will aid the advanced Copious fingering marks help the trill in third, complicated chord to the literature of piano technical pupil in developing a clear, well- rhythms, wide skip, glissando, and Ask Your Local Dealer to Show You These Books player in these studies.- material in seeking these study rounded trill. other technical difficulties. gems. Price, $1.00 . Price, $1.00 , . Price, $1.00 . Price, $1.00 These Teaching Pieces are pleasingly melodious, correct and have definite teaching points Km j'v Th?dTwi.?§ SPEAR, JANE MUNN. Flowing Brooklet.30 JOANNES, MAUD V. Memories at Twilight.35 v wvTvSt t" v ™ f u.35 SPEAR, JANE MUNN. Glimpses of Twilight.35 REPPER, CHARLES. Dixie Night.50 McINTYRF.. E. V. Dancing Sunbeams.50 SPEAR, JANE MUNN. -- ~ " — ------• -- gPars»a„ « cm,.-* THEODORE PRESSER CO. Established 1883 Chestnut Street PHILADELPHIA, PA. MUSIC PUBLISHERS AND DEALERS OUR ILLUSTRA TED CA TALOG “Best Music of Proven Merit" IS FREE. WRITE FOR IT THE BOSTON MUSIC CO. THE ETUDE SEPTEMBER 1926 Page 625 Page 62b SEPTEMBER 1926
THE MOST IMPORTANT PUBLICATION OF THE AGE Helps To Teaching Young Pupils To The Etude: To The Etude : I think we teachers often fail In giving pieces Although I expect Sometimes that are too difficult. If a piece has been hard for SINGERS, TEACHERS AND STUDENTS/ and laborious, follow it with something easy and tuneful, in which all the dots,Is of ex¬ nieces This is my game. pression and phrasing may > brought out pi I build a hard road with my teacher. I with freedom, thus allowing so: • “ riduality of the pupil ‘ J ' CID rrriDrr urwerun with whom many of the world’s greatest singers and teachers have coached, now makes The most effectual method I have found in dealing with a poor lesson is to tell the pupil »•»»»;; V'J .: dll\ UlUKuSj nLNDLnLL, available for general use his wonderful method of that even/ mistake will be counted, wrong road This consists in getting a good™ idea notes, wrong time, wrong fingering. Then the of the sharps and flats, changes m rhythm pupil's pride comes to the rescue and he puts and difficult measures, which I recognize at forth an effort. This painstaking endeavor sight. I put special study on these that I Willi proper relaxed muscular conditions is mav o-o ahead and not lose any time after the only work that gets real results. I start work on the hard road. This is When a new piece is to be when mv hours of practice become play. I should be taken to assign an ------responds to the child’s mental ability. lei- count every measure and do not leave it ARTICULATION IN SINGING until I can play it perfectly. When I come haps only two or four measures Is enough at to a tricky measure I put a small sign over WILHELM BACHAUS first, but they must be played until perfect. it: then before I reach that measure I see Sometimes pupils, after practicing a piece the sign and take particular caution and try A Manual for Student and Teacher With Practical Examples and Exercises a week, will come for a lesson not knowing the to play it correctly. key in which it is written. Such carelessness Nearly every piece has a few difficult lines, A Master Lesson On should be censured sharply. Even beginners and almost every strip of hard road has can be taught the tonic, sub-dominant and bridges. So I also construct bridges over Many church and concert singers are really dominant in their pieces. In four-four time my road. By doing this I put special cun The main reason why so many fine singers fall the eighth notes may be compared to words on studying fingpring, and practice these short of becoming great artists is due to the fact instrumentalists. They articulate so poorly that places until I can play them with ease and BEETHOVEN’S with two syllables, like “singing” or “laugh¬ assurance. The bridge has served its pur¬ that their articulation is either faulty or incom¬ the listener does not “grasp” the meaning of the ter,” and sixteenth notes with words like pose. It would be tiresome to ride and song—does not understand what they are sing¬ “beautifully” and “expressively.” never come to any town, so every change plete. A system of marking mistakes with a red of key is a town. ing about. They fail to put the message across. SONATA PATHETIQUE or blue pencil Is also a stimulant to the child. Then—my road is complete. My contract The difficult passages may be enclosed in par¬ is fulfilled and my goal is reached. I hnv.' Perfection in interpretation is only gained by entheses for exercises to be practiced slowly to the satisfaction of playing my piece with a uniting of both vocalization and articulation. Here is a book replete with sage advice and Prepared Especially For develop technical ability and correct fingering, ease; for I am as sure it is correct as I am in then more quickly for ease and rhythm. saying it was fun to learn it. To interpret a song properly—effectively—the minute instructions as to j'ust what to do and Evelyn Karr (Age 13), THE ETUDE MUSIC MAGAZINE N. B. Ingalls. singer or reader—should have the listener un¬ just what not to do in the proper and in the derstand clearly every word that is sung or said. effectual rendition of vocal music. By the Eminent Virtuoso Musical Smiles A WORK OF GREAT VALUE TO EVERY TEACHER AND SINGER WILHELM BACHAUS Good Eats shaking his head dubiously over some sheet music. His partner, the other half of the One Copy Only at Introductory Price Will Appear in THE ETUDE for October Reginald De Koven, at. his daughter’s Regular Price, $1.50 wedding breakfast, in New York, praised sketch, came along and wanted to know Introductory Price, Postpaid, $1.00 This Special Offer Expires November 1st, 1926 “THIS master lesson is one in the long series by the world’s most the appetite of musicians. what he had. t famous pianists. THE ETUDE has never represented that “Being fine, healthy fellows,” he said, “Another Dixie song by a foreign these lessons are equal to those given in person by great teachers. “musicians always have good appetites. writer.” NEW YORK On the other hand they do represent many hours of the most careful You know, perhaps, what Rossini once de- “Well, what’s wrong with it?” THE JOHN CHURCH COMPANY 318-320 West 46th Street and exacting preparation upon the part of the world’s foremost “Oh, nothing much. He’s got the “ ‘If I am to dine on roast turkey,’ said artists of the keyboard and are of vast significance and value to the Rossini, ‘there should be only two at table Suwanee River located in California.” student and to the teacher. Very few students could afford to —myself and the turkey. If, however, it pay Mr. Bachaus for the time he has spent in the preparation of this is a question of grilled chicken, then the remarkable lesson. Mr. Bachaus is now playing in Australia with company should number three—myself Song Up-To-Date great success. and two chickens.’” I just passed by the ex-Kasier’s home In the November issue of THE ETUDE Mr. Mark Hambourg, and heard him singing. EASY PIANO LESSONS distinguished Anglo-Russian Virtuoso, will present a lesson upon the Scrambled Geography What was he singing? By STELLA MORSE LIVSEY Schubert Tausig Military March. In every instance carefully edited A vaudeville entertainer, who was look¬ Ain’t gonna reign no mo’ 1—Texas editions of the composition are printed in THE ETUDE Music ing for a song to feature, was observed Ranger. In two volumes. Price, each, 85 cents Magazine with cross references to the lesson. Published with beautiful multi-color title like the accompanying illustration
During the course of several years some twenty of these ggSIN RESPONSE to the demand for a The elements of Harmony are touched upon in con- Did Beethoven Jazz? Wm . , , neftion with chord construSion and the explanation ot Master Lessons have been presented in THE ETUDE. HH similar book of a little more advanced the- fundamental- - ... chords. By E. L. Selwyn grade to follow "Children’s Musical Moments,” this work has been prepared. A sim¬ ), 700 and 701 o Concerning the origin of the “Merry¬ the year mentioned (1819), he had again Annual September Offer - making of the Country Folk” in Bee¬ complied with the wishes of the band. I ilar pleasant path is followed, and the same ideas thoven’s “Pastoral Symphony,” Thayer was present when the new opus >was of thoroughly melodious and efficient progress quotes Schindler to the following effect: handed to the leader of the company. The “There are facts to tell us of how par¬ master in high good humor remarked that have been applied this work. ticular was the interest which Beethoven he had so arranged the dances that one learn, the why and wherefore Minor scales are carefully explained and are followed took in Austrian dance-music. Until his The pupil is expected Harmony Book for Beginners musician after another might put down be able to read notes, and should by little compositions in the minor keys, By Preston Ware Orem Price, $1.25 arrival in Vienna (1792), according to his his instrument at intervals and take a rest, and count aloud. own statement, he had not become ac¬ or even a nap. After the leader had gone An Ideal Harmony Class Book quainted with any folk-music save that away full of joy because of the presence Teachers A N unequaled “success." The main es- The Best of the mountains, with its strange and of the famous composer, Beethoverf asked sol-dicr, how qui * el you /\ sentials of harmony are made under- Achieve and Most peculiar rhythms. How much attention me if I had observed how village musi¬ , l 3 4 13 3 4 .334 j *■ * standable in a clear, concise manner he afterwards bestowed on dance-music Speedy Practical cians often played in their sleep, occa¬ f5-- up- . =#= t - ---- and everything is presented simply, yet in is proved by the catalog of his works. T* Xi\K 1 -rd Results an engaging and interesting manner. Teach¬ Work for sionally letting their instruments fall and qrjrH Ifj He even made essays in Austrian dance- 1 With This ers will find this work lays a strong founda¬ Self-Study remaining entirely quiet, then awakening music, but the players refused to grant with a start, throwing a few vigorous Teachers are left quite free to use their own particular Harmony tion for future musicianship and music lov¬ in ers not conversant with the subject will be Austrian citizenship to these efforts. . . . blows or strokes at a venture, but gener¬ The constru&ion of scales is carefully explained, and system of technique, a limited number of footnotes being Book Harmony given for the benefit of young teachers who may not be greatly enlightened through the self-study In the Tavern ‘To the Three Ravens’ in ally in the right key, and then falling the pupil is then encouraged to form all the scales on this that can be done with this book. the Vardent Briihl near Modling there formula. as ready as those with more experience. asleep again; he had tried to copy these had played a band of seven men. This A table of key signatures, major, minor, and chromatic And After the “Harmony Book for Beginners” band was one of the first that gave this poor people in his ‘Pastoral Symphony.’” scales, and a list of the important marks of expression Schindler then refers to the well-known For diversity and uniform excellence * appear at the end of each volume. young musician from the Rhine an op¬ Volume II naturally contains more material of recrea- portunity to hear the national tunes of passages in the movement in question, par¬ tional nature, but in each case the little composition is Theory and Composition of Music his new home in an unadulterated form. ticularly the passage for the second bas¬ Insist upon By Preston Ware Orem Price, $1.25 Simple transposition is encouraged, syncopated time is , devoted to some particular technical problem. Beethoven made the acquaintance of the soon which comes in at the cadences with introduced, the tie, staccato practice, triplets, slurs, phras¬ This new work is the most important since the appear- SURPASSES anything available as a guide the practical application of musicians and composed several sets of what are apparently the only notes it has ing generally, made clear by means of the words. ' ance of "Children’s Musical Moments.” harmony to composition. May be taken up by anyone having an elementary Laendler and other dances for them. In available—F, C, F. knowledge of harmony. It teaches Melody Writing, Harmonizing Melodies, Consult your dealer eAsk for catalogues How to Write an Accompaniment, Modulation, Modem Harmony, Musical Forms. “Is the curse of the popular music of to¬ Sdi//on (2/Jbocf\ ublished BY THE B. F. WOOD MUSIC COMPANY ss st.Stephen s PHILADELPHIA, PA. ment of melody and harmony, the elements day rather its obsession by rhythm—the which are the brain of music?”—A. J. Shel- BOSTON 17, MASSACHUSETTS physical element in music—to the debase- -2/sc &iifion Wood-
Please mention THE ETUDE wlien addressing our advertisers. TEE ETUDE Page 626 SEPTEMBER 1926 PRESSER’S MUSICAL MAGAZINE
MANUSCRIPTS.—Man Prize Contest THE ETUDE. Write on on \ MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke ADVERTISING RATES will be sent on application. Twenty-Five Prizes Open to All Etude Readers Assistant Editor, Edward Ellsworth Hipsher Advertisements must reach this office not later than the 1st ifol. XLIV. No. 9 SEPTEMBER, 1926 followingTsme!’60 108 3=0 ‘S‘Ue Entered a second-class liter Jan. 16, 1884, at the P. 0. at delphia, Pa- der the Act of March 3, 18!1879. THEODORE PRESSER CO., Publishers, “WHY EVERY CHILD SHOULD HAVE A MUSICAL TRAINING” 1712 Chestnut Street, Philadelphia, Pa. What Can You Say on This Subject? The World of Music
CONDITIONS : Stephen Foster’s one hundredth anni¬ 'C'OR years The Etude Music Magazine has devoted a player, C- - — versary- was celebrated on the Fourth of July in Croatia, November 6th, 1S62, he _ by impressive programs at Pittsburgh and great amount of space to indicating how a musical his advanced musical training at the Vienna other places. Born at Lawrenceville, now a The contest closes December 31st, 1926. All manuscripts must be in our Conservatory as a classmate of Fritz Kreisler part of Pittsburgh, on July 4th, 1826, by his training is of great value to the child in developing rapid office at S P. M. on that date. and Franz Ivneisel. Wilhelm Gericke brought simple, spontaneous, soul-songs he probably him to America in 1SS5, to become a member enriched Columbia's musical heritage more thinking, accuracy, self-discipline, memory, good taste, of the Boston Symphony Orchestra, with than any other of her sons or daughters. Of Anyone may contribute. It is not limited to subscribers to The Etude. which he remained until 1003. He was the his more than two hundred songs several un¬ muscular, mental and nerve co-ordination. faithful vela player of the famous Kneisel doubtedly will remain classics wherever and We have brought to our readers’ attention the opinions The Essays must be between three and four hundred words in length. "tring Quartet throughout the entire thirty- so long as the English language is sung. --s of its existence. Broadcast Programs have been kept of many of the greatest thinkers of the time, pointing to The Essays must be written on one side of the sheets of paper. Kindly this summer at the same high standard as pre¬ write as legibly as possible. When feasible have the Essay typewritten. vails in the winter, by the Sears-Roebuck Sta¬ the fact that the training received in the study of the art, tion WLS, of Chicago. Cyremi Van Gordon, particularly in the study of an instrument (including the Address “The Etude Prilze Essay Contest,” The Etude Music Magazine. voice), has a very great significance in the fields of Relig¬ Philadelphia, Pennsylvania. ion, Education, Sociology, preparation of the mind for Be sure to put your name and address at the top of'each page of manuscript.
higher accomplishments in Art, Science and Business, in Essays accompanied by return postage will be returned. All others will lx Musical Therapeutics, and other inspirational themes. destroyed within one month after the closing of the contest. Now we should like to have an opportunity to print the When the opinion of the Judges is divided between the merits of two boiled-down opinions of some of our readers upon the sub¬ approximately excellent manuscripts, neatness of appearance, clearness of ject at the head of this column. expression, and punctuation will be taken into consideration.
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FIRST PRIZE-A MUSICAL LIBRARY. Valued at One SECOND PRIZE Hundred Dollars ($100.00) A Musical Library valued at Fifty Dollars ($50.00) Just think what a boon this wonderful library would be in any School or Home! This library may be selected from The following works selected from the publications of the Theodore the foregoing list to the total of Fifty Presser Company, at the regular retail prices, constitute this prize. Dollars.
PIANO THIRD PRIZE Descriptive Analyses of Piano Works, Edward B. Perry. $2.00 Musical Progress, Henry T. Finck.$2.00 Stories of Standard Teaching Pieces, Edward B. Perry.. 2.00 Musical Mosaics, W. Francis Gates. 2.00 Twenty-five Dollars Cash. Great Pianists on Piano Playing, Jas. F. Cooke. 2.25 Indian Music Lecture, Carlos Troyer.50 Basic Principles in Pianoforte Playing, Josef Lhevinne.. .60 FOURTH PRIZE Principles of Expression in Pianoforte Playing, A. F. HISTORICAL Christiani . 2.50 Fifteen Dollars Cash. Piano Playing with Piano Questions Answered. Josef Hofmann . 2.00 Well Known Piano Solos and How to Play them, Chas. FIFTH PRIZE BIOGRAPHICAL W. Wilkinson . 2.00 Ten Dollars Cash. Science in Modern Pianoforte Playing, Mrs. Noah Brandt. 1.00 Secrets of the Success of Great Musicians, E. Pirani.$2.00 Master Lessons in Pianoforte Playing, E. M. Bowman... 1.50 Anecdotes of Great Musicians, W. Francis Gates.2.00 The Embellishments of Music, L. A. Russell. 1.25 Music Masters, Old and New, Jas. F. Cooke. 1.25 ADDITIONAL PRIZES The Pedals of the Pianoforte, Hans Schmitt. 1.25 Life Stories of Great Composers, R. A. Streatfield. 2.25 For the next ten Essays which, in Pianoforte Study, Alex. McArthur. 1.50 Celebrated Pianists of the Past and Present, A. Ehrlich. 2.50 the opinion of the Judges deserve rec- How to Play the Piano, Mark Hambourg.... 1.50 Portrait Biographies: pa8Mltl0-ulCash Prize of Five Dollars Gallery of Distinguished Musicians, A. S. Garbett_ .75 each will be awarded. GENERAL Gallery of Eminent Musicians, A. S. Garbett.75 Following this in order will be ten Grove’s Dictionary of Music and Musicians.$20.00 Gallery of Musical Celebrities, A. S. Garbett.75 Great Men and Famous Musicians on the Art of Music, more .Prizes, each consisting of a sub¬ Old Fogy, His Musical Opinions and Grotesques, Jas. scription to The Etude, for one year. Huneker . 1.50 Jas. F. Cooke.’ 2.25 Reminiscences of a Musician’s Vacation Abroad, Louis C. Elson . 1.00 ' THEORY The First Violin, /. Fothergill. 1.50 Music and Morals, H. R. Haweis. 2.25 Harmony Book for Beginners, Preston W. Orem.$1.25 Music Study in Germany, Amy Fay. 2.00 Theory and Composition of Music, Preston W. Orem_ 1.25 The Etude It is the constant ambition of the editors and publishers of Mistakes and Disputed Points in Music and Music Teach¬ A Treatise on Instrumentation, E. Prout. fioo Musical Forms, Ernest Pauer.100 ing, Louis C. Elson.. 1.50 Music Magazine the “Etude” to make each issue of the journal worth many Music and Culture, Carl Merx. 2.25 Ear Training, Arthur E. Hcacox...... 100 Primer of Facts About Music, M. G. Evans...... (ft Choir and Chorus Conducting, F. W. Wodell. 2.00 times more, in practical instruction, stimulating inspiration Piano Tuning, Regulating and Repairing, J. Cree Fisher. 2.00 Theodore Presser Co. VOICE The Education of the Music Teacher, 77ms. Tapper. 1.75 Publishers and real entertainment, than the price of the entire year’s sub¬ What to Play—What to Teach, Harriette Brower. 2.00 Great Singers on the Art of Singing, Jas. F. Cooke... $225 Business Manual for Music Teachers, Geo. C. Bender_ 1.25 scription. The music lover can not possibly find a better two- What the Vocal Student Should Know, Nicholas Douty.. L00 1712-1714 CHESTNUT ST. How to Understand Music, in 2 volumes, W. S. B. Mathews 4.00 How to Sing, Luisa Tetrazzini. 2!oO Philadelphia, Pa. THE ETUDE SEPTEMBER 1926 Page 629 rage 62S SEPTEMBER 1926 THE ETUDE Professional Directory
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Fairyland Mus rox, Julia Rosemary. . Simplifies the con¬ Studies and pieces C Major on raraia One of the best and the most Progressing gradually this Krogmann. C. W. successful of beginners books. book follows Melody Book One. fusion which usually planned in a definite The First Waltz... Sutherland, Jay Both treble and bass clefs taken Charming pieces characteristic follows the first ap¬ way to show the use EKSSSfi®**! up from the first lesson. Each of this composer’s brilliant style. pearance of two or Fall in Line. of the damper pedal. Mattingly, Jane hand plays one tone at a time in Free from all intricate techni- more notes on the The ’Cello. ^gKraas-jas: both directions from Middle C. staff. Diller and Quaile Lullaby. Price, 75 cents Price, 75 cents Price, 75 cents Price, 75 cents The Village Fair. . . Adair, Mildred .5i2”S3- WM. BEROLD S i«^«l „ PIANO COURSE -s- I
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CONVERSE COLLEGERS* (s; THE WILLIS MUSIC GO. CINCINNATIOHIO THE ETUDE SEPTEMBER 1926 Page 631 Page 630 SEPTEMBER 1926 THE ETUDE Letters from Interested Readers ~]
such a vital part of their young lives that Means of All-Round Development nothing can supplant it. The fairy world is A Teachers Diploma Music the only world that the child has experienced, To This Etu is the best means of and it is therefore, rhe only world which is , Of all the understandable to him. For the Interest and CHICAGO healthy progress of the young c*'"'1 " •— or elves and sprites ai ’ * ‘"J'"
LTnSSffihe eyes’as scouts to MS Cheer for “Shut Ins” A Bachelors Degree To The Etude : a| The late numbers of The Etude w EARN foiles are on duty, entrancing strains of music result—the battle is won ; but if any usually ivelcome, as they arrived whil. MUSICAL one of them is wanting there is only partial recovering from a sprained back and In your Spare Time at Home defeat of the enemy. Can we * 7 The article on “Development of tin other study that demands the same simul¬ in Piano Playing” by E. A. Schubert. taneous exertion of all one’s powers to their „„„„ |__ It reminded Rubin- limit? Some one has truly written in lhe stein’s almost deformed hand and of (Irieg’s Etude, "Music as an art may be best ap¬ crushed benei ” 61stYear proached through the pianoforte . . . ■ feel thankful 'merely There is nothing in the literature of music dislocated. that cannot be explored through the piano. I gathered both information nnd The teacher holding a Certificate today is the one at the top of his profession. Are you getting COLLEGE It is for this reason that I feel very strongly tion from the wealth of The Etui.i that every one who desires to study music, The articles on "Music and Labor whether the design is professional or amateur, June issue, were most encouraging ahead in the music field ? If not, what is the trouble ? There are demands for teachers in schools and should, at first, strive to gain a certain pian- always believe * HERBERT WITHERSPOON, President istic facility. The ability to play the piano, in all branches of life. if merely for exploring purposes, is a valuable “How to Overcome Nervousness” by 1 colleges, and you have a chance to qualify for the best position. possession for anyone in these days, when gave very helpful suggestions. there is such a world interest In music. Ex¬ One article seemed to me to lay i cept drama, music is the only fine art which value on the discovery of talent by Hi can be re-created wherever there is the right test. In working with young plain, medium.’’ Music is always increasing in I have found that an untrained ear FALL TERM OPENS SEPTEMBER 13 favor with Americans, and becoming a "pos¬ ensily detect small variations in pi c session” and not an “importation.” I here¬ in time duration and that intelllg. i! with venture to claim for it the enviable posi¬ ing often rapidly develops this ablllt tion of our best means of education. individuals who have remarkable i, , Mary M. Pleasants. sensitive ears often lack other csscim Get An Accredited Course musicianship. Pupils sometimes rein.,1 More than 125 teachers of world-wide reputation. Private parently hopeless for six mouths or m.u Musicai Fairy Stories then develop faculties one would mu Diplomas, Degrees and Teachers’ Certificates granted by the authority of the State of Illinois. lessons only or courses leading to Teachers’ Certificates, To the Etude: dreamed of being there. Some people are quick to criticize teachers Tests of rhythm, to be within tin- Graduation and Degrees in Piano, Voice, Violin, Cello, who seem to make play out of elementary of children, should he confined to dance musical education by telling fairy stories, marches. An interesting test which I Many of our graduates hold good positions, as a result of our Extension Courses. Read of the playing games and in other ways appealing out the imaginative side of the charm e'rT. Church Organ, Movie Organ, Theory, Public School Music, to the child nature. These fault-finding what might be called the "mood test For parents and friends' of the pupils believe that, this such pieces as a gay peasant dime . fu- progress of these graduates. (Name and address furnished on request.) Dramatic Art and Expression, Toe, Ballet, Interpretative since the road to success in music is long, neral march, wedding march, noctim hard, and anything but a game, children earollc, military march, ami fantastic d> and Classical Dancing, School of Opera, all Orchestral In¬ should not be started off with the wrong con¬ tive pieces are useful. The children '5 ception of the task that is before them, and record briefly the Impression made on i struments, Chautauqua, Lyceum, Concert and Languages. place of myth and fable, which are by each piece. told merely ti *“*-" the child, stories from Music should he n part of the child One graduate writes: uic lives ui iue musicians should be given. life, from the time he first steps into the Study in Your Own Home with the Best Musical biographies, which can be made tiergarten room. The singing, tin. “My .diplomas from your Conservatory exceedingly interesting to children, form a the marching, the skipping, and the rlnp foundation for more advanced studies in his¬ of hands outvalues all other means of .1 v, have been recognized by the State Uni¬ Teachers in the Country tory and appreciation, but fairy stories have ing a sense of rhythm and pitch. versity and a life certificate issued me. I educational vs The’hese argun With best wishes for your continued s No longer is it necessary for the ambitious musical student to incur the expense of leaving home 85 in practice; Decause ' Katherine Joy Pos ti have secured a position with an increase in children live in a f fancy which forms to study at an expensive resident conservatory. By the University Extension System the masters’ salary of $50.00 a month.” methods are taught in the home by easily understood lessons sent by mail.
The Piano student has the lessons of the marvelous teacher Sherwood. The Cornetist studies FREE FELLOWSHIPS with the master Weldon: Crampton trains the voice of the singer; Heft shows how to interpret the Another one writes: . the laug 1HING CHORUS soul of music on the Violin; Rosenbecker and Protheroe take the pupil through every phase of the (Two Private Lessons Weekly) to be awarded to the students who -. Q- \ “I have just been selected as director of study of Harmony; Protheroe gives his authoritative instruction in Choral Conducting; Frances E. the voice department in a Music College, after an open competitive examination, are found to possess the Clark gives the most practical methods in Public School Music; Frederick J. Bacon, the great ban jo¬ as a result of my lessons with you.” greatest gift for playing or singing. —A LJ JL ist; Samuel Siegel, world-renowned mandolinist, and William Foden, famous guitarist, give their h methods for mastering these instruments. The History Course, including Analysis and Appreciation / a IT of Music by Glen Dillard Gunn, and Advanced Composition by Herbert J. Wrightson, are advanced Another graduate writes: courses leading to the degree. Ear Training and Sight Singing by F. B. Stiven. PROFESSIONAL DEBUTS, -U ^J afSr-* V “I was elected assistant supervisor of the More than 200,000 ambitious men and women have gained proficiency in these various branches ENGAGEMENTS and SITUATIONS j grades and junior high. of music by the University Extension Method. And to you we offer the same advantages which were given to them. Public debuts will be given artist students in Central Theatre, Chi¬ Ha ha ha ha ha ha ha cago, when they are ready to commence their public careers. A Adaptable One studying in New York City states: That night as the new manager passed This Is Your Opportunity—Mail Coupon TODAY! special bureau established in the College will assist artist students Professor Fugue.—When will it be con¬ through the hall, on his way upstairs, “I received full two-years’ credit for my Fill in the coupon- below—send it now for four lessons and our late catalog. We will give in obtaining professional engagements. Graduates who have quali¬ venient for your daughter to take her mu- MacDonald stepped out and asked him if Mc lesson? work with you.” you full details of our offer to teachers and students, and the offer calls for samples from one of fied as teachers will be assisted in securing situations without charge he cared to have the afternoon paper. Dad.—Any time when I’m not at home. No, thank you,” replied the fount of the courses. Get the catalog and lessons—then decide. to teacher or employer. rest and quiet. “I have a flute on which I A Good Excuse always practice two hours before going The fattier of one of our Violin graduates says: to bed.” Little Bobbie would not sing in school. UNIVERSITY EXTENSION CONSERVATORY, Dept. D-57 His teacher insisted that he do so or give “My son recently completed your course and he is playing first Langley Avenue and 41st Street, Chicago, Illinois violin in a school orchestra and also in a 7-piece one led by STUDENT DORMITORIES reasonable excuse. Please send me catalog, sample lessons and full information regard¬ Bobbie (half-sobbing) : “I don’t want to his mother in Church and Community Entertainments. Ad¬ Artistic and sumptuous dormitory accommodations for men and women in Speeding Up ing course I have marked with an X below. sing, ’cause mother says I sing just like vanced violin players are congratulating him on his ability as college building. Piano furnished with each room. Prices reasonable Farmer Oats, at a concert, during the □ Piano, Normal □ Violin Dad, and you ought to hear him.” a violinist.” Make reservations now. Course for □ Guitar friend"1^6 °f 3 duet’ retnarked t0 his Teachers ional □ Ear Training and □ Piano, Course for □ Organ (Reed) Sight Singing A Cheerful Prospect , ye ken» Tammas, now it’s got to ten Students □ V oice □ Mandolin o clock, they’re singing twa at a time, so Will. R. MacDonald, of Washington, □ Public School □ History of Music □ Adv. Composition COMPLETE WINTER CATALOG ON REQUEST as to get done sooner 1” ice rented a farm a few miles outside of Wanted: Teachers in the different Cities for Muic □ Harmony the city to escape the noise of town, but affiliation to take charge of our branch schools. Name...... Age. i tired of looking after the place. If interested, mention in your inquiry. ---- going to hire a manager, to look Street No..... Say it with Music after this farm,” he told his family, at City . CARL D. KINSEY, Manager breakfast one morning. “Then I won’t they had courted for fifteen ye Yet neither of them would as u State >0 E. Van Buren St. Chicago have any more trouble. He can occupy a room on the top floor, and we will all have How long have you taught Piano?.How many pupils have a quiet, easy time,” supTer sh ^ S° °ne evenil University Extension Conservatory A Conservatory Pledged to the Highest Artistic Standards asked hJr iegan, l° pIay 0,1 the P'al you now?.Do you hold a Teacher’s Certificate?.Have MacDonald leaned back and smiled toimhin t0 tP ay something swi LANGLEY AVENUE and 41st STREET serenely in anticipation of the coming touching, so she played‘“Darling you studied Harmony?.Would you like to earn the Degree of rest and peace. Grown* Old.” He took the hi DEPT. D-57 CHICAGO, ILL. Bachelor of Music?. Please mention THE ETUDE when addressing our advertisers, Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page 632 SEPTEMBER 1926 During Y our V isit AN ARRAY OF EXCELLENT TEACHING to the “Sesqui”
MATERIAL FOR PIANO YV7E want you to make our V store your headquarters for PIANO TECHNIC FOR TEN IDEAL LESSONS FOR STUDIES IN SIGHT READING receipt of mail, etc. Let us THE ETUDE CHILDREN FOR THE PIANO SEPTEMBER, 1926 _ Single Copies 25 Cents VOL- XLIV, No. 9 CHILD TRAINING IN PIANO serve you in any way which By Julia Loi* Caruthers *2.50 STUDY By Mary France, Frothmgham 75c. A well-known work on the subject of the first By Kathleen Air 50c. These studies are designed to train may be helpful to you. technical training practiced away from the piano. A creative plan of awakening and leading the child keyboard and staff re Although criticism today is upon a different plane, it is Includes all the accepted standards of technical in music. Ideas successfully used by Miss Air in such detaif : >sts, time .. playing her work as head of the children’s department of the Start Fresh impossible for the student to go very far without receiving ■ illustrated i and accompanied by Columbia School of Music, Chicago. Provides the playing. Remember, we will be glad to ' d for class pupil with a true foundation—mentally, musically, The world goes up and the world goes down. directly or indirectly some staggering critical blow. 3 ar rhythmically and physically. Suitable for class welcome you either at 1712 And sunshine follows rain; The student who is wounded by such critical blows is cer¬ Chestnut St., or at our booth in THE QUEER LITTLE HOUSE And yesterday’s sneer and yesterday’s frown tainly not the one who will triumph. He must learn how to keep OF LINES AND SPACES the Liberal Arts Building of HOW TO TEACH PIANO TO A Note Spelling Book Can never come over again. on his feet and permit the “chisel of destiny” to carve out ms THE CHILD BEGINNER WORK AND PLAY BOOK the Sesqui group. By Mrs. Crosby Adams 75c. By Elizabeth Blackburn Martin 60c. Charles Kingsley. artistic entity. Every criticism should be carefully and delib¬ By Louise Robyn $1.50 An ingenious way whereby the pupil becomes A set of thirty-six lessons based upon scientific Dealing with the important study of Transposition thoroughly familiar with the line, and apace, on the erately weighed. It is hard to be impersonal when the subject principles of child pedagogy. Miss Robyn’s wide n its elementary stages. A familiar Folk Song grand staff. Serious work presented interestingly. We are standing upon the threshold of a new season. Let nelody is We hate prepared a very attractive under discussion is yourself. Is the critic right? Are the weak¬ o all the majo . It invclv us make it the most h'elpful, tire most productive, the most sunny, i and triad bu Sesqui souvenir of Interest lo all nesses he points out things of great importance of which I have >. A book th the most prosperous season of our lives. We say “let us” be¬ music lovers, which we will (ladly cause we are joining in the resolution with you. not been conscious ? How can I find the right remedy ? forward lo anyone upon request LESSONS IN SIGHT READING Backed by renewed vigor, widened experience, great na¬ Sometimes students are pathetically damaged by criticism AT THE PIANO PRELIMINARY STUDIES FOR tional activity, the blessings of peace and good government, that is inconsequential. They form the habit of listening to all Volume 1—An Outline By John Mokrej, 75c. THE PIANO A simple and direct method of developing accuracy THEODORE PRESSER CO. there is almost no limit to what we may do. kinds of chance remarks and never cultivate stamina enough to By Mrs. Crosby Adams 30c. in sight reading. Explains in careful detail the This new issue now available differs from the original 1710-1712-1714 Chestnut Si. One of the principal things is to be ready. We have been hold their own ground. They are pushed from pole to pole by only in the absence of blank pages for teacher’s notes. fundamental principle of this method. The mental piano playing. To establish an easy familiarity with the observations of people who have never earned the right to This volume treats oMhe educational processes the keyboard and grand staff in a series of simple Philadelphia, Pa. working, harder than ever before to get things ready to be of exercises. Valuable lessons for the adult beginner oped in the child’s consciousness and brought to to precede the “Graded Studies,” or for the child lo greater service to music lovers, teachers and students. Never criticise. . . expression. precede “The Very First Lessons at the Piano.” • Never Tie hurt by criticism. If you think that the critic Volume 2—Teacher’s Material $1.80 in history was musical opportunity greater. Never in history THE LITTLE HANON The specific purpose of this book is to iUustrate the has music been in position to be of such great service to humanity. knows what he is talking about, his criticisms may be priceless. By Robert J. Ring (S.E. No. 100) $1.00 If the critic has no right to criticise, why, pray, be concerned FINGER SONGS FOR THE ^ Elementary Technic Jot Beginners. A series^of Teachers, especially, should make prompt plans to have PIANO everything ready—circulars, cuts, study programs complete, with his acerbities? Book 1, 75c.; Books 2 By Edna Densmore 60c Most of all be your own severest critic! Brief tuneful melodies using large notes and in* all necessary supplies ordered and in the studio, as far in ad¬ tended for very first daily sight reading for the and preparatory to the “Hanon Virtuoso Pianist.” vance of the teaching season as is possible. Above all, do not let past failures discourage you. Start Twenty-five Million Slogans fresh and build anew. If the cyclone blew down your house of PERSONAL FOR SALE Last fall we wondered and wondered what we might do SYNTHETIC SERIES dreams last year, worrying about it will never build a new one. by Florence A. Goodrich or WANTED to help musical education in the most practical way. We wanted Vol. 1 (S. E. No. 11), 75c. Hazlitt used to say “Prosperity is a great teacher; adversity Vols. 2 & 3 (S.E. Nos.12 & 13), each, $1.00 J to do something that would help all teachers, all music lovers, The first study for the child of the Big Staff and tl A plan of intelligent n ig. Shows the value for sale—Violin buslni-ss of t is a greater.” Every year we grow richer in life experience. Keyboard. All on of analyzing the harmc . tation in Western educational centf all manufacturers, all students, all publishers, all schools. C. I. K., care of Etcdk. Prosperity comes from cashing in on this experience. es add to the interest an ly and forms a firm basis for future su Finally we concluded that we could do our share best by • of musical development. The vol mother in logical order. FOR SALE—38 copies "Song of Thanks¬ crystallizing the great thought that music is of inestimable giving’” Maunder—12 copies "Sevi Last Standing Criticism value to mankind, in as few words as was feasible and then Words of Christ,” Dubois, good as new : also PRELUDES FOR YOUNG many Standard Anthems. Octavo. 1 - than “Only the Great can profit by criticism,” wrote a famous giving that thought as wide a circulation as possible. This LESSONS IN RHYTHM PIANISTS half price E. D. Keek, 21 Rich Av . Mount By John Mokrejs 75c By Florence A. Goodrich 75, Vernon, N. Y. French artist of other days. resulted in the creation of a slogan that you have already seen To develop a feeling for and scientific undzr Criticism is the chisel of destiny. printed conspiciously in The Etude and elsewhere. standing of Rhythm. FOR SALE—Small Harp—benutif 1 an¬ fKSasSSSiSSi: tique model—date, 1730. Small piano— The music student who does not learn how to stand criti¬ “Music Study Exalts- Life” (spinet-cymbal, 1770). etched mahogany -oon- cism is not likely to get very far in the art. Standing criticism problemsT*** ‘n ma5,er,"g Since the creation of this slogan we have had it printed ALTHEA’S SAMPLER &tf3tGe„e'vTs;Tt'zerian^8Ch ' demands stamina. and poise and understanding. THE VERY FIRST LESSONS By John Mokrejs 60c. some twenty-five million times. It has been displayed upon AT THE PIANO HOME STUDY BOOK FOR i ^ ANTED—Used reed organ with pedal The constructive criticism of a real master is priceless. By Mrs. Crosby Adams 90c. Some highly original ideas in teaching the first news stands from coast to coast. It has repeatedly been pub¬ —-.‘ “ - - Woven into — *-- BEGINNERS Y. t'vo Manuals. Address. Conte. 5139 Destructive criticism well delivered is equally valuable. By A book that has served a great need and will ented as stc By Mrs. Crosby Adams, g- Washington St., Indianapolis, Indiana. lished in our advertisments in papers with an aggregate cir¬ ^ _ed with no ; destructive criticism we mean those observations intended to wish to awaken the interest of the pupil in his music Parts 1 and 2, each 40 culation of five million readers. During the coming year we work from the beginning. Standard with thousands rafts- I ANNOUNCEMENTS I destroy bad habits and inconsequential effort. ve andRdaHve Pitch!186 shall give it equal if not greater currency. L Rate 20c per word Unfortunately many critics in their effort to make their We suggest that our readers may do a great work for nle0^R^S^0NPEXCE HARMONY — Sim- remarks felt have an idea that they must use a battle-axe or n,. calv composed, send poem. music by using this very terse but comprehensive slogan on all HARMONY FOR BEGINNERS AND Pi. Wooler, 171 Cleveland Are., Buffalo. N. Y. else the no less painful lance and scalpel. GRADED STUDIES FOR THE PIANO of their programs, printed matter or announcements of any TEACHER’S LOOSE-LEAF ADVANCED STUDENTS These critics talk mostly for their own entertainment, or Compiled by Mrs. Crosby Adams JOURNAL LEDGER ELEMENTS OF HARMONY, By Emil Barth div die1!,Rn„IlC01n,>0^,'-n to your words—Melo kind. PRELIMINARY STUDIES IN KEYBOARD for the purpose of surprising others with their smartness, their the MUSIC STUDENT’S tion8C,ir JL'stults!1 com The power of a slogan in affecting the mental attitude By Anna Heu”™^n1H^mii°nTRANSP°SITI°N erudition, their omniscience. LESSON RECORD of the public is enormous. Every mind you direct toward this voir^RCs^c°N^™N°nTRANspos,T,°N othS woSrWknS1tu1cSyt0I7arkEV|ra.T°Id" “nd 6°' This kind of criticism is the hardest for the student to Universally recognized as by Leola Arnold thought will advance i:he interests of music. work. Selected from a w ’ By'Anna Heuermann Hamilton ire indispensable utilities HARMONY AND ANALYSIS BamTnmt n? nIP?SEn* "'anuscripts revised. stand. By Kenneth M. Bradley nn muskd'dlyXpmenth *” n harmonic material and its uses “Your scales sound as smooth as a corduroy road!” By Adolf Weidig $3.00, plus postage Ill ,Tacobaen- 2*23 N. Calif. Ave., Chicago. “Your voice is beautiful, my dear, especially those two or Putting Music in the School Bell Makers of comic pictures of other days limned sketches SEND FOR CATALOGS AND TERMS three tones that are not in your nose or your throat.” for^didPnse T? muslcal subjects pre “Your touch is wonderful. It sounds like a pneumatic all too graphic of the schoolboy trudging forth to school, his 429 SOUTH WABASH AVENUE Drown, Lansdowne^Pa.arranged’ Geo' hammer.” eyes turned painfully backward toward the “swimmin-hole” CLAYTON F. SUMMY CO., Publishers CHICAGO, ILL. VICE:1'LEAR\CTl‘l n HERBERTS These and other similar serrated remarks are very easily and the baseball field. fERFOI!«T“I"nIl,,0(XT AND c What of the present day and generation? Wonderful school 18 years with Sanford, associati uttered and are usually about as helpful to the pupil as would conducting n J?e»late Victor Herbert, 1 be the trick of boxing his ears to show how simple it is to hurt buildings, trained teaching experts, gymnasiums, flowers, ex¬ Counterpoint C?Yrsc„ln Harmon) Scud for des'erint JL * '* ?oetscblus S) some defenseless individual. The European teachers of an¬ cellent books, alluring pictures, the cinematograph and always SCHUBERT ALBUM ford, 172 West 77fh g‘rcular to Harold TWENTY-FOUR COMPOSITIONS BY FRANZ SCHUBERT-PRICE $1 00 - wegt 77th Street, New York, other day used to take pride in their sarcastic criticisms. The music, music, music, have turned the old-fashioned school from |F you are familiar with the beautiful melodic qualities of Schubert's compositions you will enjoy thoroughly ’ more sting, the more biting, the more cutting their remarks, a kind of institution for juvenile penal servitude into one of the from *™bmou?RIDE”—Celebrated : "uv°lu^f„°!,?chji^Js.numbers f?r„piano- Piano, 40 cenm ie0p
, ,, , nTWM . note to breftk the lines of their Music on the Other Side of the World school. Unlike the country child, the summer tp'the city child souls; and who would change ■ t|ie works of the An Interview with the Noted Virtuoso Pianist becomes a dreary period indeed; and the naturally active child nmsters. H^dToftn kpSd from his own ideals. Works pro- mind longs eagerly to get to work. Ze d Id”, >«ch condition, h.ve proper y d»ppe»red „„t MISCHA LEVITZKI There is really no comparison with the work done rfi the T^ Zmero™ composition, of R«,m, Raff, Meyerbeer schools of today and in our forefather’s days. The pupil of “toured” His travels have taken him to many far off places and with his Rubinstein, Mendelssohn and others. Even agnei -con < today is expected to accomplish far more in a shorter pSa-iod. [Editor’s Note:—Mr. Levitzki has just returned from his tour of brilliant and alert mind, he has made observations which are of fye keenest write . -'Centennial March” hardly ever touching the orbit of the Orient, where he has met with extraordinary artistic success One of In most cases he does it and does it with a relish. character and of very great interest to musical readers everywhere.] the youngest of the recognised great pianists, he is also one of the most A parallel condition exists in music teaching. Music teach¬ his eternal gifts. ... . As in musical creation, the interpretative artists are great many students. They were very musical social eclat is the thing that counts in this ing has become a great calling. Its representatives prosper in Church, and Dunedin—are very interesting. or mediocre in so far as their performances move in orbits ap¬ “TT IS VERY difficult for the casual and had a very high level of proficiency wonderful new world. relation to their efficiency. The same may be said of musical Of course, there are many smaller and de¬ “The cities are like the cities of Amer¬ musical player or the amateur to Mr. Verbrugghen is now the conductor of proximating human artistic perfection. Hear some of the re¬ lightful cities. It is a very great surprise ica and England; but the people will tell publications. This has tended to make the work prepared for appreciate the extent of interest in the Minneapolis Symphony Orchestra. cords of Caruso singing, Vesti la giubba from ‘ Paghacci. for the American and European artist to the pupil practical and entertaining—a thousand times more the tone-art throughout the world at the “In Australia, the expression of ap¬ you there is more of a tendency to be like find that the Australians are perhaps the Every note seems to follow an orbit as predestined as that of I present time. We are all inclined to esti¬ America than England. The talking ma¬ entertaining than it could have been a generation ago. most enthusiastic devotees of music in the preciation of the audiences, the wild en¬ Saturn. Never is there a phrase delivered without the proper rch, mate musical values by our own sur¬ thusiasm, is something far more like the chine and the player-piano have been won¬ Music has come into the school bell. Instead of being a hor¬ world today. Their taste for the best is derful advance agents for American artists. roundings and fail to vision the interest Russians or the Italians, than any other rible clanging sound which made children shudder, they now tion to the whole. Never is the tempo distorted. Never are tlu- developed to the highest standpoint. They of other peoples in other lands. It is my “This year in Java I played thirteen ■ are very independent in their judgment. concert-goers in the Western world. The run joyously toward it. climaxes too loud. Never do the tones falter. With all this then deep conviction that in the Orient the concerts. It may be difficult for the read¬ No matter how great the reputation of the country simply radiates healthfulness and is no suggestion of mechanical perfection. Caruso has created an great awakening which is attending trade, life. The people are vigorous and lusty. ers to realize that it is possible to give visiting artist may be in other lands, and orbit as natural and as wonderful as any of the firmamei manufacture and other interests will be thirteen well-attended concerts in a country Sesqui Now in Full Swing no matter how many overtures may have This is truly the land of sunshine. The followed by enormous opportunities in the climate is divine. One is not crowded or like Java where the temperature ranges We have had the keen pleasure of shaking hands with great Exact perfection is mechanical. The interpretation of a great been made by glib press agents, the Aus¬ field of music and these opportunities will jostled as everywhere in our large Ameri¬ from 110 to 140 degrees in the day time. •work must move in a human orbit. tralian and the New Zealander judge numbers of our friends who have come to see us from all parts not be developed merely among those can cities. The country is as big as the Even the names of the cities, Surabaya strictly for themselves. And they have re¬ of the United States and the world at large, while visiting the The alert teacher, the bright student will find a great L pioneers from Europe and America, who United States (without the territories) (which is the New York of Java), Batavia, markable judgment in all matters musical son in considering interpretations in the future from this stan have ventured into the lands of the Rising Bandoeng, Satnarang, Solo, Cheribon and Sesqui-Centennial Exposition in Philadelphia. and theatrical. If the artist is not worthy and there are only five or six million Sun and established an Occidental civili¬ Malang, must be very little known to The projectors of this immense exposition were urged to point. Was the orbit described as though it followed some etei of their appreciation, they do not hesitate people. zation there, but they will exist in the Climate and Concerts many of the readers of The Etude, yet I nal design? Was every note delivered in its proper place, at to say so in no uncertain terms. open it early in the season to accommodate many visiting con¬ minds and hearts of the natives, who are gave four concerts in Surabaya and three “Australia, at the present time, is no tl'-pO MY MIND, concert-giving in ventions, though the work upon the huge enterprise was only the proper time, with the proper tone, accent and rhythm, just now feeling the wonderful urge for concerts in Batavia. In Batavia there was place for second-class musical material, I Australia is on a different level partly completed. that at no moment was there any sense of shortcoming or exag cultural expansion. a concert hall seating 1400 people. These for such is doomed to failure. They are from that in any other part of the world. “A trip to the Orient is always a fasci¬ concerts were all given under the direc¬ At this date, however, the exposition is in full swing; and geration but instead a sensation of complete artistic satisfm probably more careful in their considera-* The climate has a great deal to do with nating experience. To the touring artist, tion of the Kunst Kring or Art Circle, a very astonishing and beautiful exhibition it is. The exhibits tion such as we expect at all times from Hofmann, Kreisler, Bn l tion of musical points of excellence than in this. The artist feels so invigorated, so the element of adventure becomes contin¬ which supports an orchestra all its own. any other place in the world. They have fine, that I am sure he must give his very are reported to be valued at some $300,000,000. Gorgeous in tistini, Casals, or Schumann-Heink ? ually more and more fascinating, despite excellent educational facilities. best. The audiences are so responsive that Musical Java color, rich in educational significance, filled with human and the many difficulties and often disagreeable “While in Sidney, during my Australian ten encores are not at all unusual. When incidents of travel. As one voyages over U JN JAVA, which belongs to Holland, patriotic interest, the vision of Mayor Freeland W. Kendrick Sticking on the Job tour in 1921, Ii visited the Conservatory, one reaches the door of the stage entrance, the Pacific, thoughts naturally center upon A the population is about forty million is now triumphantly realized. The exposition is splendidly then under the direction of the noted Bel¬ it is not unusual to see as many as one "La donna alia finestra, la gatta alia minestraSo run Hawaii. There is a saying that ‘God Malays with around two hundred thousand conducted by the director, Mr. E. L. Austin. gian conductor, Mr. Henri Verbrugghen, thousand people outside, some of whom dropped a little bit of Heaven on earth and whites. The white people are, of course, the old Tuscan adage—“While the housewife’s at the window, who also conducted the orchestra, and I have waited from one-half to three-quar¬ When you come to Philadelphia be sure to call at our dis¬ called it Hawaii.’ Surely when one en¬ largely Dutch. They have a very highly de¬ the cat gets into the soup.” found conditions exceedingly fine. He took ters of an hour to greet the artist. The play right at the main entrance of the Liberal Arts Building counters the gorgebus tropical atmosphere veloped musical life and have chamber mu¬ me through the excellent building of the Australians are so hospitable to art and We have always held that it was a very fine thing for tin- of that lpvely island and realizes that after sic organizations of every type. Practically which is located at the entrance of the great exposition itself. institution and everything was kept up to a to the artist that one feels a genuine sense teacher to be broadly interested in community affairs. Yet all, it is an American island, governed by t none of the natives take part in the con¬ We shall also be glad to welcome you at our main offices at very high standard. I heard the playing of of welcome everywhere. Real art and not we have known musicians who spent so much time running from Americans, it does seem like a little sec¬ certs, but a number of the half-casts are 1712-1714 Chestnut Street. Make this your headquarters. always found in the audience, for in Java, club to club, and from meeting to meeting, that there was no tion of Paradise. As far as the civilization unlike other parts of the Orient, the' mixed Direct your mail here if desired. Let us serve you in any pos¬ time to attend to business. and the external conditions relating thereto sible way. are concerned, you would hardly realize breeds enjoy complete social equality. The . , lt - °-ueumiias very close and that you are not playing in Los Angeles or, Dutch frequently intermarry with the The Etude Music Magazine contribution to the celebra¬ native Malays and the offspring are never constant attention. It calls for the most painstaking atten let us say, Miami. tion of one hundred and fifty years of American independence referred to as anything but Dutch. They tion *?.the broad problems of pedagogy, the most careful con “But still, there is something different is a beautiful souvenir book of sixty-eight pages with three- have an equal standing and are so re¬ sideratmn of the mdivulual needs of the pupil, and, finallv, in¬ in the life, even if one gets but a glance color cover. It is entitled: of it. There is the great Japanese and ceived when any of them journey to Hol¬ cessant contact with the output of the publisher, so that the land itself. They are often extremely “Tw o Hundred Years of Musical Composition in America.” Philippine population evident everywhere. fond of music and very devoted to it. The This souvenir is entirely free to readers of The Etude My experience in Hawaii seems like a de¬ zi irr in the “ °f—— lightful dream. natives of Java are extremely fine and who make requests for it. It contains over four hundred pictures often very handsome people. Between the of American composers and sixteen pieces of the best music. It Concerts Between Boats hours of ten in the morning and four in of tha°ci°lir re^yZ^Mrt' 1\Y7“' ",,ln the afternoon, business-life virtually ceases. is the kind of souvenir you will want to keep permanently in G'T'HE TIME of the concert was ar- the neighborhood in which yon li" Kin doin ,rCr ! The climate is so extremely hot that only your library, as no such collection has heretofore been published. -*■ ranged to suit the arrival of the existence is possible. Therefore the con¬ boat, because many artists stay there but certs start at 9.30 in the evening. Even one day, while the boat stops on its voy¬ Orbits then, the halls may be very hot and to the real business of teaching. d ^ °f Stnct attention age to the Orient. The boat arrived at oppressive. For the touring artist, travel Every great piece of creative or interpretative art moves nine o’clock and the concert was arranged in Java is about as terrible as one can in an orbit divine. at noon. It was held in a fine, modern possibly imagine. No trains run in the theater, accommodating some 1800 people. This thought is so vast that it is difficult to encompass it cool night, for the reason that the engineers This month the editor of Thf Fi-im,, l i , , • The audience was very largely American, with words. are natives and are evidently afraid that teenth birthday in the sanctum TK u ceIeb™tes his nn with a small native attendance. The stand¬ they might fall asleep at the switch. Con¬ Consider such a marvelous work as the “Fifth Symphony” ard of appreciation was exceptionally fine. Etude Music Magazine, while it haT"’^ Tl sequently travel is done in the day-time, of Beethoven. After hearing this masterpiece over and over, “I was whisked around town and over tions, incessant labor, and sometime gmit °h,i? and Javanese railroads and railroad trains we at no time are left with a feeling that at any point has the the island before and after the concert are about as terrible a torture machine as mg situations, has nevertheless been'TT**7 Unav0ldable tr and taken to the famous beach at Waikiki, great composer fallen short of the demands of a permanent a civilized person could wish. If you leave This is largely doe to the * where I went in swimming. There is prob¬ work of art; and, what is really more important, never has he your window open for any length of time ably no water in the world so wonderful able appreciation of the readers themselves th?if" T**' your are black with soot. If you close exaggerated his spiritual message. His Creation moves in an as that at Waikiki. It is like liquid velvet. ready to express their feelings and. LT +K h.&Ve bcon your window, you are stifled. Therefore, orbit, moves with the inflexibility of Fate, moves without ap¬ I have been in swimming at many different m extending the work of Thf Ftt ’ • the Same tlnie’ to b< a trip through this interesting tropical places in America, in Europe and in the parent effort. Every moment it fills the human soul with satis¬ country with birds and monkeys in the coming generations. TDE m new fie,ds with the c Orient, but the water at Waikiki is unfor¬ faction, with artistic contentment. By this very orbit do we de¬ trees, instead of being a very fascinating gettable. In fact, when I reached the boat termine its eternal character. thing may become a very terrible experi¬ larger, stronger, Z^elitTlSnW^d ^ make The in time to sail at four o’clock, after just No less perfect are the orbits of Gray’s Elegy, Raphael’s seven hours in Hawaii, including a large ence. future than ever before. You tl,, g ' more Practical in t “The Dutch have put perfect automobile Sistine Madonna, Shakespeare’s Hamlet, or Rodin’s Thinker. concert, it was difficult to realize I had been so loyal, so fine in your^’supnoH f T"E Et™*• ha roads through Java. In fact, some of the They have so completely filled their artistic orbits that millions enjoyed so much in one day. that we cannot do enough for you T ^ °Ur onl-v feeling roads are as fine! as those in California. of men and women have found unending gratification in them. The country is heavenly beautiful, with Etude is imbued with this sense of Gnt,re staff of T' Australia and New Zealand the cocoanut and bamboo trees and won¬ Bach, Handel, Mozart, Haydn, Schubert, Schumann, Liszt, U'-pOURING in Australia and in New active and valuable cooperation F ,. .arrn Sratitude for yo derful indigenous vegetation. Therefore Chopin, Wagner, Brahms, released great works from their A Zealand is one of the greatest ex¬ lightful adventure to J. We "niov ^ THE Et e a” it is a delightful place to visit if you go ™ ■ periences in an artist’s life. The big cities enjoy every moment of it. as a pleasure tourist with no work to do. of Australia—Sidney, Melbourne, Brisbane Mischa Levitzki, in the traditional Japanese eostuml “Civilization among the Dutch reaches Adelaide and Perth—and those of New a gift of Countess Watanabe, a member of the Zealand — Auckland, Wellington, Christ Japanese Royal Family a very high standard in domestic life. SEPTEMBER 1926 Page 637 THE ETUDE Page 636 SEPTEMBER 1926 THE ETUDE great body of people are not alive to the Houses are very handsome. Labor costs Musical Japan Japan, in that, for the most part, .us con great opportunities of the land. fined to the Europeans. I gave one on How Can I Raise the Standard of My Playing? next to nothing and a person in the middle “JAPAN was my next field of action. cert in Pekin, two concerts in T.entsm, The Indian Field class may have as many as ten to twenty ' Tokyo, where I gave six concerts at two concerts in Hongkong and four m New Constructive Ideas in Tone-Making. Free Curves, Controlled Through the Use of Curves and Straight Lines servants. However, one thing is obvious the Imperial Theater, which is as fine as unpHE SAME may be said of India, —the heat of the country and the sultry any modern theater in the world and seats 1 India has never l>een extensively By FLORENCE LEONARD S'“When one approaches the _ city of exploited. Very few of the artists’ tours climate has an unquestioned effect upon some two thousand people, is an interest¬ ing place. There, the musical situation is Shanghai, for instance, one » or ventures have met with anything but American Representative of Rudolph M. Breithaupt the human character. It is almost impos¬ that he is about to visit a splendid modern reversed. The native patronage of the disaster. But it is impossible to think finger and hand in and out, forward and sible to endure this without becoming irri¬ European or American city, perhaps as fine no effort tq pass it under in this exercise. concert was about eighty-five per cent. Of that a great country like India, with the tips, with fingers in contact; that is, do back on the key, while the finger never table, or, as we say in America, “edgeways.” as anything we can boast of m the Ucci-. HAT IS THE difference between Allow the arm to find “its own way. course, there were many in the audience leaven of Occidental culture mixed with W not swing the fingers in the knuckle leaves Ft Make this movement grad¬ When I made my tour of Java I was so dent. The China of our imaginations and straight-line playing and free Experiment many times, making sure from the Embassy and the English-rpeak- their own highly developed philosophical merely place them. Swing the wrist high ually faster and faster, as fast as possible worn out that I was obliged to cancel a the China of history are obstructed by a curves? Or between controlled that the arm is moved freely from the ing population in Tokyo, but the Japanese accomplishments, would not lie at some and forward. At the moment of swinging Make the same movement with the third scheme of European architecture that one curves and free curves? shoulder. Observe your movements, and number of other concerts before I could interest in music became instantly apparent lime in the future a field for concert the thumb under, the elbow will swing finger, and with the fourth and fifth. You would hardly expect to find in these lands There are various ways of stating the decide which is the chief one. If your go on. In Java, I played very much the and was delightful to witness. Don’t think artists. Of course, the temperature will, loosely out, and there will be no holding are now (presumably) accustomed to a on the other side of the world. The atten¬ differences. movement is right, it will be chiefly rolling same kind of programs that I would play for an instant that they are not acquainted at all times, be a disagreeable, an almost back in wrist, elbow or shoulder. If this rapid movement of the arm, forward and dance at the concerts, was almost exclu¬ Free' curves give the opportunity for (rotary) in elbow and shoulder. in New York, London, Berlin or Paris, with the character of Occidental musical insurmountably disagreeable, feature. For movement is executed correctly, there will back, while the finger slides on the key. art, because they are. sively European. Nevertheless, I feel there the maximum of relaxation. They may But other important movements will be and found a very splendid musical, appre¬ instance, at Singapore, in the Straits Set¬ be the maximum of relaxation, as much as Now play the scale slowly, by pushing “If one gets away from Tokyo to such is an enormous musical opportunity in also have less than the maximum. present, combined with rolling. ciation. tlement, the temperature was almost as hot is practicable. Every joint and muscle will the piston-rod (the fore-arm) forward and a city as Osaka, which has outgrown China, among the natives, who, as the Straight lines are the field for the mini¬ Your curve will now be something like “It is difficult to forget the humid cli¬ as Java and it is only by reason of his be as loose as is practicable, zmth one ex¬ back, the hand being pushed in and out on Tokyo in population and now is a city of world knows, are keenly intelligent and mum of relaxation. They may also have mate. It has an effect upon everything, in¬ will power and desire to express the great ception—the shoulder group. this: some two million and five hundred thou¬ susceptible to the highest artistic develop¬ more than the minimum. the keys thus : cluding musical instruments. Even the messages of the masters in the best pos¬ II. Next play the same notes in the sand inhabitants, with only one hundred ment, but who have never been approached This is the arm’s point of view. nius. 3 violins are sometimes ruined by this humid¬ sible' way that one can appear More such same way, except that you now lean Ulus. 4- foreign inhabitants, one notices that he is through native channels. Conservative in Free curves have the resonant, sonorous, ity, as they often warp at the seams. audiences. heavily on the finger-tips, but without reaching into real Japan. the extreme, they hesitate to attend or even organ-like tone. . “As one passes through India and gets pressing. (The important distinction be¬ “In Kobe, there are some three thousand affiliate themselves at times with European Controlled curves have the intense, vivid, SligSjTdiaional The Camelong tween leaning and pressing has been pre¬ mm Europeans and Americans. There I gave festivals; but if concerts were to be given into Egypt, he finds a revival of interest glittering tones (provided always that the “BEFORE leaving Java, one must viously discussed.) In this exercise the forward direction, two concerts, also one concert in Kyoto. to them in their own theatres, as they are in music in Cairo. One of the finest per¬ player has strong muscles). comment upon their native musical The wrist does not now make curves, educated and developed, I am sure they formances of opera I have e\<-r heard was Straight lines are inclined to hard and shoulder group has “let go,” and thus it is instruments, the gamelong. This is the Kyoto is said to be the most artistic city and your hand, instead of moving as far, by rising and falling, or rolling. (At most would come to realize the fascinating form there. dry tones, and demand great skill to avoid added to the other groups of fully (prac¬ Javanese orchestra. It consists of thirty in Japan. In Hakata I gave only one con¬ diagonally, toward the back of the key¬ any curves would be infinitesimal.) It re¬ and beauty of the music of the Occident. “Unfortunately, I was unable to go to them. That is why the slight yielding of tically) relaxed muscles. But the weight or forty different kinds of bells and is by cert, and there one finds oneself in a city ‘ board, stays near the front, though it still It may require the labors of many enter¬ Jerusalem, because of lack of 'me. 1 shall the controlled curve is preferable. They is heavier on the fingers. Therefore the mains level. far the most fascinating native music I almost totally apart from Occidental civil¬ has some diagonal direction. The finger does not slide on the key. It prising impresarios, combined with the hope, however, to lie there in the not dis¬ have also less elasticity in phrasing. hand must be firmer to support it. There¬ have ever heard. The musicians, in their ization. There are only four foreigners in All these curves, though small, are free is firm, and takes the weight of the arm, sacrifices of idealistic artists for years be¬ tant future. Judging by some r< ports, one This is the ear’s point of view. fore the muscles of hand and finger have native costumes, have a fine feeling for the city. The concert was given under the' curves, because they have as much relax¬ the moment it is pushed onto the key. fore this field is developed. has reason to look for great tl ngs in that Free curves are used for warm feeling, tightened a little. Thus you have again, art and play these bells with wonderful auspices of the University, in a hall which ation as is possible in making the move¬ Thus the up and down curves made by country in the future. Jenidi musical for simple statement, of either singing about the same amount of full relaxation, skill, producing tonal effects that are alto¬ seated 1400 people, but it was different Musical Missionaries ability and talent, when combined with the but it appears in other groups of muscles. ment. You have “let go” as far as pos¬ the wrist have disappeared; the sidewise gether fascinating and difficult to describe. from any other concert I have ever given. melodies or rippling runs. sible. And that means that you have used curves made by the rolling or rotary move¬ “nr HERE ARE missionaries in art, as right facilities and high ideal-, produce re¬ Controlled curves are used for the most We have to speak of “practicable” re¬ They are master craftsmen in the manu¬ The aisles down which the audience walked those muscles only which are necessary to well as in religion and education sults well known to the world The corner¬ intense feeling, the highest climax; for the laxation, because, if there is complete re¬ ment have disappeared. facture of the bells. It sometimes takes were elevated from the floor; and the make the movement. Others could be There is left only a flat, scallop-like and medicine. stone of a fine new consen..> building most noble thought, for the abstract beauty laxation, or even too much, the arm will years to make one bell so that it is satis¬ auditors, instead of sitting upon chairs, added to “hold” more, to qualify the tone, curve that is almost a zig-zag line. This “There is really very little to induce the has just been laid in Jerusah t:; of the intellectual style; for the run that fall from the keys, or will not move at all. factory to these players. sat cross-legged upon cushions upon the or to press. But they have not been. curve is traced by the finger-ends as they artist to visit the Orient, if he seeks is stated in clearness and intensity, and the And yet we use much more relaxation “I understand that a rich American is floor. The interest in the art was remark¬ Hand and fingers are “free,” and passive. are pushed back and forth, in and out. merely monetary gains. In Australia and Self-Test Questions on Mr. Lev Article one that dazzles for sheer daring, and for than was formerly considered right. The bringing a large collection of these bells able in every way. In fact, all through Repeat all these exercises, and think That is, muscles which formerly let go the United States, Argentine and in 1. How docs one "concert Hawaiif the whisper, the memory which enthralls proof of this is that we use the arm more 1 to this country and that this collection is Japan, there is an astonishing musical III. Now play the same arpeggio in closely about the tone quality. of the wrist, now hold it level. There has Europe, he may expect large and just re¬ 2. Describe musical condo / ns in Aus¬ in soft intensity. said to be worth something like one hun¬ awakening. People are buying pianos and precisely the same way as in Ex. I, except In Ex. I the tone should be been a shifting of the relaxed and the dred thousand dollars. They will be quite wards for his talent and achievements. tralia. This is the interpreter’s point of view. a new piano company there is said to be that you play it much faster. At the first pleasing not-relaxed conditions throughout the useless without the fascinating players. These countries have been developed for 3. Describe musical condo ir, in New There is another point of view of the exceedingly successful. ' Phonographs are attempt you will probably swing off the smooth whole arm and hand. There is less relax¬ Perhaps, America may, at some time in the years, but China, the sleeping giant of the Zealand. interpreter. Some interpreters say to manufactured, as are violins. world, is just beginning to realize the keys, for you (if you have followed direc¬ flowing . ation and more holding. The curves are future, hear a gamelong played by the' "In China, the interest in music .seems to 4. Contrast musical conditio in China themselves: “This is the one tone which not hard in “attack” (beginning of Javanese. wonders of music. Of course, there are and Japan. pleases me.” They are pleased with only tions) will have swung high. There is now controlled. be totally different from that found in the tone) This movement should be practiced many some very fine Chinese musicians, but the 5. Describe musical one quality—either that of free curves or not time to swing so high in rapid playing. not round in attack. times, in one octave, two, three, four, until that of controlled curves, or that of The wrist describes the curves. Nozv, your curves, instead of being somewhat In quality, p, mp or mf. it becomes so smooth, each part of it com¬ straight lines. In Ex. II the tone should be liny Life Stories of Great Masters like bining so perfectly with each other part, that pleasing you have the feeling of tracing one long, Classifying Players By Mary M. Schmitz smooth smooth line with an occasional wavering IT IS EASY to classify the players in flowing Charles Francois Gounod curve. these different groups. Two striking move definite in attack. (1818-1893) examples are Basoni, with controlled In quality mf to f, according to the 1. Q. Where and when was Charles Francois Gounod curves and straight lines, and Carreno hand and arm of the player. Ulus trail on, 5 “Marie Stuart and Rizzio.” In 1839 he won the Grand with free curves. Each of these players born? • the ou'break of the Franco-Prussian kVa In Ex. Ill the tone should be like that Prix de Rome zvith his. cantata “Fernand.” departed occasionally from the chosen forward, direction, A. Paris, France, June 17, 1818. m 18/1, Gounod sailed for England, with his family, b of Ex. I, but the connection (quasi-legato) 7. Q. What is the Prix de Rome? (pre-de-rom.) quality. Carreno believed in, and taught, 2. Q. Who were his parents ? cause he detested war and thought it “barbarous for me is better and smoother, because the tones A. The Grand Prix de Rome (prise of Rome) is a relaxation—free curves. Yet some of her a in exercises I and II, are more like A. His father was Louis Gounod, a distinguished prize given by the French government to a certain num¬ to fight each other.” follow each other more quickly. painter who restored many of the great masterpieces to admirers thought that she played best In Ex. IV the tone will likewise be simi¬ After obtaining control of this movement ber of painters, musicians, sculptors and engravers, after writ very popular sacred songs did Gounc when she combined or alternated the two in slow tempo, increase the speed of the be found in the homes of the French monarchs at Ver¬ write wlide hvrng in England? Ulus. Z , lar to that of Ex. II. a rigid examination, by zvhich they may continue their styles. The players of most color, of piston-rod, send the hand in and out, more sailles. His mother teas the daughter of a French magis¬ stud.es in Rome. Italy. The winner of the prize has four Repeat the same exercises, and add to trate. She was a highly cultured zvoman and musician, n r™u n"rU °f, Lmre My Shcpheard Is.” ”There i most poetry, change constantly from one rapidly—very rapidly. There you have one yrars at the Villa Medici the Academie de France a each a free fling (not a high left of a and taught music many years. 14 O tvj rar Au'ay’” “Nazareth," and other songs. style to another, as the composer’s thought ' Diagonal style of very rapid scale. Rome, and an annual sum of 4,000 francs for his ev- curved finger) from each finger. You are A £ , ,G°,Un0d write any symphonies? dictates. , Experiment, now, with the arm lightly 3. Q. Was the family in affluent circumstances? pcnscs. Every successful competitor is expected to send forward direction. now adding free finger curves .to free arm A. No; they were in very moderate circumstances, 15 o W U r^ey Were not °f (treat importance. The straight line is more limited in its (wrist and hand) curves. The faster you leaning on the fingers, and with the arm to the Conservatoire, if he is a musician, or to the Salon piano ? W Gounod a Pianist- and did he write for f. application than the controlled curve. heavily leaning on the fingers, keeping all and after the father’s death the mother worked early and if a student of the other arts, a specimen of his work That is, you must be relaxed, ready to play, the smaller the finger curves must be M:-.ny players think “straight line,” when the suppleness of elbow and shoulder, all late to provide means for the education of her two sons. every year. move in any direction. But you will move because there is less and less time to lift fiicccffoJ'h™?- n°‘ ° grcal Hano player, and zerote fe, they are actually playing in curves so shal¬ the passive obedience of wrist, hand and 4. Q. Tell about Gounod’s first visit to an opera. 8. Q. After finishing his studies in Rome and return¬ further in some directions than in others. the finger away from the keys. A. Charles zvas a little boy when he and his mother low, of so small an arc, that they do not fingers. Here, then, is one example of ing to Pans, to what kind of music did Gounod devote had a Lall organ hi hi!T,Wd t'refcrred ,ht’ organ IV. Play the same arpeggios again, as After experimenting thoroughly, play and brother went to hear the opera "Otello.” He was realize the difference. If, however, we ex¬ controlled eurves. There are other kinds himself? Ployed until latc in which hc sometmi in Ex. II, but much faster. You must Ex. I with finger added and then without so excited he could hardly eat his dinner. It zvas a bitter amine the movements carefully, we shall also. A. He was a devoted churchman, had even thouaht take care that the softness, the mobility finger. Compose the tones. Play each cold night and for two hours they had to stand and wait, of entering the priesthood, and consequently wrote much understand the distinction better. exercise with finger added, and without You may have been listening to tone, stamping their frozen toes until the ticket windozv zvas MA“Rcqlic7” G/)"n0d S 'aSt C°mp0siti0n? remains in the joints, that the shoulder has while experimenting. You will like this music for the church services. “let go” and that the hand-and-finger finger. You will hear from the finger a opened. He said zvhen they entered the great theater and this work (which!,/, i , V* °°'"g ovcr lhc score ? Three Kinds of Playing tone, if your movement is right. It is 9. Q. Name some of Gounod’s sacred music. group is firmer. But because you are play¬ “sparkle,” a definite roundness of attack, saw the curtain and bright lights he felt as if he were IN A PREVIOUS article, the writer pure, dear, fine, legato in a most pleasing A. “Solemn Mass” in G. “The Redemption,” "Mors et ing faster your curve will be smaller. which is absent when the finger does not in some temple and almost expected some heavenly vision discussed three kinds of free playing: degree. What melody does it express most Vita,” “Le Sept Paroles di Jesus.” Here and in III the relaxation is less take part. . to rise upon his sight. IVhen he heard the voices and A. Yes L r* .°"0r GCUn°d after his death? 1. Swinging the arm (and wrist) up and fitly? Dees it suit the E-Hat Nocturne of 10. Q. Was Gounod ai writer of operas? Pony of police (inTfnU^’^/'u0'1 Was Prcccde(l hy a com complete, because certain muscles prevent The next exercise is much more difficult orchestra he was almost beside himself zvith delight. A. Yes: he wrote many operas, of which the best down (curves described by the wrist) ; 2. to work out because it requires more con¬ Chopin (which is in danger of being played He zvas zvild to write an “Otello” himself. Ellery. In Z Z j 0Wd by COT’a/U', infantry and ar your moving far, even though the ability knozvn arc “Faust,” in 1859, “Philemon et Baucis” in rolling the hand and arm upon the finger¬ trol of the muscles. Even when the move¬ out of existence if played in the ordinary 5. Q. Who were Gounod's music teachers? ters, science and arTZhT*V*"* mc" °f 'C‘ to move is present. The curve w.ll be tips—rotary movement (curves described ment is learned, it always requires thought tone) or the theme of the Andante A. His mother zvas his first teacher. Then he studied 1SU°” ’Lemf"e dC Saba’” in 1862’ m'd "Rome° ct ’juli- by the wrist) ; 3. flinging the fingers freely similar to the curve of III. t° he placed ° for execution. Spianato (Polonaise in E-Hat) or the Ft zvith Anton Reicha, zvho advised, Madame Gounod to Q. What two ereat rr , up and down—especially down—in the V. Play the same arpeggios, as rapidly Major Nocturne, or the Beethoven Sonata H. Q. Which of these was the most renowned and Gounod’s friends? french composers wer VI. The material is the scale B-major, make a musician of her son, Afterzvards he entered the oftenest given? knuckles, in combination with swing or roll as possible, and /> or pp. Muscles and in Ct Minor (Moonlight—so called) first joints must be soft. Fingers should pref¬ one octave. Play it (without added finger Paris Conservatoire and studied zvith Halevy, Lesueur of the arm (curves described by finger and movement ? A. “Faust,” zvhich has been given in the Paris Grand erably be in contact for this experiment. like I and II, faster like III and IV, very and Paer. wrist). j What passages does it express? Por¬ Opera House fifteen hundred times, and for which new If the notes are not accurate at first, keep fast like V. 6. Q. Did Gounod win any prize while in the conserva¬ scenery, costing no less than thirty thousand dollars-has couragement to everv
the etude THE ETUDE Page. 640 SEPTEMBER 1926 Why Not More Home Groun Beethoven’s Piano Sonatas and How to Play Them When the Wrong Note Is “It” A Musical Bank Account Music? P Part IV By J. Laurence Scheer By Helen Oliphant Bates By Izane Peck Expressly Written for THE ETUDE by the Eminent English Musical Educator The pupil often comes with his weekly of one whole note for each day, and at the lesson well learned save for a few false The purpose of a musical bank account “Why- not more collective music in notes which he seems unable to avoid. is to furnish an incentive for regular prac¬ end of the season a prize is presented to American families?” I asked my frienj PROFESSOR FREDERICK CORDER the pupil with the largest bank wcort the cometist, while we were dining to! Usually he says such mistakes are1 beyond tice. At the end of each practice period of the Royal Academy of Music, London the power of correction. Yet, in some of the pupil deposits a cardboard note in the The musical bank account can be earned gether at the Shorham. the repetitions, he plays these parts per¬ bank, which is made by covering a small¬ or. in dollars and cents instead of whole, "Meaning?” he queried. fectly. sized cardboard box with colored paper, half and quarter notes, by' crediting the “Why not family orchestras? I know Each Article in this Series Is Independent of the Foregoing Articles pupil with a specified amount for each The best way to con'quer this habit is to decorated with musical signs. A whole families where there is a singing member 17, would have explained themselves better hour, and entering the amount in a small the performer to have some such words in have the pupil deliberately practice the note is deposited for a whole hour, a half also a playing member. Perhaps there b no difficulty in changing the triplet ac¬ had they been written as grace-notes. note-book. For each unpracticed hour the SONATA XVII (Dramatic) his head in order to feel the necessary free¬ phrase wrong. When he is told to play it note for a half hour, and a quarter note even a violinist. But I know of no fam¬ companiment from one hand to the other. thus, he fairly gasps. He seems to won¬ pupil fails not only to receive the amount Op. 31, No. 2, in D Minor for a quarter hour. At the end of a month ily whose various members compose .33 At 42 be sure you change fingers at the dom of measure. der if his teacher has lost his sanity. To for the day, but forfeits also an equal In resuming the tempo at 163, see that a gold star or other reward is given to each orchestra and gather together for enter- SOMETHING more serious you cer¬ repeated eighth-notes, or all is ruined. At explain the reason, have him imagine him¬ child who has in the bank the equivalent you do resume it and do not make a wild tainment and profit. What is the reason?" tainly have here; the startling variety 55 and 57 accustom yourself, however self in, a game of tag, not knowing just and passionate power of the material skirmish. Players sometimes divide the "Lack of incentive,” the cornetist re¬ swift the pace, to mentally count who is “it.” In this case he is liable to be plied succinctly. "It takes one member having earned it the appropriate, if un- arpeggios up between the hands, but this They are in imitation of drum-rolls and tagged by any boy in the game because, in should be done with care, if at all. They only to begin and keep up a family orches¬ authentic, name here given. The unex¬ should be played as light and swiftly as pos¬ his ignorance, he cannot know whom to tra. I know of one such family. The pected changes of time recall those in the lie quite easily for the right hand, and it sible, counting two to each mam note. When mother, a pianist, came to see me one “Pathetic,” but are much bolder and is quite enough to play the Bb in the we come to 23, broadly built persons will In the piece he plays let him understand more unconventional. As usual, the nota¬ two, three, four, one, two, three, four. middle of 169 and 170 with the left. At find the crossing over of the left hand diffi¬ that the false note in question is “it.” His 178-9 take the GS in the right hand with “ ‘You sec,’ she announced. ‘I p|ay the tion leaves much to be desired in the mat¬ cult, or even impossible. The easier way incorrect playing teaches him to observe the thumb; it is stronger to make it corre¬ piano, my husband has learned the flute, ter of clearness. The opening measure, Otherwise, in your haste you will chp'the is to exchange the work of the hands and to remember to avoid the mistake. spond with the previous phrase. Similarly, our oldest boy has been taking violin les¬ for instance, loses half its power if played time. Also observe the very sudden (this alternative is given in some editions), After he has played it purposely wrong I should have advised you to do with the sons for two years, and lime 1 wish my just changes of tone at 63, 69 and 75. The re¬ being very careful to keep the harmonized a few times, have him play it correctly peat of this part is not usually played; it D5 at 46-7-8. At 193 Beethoven was un¬ other boys to learn the cornet. Will you Ex.l ^ melody smooth and unbroken. until he can render it either way at will. able to make the treble part go up to Bb teach them?’ „ Larg® detracts from the dramatic character. Thereafter if he plays it incorrectly he Again, do not spoil the solemn measures and got out of the difficulty very ingen¬ will have to do so deliberately. “I was stunned almost too much to of Largo by rushing at them. Each is iously, so much so that one hesitfttes to reply. As cornetist in the S. Idiers’ Home played more slowly than the preceding, alter it. In many modern editions both Hand, and with my position in the Schu¬ the arpeggio at 101 being taken very bert-Bclar.co Theater, I was rather busy. dreamily, with soft pedal. Do not forget Teach Both Staffs from the Besides, I had taught befor Pupils were to make a “breath-pause" after the pause Ex.8- Beginning irregular and careless—thankless work for me. in 102. Then start off suddenly and really ff. Here, of course, the left hand By Mrs. W. B. Bailey ‘“I can promise regularity of attend¬ crosses the right each time. Be careful in The C’s ill the right hand are played ance and regular daily practice/ urged exactly like the notes in the left hand, Most of our noted standard instruction this tremolo (as in that at 21) to acccn Mrs. G. whether there are two or three short notes. books teach the beginning pupil to read slightly the second beat of the empty “Therefore I consented, because im¬ Be extra careful over the little scale at for several lessons in tire treble staff be¬ measures, else the triplets will try to turn pressed by the mother's earnestness. When the end of 30, playing with a quick huger- fore he is taught anything about the bass themselves into twos. Just mark a litt e the twins of ten appeared for lessons I stress in these places and it will keep you staccato and a microscopic breath-pause staff. To overcome this obstacle it is well was frankly disappointed. They were mere for the teacher to make her own exercises where the crescendo is cut off; then it children! However, we began. I found for a few lessons, at least one to use for makes a very pretty effect. The middle cut that they had been taught to read There is nothing further to comment a part of each of the first lessons. upon until the cut-off crescendo at 222. notes of the right hand must be very sub¬ notes well and knew time values. The dued so as to allow the melody to stand Beginning with middle C teach the child and those who allow their eyes to guide Make the most of this effect. The follow¬ boys proved bright and energetic. Before out. At the end of 42 it seems only natural to locate it on the piano. Use something them go so far as to play F# instead of ing left-hand broken chord is difficult to long they completed Goldman - Foundation to make a slight rit., but let it be very like this example making the notes large Fx in th^burn in the sixth measure. They keep pp, the turn-under at the end of each to Cornet Playing. One has almost com¬ Sr'hand'at txTnd 124 make you liable slight, with a tiny breath-puase to enable and clear: are unaware that until about 1830 a small measure being uncomfortable. Of course, pleted Arban’s Method. This 1. .>• can play to miss the important bass notes, it c double-sharp or double-flat was never • the right-hand could assist, either by play¬ you to start the return in comfort. the difficult airs and variations very well; facilitated thus: The ornamentation to the subject, which written as an ornament; the engraver does ing the last two eighth-notes of each meas¬ nor have I heard him complain of any not appear to have possessed the tools. In ure (you are holding down the pedal) or now presents itself, has been written by necessary hard work. Beethoven quite regardless of convenience the present case the single sharp is used the first one (not so good) ; but it would “The boys were given a book of duets to the player. There is more than one way Honor to Louis C. Elson in the old-fashioned sense of “sharpen the have to be done very lightly and neatly, for the cornet. The family has an or- lower note.” The lower note being nor¬ the pace being so great. Take a good of dividing it up between the hands, but c. e:tra collection. In time they may de- Louis C. Elson, noted teacher and critic of Boston, who died February mally F sharp, the # raises it to Fx. But breath before the final chords. the best is 14, 1920, was long one of the most active and valued contributors to Tiie ve op into a very interesting family or¬ a musical person should not need more The Adagio is so orchestral in character Etude. It is with pleasure that we note that the Elson Club of the New chestra, giving themselves and other than the plain s*s. F# is as impossible as that Beethoven has troubledfhimself Very pleasure. England Conservatory, have recently erected this handsome memorial to their Fh. ' Observe the point at 134, where the two little as to which hand is to play which "Returning again to our discussion, it The spread chord at 7 is played like the notes, and wholesale alterations are advis¬ former friend and master. The memorial is by Henry Hudson Hitson bands, having played a passage for 9 meas¬ was the initiative of the mother which was first one, but I should make a trifle less of able. Be sure you count six in the opening Mr. Elson taught at the conservatory for forty years. ures in unison, now go back to back. At responsible for this orchestra. She has the whole phrase. The eighth-note passage 141 I should not play the small notes of measure (and also at 3), else you will clip Teach the very first lessons in notes, trained her boys to regular lessons and which follows is exceedingly difficult. It the right hand too lightly. Give them the time. At 5, wait until you have counted names and positions on paper and have regular practice—valuable assets, no mat¬ must, of course, be played with a change of the 5th eighth-note before you start the about the value of a dotted half-note. the pupil play all above middle C with ter what they become eventually. There finger on each repeated note, and where a The gloomy bass passage sounds much run up. The trill at 8 begins, of course, the right hand and all below with the left. has not been a missed lesson in two and change of hand can be managed it is a The Magic of Details better if it continues its course by taking upon D, and you will find it better to let Measures 53-54 go the same, and in 55 Then have them play all the way through, a half years. However, each year two great relief. Klindworth adapted this de¬ the left hand take the three lower notes the octave lower at 145. This brings us to nearly the same, venturing to dispense with first with the right hand and then with weeks’ vacation has been allowed. vice for the 13th to 16th measure. It is so as a spread chord; you will get a nicer the left. By Mary M. Pleasants the lowest CS of the piano (unavailable the repeated notes on the 2nd eighth-note Another case comes to my mind. A printed in most modern editions, but I find Simple little exercises can be made read¬ to Beethoven), which is added to the arpeg¬ trill. in the left hand, which spoil the rhythm certain father inspired his three boys with the following a great help for 9 to 12. gio of the Largo. At 149 there needs to and were only written because Beethoven ily with these notes adding a few more Of all the fine arts, playing an instru¬ others will prove useless for j the idea of forming a fife and drum corps. Ex.9 Ex. 3 mistrusted the sustaining power of his as needed. ment requires the most spontaneous action He induced a civil war veteran (drummer be a complete pause before proceeding with what should have been marked “Quasi re¬ After a few lessons let the pupil help of mind and body, if not of soul. Hence, The quantity and difficulty of .°j) *° teach them the drum beats. 2-4, pedal. compose his exercises for the next lesson. citative“ instead of with Beethoven's am¬ There is nothing else to trouble about, it is of utmost importance to study the signs to be grasped by the mind 4-4, 3-4, 6-8, double drag, and so forth, This will give him a doubly clear idea of biguous words “With expression—simply.” save the left-hand fingering of the broken best means to accomplish finished per¬ harder task than the rendition of they used drumsticks upon the kitcher. staff degrees and their names and sounds These four measures need to be played in chord arpeggios at 56-8. The thumb will The. two make the science and table with the promise of real drums when as well as increase his interest in practi¬ formance. Many better means may exist, have to go on Fit and other uncomfortable- music. Someone has called the jr.- the beats had been well learned. They imitation of the manner in which an oper¬ cing. Naturally he will like better to learn but experience as student and teacher has nesses—anything to keep the passages knowledge the parent to guide art now have their drums. The father plays IMm: mdk atic artist would sing in a dramatic sccna to play what he feels he has helped to taught that observing details in the printed smooth. In the Coda the octave-melody chdd to right action. So science n j u Occasionally they play for fairs where the music is interrupted by a re¬ compose. music simultaneously with details of the cannot be properly legato unless the left 1st without art, but art is dependet and bazaars, as well as for evening pas- flection of this kind. hand gives some assistance, thus: instrument in use forms the magic of suc¬ science for its existence Bx.7 cessful rendition of music. Of course, the Since the opera is really a union of The successful performer on an r\ Quasi drama with music, why have so few of performer must have mastered details i iatner, mother, daughter, « the great poets written librettos for operas, singly before attempting to unite them. teristics—interest,5 understanding ant - - SWo. They are classed as professii or why are practically all librettos very Enumeration of these details may help “rn °*ten rece-ve Paying engagemei poor dramatic literature? Why have the some readers. With electric flash the Uolteiye music in families is a pie Accept the assistance of the left hand stage fright’’ is doubtless the ten great painters and designers nearly always mind, through the eyes, must grasp (1) possibility,” the cometist concluded In the “duet” passage at 21, some players on the last beat of 9 and in all similar loss of one of these musical grace" left the scenery of opera to beginners or Notes, (2) Key Signature, (3) Time Sig¬ ,ls more than a possibility for the pia cross over, taking the treble voice with places. The turn in 10, being on a dotted . In conclusion, observing details i, second-rate talents ? Why is perfect his¬ nature, (4) Tempo Signs, (5) Fingering, aW T‘ is an opportunity to let the left hand; but I do not advise this- dur-ance iVe lost my Eu-ri - note, cwucscomes ---as here indicated, and not later. trionic art rar-ly seen on the opera stage, (6) Rhythm, (7) Accent, (8) Expression mg becomes to the student a v about instruments other than the piano. at least till 30—as it entails the use of the f do th0Se in 12 and 14. I suppose it is superfluous to remind you sesame to treasures of sound more but often seen in the drama without music? Signs, and, to crown all. 19) good tone or 3rly an invi’tation to learn 1 pedal to sustain the bass, and this blurs For the proper delivery o ■ broken octave bass notes that the trill in 100 begins on Eb, but that —Mus'cal Quarterly. able than the riches which greeted t piano better. the melody on a good piano. There is succeeding phrase it is almost necessary for The three broken touch. Without the last requisite, all the of a wondering Aladdin ide^?ly n0t f0!!ter the fami'y orchcs SEPTEMBER 1926 Page 643 the etude THE ETUDE Page 642 SEPTEMBER 1926 has put in a quite needless difficulty, which in 101 begins on A to avoid anticipating hand part, from about 57 to 90 is very try¬ surely a little thought would have sur¬ The Magnifying Pedal the key-note. The last measure of all is ing, and the 5th finger must be occasionally mounted. Instead of the almost impossible quite odd and Beethovenish. assisted by the 4th and 3rd. For example, skip of a tenth The Finale is marked Allegretto, but By JACOB El SEN BERG nearly always played Presto. I do not know sound lightly the tone distinguished by the whether Beethoven sprinkled in so many We then come to the real rctur”, which piano playing. It will remind the student HE PEDAL is probably the least third or sixth partial until a good im¬ difficulties to prevent people from rushing runs as before until 233, where the curious T to be extremely careful of his performance understood adjunct in the produc¬ pression is made upon the ear. then after it, or whether his heart misgave him for diminished third interval, fails P ^ before he employs it, for his fa“«s,as the sound has died away sound the low¬ The most difficult part is 81 and 82, tion of effects in piano playing, the formidable task he was setting. (See and we take another turning, into Bb. m well as his good points will be magnified. est C and the G will again be heard with- and at the same time the most interest¬ particularly 70, 71 and 298-9.) But the which is best fingered thus: modulating passage’takes us. thI°U! The most perfect pedaling will produce ing device employed in securing variegated in the tone C. remarkably even flow of the movement minor C minor and G minor, to the domi¬ imperfect results if there should be lack¬ It is the presence of these overtones in expression. Its proper use makes a beauti¬ certainly urges the player to lay it out on no of D minor, where we reach the ing the necessary co-ordination with the their proper proportions to the funda¬ ful tone more beautiful, a velvety tone a grand scale. Anyhow, tiresome though second subject, the second half of which upper part of the body in producing sono¬ mental tone which makes the tone one ot -1 r,ff the tOD. more velvety and a sonorous tone more the arpeggios may seem, if played "one- rous tones, proper punctuation, phrasing, sonority. You will notice that the ower sonorous. It aids in punctuating the read¬ two-three,” they must be practiced thus at rhythm and so forth. partials bear a distinct harmonic relation me of a composition, in phrasing, _ m first. Keep before you the tendency of the Ex. 18 to the fundamental tone.. However, if the Endeavor to keep the upper notes as producing dynamic effects, in creating right hand-hand thumb to emphasize his Producing a Sonorous Tone dissonant upper partials are excited to un¬ smooth as though they were written with delightful nuances and in developing rhyth¬ note, which is not on the beat. The middle A E SHALL now take into considera¬ due proportions, that is, made unduly eighth-note tails. mic balance. It makes legato passages, W of the left hand, indicated to be sustained, tion what constitutes a sonorous tone prominent, by an improper manner of key In the middle of 94 (the measure which which otherwise would sound semi-de¬ was really thus written only in order to and how to produce it; what constitutes depression, the resultant tone is one ot in ends the first part) there must be a per¬ tached, flow smoothly. It aids m sustain¬ impress the player that the whole arpeggio ceptible “breath-pause” whether you are or simply a third in the left hand? proper punctuation and how the magnify¬ ing tones for a longer period than would ferior quality. is to be legato. Beethoven had not yet making the repeat or not. A slight accent Finally, I believe that, had he had his ing pedal may infuse this superior quality learned to trust to the pedal for this kind on the third sixteenth-note of every four at hearing, he would have cancelled the sud¬ otherwise be possible. It adds life and body to a composition. into a performance. Proper Key Depression of thing. Make the most you can of the 99 to 100 will keep the left hand den piano in the third measure from the It helps bring out the intent of the com¬ We all know that the pitch of a string cresc. ; . dim. . . at 10-15. steady; and, of course, you will perceive end, fond as he was of this effect. It is LET US see what happens when the poser and the individuality of the per¬ is wholly dependent upon several very im¬ Count three at 23 and 27 to keep your that in 110 the left hand takes his turn j magnifying pedal is brought into too late for it, and the movement wants to former. It gives power where added portant factors, such as the length and time steady, and do not be afraid to make at being the leader for eight-measures and play with a tone produced by an improper JACOB EISENBERG end “with a bounce” as the showmen say. power is necessary and yet retains ihe thickness of the string, the tension at a break for the huge skip at 30. The must be rather prominent. This exchange key depression. The dissonant Upper But the chromatic scale in 382-3 is another desired sonority. It adds the softness and which it is held in the piano and the nu¬ cross-accent passage at 43 needs a distinct of interest is made several times, until, wi:h partials, Nos. 7, 9, 14 and others, cause passage must be so fingered that the pass¬ strong reason for not taming Allegretto sweet-flowing roundness so much desired merical frequency of the vibrations caused accent on the first of every measure and short cut-off ff the first subject reappears the strings in the piano which are in sym¬ age will be executed with a perfectly into Presto. And don’t you iorget itl in pianissimo passages. In short the prop¬ by the striking of that string by a hammer. the mordents must not fall into mere triplets. in Bb minor. At 159-168 is a long cre¬ pathy with those dissonant sounds to vi¬ smooth effect. The magnifying pedal is Ex. 19 er use of the pedal makes a performance It is because the vibrations of a long string scendos that wants to be nicely graded. brate more than they would ordinarily then employed in a manner that will main¬ Test Questions on Mr. Corder’s Article a thing of beauty, while its improper use, are proportionately less frequent than those Following this (169-173) are four meas¬ Origins and so magnify the dissonance far beyond tain the individuality and importance ot 1. Wliat gives appropriateness to the even with the same finger execution, pro¬ of a short string that it produces a lower ures in which the treble goes A to G#, tone. In other words, a long string m the desired proportions. - f each chord and yet augment and intensify title of this sonata f duces a performance of mediocrity and Proper key depression is therefore of G# to A. This can be made to sound as ig ejl g vibration will produce a tone of a the sonority and smoothness of the chord 2. When did the double-sharp and one remembered only as an example of vital’ importance in producing a sonorous directed only if the fourth finger can play pitch than a shorter string in vibration passage. Let us take for example the double-flat come into use, and how were what not to emulate. tone and in employing the magnifying the G#. To play both notes with the fifth under the same conditions. simple octave passage which follows, con¬ their places formerly filled Contrary to the more or less accepted pedal. To properly depress the keys the spoils the slur. At 199 the right-hand has f If a string were to vibrate as a whole taining two sound groups. 3. Why is the repeat of the "first group" beliefs, the main purpose of the pedal hand should maintain a natural position, sixteen measures all to itself. It is usual, Srere and uniformly the produced tone would be of this sonata usually omitted/ is not to make tones sound louder. ^ 1 he in which the wrist is a trifle lower than * however, to play the four notes marked sf == known as a pure and simple tone How¬ fact that the pedal is known as the “loud the knuckles; the fingers.should always be with the left-hand; and I find that the 4. What is the general character of the ever a string never does vibrate as pedal” and its employment results m a rounded and form the segment of a The three notes must be crushed to¬ effect of weakening and slackening of the There is no virtue here in preserving his Adagiot whole, but in sections of different lengths. somewhat increased volume of tone, has large circle and be held quite close to the gether and take the least possible time. passage can be materially assisted by hand¬ mutilated version. Most editions give 5. What is the chief characteristic of the Though all sections vibrate simultaneously This fingering “2, 4, 3,” and wiping action created an erroneous impression of loud¬ keys. Each key should be depressed with ing over measures 511-514% to the left both. There is nothing further to draw last movement, and on what rale should each section produces the tone pe™har to on the keys will bring it off. The left- hand. ness However, considerable effort is be¬ a direct downward movement and not with attention to until 381, where the composer its interpretation be plannedP the numerical frequency of the vibrations ing expended to correct this idea. Most a squeezing or pressing movement. There Let us first employ a proper fingering which writers on the subject decry the use oi of that section. must be in every finger action the al - will enable us to execute the passage with If a string, for example C, is struck it the term “loud pedal” and favor m its essential quality of relaxation well bal¬ a perfect finger-legato, there being at least will produce simultaneously numerous stead the term “damper pedal” because rt anced with firmness. Tones produced m three fingerings all of which are equal y tones besides the tone proper to that stnng, manipulates and regulates the mechanism this manner will always contain all the good. Next let us depress the keys, fund¬ Musical Instruments of Yesteryear which is called the “First Partial Prime, for -raising and lowering of the dampers overtones, consonant and dissonant, in ing the first octave which should be fol¬ or “Fundamental Tone.” The oper and from the strings. In a performance m their proper proportions, will therefore be lowed bv an immediate depression of the By Paul Stengel simultaneously sounding tones are„c which the pedal is perfectly employed the sonorous, and with the use of the magnify¬ magnifying pedal in a syncopated manner “Upper Partials” or ‘.‘Overtones U performer produces even his ppp ette«* ing pedal, will be made still more beautiful. Both keys and pedal should be depressed The immense progress of the twentieth century has the fundamental tone is C (as m of tonal ideals. Up to that time the tonality of orchestral Wanda Landowska, the interested music lover has had an in conjunction with the pedal; while his until only the fingers depress the second markedly influenced, if not revolutionized, the produc¬ joined diagram) with a frequency o instruments had been rather limited and weak. A de¬ opportunity lately to listen to these old-fashioned instru¬ fff passages have practically the same The Pedal and Punctuation octave with a perfect finger-legato move¬ tion and construction of musical instruments. To con¬ sixty-four vibrations to the second, t mand came, not from the concert-going class alone, but ments and to enjoy their peculiar romantic timbre. degree of loudness, with or without its ment. At this juncture both octaves are vince the uninitiated it is only necessary to compare a second partial will sound an octave higher from the performers as well, for a greater range and In the latter half of the eighteenth century the Viola employment. ■vtEXT WE come t0 consider phras" heard for only a trifling part of a second, present day flute with its ancestor. The modern Concert with one hundred and twenty-eight vibra¬ IN ing and legato and staccato effects, stronger tonal quality in musical instruments, and, as is da Gamba or Knee-violin with its six or seven strings just the same as any other legato passage, Flute of the “Boehm” family, with its acoustically cor¬ tions, and the third partial will be a htth all combined under the subject of punctua¬ always the case, where there is a demand, there is a sup¬ fell gradually out of popularity. Fighting its way to the An Augmentative Effect when the pedal is again depressed in a rect ring-key system, relegates the simple scale flute, of* higher than the second with one hundred tion It is in this sphere that the magnify¬ ply. Unfortunately, a number of beautiful though pecu¬ fore by dint of sheer beauty of tone and adaptability to NOR is IT the function of the pedal syncopated manner after being Per™tted the time of Frederick the Great, to the scrapheap. The and ninety-two vibrations a second, and so ing'pedal plays its most important role. liar instruments faded slowly into oblivion. There is solo passages, it is to be regretted that at present this in¬ to create sonorous and velvety tones. to rise for the shortest possible period oi same holds good in comparison with the old-fashioned, really nothing that can equal the simplicity and appeal¬ The quality of sonority is infused into on indefinitely. The frequency of the vi¬ To punctuate in music is to break up the weak-toned Spinet, and the modern masterpiece of me¬ strument is almost unknown, save to the student of an¬ brations of each succeeding upper partial composition into thought-groups. Most ing charm of the old fashioned Spinet, also known as tiquity. the produced tone by the manner m which U This rapid pedal release and depression, chanical genius, the Concert Grand Piano. is a multiple, in arithmetical progression students carry the sound from one thought Cembalo or Clavicymbel, or the almost extinct Viola da the hammer strikes the string. It follows while the fingers still keep the keys of the Here we have an instrument which, at the touch of one of 1 2, 3, 4, 5, —, of the frequency of through to the next thought without the Gamba. Add to this the important. role these instru¬ then, that ah’ improperly struck string will second octave depressed, puts an end to finger, sets in motion fifty different mechanical parts, all ” ““u =y“":uiiies eignteen strings to annoy tne P< the first partial or fundament^ tone. ments played in the musical and cultural art of their time produce a tone of inferior quality which slightest cessation of sound between them, the sound of the first octave and permits working in unison, to produce instantly the desired tone. and their absolute essentialness for the true portraying ormer, fell into discard long before the advent of t Example 1 gives a clear and definite obviously an inferior interpretation the pedal only intensifies by permitting all only the second octave to be heard and The mathematical conclusions are really staggering when of the scores as written in that time by the old masters, Viola da Gamba. Another member of the Gamba fami idea of the upper partials which sound For instance, during his study of this the strings of the piano to vibrate in sym magnified by the sympathetic vibrations of we consider that the player of the piano uses not one, but and you will find sufficient reasons to support and en¬ the Viola d’amore, held sway during the Rococo peril simultaneously with each fundamental to pathy with it. This error is then en¬ article, at the conclusion of each thought the other strings whose free vibratory all the fingers of both hands, most of the time, while courage their resurrection and use. was a favorite solo and chamber instrument. By reas together with the number of ^rations of larged upon by the action of the sounding or word group, the reader pauses. There powers have been restored by the raising playing. And how much greater is the difference in the In the year 1709, Bartolommeo Cristofori of Padua, in¬ its metallic strings underneath the fingerboard, vibr. the fundamental tone and each of the board, making the inferiority more pro is a period, be it for but a millionth part of the dampers due to the second pedal evolution of the organ. The concert organ of to-day, vented the Pianoforte, or Hammerclavier. A few decades • g !n U.”IS°n Wlth *he gut strings above the board, it w upper partials. It also explains the com¬ of a second, of absolute silence, the purpose nounced. The purpose of the pedal, then is depression. This procedure is followed with its electro-pneumatic keyboards, cannot be compared later this instrument had superseded all its predecessors. m .e hand® of an artist, a powerful swayer of hum plexity of the sounds produced by a single of which is, first, to call attention to the not to create the sonority but to make the with each succeeding octave to the end of even remotely with its forbears. The tonal combinations It seems as if the construction of the amiable Paduan had j 'T: ^west and Pathetic passages were cspecia fact that the end ot one thought has been properly produced tone more sonorous, key depression. the first slurred or sound group. Both and orchestral possibilities of this modern instrument are sounded' the death knell to the Clavicymbel and the Cem¬ wWel M I ItS c0mPan'on, the Viola di Bardone. f reached and, second, to give that thought a more velvety, more connected. Thus its bands and feet should be removed from the hard to imagine. balo. The Spinet managed to hold its own for some time chance to sink in, as it were, before attack¬ -to* * ™ real purpose is an augmentative one, a keys and pedal simultaneously just a trifle Now we come to the traditional exception that proves perhaps due to the preference of the old masters, who ing the next. Let the reader try, for a the rule—the violin. This instrument is the very soul and of making a greater degree of tonal et- before the second slurred group is to be looked askance at the new intruder. The Cembalo and goStTH.frll^0f brass histruments have come a test, repeating any group of four or five foundation of the orchestra. The instrument in its me¬ fect possible. . . attacked. In attacking the second slurred, Spinet produced their tone by a mechanical plucking of man SorHi e> 5° ' SerPent and Ophicleide; the G< sentences without the slightest pause be¬ chanical application is the very same as has been handed ™ Because of the power of this pedal U group, bring the hands down upon the keys the strings with quills or tungs of leather. The Clavi¬ tween them. He may get the idea con¬ down to us by such masters as Stradivari, Amati, Guar- ments of tbnen' Ra<*ctte and Sha^eien, are all inst. intensify and enhance all effects, the pedal and the foot down upon the pedal with a chord required the touching of small brass-tangents upon should be known as the magnifying pedal tained in those sentences, but there will be nerius, Gasparo da Salo, and others. Its position stands a"e ome whkbl- T'1C 0boe- E"«'^ Horn and Fagr perfectly concerted movement. its strings. valve ^tr ' haV? st00d the test of time. Our pist something lacking in the reading. Carry¬ unchanged, unchallenged, and it has withstood success¬ and in that way give the proper impression In an artistic employment of the magnify- The strong and far-carrying Pianoforte tone took the ing the sound of one thought or sound fully all attempts at “improvement.” over the old °f tbe latest n,ake are improvemei oi its real purpose. Calling it the Loud ing pedal its use is closely connected with place of the thin and delicate clavichord tone. Haydn group into the next sound group m music However, there was (before the advent of jazz) a point used in Enron? Valves‘ R°‘aU valves are si Pedal” makes one hesitate in employing the manner of finger execution. Any treat¬ and Mozart finally wrote for the Pianoforte exclusively creates the same effect, an effect which, of in favor of the instruments of bygone days; that is, a it in ppp passages where its employment ment of the subject of pedaling which omits while the Clavier works of Bach, Handel and the Scar¬ ^hde Trombone, hK?ViorF-a"Ce GenTy- 1 course, must be avoided if the reading is great number of types in each family. In the middle of lattis were for and by the Clavicymbel. Owing to the and alone It ha i \ 'n ln lts cIass- stands suprei is equally essential to its use in fff PaSa a careful discussion of the all-essential co¬ ages. Calling it the damper pedal bring.-, to be superior. the eighteenth century a great change came in the world exquisite taste and interpretative qualities, of Madame fundamentally just ha"de? down ,0 us und,a"s ordination of fingers and feet is lacking an even more erroneous idea of its pur¬ In separating thought or sound groups » >«i! in thoroughness. In this article I have ■ pose to mind. This term with numerous in piano playing perfect coordihation of given only simple examples, which call for students results in a “dampening effect action from both fingers and feet is de¬ All of the fifteen tones appear with a the same treatment as is given to even the upon the tonal quality produced. Know¬ manded. All the notes within the sound Elaborate plans are now being made to expand the interest and size of The Etude during the comit single depression of the lowest partial (L) most complicated problem. It is up to the ing it as the magnifying pedal, on the or thought group that make up a legato in ffiis diagram. By way of experiment interest to the musical home are being especially prepared for early publication, by leading authorities in Tf* New and M features of espen other hand, explains its real purpose m a parts °f ihe musical -world. SEPTEMBER 1926 Page 6Jf5 Tn btvd, Page 6U SEPTEMBER 1926 the etude Select the Proper Key performer first, to separate his composi- LeSSOnS A Way from the Piano Striking Wrong Notes tion into effective sound groups, and then A Lesson on Beethoven’s “Fifth Symphony introduce breathing spaces—opportunities By T. L. Krebs By Jean McMichael for the listener to let the thoughts sink in By Leonora Sill Ashton By VICTOR BURT —between all those thought or sound groups - If you accidental^ j lT IS essential that the voice be perf~,i Throughout its brief course this theme of tones. The chief requisites of these lessons especially when playing from „„ to* the comfortable in a song to be render 5 is shadowed by an altered version in the are an observant eye and an imagination, not let this minor dip distress y° • Many times a really beautiful som>C\ bass strings of the Fate Motive, which, Self-Test Questions on Mr. Eisenberg’s both of which can be instilled by a teacher’s extent that your mind dwe s upo utmost ruined by the young student rendering •* however, retains its characteristic rhythm. Article patience and perseverance. hap. In the first place,. use: y ^ j„ a key unsuited to his |«rticular voir! This motive pursues the melody of the 1. What is the first consideration in When counting becomes jerky and un- endeavor to avoid sue ’ . j^ind In any case he is apt to develop nervous second theme in its upward trend until the use of the Magnifying Pedal? been made put it behind it reaches the Codetta group, beginning even, even with a metronome, stop the ^"^canthat you can concentrate your »«sc ; anticipating a note beyond his 2. What causes low or high pitch in with measure 94, with which the Exposi¬ pupil’s playing for an instant and have ® *,* -s still before you. Power- . ' £erc.'vdl * n° forcing a, a string? * 11 nn trli k nn what is still before you. power. —all(| tion reaches its final climax. The clos¬ him listen to the clock tick. Let him IfS arg a upii playing before other no stra,n lf hc W,H 1x11 Sivc attention t0 3. What are "overtones," and in what ttrT^HUS DOES Fate knock at the ing phrases in E-flat, with the Fate way may they cause Inferior"quality'of understand ,that the metronome does for remember that, while you have the Pr°per ^ I door.” With this phrase, attrib- Motive bounding down the intervals of sound? music practice what the clock does for the ^ied this composition for weeks, per- when a ”"1Rcr ,s °1’1,1 to l>lay his X uted to Beethoven by Schindler, the tonfc harmony in the wind instru¬ N . ' ■ • ' —- <"»" accompaniments lie should choose a 4. What is the position of the hand household. If the latter tides o quickly haps even months, and therefore a was charactered the stentorian motive ments, and . the repeated cadences (dom¬ for proper key depression? slowly, if it ticks unevenly, the whole stantly conscious of the slip when a wrong k>wer key. for tbc !-',t,ng !"sturc does m which forms the corner-stone of the mighty inant-tonic) complete the Exposition. 5. Of what value is the pause ii family suffers : meals are delayed; bed-time note is struck, those of your fellow-pupils give the singer as lull an opportunity tn “Fifth,” one of the grandest monuments The frequent presence of the bate cal punctuation? is put ahead; everything is out of order, who have not studied the same composition breathe as the standing p non. This and in the’ domain of symphonic music. Al¬ Motive, if only in its; rhythmic form, The same disorder occurs in a piece of as intensively as you have studied it will ot cr consi (rations n) i cy in which though the. truth of Schindler’s statement establishes a basis of unity for the entire music when the time is not kept correctly, scarcely notice a wrong note here and there, to sing should be give. us though, b, has since been questioned, the reputed utter¬ Exposition, and thus for the whole move- On Always Progressing If they are keen enough and attentive the student very carl) in as career. ance has affixed itself to this symphony in Watch the Hammock enough to hear these slight blunders, they professional as well as lay circles so By Sid G. Hedges firmly as to give rise to the not infrequent Development or “Working Out” T . The Manfron.Mars4M.Kic designation of the master work as The There is a real danger that every musi- [efuse to relax, the sight of a hammock player may make a sIip. They win surclv TN THE WORKING-OUT section Fate Symphony.” At all events its coim A the clarinets and horns in unison, cian, particularly the teacher and the hanging on the veranda swayed gently by make allowances accordingly, ports with the character of the work and By Andrew Schitnm fortissimo, announce the Fate Motive as amateur, shall at some time arrive at a the summer air and weighted in the mid- Do ^ get the notion that the great agrees so fully with the life experience of the subject for discussion. It is eagerly point in his musical development beyond die by a book will prove enlightening, artists, before the largest and most critical the Master, himself so familiar with the winch he does not, though he might, pro- Also, if the pupil’s sense of rhythm is un- audiences, never play wrong notes. I doubt The, Mind seized upon by all strings in unison, then gress. relentless raps of Fate, that it is generally developed, the hammock will again be use- whether any of them, from Paderewski J ? . * a machmc passed from one of their respective With the teacher this point i regarded as being in unison with the key¬ usually ful, this time, however, with the book down through the entire line, ever finishes ^rl" lng ou* groups to the other, the clarinet taking where music is adopted as a p.„.. note of the symphony. part in the discussion. The variant profession, removed and the child placed in it. With- an evening’s recital without some wrong A This work is not an example of program Many young teachers assume that their shown in Ex. 2, with its inversion and music: it is not based upon a synopsis or education is'completed when they first take 7* *7**“* the gr°Und beneath with his "T prjcking. ^ !m’sicai consden«s' p“,“c, other melodic transformations, is also pupils. The truth is th.t tZl feet- let swing himself. It will not when m the privacy of their own chamber story, nor the characterization of subjects. The art of interpretation has today out¬ subjected to extensive treatment. reached lb?££wheJfthSTre^alS take long for him 't0 fcdaad understand th^y ,revie; f* happenings of the day. fnd The familiar long chords (each oc¬ grown the stage in which every great work to teach others they have merely clambered that the raotion °f the ha'umock is gen- * 's *ald of Rubinstein, one of the great- cupying an entire measure) passing back of this kind must have its “hero. Yet, it wL — - ^ is animated by such tremendous vitality, and forth between the wind and' stringed emotional intensity and activity as to point instruments effect a lull after the pound¬ of the teaching profession lie before Id should guide and his fingers when someone complimented him on the excel- Ru ing of the Fate Motive, which also above them he plays. lence of his performance of that evening: ''dl to some deeper and more tangible signifi¬ cance than the abstract character of abso¬ appears in the form which it assumes The amateur is often satisfied when he When this is dearly understood, have ‘'If.r “uldhavc takea aI1 the wrong notes And in introducing the second theme. To can join some little orchestra, or accom- hhn draw his feet UP into the net and “let ? play,edand str™g the® togethf • 1 would lute music. The convulsive throbs, the dra¬ matic accents, the tremendous forcefulness some writers this quiet passage is a mo¬ pany, or sing a song. He, similarly, has the. old cat die ” When the hammock hav.® bad almost enough notes for another t°ng- . ment of panting exhaustion in the great merely reached the lowest level at which sw“gs by itself with the momentum he re“, , ., , „°mc ",achmes of its titanic strains, all bespeak the inten¬ it is permissible to perform in public. has given Jt’ explain to him that this is the we should never condone or look lightly ”ave sive struggles of Man with Fate. It is conflict. After this respite the Fate Motive is Every musician should aim at being- al- free’ unconscious manner in which the "1>°n,the, playlng °f wronS notes, nor on thus a page from life with life s outward resumed with renewed strength and ways progressive. But there is an addi- fingcrs should perform the rhythm of any kmd of carelessness in our musical Blades' struggles and inward conflicts. _ j rising to a towering height of power, tional and more serious reason why studv music when it has been completely mastered WOrk' u e should always strive for clear- Jailers grind out Beethoven sympathized deeply with man s crashes into the Recapitulation. and practice should never cease If thev by the mind and muscles which lie behind n,£SS and cleanness in onr playing. But if a L aspirations for freedom—political, re¬ are discontinued, the musician will retain those fingers. slip ^curs in a public or private recital we Articles, ligious and, particularly, expressional. The not even the standard lie has reached; his °ne day some small fingers remained not ,brpod ,over the mishap, and gu‘ al1 machines require human element in this symphony, with its Recapitulation ability will deteriorate. glued to the keys. Like the soft coal th/'0UT1 sacb broodulg and fretting over Od echoes from life, is the point of contact HERE THE whole orchestra takes pelled downwards through the strings Rubinstein, the great pianist, once de- smoke on a foggy morning they seemed what has happened run the risk of falling .,hey " ill not last between this music and the hearer, and ex¬ Analysis part in hurling forth the Fate soon joined by wood-wind. This leads dared that if he ceased practicing for one unable to rise. In a moment of despair ^.r® “huus blunders. Here the ^ir plains largely its hold on the musical pub¬ IKE A BOLT of .tremendous power Motive (measure 248). During the halt on saying may well be applied: “There's L to a sudden rise to a great height of ex¬ day the bad effect would be noticeable to an od*fPnl? daddy-long-legs walked slowly lic, for the Fifth is nowadays the most -» the motive (of Example 1), is flashed the Dominant of C-minor in measure 268 himself; if he ceased for two days his apross the piano liftingi,. mi, hismm legsicga mgjihigh min theim. ' . . " ,cr ying/- over spilt- milk.”—. But- beuc care-c< - frequently performed of Beethoven’s sym¬ pressional power. In this passage the the oboe, standing out alone, utters a by all strings and both clarinets, the strong rhythmic impulse develops new acquaintances would see a difference; and II; every step. No more words of ™ ln 1116 first place not spill the milk. 0f phonies. latter in unison with all violins. This poignant plaint. The course of the theme Time. melodic formations: if three clays passed without practice every- remonstrance or explanation on raising Romantic Elements is the fundamental motive of the first is thereupon resumed in traditional man¬ fingers were needed that day. A poor grade of e would notice it. theme of the first movement and is ner, the second theme accordingly appear¬ Bach at the Organ THE EXPRESSIONAL status of the Ex. 3 __ r—-, There is no age at which progress be¬ work places it in the realm of roman¬ often designated as the Fate Motive, a ing in C-major. comes impossible, but it must be remem¬ Listening to Echoes Making allowance for the fact that the Is better than no oil. tic music. Its fundamental spirit overhangs designation which will be employed in Nowdays the call which ushers in this bered that musical progress does not consist If a child’s mind and ears s theme, though written for bassoons, is closed °^r?rs evidently before the There is a the work as a whole. This does not ex¬ this analysis, though without program¬ i increase of finger dexterity alone. It o every kind of tone-color, instead of try- advent of the modern electric keyboard with ^ew its f»-vfr
A NEW DEPARTMENT OF PUBLIC SCHOOL MUSIC To be Conducted Monthly by , GEORGE L. LINDSAY, Superintendent of Music, Philadelphia Pub lC ^ _
Planning a Music Program for the School \ ear 0 . . . Refflarkable All of the chorus work should receive “T T AVE A PLAN” was the slogan of of music are not provided, then the reg- school hours in this w ^ much credit toward graduation ..11 a laboratory H one of the world's greatest mcr- ular grade teachers must present the resalts by this movement, basis, that ,s one-half semester hour of chant princes. Not only “have a music work. The modern elementary youn^knt d ^ sfflall fee and credit given for each period ot chorus olbn” but follow it doggedly to its sue- teacher is fairly well trained m that she The pupi s s P Every work. The chorus work i the backbone cessful conclusion. The music supervisor can sight-read music material of hymn the Hasses shou hance tQ develop any of the high school music and it should faces many problems in looking forward tune difficulty and has some knowledge of child can have a possess, be given to every pupil even in the largest lo the year’s• work;‘ and- a campaign• of' the" pianoniano keyboard. This ability is use- musical potentiality that he may ^ hjgh schools Choruses o, four or live action must be carefully outlined which ful in presenting the mechanics of music The first aid second ^rsh?f hundred can be safely handled and noth- progress may be: coveredi n ^ way an^ ^ ,g ^ inspiring lhc massed will suit the conditions and meet the needs study but a love for music as an art Fingering of Scales and Arpeggios of the particular community in which he must be fostered in the teacher. This is n i The minor scales should of course be taught, as Probably by high and low touches, you refer to those open to' study privately. This movement singing of high school pup 's. Great care Jjl'as the chromatic scale. After the plain scales and works. Great care must be exercised in the duty of the supervisor. Teachers has greatly aided the private teachers in shou'dbeexcrcisedn;, .. chorus more commonly called hand and arm-weight touches, I notice that several teachers of good standing arpeggios have been presented, there are many ways in in a neighboring city are teaching their pupils to deciding on all policies of action with help meeting should be held and time that a larger group of children than ever music for high school use. taught by most modern teachers. In the former, when play all scales and arpeggios with the same linger¬ regard to the plan of methods and selec- given individually to the weaker and newer ~~ - opportunities for which these may be emphasized, such as practicing than a key is sounded the hand is thrown downward from the ing that is used for the key of C. I have always in contrary motion, in canon form (one hand preceding taught the old standardized lingering. What do tion of materials for the elementary and teachers. ?nstrumental s udy These children later Study Musical Taste wrist, so that as the finger strikes the key the wrist tends they gain in so doing? Do they change the flngei- junior and senior high school music work. . nstrumemdi The class instru- “he other)! in varied rhythms, and so forth. The scales to jump upwards. In the arm-weight touch, when the ing in studies and pieces accordingly, or adhere to EET the taste of pupils half-way mav also be given in thirds, sixths and tenths For a thl ordinary fingering marks? Would you ad vise High ideals and great achievements cannot Substituting Teachers take private 1asms The clas M key is sounded, the weight of the arm is released, so me to change my method? t.il. i. n the class- with selections that air not difficult compendium of such devices. I refer you to the book be gained in a single season. Know what IF A TEACHER cannot present music mental study helps the musicmtl that the wrist falls. but melodious and effective. Many a is good and sound and then work quietly ^ fairly well, an arrangement should room and elementary ore est a Mastering the Scales and Appeggws, by James Francis Of the two, the hand touch, which is the one most m The uniform fingering which you describe is advocated music teacher has met his ' Waterloo” by and consistently toward your goal. Con- be made for another teacher to take the easily developed, use, is well adapted to brilliant, fluent, or staccato play¬ by some on the ground that it facilitates transposition trying to force the chorus to sing dif¬ °as an example of an interesting combination of par¬ sider the times in which we live and meet class and the unmusical one should pre- . ing ; while the arm-weight touch is used chiefly for cling¬ from one key to another. As an exercise in the use of the present issues in education and life sent some other lesson to the musical Musical Projects ficult part music. Much music is pro¬ allel and contrary motions in scale practice let the pupi ing or sonorous effects. The efficiency of these two the fingers under all circumstances of position, too, it with a music program that answers the teacher’s class. Many teachers find dif- Hp HE SUPERVISOR should not vided to-day which is mcl> lious in each begin a scale at the bottom of the keyboard, play up one touches is illustrated in the following exercise, where has its advantages, and may be employed, at least to a part and the parts can be taken octave with the hands together, separate the hands one question of the needs of the child. fimltv.ficulty, at times, in sincimrsinging the rote songs A look the possibility of presenting the first of each pair of notes is played with the arm- certain extent. octave and meet again, play up another octave m parallel „ „ unwise, however, to force any pet for the children. A clever teacher whom general musical projects in which the directly with words. I i • n. two part weight touch (D=wrist down), and the second is played But on the whole, such fingering is often so clumsy motion and so on till she arrives at the top of the fourth “hobby” of method on a community. Ac- I knew, had a good ehr and a great love whole school system can participate. This numbers, and three part numbers consist- by the hand touch (U=wrist up) : that, in my opinion, it is apt to impair clear and fluent cept the findings of the leaders in the for music but she could'not sing. Strange may mean the preparation of an operetta ing of soprano, contralto and baritone, octave 'when she should descend to the beginning without execution. I believe, therefore, that it is dangerous to break Here is a diagram of the entire performance: field of public school music, adopt standard as it may seem the music work in her or cantata. A music festival may be should be present id. S.un. a k in music teach it, at least before the standard fingering has been methods, use proven materials and you class was quite strong. This teacher gave planned. Music week should not be over- appreciation should he mu tied and pre¬ Ex.i well mastered. Certainly, such a forced system of finger¬ will be in a position to defend your course books to talented children in the class, looked. Special assembly programs should sented during a few minutes of each ing cannot well be applied to all kinds of passage work, of study. Many supervisors are con- and they took the books and learned the lie provided and local or visiting artists choral period. Emm i-, \ocal fiex- especially in cases where the short fingers (the thumb stantly experimenting with the music new songs with help at home. This group invited to present programs. General pro- ibility, shading and tonal balance in chord- and fifth finger) would come continually on the black course of the various grades under their was dignified as the class choir and each grams of music appreciation are being ing can he presented. 1 .■ it interest is keys, while the long ones would come on the white keys. supervision, sometimes successfully but pupil acted as a check on the other, and broadcast from radio stations, and advan- evinced in this type of w hut too much We may conclude that our forefathers were not alto¬ quite often such laboratory experimenta- in this way the song was sung correctly tage can be taken of this for the study of the valuable period ' This exercise may be practiced with the hands sep¬ gether wrong in restricting the use of the thumb on the tion gets nowhere and the supervisors go by this small group for the rest of the of general appreciation. Music clubs can devoted to it. A few n mies should arately and then together, playing with the left hand black keys. Do not be easily misled, and do not hesitate elsewhere. The Music Supervisor’s Na- class. The teacher knew when the song be invited to present programs to the suffice, two octaves below the notes as written. to continue the use of a standard fingering which has tional Conference has met the needs of was sung correctly but she could not sing schools and thus lectures, concerts and In handling large single i oral groups, As to the origin of these touches, it may be said that stood well the test of time. school music at .large by organizing com- herself. Teachers should be encouraged recitals may be presented. Pageants and several teachers should > assigned to they have grown naturally, from the development of mittees which have studied many phases to prepare the music lessons with the same masques can be prepared ir. conjunction proctor the group. The tc. t-rs who are piano playing and from! the teachings of clear headed Third Grade Materials of school music and submitted reports care that they, prepare any other, with the English, History and Physical assigned should be on the basis of one and progressive instructors. which have resulted in the adoption of Teachers’ choruses may be organized and Education Departments. t0 eacb one htmdred pupils id the duties 1 I have a pupil in grade 3 who is doing very standard courses of study. Much still great co-operation and enthusiasm aroused 0f tjlese teachers a Each section represents one octave. There are three sep¬ nice work. In addition to scales and arpeggios in wfluivis I,, wivs tendance, to Indistinct Arpeggio octaves and various rhythms. I have her study the remains to be done but the courses have in a social way which will react in the “-*—Elementary Music“ -* Clubs~ * see that each and every pupil ! participat- arations before the top of the scale is reached C. K. Hanoi! Virtuoso' Exercise* and the Czeruy- been accepted by the majority of wide- right kind of teaching in the classroom. ?“pH (2.) Spend a part of each .lesson period m playing sim Liebling Selected Studies. Book 1. Would you advise SO-CALLED extra-curricular ing, that hooks and music a distributed, iear{yaV completed tS? tblrf^radc “of Matbewk the use of the above material, or am I neglecting awake .supervisors and great good has Music makes a direct appeal to the erno- ± activities- should not be overlooked, and to help by participat whenever pie duets with your pupil, without stopping for minor standard (traded Course. Sbo is a willing worker, some phase? been accomplished. tions, and so it musl lud tries to play everything just as I tell her. but 2. I use Mathews’ Books 1 and 2. After this e presen e m an R ;s quite possible to organize elementary possible in the singing, and to give full mistakes. Also assign her a weekly stunt in reading ' stage, I feel that a pupil needs greater variety and emotional way and a it seems impossible tor her to play arpeggios prop¬ offn! ST ma Sch°o1 orchestras. and glee clubs. In the co-operation to the director , i the cliorus hymns at sight. erly Sbe misses some of the notes, while others is much more interested in a hook of technical to the finer sensibility of the pupils. ire Indistinct. She has been playing "ragtime, but studies and an occasional piece of sheet music, which larger communities an all-elementary or- at all times. A goal accompanist is an makes a great appeal. Am I correct in my opinion, now cares nothing for it. Has that injured^her Ny -THE STANDARD course, adopted by uZJt Co-ordinating the Hands nrr icis this 3mmaterialaterial insufficient? ’ rtn’ 1 the Music Supervisor’s National Con- ^ It •.*««*js higlAime « CHINATOWN JAMES H.ROGERS Apictur..,.. number from . new net of pieeeo, entitled A /or You„s Gr.d. 2*. Allegretto moderato 1 utr-ffligiu m mm l cresc. j * Hr*- TT j "xm 1 •# [ | * ;• _ f f ^ 5 3 li.KlrhV. ■ J- Sft T'- * n= 'kM iWX f f British Copyright secured Copyright 1926 by Theodore Presser Co. SEPTEMBER 1926 Page 655 TEE ETUDE the etude Page 654 SEPTEMBER 1926 CHANT DU SOIR FELIX BOROWSKI A fine example of the singing style,demanding legato octave playing. Grade 4. Andante ma non troppo M. M. J = 92 1 1 pocu agitato . | piii forte. -- f f r r-^ „ r ^ j. ' --- /pf- 1 jPl [f~ = rail at ai motto legato ka« 'fl | -^Tp-5 g - 5ST L>, i±k ii „ 5 " British Copyright secured Copyright 1926 by Theodore Presser Co. Copyright 1900 for the United States and Canada by H.B. Stevens Co. Copyright transferred 1903 to Theo Pressor , s .e resser International Copyright secured L SEPTEMBER 1926 Page 657 the ETUDE THE etude SEA GARDENS Page 656 SEPTEMBER 1926 “Oh ye! who h.ye your eyeballs v«ed«»d SEA GARDENS This most successful number has been Feast them on the wideness of the sea. arranged for four hands in response to Oh ye! whose ears are dinned with uproar rude, numerous requests. Or fed too much with cloying melody: Sit ye near some old cavern’s mouth and brood JAMES FRANCIS COOKE SECONDO Until ye start as if the sea Molto moderato m.m. J=72 JAMES FRANCIS COOKE Molto moderato m.m.J*to PRIMO Dreamily swaying British Cop> right secured Copyright 1926 by Theo. Presser Co. Copyright 1926 by Theodore Presser Co. British Copyright secured SEPTEMBER 1926 Page the etude THE ETUDE MARINE CORPS RESERVES ADAM GEIBEL ■ "“marine corps reserves ADAM GEIBEL A real military march with the correct swing and pace. MARCH SECONDO Tempo di Marcia M.M.J--1! rai Copyright 1926 by Theodore Presser Co. SEPTEMBER i92S P’8e 661 the etude THE ETUDE ANDANTINO EDWIN H.LEMARE A famous melody,originally for organ,but in in D flat demand for all arrangements. Grade 4. Coda Andantino molto sosteimto M.M. J daisy reverie RICHARD J.PITCHER A study in moloily playing and in shifting harmonies. Grad. 2* sindD Andante amoroso m.m.J-84 5 ia s U U11 jtocojtiti mosso a A 1 "1 „| *T !•• 4,JP (IN* rit molto .- -f* J a«C i 5 3 |8 ' 15 MJ -mr \ A ntf cantando 1° * J— i a... i 2 —%D. S$ British Copyright secured Copyright 1925 Theo.Presser Co. : From here go back to A and play to B 5 then play Coda, SEPTEMBER 1926 Page the etude THE E TULS Page 662 SEPTEMBER 1926 THE STRAW TURKEY IN AMERICAN DANCE TUNE Edited by Robert Braine CHOOSE YOUR PIANO AS THE ARTISTS DO Some of our Country fiddlers bow the -± The “Turkey in the Straw” is America’s most popular dance tune. syncopated measures as follows. -^.i \ —- If we are not careful it will become Our national air. It has increased ■■ in popularity enormously on account of the wave of interest in the coun¬ but this latter bowing is not so forceful as the one indicated. try fiddler and his favorite tunes, which has swept over the United The first note of each measure throughout comes with a down bow, as States in the past year. marked, and the player must be carefulto give this note a vigorous In answer to many requests, the Etude presents this universally accent if he would bringout the true “country fiddler”swing to this known dance tune, with the bowing best calculated to givethe maxi¬ sprightly composition. The fourth finger must be used where marked, mum of vigor and clean-cut rhythm. In the syncopated measures a and the slurs where indicated, as this makes for A smooth and rapid _xvrRi/»v« ia np.p.p.ssarv- The tempo is very fast. bowing sign has been placed above each note . WHEN CHALIAPIN SINGS Copyright 1930 by Theodore Preseer Co. the piano is always GOLDENROD Prom a new set entitled Six Garden Sketches. Grade 3. ^ LOUIS SCARMOLIN Moderate m.m. J = m a 1 „ 5 - */ ^!/ f wf . »/ f is- *• / J ita " 3 m m acting demands of the accompani¬ ’ jfo CHALIAPIN, world-famous ment and the solo. 1 operatic genius, the Baldwin In any Baldwin you will find a new is more than an instrument A SVQQESTIOH revelation of your musical dreams. ^ of music. It is a versatile Choose YOUR piano as the artists do: Visit the Baldwin dealer near you. companion in the interpretation of The book, “How Artists Choose Their Pianos,” will help you in selecting the in¬ Baldwin Uprights, $850 and up; his art. strument for your home. We will gladly Grands, $140 0 and up; Reproducing The Baldwin brevet of distinction send you a copy free. Address Models, $1850 and up. Convenient is surpassing purity and resonance THE BALDWIN PIANO CO. payments if desired. of tone, responsive alike to the ex- CINCINNATI, OHIO Please mention THE ETUDE when addressing our advertisers. SEPTEMBER 1926 Page G65 THE ETUDE IfiE ETUDE Page 664 SEPTEMBER 1926 JMost Marvelous Musical Invention in World’s History utilizes newly discovered electrical processes to bring you music and radio of a beauty hitherto unknown of the new records. In tone quality and its ability HE PANATROPE is T to reproduce the entire musical scale, this instrument the joint achievement of represents a very great advance over anything in four of the most widely- existence, save the Panatrope. It does not utilize the known institutions in the electrical equipment of the Panatrope, and its prices | fields of electricity and acoustics: are lower, ranging from only $115 to $300 (slightly 1 Radio Corporation of America, higher west of Rockies). Certainly you must hear these wonder instruments. 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It is hardly necessary recording (musical photography) re¬ produced on the Brunswick Panatrope Collender Company. to suggest that before buying any the perfect medium for their art. musical instrument or radio, you hear c'Amazes critics the Brunswick Panatrope, the Bruns¬ Although perfected less than a year ago, this wick Panatrope & Radiola new reproducing musical instrument has been and the new Brunswick heard by more than four million persons. musical instrument as yet When first demonstrated, it was given front¬ unnamed.* page space by the great metropolitan news¬ Brunswick dealers will papers as the most important musical devel¬ gladly demonstrate these instruments. If there is opment of the age. Critics were no less no Brunswick store near MARIO CHAMLEE enthusiastic. Nothing in the whole world of you, write us. 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Write for free booklet Brunswick has also developed another musical instru¬ giving all details. Address Dept. P-107. Sin/v/rvswwk^ ment, as yet unnamed,* for bringing out the music PANATROPES • RADIOLAS • RECORDS t eNDER CO GENERAL OFFICES: ’623 SOUTH WABASH AVENUE, CHICAGO BRUNSWICK-BALKE-COLLEND THE BRUNSWICK-BALKE-COLLENDER CO., GENERAL OFFICES: 623 SOUTH WABASH AVENUE, SEPTEMBER 1926 Page 667 TBEEThm TEE ETUDE Page 606 SEPTEMBER 1966 SILVER DREAMS A study in swift and light finger action New Books on Music—Reviewed j and in pungency of rhythm. Grade 3. A GRACEFUL DANCE MONTAGUE EWING composers are also introduced in quaint Allegretto con grazia m.m.J= 126 lights. “How the Harmonious BlaeksisiX happens to be so named" and "The An. dote of_the^oinsftin^the herrings’ Head? HiisSia ; the quickening The English Mail) ignl. P,y Edmund H -- the passing Fellowes. Cloth bound. one hundred and mry root■ and sub- eleven pages; illustrated with old prints Published by the Oxford University Press ?h?tav“slven "Choice Rhythms” given Price, $1.40. hereln arero Lfl?built nilon this conception. They-Lucy xuIn thoselhw.-v, “nltra-modermstic”... . . i , 'Vdays ° of loOO1300 are written naive mo-„H£S resnpec7a1l0fypeesmPofalhe Processional, Schottische, Polka, Galop and ^“^•lig^h.Tmatteas^Jh48 Whirl, feasible and necessary. _ , ,, „ indeed the er expression of Memo England when did not have to pocket her pride to bo d “m;:- io.“ ! the atmosphere in which the Madrigal Here is a new Alice who wanders i ve. of the composers who wrote them, of “Orchestralia” where instruments put av printers who "hlimbi;, ippied" them, of Health and Happiness their players carefully between performan; :■ rhythm, harmony ;,,,! words—if you where disagreements and quarrels are settieu by a general "tuning up,” and where standing in society is based on the tones of one’s voice ! ■ scriptlon of the The hunger for sweets, common ing the mechanism of the four types of How to Compose a Song. B.v Ernest New¬ chestral instruments. Would ton. Cloth bound; one hundred and twenty- six pages; illustrated with musical notations. to all the human race, is satisfied mines pitch, why saxophom ■ cmuiti'i Published by E. P. Dutton & Company, members of neither the wood¬ Price, $2.00. wind group, why trombones are me mw The musician who plays amiably composi¬ dignified of wind instruments and kettlf tions of the great and b great masters, by WRIGLEY’S Chewing Sweets. drums the most useful of percussion instru who knows how composing N done, and, in a way. how to do it, yet who shrinks behind e this t •o by the folds of modesty rather (linn put to paper ■ of I every melodies tbnt come to him—such an one had And Wrigley’s does not harm with better not read this book. It tells, first, what a song is and how to distinguish it from music unlinked with •iser! words; second, how to give the song its set¬ the stomach — on the contrary, it ting of harmony and meaningful accompani- The Appreciation of . By Percy A. ment; third, what the 1 ni reduction and Scholes. Cloth bound. . hundred and Finale should express and uhat they should is extremely beneficial to teeth, twenty-nine pages. Illustrated . leave unsaid: fourth, how to make a song traits, diagrams and notations. Published Bingable through homely practices connected Oxford University Press, American Branc with actual transcribing. appetite and digestion. Price, $1.75. The student need not thii k he will make This book is best read as it rests on the an end of the work by reading to the last piano rack, our fingers on the keys. page. An hour later he will find himself, In words and notations the Appassionato__ pencil in hand, eagerly calling to shelter in Its lasting flavors appeal to the Sonata and many another classic compr~'“—losition the Noah’s Ark of notes and staves the tune are fully described in their forms of Varia- which has been wandering in his mind for days. taste, its soothing refreshment relieves fatigue and its antiseptic effect on mouth and throat guards Sou sa against ills. Wrigley’s clears the breath of the odors Creates Another of eating. Great March Your friends prefer a sweet breath. Hit! So the use of Wrigley’s shows a consider¬ ation for those about you, which is one of POWER AND GLORY the evidences of refinement. Introducing “Onward, Christian Soldiers” Here is a truly remarkable March for Schools, Fraternal Organizations, Parades and Church Events The best of it is that it makes a very playable, “grateful” and expressive piano piece. Cat. No. 19209, Piano Solo. -50 Cat. No. 19210, Piano Duet -75 Cat. No. 19211, Full Band...... 50 Cat. No. 19212, Full Orchestra. 1.15 THEODORE PRESSER CO. 1710-1712-1714 Chestnut Street Philadelphia, Pa. International Copyright secured Music Dealers and Publishers Copyright 1826 by Theodore Presser Co. Please mention THE ETUDE when addressing our advertisers. SEPTEMBER 1926 Page 669 THE ETUDE the etude Page 668 SEPTEMBER 1926 VALSE S.RACHMANINOFF, Op.lO,No.2 One of the most melodious and original compositions in A r i ^- 7 1 Jl+J 0 '—==1. rvU7 a tempo SEPTEMBER 1926 Page 671 f#E etude FRANK H.GREY To be played in the manner of‘touted strings;w CHANSON- 'dAMOUIT V Grade3. Allegretto grazioso m.m>=72 g, Cantabile British Copyright secured Copyright W26 by Theodore Presser Co. SEPTEMBER 1926 Page 672 SEPTEMBER 1926 „ tee etude er-JSiSSr"*- FESTIVAL MARCH Ch. /Ped. Full without Reed CARL WILHELM KERN, Op. 486 lGt. to Ped. Sw. to Gt. . ( A brilliant number for Postlude or recital use, adapted for processional purposes in “picture playing • Tempo di Marcia m.m. J = MANUAL Vp^_ ^ V V 1 1 1 1 v. y.. PEDAL • ' *A ^ T ^ ^ ♦ is A___« —- ’ -y -1 >f r u X ~Reduce Gt. }iQ~_;£ to wp — ' * —* V V ■■ ^jr m ^ ^ 1—^ 1 ■ | ■ 11 j ^rj * l g l ^ # — i—r» —H --- • .¥ Copyright 1924 by Theodore PresserCo. British Copyright secured SEPTEMBER 1926 P*S6 675 TEE ETUDE the etude Page 674 SEPTEMBER 1926 ORj A-DLEi SONGr ROSES ARE CALLING GORDON BALCH NEVIN Wm. B. Shadwell T v' 0 1 m P -jf. d’ _■—_ - 1- L lA 6 P V ^ r^P n P p h~ T[n . ing that I am wait - ing in the moon - lighting-ing for you; Out of the gar - den,dear, call - mg for you - British Copyright secured Copyright 1926 by Theodore Presser Co- ^ SSPTSMBSR 1926 Page >>77 THE ETUDE iin- ger, lag-gard at the tryst? I have a se-cret cry - ing to r--i— g a "g- | potso rit. a tempo ^7 'iff A-/ 'r^Lr . poco rit. ttr ai ~7jl. \^r k : ■ — ^ J * ' 1 ‘ " V V on ver" as we knew Stillwinds,our path-way Shin-ingthro’ theglenjWherethe Mid-nightandmoon-light, They will come a -gain, Sil-ver aswe Kriew—^ NeJJe Richmond Eberbart CHARLES WAKEFIELD CADMAN I By1*—I *!i =1 ..... shl06 i =“~~ j£T2i.- If 1 have a se - cret, all too long un- said, For— you, for^jyou^ long- er, Meet the Moon and me! ♦ f # Can be sung either gp or f a» desired Copyright 1926 by Theodore Presser Co. British Copyright secured SEPTEMBER 1926 Page THE ETUDp the ETUDE Page 678 SEPTEMBER 1926 LEAD THOU ME ON Educational Study Notes on Music in This Etude MARION ROBERTS By Ed R. M. STULTS Rutterfly Dance, by Frederick A. ' Copyright 1984 by Theo. Presser Co. British Copyright secured by thc ww’ SEPTEMBER W2G Page 631 THE ETUPfl fJjE ETUDE Page 6S0 SEPTEMBER 1921 blundering efforts until my original ideai The True Function of the Ear WHEN ABOUT TO study an oper¬ was blurred if not altogether effaced! atic role, the first thing for you After all that has lx*en said on this sub As SO much importance is attached nerve, the impression received; and that to do is to read the libretto care¬ ject, although it may seem to be super' to the training of the ear, and properly so, impression stimulates the brain to conceive fully, not only to become acquainted with The Singer’s Etude fluous, I think you should he warned that the singer should understand why. It is and the will to produce sound. If the, the plot and general movement of the the method of studying an operatic role natural to argue that the ear is not part impression produced is beautiful, the tone play, but also with the dramatic situations above indicated will not prove infallible Edited, for September f the vocal organ, nor of the bram which conception and production will also be and the types of character represented by unless, by previous training, you have ren¬ conceives sound; therefore, some explana¬ the various personalities. In doing this, beautiful; if it is either disagreeable or By CLARA KATHLEEN ROGERS dered your vocal organs capable of re¬ tion of the relation of the ear to the bram if gifted with imagination you will in¬ sponding to whatever demands may be indefinite, the tone conceived and produced Formerly Widely Known on the Operatic Stage as Clara Doria in tinging should be given. stinctively be dramatizing it mentally, will will also be either disagreeable or un¬ made on them in dramatic singing. This The ear is the receiver- and the arbiter of be picturing the carriage and general bear¬ of course, involves the daily intelligent certain. You can only conceive tone as ing of the principal characters; in other It is the Ambition of THE ETUDE to Make This Voice Department sound- it takes note of and analyzes the practice of vocal exercises which render * riou’s qualities of sound. It receives well as you are able to perceive it. words, you will be acting the play sub¬ “A Vocalist’s Magazine Complete in Itself” and maintain in a pliable condition, all the from it a pleasing or an unpleasant im¬ The ear, therefore, is the sense to be jectively 1 parts that are brought into play in singing relied on as the first cause of sound, because Now it will be time to give attention pression; but it is not the ear that conceives In other words, you first must have mas¬ sound although it does dominate its con¬ without the functioning of the ear there particularly to the characteristics of, the tered the technic of vocalization, which is would be no stimulus to produce it. The person to lie represented, to picture to ception What the ear does is to com¬ How to Study an Operatic Role not a silent process, but in which every municate to the brain, through the auditory living proof of this is the deaf mute. yourself how you would feel and act if tone must be heard and critically passed placed in similar circumstances, and then, which interferes fatally with any ideal Singing Steadily on until it satisfies you. how you would have felt had your nature, conception you might otherwise form. IN OUR COMPANY there were two surroundings and lot in life been the same. Our first fresh conception of a musical ' prime donne and two tenors, each pair You must endeavor to get under his or To Master Technic Sensations Are Effects, Not Causes composition is- always the best, because il having their separate repertoire! As it her iskin, so to speak. is independent of our medium—because il happened that the second company did not npHE MOST EFFECTIVE way to resonance, though the effect of the Up to this point the aim has been to All physical sensations which accom¬ is unhampered by the flesh and reigns su¬ draw, it fell to my lot to be called on to A master the technic of singing is to one is quite different from the other. grasp and impress on yourself the dra¬ pany singing are of some value as associated preme in our consciousness. sing nearly every night instead of the four practice separately all the different proc¬ Nasal sound is caused by raising the matic situations and all that they entail. with certain pitches and qualities of tone, ’performances originally expected of me. esses involved. First of all. confine your¬ tongue at the back and lowering the But now the time has come to tackle the self to vocalizing and .. further until but beware of regarding these sensations as musical score. If enough of a musician to The Unsatisfying Phrase This was too hard work for so young an soft palate so that the two parts come tt , . . artist (I was not yet twenty years of age you have satisfied yourscli that you can the cause of the tones you hear; because play over your part on the. piano until A into contact. Nasal resonance, on the con¬ LL ARTISTS have at some time in at the time!) including> as it did, the sing every vowel on every t ie of the scale they are merely the automatic response to you are familiar with it, it is just so much the course of their studies realized studyi and parsing a new opera each within your compass with jierfect free¬ trary, is obtained by keeping the entire in your favor; but if not, get your accom¬ the various vocal tones and not intended that when a vocal phrase failed to satisfy week The conseque„ce was that after a dom and at the same time | ■ serve the un¬ pharyngeal passage open and free from panist to play it over-and over again while to be under your control. In seeking to re¬ them, on repeating it again and again it ■ fc of months of this seVere regime I altered sound of every vow, always bear¬ any obstructing movement of the tongue, you follow with your eyes the vocal part, produce the sensations you would be mter- Gjffom 9 wish 9had learned grew worse instead of better and that had tQ s singing for a whole week as ing in mind that although the vowel shap¬ because the upper or naso pharynx, which but do not attempt to sing it however fering with the natural processes acting in soon they had lost all idea of how they ,an attack of laryngitis made it impossible ings in the throat vary in rder to adapt is above and behind the soft palate, is the strongly tempted to do so! You have now originally wanted it to sound The expla- -for me t0 utter a sound. Meanwhile, your favor. Direct your thoughts simply themselves to the different pitches of tone, passage to the most effective chambers of possessed yourself mentally of both the nation of this is that the faulty sounds Institute of Music “The Ptude’’ takes pleasure in announcing a new column in which pithy paragraphs will appeal periodically from the pen of Mrs. Ross, who has had wide experience in Endowed by Mary Louise Curtis Bok this field Address all inquiries to Educational Sendee Department (attention of Parents' A partment), “The Etude Music Magazine? 1712-1714 Chestnut Street, Phila¬ delphia, Pennsylvania. • Third Tear Begins Friday, October 1, 1926 ITrih questions on a separate piece of paper bearing the above address and give your own name and address in full. Answers will be published under only the The endowment of The Curtis Institute of Music has enabled it to assemble a faculty which com' 'initials of the inquirer. Make all questions brief. Bach, Beethoven, Chopin, Mendelssohn, Wagner, Liszt! interest to the greater body of "Etude” prises many of the greatest artists of our time, and the opportunities offered to study under their Pin questions except those of general The glorv and splendor of the music of all these at your ”k&Gr™feld readers will he answered in this department. as it should be played, by such artists as Paderewski, Pugno, NicUsch, Grunieia, guidance and instruction are unique. Cesare CarrenoP yAH this, and more, at the touch of a button, if you possess a detriment both of the art and of the .Greetings and good wishes to The Jesse French & Sons’ ^e, Reproducing Grand THE TEACHERS Etude family of interested parents. In teacher who spends the time and money this cosy corner, all by ourselves, I shall for the necessary preparation. As an artist on your own account vou will also possess a grand piano with a name w5l known since 1875,” as well as a reputation for Quality First and Piano Violin hope that we may work out to a satis¬ Voice Music Advances First Quality.” Write for interesting free catalogs. factory conclusion the points that perplex Marcella Sembrich Josef Hofmann Carl Flesch But happily, music in America nas you in your children’s musical progress, JESSE FRENCH & SONS PIANO CO. Madame Charles Cahier and further, that we may become real made tremendous strides within the past Benno Moiseivitsch Frank Gittelson few years; the general public is fast be¬ Horatio Connell friends through our mutual interest in J and 20th Streets New Cast,e’ Indiana Moriz Rosenthal Richard Hartzer coming musically educated; and we have Emilio de Gogorza two of tlte most delightful and fascinat¬ ing things in life—music and children. a noble army of experienced teachers David Saperton Sascha Jacobinoff devoting their best efforts and unlimited Harriet Van Emden Because r have been both a mother and energy to the musical advancement of our Madeleine Walther Isabelle Vengerova Emanuel Zetlin a trained teacher I feel that I can he of children—and I might add, in the main, some help to the musically untrained an army as yet unappreciated, and shame¬ Harp parents of the multitude of children en¬ Homework Viola Violoncello Orchestra fully underpaid. We must educate the gaged in the study of music, in whose parents to a realization of the necessity Louis Bailly Felix Salmond Carlos Salzedo Leopold Stokowski homes Tin, Etude is a regular visitor. of scientific pedagogy in the study of I say the study of music advisedly; for on aHOHNER music. They must be made to understand that is what it should be from its earliest Students not only pursue their major subjects under distinguished artists but in all their supple- its fundamental economic value. We beginnings. Unfortunately, too often the must hammer continuously upon the fact Is Fun! mentary studies they have most unusual advantages. Thus, students of singing may have instruction children are merely “taking music les- that the beginning lessons are the most Music plays an important part in repertoire and interpretation from Richard Hageman; diction from a number of eminent specialists; important, and that the best teacher in the education of the boy and and in the theoretical department receive such instruction in solfege and harmony as is necessary for Untrained Parents, Victims obtainable is the one to have at that stage. Because The Etude comes into your girl; and to-day the harmonica is their general musicianship. The students in piano may be coached in accompanying by Richard Musically untrained parents must ac¬ home it is but natural to conclude that playing an .important part in musi¬ cept with blind faith the instruction in you are interested in music, or that it cal education. Hageman; may work in ensemble with Louis Bailly or Felix Salmond; take Wanda Landowska’s .music that their children receive. As in Is there upon the recommendation of the Any child can quickly learn to afly other specialized subject, unless they lectures on Ancient Music; and, if qualified, may study composition with Reginald O. Morris or teacher of your children. In either case play a Hohner Harmonica with the have had some training themselves they then, we can safely assume that you Rosario Scalero. For students of the violin, viola and violoncello, there are the ensemble classes are incapable of judging the qualifications aid of the Free Instruction Book have selected a wise and intelligent teach¬ available i to music teachers and of Mr. Bailly and Mr. Salmond, practical work in the orchestra under Leopold Stokowski, special of those who teach their children. In all er, and that your problems are going to common subjects the parent is protected others through dealers, or direct. orchestra classes under Marcel Tabuteau, as well as the usual theoretical work, and composition be only those of keeping the children by adequate school laws, and the children interested in the subject of directing the There are no long hours of study if they are qualified. Similar opportunities await those that study harp or one of the many orchestral are reasonably safe. In music and pic¬ practice habits, that the best results may and practice—just a few minutes a torial art, however, they have no legal instruments. be obtained from the time put into it or, day, at home or in the school—and safeguards; and when the time comes to perhaps, the clearing up of some points very soon the pupil will be playing Moreover there are rich opportunities to secure a sound background of general culture through select an instructor the parents must relating to methods or materials. popular, classical and operatic se¬ depend upon the popularity of the teacher, lections. the classes and lectures of distinguished educators, authorities and critics, and to hear in recital and the advice of friends, perhaps no better Let Us Help Homework on a Hohner is fun! qualified than they to judge, or the en¬ concert the artists who make the faculty. But, whatever they may be, I hope you thusiasm of their childrens’ playmates for It teaches accuracy, rhythm and will bring them to this department that The sole qualification for entrance is the possession of native musical talent worthy of bein some particularly favored teacher; and expression—the. basis of a musical we may work them out, not only for none of these sources is absolutely reliable education. If, you are interested in taught by these great masters. For those who can pay, the tuition is very moderate To those of yourself, but also for the benefit of other or to be desired. knowing the possibilities of the har¬ parents similarly perplexed. After all, exceptional talent who cannot pay financial exemption is granted. r Since most parents believe their children most of the problems pertaining to any monica as “a stepping-stone to seri¬ Peter W. Dykema, Prof. School Music, have musical talent, which in the majority Columbia University, New York. subject in life are common to every one ous musicianship,” write M. Hohner, Dorothy Enderis, Ass t Supt., Mil- of cases is likely to be true, there is a of us and need only thought, and per¬ Inc., Dept. 204, 114 East 16th Street, For Catalogue and other information address William E. Walter, Executive Director greater amount of time and money spent I WWaAk"Gore, Supt. Schools, Webster haps some specialized training, for a ready New York. in the pursuit of music than in any other NeUie^'C?10 Hudd, Principal Mozart solution. Indeed, just getting the view¬ The Curtis Institute of Music form of art. School, Chicago. _. . point of somebody else will often clear Harry Keeler, Principal, Lindblom High If these teachers were always carefully Rittenhouse Square Philadelphia Pennsylvania up a very complicated matter that we School, Chicago, Illinois. , prepared, then the excess would need not Edward Randall Maguire, Principal have looked at too long from one angle. hohner Junior High School 61. N. Y. C. to be deplored; but so long as we have no W. H. Wheeler, Principal. Alton Com¬ Let me again assure you of my in¬ legal standardization for music teaching, ’ Harmonicas - munity High School, Alton, Illinois. terest and cooperation, and welcome you and no laws protecting the public therein, —AND MANY OTHERS— into what I hope may become a happy the popularity of the subject and the easy family of Etude parents—the fathers, as money to be made thereby is going to keep the profession overcrowded to the well as the mothers. Please mention THE ETUDE when addressing our advertis SEPTEMBER 1926 Page 687 THE ETUDE THE etude Eage 686 SEPTEMBER 1926 The minister and the organist can each if no singing leader is present), and in . his share in helping to improve con¬ so doing, maintain a perfect rhythm and HE DIFFICULTY of finding some¬ T gregational singing. The minister can call steady tempo. If the congregation is large one to blow when there is no me¬ Mention to the merits of the' hymn itself, or if it shows the slightest tendency to chanical blower, the distance of the •Inning its author, and reading one or church from one’s home where there is one, The Organist’s Etude drag or flatten in pitch, playing the upper "!are of the verses. The organist, in play- three voices as detached chords, while keep¬ the expense in both cases and the fact, in L the prelude to a given hymn can sug- ing the bass part legato is very effective. some instances, of a church being open for Edited for September 7st its special character by the use of No form of music is more inspirational private prayer'all day, these and other fac¬ Liable stops, afterward enlarging the reg- tors dangerously reduce the amount of By CLEMENT ANTROBUS HARRIS than hearty congregational singing of good Of course, the staccato touch cannot be Lration in playing for the congregation. practice which an organist can get on his Eminent Organist and Choirmaster of Adelaide, South Australia maintained on the third note, E flat, of the Tt is very necessary for the organist to hymn tunes. Why should not this be de¬ own instrument. Faced with a Bach It is the Aim of THE ETUDE to make this Organ Department “An lower part unless a second break of the lead the congregation in singing (especially veloped as much as possible? fugue, a Rheinberger sonata, or a Widor Organist's Etude Complete in Itself” tie, plus the introduction of a staccato symphony, to be mastered, perhaps, at short note, is made in . the upper part which notice, the case at times seems desperate. plan is followed as a matter of taste. Pedal Points Moreover the difficulty is often a ■deter¬ rent to pupils. To so balance oneself on Ex. 4 By E. A. B. the stool that one can play high notes on Getting Organ Practice on the Piano the uppermost of three or four manuals Part I. pedals, extend each foot (in the opposite with both hands, while playing low notes Are you one of those brave, brave or¬ ganists who use both feet when they play direction to the other) as far as possible. on the pedals with both feet, and at the. resorting to this device, a: the following A favorite modern device is to play on same time to feel no misgivings ah'about the extract from Bach’s Trio i C Minor will two manuals simultaneously with one the organ? If so, let me first congratu¬ You will find that the right foot reaches rest of one’s anatomy in relation ^ -— hand—generally the right hand, but some¬ late you; and then inquire whether you about to Bb, the left about to Ft. Now in bench—this at first seems impossible with times both hands. Almost invariably such know which foot to use when. Of course, general, the notes below that Bb are the practice, let alone without it! Add the Ex.l passages can be played on one keyboard, that question is quite a poser, and is the domain of the left foot, whereas those Passage with Pedal Part Premier Aristocrat Small Grand Model manipulation of stacks of stops at each the only objection being, as in the pre¬ more difficult in that it belongs to that above the Ft belong to the right. And be¬ vious case, that doing so is much easier category of questions which can never be 5 feet, 3 inches long. Price, $725. f.o.b. New York side of the manuals, thumb-pistons between Manual i npHE CRUX of the wh'le matter lies tween the Bb and the FI, the feet can be than playing them as written. Care must answered, very accurately, at best. them, and two or three sets of composition x in the fact that the harmonic bass of ITH the resumption of school and college activities, tthi* ar‘,8‘^ be taken to adopt the fingering necessary Here is one way, though, that you can used nearly interchangeably. W and coupler pedals, a swell pedal or ped¬ a composition being, as it- name implies, Of course, as we all know, there are Baby Grand Piano is again proving a most valuable aid to t als, and possibly a tremolo pedal under- Manual II when two manuals are used and not that determine approximately when to use the the foundation, can never be omitted. Cer¬ many occasions when one foot enters the music teacher. neath them, and two books to read from, which might be better if the ultimate ob¬ left or the right foot: Sitting on the tain principles—not arbitrary rules but other’s precincts; but the rule that we have The Premier Aristocrat Model has a remarkable history of achieve¬ one music, the other printed words, and— ject was to play them on one. Very fre¬ organ bench, cross your legs—taking care natural laws—apply to it which are appli¬ laid down is true 99 and 44/100 per cent, ment aL is Lnstent’y demonstrating its artistic worth in studios and well, no wonder an English cathedral or- Pedal quently one part consists of a long sus¬ that the right is placed over the left. With cable to no other part. (The harmonic bass conservatories from coast to coast. ganist estimated the organ pupils of the tained note which the other part crosses. the feet still crossed and resting on the of the time. By breaking ties this passage can be played not" deter the student from in music must not be confused with the general practitioner as about one per cent, See and hear this instrument at your dealer. If you cannot obtain vocal bass. The lowest of any two or it locally, let us know. We shall tell you the name of our nearest of: thosemuse forIU1 voicevuilc andaim piano1 . . the resulting dTecMs^ver^ unsatisfactory, obtaining useful practice on the piano. In more (simultaneous sound-, i the harmonic Tn the average organist the position , f . . 7 , , all such cases the continuity of the sus- Mixtures representative. bass, however high they arc. or by what¬ New edition “Magic of Music”-most convincing literature-mailed would be hopeless were it not that a great aThan writtel Y Either hand tained note should be sacrificed> not the soft and insignificant that it is difficult to soever means they may lx- produced. But “To eliminate mixtures from the mod¬ upon request, also paper pattern, showing floor space requirements. deal of organ music can be practiced on £?£ b2t effect "s ^ the same distinguish whether they are in tune or not. where there is a pedal part in organ music ern organ is to deprive it of its chief life the piano; and most of that which cannot y raisin’g the left'hand. The Pltch' (Slnula*. Passa^ often occur in it always forms the barmen ic baiss except "Without properly and brilliantly voiced be played exactly as written can be adapted ? be represented by playing mu’sic composed expressly for the piano and brilliancy. swell and great mixtures (I do not allude Premier Grand Piano Corporation in the course of a pedal point.) Conse¬ “There was a strange theory presented { Baby Grand, Exclu, to the lesser instrument. Indeed, hose P quParter-notes with the ~a SS1“S °f Parf s which cannot pos- to a selected combination of overtones on quently to omit the bass would- be to hefe some years ago by a visiting organ NEW YORK who have not made the expenmen will be usitlg the sustaining pedal. Slbly be played exactly as written and the a choir dulciana mixture) there is a lack 514-580 WEST 23rd STREET vitiate the student’s ear, and to advertise builder that mixtures were an unnecessary -amazeda at ^the omnutitamount niof groundGround thevthey can— & & same rule applies.) A very -simple extract of harmonics, which abound in orchestral to all within earshot of hi' practicing- evil, as his new string pipes were so full Manually cover in an hour at the organ if they have Changing Manuals from a Widor symphony will be sufficient instruments. To overcome this deficiency room that he was devoid of (he most ele¬ of ‘over-tones’ that they more than com¬ first done everything which was possible WTT,_,T , , , , to illustrate this principle: as written, two m an organ, the old builders introduced HEN TWO manuals are alternated, manuais. mental musical sensibility ! Yet the pedal pensated for the lack of mixtures. The away from it. mixtures, or ‘filling up’ stops. To go both hands moving simultaneously part is the most difficult to master, and a idea was accepted by many of the American into the history of mixtures is not within Passage Without Pedal-Part -from one-- to the other,- as in producing- ... - piano has no pedal-clavier. So what is the builders and organists, and one by one they Ex. 2 the province of this article. All that need „ ... echo effects, the difficulty of getting effect- student to do? gradually cut out the mixtures. Possibly pHE STUDENT whose opportunities ;ve practice o{ the passage on the piano is be said is that in large instruments they are th-‘ ’chief reason was to save money on their tiuilmant Organ School A for practice are limited should study qu;te apparent—the reason being, of course, (Part II will follow) ~ of as great importance as an independently (AUSTIN ORGANS] tuning contracts—hence maybe, when such and finish on the piano all passages for nQ sb;0 js jnvolVed. For this reason voiced pedal department.”—Edwin H. skip is involved. For this reason stops were specified they resorted to what ■“THE standinganding of Austin in the one manuals only. The whole of the s* l * great city of Philadelphia, is indicated will often be advantageous from an they call dulciana mixtures, which are so Lemare in Diapason. ■ great city of Philadelphia, is indicated ond movement of Bach’s St. Anne Fuguerugue executive standpoint to play the second by Austin organs in St. Mark’s. St. Luke is a case in point. The difference in touch manual part an octave higher than as and Epiphany, St. Clement’s, Church of A Distinctive School for Congregational Hymn Singing the Saviour, Arch Street Presbyterian. need be no bar to this. It is possible to written though it' is not necessary to do so. Organ Schools Compared Cathedral SS. Peter and Paul. Girard Serious Students play just as legato on the piano as on the College, First New Jerusalem Church. organ. Not only so, but all piano playing By Edward Gould Mead By Herbert Westerby Free Scholarships should be legato, unless the contrary be ments; models of modern construction and beautiful churchly tone. _ Write for Catalog specified. The co-relative of this is equally Just as music is one of the essential mantic manifestation in organ music; its true. The staccato touch is just as practi¬ The recent Romantic movement has features of the church service, so the most characteristic and impressionistic school of AUSTIN ORGAN CoTl 17 East Eleventh St., N. Y. cable on the organ as on the piano, and in important feature of church music is the in Britain penetrated pianoforte, or¬ [ai organ composition is already well founded, Woodland St. Hartford, Conn. I modern playing is nearly as frequently- hymn singing. No matter how effect¬ chestral, chamber and choral music, and to called for. (I say in modern playing. ive and pleasing the singing of a choir some extent British songs. But it still and it remains for British composers to rather than in modern music, from a con¬ or soloist or the playing of the organ is, lingers outside the realm of church music, follow their lead and instil the spirit of viction that the older composers used far it is the singing of hymn tunes by the a school that is quite unique in itself, and Romanticism into that as well as other INSTRUCTION IN more varieties of touch and tone-colors congregation that constitutes the musical in its outstanding composers for the organ. branches of British musical art. than it has been customary to adopt in essence of the service. Yet the fact re¬ America is ahead of Britain in the Ro¬ THEATRE ORGAN PLAYING playing their works which were for long mains that in the preparation of the music _ Practice Facilities. Special course for rendered in a studiously “stodgy” man¬ for the church service little or no attention Double Pedaling In Hymns pianists changing to organ. ner ! Expression marks are of compara¬ is paid to the practice of hymn tunes, at Advanced pupils have the advantage of tively recent introduction; not so expres¬ lessons before the screen under the Send for FREE copy of the 28th ANNIVERSARY least by the congregation. Yet if the con¬ By Helen Oliphant Bates same conditions as prevail in sion itself!) gregation is not familiar with these tunes any large theatre. the ensemble singing can not be made im¬ then glide noiselessly over the tops of the OUR PUPILS SUCCEED WHERE OTHER and WHY our graduates head the profession in all part, Manuals Simultaneously ORGANISTS FAIL of the world. With Bryant’s patented devices, tools, pressive, even though the choir has re¬ The treatment of hymns may be varied keys, always keeping the foot in contact charts and lessons, one learns quickly and easily. Low LMOST THE ONLY difficulty likely by playing both the bass and the tenor on MONEY-BACK A hearsed the hymn tunes well and leads with the pedal-board. VERMOND KNAUSS SCHOOL OF GUARANTY. ?io^to - to be encountered in playing organ with much assurance. If time were found, the pedals. This requires careful practice, After practicing each foot separately, turn ie8'gRY°ANT SCHOOL OF TUNING manual parts on the piano is when two say, at the weekly prayer meeting, to prac¬ or a jumpy, unrestful effect will be the put them together, taking pains to bring THEATRE ORGAN PLAYING 72 Eryanl Building _Augusta, M.chi». manuals are in use simultaneously, and the tice on the hymn tunes for the coming result. Each foot should be practiced both feet down at exactly the same time 210 North 7th St., Allentown, Pa. alone, and the attention should be directed hands cross. Even then the crossing may Sunday, drill could be given on the sep¬ Nothing is more inartistic than to have the Choral Conductors and be so extreme as to be practicable on the arate parts and proper phrasing observed toward eliminating unnecessary motions parts coming in one a ter another. piano by crossing the hands on the one to bring out the true meaning of the and making the necessary motions as When the two pedal notes do not lie Choirmasters! keyboard. The last page of the famous legato as possible. On the piano, if the verses. over a third apart, it will sometimes facil¬ Toccata in F, which concludes Widor's Many churches have poorly edited hymn weight of the hand and arm is carried ‘‘Fifth Organ Symphony,” is a striking in¬ itate a connection to play the two parts books in which the verses of the hymns from one note to another, a simulated 4 Best Choruses—3-pt. Women stance of this. The left hand has chords wdth flic same foot. To d. .hi., .an. .!« are printed underneath the tunes to be sung, legato is obtained even when the hand must 4 Best Choruses—2-pt. Women an octave higher than the broken-chord foot sideways, at right angles with the 4 Best Choruses—Men’s or, what is far worse, on the page °P hiove from one section of the keyboard to passage in the right hand! When the pedalboard, and hold the arch high 4 Best Choruses—Mixed posite the music. In either case reading another. The same principle should be em¬ hands are nearer together the difficulty is Double pedaling should be used m the 4 Best Anthems—2 pt. Women the notes is made difficult for the average ployed with the feet. If you wish to make often greater. But it can generally be church service only when it can be done 4 Best Anthems—Mixed singer. Moreover many airs are found in the skip of a fifth, for example, do not 4 Best Anthems—Men’s overcome by simply playing the right-hand smoothly and when the character of the hymn books which are either unsuited to pick your foot up and hunt around in the 4 Best Anthems—3 pt. Women part an octave higher, or the left-hand an their texts or musically inferior. Every air for the next note. But before leaving hymn is suited to this kind of treatment; octave lower, or, in extreme cases, both. but as an exercise it may be applied to any HAROLD FLAMMER, Inc. church should provide itself as soon as the firsj note, turn the foot in the direc¬ THE SPENCER TURBINE COMPANY F.ven the possession of a pedal-piano or 113 West 57th Street, New York, N.Y. tion of the note to which the skip is to be £mn and will be of value in improving HARTFORD ""““"'CONNECTICUT practice-organ, if it have only one manual, possible with well-edited hymnals, as “Hymns of the Christian Life” or “Hymns $iade, form a mental impression of the pedal technic. Please mention THE ETUDE when addressing our advertise will not always obviate the necessity for CLEMENT ANTROBUS HARRIS of the Living Age.” distance it will be necessary to slide, and SEPTEMBER 1926 Page 689 the ETUDE the etude % . WEAVER Detroit LAWRENCE .< n. 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UNIVERSITY Cincinnati (fomertatom-Jusic A COMPLETE SCHOOL OF MUSIC CHURCH and anoforte—Voice C CHORAL MUSIC Musical Composers, Attention! issHS-s-'- a,ld DirfcCt°r and^OaTsu^Ci^cinnat^Ohio teffiSssSsaSui DANA’S MUSICAL INSTITUTE ■JSJSBA! The Only University of Music in the World DENVER Six'4th prizes of S35.00^each for the next six most attractive unpu rZerlT. rtdT :rhST26PUn s •' : SpeCiaI MUSk SuPervi80rS C°— COLLEGE of MUSIC, Inc. 1822 Sh DeanAP‘ LUT|PN Catalogue on application to LYNN B. DANA°PrL Deskh”.' ^ $660.00 in 12 PrizesJn^ Cash FCblfend for9ou'r special announcement folder outlining all con¬ DUNNING SYSTEM °nTlS“s ditions and rules of the competition. Lorenz’s 6th Anthem Competition FALL TERM, SEPTEMBER 20th LORENZ PUBLISHING CO. SAINT LOUIS, MO. Esssnuss KROEGER SCHOOL of MUSIC All Branches of Music Taught Send for Catalog M„. Laud German Phippen, 1536 Holly S.„ Dallas, Te Ellie Irving Prince, 4106 Fore.t Hill Ave„ Richmond, Vi Virginia Ryan, 940 Parh Are. New York City. Isabel M. Ten., 626 S. Catalina St., Lo, Angelea, Calif. .. H. R. Watkins, 124 El NO TEACHER g^Md«p SCHOOL OF INSTRUCTION IN ALL PIANO-VOICE-rr' string and wind ORGAN—DANCING—I MUSIC ENSEMBLE—COI One of America’s Finest Institutions Devoted to Education in Music faculty in ever) FULLY ACCREDITED COURSES LEADING TO ^rpr^cTencVasrap^as CERTIFICATES, DIPLOMAS AND DEGREES with thorough, intelli* qA An Uneqi by authority of the State of Illinois reed wind instr SAXOPHONE A School for Music Students’ Club of 35 players bespeak The Mature Musician The Public School Teacher department. Saxophone ] high artistic standards. The Young Artist The Ambitious Amateur Become a Band or Oi or a Certified Teacher The Teacher of Music The Talented Child for Saxophone, Clarin Write for Faculty B( Training in the following departments: Loan Fund Piano, Voice, Violin, Theory, Violoncello, Normal Training, Public School Music, Chorus Singing, Correlated Arts, History of Music, Ensemble Orchestral, Professional Accompanying, Conducting, Harp, iirass and of Wood Wind Instruments, Dramatic Expression, English and Psychology. flIRVIN VIOLIN RAMON B. GIRVIN, Director Send for complete catalog $12,500 A SPECIALIZING SCHOOL Columbia School of Music To assist students lacking sufficient Box E, 509 South Wabash Avenue, Chicago means for their study, the Alumni Telephone Harrison 5930 Association of the Sherwood Music 1430 Kimball Hi rner Wabash Ave. am' School is providing a Music Stud¬ '‘Is®*-CHIC/ TheGunn School 0% g’turrrtt £d?nol ents’ Loan Fund of $12,500; to be CONSERVATORY of distributed in amounts averaging of Music MUSIC $500, and used to defray the 1926- ANDDRAMAncART 27 tuition expenses of new students Teachers' Certificates CHICAGO Courses in Piano. Voice, Violin, Organ, Them. Wabash Sta., EM-2 ^Tttsbutgh.Pa. enteringthe Sherwood Music School, DTL °'’SP«7f™ndUDraCma"ie An nnd Public GLENN DILLARD GUNN School Music. Special Dept, for Children. beginning with the 1926 Fall Term. President I athletics. Horseback riding Fireproof building th ample ^grounds. Two beautiful dormitories d ATTENTION !_! 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Scholar¬ THEODORE PRESSER CO. Bulletin sent free upon request 1712-1714 Chestnut St., Philadelphia, Pa. ships donated by Schipa, Galli- W. ST. CLARE MINTURN, Director Alumni Association Curci, Melius, Raisa and other great artists. ======of the ======Diplomas, CertiScates cf Awards, Medals an Fine Arts Building CHICAGO Cther Requisites for Awarding Pupils Completing Courses in Music WRITE FOR CATALOGUE MUSIC PRINTERS SHERWOOD MUSIC SCHOOL THEODORE PRESSER CO. 300 FINE ARTS BUILDING • 410 SO. MICHIGAN AVE. 1712-1} Chestnut St. Phils., P- CHICAGO, ILLINOIS BEETHOVEN Send ro?ZCnd! Jr°y Rates the BROS. EPSTEIN CONSERVATORY O0„?c? mney, St. Louis, Mo. chools in the United Slates ] 6 mention THE SEPTEMBER 1926 Page 693 the etude fllE ETUDE Page 692 SEPTEMBER 1926 Environment Tells A- Sunday-school is sweeping along on a of pieces which range from difficult to /—j—v HOUSANDS of young vi.olinists Seventh, if you open a studio, try and firring air, the violin on the next verse very easy are less widely-known solos [_ and violin students all over the establish it in a good residence district, in S rise an octave higher, which usually that contain the spiritual quality which the A Guaranteed Violin country are interested in making a room on the. first floor, where you can Playing the tune in the third posi- violinist seeks for church use: Souvenir, Master Reproductions a start as violin teachers. Some wish to have your sign on the front of the housv ■ with an occasional stretch into the Drdla; Cradle Song, Hauser; Andante, The artist will find in these violins make it a permanent profession; some The Violinist’s Etude You will get many transient pupils in this l'0?rth Needless to say, the intonation Gluck; Naclitstiicke, Schumann; Melody qualities supposedly found only in a wish to use it as a side line to make a lit¬ manner. Eighth, make an arrangement, if i°ust be flawless. The violin soars, flute- in. T), T. D. Williams; By the Brook, Rene finished in detailed reproduction of tle spending money; while others hope to Edited by ROBERT BRAINE possible, with pianists, vocalists, and teach¬ with a particularly pleasing effect. de Boisdeffre; To a Wood Violet, M. W. cam enough by teaching to pay for their ers of various instruments, who do not This may be done with good results in Felton; Nocturne, Op. 2, Alfred Karpasch; ine old master model. Each violin is own lessons and musical education. It is the Ambition of THE ETUDE to make this Department teach the violin, to recommend you as a Sunday-school, thbugh it is usually too Hungarian Love Song, Helen Ware ;Cava- tina, Raff. then graduated and adjusted by The Etude receives many letters simi¬ “A Violinist's Magazine Complete in Itself" violin teacher to their acquaintances. You stwy V church use. It is also needless lar to the following from a young violin can return the favor by recommending ,o $ay that it requires considerable prac¬ Practical Benefits student in New York City, who writes: these teachers in their respective branches tice in private, as both notes and fingering Nothing so tends to the growth of any TO MAUN l Air. rcnri-v. “1 would like you to give me some advice to your own friends and pupils. are changed. gift as its serious use, and the church adjustment for one year on the teaching profession and tell me if In smaller cities the getting of pupils On special days in the church and Sun¬ violinist will find his musicianship grow¬ Every violin worthy i i| Master Reproduction I am capable of teaching. I am a student Violin Teaching is much simplified. The prospective teacher day-school the violinist may make his — ing. His continual effort to make the eighteen years of age, and am studying soon becomes well known if he plays much tribution to the program, playing ann cobbli- violin sing out will work wonders in t< with a reliable teacher. I am fairly ad¬ it is exceedingly difficult to get a start as dint of taking infinite pains, and by their in public, and makes as many acquaint¬ eato or the offertory, or a solo of his If the choir rehearses under a good leader vanced, having gone through Kreutzer, love of teaching, turn out excellent pupils. a violin teacher unless one has remarkable he will gain in phrasing and expression. ability and a very large circle of friends. ances among the musical people of the His’solos should be selected with taste The VEGA Co. Rode, and other studies, and concertos by Then we have the really good violin Occasionally the church may have special I have known violinists to spend years in town as he can. He must, of course, do and care. There are some pieces of music well known composers, such as Kreutzer, teacher who is indeed a fine artist, but who services in which some professional choir 159-81 Columbus Ave. trying to build up a business in violin a certain amount of advertising, have that seem to lift the soul to a nobler my Vega Master Reproduct Boston, Mass. Viotti, Rode, and DeBeriot. I have just combines with this ability as a player ex¬ leader trains the choir. Here is a golden teaching in New York City only to fail in cards printed, and let people know that he atmosphere. These are the solos for Company behind the started to teach and am trying my utmost perience, patience, and love of teaching. opportunity. the end. Teachers of very great ability, is teaching. Personal solicitation is also church use. The violinist will strive to to get pupils, but I have not one pupil yet. Such a teacher will naturally turn out pu¬ Why should not the violin be more used As an Etude subscriber, and as one of who are well known in the musical profes¬ a good plan for securing pupils. The find such music, and to avoid_using the. pils of high attainments. Such well- in our smaller churches? The pastors are your readers I hope you will give me your sion, do not have any trouble, of course. young teacher can get prospects from his same solos over and < Just what class of teacher our young Schubert’s Serenade, willing; the people welcome it. That it They simply let it be known that they can pupils and from his friends and ac¬ known pieces best advice on what to do to get a start correspondent will become a member of is is not more used is the fault of the violin¬ take a certain number of pupils, and pupils quaintances. Getting new pupils anywhere Dvorak’s Humoresque, and Mendelssohn’ in the teaching profession.” hard to say. Time alone will tell the ists themselves who overlook this oppor¬ flock to them, no matter where they lo¬ is a matter of hard work and business Spring Sony have been fairly played to story. I should want to know him per¬ tunity for growth and service. The Beginners sonally to make any predictions. cate. This is especially the case as regards ability, and the young teacher who folds death as violin solos. The following list his hands and expects business to come to If this young man has a genuine talent The reason why this young man finds teachers who have produced pupils who I OLD VIOLINS^ NEW VIOLINS him without solicitation is often disap¬ for the violin, has studied the works he so much difficulty in getting pupils is prob¬ have become eminent in the violin pro- names with a good teacher, and can play ably owing to his youth. Eighteen is pointed. _ CELLOS - BOWS-CASES them in an artistic manner, there is no very young for a music teacher, for people In a large city like New York, the fol¬ The Last Teacher lowing suggestions in getting a teaching FINEST ITALIAN STRINGS doubt that, theoretically, he has sufficient usually look for teachers older and more Playing the Violin in Church The artist pupil stood before his teacher. Play for audiences of all kinds. Try to business might help: First, send an¬ knowledge to teach beginners and pupils experienced to whom to trust the musical great master of the violin, who had feel with them, and establish a common nouncements to all your friends that you in the medium grades of violin playing. education of their children. In like man¬ worked hard and faithfully for years to bond of sympathy with them, thus making have opened a studio, or that you are pre¬ By Berta Hart Nance Gittelson b Howard His success will depend on whether he has ner the boyish doctor finds it up-hill work teach him the true principles of the violin a mutual inspiration between player and pared to give lessons at the residence of 33 W.ST. N EW VORK the knack of imparting to others what he to get patients, and the juvenile lawyer to art. The pupil had studied with the hope audience. The sympathy of the audience get clients. your pupils. Second, have cards printed knows himself. “Bring your violin and help us in the of becoming a concert violinist, and this will nerve you to attain climaxes and sub- to distribute to friends and acquaintances Violin teaching is a gift. Some people choir.” How often the budding violinist was his last lesson at the conservatory tleties of expression which you have never WRITE FOR CATALOG Age to Begin and to leave at music stores, or with friends are natural born teachers; some learn to hears such an invitation from some kindly before his graduation on the morrow. imagined in your private practice. Prob- However, youth is not as great a bar to who will help distribute them and recom¬ teach well only after long years of ex¬ minister or church worker. Very possibly The young man took his violin down lems in interpretation and expression, VIOLIN ACCESSORIES EXPERT REPAIRING getting a start in the violin teaching pro¬ mend you. Third, if you are a good pub¬ perience; while some never learn it. I the violinist disdains to play in church and stood chatting for a few minutes with which you have never understood, will fession as it is in other professions. The lic soloist, play on every occasion you can, have known many excellent violinists, except for an occasional solo. What could his teacher, about his future career. become clear to you in the excitement you splendid artists, who could play the great young teacher usually charges much less making as many friends and musical ac¬ he learn, he thinks, from playing easy “Do I need another teacher, now that will feel when playing before audiences. We specialize in perfectly adjusted concertos in public, yet who were utterly than the older and more experienced one, quaintances as possible, and letting it be HUBU5T EEMUNDER Si S0N5 songs in the first position ? His instru¬ I have graduated under you,” he asked, “Then the applause of the audience will incapable of producing good pupils. They and this with many people outweighs his known everywhere that you are looking Makers of the World Famous ment would scarcely be heard, anyway. As “or have you taught me all that I have to be a great incentive. The first applause VIOLIN OUTFITS could play these great works themselves, youth and lack of experience. However, for pupils. Fourth, advertise in the musi¬ a matter of fact, however, when a violinist know about violin playing to become a the young artist gets when he plays at a used by many of America’s most but how to lead students up the long and in the present instance eighteen is very cal papers, if you can afford it. “GEMUNDER ART” VIOLINS works with a choir he gains any amount successful concert violinist?” great concert fairly lifts him out of him- discriminating teachers arduous path to this proficiency was com¬ young, and our correspondent who hopes Fifth, when you begin getting a few of useful information as well as an oppor¬ The great teacher paused for a moment, self. He is a different being. Passages pletely beyond their comprehension. Some to make money from violin playing might pupils, give pupils’ recitals, for this is the Our Handsome Catalog sent upon request tunity for growth and service. and seemed absorbed in thought. “Yes, in his concerto, which have seemed more violinists dislike teaching. They lack find it better to play in an orchestra for one best method of gaining new business. The first requirement of success in such there is one more teacher you need," he or less commonplace, take on a new mean- patience, and the continual mistakes made a few years before starting to teach. It Also our Catalog_ Even if you have only a single good pupil, work, as indeed in all religious work, is replied, “one of the very greatest, a teacher ing. Under the heat and excitement of by their students irritate them, and make all depends on the individual and how he prepare him as soon as possible for a re¬ We specialize in fitting Violins to take it seriously. The voice of a violin, who can impart things to you which none public performance, they trumpet-rl1Trirlp " « FRIEDRICH Hit them realize their inability to teach. Very impresses people. If he can gain their cital which he can give by himself, possi¬ individual Violinist lifted in some soul-stirring hymn, may be of your other teachers has r succeeded tongued like the voices "of angels. No trouble to answer question. 279 Fifth Avenue often we find teachers, some of whom confidence and convince them that he can bly assisted by a pianist or vocalist whom used of God as effectively as the voice of have considerable ability as players, who do the work, he can no doubt build up a you might ask to help. Sixth, try and get a doing.” Effects of Applause 125-127 West 42d Street, New York City New York, N. Y. a minister. Also, the violinist should re¬ “And who is that?” asked the student simply confess defeat when it comes to satisfactory teaching business in time. a position as assistant to an established member at all times that this is an oppor¬ “The effect of applause and sympathy Read The Violin World, $1.75, with 45 Solos teaching. They walk around the room, As to the chances of gaining a good violin teacher who will turn over the be¬ with great interest. “Tell me the name on the part of the audience was strikingly We invite inspection of our exhibition of tunity to assist in the church service and and address of this great teacher.” look out the window, eat apples, read let¬ sized class in a short time, the size of the ginners and the lower-priced teaching to not an opportunity to exhibit his own skill. exemplified when a company of foreign FRIEDRICH VIOLINS ters, and pay very little attention to what city has a great deal to do with it. This "His name is Prof. Audience,” said the you. Hundreds of music teachers in large He will therefore strive to make himself actors toured the United States The Sesqui-Centennial the pupil is doing. It goes without saying young man lives in New York City, where master with a smile; “and he is the teacher VIOLINS cities have gained success by this course. as inconspicuous as possible. He will be afh" years ag0. One of the audiences they that teachers of this class never produce with whom every violin student must study > ” was SQ coId and lacking in sym- Deep, Mellow, Soulful International Exposition early, get his tuning done, his stand and good pupils. to gain the final polish and finish necessary v J appiause that it literally froze PHILADELPHIA case disposed of, and his music arranged to make him a successful concert artist. actors> blood) and they found it im- June 1 to December 1, 1926 Problems of the Teacher before many people come. I mean by this that you must have much ;ble tQ ;ve a g00d performance. One Block 44, Section K He sits, when possible, at the treble side Violin teaching is one of the most diffi¬ experience in playing for audiences before P decided to take the bull by of the organ or piano. His relations with cult and arduous of all professions. The irtn the horns and let the audience into the ideal violin teacher must not only have the other members of the choir, needless The audience will inspire you and teach to say, should be pleasant, but one thing so-is;. c_0 good performance studied his profession thoroughly, but he you things in expression, that no amount Going before the curtain he said, ‘Ladies must also have an artistic nature and a he should insist upon, even to the point of of private instruction and studio work can The WILDER MASTER PIANO COURSES stubbornness, is a clear space about him and Gentlemen,’ you do not applaud. May¬ boundless stock of patience, which must be it is our fault. However, with a little be exercised with even the dullest pupil. in which to draw his bow. For its full Tell How to Master Memorizing-Sight Playing—Accom¬ encouragement we could do better. Great experience is necessary, for every sweep is nowhere more needed than in the How the Audience Helps “The audience took the hint, applauded panying — Conducting — Interpretation and pupil is a law unto himself, and no two work he is going to do. “The psychological effect of audience His work is more exacting than is at liberally the balance of the evening with Note-Values and Rhythms can be handled exactly alike. Above all, « Pla^r is very great, and the bond which J^i“Xgrr ao magnificentmacrninC.P.nt tier-per- the ideal teacher must love to teach. He first apparent. His attempt to blend the s established between player and hearers must take the greatest possible interest notes of his instrument with the voices - - - - ■ • formance. ... These Five Courses may now be ordered from your Local Music 5 a; , source~. of inspirationr to the player ' “The ’violinistviolinist whowno does much public and pleasure in watching the development of the singers will soon show him faults which he can get in no other manner. The . very differently from Dealer or direct from the Publisher at 31.50 the Single that he did not know he had. A false of his young violin students, budding and audience feels with and sympathizes with °‘°o^b0 does not, for he has been in- Book, or 35.00 the Set of Five Books note or a slight contact of the bow with flowering like plants in a nursery. If he he player, in such a way that he is m- “““ ™ his audiences. dislikes teaching and lacks the necessary a string other than the one being used spired and buoyed up to bring out the ^ ;ndeed my young friend, there is West Newton, Mass. is instantly apparent. Steadiness in keep¬ THE WILDER PUBLISHING COMPANY patience, he may as well stop right there, Pathos, the passion and inner meaning of otber teacher. Prof. Audience is the ing the time is important, for the violin is for he will never succeed in turning out ‘he composition in a manner which he “j of ajj_tbe supreme teacher, the a leading instrument, and, if it drags, it even mediocre pupils. dream of doing when practicing f . jn matters of interpretation and This dislike of teaching is why we find will hold back the singers. Also, for the 4 ....t 0,0 ctM.lin Iasl WU1U _ .i - „„ ■n the cold, drab atmosphere of the studio He wiil teach you things EVERYTHING IN MUSIC PUBLICATIONS so many violinists, excellent as players, best results, the violinist should follow the or study room. words of each verse of the song as he other teacher who cannot turn out good pupils. On the Do as much public playing IF IT IS AN OBTAINABLE PUBLICATION YOU CAN GET IT PROMPT¬ contrary, we find many good teachers in Plays it, and not merely play the air over LY FROM THEODORE PRESSER CO., 1712-1714 Chestnut St., Phila., Pa. the ranks of violinists who are indifferent a certain number qf times. jssible the rendering of players themselves, utterly incapable of His work is capable of considerable and a large corps of experienced cU ublication quoted. Special service ,ou„ playing a solo in public. Such teachers variety. He may lead the sopranos or the *■*» * -rtf! ss of music publications cheerfully se know how the violin should be played, and - hn, y»„ now. / find fho, the .MMid’-Caa Ask about them. Catalogs of any c ROBERT BRAINE altos. In some songs it is possible to owing to their stock of patience, and by Eminent Authority On All Questions Pertaining to the Violin render both soprano and alto parts at once by playing chords on two strings. When SEPTEMBER 1926 Page 695 THE ETUDE tHE ETUDE Page 691, SEPTEMBER 1926 temple UNIVERSITY 1 School of Music TWO NEW COURSES COMBS CONSERVATORY PHILADELPHIA Forty-Second Year INSTITUTE OF MUSICAL ART CRITICAL AND PEDAGOGIC COURSE NORMAL COURSE FOR TEACHERS FORTY YEARS’ ACHIEVEMENTS hods of interrelating all theoretic subjects and correlating them During the past forty years A TOTAL OF 63,907 STUDENTS with the study of piano, violin, voice, etc. HAVE BEEN ENROLLED IN THE COMBS CONSERVATORY. Mr.John M. Williams NORMAL TRAINING CLASSES FOR TEACHERS OF PIANOFORTE ■ FALL TERM JOHN M. WILLIAMS. P. O. Box 216, Trinity Station, New York City GILBERT RAYNOLDS COMBS, Director P.M liTTD/^TT PIANO CONSERVATORY Violin Questions Answered V IKbl A. M. VIRGIL, Director By MR. BRAINE Lj NEW YORK SCHOOL TINDALE Superior RESULTS™14 WORLD-WIDE REPUTATION of MUSIC and ARTS H Music Filing Cabinet Season of 1926-27 Opens September 20th New York’s Oldest Music School Same ce.ehrated | SUMMER AMERICAN INSTITUTE MUSIC i 1 Flushing, New YoA City, N. Y. SCHOOL OF APPLIED MUSIC Violin MUSIC, ART, ARCHITECTURE Album of Favorite First Position Pieces 212 W. 59th St., New York City ' Price, $1.00 Favorite OkLTime Tunes GRANBERRY E NATIONAL CONSERVATORY INTERNATIONAL The Piano Compositions of OF MUSIC OF AMERICA Album of Transcriptions PIANO SCHOOL BY ARTHUR HARTMANN 149 East 61st St., New York, N. Y. or™ izc£",i°cr A. M. VIRGIL Also Church and Conce bl:lScSLHHofisS"i"s- For PIANISTS, ACCOMPANISTS and Price, $1.00 Opera ticSJelections TEACHERS arr. by p. a. franklin Advanceme They Secure Satisfactic VIRGIL PORTABLE dSSgtruts Pleasure KEYBOARD Price, 00 cents The Standard Violinist Price, 75 cents Virgil Pia VIRGIL PIANO SCHOOL CO. THEODORE PRESSER CO. 137-139 West 72nd St., New York DO YOU ENCOURAGE YOUR PUPILS TO ADD TO T SEPTEMBER 1926 Page 697 TEE ETUDE . Page 696 SEPTEMBER 1926 Iris Planted Now Will Develop Strong Roots For THE PRESSER PERSONNEL Beautiful Flowers Next Spring We are offering six beautiful plants and the Melbourne (Australia) A DEPARTMENT OF INFORMATION bearing blue, purple, white, yellow, lav¬ REGARDING ender and pink flowers. Ins will grow Introducing Press under almost any condition or climate. our patrons GRAINGER We will send you your choice of two tor to the highly New Music Works one new subscription or all six for three trained and HEADLINES: new subscriptions. experienced HEADLINES: AND OTHER MATTERS OF INTEREST This is your opportunity to beautny Members of Variety and Virtuosity. The Argus Jubilation sings in the veins of Percy Grainger your garden without one penny cash outlay. our Staff Grainger’s Way. Gorgeous and Prodigious. TO MUSIC BUYERS Jubilant and Sunshiny. as he plays, and over our souls he unfurls a ban¬ who serve Wins Triumph. Sun Nczvs-Piclorial ner of optimism. He is a iatterday Siegfried, in Sun News-Pictorial them daily. Bright Moods—Grainger Loves Them. Remarkable Versatility. The Herald spiritual tune with the resonant forests and the Save Money On Magnificent Programme. The Argus fresh hill torrents, and where Siegfried failed with Sun News-Pictorial Magazine Combinations A Fresh and Vital Pianist. The Herald A Unique Pleasure. his reed Grainger wins with his grand piano. Note the display ad. on the inside back Audience Delighted. The Argus Sun News-Pictorial. cover of this Etude. The opportunity to Frank M. Men Delicacy and Power. Sun N eivs-Pictorial Walking into our Retail store A Musical Souvenir of ,he observant person will note in luc excellent corps of experienced clerks Not only have co _ ting. The large audience Sesqui-Centennial magazines is yours. These prices are not there to serve, a neat, gentlemanly | too formal, but the .- thusiastic in its demand for many At this writing thousands of requests guaranteed and many will change during individual whJ at twenty feet might • " ’ Partita in B-flat Major »er Co., in establishing 'ir a young man not too lor uniformly dignified. Whc are reaching us daily for a free copy of the season so order early and obtain tne s largest music pub- | in the twenties, but after closer ob¬ the souvenir booklet “Two Centuries of benefit of the reduction. servation and seeing the despatch, “and dealing house, found it most American Musical Composition” that we assurance and courtesy with which lishing ^ upon the basis of 1 • ' — ishes requested music puhli- have issued as a musical souvenir of the it is soon apparent that in nf business with small profit per Sesqui-Centennial. experience and knowledge — and this is one of the things meant We have made a tremendously large bat belies the appearance of not Advertising “Mail Order Service to niavingaving given twenty-five years of edition of this valuable booklet, but it is his life to the Musk Buyers with Dispatch, Accuracy, impossible to estimate just how long we 1 The Presser Personnel [ Such an individual is ..... —. Economy and Courtesy. will have copies to furnish in response to Frank M. Merz, who is Assistant Manager of the Retail Department. - ..i ."-I'le prices cause the requests. Because of this we would sug¬ is to sell, and there- He is well-known to many music gest that our friends and readers who Introducing buyers, having sold considerable mu¬ >e found in Presser have not asked for a copy of this souvenir sic over retail store counters jfor , pillar market prices, our patrons I, »re joining the 1 and who would be interested in having to the highly H dore Press 3. Retail staff n but each year for the advertising value of this booklet with its portrait gallery of trained and L year 1911. »o greai »» >- introducing recent publications, a point is 432 American composers and among other experienced I development of our Retail store bus¬ made of pi u h . p irtlculurly low final in¬ iness that its Manager, Mr. John Y. features, a dozen and one complete musical Members of Blaetz, long has been handicapped troductory offer prices on publications compositions, make their request imme¬ our Staff bv the tremendous demands made who serve ion him and early this year it was Lee gained for these diately. , und necessary to create the posi- There is no charge for this souvenir and them daily. m of Assistant Manager, and Mr. i volume of sales; we are glad to have it well circulated was selected immediately therefore the low prices that are to the among the active music workers of s position-- of ——vonsibility.r advantage of the buyers also have their much extolling Amerka, as our part in seeing that there is /, since he has advantage to us. more or less of a permanent record ot ay G. Houghton Every one who is interested in music C This is an Introduction to many World War Honor American musical achievement made in nf o.ir readers, but to hundreds of should-go very carefully over the entire connection with the Sesqui-Centennial ex¬ i, having music buyers in Boston, New York ime Hu,,,,St of 01our men, is a good hus¬ btoud of Fall Bargain Offers to be found hibition, that has given music so great a --adelphia it is but a renewal Management: ANTONIA SAWYER, Inc., White Plains, N. Y. —intance, since Mr. Henry L. band and a proud father, but since on other pages of this issue of The Etude. part in its programs. space is limited we have to’he coo- Thev offer opportunities to save money Houghton has served In our Pbua tent with telling of bis business STBINWAY PIANO DUO-ART ROLLS delphia Retail Department since tributes and these entitle him to and make pleasurable acquaintance with 1921, and has had connections with high standing among the h“»t works of value' to those active in the music the G. Schirmer, Inc, New store from 1902 to 1912, and the Boston Music Co. from 1912 to j| The Presser Personnel 1921, and therefore has a wide ac¬ quaintance with music buyers Keep a Stock of Music in the East. Even prior to these dut<=» he has around ten more years in the Change of Your Own Studio Introducing music business to his credit, these years having been spent in the New Master Teachers of Fall-Winter In the United States there are at least our patrons . [ Address England Conservatory Music Store. -.QQ peo,,ie who live in communities to the highly [I At the New England Conserva¬ If your Etude has been going to your 10 dealer in sheet music exists and trained and r tory during his youth he obtained a Summer address be careful to notify us experienced . thorough musical education and he immediately of your change of address to enjoys a proficiency in both piano Members of and organ playing above the usual. your home town, giving both the old and our Staff H Mr. Houghton, during bis more 1 new addresses when changes are made. who serve g than 35 years in the music busi¬ Notifying the postmaster will not cause a ness, has seen thousands of new them daily, p music publications come on magazine to follow you as second class PIANO FACULTY market, has seen musical t I mail is not forwarded. Help us to give change with the times, has seen you good service by following the above hundreds of compositions achieve As each year brings mi- Richard P. Bander great popularity and thousands I suggestion. Retail more sink Into oblivion. Then again into the field, we find it A valued member of o in these years, there have been Fall Session Opens September 13th out again and again a 1 Department. Of emuse v countless publications achieve what of the Presser “On Sale” r»~Foii corvipe to music buy I might be termed a standard sale FOR SEVENTY-FIVE hut that wnicn wo 1 and to retain a working knowledge i system teachers may set Retail Department serves t of all these small, moderate and j ation pieces, studies or a ids who daily come . great “sellers,” Mr. Houghton has I CENTS YOU CAN ADD publications that meet our salesroom, at 1 trained his mind beyond the age in the retention of eorre ALEXANDER RAAB MAURICE ARONSON GUSTAV DUNKELBERGER they set forth in their req I ties, sub-titles, composers, TO YOUR MUSIC LIBRARY Music secured “On Salt igssggd lishers, etc. . , „ I the studio the entire seas Expert knowledge with Presser I ANYONE OF THESE ALBUMS Co.’s unequalled stock and liberal I EDWARD COLLINS C. GORDON WEDERTZ as many packages as tl policies make a perfect combination HARRY DETWEILER necessary may be secured YOUNG PLAYER’S ALBUM ^ 0V-;SfSaW5iSSwMSSsLibmry experts, catalog experts I for perfect service. of the season and all mus Other systematizes would be MOISSAYE BOGUSLAWSKI DAVID GUION sold to pupils is returnable ana payv Stumped in toying speed POPULAR HOME COLLECTION MAX KRAMM required only for the used portions 46 excellent numbers for the average pianist. ‘‘On Sale” shipments. POPULAR RECITAL PLAYER This arrangement makes it possible for 31 pieces that will delight the family good the teacher to keep a stock of music in the | Look Out For The above named Master Teachers have each consented to award Free Fellow- studio from which pupils may he supplied Swindlers STANDARD BRILLIANT ALBUM ^ ^ ^ shtps to the students who. after an open competitive examination, are found to instantly with pieces for the next lessons. Fall magazine buying is now coming with FREE FELLOWSHIPS a rush and fake magazine subscription possess the greatest g.ft for singing or playing. Application blanks on request. On this music the teacheis are allowed EXHIBITION PIECES professional discounts from the prices at they^'ant “Rose* Petals,” by Law- | agents are active. Pay no money to 22 brilliant solos for accomplished pianists. which the publications are to he sold to a stranger unless you are convinced of his OPERATIC FOUR-HAND ALBUM the public. 1 responsibility. If there is any doubt, take 22 excellent piano duets or operatic airs. Any teacher who has not used the con¬ ns prompt- I his name and address, send the subscription THE STANDARD ORGANIST STUDENT DORMITORIES SSiTtEZ.tS'S ~"ir„“kd — “ — venient “On Sale” system or who has not —■ price direct to The Etude together with 43 good pipe organ compositions. . rnces reasonable. Make reservations now. ly and Mr. Bender enjoyed the help of receiving the monthly it our country in the I the name and address of the agent and we VIOLINIST’S POPULAR^REPERTOIRE one yea*JTselvh”f Keen in me muon- . packages of new music “On Sale,” during I been in the musk will credit him with his commission, if any. the teaching season, should write for par¬ SShrs«Kre | I Every day we receive complaints from STANDARD SONG TREASURY ticulars. the unsuspecting public who have paid good 48 recital, concert, classic and sacred songs. ’SThe °TteodoreetPresser Co. -_g . money to so-called ex-service men, men deavors to mskethememe u I ur little Free Peonies For New claiming to be working their way through CHICAGO MUSICAL COLLEGE organization happy » “ college or getting votes in a popularity The Leading and Largest College of Etude Subscriptions ^c^^eBTs ^ld_i Mr.vReuder. contest. The Etude employs no schemes HERBERT WITHERSPOON, President Now is the time to plant peonies for 60 East Van Buren St. fCUUge Building) Music and Dramatic Art in America. available t • “sob-sister stories” to secure subscrip- THEODORE PRESSER CO. Chicago, III. Established 1867 CARL D. KINSEY, Manager next season’s flowers. We are offering three Magnificent peonies, red, pink, and white jStWVDS SEPTEMBER me Page BSS Page 698 SEPTEMBER 1926 TEE ETUDE Annual Fall Bargain Offers Annual Fall Bargain Offers Special Reduced Prices that will be Withdrawn October 15th, 1926, Positively Low-Priced Final Introductory Offers on a Variety of Recent Publications Prices Are for Cash with Order ' ' You Also Save Transportation Charges - - Use Offer Number in Ordering Failure to Make Selections from These Pages Now May Mean a Loss of Money Saving Opportunities Cantata—Mixed Voices Organ Collections Vocal Piano Solo Collections Piano Study Material SECOND YEAR STUDY BOOK ABRAHAM LINCOLN By Arnoldo Sartorio Price, 75 cents miniature suite POPULAR mNOLOGUES Text b Edwar'dSmSton Music by Richard Kountz FROM THE DALLES TO MINNETONKA TECHNIC FOR BEGINNERS Offer No. 7—Introductory Cash Price, 30c. For the Organ From the Repertoire of Coyla May Spring Price, £1.00 By Anna Priscilla Risher Price, 75 y Price Wiu. Be Withdrawn October 15, 1926 By Thurlow Lieurance Price, #1.25 r No. 1—Introductory Cash Price, 40c. Violin Studies SCALE STUDIES FOR VIOLIN THE LOST LOCKET ETUDES FOR THE VIOLIN By Hans Sitt, Op. 32, Book 1 Pr,ce’ 73 cent! Offer No. 23—Introductory Cash Price, 35c. _Jibs A£SSA Musical Plays Piano Four Hands ”*T“ |. HEARTS AND BLOSSL CELEBRATED LIGHT OVERTURES Comic Operetta in Two Acts Lyrics and Book by Lida Larrimore Turner »tEdr\ price’^- iPARATORY TRILL STUDIES FOR ed RE-to how this accom- ALBUM OF OCTAVES , 1No-17—Introductory Cash Price, 90c THE VIOLIN . BELSHAZZAR in utilizing as TbasSToTlittfe “n^tio^T Study Special Purposes, Vol. 4 Price, 75 cents T'™ °CT°BER 1926 By O. Sevcik, Op. 7, Part 1 :r No. ’gjp-T N RHFlTv“rBLegtnnBerfS B -V3hS - 5^- wsarS'S-s'1”'“™ °™"' tRrt4S“ '** “ *“ ‘”J‘ “ NEARLY A HONEYMOON TJfU Vtolto'paJTwS*»°b’ *” "*’• . A Musical Play in One Scene Book and Lyrics by Jessica Moore Music by < Offer No. n Part, 20c.; Piano Part, 25c. ^ Only One Copy to an Individual trucniY'iR E PRESSER CO. of Any Offer at These Prices Theodore Presser Co. Take Advantage of Bonus Offer on Large Orders~See Page 700 1712-1714 1712-1714 CHESTNUT ST., PHILADELPHIA, PA. SEPTEMBER 1926 Page 701 THE the etude SEPTEMBER 1926- Annual Fall Bargain Offers Advance of Publication Offers Save by Ordering These Works Prior to Publication—Delivery will be Made as Soon as Publi These Offers Annually Create an Immense Festival of Music Buying Because of Unusual Values Offered These May Be Included with Any of the Introductory Offers Nos. 1 to 52 to Gain the Bonus See Pag Read Below of the Bonus Given on Large Orders of Offers Nos. 1 to 81 " These Bonuses Are Popular with Many Violoncello Piano Study Material Piano Solo Album FUNDAMENTAL STUDIES IN FIVE LITTLE TUNES FOR FIVE ALBUM OF FRENCH COMPOSERS VIOLONCELLO TECHNIC GREAT MEN AND FAMOUS MUSICIANS Special Offers on Sheet Music Publications LITTLE FINGERS Offer No. 60—Advance Offer Price, 35c. By G. F. Schwartz ON THE ART OF MUSIC Pieces for the Left Hand Alone DISCRIMINATING pianists obtain “hi^^mpila^tons Offer No. 67—Advance Offer Price, 40c. No More Than One Set of Any to an Individual - - No Examination Privileges Extended at These Prices By James Francis Cooke Price, #2.25 By Mildred Adair WF are now announcing for the first time the publication of a new Offer No. 36—Introductory Cash Price, $1.60 FIVE FIRST-GRADE PIANO PIECES THREE SONGS FOR LOW VOICE Offer No. 53—Advance Offer Price, 25c. Dubois, Debussy, Pierne, Wachs and Lack. All of these numbers can and1 important work for the Cello. afB ” e, #1.25 Total Retail Price, #1.15 ryCc w.: All In Play. Piano Four Hands NEW EASY FOUR HAND ALBUM Offer No. 61—Advance Offer Price, 35c. A.s«.ssr45%^S£iS LITTLE LIFE STORIES OF THE GREAT THREE DANCES FOR FOUR HANDS By Cyril Scott Offer No. 62—Advance Offer Price, 35c. y Cash Price, 35c. BEGINNING WITH THE PEDALS OF THE PIANO By Helen L. Cramm mMmmm Offer No. 55—Advance Offer Price, 30c. Violin Wor\s WHAT TO TEACH AT THE VERY NEW FIRST AND THIRD POSITION BEGINNER’S METHOD FOR THE ALBUM SAXOPHONE Offer Price, 40c. TWELVE PIANO ETUDES Polonaise Militaire.By J. Frank • By A. Louis Scarmolin F°BryYM°3.SStn,S .By Gaylord Yost Offer No. 56 -Advance Offer Price, 30c. THREESONGS FOR HIGH VOICE .By Helen Dallam j£Lf0i_ Offer No. 47—Intr ELEMENTARY PIANO PEDAGOGY „ Vocal Collections By C VIOLIN METHOD FOR BEGINNERS Offer No. 3 FORTY NEGRO SPIRITUALS Offer No. 64-Advance Offer Price, 40c. ALBUM OF STUDY PIECES IN THIRDS 'Jo. 70—Advance Offer Price, 40c. AND SIXTHS B°the true Offer No. 57-Advance Offer P^^..£e Bonuses for Orders of Offers Nos. 1 to 81 Totalling $2.50 and Over HOW TO PLAY THE PIANO By Mark Hambourg Pri. r No. 40—Introductory Cash Price, $1.00 Young Folks' piano Folio, m numbers.) Gives You One of These Vol NEW COLLECTION OF FAVORITE SONGS has^not ^visited gSSfik 8223^ he,p, FIFTY EASY MELODIOUS STUDIES SSSk.- AND CHORUSES FOR ALL OCCASIONS he way hTthl Your Choice of These Free With a $3.00 Order Rv A. Riehl. Onus 7 $15.00 Purchasers May Select One of These Offer No. 71-Advance Offer Price, 10c. SSSriSSL, «■ —» SINGING A ?5-°° °rder Entitles You To One of These V Any One of These .m Totals $7.50 Ask for Any One of The Bonuses Given, of Course, Are Not By I rlymmm made and every study passage will be carefully e .te _ —in6" i INTERESTING ADVANCE OF PUBLICATION Offer No. 42—Introductory Cash Price, $1.25 5 ANNOUNCED ON PAGES 701 AND 702 ?„ytKfb,eW Introductory Price Will Be Withdrawn October 15. 1926 Everything in Music Publications COME of the 30 chapter heads of this excellent book for the teacher of Music Publishers Everything in Music Publications See Additional Advance of Publication ^ sineinc or the professional or ambitious amateur singer are “Don’t wait to Be Found,” “Qualities Needed,” “Placing the Voice,’ Prices on Offers Kos. 53 to 81 Good Only on THEODORE PRESSER CO. Offers on the Following Page “Coloratura Singing,” “How I Sing an Aria,” “Registers,” “Style and Interpretation” and “Health, Diet, etc.” A book fi ” ofr basic’ THEODORE PRESSER CO. Cash Orders Received Prior to Publication 1712-1714 CHESTNUT ST., PHILADELPHIA, PA. 1712-1714 CHESTNUT STREET, PHILADELPHIA, PENNA. SEPTEMBER 1926 Page 703 S UMMY’SCORNJUL Advance of Publication Offers THE RIGHT THING TO DO HAS HAPPENED The Music Buyer’s Opportunity to Get Our Latest Book Publications at Very Low Prices the After Ordering Any of Offers Nos. l 'to 81 You Desire, Count the Total to See If You May Secure a Bonus -' See Page 700 Sacred Works Vocal Methods and Studies the impractieal ^ error. We felt certain that it could All Works Offered in Advance of (Offers Hos. 53 to 81) are in Course of Prep. THEODORE PRESSER CO. 1712-1714 CHESTNUT ST., PHILADELPHIA, PA. World of Music- SEPTEMBER 1926 Page 7 05 the etude THE E Page 70Jf SEPTEMBER 1920 Atlanta Conservatory of Music MASTER TEACHERS OF FALL-WINTER An Institution Pledged to High Artistic Ideals GEORG LINDNER, DIRECTOR LIONEL LEVINSON-SINCLAIR, Assoc. Director IjiM mM Staff Includes Artists of International Reputation Complete and Accredited Courses in all Musical Subjects and VOCAL Dramatic Art -JUNIOR- FALL TERM BEGINS SEPTEMBER SIXTH For Illustrated Year Book ETUDE FACULTY Address the Secretary, 84 North Broad Street, Atlanta, Georgia Frederic A. Cowles, Director An Accredited School conferring De¬ CONDUCTED BY E.L.1 ZABELTH A GEST Fall Session Opens Sept. 13th OF MUSIC grees. Piano. Organ. Harp, Voice, Manch Violin, Dramatic Art. Orchestra Instruments and Theoretical Subjet A Trip Through Musicland The Right Thing to Do Club Corner In the Beautiful Shenandoah Cultural work accredited by Unive Student and faculty r Our music teacher has a music club which Valley. Full Courses in all orchest al Course By Constance McGllnchee By Anna M. Taylor leets every month. We have on our pro¬ HERBERT WITHERSPOON Three lie School Musi ram : Telling musical stories, reciting mu- FAMOUS SINGER. MASTER VOCAL INSTRUCTOR. COACH, WRITER AND LECTURER branches of the musical art. te and Diploma. Practice ical poems, playing solos, duets and trios. blic Schools. Graduates ac- {Continued from August Etude) Miss Alcott was a lady who taught over people looking at her at the musicale. \yr~ enjoy it very much. When we play we Classical dancing, physical train¬ One of the prettiest roads in through Boards of Education. Dormi- _ boys and girls how to play on the piano. she felt as small as her baby brother, who thing ... . FLORENCE HINKLE ing, expression, languages, art this country—and there are so many- was’not big enough to reach the piano June and December acher has a recital, Catalog, suggestions, and information from ,p. She was going to give a musicale, but when & o . . tn wTiiphhich shoshe inviteinvites our mothers. and Modulation Avenue. Let’s take it! keys without being lifted on to the stool. see how we are getting along JOHN L. GRUBER. Manager she wanted to put Loretta Dean’s name first part is flat country, which the The more she thought of her selfish- SPECIAL COURSES 218 West Broadway, Louisville, Ker the program, because she thought she We have a splendid tteacher and she makes MME. AURELIA ARIMONDI rays sweep, P almost withoutwitnout an oosiruc-obstruc- one of her best pupils, that little girl ness and ingratitude, the more ashamed she music interesting for — OFFERED IN ACADEMICS get some shadows here, of jnto tears sobbing* “I can’t, I can’t felt, until, before she had finished her We hope we will r letter in The dCouisVille Conservator•f) Junior Etude. course, tW in places the colors are p]ay with so many people looking — _ - j-lunch she said,... pother, please excuse From your friends, ISAAC VAN GROVE Doris and Frances Ledbetter, New 21S0,000 buildings and dormito¬ deeper th others; but the general Misg Xalcott>s face sbowed her disap- me; I can’t wait to eat any dessert because (Ages 11 and 12). ries, extensive campus. Swimming pool, topograph Its shrubbery grass pobltment but> putting her arm around I’ve got to tell Miss Talcott something WILLIS J. CUNNINGHAM Dear Junior Etude : gymnasium, golf and horseback riding. of the lighter shades ot Loretta sbe trjed t0 persuade her to change I ought o have told her before.” ago this past November, the VITTORIO ARIMONDI Piano We find many graceful birch Club of Montrose Colorado w green. . , .- ^ ii her mind. Nothing she said or did could She ..... —D fast,—-- it was almost a breath- Junior.ted with eight girls, under the supervision Catalogue on request. We offer special , blue agged-robin flowers, yellow make Loretta forget tbe borror of being iess little girl who stood tugging at Miss of Mrs. E. J. Braund. JOSEPH D. DeNARDO fields of golden-rod.ii 4 on InIn thetrlf* DoubleT JfTII nl P .. mi r ... .1_ _ 11 . „A .T n The officers of the club are president, vice- GRAHAM REED courses in academics and music to girls “looked a Talcott’s front-door bell; and president. secretary and treasurer. Harmony, Composition Flats there are hardly any hills. The under 14. Write for special form. Feeling it v s useless to try to gain her very happy music teacher, who, when she — ' 1 -v has a membership of about ASHEVILLE, NORTH CAROLINA roads gravelly and so narrow mmany COnS7nt, &her teacher told her to dry here opened the door was greeted with the news BELLE FORBES CUTTER 14th Session Opens Sept. 9th places and the shrubbery isis 50so 4thick Ic 0,1 eyes and she would take her name from that her pupil did not want her name, either side of us that it seems ,i almost.« v tnethe list, aitnougnalthough sueshe kyicwknew nuwhow ggrieved “scratched off the program.” path through her mother and father wQuld be r _d has the program Address: Manch College of Music, if we were cutting different composers and have a progra: ROSE LUTIGER GANNON 694,695,696 and 702. Nature’s beauties. some one composer. College Park, Box E, Staunton, Va. their daughter’s name among the We often give public programs. Presently, an abrupt turn brings us f One afternoon a Benefit Program was \nirs3 anotheraiinllirr andnnrl betterhotter marl,road, where the ^ , for a little girl who is in the hospital. MABEL SHARP HERDIEN ■ Loretta smiled gratefully, and, wiping The club belongs to the National Ft whole character of the landscape seems away her tears on the corner of her apron, tion, and we expect them to help us ii quite suddenly changed—so quickly, in¬ ESTABLISHED 1857 because she had left herhandkerchief deed, that we notice only, that everything LUCILLE STEVENSON 'hf>nfh8 0n t^le piano> s^e Put on her coat and hat seems sharper. This, then, the and, tucking her music roll under her f Program..-tlr Sharp country. The colors here are all Nola Nelson. PEABODY Baltimore,Conse™t Md.ory arm, said “good-bye,” hurried out of the GORDON CAMPBELL deeper and richer. Our road leads door and skipped down the stiyet with¬ HAROLD RANDOLPH, Director through great stretches of pine forest, Bo 1 Helen Smith out a thought of what her refusal to Ho 2. Jaok Smith. Question Box past beautiful deep blue lakes whose play had meant to her teacher. j)orothy Jones. Dear Junior Etude : DAVID W. GUION shores are great, sharp, graceful curves. She had not gone very far before she Wo 3 I am eleven years old and I have only taken How clear the sky is, and how unusually saw a crowd of people looking at some¬ Ho 4 • 3etty Hill music lessons since March of last year. I can bright the sunshine and flowers in the Ho 3 - Thomas Hart j read well, but I cannot memorize. If you could HELEN WOLVERTON thing in which they were very much in¬ tell me a remedy I would be glad. It Double Sharps! This road goes over a terested. Ho 6 Ted Johnson j nearly a week to memorize. I an* the youngest series of quite steep hills which make the going to school here. Lanier, Loretta edged her way until she was in M. M. (Age driving rather difficult, but will swing front of the crowd_ What she saw was Answer—There is no really- Gustav Strube off somewhere soon. memorize; but to some students it comes Pasquale Tall art a boy who had fallen off his bicycle and . , «« , ii much more easily than to others. As you say FREE FELLOWSHIPS Howard R. That, cut his head. He was very white and The day of the musicale came, lne nail you are a good reader, you probably like to Loretta thought he was going faint, was decorated with bunting; for Miss like her brother Joe did when he fell Talcott had done everything make ,!om. ,‘ne‘morjzjng. One of the great ^ecrets The above named Master Teachers’have each consented to award Free Fellowships to the students who, after an open irizing is pay strict' ' a down stairs. Nobody tried to do anything the occasion a happy one. The friends to “concentrate.” A Arrangements for classes now icing made Circulars on request until a young girl not very much older than and relatives of those taking part in other is only a few measures Loretta stepped forward and, taking a clean the recital filled every seat, _ while the ' ’ piece and the ii Scholarships, diplomas, teachers’ certificates o have a great deal of pati pocket handkerchief out of her bag, bound girls and boys having a part in the pro- it carefully over the wound after cooling gram were seated on the platform, m STUDENT DORMITORIES his temples with water. The boy thanked their prettiest dresses and best clothes, A Rondeau her and said, “Gee, that makes me feel When Loretta’s turn came, she smiled each room. Prices reasonable. Make reservations now. AT LAST—FOR ONLY .00 a whole lot better.” and bowed to the audience, and seating By Lynne Roche The Neely 4-Octave Keyboard 15 We take the next right turn which As she turned to go away, Loretta heard herself at the piano played with such leads us into Fingering Brook Reserva- somebody say, “How could you do it with ease and preemon^hatshew^ipplauded To play a note is lots of fun tion. Haven’t you heard of it? It is all, those people looking at you? until she was obliged to play her selection If once the trick is well begun; very famous for the brook. Finger'ing “I wasn’t thinking about the people,” again. thanked Just raise the finger, ’bout so high, CHICAGO Brook is one of the longest 'and most replied the girl, “It was the right thing Miss Talcott kissed her and thanked Hold it awhile, then let it fly winding streams in the country. It flows to do, and I did it the best that I cou d. er or h T Quick to the key; and all is done. ■-ambitious son MUSICAL Attempt a lively scale to run ttsn ML xzsaati;. Too soon; a fight ’twill be to try reservation are all by numbers. Some of . ■ .... _ -. To play a note. With INDIVIDUAL KEY-ACTION them seem quite intricate; but if i Standard size keys; standard dip; piano touch. A portable silent key¬ not follow them with care we shall get Mid-Summer Night’s Dream Beware, my child, and widely shun COLLEGE board with handle for carrying and a folding music rack inside the case. terribly mixed up; and our car won’t run A goal by no due effort won; About the size ot a violin case; finely finished; weight. 7 lbs. A real aid to smoothly for us, either. This seems Take time to test each tone; and vie class teaching and the lowest-priced high-quality keyboard available for prac¬ / dreamed a dream I’m trying now 60 EAST VAN BUREN ST. (S5S) Chicago, Ill. That each outsing the last; then nigh tice work. strange; but every time we get a One summer night, To make it true; The Leading and Largest College of Music and HERBERT WITHERSPOON. President SENT ON APPROVAL; GUARANTEED FOR FIVE (5) YEARS figure wrong, something bumps. Shall we Will be the time ’twill vex you none That / had learned I really wish Dramatic Art in America. Established 1867 CARL D. KINSEY. Manager To play a note. FORSE MFG. CO., 700 Long Street, Anderson, Indiana get out and look at the brook? It is so My scales just right. It were, don’t you? (.Continued on page 706) 'hen addressing o THE ETUDE Page 706 SEPTEMBER 1926 The Choir Master JUNIOR ETUDE—Continued Each Month Under This Heading We Shall Give a List of Anthems, Solos and Voluntaries Appropriate for Morning and Evening Attention! Wise Magazine Readers Ordering Early SAVE—TIME MONEY AND POSSIBLE DELAY i.Nw%& Etude Music Magazine Clubs MANY WILL ADVANCE JANUARY 1st. NOW IS THE TIME TO BUY! 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