August 1927) James Francis Cooke

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

8-1-1927 Volume 45, Number 08 (August 1927) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 45, Number 08 (August 1927)." , (1927). https://digitalcommons.gardner-webb.edu/etude/748

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rechnic and Beauty in Pi®"^^}{1|[^ei^^rinterTretkuonTf Little Classics -- Hazel Gertrude he TalKing Mach.ne--Edw«Y Hall Pjerce^Z?cl£amlTlzing-Arthur Olaf Anderson

■-!■ AUGUST 1927 557

the etude

Distinctive Albums for jhe Pianist

RACHMANINOFF RUSSIAN ALBUM Twenty-two Excellent Com¬ ALBUM positions by Russian Nine Piano Compositions Composers Price, 75 cents COMPOSITIONS Price, $1.00 RACHMANINOFF'S com- CELEBRATED FOR THE LIGHT OVERTURES PIANOFORTE FOR THE BV WOMAN PIANOFORTE ularity. Those with COMPOSERS Wh, don’t you, too. Ten Well-Known Numbers Twenty Interesting Piano Price, $1.00 Solos Price, $1.00 Enrollments now for Fall Courses in the Founded in 1903 and advertisers in The Etude column, stace 1908

a refinement ^ and To Etude readers we have offered sample lessonsoSt'bOTgrS^S'^ey' would beToT™ tn'your teaching. FOUR-HAND male confreres. S< EXHIBITION PIECES best rcpresenlati Fourteen Piano Duets for SSSSrS- --Srf — Proficient Players ’ ’ Walter Damrosch, eminent conductor of the French Organist. Price, $1.25 THERE is always 1 eral demand for N~ Y°rk Pi^sKmhtoowiBg in Popularity Each Month Special Certification of Credits Earned There is a greater demand all the time forAe courses w^e h are largely orig- Awarded Graduates ur hands. This Mrs. Mary A. Sturm, of Montana, writes: all good players, ccellent material Thanks for prompt delivery of Diplomaofwhichlan very proud. I just received a letter from the State same time useful V°Therf are big paying positions for those who a These Popular-Selling Collections are s for profitable Board of Education to the effect that I ameligi e There is a % d recreation play- ready for them. Published by a State Certificate without examination, thanks to / A Diploma is the key to the best teaching position, your course. THEODORE PRESSER CO. guarantee i Do you hold one? 1712-14 Chestnut St., Philadelphia, Pa. Everything in Music Publications Mrs. Lulu E. Diebel, of Oregon, writes: 1/ With each course we offer a I Our Diplomas and Degrees are I have successfully passed the State Board Ex- I guarantee of absolute satisfac¬ I Awarded by the Authority of amination and am now an accredited teacher in I tion or money refunded. f the State of Illinois the State of Oregon. I owe this to your Normal Piano Course, for I tried to pass the examination 1 That puts all the risk on us and / before, but was not proficient in the answers and y \ none on you. k your'fuTure sS. failed. Then I saw your ad in The Etude and de¬ CELEBRATED REVERIE ALBUM f // eai^T^^fit yomself °righTat home through COMPOSITIONS termined to try this course. It has been successfu Twenty-three Melodious and I am very grateful. Numbers Price, $1.00 --^^*helow. Get it in the fi 1- P Pj, The COUpon Mr. Samuel Griffiths, of Massachusetts, states: This will acknowledge„__ my Harmony Diploma. a. *. —

plenty oi nme on my — j -.- o ?I command. -an— increased- fee and- have- •a —waiting- list. «• *»- iv,

Mr. R. C. Bolling, of Virginia, after completing four courses, writes: This Is Four Opportunity-Mail the Coupon TODAY.

The instruction in your Extension Courses is the best possible for one SION CONSERVATORY, to obta n The person who knows and can use his knowledge to enable d 41st Street, Chicago, Ill Sm to do as well and just a little better, usually gets ahead-regardless catalog, sample lessons and of the method by which he received his information—whether in colleg or with a book by an open fire-place, or during his spare moments unde the written direction of a teacher a thousand, miles away. This is my 3FiT^r,i ™co“r‘.p third year in charge of the Music Department in the Normal School. I Organ ( have nothing but praise for your courses, which have been of inestimable □ □ Mandolin ’" □ Voice value to me in my work. □ History □ Harmon;

itreet No. City .. State .. ” .How many pupils have University Extension Conservatory How long have ,o» U«rf#r»o! ..H.«

LANGLEY AVENUE and 41st STREET .Would yon like ,o earn ,k. degree .1 . CHICAGO, ILL. Bachelor of Music? Please mention THE ETUDE when addressing our advertisers. the Description

* AUGUST 1927 Page 559 THE ETUDR THE ETUDE Page 558 AUGUST 1927 SPECIAL NOTICES Professional AND Worthwhile Suggestions to Teachers for Fall Classes Directory ANNOUNCEMENTS Piano Teachers Who Prepare Now for the Our “Guide to New Teachers on Teach¬ ing the Piano” will be sent gratis to any Start of Next Teaching Season Are teacher nr prospective teacher, desiring it. PERSONAL FOR SALE This twenty-four page bookletJpves, practical or WANTED SALE”r PLAN. Enjo; Doing Much to Insure Their Success. advice upon How to Begin Teaching How this clan. Teachers to Secure Pupils, What to do as the Pupils Advance, What to Use and How to Grade ALBERT WASTED—To locale lu a city or county Teachers May Have Any of These >■ :iI where they .. ..'pen. ..| .. ,.a[,a\ BECKER hie man piano teacher, using a well-ei|ulppc] Dependable Teaching Helps for .-—- examination.Examination. combs:;:::::* For Youngest Beginners * Fine First instruction Books ‘ ForUse in Second GftdeWork UDUNNING U II ll I II U —asMffirsaa:Ctrre LoalzaPanning. W. th. N.Y. 8 40 1U 5 & U__ miHA STANDARD GRADED COURSE O I I I P U A n n ARTHUR do—SINGING, FIRST YEAR AT THE PIANO^ GUICHARD_ hi.-s.v,".,.,,,.,,., BILBRO’S KINDERGARTEN BOOK FIRST OF STUDIES By Mathilda Bilbro P.ic 75 c.n.. B, John f. By W. S. B. Mathews Grade Z rr.ee, *x.v„ LOWER MOULTON mmmm

NEW YORK SECOND YEAR STUDY P|AN0^if»ss By A. !_ AWCE:WK attest RIESBERG

STANDARD GRADED COURSE STANDARD GRADED OF STUDIES COMPOSITIONS By W. S. B. Mathews Grade 1 Price, T Compiled by W. S. B. Mathews Grade 2 Price, 75 cents MIDDLE C AND THE NOTES ABOVE AND NOTES BELOW VIRGIL By Lidie Avirit Simmons Price, 75 ce Tn^Teft In^e&gly^Thls look'thaTu STUDENT’S BOOK School of the Pianoforte—Vol. 2 CONVERSECOLLffiEliS«

NEW RHYMES AND TUNES FOR LITTLE PIANISTS y Helen L. Cramm Price, 75 cents EASY STUDIES IN EARLY GRADES

MERICMUBffE-ttg: BROWN SaS—SS" Study Books of Merit for* the Third Grade PLAYER’S BOOK RECREATIVE ETUDES FOR STANDARD GRADED COURSE School of the Pianoforte—Vol. 3] EQUALIZING BOTH HANDS OF STUDIES By Theodore Presser Price, $1.00 By R. S. Morrison ^^’tlJdTfc By W. S. B. Mathews Grade 3 Price, $1.00 SUPERB offering^1— HEvRefopWtheai'ndepemle0nceP,of0the hands. They have m- "^Presenting pleasing study^ i teresting melodies and such attractive qualities that the CINCINNATI SBgKBta grade the pupil is _ ready for in progre student finds them pleasing to play and is tnus cons DETROIT T KNOX Works Covering in Detail Various Phases of Study in a SCALES t OCTAVES 1 kills - Playing Two Notes Against Three Album of Ociave Playing Price, 75 cents Album of Trills Price, 75 cents A FEW SUGGESTIONS of Scales Price, 75 cents By C. W. Landon Price, 80 cents SV3SSS ofbus=X CTS,3S domains* some^forro?^ irill^andTe FOR THE ORGANIST is Vm"be Vfound By'teachers to be the desirable means of perfecting their ty to handle this valuable technical

i The Trill—New Gradus, Part 7 Exercises in Time and Rhythm By I. Philipp Price, $1.00 By F. A. Hepler Price, 60 cents A compilation of . original and selected piling this little book the studies for perfecting the trill. These furnish the student with mablSPlthe TeacheV u. JH are excellent exercises for the develop¬ " : to the thorough m; ment of touch, and for training m the of time and rhythr ■ collaboration of ears, eyes and fingers.

Everything in «. .E'“"-i”KS=*™ THEODORE PRESSER CO. Music Publications E PRESSER CO. et, PHILADELPHIA, that, twohoursatthepiano.Atageofsixteen programme wastenhoursat“theshop”and,after WALLACE A.JOHNSONwasborninPlain- A MonthlyFeature ment; andso,forthenextseveralyears,hisdaily duced forcedhimtoleaveschoolandseekemploy¬ Page 560AUGUST1927 MusmxxvsxmmM Buyers of 1 FewoftheManyGemsbyW.A.Johnson Value to of Great Music

filtlilll 111111IIII1 111111111111111! Ill] All Ttr*.. ville, Connecticut.Attheageoftwelve financial straitstowhichhisfamilywasre¬ WALLACE A.JOHNSON LOVE’S MELODY August PresentationofPianoComposersan..--J --'-:ng musicinBridgeport,Con- ACE A.JOHNSON: l¥f JoTîecond'CoêP^ i A.KS's,S4°tSi toJhN. S!' present highstandingintherealmofr as oneoftheleadingteachersinIllinois,andhisfine has shiftedwestwardtothewindycityofChicago. Mr. Lemont’snotedjournalisticactivity,hissuccess flair formusicalcompositionhavegivenhimhis PIANIST, teacherandcomposer,CEDRICW. t-Tjr that thecentreofculture,inUnitedStates, LEMONT isoneofthereasonsfortheory i—. > SolosofRealMeritbyA.W.Lansing CEDRIC W.LEMONT Leading Composers A. W. Biographical and their Sketches Works with LANSING '*? tf -—- JThîrWorks . tel, BazinandLcfebure-WTIvII.,graduated a childhewasexceedinglyprecociousandwhen THE famousFrenchcomposer,IIIEODORE Paris Conservatory,whereliestudiedunderMarmon- *.j&mk was huttenyearsoldhrheld in hisnativetown.In1860MIenteredthe | 1712-1714C 1 tSSSSS^.;:;:;. 11^:;.. i CalmofthcUSr'.har.a".. 1 THEODORE PRESSER CO. France, in1846anddiedFan.m1921.As LACK, wasborninQuimpn,Finisterre THEODORE LACK u ne isknownallover Australian commonwealththetreasurescol- Qîeen^Mary^^QuwôPspa^n^nd^the King of artInMelbourne;andamongthesouvenirs of Saxony. The WorldofMusic Copyright. 1927.byTheodOhre«•*£»*^ PRESSER’S MUSICALMAGAZINE organfzatlons almosttwicothatoflasjT— Sugffi) Township1«^h»olBandwhich to Vermilion,SouthDakota. huiufrcd antfthreeCschoS^;andsecondplace Wo

i teaching TALENTED %e Gateway POSITIONS THE ETUDE STUDENTS to a successful AUGUST, 1927_ Single Copies 25 Cents —- — For those qualified to teach, and THE Sherwood Music School offers future. wishing to pursue advanced in composition study as in piano study ” “Every note you you unusual facilities for converting studies at the same time Ne Plus Ultra strike is graven on your musical being. Tf you go on striking your talent into professional ability; and In 1807, or thereabout, a German composer named Woelfl note after note out of tune, you will soon find yourself out of further, for converting your ability into wrote a Sonata in the Key of F, giving it the name Ne plus tune.” income. Outstanding among the advan¬ Tborhood^Branches of the Sherwood tages enjoyed by Sherwood students are: Ultra,” because the optimistic but short-sighted creator as¬ Your piano cannot be too good. Music School in Chicago and suburbs, sumed that never again in the history of the would such A faculty of one hundred fifty teachers, with others in process of establishment. including many artists of national and a difficult pianoforte composition be written. The following Shopping for Pianos More than five thousand Junior pupils international reputation, providing in¬ year the gauntlet was taken up by the Bohemmn composer, .L During the past year we have had a great deal to say struction which is thorough, modern, and are taught in these Branches. About L. Dussek His publishers issued a sonata called Plus Ultra about buying new pianos. We have done this because we imbued with the spirit of artistry. (A few three hundred new pupils are added to dedicated to “Ne Plus Ultra.” Alas, for the makers of the have been convinced that it is most important that the piano of the artist instructors of the Sher¬ these Branches, every month. superlatively difficult composition, there was born at Raid nB, equipment of the country should be kept in the finest shape wood Music School are pictured below.) These additions give rise to an abun¬ Huno-ary, an infant named Liszt Ferencz, otherwise known as Frequent public appearances for all dance of positions for advanced students Franz Liszt, who was to make the trifles of Woelfl and Dussek P Wc do not sell pianos but we do circulate in The Etude students. Advanced students of the and teachers who wish to teach, and at seem like child’s play. In fact virtuosi of the present day Sherwood Music School annually give in a field in which the piano plays an all important part. We the same time study with our artist concede that in all probability nothing has ever been written one hundred fifty recitals in the Sher¬ teachers. More than one hundred are are therefore directly concerned in having our readers get as wood Recital Hall. In addition, many that is more difficult to play than the Liszt arrangement of now holding such positions. much as possible from the art and we know that this can not concerts are given each year by Sher¬ Don Giovanni, unless it be The Larlc of Balakirew. be done with broken down, antiquated or dilapidated equip- wood orchestral and choral organiza¬ Upon receipt of a letter stating your The real musical interest of the world is not in the compo¬ tions, in the largest concert auditoriums previous training and experience, Mrs. sitions of the “Ne Plus Ultra” type. Some of the showiest '’^'^In shopping for a new piano the average buyer has to of Chicago, soloistsfortheseprogramsbe- E. S. Fram, Assistant Secretary of the musical compositions have the least musical worth. We recall ing chosen from the advanced students. Sherwood Music School, will gladly Mark Twain’s famous witticism, on being told by a fair young depend upon three things: Access to the concerts which may be heard correspond with you, telling you defi¬ player, “Dear Mr. Twain, you have no idea how difficult this 1 The reputation of the manufacturer for producing nitely just how you can secure an a piano of substantial, durable manufacture and only in a large musical center. The pro¬ piece is !”—“I wish that it were impossible;” and we are made to cession of concert celebrities appear¬ appointment to our Junior Depart¬ echo the same wish, after we have heard some works demanding artistic possibilities. , ing in recital in Chicago is endless. ment Faculty. 2 The reputation of the local dealer for standing be¬ The Chicago Symphony Orchestra gives towering technic and correspondingly little beauty. hind the product he represents. one hundred thirty-one Chicago con¬ PUBLIC SCHOOL MUSIC The really distinguished players find the highest degree 3 The advice of the experienced teacher of music ac¬ certs, and the Chicago Civic Opera, one Fully accredited courses are offered under of difficulty in playing the simple things, such as the Mozart quainted with the “value” represented in various hundred operatic performances, each year. artist instructors, leading to the Public Sonatas and the simpler Schumann pieces. The difficulties in Assurance of an opening, as soon as quali¬ instruments. . „ , School Music Teacher's Certificate, Super¬ making a simple composition a masterpiece of tone-coloring a fied. It is a part of the service of the Sher¬ With these bases of judgment the piano buyer is not likely the keyboard are far greater than those of the flashy piece in wood Music School to provide visor’s Diploma, and the degree, Bachelor which deficiencies in musicianship are smothered under an ava¬ to make the serious mistake of investing a great deal of good openings for those it trains for of Music Education. All money in a worthless instrument. . the various music-professional courses are outlined to meet lanche of arpeggios and cadenzas. fields: concertizing, teach¬ the latest State Board require¬ ing, Public School Music ments, and include academic, Good Enough When I Read Homer supervising, theater and church college credit subjects. Our When your editor was studying musical composition in “When I read Homer I look at myself to see if I am not organ playing, orchestra con¬ Public School Music students ducting and playing, and paid Germany, years ago, there happened to be a “p>ano fa™me ™ twenty feet in height,” said Michael Angelo. have the advantage of the radio engagements. town. Great numbers of students had rented all the good We often think that great music has a corresponding eftect musical atmosphere which may pianos. Finally, after much searching, a piano was discovered upon its hearers. Who can hear the thrilling Beethoven “Fifth THEATER ORGAN be found only in a large con¬ in a dealer’s warerooms—and such a piano! It was huge m Symphony,” the Chopin Sonatas, the Brahms “First Sym¬ The Theater Organ Instructor servatory. They qualify for size; we had never seen a larger piano. The dealer told us that phony,” the Verdi “Requiem,” without experiencing that pecu¬ of the Sherwood Music School the most responsible positions, is Mildred Fitzpatrick, known it had once been used by Richard Wagner himself in training because of the superior musical liar sensation of being exalted to spiritual and even physical alti¬ as one of the most successful training which they receive. choruses in the local opera house. It looked old enough to have tudes, which rarely seems to come through any other source. and highly paid theater organ¬ been used by Haydn or Mozart. The keys all worked, never¬ The stirring strains of a fine band have a similar psycho¬ ists in the country. Equipment ORCHESTRA CONDUCT¬ theless, and the strings gave forth tinny little sounds. logical effect. Watch a crowd of Americans as they listen to of the Theater Organ Depart¬ Finally the dealer concluded that the piano was worth at ment includes four-manual ING AND PLAYING a body of skilled players marching down the street to the music least a rental fee of seventy-five cents a month-a charge which of Sousa’s “Stars and Stripes Forever,” “Semper Fidelis, or theater organs with a tremen¬ High-salaried positions are later proved exorbitant. We hired the piano, and it was car¬ dous range of stops and constantly open for conduc¬ his recent march triumph, “Power and Glory.” Watch them effects; and screen, with o A driver c tors of, and players in, theater, ball-room, ried three miles over town on a hand-truck, by two movers and throw back their shoulders. Watch the rich red blood come to projecting machine and Q/1QQTCSS radio and symphony orchestras. Besides the then up three flights of stone steps. They received as a tnnk- their cheeks. Watch their chests expand. Life has a new films. The Sherwood your request for a best training, experience in both phases of geld one mark. Half this amount, or twelve cents, would have purpose, a new vision. The sense of integrity, of patriotism, iviusicocnooinastraineaK/fi icir School hnstrainpri CATALOGMENTIOning AS BELOW, the been the right fee, the dealer assured us later; but the editor of valor, of honor is exalted. They actually seem to grow and placed a large num- etude, and telling curk ’S avai*able in connection was afraid that he might be arrested by the Society for Pre¬ ber of theater organists US IN WHAT PHASE the Sherwood Symphony Orchestra. taller, happier, stronger, more alert, and in every way finer OF THE MUSICAL in positions with salaries PROFESSION YOU ARE vention of Cruelty to Piano Movers. human beings. . . of $75.00 a week and MOST INTERESTED DORMITORY After a month of effort your editor became very much We know from interminable demonstratipns by psycholo¬ A dormitory for women students is main¬ upward. disgusted with his progress. A visit from the Herr Professor gists and educators that music properly studied makes for tained in a quiet, residential brought down storms of wrath. No one could accomplish any¬ better citizenship. That is one of the reasons why The Etude neighborhood, within twenty DRAMATIC ART thing with such a piano, and orders were given to do the work Music Magazine has circulated over twenty-five million times minutes' ride of the School. The at the Musik-Schule. Mind you, the editor was not specializing A comprehensive, two-year its forceful slogan, rates for dormitory residence in piano study at the time, but in musical composition. But, course provides training for are moderate. Music Study Exalts Life teaching, or for any phase of Smcniiooil CDusicSthool yes,” said the Herr Professor, “a good piano is just as necessary TUITION RATES dramatic public performance. A Founded 1895 by Wm. H. Sherwood AuSus, is the Planting Time in the Educational World. Plans Mate, Music Selected, Advertising Mailed-These The tuition rates of the Sher¬ special course is offered in Story¬ Fine Arts Building . 410 So. Michigan Avenue telling and Playground Super¬ wood Music School are low seeds, planted now, bring, the Active Teacher a bountiful Harvest of Success. CHICAGO, ILLINOIS vision. enough to bring the advantages 563 ot Sherwood training within the reach of all students.

^.iii nngEu

V AUGUST 1927 Page 565

the etude Technic and Beauty in Piano Playing

An Interview wit h the Famous Brazilian Pianist How to Get More Pupils During the Coming Season guiomar novaes Prepared by Jacob Eisenberg The plan is simply this: Germany, Italy and Switzerland, and During the first week of last January, we saw an interesting thirteen years of age, when^ the Mme. Novaes began to play the in 1916, upon advice of friends, she Wo h»d printed, in typewriter style, on very toe paper, Guiomar Novaes (pronounced Gee- Brazilian government sent her to the note in one of the daily papers, which read something like this: piano when six years old. She made came to America and gave her first o-mar No-vyes), whose genius was Paris Conservatoire, where upon “A large consignment of Christinas tree ornaments arrived yes¬ tllc gutter We^ such rapid strides under the guidance recital in Aeolian Hall. She was at first made known to this country in graduation, she won the first prize. of the wonderful master, Luigi Chtaf- once hailed as the successor of the terday on the steamer from Rotterdam.” 1916, is Brasilian by birth, having Mme. Novaes was thus ready for T'the top letter The cost of tl.i, if the teaeher ,11,1 ferelli, that she gave her first recital late Teresa Carrcho and as one of the o7elch been born on February 28 1895, in the concert stage when she was enter¬ when but nine years of age, thereafter most inspired of the pianists of our Christmas was twelve months away, but the Christmas tree it individually, would be about $16.00 or *17.00 tor the fire, a small town near San Paulo, Brazil, ing her seventeenth year. Numerous making frequent public appearances time. as the ninth child in a family of sev¬ engagements followed in England, ornaments were already arriving. hundred letters, even if the teacher lead the ,n,t,«t,ve to do tin, She studied with Chiafferelh until enteen. to the finger which is to depress the next and had the experience and ability to write the letter. properly this efficacious manner of muscu¬ In every sensibly conducted business, plans are made months the least possible effort and in the shortest desired key and hold it in readiness there. U/-1-MIERE ARE MANY sides to the lar activity, the student should maintain a One will find that in pressing the key We a-reed to sell the letter (which we call the “Teacher space of time, in order that we may be and months ahead, to take care of the “season” at the proper I work of a concert pianist. To cover normal and natural position at the piano, m whose tone has already been sounded he to Parent Letter”) to teachers, at a nominal rate of $2-00 per enabled to devote by far the greater part which his wrists are practically always time. Just as this letter is being written, the ateliers and the cou- the entire field with so little time at robs the finger, which is to sound the next of our development period to the larger lower than his knuckles, with the hands hundred for the first hundred, and at correspondingly less pn. es our disposal would mean to be deprived of and broader field of activity—that of ac¬ given note, of its proper share of strength turieres in Paris—Worth, Paquin and others—are doubtless all ample opportunity to dwell sufficiently upon and fingers held quite closely to the keys for increased quantities. The teachers receive their Ml, : quiring interpretative ability of consum¬ and power. done with the designs for the summer dresses of 1928. each of the many very important f eatures, and the elbows away from the body, while mate artistry. Getting Results sign their names at the end and send them out. '1 bev wen-,, the thorough mastery of which is absolute¬ the arms hang with perfect freedom from Slow Study ttnpHIS FORM of practicing is bene- ly essential to a successful career. Bearing the shoulders. This position enables him The music teacher too often puts off plans until the very successful that re-orders came in volume, and teachers who tie I Ui-IRST, practice should be done slowly 1 ficial in many ways. It develops this in mind, it would be better to choose to raise his fingers quite high above the F —the more slow,ly; the better. To this keys with a minimum expenditure ot en¬ muscular activity and enhances one’s power last moment. It has been our sincere and earnest desire to help the plan “went wild” over its success. some definite problem for discussion to slow practice should be added the quality of endurance. It enables the performer dwell in complete detail upon that problem ergy. Then with a quiet hand and the music teachers in every practical way. We have racked our of firmness mixed in happy proportions to store up a generous supply of nervous Unless a teacher has a method of advertising that is superior and to be specific in my suggestions. And, fingers moving from the knuckles, he with relaxation. ToO much firmness in energy upon which he can draw when brains to do this. When the Editor was a music teacher in New with this in. mind, perhaps no other theme should depress each key with a decisive to this, we feel that these letters afford a remarkable opportunity one’s performance will cause stiffness, needed. After a period of firm practicing, is of more practical value than the study downward stroke of the finger avoiffing York City, he found that by proper announcements sufficiently while too much relaxation will cause a that which would ordinarily be a strenuous that should be used. They should he sent to the old patrons of technic and beauty in piano playing. any pressing or squeezing of the keys aftei in advance, large classes could be maintained with ease. There¬ “Though proper muscular activity is ot flabby, slovenly and ambitionless perform¬ the tone has been sounded. A great fault performance makes only slight demands well as the new. We shall probably get out more letters. ance. The importance of firm practice upon him. Aside from these advantages, fore, last spring, he wrote an open letter to parents, which music decided importance to an artist'.d perform¬ discovered in many students is that of un¬ becomes very evident, when its true pur¬ a firm manner of practicing and a deci¬ ance, many students seem to put it aside certainty in finger movements. teachers already lwive used by the thousand. Here is the letter: sive muscular activity create stronger im¬ with trifling consideration, in their eE°rts pose is explained. “Under careful scrutiny, one will often “What we learn or become capable ot to master their chosen instruments. They notice a quivering motion in the hnger ac- ages upon his mind and make the de¬ doing is the result of images which, through velopment of playing habits a simplified think only in terms of esthetic beau.y and tion, which is followed by a pressing or constant repetition, are so impressed upon matter. Once muscular activity has been loveliness of design. While an accom¬ squeezing of the key after it has been our mental states that they become part plished artist, who possesses the necessary depressed; this gives the impression of one reduced to habit, the mental activity is of our muscular activity and grow into freed entirely to cope with the interpreta¬ technical facilities may take such an at¬ wondering whether or not one will depress habits. Slow practice permits these im¬ titude, the aspiring student must give the proper key and, when it is f°uod, of tion of the composition. ages to impress themselves with a greater “There is yet another very important ‘technic or the mechanical mastery of his holding on to it as one holds on t instrument’ a maximum of consideration, completeness of detail; while firmness m life Once the tone has been sounded, benefit derived from firm and decisive practice impresses those images m well- muscular activity. When one plays a com¬ especially during the early period of his waste no energy by keeping the key de¬ defined forms that make for sureness and studies. As the advancing student will pressed by force; but instead of this,êm¬ position with the idea of always per¬ discover, technical mastery diminishes in certainty in action. On the other hand, ploy just enough energy to prevent the ke> forming it as if he were appearing be¬ hastily or slovenly impressed images create importance as his technical capabilities in¬ from rising until the proper time for it fore an audience, he will find himself los¬ blurred and hazy impressions lacking in crease, while esthetic mastery _ takes the ing the true perspective of the composition. opposite course and continues m ever-m- definiteness or clarity. “There is yet another point to be re¬ Firm and decisive practicing clears the membered in depressing keys. The in¬ mental cobwebs from the picture and en¬ creasing importance. This separation of Firm, Decisive Action former’s energy should be conserved and ables the performer to see the cold outline the problem of mastering the piano into it A FIRM and decisive muscular detiv- two spheres reminds me of a company of held in readiness for only the very act of of a composition as well as its true design ity in conjunction with slow prac¬ depressing keys. Once the key has been and characteristics, around which he may soldiers. ticing, then, is of first importance to an ef¬ depressed, transfer that energy immediately weave his interpretative ideas created The Captain’s Men ficient mastery of. the piano. To employ through his talent or genius. This in turn 44 A CAPTAIN commanding a company is assisted by his intellect and understand¬ l\ of soldiers may be the most bril- ing of the dictates of the composer, his liant soldier in history, whose knowl¬ moods, emotions and temperament. edge of military tactics may be infinite' “As I said in the beginning, mechanical and who may be a genius in overcoming mastery is only a means to the end. When unexpected difficulties. Yet, if that cap¬ technical proficiency is attained the pianist tain were placed in command of a company should forget all about the mechanics, as a of ra,w recruits who were unable to trans¬ thing which does not exist, and give his late his commands into well executed ac¬ whole mind to the interpretation of the tion, his brilliancy would be of no avail. composition. However, he should repeat In giving full consideration to this truth the outlined procedure whenever he ex¬ it must be remembered also that a well periences any technical difficulty. trained and perfectly drilled company will produce varying results in direct propor¬ Instruments Compared tion to the brilliancy of the various com¬ 4triO MANY PEOPLE say that on the manding officers. O piano the tone is already made, “What is true in this example is equally whereas the singer or the violinist must true in the mastery of the piano. It is make his tone, and consequently their art only after one has complete control over is the greater and the more difficult of his playing apparatus and his technical fa¬ attainment with consummate finish. On cilities are equal to any desired demands the contrary, nothing can be further from that may be made upon them that he can the truth. Who has not heard horrid, relegate his muscular activity to his subcon¬ harsh or vulgar tones produced by some The Home-centered, Fam¬ scious mind and devote his entire thoughts pianists, while under the touch of great ily, inspired by the delights Such a home enriches to an intellectual and inspired reading ot artists the same keys will produce the of Good Books, Good Mag¬ the world with the man¬ the composition. The accomplishment of loveliest of singing tones ? The pianist this purpose is really the greatest concern azines, Good Art, Good hood and womanhood it must create a beautiful tone upon his first to the aspiring pianist. One cannot expect attempt, or all is lost. In that the violinist Music, High Ideals, Whole¬ produces. It is the oppor¬ some Morals and Spiritual the execution of a composition to be with and singer really have an advantage over tunity of every music consummate skill and superb artistry and Unity, fosters no criminals. teacher to promote the in¬ share his inspired thought with the fear “If they feel themselves producing a terest of such homes. of breaking down technically. tone of inferior quality they can improve “Since the mastery of the technics of upon it even after it has begun to be sound¬ piano playing is of first importance in the ed. This, of course, the pianist cannot early stages of one’s development, let us guiomar novaes see how we can acquire such mastery with THE ETUDe AUGUST mi Page 567 Page 566 AUGUST 1927 THE ETUDE Mistakes Accompanists Make do. His preparation for the depression dependent thought and a frank expres- of each key must be just as perfect as that sion of opinion. Timidity, on the other By Edward A. Fuhrmann All About The Slur of any instrumentalist or singer and the hand, will only retard his progress. - actual sounding of the tone must be finely A private notebook, called, for instance, . l are not at some time' come to the positive conclu- Its Fifteen Uses in Music regulated or the resultant tone will be of “My Musical Ambitions,” may be started That pianists and organist ]oists sion that a large number of accompanists inferior quality with no further chance of at the first' of each term. The date of more than ordinarily successlu a think the word “accompany” means By CLEMENT ANTROBUS HARRIS improving.. upon it. One often hears that the term may be marked, and one paper jn the;r respective fields aspire- aSSU”! lead” instead ofo “to follow.” This is esp! well as a general application: the former the violinist has no way of first seeing allotted to each lesson, and tabulated for ^ roje cf aCcompanists is an obvious cir- daily true with a choir c IV. The curved line is used in vocal chorus singing use consists in its connecting two notes s going to sound nor has the title of item, remarks (the student’s or the cumstance t0 anyone engaged under the leadership of ; Has the reader ever considered how music to indicate that a syllable is to be conductor. of equal nominal length, the first of which singer, while the pianist has them all teacher’s) and marks gained out of ten. LC A lack of imagination or rather successful choir or chorus accord many blanks would be left in modern sung to two or more notes. is to be well accented and the second un¬ marked out for him. Well who ever The number of items may vary according ac" power often drives many panist should always wait for the beat to music if all the slurs—by which is meant The slur is used for so many purposes accented and perceptibly shorter than tire heard of a pianist looking for each key to individual .ambitions, but each must musical tmmai sy a(-romoanists. .<-—*««•*«- ■ curved lines, long and short, horizontal and in regard to most of them is of so from the conductor instead of staff, first. It is this accenting and shortening before he strikes it? The fingers are stand on its own merits. It is well to a pianist into the ranks oi accompa oblique, and perpendicular—were removed ? much use that it is a great mistake to often, of not being ;ng to play of his own accord and expect- which distinguish the slur from a short much quicker than the eyes. If the eye avoid having too many items, though It is a case very, The writer can recall three in music gen¬ II. The curved line is used to connect weaken its significance, by employing it ’ and physical in- ing the conductor to “fall in" with his beat. form of phrase-mark. For, though a had to find each key before a finger de- variety is good. An imaginary example capable, through erally; two in vocal music; four m in¬ grace-notes with their principal note. This needlessly. And this is done very often . .. This is a condition particularly noticeable phrase generally begins with an accented pressed it the pianist would make a sorry may illustrate my meaning” better, dolence, of putting a real interpretative strumental music; three ’peculiar to a cer¬ is the smallest form in which the slur is indeed by composers of vocal music. sight and a helpless performance. aying. ...- ‘he averagef church where voluntary note and‘ends with a shortened one, it soul into the’ playing. In other words, such tain group of instruments, one to each of found—so minute, indeed, as to have Mendelssohn pointed out to G. A. Mac- “The pianist must develop a sense of Ambitions Spring Term players_ would_ rather have someone other chorus choirs furnish the music under a does not necessarily do so. There are in¬ two other groups and one to the organ escaped inclusion, so far as I can discover, farren that the continuance of a syllable space, feci the distances between >keys, and No. Title Remarks Marks than^themselvesthemselves do the thinking.thinking, paid choirmaster and organist often sup. stances of composers connecting with a which appears to be the only instrument in any text-book or dictionary! Yet it is was sufficiently indicated by the presence be able to change the position of the i. Independent finger in this line of reasoning lurks a grave ported by a paid solo quartet The con- curved line two notes, the second of which using the slur in a manner peculiar to one of the commonest applications of the of continuation dots, .and the absence of hand and the placings of all the fingers action, error The successful accompanist must ductor, not the organist, should establish is both longer and stronger thaii the first, itself. Nor, in putting forward his list, curved line, one of the most useful when words under the notes to which it was to besides moving the hands from one key ?. Phrasing well. but these cases are so rare and the former think for himself to the fullest extent of the tempo mid roa.nt does the author claim that it is exhaustive: properly used and one very frequently be sung. An examination of the vocal another. All this 1 his mentality. He must be familiar with beat instead of ml lowing. organist all type so very common that it is undesir¬ be 3. Recognizing quite possibly the reader may be able to mis-applied. parts—especially the solos—in his oratorios done without any thought or doubts all types and styles of music from the pure through the selection. li vnuld clim- able to rcb the more frequent form of a dences and modula- add to it—especially if he is acquainted The majority of grace-notes need no will show how greatly the use of slurs whether the proper keys will be depressed. special claim to the term “slurred notes. novelty song (ofttimes bordering on "jazz”) inate the excruciating a...! nn,lc-too-rare with some of the less familiar instru- slur. But there are three cases in which may be reduced without occasioning the On the contrary, every change of hand or 4. PI; VII. The curved lint appears also as aying ..(title) to the' works of Bach, Beethoven, Chopin, occurrences of an organ, 1 starting too the use of one may remove dubiety, least ambiguity to . the singer. There is key position must be made with absolute without any errors. Brahms, Wolf, Grieg, and the best of mod- soon, ignoring a l>eriod 01 1. nee, ending a phrase-mark’ The term adopted here is namely, (1) when an acciaccatura is at a little real need for their use except (1) decision and certainty of the fingers com¬ The Tie that most frequently used and most widely 5. Playing (title) -n compositions. His repertoire must be before or after the distance from its principal, especially on when a syllable has to be sung to a ing in contact with the desired keys, and X. The curved line is used in music gen¬ understood. But “construction - mark” sonata up to speed. comprehensive one: and even so he is the sign for release and rally keep- another stave; (2) when the note it pre¬ with the proper degree of power, which erally as a tie: This use dates from the metrical group of eighth or shorter notes 6. Memorizing often called‘ ' upon to accompany a totally ing his eyes glued to the primed page and would be more accurate technically, as the i sure will create a tone of the de- first half of the seventeenth century and ap¬ cedes is one of a chord—especially an in¬ and part of the next group, and (2) strange soloist selections never played playing under the impress.'. that he might bow-shaped sign is used to indicate both pears to have been the first purpose to terior note, and (3) when a group of when two or more verses of a song are be termed a musical amanuensis if he fol¬ grace-notes (never, 1 think, a single note) phrases and their component parts—motifs which the curved line was put. Sir W. S. sung to one version of the tune, and two and “sections.” Sometimes, and quite cor¬ tone has been sounded. I wish more peo- S'^ °f ™rks gained accompanist need not think? On the cou¬ lowed the guidance of another. follows its principal note instead of pre-' or more quarter (or longer) notes Bennett proposed to substitute a rectangu¬ rectly, slurs representing phrases and ple would realize this, and the fact, too, that ‘ * \ ’ a0Wmg seventy~five p" trary, he must possess the quality of being It is a very difficult thing for two musi¬ cedes it: lar bracket and his plan has been followed have one syllable sung to them in one lesser units are used simultaneously, the it is no easy matter to produce a beautiful ™ ,êr rto.cDunt. as success. If an ingenious thinker. cal hearts to beat as one, two musical verse and a separate syllable to each note by some modern editors. But the purpose Ex.5 latter under the former. This is particu¬ singing touch, that there is so much va- 7 °f f kept. fo,r two Yet some accompanists think entirely too minds to think as one, two emotional urges in another. In this case, a slur made of of a tie can easily be distinguished from larly the case in the organ music of Guil- riety of tone that a pianist can get out of Gess ;’ i^hl^|1r,hasi ga”ed ,,sdc" much of their own rendition and not “emotc”‘as one. Therefor.- .1 behooves dots is desirable. In the case of eighth both might be left out of the third enough of that of the soioist_a course those aspiring to reach the . of the ac- those of the slur, and it is better to re¬ mant, Straube, Reger and Karg-Elert. the instrument. term^ serve the bracket for uses, to be shortly or shorter notes the tie is unnecessary: the “No other instrument can compare with ^£ter n a new one put m its place. which establishes a somewhat frigorific companist to extend everv >rt toward a certain lapse of time, og jg|f" • • - ... . named, wherein confusion, even to the syllabic adaptation can be shown by giv¬ Ex w Guilmant 1st Sonata the piano. Why, it is just as if you had the when breach between the soloist and accompanist’s■ ■ ■ they have accumulated sufficiently to make initiated, is much more likely to occur. ing two stems to each note, the first ver¬ ’cello, the violin and the voice, all acting efforts. Few soloists of any kind have not follow” in their highest deg. a separate list in themselves, these Previous to the invention of the tie, a sion having upward stems and the latter coordinated, right in the harmonies of the one downward stems, one having tied piano. If I want to think in musical con¬ cessful items may be re-employed to _ sound beginning in one bar and continuing A great many slurs to grace-notes are the student’s retentive faculty. The stu- into the next was represented by a note- hooks” and the other separate hooks: versation,vcisdiiuii) j.I ncdihear themiiiciii all. Theyj. iicy die my 1,1 u 1 . ’ . Interesting the Boy in Practicing totally unnecessary, and therefore mischie¬ Dramatis Personae; for when I play I am fnt sh°ud always make up his own lists head written across the bar-line—or per¬ vous, for they weaken the force of those always trying to make a drama or comedy from the knowledge of his weakest points. haps one should say that the bar-line was which fulfill a useful purpose. And not J. S.Bach __ W- Byrd By C. E. Cornwell Longyear drawn through the note-head (this prob¬ with dialogue or monologue, as the case -- a few are an absurdity, for they are ably being written first)—or a bar-line may be. When I appear before an audi¬ so drawn as not to connect the grace-notes Position at the Keyboard Jack was twelve years of age and an regard of the notes and sign Day after was written between a note and its dot. ence, I. may be vaguely conscious of the with the principal at all, but rather ’re¬ VIII The curved line also becomes a orphan. Besides this he was mentally slow day Jack was making idm.: ndr.-peat- many faces before me, but the moment I ply that the group is a complete musical legato mark. Unfortunately the sign used By L. D. Hopkins and not especially interested in music. He ing them without regard 1 : uything cx- begin to play, I lose myself entirely in idea in itself—which purely ornamental Slur unnecessary. to express the duration of a phrase has ~ ... , , . hved with his grandmother who insisted cept putting in the time with little effort my music.” notes never are! The curve should always also been used for a legato mark. This is P'T St°°' °r cha!r he should learn to play. Grandma as possi,’k'- include the principal note, and sometimes much to be regretted because: o play lel° Hue fromUtShe fingertips5 to^he" eTbot fad"° engagement from the rest of the Jgj ^"StlSfmf ,'k " "" (The dot, prolonging one-half, appeared the group of which it forms part. Ed¬ (а) All music is legato unless the con¬ joints when the hands are in correct posi- *amily and less ,from the boy. She did S . in the first half of the fifteenth century, ward MacDowell illustrates both points trary is specified: a special sign is there¬ made, it was corn .-d and cx- 1. What value has muscular activity tion and the fingertips resting on the tops “er part most faithfully but one could se and bar-lines a century later—1539, to be for us in his Woodland Sketches. fore generally redundant and tends to con¬ piano playing? plained t > him. Tliat one particular pas- (It is not to be inferred that the dot-slur of the keys. at once that the boy was not trying t exact.) The essential function of a tie ExT fusion, and . 2. How does slow study help f was used by Byrd himself: it has been Hold the body and shoulders erect and learn. The practice hour'was'onethlt all , rral times is two-fold: (1) to represent a sound (б) Though- a legato-umt is always a 3. How may a firm, decisive action 0f the chest high. Much depends upon this, members of the family dreaded tiT" 7 *7" a' *'K '"^"nu)ej of which begins in one bar and is continued added by an editor.) construction-unit — a motif, section re¬ the fingers be acquired? into the next; (2) to present rhythm cor¬ V. The curved line is likewise used phrase—the reverse is not necessarily the 4. Name important benedts derived fri for if the shoulders are drooped and the But since the teacher sS that'Jack could withoT “d- f ,ar fOU,dg0 body in -a tense, cramped position, it is learn to play, if he would Grandma de th . ' a ml*,ake 01 an> U '• tourtlmg rectly to the eye: to indicate portamento. This symbol, case: a motif or larger unit may be stac¬ decisive muscular activity. III. The curved line is employed to in¬ when correctly used, is easily distinguish¬ impossible to have free :use. of the arms cided to be at hand for his’praS^ .^Xa'thv firs, several cato- moreover, several legato-units may 5. Compare the method of tonc-regula- a7"hands. hand for his practice period It was hard t, Ex.2 dicate semi-staccato. In the present day able from the syllabic slur, even when the every morning for a week and find , "aril 1 make one phrase, and the slur covering lion on the piano and other instruments. (jogs no confusion is likely to arise from the latter is used for quarter notes or other ■>. however, that there where lay the' difficulty. After listening n,?'!"* Pfr'°ds but’ after a timc' improve: such a phrase obviously cannot be a legato- «J J. J i J J1 i combination of the legato and staccato notes without hooks, because either: should be any tightness. Sit far enough through the first'hour she saw thatT ® 3nd ,ntercsl "’ere n -able, and Wrong Right mark. The passage just quoted from Aim and Achievement from the keyboard so that,’with the hands a matter of faulty practice due tn 7" hna,ly Jack learned how to practice to get signs—slur and dots—to indicate a touch (а) It connects notes having different Guilmant is a case in point. in1 positionnnsitinn imnnupon the keyS,Iraxrfc 41the-.^ _ _ ut.Cr CllS- results. This last constitutes the only advisable use mid-way between the two; and the symbol syllables, or The question may very reasonably be By E. Constance Ward be crossed in front of the body without of a tie within the bar. has been so used from the early eighteenth (б) The second of the two notes be¬ asked “What is the practical good of a inconvenience. Sir Edward Elgar has written what is century. But Marpurg (1718-95) used tween which it lies is written as a grace- slur if it does not indicate legato—how is Achievement presupposes the existence Take great care that there is no tension Musical Smiles surely the shortest tie on record—an ac- exactly the same symbol to indicate the it to be observed?” The answer is that of a definite aim, an aim influenced pri¬ in the arm or hand and .that the elbow is ciaccatura in octave form preceding a princi¬ bebung, an ornament peculiar to the clavi¬ it shows the composer’s own conception of marily by desire and controlled by the near the side., By I. H. Motes pal note in octave form two octaves chord. ’ Till the decline of that instrument the passage, and this influences the per¬ student’s judicious estimation of his ca- The__ fingers must be trained lower! But he wants the acciaccatura the only method of distinguishing the two Easy Payments former inasmuch as (a* articulation is pabilities. A11 exaggeration of his powers curved position with "a cerfejn amount of sustained after its principal note has been lay in noting the instrument for which effected by accent as well as legato and The Caller: “Is this'piano yours?’ . Little Frankie:-- • "Please, ma’am, it’s puts the goal beyond reach and causes “claw-like” energy simultaneously with __ sounded: so he ties it to a note of equal the music was composed, and whether the staccato, and (b) the secondary phrasing disappointment and discouragement. effort to move the wrist-joint. Then, with 0f ff > own about'an octave the °"e *hc monkcy passcs around after length. That the lower octave is the princi¬ sign- was written over one note (bebung) An inventory including the aitr an octave the organ grinder has played ’ll Trova- under a long slur will be observed more the the arm, hand and finger in correct posi- pal note is proved by the fact that without or several (semi-staccato). Marpurg’s delicately than if the long mark were not accomplishments, and the failures of the you are ready to play. it t)je acciaccatura effect would be im¬ suggestion was not extensively adopted, past term will aid the student in his on¬ there. Thus the smaller phrases will be A Celestial Wit possible. but received sufficient notice to have ad¬ ward march. By it he may fix the goal felt to be parts of a greater phrase. ded one more to the number of purposes The best claim for the use of the slur of his' next term’s work, gauging the The Perfect Twenty-Four PeterUThandedteWm *** 7T arr‘Val as St- A C°mpliment Cone Wrong served by the slur. Bebung means “bal- progress shown along the same lines in as a legato mark is in the case of two can’t p“ i^mS^ rpet' C07L— PhyUis on her voice ancement,” and, applied to Bach’s favor¬ If the slur as a syllabic indicator were the previous term. There is no cause for simultaneous and co-terminous phrases, By Rena I. Carver ite string clavier instrument, indicated a used only in the few cases which are reproach when the' purpose is not achieved, ticed while I was down on »he eanh *“WhTt d^ haSn’' SP°kCn *° ^ S'nCC'” both of which are legato, but one espe¬ Of course you didn’t ” -t, , at d,o you s half-way depression of the key repeated obscure without it, this very useful symbol provided he has done his best. A true cially so, as in the following example from The children dike to call this little1 exer¬ good old saint. ^ Si S the , ? .. as many times as there were dots under would be released for use as a phrase- artist is never discouraged, but always T^whyySedhe^ howCsU^ ^ ^ ShC ^ 3 Beethoven: cise the perfect twenty-four. It aids in the slur, the effect being a practically con¬ mark in vocal music. The advantage of the upward climb, discovering new fields developing the muscular activity in the fifth Schubert iT this may be seen from vocalises, such as tinuous sound. It had also a certain wav¬ Ex.ll of endeavor. . finger. Put the fifth'‘ iinger with the fore his cofresonnll ? Writ.ing‘ Th<=re- ing or vibrato character and was some¬ Concone’s, which, being sung to a single Though the teacher may be his councillor knuckle high on.G and tap four times with day consists „f Z remaining to this It is essentially as a tie, too, that the slur vowel, are phrased in the same way as High Criticism times indicated by the word tremolo. and confidant in regard to the best method each finger on tW adjoining keys. Thus: comparatively few letters, is used in connection with fingering-nu¬ is instrumental music. to adopt, the student should start with a r ■ ' • - ’ ’—— Fourth finger taps F shks|, then F. * - VS0W do you like the show, Gabe?” merals and the footing-mark of pedal pas¬ Ex. n VI. In Instrumental Music the curved purpose of his own and a determination Third huger taps E-natural, then E flat. Teacher- “Nn rehearfi ?3fer who *»d dropped in at a sages on. the organ. For its function is line is used, first, as a slur. Though the to succeed therein. He will find that his Second finger taps D natural, then D flat, larly called' the Maior is P°pu- was jf°r 3 home talc"t performance to show that in substituting one finger or term “slur” may be applied to any curved teacher will encourage and appreciate in- foot for the other, or the toe for the heel, Bebung Semi-staccato line used in music, it has a particular as - S the ,, , the note is not to be sounded again: wn I d feel like I was wastin’ time." AUGUST 1927 Page 569 THE ETUDE THE ETUDE is a difference between the two phrases Page 568 AUGUST 1927 Learning the MM*|, Toach Play one more softly or more lingerinKiv Interpretation of the Little Classics IX. The curved line also is employed XV. The curved line is used in organ From Schuberts or more lightly than the other, to delimit groups of notes rhythmically music to indicate a change of manuals. tions are never illuminating. irregular, such as triplets and sextolets. “Rosamunde In measures 64, 65 and 66 the finger By HAZEL GERTRUDE KI NSC ELLA These occur in vocal music, but the slur combinations are difficult; so spend much To overcome the separation of thought possibly, Grieg, absorbed from the life and is generally omitted owing to the danger By J- L. B. time on them. “Pile the notes” as you ^ home is a little over a mile west from sometimes brought about by the measure O PLAY EVEN a simple classic scenes about him impressions to be woven of confusion with the syllabic and porta¬ forjr tnethe previous phrases.yiuasta. T the village itself. Should one chance to divisions, he often requested his pupils to with great beauty is a wonderful into his music. This is especially true ot mento slur. Max Reger and other modern “Everything he to—, ^ ^ the end> measures 69-71, remem. be there in the very early morning, one count a whole phrase through, thus p ay- art. It is an art which even the the Woodland Sketches, which are all writers are very commendably substituting iann, referring to pages ber the full tones. Humor the notes at might see the sun rise over as beautiful ing the first four measures of To a Wild very young student may sometimes possess, colored by the scenes about the Log Cabin a rectangular bracket for the slur in this music'” Let us add, as we open the pages the very last (humor, but do not indulge a scene—of woodland, meadows, flowers Rose as one complete thought. To do this, but only when he has united with the in which they were written. of the Ballet Music from them). It is not an actual retard. and brook, with pne or two mountains as the pupil did not count each measure one, technical development necessary for the Very .slight is the material of which X. Also, the curved line is used to in¬ “Every key we touch shall turn With the composition thus before us can a background—as may be viewed any¬ two as the measure signature indicates, dicate glissando. In piano music the word actual physical performance of the notes many of the “Sketches” are constructed, we resolve to earn the title (with Schu- but'counted the first four measures one, glissando is usually added (see the third- and rests in the written music an inner where in America. each reflecting a single image-as a sing e bert, the composer) of 1 icing the “Midas “Hillcrest,” the hundred-and-fifty-year- two, three, four, five, six, seven eight— last bar of Scliulhoff’s Carnaval dc conception of the idea, story or mood wild flower-but, as MacDowell himself for this. The o"of Music?”'"shallMusic?” Shall *we tmtry'Turing t “fed old New England farm house which Mac¬ on one breath. The next, and following Venise). When it is not, the fact of the The “Ch” means “Choir Organ,” the previ¬ which the composer had in mind when he wished, each expressing m completeness a not De SKimmcu ..- - , Dowell remodeled for a home ten or fit- phrases may profitably be counted in the slur indicating glissando may be inferred ous passage having been played on the Great e by ‘he notes to golden tones? single musical th.ought. Often pianists, bert’s “melodic gift,” f>r*raysd J\y with wrote the piece. . , . teen years before his death, stands on same manner. Phrases within phrases from three points: (1) the passage will in Organ. Since the days of S. S. Wesley, The writer had this brought out clearly endeavoring to crowd into one of these right hand. Each note that is marked wrth the summit of a rolling hill, a little dis¬ there will be, to be sure, but these simply every case consist of white ltfys exclu¬ from whom the extract is taken, it has by a suggestion which Mr. Joseffy made short numbers too many meanmgs fail that, little dot has a touch all its own tance back from the main traveled road. serve to make still more clear the original sively ; (2) if octaves are to be played by become usual to furnish the sign with an to discover its simple, natural, and indi¬ Which, if neglected, will cause the not To Do Or Not To Do? to a student who had been working upon meaning. , , one hand the piece must have been written to turn to lead instead of gold under our a certain composition for several weeks. vidual charin. As MacDowell is said to have Many pianists, following general rules The Gate o’ Dreams when the pianoforte touch was much arrow-head thus : ^ and in viev of the fingers. The lightness must be that of the The student played the entire piece ac¬ expressed this himself, m regard o one of accent, bring out over-much the initial lighter than it is now—say not later than minuet dancer whose dainty slippers be¬ By Mrs. Marla Topping curately and with ease, but the piece still TO REACH the Log Cabin, one leaves of the pieces, “One must make a P'ct"re °l melody-note of the first and succeeding the death of Beethoven, 1827; (3) some¬ “said nothing.” Asked what he could do “Hillcrest” and goes through, the it, with a frame around it. Have a limit. measures, but in To a Wild Rose all mel¬ heavy burden which we musicians put on neath her skirt „ times the slur would be inapplicable as a to improve the effect, Mr. Joseffy an¬ “Gate o’ Dreams” through which Mac¬ ody notes receive, almost equal pressure, this very simple and slender little sign, “Like little mice stole in and out. Have you fully resolved that music legato or phrase-mark. All three points swered, “Nothing just now, but do not Dowell passed each morning on his way The Essence of the “Rose” anything which lightens its labors is In measures fifteen, sixteen and seven¬ teaching shall lie your profession? If so, the player taking care not to clip the are illustrated by the octave passages half¬ worry. Keep playing it and keep it in to his “House o’ Dreams”—as he called teen you will see notes marked like this: have you studied your ability and adapts- HE FIRST important thing to remem¬ value of the final notes in the measures. way through the Prestissimo of the Wald- highly to be commended! mind. All at once, some day, as you are his Log Cabin. One soon comes to the T bility for its professional and business re- ber in playing To a Wild Rose is The pedal should be used constantly, in stein Sonata. (In single notes, a glissando JJ . Think of them as “breathy” notes walking along, the conception of the piece quaint little log cabin, set in the heart of a syncopated manner, being lifted precisely passage is played with the finger nail and quirements? For, whatever your strength the idyllic character of the Piece-*®reT as a whole will come to you!’ ... the woods, where, away from all disturb¬ as the notes are struck, and pressed down is possible on a modern pianoforte, but (a singer would use such a tone on a word as -to education and desire for the work, fore do not play.it too fast. In the first The acquirement of a good technic ts of ances of house or field noises, he wrote immediately after, thus floating the mel¬ like “death”). They require a controlled, place, the metronome markings are n , on the early pianofortes it was played 1. What is the -fold function of the unless business principles are practiced, real importance but the quest for technic the many tone-poems which have made his with the tip of the finger, and octaves the financial outcome is very uncertain. we are told, indicative of the tempo at ody along. tief strong pressure. should always remain the means to the name immortal. - When you reach the three notes of meas¬ which MacDowell himself played it. Mac¬ were possible.) 2. What use of the slur is peculiar to Many questions are to be weighed be¬ end, secondary to the quest for the idea Going through a great bark-covered Interpretative Devices On the organ manuals the, device is not Dowell always, it is said, enjoyed telling organ music? ure eighteen, do not retard. Humor the fore the “shingle" should lx? hung out of the composition and to the proper in¬ door, one finds the Cabin just as Mr. Mac¬ adopted; but on the pedals two or more the story of one of his most unique crit¬ HE PLAYER of To a Wild Rose 3. In what three ways do slurs help in notes a little, though; do not straight-lace Have you asked yourself. "Am I com¬ Dowell left it—pens on a tray on the cor- T notes (corresponding not only to white but terpretation of this idea. icisms. He had been playing To a Wild will doubtless feel, as did its composer, playing grace-notes? them into a strict tempo, but have them petently acquainted with tin keys employed Many lovely compositions belong dis¬ ner shelf, a Moorish lamp still hanging also to black keys) are frequently played Rose in concert, and, after the program, a need for an increase in tone and velocity, 4. How may the portamento sign be dis¬ fall in time lithely and easily—another in playing?” And this makes no reference tinctly to that division of music known from the ceiling, the old rush-bottomed by the toe of one foot: the action, is es¬ was astonished' to be taken to task by a as the music progresses. So, in tne nun tinguished from the syllabic slur? touch, you see. to the ivories on the pian<>. although to as “absolute” music, and make no at¬ chairs, the two ancient British fire-arms sentially of a glissando character, though bright little eight-year-old girl. *ou phrase, MacDowell increased his speed to 5. In what instances does the slur indi¬ Throughout the composition definite fin¬ teach those successfully requires some tempt to tell a definite “story.” Many (one with a coat of arms upon it), relics the word is not used; and it is sometimes, didn’t play To a Wild Rose right! she about 96 M. M., and in the phrase which cate glissando? ger-forms should be evolved. It is a fairly "Knack.’’ No, we are thinking of those others, however, including scores of those of the Revolutionary War which Mr. Mac¬ though not invariably, indicated by a slur said to him. MacDowell was, for a mo¬ follows, to almost 100 M. M. A general easy piece; and you, no doubt, can use thirty-seven dispositions of the keyboard lovely little masterpieces which are often Dowell himself found under one of his connecting the footing-marks: ment, nonplussed, until the young critic ritardando then follows at the recurrence several fingers and still play it well. But* required for the executii n of the soaks. called “popular” classics—probably because own stone walls, crossed over the wide Von Buelow in Chicago added, “You marked it “88” in the book, of the first theme. Good taste should the point is to get the form definite and To be familiar with the intricacies of the mantel with a faded American flag above they are well known and loved, by even but you played it faster!” The criticism govern the importance given to inner precise, just as the feeling is distinct and keys—the majors, the different minors, unmusical people—do suggest a “program, them and the deep stone fireplace itself. By E. L. Selwyn about not following the metronome mark¬ voices and repetitions of the first theme. individual. An architect does not say, their chord combinations, their sequences or else endeavor to imitate a happening or MacDowell had a remarkable gift for ings was true, MacDowell said later, and The player must not try to express him¬ “That building will stand, no matter if I and modulations—this is t» have the same extremely compact expression. When, m “I first heard von Buelow in 1876,” tell a definite .story. is said to have added that 92 M. M., one self through too much rubato and distor¬ use brick or stone or steel.” He decides mental equipment required for the solv¬ Were one to ask a hundred people—un¬ the summer of 1896, there came a little XI. The curved line is used, in playing writes George P. Upton, in his “Musical heat to a quarter note, was really the tion of time. The entire composition what to use and begins and finishes the ing of tricky mathematical problems. stringed instruments, to mark the bowing. Memories,” adding, “A numerous flight of educated in music—their favorites among time for writing at the Log Cabin, he speed at which he always started playing should always be played with purity of structure with that material. That is Art: Then. “Do I know technic in all its The effect is the same as a phrase or legato stories growing out of his musical and compositions for the piano, one would find wrote the Woodland Sketches, two of touch, entire freedom from sentimentality, patterning not only the intangible things complicated processes evolving from the that a great majority of them would in¬ which—To a Wild Rose and To a Water the piece. ' . mark, but “bowing” is always regarded as somewhat peculiar domestic relations with One can best grasp the complete phras¬ with simplicity and naturalness. like tones and feelings, but also obvious peculiarities of the human hand?” Each clude in their replies, To the Wild Rose j Hy—are ever-fragrant and have .such a being a separate function of the slur. Liszt and Wagner, preceded his coming, ing of the “Wild Rose” if one knows of The sice of a composition has nothing XII. In clavier instruments, the curved things like fingers and keys. It is one of requires a different treaime n and To a Water Lily by Edward Mac- charm that they have made the MacDowell and his departure was followed by a long MacDowell’s little trick of counting. It to do with its real quality. Mg. Leo Ornstein’s requirements in his Dowell, Humoresque by Dvorak, Trau¬ name and writings known to even . the line is used to indicate the spreading of trail of myths and romances. He was an “Among all the thousand >i etudes for is related that he often said that he wished One cannot visit so easily the spots oi> a chord. A wavy line is more usual and interesting personality. He was a little teaching that “finger patterns” be devel¬ the development of that hand, and of the merei by Robert Schumann, Spring Song most unmusical concert-goers. MacDowell, oped in every piece, no matter how sim¬ he need not insert measure bars into pieces. which all the great classics of other com¬ distinctive, but a perpendicular slur is below medium stature with receding fore¬ mind which guides it, can 1 judge which by Felix Mendelssohn, Nocturne in E Flat more than any other recent composer; save, posers were written. Nevertheless the not uncommon. ple the technic. head, large sharp eyes, a somewhat bellig¬ are helpful, which are worthless, which by Chopin and possibly the Moonlight same deftness of touch (on part ot both XIII. The curved line is used, more¬ So, for instance, the upper part in meas¬ erent aspect, and martial bearing. Per¬ are interesting, which a • absolutely Sonata by Beethoven. Many other lovely composer or pianist) should be m evidence. over, to show the course of a voice-part ures thirty-four, thirty-five and thirty-six haps it was this latter feature that made harmful in their dullness and will make classics would also be general favorites if There must be felt the same appreciation in polyphonic music. This is especially is fingered him so partial to the drum, which he used the pupil soul-sick to the point of given as much in recitals of various kinds. of the quality or value and the same the -case when a “part” passes from one to say quieted his nerve's and soothed his quitting ?” sympathy with the message of the mm- hand or stave to the other (a straight line temper because drum-beating was true “Am I a good judge as 11 whether this is, however, more common) : rhythm. Though he was small in figure, Pure Melody student or that one needs much technic, or latTraumcrei by Robert Schumann, is one he was big in spirit and tense of nerve, and Ex. 13 little, to bring out the right development! IT WOULD BE interesting to know the of the small suite of short pieces which is he played with both as with great power reasons for the almost universal love and no more?" entitled “Scenes from Childhood. These and extraordinary facility of technic. He “Will I know when to introduce Bach, which people have for certain of these “Scenes” which so charmingly relate ep¬ was autocratic, at times belligerent, and and why ?” pieces. It does not always seem to be isodes from childhood, are not to be played, was even more impatient with audiences every time and all the time. “Shall I use pieces early in the pupil* rhythm (stirring as that element of music than Rubinstein. I saw him once leave the This by the way, is what is termed a usually, by children, but are mature reflec¬ lessons; why ; and which ones ?” may be) which exerts the greatest charm, piano in a rage because a lady in the front difficult passage. But the following pro¬ tions upon experiences of child life. Each "Shall Czerny lie a steady dietlôr ad¬ but melody—pure melody. row was fanning herself out of time. She cedure will transform it into golden love¬ of the thirteen pieces of which the suite ministered in homeopathic doses?" Stu¬ So, the performer or interpreter of the did not desist until an usher explained to liness. Practice measure thirty-four first is composed is but a trifle, in length, yet That the curve in the above extract, piece being played must study not only her the cause of his sudden flight. But -again and yet again. Next practice dents are not all Mozarts I “Will I several of them—the Traumerei, for in¬ from a harmonium arrangement of T.schai- the notes, special difficulties of fingerings when engaged in playing and everything measure thirty-four and the first chord of how to feed lightly the weaklings of lilfi* stance, outweigh many entire sonatas in kowsky’s Paternoster, is not a phrasing slur talent ?’’ and phrasing, hut should seek also to know was normal in the audience, he was very measure thirty-five. Only one more unit, value. Schumann had written many of is shown by its absence in recurrences of all the tradition which surrounds the com¬ cool and self-possessed. * * * you see Play this combination several “Then, have I that impulse toward his longer and more difficult works before the same theme when written on one position and the performance given it by “He bade goodbye to Chicago in May, times, then add just one more chord, re¬ teaching which will not be stilled and he wrote the “Scenes.” But, it is said, it stave; and also from the fact that a artists, and, most of' all, the meanings 1876, and went away, taking with him the which will carry me over the discourage¬ was the playing of these tender and de¬ phrasing mark would have been continued peating the passage, with its accumula¬ which the composer intended to suggest. good-will of Americans. He was not so ments which are hound to come?” lightful “Scenes,” as they were given m con¬ into the following bar. tions until it is perfect. Add another (now No pianist should play a single composi¬ fortunate with his own countrymen. Some These are hut a few of the more obvtw» cert by Clara Wieck (later his wife), XIV. As a hand-guide to show that a we have two full measures), but proceed tion without knowing something of its of them had sharply criticised his read¬ and significant queries that the teacher that directed the attention of critics and note is to be played by a hand which is still more carefully, practicing each com¬ origin and background! ings, particularly of Beethoven. In a part¬ bination m its turn. Pile up notes C°m must consider and. more important, must musicians to the genius of the new com¬ also playing notes written on another It would, for example, be a wonderful ing speech, he alluded to it as ‘beer criti¬ be able to give a reasonably confide"* poser, most of whose longer writings stave (in this case, also, a rectangular miser does his coins-one upon another thing if each pianist who played the Mac- cism,’ censured his countrymen for their answer to. had, until then, remained practically un¬ bracket or straight line, is at least equally Dowell music—especially that written dur¬ copious libations to Gambrinus, and fol¬ Tifthe1 \ brk LVhe smoothn«s. Gloat Still, there is no good reason why the ing the composer’s later years—could visit noticed. . , , , common.): lowed it up with a general philippic on u 4 Stfr awh,Ie’ ,hm take one more Traumerei is another piece often played ambitious young teacher should be frig"*' the MacDowell home at Peterborough and beer-drinking. This was too much for the in a most exaggeratedly sentimental man¬ ened. A zeal for the work, a good educa¬ see there the Log Cabin in. which so much Teutonic temper in Chicago. Hence the ner. Some players, seeming to think that tion, and the practice of good, hard com of the music was written. The village of outbreak. Probably it did not worry the slow playing is expressive playing, drag mon sense, will carry one over almost any Peterborough is but a few miles over the little man much, for he dearly loved a to golden music haS not tmn^ Pitfall. the music from beginning to ending. line into New Hampshire and is easily They should remember that it is tone, not reached by train (except for those com¬ PhrPaTeseedoneg’fyiT C°me to two identical tempo, that gives the greatest beauty to paratively few who live north of it in “Music has a mission all its own and cre- Music exalts each joy, allays each piano playing. tes an atmosphere that can be created in New England) by going up from Wor¬ You know ,1,, *4>- clc}s dts«sse, softens every pain, HAZEL GERTRUDE KINSCELLA o other way.”—E. A. Winship. cester, Massachusetts. The MacDowell Subdues the rage of poison and of P‘ Sir John Armstrong, M.D., (1710 AUGUST 1927 Page, 571 THE ETUDq Page 570 AUGUST 1927 the etude

In playing, as in writing a composition, The Necessity of Visual Musical Education the artist-student, must work unceasingly Learning the Art of Conducting With the Aid for complete mastery of the technic of By Edith Lynwood Winn his art. This is as true in the realm of the “miniature,” as in playing the longest , TWoont is no In music as in other branches of «t„ of the Talking Machine and most difficult composition. He should s made to the or town life. Today the ®hed jn jm- cation, the child must be aroused to inter! never follow blindly a traditional world's earliest inhabitants. Witness tnethe longer anovelty. ex inaccurate est and enthusiasm. The stereoscope ^ By EDWIN HALL PIERCE historical performance,.King but, adding Tut revelations. Egyptian hiero- ithTndicrous costumes, cheaper than mottonpictures and, ^ Mr. Fierce is a practice■ Composer-Teacher a*,l Conductor. He wo. jormerfy assistant Editor of -The knowledge, sympathy and whatever of the glyphiCS tell the story of long-forgotten HS, °" t df Th’e Pageant has become an c.ally with the rcHectos^pe, the apparatus artisttjf+ie* there monmay Kobe withinn.itiuM him, should I". ' At. thp p 'wlu Museum con- wwilll“ 1101not do. i"“A fie ^ Sneeds^ „aAc behp an ac-3C" is adequateaoequaic for.u. the».c u^cuse o.of teachersicacners in mmi. Etude.” His very readable articles have great practical value. read something of his own into the per- P P, ' . , „ . TT 7 . , . educative lorce and • d some- centres where a club or a group of teacher* Quintuple Time allow yourself to indicate the course of formance of the composition, achieving '’ected with Harvard University the story CUrate representation of a pen^can buy it. T THE request of several readers This occurs so seldom that the student A syncopation, but keep to the steady one, ’ .of our early Indians of North America, thing more true to factrthara «*» P There are scores of advertisements !„ of The Etude, some years ago I may feel disposed to pass 'it up as needless, two, one, two.” Both down and up beats their strange totem poles, basketry, pot- ture, with its stirring tableau but dist magazines to this effect l. n prepared an article on Conducting, but to do so would be a mistake. You tery, surprisingly beautiful and artistic, tell historical setting. Today the. Pageant ^ Teacher. Study an /iii/ru„wTf" which appeared in the issue of January, are made with decision. would not wish to encounter a five-four us better than wordy tomes of the habits, an intelligent medium of bringing home ., ' • h 1923 Since then I have had occasion to movement and not know what to do with Self-Test Questions on Miss Kinscella’s the attainments, and the chief character- people some event, some historical sequence ttoBook. All A^fa 1 shortyof being observe and to test by experience what Triple Time it even if it happened only once in five Article istics of their lives. of events, some beautiful drama artistically ruthfu . Noj^trumen^cau be studied a valuable aid the phonograph may render A good practice-piece for this is Weber’s years. Then too, the practice of quintuple 1. How is the interpretation iff a com¬ The first blackboards, were cavern walls presented, harmoniously blended. Intel • •' teacher, to one who is acquiring the rudiments of Invitation to the Dance. The introduction, time will give you added certainty with position aided by a knowledge of its origin or scrolls of parchment. The Cathedral Actually and aesthetically the Pageant is although very gifted students often pro. conducting—all the more important be¬ and also the coda, are slow enough to use the control of the baton. We suggest, as and background? of Chartres, in which one sees such won- one of the greatest creative forces in our duce remarkable results on keyed i„. cause it is so difficult for the inexpe¬ three real beats to the measure. (See material the Allegro con gracia from 2. What ivas MacDowell’s idea concern¬ derful stained-glass windows, was the vis- i;fe_ And Pageantry is Visual Education, struments with a tear her. A Paganini ing the function of each compositiont rienced to get sufficient opportunity for later in this article for outline of the Tchaikowsky’s Pathetic Symphony._ ual Bible of the French people. Before w;th the appropriate setting of music that might go to a lonely villa and study the that actual practice of the art which is proper motions.) The waltz itself, how¬ There are really four kinds of quintuple 3. Describe the surroundings in i which they could read and write, the peasants iends distinction and charm to the story guitar for two years. Hut we have no such needed to become skillful. Although the ever is so rapid that to beat out three rhythm—the most common is that in which EDWIN HALL PIERCE "Woodland Sketches” was composed. learned the story of the Old Testament in told geniuses with the same erratic habits to- correct motions of the baton are simple would be fatiguing and unnecessary. each measure is first two beats and then 4. What was MacDowell's “trick of iogicaf‘ ‘ !equOTce, Through‘ffie“stories'... day. The average person must have a The Picture Phase of Education and easy to understand in theory, the Hence we here give only one beat to the three; next to that), three beats and then counting; and how may it be used m teacher in order to study music wisely. The follow the music as you “conduct.” For stained glass, beautifully presented from young conductor must practice them as¬ measure-a down beat. As a down beat two, but there are some isolated exarriples, “To a Wild Rose?” windows. In music education we must have more poor convict, shut in, with > , incentive to orchestra conducting you should have siduously until they become a second is necessarily followed by an up beat, it in extremely modern composers, of four ,5. What tendency must be guarded Education, before the introduction of pictorial work. The lives of composers, study a violin, may Ret ,,io aid from records of various, standard symphonies nature; otherwise, when actually engaged is a little hard to describe in words just beats and then one, or of one beat and against, in playing “Traumerei?" printing, was both verbal or visual, a slow their pictures, their habits, their very books and even from the u. 11 ,.la, with its and overtures, and the full orchestral score in working with the orchestra or chorus, the difference between this and the march then four. In , these exceptional cases, process, constant, permanent as well as struggles and defeats and victories, may be excellent records. But m.i ubtlc and in- rather than the piano arrangement, so he is liable to make mistakes in movement beat, but there is a vast difference in fact. however, the composer usually indicates that you may become familiar with the convincing. brought to the child’s attention through tricate details of violin pl.i, m.; escape him which will confuse the performers and In beating “one; two,” we make both the the inner division of the measure by a Liszt’s Impromptu Feat Every constant moment we are develop- pictures cast upon the screen, by the use I|e MOt a genius; In- i .•; ,-ompre- entries of the different groups of instru¬ embarrass himself. np and down stroke decisive: in beat¬ dotted bar-line. ing an individual personality. Ask your of the reflectoscope, and coordinated with hend. The best help lit it., . f mm the ments. Full-sized orchestral scores are By G. R. Bett ing “one,” we make only the down stroke mostly quite expensive, but nearly all the neighbor what he sees from a window, the study of music by the great composers, pictures in the early pact t the Method How to Begin Sextuple Time decisive, the up stroke being a mere re¬ older standard works are now to be had _ _ : With each one of us the personal element By means of the reflectoscope the excel- Book There he sees A good piece for first practice is Lange s The best thing to start with is a straight covery of position, the course of the baton in a miniature pocket-edition at very rea¬ Frederick Corders compact biography is present. You may see more or less than lent picture post cards of composers may in& correctly for' his l,e, Vct\mrh Floiver Song (N. B. Lange’s, hot Tobani’s, military march, say, almost any of „fousa^ being slightly curved, in the form of a sonable price. Weber’s Overture to Der of Liszt contains a little known story of your neighbor. He selects. You also be used. The Perry Pictures are also use- escapes him bee m-e hi ■ . which is in *A). This will also introduce which, no matter whether in B/s, 7-1 or 72 very narrow oval, with no distinct break Freischiitz is a good one to begin with. varieties of tempo, certain of the strains "*■*— “!?•■ , , **-*«.,-**«»i-w.- time should have two beats to the measure at the bottom. Unfortunately, owing to the limitations in being played much faster than the others. -straight down on the first beat and up the length of a piece that can be put on “°n a certain evening (in 1864, or most discern^ muskLTTnZtLchws to- Jecifa afc? and "^^0 f'picture. ^Here nTremleX^'nee-d'' (' ’ In case they are so much faster that beat¬ on the second. Set your talkmg-machine Quadruple Time one disk, some of these orchestral com¬ thereabouts), says _ Confer the famous day do not hesitate to regard music study is a means of service to teachers of musical "f effZ of wM sUp'' V'.fd study’ ing six is inconvenient, beat these two in going, stand before it and go through the positions have been “cut” unmercifully. Dreyschock a pianist celebrated for h.s as a necessity for all boys and girls. By history and musical appreciation. Com- ’ ' Use a “grand march” in *A time, such as the measure, as if they were % time with proper motions, as if you were conduct¬ The one just mentioned is given entire, wonderful playing of octaves, was honored music study I do not mean the mere play- bined with the victrola the class work, 11 b>' a,UM"" ,bul Chopin’s Funeral March or Handel’s Dead triplets. Where the cadenzas occur, cease ing an orchestra. Follow the time ex¬ but the slow movement from Mozart’s G by a royal command to perform before the ing of an instrument. If we asked every- aural and visual, may be made so interest- ,1 J ' T ' T ",U " «• s,ln1u,att March from. Saul. For outline of the beating and hold the baton poised in the «*■«*■ lAeof ««*» A7i«»x.-»o « • < " » .« ; ... c c"Vl l l' ac,lvi,ics in vi!,»ial v..,rk. Visual be in the proper direction for this beat, be useful ear-training. (eighth-note) passages in octaves. Much and appreciate«.;=»«- the''beauties of music)w orks can be made tQ follow a ,ar education in secondary kIkmU will go far of this was, no doubt, what is termed otherwise your conducting will go awry. order. For instance, a pupil may play the toward ma'nta'ning a standard of musical ‘fake,’ but the piece was very clever, and Nuances Pupils of Small Talent Handel Largo, after a short life of Handel exce,lence worthy of the credit system. In always made a great effect. On the pres- Nine and Twelve The pieces first mentioned in this article The time has come when we cannot and pictures of Handel have been thrown Amenca.n'za,ion work, in church work, in t occasion it was duly trotted out, and ,.lne l,me. na In rapid time these are treated as triple are those in uniform tempo throughout; ui allow ourselves the Emperor was so excited that he an- allow ourselves as teachers to belittle the on the screen, with the aid of the spectro- C01mm,!nity cc"'rc music education, visual and quadruple time, , respectively, hut, later come those which change tempo at plauded wildly, and turning to Liszt who pupdof s«?a11 talent. Dr Goetschius, of scope. The slides are merely pictures or S”"0" '""st bc mf;"1 1 oo.Iargmg should the tempo be . slow enough to de¬ certain points. One must also learn to was sitting, as usual, close by, exclaimed, the-N,ew York Insbt«te of Musical Art, P™ted material that cost nothing to re- l, ;""l creating intcre-t ... all pupils. mand the full nominal number of beats, make a steady accelerando or ritardando ‘There, Monsieur Liszt 1 Can you beat tecentjy wrote these words to. a pupil who Produce Many will turn to music be cause of the the principal beats are given exactly as where called for and, lastly, to acquire the had distinguished herself in his class : Another valuable use of the visual illustrations. Others will become that?’ It was known that Liszt had long spectroscope above, and the intermediate heats indicated difficult art of following the course of a “By all means encourage the pupils of music lovers and gradually absorb the c< retired, but the Emperor’s challenge Memory Contests. A composer’ by 'small semi-circular' movements of the tempo rubato when necessary. (In first command; he rose, bowed, and made his *• They need it more than the hire is thrown on the screen, with date of tent,of music. The radio',! much in baton in the same general direction as the attempting to beat time to a record which way to the platform. The surprised audi- bl8 talents, and, on the whole, they are birth and death, country of residence aural way. Let“ the” visual education pro¬ beat just preceding (see diagram). involves tempo rubato, it is absolutely :e applauded; he shook hands with Drey¬ vastly more useful in the general uplift t,le composition. Some person ceed along similar lines and we will not necessary to have a copy of the music in than the few conceited big ones.” plays the selection, schock and sat down. After a momentary -‘•i“ The.- pupilsr-r-o ,wine nees able to recall the name of the cnm£T moment of ceasing the tone by a slight termediate eighth-notes, indicated by a zephyr. The audience gasped; Liszt still dren are not taught to coordinate the visual through the other data given nim 1 twitch of the baton. Whole Rest and Half Rest slight semi-circular motion at the end of kept his finger on the treble C with which and the aural. Edward Baxter Perry, the Played. Often the victrok is to lr^ In piano and pianissimo, movements of each beat, following the general direc¬ this piece begins and ends, then, after a blind pianist, once told me that he had to PplayIaY in this work.work brought u Gentlemen the baton are made very small, becoming tion of that heat. Never try to beat pause, played the study once more, even see music so clearly that he could write it larger in forte, with large full-arm sweeps down, every mark of phrasing, every group divided triple time like-sextuple time, as more delicately, but with the right hand in in fortissimo. Nice gradations in the of notes, chords and so forth, before he Arousing Enthusiasm By Ludvik Simecek that would be all wrong. In Arithmetic, octaves.” amount of movement are in order in cres¬ felt that he dared play a composition. In of course, 2x3 equals 3x2, but not Watch a child with one of these , cendos and diminuendos. The best con¬ other words, he had to be able to write n in music—the accent is , wholly different. Since the whole and half rests are simi- ductors also distinguish, almost uncon¬ down in its entirety and see it mentally The motions of the baton, as described For a Stiff Wrist >wn in its entirety and see it mentally. . a,r‘cloth furniture of a quarter of a cel ^ aPPearance. it is quite a task for be- sciously, in the character of their motions, Ttl» J_^ J_ ■ . J in these last two sections,- being somewhat The composite depends on minuteness of ,y aga He « not only eager to seP i g.“'ners in musitnusicc to distinguish lietweenbetween between passages which are smooth and --- observation and individual selection. Ex- P,ctures. s° different from whaT he stfs ^ thc,m more complicated, it is well to give them flowing and those which are vigorous and verted by the a good deal of practice before attempting - periences can come only through the senses. ?ay’.but eJery time he visits the old to k" f Mfuch “"fusion detached. “Jim, have you seen four horses pull The visual sense is that most constantly £ begs, !or the stereoscope With ^ fo,,owl"K plan. Show the pupil in the to use them with the music. We pur¬ posely omit giving examples, as by this one of the heavy loads in a circus pa- used- Man then owes the best part of his arm ,of intense reality, it become. -‘tS mus,c book a whole rest and ask him what Technical Details rade? Yes? Well, you are going to personality to his eyes. We must assume “ '"terest to him. It is oneof.hto ' b res«"bles. He wilTL"''. a man’s hat time the student should have acquired enough experience, to judge of the cases In my former article on this subject, as drive five horses with each arm-ten in that visual education is an acknowledgment find It to" i educauucatl‘i°n°n that oneote «ncan Ji h™. ,e"' himn,m ‘hatthat is the hat that belong--belongs all. You are sitting right inside your °f natural, selective, formal and construe- “nd‘ “ bas also a tpa^h;_ one can to thP --..i. . . . .i-n in which these beats will be applicable. space did not permit entering into a dis¬ brain, your arms are the lines and your tive processes, highest value “ R, t d®aching power of ^hg ‘°p the ^le res, gentleman,” for when cussion of the many varieties in movement fingers the horses. These horses are very did notit; th thLPr°US Station ,ady tips his hat way off. More Advanced Tasks practiced by one and another modern con¬ 3 let the lines loose. If you pull Vivid and interestin' 1 these Pictures, so ail sbow h,m a half rest, and he maJ ductor, it seemed safest to give the old Thet Pageant as an” Educative-IS Force no motion there 1 , 11 resembles a nai. As a preparation for chorus work, ob¬ on them and bring your wrist up, the Not standard outlines of time-beating, as set long ago the Pageant was nothing Today we have ^T have gone further whe^t?"85 l° 3 "Ha,> rcst gentleman, tain records of some of the standard horses will be frightened and may run than a form of advertising. Then it u „u I Ve motl°n m nict„r». u .' when he meets a ladv l„. hU hal oratorio and opera choruses, and also the forth by Berlioz and other recognized away. All ready to start! Well, then, , . ..•• —^ with all ^theTu'r,.‘‘10T,in pictures, bm Z” "eJ"eets a lady he tips his ha, only authorities. But it is only fair to state that became a means of calling attention to an industry it to. „ ,\°f the motion picture w 'gh,ly printed music to the same. Place the Giddap! Loose with those reins, there!” the present tendency is toward more epoch, the rounding out of school or college educati!. 0t been madc sufficiently Very yo""g children draw toothpick hook on a stand of convenient height, and gentlemen with their hats in their respec live positions. AUGUST 1927 Page 573

THE ETUDE THE ETUDE Page 572 AUGUST 1927 The Modern Band curved and graceful motions, the only second violins), who was assisting Mr. Helps to Harmonic Memorizing beats that are made in an absolutely Edward Dannreuther to translate the mas¬ By Lynne Roche straight line being the first beat of each ter’s observations to the orchestra. His By the Well-Known Theorist measure (in all kinds of time), and both next gesture was to beckon to Richter who nets, who once “ruled the band,” now are the down uid up beats in military marches. was standing by. ARTHUR OLAF ANDERSEN In the cut on the previous page are dia¬ ‘“I cannot go on,’ Wagner .‘aid to him, With the modern concert. ba"^ntation usually doubly outnumbered by the clari. its present state, both as to instrumentation grams explaining the motions used and handing him the baton, lyou take it.’ He nets alone. based on the more modern principle. then went down from the platform to the and to technic, what a pity that more o our All of which means that the concert or arena and sat there facing the orchestra talented and capable composers do "°t * regimental band of today has resources of General Hints lookjng very glum and dejected whilst vote a portion of their creative instincts to tone color scarcely surpassed by the sym. Its repenoire. “So'little really first-class In conducting, while avoiding exag¬ Richter continued the rehearsal.” phony orchestra. Not that it rivals, 0r the brilliant young composer, Leo Sowerby. music has been written with the band in gerated or grotesque movements, the body even approaclies, the grand orchestra view. For repertoire the conductor of one significance. As an example let us con¬ should maintain an elastic poise, without certain powers of expression; it simply make a few substitutions of Secondary HERE ARE but three qualities in sider the V triad of C major, G-B-D. We stiffness. One should have the feeling of Learning to Listen of these wonderful organizations must rely T triads for these Primary triads. approximates its versatility, but in a differ- music, as far as chordal structure find that it is a major triad. Transfer the drawing the orchestra or chorus along, largely upon his skill in ’'adapting orches¬ tral music-either of the concert form or ent field. is concerned. These are the pri¬ thought to this triad as a new tonic. Pre¬ rather than of pushing them. If a piece By Harold Mynning In America the concert band, with John from opera—to the idioms of his medium mary colors of tonic, dominant and sub¬ cede it by the V of this new tonal color begins with the down beat, always raise Philip Sousa as its prophet, has been ac¬ Isidore Philipp says, “Above ail, listen and to the. technic of hi'S personnel. and we have D-FS-A. If this V of the the arm in a premonitory up beat. My cepted as the standard, and in this field dominant. All chords, no matter how counsels to “decision of movement,” in the to every note you play.” But the average And what strides have been made in complicated in construction they appear dominant key is used but momentarily as pupil will not listen unless he is given band organization 1 Not so many years ago the organizations under limes, Conway, a related passing color, we do not consider former article, were unfortunately mis¬ Fanciulli, Pryor and others have been his to be, may be likened to the primary qual¬ understood by some. I did not mean stiff¬ exercises that will lead him to do so. The the traveling band was almost completely the progression a modulation but a transi¬ worthy colleagues. In Europe the govern¬ ities. The Primary Triads are the chords ness or undue violence of gesture, but following exercises have been found to be “brass.” This did effective service in the tion. Each triad may have its transitory ment departments have stepped in, with the composed of three notes formed on the ARTHUR OLAF ANDERSEN simply, that one should have a perfectly efficacious. plaza, the street, or to lead a political C: 1 IV V I IU V I dominant precede it without affecting its first, fourth and fifth degrees of the scale. clear and well-formed idea of what one Press down the damper pedal and play parade as its “conquering hero” confidently result that each country has a standardized own status in the scale in which it is a chord. Still holding down the damper instrumentation for its military bands As ’a matter ■ of convenience, these are found. Thus we may have the V of IV, In the first measure are found the I and wished the performers to do, and should led his cohorts down “Main Street.” But Here is the natural chord cycle with II pedal press down a coihponent note’ with¬ which thus become the model of all others. herewith given with the Roman numerals VI triads. In measure 2 the first two endeavor to communicate that idea under¬ the clarinet and piccolo (in the “good old of (b) substituting for the IV of (a), in the V of II, the V of VI, the V of III standably at every moment of the per¬ out actually sounding the note. Now hold days” not many bands had more than one Of these the pride of London is in its Cold¬ indicating their scale position. and so forth. In order to determine ex¬ chords are II triad ’and II7. (Seventh the second measures. formance. down this component note and release the stream Guards Hand and Grenadier Guards actly the nature of each of these domi¬ chords may be formed on any degree of of each) multiplied and replenished the In the following we have damper pedal. Note that the string of the band; flutes, oboes and bassoons became Band; Paris thrills just a i xuberantl* to nants, the triad with which it is to be the scale by adding a third above the Ex.l component note vibrates slightly. One adopted children; English horns, alto and its Garde Republicaine Band, while Flor¬ used must be considered. If the triad is triad.) On the third beat of, the second Something About Tone should learn that one’s sense of hearing is bass clarinets, the bass viol, the harp, the ence and Rome have their regimental bands Ex.4 minor we consider the key to be minor. measure the E is not made natural accord¬ sharpened to a far greater extent by the saxophone, the contra-bassoon, the contra¬ which work magic in technic and rhythms. As an example take the submediant triad ing to the F minor scale. This chord By Floyd Matson playing of pianissimo passages than of bass clarinet, the sousaphone, the xylo¬ All of which should offer an outlet for in C major. We find it to be a minor cannot be spelled in the original key un¬ forte. phone and chimes have been added till in certain composers who have so maltreated triad and consequently the transition is to less the next chord is found to be “in key.” We hear so much about tone production Learn to note the coldr values of each the modern concert, band the brass instru¬ the orchestra in their wild quests for thrill¬ A minor. The dominant of the submedi¬ This next chord on the first beat of the by technical means that I wonder if people, finger. It has bear said, probably with a ments are greatly outnumbered. The cor¬ ing tumults of tone. Those triads built on the remaining four ant is E-Gif-B. By adding a third above fourth measure is the mediant with the degree of. truth, that Paderewski’s sense many of them, know what is the real degrees of the scale are called the Sec¬ VI lie this V triad of VI the V7, E-GS-B-D, re¬ E flatted instead of made natural. This of hearing is so. acute that he can hear background of a beautiful tone. ondary Triads. These triads may all be sults. By adding still another third above is permissible in the use of the mediant in with what fingers another pianist is play¬ Of course there must be relaxation, per¬ used in substitution for the Primary Tri¬ the V7 of VI the V9 of VI results, minor. If this mediant triad is momen¬ ing a passage. , VI and He in measures one and two of fect hand control and a pliable skin or ads. They are: tarily considered as a tonic, it will be Realize that cultivating a sense of hear¬ How I Helped Myself With My First Scales (b) substituting for 1 and IV of measures E-Gt-B-D-F. else the conception would not be trans¬ If we remain for a definite length of found that the two preceding chords are ing is like cultivating anything else. It is one and two of (a). . mitted as it should. However, if there time in the key of the new tonic triad a dominant and dominant seventh of this is nothing to transmit, the most perfect acquired by practice. By J. Laurence Scheer In Ex. 5, by substituting III8 in the mediant-tonic. The momentary key color Take notice that all the master pianists Ex.2 ^ |||g|||l;ll b third measure of (b) for V in the third modulation results. At one time the in¬ of mechanisms can not reproduce a beauti¬ troduction into a melody of an accidental does not persist, for in the. third chord ful tone. Technic is only the wire along have become so largely because they have measure of (a), of the third measure an M is introduced. learned to listen. The celebrated vir¬ board. Finally I decided to break this not found in the signature was considered which the current passes; it is the means, “hands separate for one octave.” Onc< This is not in the signature of F minor tuoso, Harold Bauer, learned to listen "great distance” in half In playing one Supertomc Mediant Submediant Leading-tone Ex. 5 a modulation; but this wide application not the beginning nor the end. conquered this exercise was increased and must be explained. Looking ahead, through studying the violin. The nature octave (1, 2, 3—1, 2, 3, 4, 5) then the Triad Triad Triad Triad of the term led to a very great deal of After, and while the student is getting we discover that the first triad in measure of the piano with its set pitch, is apt to Then, with two octaves, my troubles began octave above in the same manner, twice incorrect and complicated harmonic his technic, let him learn to love and seek The fingering was rather easy to rememtei four is the sub-dominant of F minor. make one careless about this. Get in the sounding (once with the filth finger and analysis. the beautiful. There are ever so many In comparing the Secondary Triads with This should be considered as a sub-dom¬ habit of listening to every note played. when playing only one octave, but when 1 again with the thumb) the t common to beautiful tones in a 'sunset', a flower, and the Primary Triads it will be found that Chord Figuration was advanced to the two-octave stage thing! both octaves. inant-tonic. The dominant of this momen¬ a storm. Let him learn from singgrs the II triads having two tones in common The figuration for the first inversion seemed to me to be inordinately compli¬ Thus the C in the middle became a sort C: I IV V I VI IU HI' l tary tonic is F-A*-C, and we may then and violinists what good tone is and try with the IV triad, and consequently ex¬ of a V7 chord is indicated N\ and is cated and an inevitable jumble followed. of outpost from which my lingers scur¬ analyze the last two beats of measure to reproduce it. If he has the beautiful The Technic “Bull’s Eye” hibiting the same quality, may be used as “How is it,” I asked myself, “that I car ried for another journey over eight keys. called a dominant six, five chord. The three as dominant of the sub-dominant. within him and has a means for its outlet play one octave correctly yet am st a substitute for the IV quality.. we have VI, He and III* m the first In analyzing according, to this transitory By Ralph Kent Buckland It then occurred to me that I need not three measures of (b) substituting for I, full figuration for this chord is V s. The then a good tone will be inevitable. Let thoroughly stumped when it comes tc The III triad has two tones in common shifting of the tonic to different triads of sound the C the second time. So, when I IV and V of the first three measures 6 indicates that the root is a sixth above him develop his soul and it will reproduce two?” After considerable, not to saj with the I triad and two also with the V the scale, the main tonality of F major In all drill work on technic it is of first the bass note, the 5 and 3 that the other itself and make for him the most beautiful heated, cogitation I evolved the following arrived at it I simply changed from the fifth triad. It therefore shows possibilities of persists throughout to the end of the impprtance to see that the fingers strike Upon examination, we find that in every factors of the chord are at these inter¬ of music. system. finger to the thumb. Now the C was no substitution for either of these qualities. movement. If this were not so, the key in the middle of the keys, There ought instance where substitutions are made for vals from the note in the bass. (The 3 is Using my right hand and ascending th< longer an outpost. Instead it had become The tonic quality of the mediant is best shifts would be numerous and difficult to not be any close-to-the-edge attack with the primary triads the impression is vir¬ usually omitted in the figuration, as this scale of C, I played two octaves in suc¬ a milestone along the road. After awhile expressed if the III triad is employed pre¬ memorize. The same passage, according Wagner a Nervous Conductor the accompanying danger of striking the ad¬ tually the same as though only primary tone, a third above the bass note, is always cession and discovered during the proces< I found I could dispose even of this last ceding the IV triad or following the V to an analysis in which every accidental jacent key. triads had been used. This goes to sub¬ taken for granted.) The second inversion that my mind became confused. I sub¬ triad. The dominant quality asserts^ itself signified a new key, would be: By R. A. Dio All of us who play know that there is method. stantiate the statement that there are but consciously feared to strike out boldly if the III triad is used with the third of of a V7 chord is indicated V * or, abbre¬ the ever-present possibility of this failure I had triumphed over those troublesome three qualities as far as chordal structure to centre one’s fingers on the keys. Blur¬ along such a great distance on the key the chord in the bass. Hie, preceding the I. A great composer is not necessarily a scales! viated, V‘, the 6 being understood. The ring results. Even the' greatest artists have (The Arabic numeral 6 indicates the first is concerned. good conductor even if he has written a Primary triads are interdependent and third inversion of V7 finds the bass figu¬ been known to be guilty of this sin in tech¬ inversion because the interval between the a book on the art of conducting. Herman are sufficient in themselves in the harmoni¬ nic. A dropped note may not be noticed by note in the bass and the root of the chord ration: V 4 or, abbreviated, 4J, or, still Klein’s new book, Musicians and Mum¬ zation of simple, straightforward melody. one’s audience; a blurred note always is. mers, thus describes Wagner’s attempt to is a sixth.) However, just the moment the melody more abbreviated, V2. The second inver¬ When one has gone the complete round The triad on the sixth degree of the conduct an orchestra at a festival rehearsal vacillates from the natural sequential or¬ sion of a triad, fifth in the bass, is fig- of all pattern technic and there is nothing scale, the submediant (VI), has two tones in London, 1877, der of the scale in which the melody is new in finger intricacy to learn, except in common with the tonic triad and two ured J. ... “I had never seen Wagner conduct and written, the primary triads are no longer Let us take for harmonic analysis the from the exacting Bach, when one "keeps with the subdominant triad. The tome was anticipating it with the liveliest curi¬ sufficient for proper harmonization. following passage from. Beethoven’s first up” what is already acquired, then it is a quality is strongly evidenced when the osity. Would the greatest living authority Therefore, it becomes necessary to know piano Sonata, Op. 2, No. 1, fourth move- scheme weighted with wisdom to play the VI follows V. The IV quality of the on the art of conducting prove himself an what to do with the other chords in the entire technic of any given key each day, submediant triad is more pronounced equally great exponent thereof? The two scale. Since there are but the three quali¬ each phase, just once with keenest con¬ when the VI precedes V. hundred players who cheered him as he ties to consider, the tones of the vacillat¬ Beethoven, Op. No,, 1 sciousness. When technical complexities The leading-tone triad has two tones in Ex.6 % took his place were clearly ready to do ing melody must belong to one of the Prestissimo. confront the musician at a recital it is the common with the V and is strongly domi¬ anything he might ask. Why, then, did three whether or not there is a change of he hesitate to raise his baton? Yet hesi¬ just once opportunity that presents itself. nant in quality, progressing naturally to There' is no chance of digital sins king the tonic triad oir to the submediant triad. key. tate he did; or, rather, he raised and low¬ But how are we to know whether or not ered it twice or three times before he washed “white as snow” later on. Thus the Secondary Triads find their a modulation into a new key has occurred? actually gave the signal for the start. He Therefore, watch the finger-tips carefully places in tile harmonic scheme as substi¬ There may be sharps, flats or naturals not In this older method of analysis we seemed in doubt as to whether all the men and see that they always centre on their tution chords for the Primary Triads. In keys 1 found in the original signature, but these find a new key intruding, itself into every in an orchestra of such vast size were this sense, when a Tonic quality is men¬ accidentals do not necessarily evidence a measure. The memorizing of these key- ready to dash into the tempestuous Van- tioned, the tonic triad alone is not in¬ change of key. They may be only momen¬ changes in piano music, or any kind of dcrdccken motif that begins the overture ferred, for the VI and III may on occa¬ "No one can certainly determine, dur¬ tary reflections of possible key colors. music, would require a more highly de¬ to ‘der Fliegende Hollander. ing the lifetime of a composer, whether sion be used in place of the I. veloped retentive faculty than most of us “Twice a fresh start had to be made. The position in which a Secondary In every scale there are seven possible his %vorks are classics or not, because the key colors with which to work. Each possess. Consequently, digital memoriza¬ Wagner grew more nervous and flurried only sure test is that of time. We can¬ Triad is found greatly assists in determin¬ triad of the scale may be considered in¬ tion is unconsciously brought to bear on every instant. Then, after more stoppages, not, therefore, in this sense safely pre¬ ing its quality. Take, for instance, the dividually a tonic. The preceding chord such passages, a process that is often not he turned and said something to old Herr dict the term classic for any contemporary natural chord circle, I-IV-V-I, which is colors of each qualifies and determines its dependable. Deichmann (the faithful leader of the work."—J. C. C. Fillmore. the basis of all harmonic progression, and AUGUST 1927 Page 575 THU BTVl, Page 5U AVGUST 18*7 the ETUDE Shall Music Stady Be a Game? A pupil should be taught to take each A Suitable Memorial new composition to his desk first to analyze it harmonically. By so doing, a feeling By Clyde Norwood of the predominant harmonic atmosphere — -n hack to some home work to do. I f parents ***> By CHARLES B. DRISCOLL of the work will impress itself into his In these wide-awake days our juniors writers and jjj remember on,y teachsr' mind whether or not he has perfect pitch • • n childhood, theywiur what a happy world for all concerned! e expected to be precocious. Every hour their c amiand mentally1UB1UU1JT hearsucais whatwnai hene is .aanalyzing.nalyzing. _ ;-f-T" r" ' . . .. t *hev were ten they liked being child learns to coordinate"hST*1. In the course of his analysis, he should they receive many impressions, hear varied hat when hey twelve> but they his fingerSi first without tone an^ the brilliant “McNaught s Monthly. study’ thev ,v metrical—w,v— design~~~*©** «and■**« general&'-**«-*— pat- and deep—-r discussions,-—- see strange.and-o- re- treated as ,.if t • y iu way ofo{ games or a;Jh tone_ jf he wou|d play the’ then THE Costigan Memorial Temple of tuu of phrase plus phrase and period plus markable sights. Electrical wonders, the hated anything m ^ 'finally promised the generous benefactor must learn how to put the keys down w “Why, it’s a corking idea!” I replied. Music was well under way when I period. He should allow his arms and telephone, radio and other inventions make lessons that seemed to sugg NE OF my most satisfactory under¬ that his donation would be accepted on tlie received another interesting visitor in right movements, not “a;.y old way,” as'|!" O “Now, I’d like to get some personal stuff fingers to move in accordance with the them keenly alive. still only seven.” takings, as editor of the Rawson conditions he had named. I called Stand¬ connection with the project. She was a delightful, if pkyed does when he plays a music game.' * about Miss Costigan, to give the editor¬ notes he studies, and, by so doing, he will It is wonder that the children of to- Musical games a Condor, was the raising of a fund ish Davis on the telephone to make sure tall, spare woman, probably sixty years have gained a very much greater insight . ii—i ~c H"dergarten ways aucss ials about her the ring of veracity. Where more advancedl than the children as a pastime, oui j be makjng up t;ny t to build a great pipe organ as a memorial that the committee approved. Then Wos¬ old, and very poorly dressed. She intro¬ into the composition than he would had / are' T016 ,a Ya s above anythingT is she now and what is she doing, and ) wonder they catch place of correct prmcip je cannot But, even if after a for Miss Emmaline Costigan. It was som counted out the five thousand dollars duced herself as Jane Merchant, a teacher a year or two the p™;. what does she think of this project?” he taken it straight to the piano for sight- the yspiritt*„v of progress“ ls all about them. Al- learned and practiced. Li P P bas a dozei satisfactory because successful, and so in bank-notes, of which he carried a very of dramatic art in the high school at reading. “Well, I don’t think it’s necessary to go though school subjects are more in number live on cake three times a ay, t y cannot olav them few of my editorial crusades bore visible unwieldy roll in each of four enormous Tulsa. She was the hostess of Miss Em¬ Triads may be divided into a definite or audible fruit that I glowed with more into all that. Fact is, she’s rather out of maline Costigan, who was receiving such classification as follows:i*;TTnr^ III and VIv— are ^ rr t “,“h T»irS „“SV’if it, you know. She’s retired from the school pockets. . than mere musical appreciation when the When Wossom’s gift and the conditions signal honor in Rawson, she informed me. tonic substitutes and may progress to great organ boomed and sang its way into system.” She did not speak bitterly, but sadly, as chords of IV quality as does the I. Ill -sisssririrsi- ^J^zzzx**** on which it was based were published m of the times ; it must be from the very be- They meet together two or three times ‘he beginning, but w,.h the added difficulty the hearts of Rawsonites on the dedication "Living on her pension, or maybe she the Condor, the donations came rolling in she told me of her life-long friendship for may also substitute for the dominant, espe- has means of her own?” I ventured. the music instructor, and of her present ciaTlyTwritten wTthThird iTÛ^^d ^mng broader and more comprehensive a week and join in ™}y °Qf Jract;*c or train his fingcrsTo obeyT more rapidly than ever, and we were 11 The idea of building a pipe organ in the “No, not exactly that. She’s had bad protectorate over her friend. „ forced to intimate that there was enough SriTr^suîn^t ^towWfn>mândno mind. . .. new Rawson High School auditorium as health for a long time, and she never had “I’m not in very good standing here, money to buy the kind of organ desired. a memorial to Miss Costigan was not mine, any sense about saving her money, any¬ she said, “because I led an unsuccessful character and may progress to chords of Tbe writer says: “f believe much of the responsibility on their part. pa£. ‘.cr 1 * p,'pl. 10 willing to That was when nineteen thousand dollars V?S^doX^fv^lfisdSdL£ Kreat mass of music now put forth for There is a method much better than that, put his m.nd to study, U-gm w.th fi„gtr but I was happy in advocating it. It was way. There’s no pension for teachers in movement for a teachers’ pension law a dominant In quality and should progress ‘aching Proses is on mistaken lines. It The children can meet together, but from and then arm movement tart the found,, rather too noble an idea to come out ot Rawson. The Chamber of Commerce is had been given. few years ago, and then I had to get work a mere editor’s mind. It was evolved by to the I or chords of tonic quality. underrates the pupil’s intelligence, and too the first lesson are taught foundation prin- tion correctly and daily .1 ! Just babyish? They seek so desper- something to do, and that every new step toirc of ten or twelve ; : ( . Meanwhili minds that merely served to decorate Raw- EVnmaline as a kind of a useful memorial, Well, then, where is Miss Costigan?” five years before, and had become a mil- first-half, are II and II7, both of sub- ately to interest and amuse that the whole depends op the one before. he can play music games ii they do no- son society. The project was presented to so that she can have an operation she “Living out in Oklahoma somewhere, I lionaire over night when he had_ picked a dominant quality. This goes to substan- scheme is nothing more than a game, and Children of seven or eight can be deeply interfere. But to hav. 1 thing but musi me by my employer, Marcus Borrow, who needs. I have run out of money or I believe. You see she's down on her luck, tiate the generally accepted fact that a an infantile game, at that. interested in foundational study. They see games to show, for the time and money had been waited upon by a composite likely piece of acreage and paid for it wouldn’t suggest it. Emmaline has a won¬ with money he had won the previous night tonic quality chord progresses to a sub- Tb>s writer continues: “If educational the common sense of it, and like to have spent, is a big mistake, committee. as it were. She didn’t save, as I told you, derful constitution, and she may live yet in a crap game. The purchase was made dominant quality chord. and spent her money on sheet music and until the organ is completed. She has an hour before a five-thousand-barrel well The second-half of the second measure European travel every year. Improvident, heard a lot about it, and wants to hear it mmaline costigan had directed was drilled in, and Collester, tool dresser is a dominant quality chord, whether E like so many of them. And she’s sick; on before she dies-’’ the musical activities of the Rawson had become Mr. Kent Collester, patron of analyzed according to the old or new her last legs, in fact. Living with some schools for thirty-five years. Her salary system of analysis, and progresses to a woman who’s teaching down in Tulsa, I the arts. He had seen a Madonna m Flor- PUT IT UP to the committee at its next How Schubert’s “Rosamunde” Music Was Re-Discovered had ranged from forty dollars a month, at ence, reputed to be the work of Andrea del I tonic quality chord in measure three. The believe. Anyhow, somebody that used to meet. There was a good deal of discus¬ the beginning, to eighteen hundred a year, Sarto, and had paid one hundred and fifty second-half of measure three is again a Schubert’s lovely “Rosamunde" music sion, but the representatives of the Cham¬ , , e succeeded-find- who were nearly choked with the dust; at the end. For, yes, the end of the good teach dramatics here and went off in a thousand dollars in cash for it, because dominant chord and it progresses to a was lost to the world for nearly half a cen¬ ber of Commerce and the Board of Edu¬ trac« °f tbem- we have found a boa 1 heavy out, old lady's period of musical service had huff a few years ago when we wouldn’t tonic quality chord in measure four. The the guide had told him that this was a pic¬ cation were emphatic. They said there tury. How it was discovered in Vienna It was Thursday afternoon, and we pro- t ■ Mind abbot, come some months since. She had reached permit the legislature to enact a teachers’ last two chords in measure four are ture that could not be, bought. He had pre¬ was no possible room for doubt that this by two noted English musical zealots— -posed to leave on Saturday-* for— -Prague, who was standing the age, of seventy in very poor health for pension law.” dominant in quality and progress to a sented the Madonna to the Rawson Y- W. Jane Merchant was a grafter, and just (Sir) George Grove and (Sir) Arthur ™ade a final call on Dr. Schneider, to the oil-ccllar a how? uh, «• is it?’ ‘Bring one reason and another, and had been “Living on charity, you mean?” C. Ahaving first hired a scene-painter in tonic quality in measure five (not given). wanted to get hold of some public money. Sullivan—in 1867 is a romance in itself, leave and repeat our thanks, and also, it out, bring out the box Heaven be obliged to give up even the musical direc¬ “Well, that’s one way of putting it. You If the student will take these four Kansas City to paint out the halo. “It s She had always been that way, they agreed, Grove tells the story in his own words: tuT !eve’ guided by a spe- praised. We have found treasure. Lift torship of the high school, to which her see, she’s an old friend of this teacher more democratic, and more like a picture measures and carefully study the various grasping and greedy for bigger salaries labors had been confined during her last she’s living with. But all this has nothing phases upon which we have touched in this "“SoSo far,far> success—brilliantsuccess-brilliant success. But self;self j heînâ^f.Z"he again'had reconrsp”uf .C1V,'hty *** ? Uthe'e j,D5055°X' ruHP"» out theti,c box,’,XMC’ shouted 1 of American Motherhood with, that funny and what-not. And, being a teacher of I recourse to the cup- the monks. to do with the organ,- We’d need the or¬ the I had failed in one chief object of my board, and showed u years. ., kind of a ring painted out,” he explained, dramatics, she was forever dramatizing “And the Committee proposes to buna analysis through this Sonata and others journey. The Rosamunde music was al- hadescaped'us before SOmetreasuresthat "W<- dragged the bundle into the light, gan anyhow, and the memorial idea will in his presentation speech. “These old something, they said. Rawson was well a memorial organ for the old girl while Europeans were all right, and they knew of Beethoven, and will have opened up most dearer to me than the symphon!e, conversation to theliS “ t wer f°“ntl "'“'i * 'rT help get the donations. And it’s a mighty rid of her, they declared, and they would she’s still alive,” my enthusiastic employer how to make high-priced pictures,’-’ he for himself the doorway to a most Resides the Jn n r, believed tlist be v.^,1 , • mus c' lle wcre ,n search of. N • Dr. Cureton, nice thought; this thing of erecting a fine countenance no diversion of funds. When thorough and complete system of harmonic flat the ‘Ballo No 2’ d th ‘RuTa- a copy or sketch of 1? ?°S,eSSed whcn hc madc his ,ruIv oiin.-intic dis- explained. memorial to a woman of humble station in added, “but of course they lacked that I rather ventured to plead the case for “Fine idea!” I replied, getting into the analysis which will be bf inestimable value Jf’ No,2’ a"d ‘Ballet tht tXrd tld ol ' M,ght, f into of the missing leave, of the Syriac life. I hope you’ll write some good edi¬ precious thing we call Americanism, and appropriation of four hundred dollars to spirit of the thing at once. “Why, we can they had a liking for crowns and such¬ to him in memorizing. f°,9’ wh“* f had ^ abdy ifl £ tmyself? Cer- Euselm.s, could have he, „ more glad or torials.” keep the object of the memorial alive long raise any amount of money for such a — 18 5 7e fhad [0Und a‘ Mr' SPlnas a« smothered L dust ln ’CCt? * bein« baleful than I was at this moment I did my best. I wrote an eloquent ap¬ like stuff.” enough to hear the music, John Rood, at¬ project, I’m sure. Where is the old lady n Mr. Andersen’s after the second act, and a ‘Hir- SOme search? SL “d 3!',er F?r ,hcs<> — the par, honks of the peal entitled, “A Suitable Memorial,” in So I knew that I had to deal with no torney for the committee, arose and issued now, and what does she think of this grati¬ common connoisseur when Kent Collester ten Melodie for clarinets, bassoons and kept the doctor ernLL y mpan,on whoIe of *he music in /,'■ nnmdr, lied up which I set forth the virtue of this teacher a formal opinion. It was to the effeet that 1. Name three ways in which 1 tude that the people are going to express entered my offiee and said he wanted to , 4 hornsi but we still required the accom- found, at the bottom nf COnv,ersati10n, 1 ^ *he second performance in Deceffl- who had taught Rawson to love music, any donor could properly enjoin the “mis¬ in such a beautiful manner?” j give a bit toward completing the organ ondary triad may be substituted for a pamments to the Romance and the two in its farthest corner1 ' C“pboard’ atld >*r. 182.1. and prr.hablv never disturbed through many generations of school chil¬ application of any part of the Memorial “Well,” my owner confessed, “I don t dren. I told how she had organized the in the high school. Fund” to such a use as I had proposed. TVL n a , , , . clloruses’ « uwe11 as the total ^mber of books two feet high cTrefulW tl°d mUSf sincC- Dr' Schneider must have been know so much about all that. I went to Z How may a modulation -be. distm- pieces and their sequence in the drama, and black with the undwf. f round- amllsed at our excitement - but let us hope “I believe, Mr. Collester,” I said, “that There the matter ended, apparently to the school to her, and I know she knows her high school band and orchestra, how she 9Tw&ZT*TLre nit t, hTo Vienaa -fout these would have ^ 'bat he rememWed hi own days of rap- had directed performances of Gilbert and the committee already has enough money satisfaction of everybody. It was decided i. M hat do the three figures after the been too cruel, and yet neither from Dr. “It was iike ture; at anv rate be overlooked it. and apples. I suppose you’ll have to talk to in hand to finish the organ in good shape.” some of the committee; though, to he Sullivan opera, and how she had formed to offer two thousand dollars to Ivan musical clubs among the adults. I em¬ “Yes, but I want to be-in on it, and I Rodorowltsch, the famous organist of sure, they’ve already talked to me, and I ve want to make sure the thing’s done right. assured them that the Condor is behind the phasized tile appropriateness of the pro¬ Prague, as a fee for a dedication concert, posed memorial, and praised the genius of Is it going to be the biggest and loudest in and sufficient funds were promised also proposition, and that you’ll do your best.” 4llf£i: ::r 'ss-sss the citizens who had determined to build the world?” to pay his expenses for a special trip to liminory harmonic analysis of the piece? ’ ruit ess- So I talked to Standish Davis, chairman "Well, very nearly that. It's going to it during the lifetime of the beloved old America for this occasion. of the Committee on a Suitable Memorial be as big and as loud as it can be made in to Emmaline Costigan. The committee by teacher. “It’ll be the best advertisement for Raw- Teaching Phrasing in Classes that auditorium.” this time had grown to be a thoroughly son we could get for the money,” said The Mission oMhe Small Talent “Then I want to build a, new auditorium By A. L. Allan representative civic body, and the gray¬ Claud Ranley, half owner of the famous N THREE WEEKS we had collected and make it bigger and louder. Rawson haired, erect, dignified Standish Davis had I Ranley-Rouse lease, “and I’ll pay for a The chief difficulty in teaching anything By May Hamilton Helm been awarded the chairmanship as a final ten thousand dollars, which was more can’t afford to do things by halves. Can special car to take the committee to New in groups of pupils is, of course, meeting “An audience of students is on® of the gesture of important respectability. If than the committee had planned to spend we let a lot of low-life Mormons out in York and back to meet the organist and the various minds at a common point. The most pathetic things in the world,” said a this coldly eminent scion of Plymouth for the organ. Then Job Wossom, said Utah say that they’ve get a bigger organ bring him out here.” other pianist for people who never Had th' question of phrasing was one that seemed Rock approved and led the movement, then to be one of the richest oil men in the than us? Find out what a new building “No need of that,” said Bob Woodbury, woman at a recital. “Think of the high privilege of hearing them given by orches particularly difficult to one class of pupils indeed was the community assured that the Kansas fields, came Into my office and de¬ for the organ will cost, and I’ll give any¬ with flushed face, “when you all know hopes and ambitions that are never to he toas and before records or radio transitu* until the “composition” was used as the best elements were enlisted. clared himself. thing up to a half million dollars to build that either one of my private ears, or both realized 1” «on of them could be enjoyed. A neigh “It won’t do for Rawson to have just word “theme” is used in the school work. “It is rather fine, don’t you think?” said it” of ’em, is at your disposal. My new par¬ “That is true,” replied the other, “but oor once told her that the only numbers 0 an ordinary organ for this here memorial,” There were the paragraphs, the sentences the aristocratic Davis, as he offered me a The committee was delighted. The hoard lor car is a duplicate of the one the Czar without great dreams, nothing would be said Wossom, who wore a hard look on and the phrases, all assuming the right pro¬ bherwood’s program she really cnjoyei cigar. “The whole community thus hon¬ of education agreed to have a Temple of of Russia used to own, and—” accomplished.” his face and had never yet been seen in a portion in the musical “composition,” just lim- 'mta> “ . were those made familiar to her by mean oring one who has served so well in the Music built adjacent to the high school, “I move we stop talkin’ nonsense an’ as they had in the English class. By di¬ Yet the first speaker found much joy of these private concerts. clean shirt. “I’ll give five thousand dollars get to work an’ vote some, more money to Her appreciation of the artUi. t. , cultural life. And besides, an organ is and connected with that building so as to viding" the work easily and simply into fa¬ and gave much pleasure through the use Is it not wbrth a great deal to be able t( more to the fund If you’ll see to it that hurry up the work on the Temple,” piped was thus intensified and sh l? 6 hfd needed, really, and there are no public form a special auditorium for It. More miliar recognized parts it provided a suc¬ of her own small talent. She played Pad¬ 8've pleasure, though fame or even dts funds to buy it. So I think we ought not we get the biggest and loudest organ west up Ellis Jackson, who never did like s’ng for those wS oth enab,ed money was raised, and the donations came cessful point of approach and method of erewski’s programs for those who did not tinction may never come? To g"'e to wait until Miss Costigan is dead to of the Mississippi.” ' Woodbury since Mrs. Woodbury had lever have heard the somrJ T'* might I was a little confused for a time, but in a flood. working out the problems of composition. have opportunity to hear the master him- others a glimpse of what music means « erect this memorial.” posers. She played svmS • gfCat Com' Pya symphonies with an¬ ones own soul- that, it seems, is the m>» S1°n of the small talent. TEE AUGUST 1927 Page 577 Page 676 AUGUST 1927 Setting verse to Music the etude called Mrs. Jackson a “climbing night- nudged me with his elbow. He was star- shade” at a card party given for the Chil- ing, startled, toward the main entrance, By Charles Knetzger dren’s Home. And there was matter enough for staring. So the committee voted much money, Someone was pushing something long and A NEW DEPARTMENT OF PUBLIC SCHOOL MUSIC having far more funds than it knew how black down the center aisle, from the front a ctjodt time ago, I picked up a booklet ExA to spend, but it paid no further heed to door right toward the platform. Yes, there A journalism and story-writing, Hate Conducted, Monthly the plea of Miss Jane Merchant. could behe no doubtrtonht aboutnhont it;it, it was W. W. devoted 0 jounta^ ^ ^ chapter^ ol ^ showed * * wuuiuuh,Quilliam, xvawsunRawson’s s mustmost auicumsolemn aimand . f verse The autnor, ***-"-- By GEORGE L. LINDSAY, Director of Music, Philadelphia Public Schools 'C'VERY one of the three thousand seats Prosperous undertaker, wearing his most command of English, had pub- in1 the Costigan Memorial TemnleTemple of sanctifiedsa"îfi®d jfuneralun®.raI expression,expressi°n>u Ppushingushjnf a “ “P'J* , f books and magazine Music was occupied when the famous .. *“rubber-tiredM““ *""J bier1 upon which rested a “ a numDer o ^ general ;->T Mow-ing ganist made his bow, took his place on UKi cheap,-. -plain, black casket. Behind the articles^ bentertaining and was set bench, and pressed the manual keys for undertaker walked Miss Jane Merchant, forth in a clear and convindng__ mannen Another„I1UU1C. form of poetic„,.... footInn. is. *, the first blast of the Overture. It was eyfa caat dow"> Pale, stern. Th‘ writer> however, met his Waterloo mpestnapest which has two short sy]labI»»if.u‘® .ê School Credit for Applied Music Study Rawson’s big musical night, and every- . Confound her soul! the son of the Pil- attempted to set a verse to music. lowed hvby a long,nncr onpone: . fo1' in music in the high school. This may lieu of this, a graded course of material body who was anything was there. No gr™s whispered to me, as the portentous wnen ne aue P qwj illustrations of Methods of Accrediting Applied Music seem to be a narrow point of view, but it ne OF THE recent developments submitted by the private teacher may be charge for admission was made, but only * prt^8,sj°“ halted,ius* bei,°w the plat* Tennyson’s “Break, Break, Break!” set to mon|arch of aTl| I survly.| O Study insures a contact with the educational or ticket-holders were admitted,»’and thus *orm- . “°ld Jane Merchant knows 1 in school music has been the inclu¬ Here again the long syllable should cm, OCAL CONDITIONS present differ¬ approved and accepted. intellectual phase of the pupil’s musical de¬ there was not a whit of doubt about the draInatics all right!” sion of applied music study of the L The systems of grading adopted by the directly after ^ the bar. If the ent problems in working out schemes velopment and maintains a proper balance propriety of the occasion. Dunning Mitch- * * * piano, pipe organ, voice and instruments publishing houses vary. Some have seven signature is 1 the second'long syllabi, for the certification of instrumental study with the technical instrumental study. ell, who had lost his last dollar on a T COULD feel the trembling of the chair- of the symphonic orchestra. Music les¬ grades with sub-divisions; others, ten. The falls on the third beat, which receives s taken by high school pupils. The much- “duster” only last week, was not present, ^ man’s body, and I could sense the dra- sons and the practice of public school pu¬ An application form must be furnished secondary accent. discussed question of certificating profes¬ use of the decimal or ten-grade scheme for instance, and neither was his wife, matic suspense of the audience, as the pils who are taught by private profes¬ the pupil at the beginning of the school Ex.5 sional teachers comes up. Much has been should be made the standard, In order to They had been handed tickets by a mem- funeral march came to its solemn and im- sional teachers are accepted by the school year or semester. The form must have accomplished along this line in the Euro¬ simplify the grading. The teacher is ad¬ ber of the committee before the news of pressive close. authorities of progressive communities and blank lines on which the name, address pean countries, but the movement has met vised not to over-grade his pupils. credited toward graduation from the high and signature of the pupil appears. The the collapse of the Mitchell fortune had Miss Jane Merchant was standing at the This sometimes raises objections from got abroad, and it had been necessary for head of the casket, facing the audience, school. The accrediting of this study is with little recognition in America. private teacher is called upon to supply the the pupil and his parents, who may dis¬ the member to make a special call at the She spoke in a low, restrained tone, but carried on under certain plans and restric¬ Certain local school boards have ar¬ name of the instrument and grading of The fourth kind of meter in English ranged lists of approved professional teach¬ agree with the teacher concerning the Mitchell home on the Hill and request clearly, and the audience, leaning forward, tions which are outlined by the local school the pupil. The teacher’s signature and verse is the dactyl which has a long syl¬ ers who may co-operate with the local high classification. The fact is that there is a return of the tickets. heard every word. authorities. . . ., . studio address must be added. Finally, the lable followed by two short ones: schools in carrying on individual instru¬ universal tendency to force the progress “Never mind,” Mrs. Mitchell had replied. “Here is Emmaline Costigan. I have The movement has gamed wide-spread signature of the parent or guardian must mental study. In some cases the cost of “We’re used to it. We’ve been rich and brought her to your dedication. She was recognition and may prove to be the salva¬ of the instrumental student by giving him appear. The application should be viseed This is the| forest primaeval the lessons is borne at public expense, but, poor again five times already, and we’ll my friend, and yours. You have built her tion of the furthering of instrumental too advanced material. The grading of by the school music teacher, approved by The |murmuring |pines and the) hemlocks, in general, the cost is provided by the piano and violin literature is quite satis¬ be right back again in time for the grand a great Memorial. I have taken care of study and cause a wholesome reaction to the the principal, and passed on to the super¬ opera season next winter. Here’s your her and nursed her. She wanted to come This might he written in J , J or 5 modern tendency to seek satisfaction en¬ parents of the pupils. While the certifica¬ factorily classified in the catalogs of the visor of music for filing. old concert tickets, and when we strike oil to this concert, and I am sure that the measure, as follows: tirely in listening to the great mass of re¬ tion of professional teachers has met with publishers. This is not true of vocal mu¬ again, don’t you dare come around looking good citizens of Rawson wanted her to The second illustration has the advan- little progress, minimum qualifications aie sic and of the literature for ’cello, cornet, created music available. The provision of Private Teacher’s Report for an invitation to our garden parties 1” come, too. tage that it gives the singer more time to credit for applied music study has en¬ required of instrumental teachers who in¬ clarinet and other instruments of the sym¬ With such careful selection on the part “She would have loved this hall and this take a breatb in the first tbree mcasurcs; abled talented boys and girls who would struct children at public expense in certain phonic orchestra. . _ FORMS SHOULD be furnished for the of the committee, you may be sure that organ, but she needed medicine, and food but the grotes in t,:his- musical: brain.“ study of instrumental music. This has pils with that given in the schools in gen¬ which he has been given credit previously. must appear. The material heard at the keyboard. Whether the audience under- to br’ng bcr here, to you tonight. I have The first thing for the learner to do, often been provided at a sacrifice by fond eral music education courses, and to de¬ The records filed in the office of the music lesson must be stated exactly, and the les¬ stood that this was a masterful performance fpent ab my money. You will have to when attempting to set a line to music, is | JMWlfl JUJW J'lMJMJ'l J^J »| parents. The pupils in turn have devoted cide on the standards of such teaching. supervisor should reveal this, however. son marked “S” or “U,” satisfactory or The supervisor, moreover, is in a position upon the best instrument that money could her'. 1 leave her with you.” to mark the long and short syllables. For many hours to practice, all of which unsatisfactory. The form must be ar¬ buy, I do not know. But the music, be- And *d'ss Jane Merchant walked slowly example: The first concern of the writer should should not be permitted to go to naught. to evaluate this quality of instruction, as Graded Lists Adopted for Local Use ranged to furnish report space for four sides being good, was also loud. The ap- t0,^.ari tbe d°or* her head a little bowed, Once upon a midnight dreary, be to make the rhythm well marked, that The silent piano in the average home is it is the duty of the board of education to I N ORDER to simplify reporting and plause was thunderous. while Rawson’s most distinguished audience ~ w ~ - — ’ is, to place the accented syllables on the looked upon as an expensive piece of fur¬ hold regular examinations of all pupils to standardize the work taken for At the top of this report the pupil’s name, After a short encore, Standish Davis gasped in astonished dismay, rder!l’. Weak a"d v;eary strong beatsoeais o.of methe measure,measure. Theme memelo- niture rather than as a useful instrument who are applicants for school credit for school credit, many local school boards record number, instrument and school mu¬ stepped to the center of the platform and Tbe great Rodorowitsch turned to his music come on dies should |* as .mo.:', and flowing* which should be employed for the creation applied music study. have adopted lists of graded material which sic course appears. On the back of the made a brief speech. He dwelt upon the keyboard, and the audience filed out ... must be taken, if the applied music study form, information and directions for the of social pleasure and cultural advance- The Selection of Teachers generosity of the people of Rawson in stra'ns °f the Dead March from “Saul,?•* insert a bar before each long syllable; 1tcrvals should * avoidcd. and•»*«*** special are■ is to be accepted for school credit. The lists proper filling out of the card appears, to¬ T IS quite natural that a sifting pro¬ having given so freely of their wealth for S.° 1 did not 8et a chance to deliver my . -- — „ — „ _ w should be taken not to accent syllables in Instrumental Music for Individual I are generally built by committees of prom¬ gether with spaces for the signature of the the erection of this Memorial Temple of dedication address that night. It was a | Once up[on_a jmidnight |dreary, the music that have no accent in the verse. Development cess should take place in the selection inent local musicians working with the private teacher, pupil, and parent or guard¬ Music, and alluded to gigantic strides in v.ery elo(luent composition, and was en- of teachers. As in all things where there ian. This report properly filled out and |While I |pondered, |weak and |weary The trouble with the lie shown in Ex. 1 HE PRESENT AGE is one of doing music supervisor. The study courses thus music, art, and letters that were being 4‘tled, “A Suitable Memorial.” T are involved the selection and wishes of and of making practical application adopted are acceptable to the profession, signed is to be handed to the school music made by this fortunate city since the dis¬ This gives us a measure of two beats fl"d 2 *h?t °Tty- A1'1 °.COn"r? the parents, whose duty it is to pay for called' duple measure. The signature the accented beats, instead of on the words, of knowledge acquired. The development because they have had a hand in the mak¬ teacher at the end of each period of four covery of oil upon its borders. A Little Talk About Pitch professional service obtained, it is to be weeks and forwarded to the supervisor of might be taken as f. 6 c cold, stones and sea. of the individual is stressed in all school ing of them. “Oil is the handmaiden of the arts,” Bx.T expected that the parents shall use good music. By C. Hilton-Turvey The next step activities. The pupil is measured psycho¬ It is not necessary to specify all of the said the distinguished descendant of the 1 invent a melody judgment in selecting teachers, or, if they types of technical material and of compo¬ Pupil’s Practice Report Mayflower, “and if any man shall ques¬ suit the words, logically and an intellectual and practical Sound has been defined as "anything do not, that the fact will be revealed td sitions to be studied. There is enough tion this assertion I shall point to this audible,” and tone prescription of studies is furnished him. THE PUPIL must be supplied with a “anything audible -E*-2 The formulae of academic subjects for¬ them in due time. standard musical material available, in the practice report form with columns temple, to this organ, and to this audience, with definite pitch.” This Certain pupils who have practiced the t, for ‘ merly offered to the high school boy and form of the compositions of the accepted for the enumeration of the amount of I could point also to the beautiful Madonna every sound has its own pitch, although it full time required may be over-graded girl may still serve a most useful purpose composers, to supply material for a se¬ that our distinguished townsman has lately is not always distinguishable to the ordi- and improperly taught. The examination daily practice and for a summing up of the in an intellectual life and for college prep¬ quential list. The pupil should be tested total number of minutes practiced each presented to the Rawson Y. W. C. A. nary ear. given at the end of the school term will aration. These strict formal courses are by the private teacher and graded accord¬ week. Space must be supplied for four (applause). I could point to the handsome Falling rain has not only distinct pitch reveal the fact and the work of the pupil now modified to include opportunities of ing to this list of sequentially graded ma¬ weeks. The name of the pupil, record painting m the magnificent home of Har- but everybody has heard the tinkling little’ Various rhythms can be applied to the will not be accepted for credit. The pupil ( electives that will create interest in the terial. He should study one composition number, instrument and school music course Ve«T-u ^hnchcomb. tune it plays .on the roof. Even what we same verse; for instance, it might be and his parents will realize that the in¬ proper use of leisure time. . . on the list at a time, and follow with the must be filled in at the top of the card. On The committee had a telegram today class as “noise” sounds a definite note, These notes, being all of, equal value, written or J measure, provided struction and progress is not satisfactory The reaction has been noted in the in- next in order. the back of the card information and direc¬ from Mtso T=n» ~t Tulsa, say- a combination of notes. Niagara Fa and a change of teachers will result. , ■ ,h. M.- „ --v - -- Niagara Falls, giJ’e a .monotonous effect to* the phrase ,he accented syllables arc properly placed. creased interest on the part of the high , The teacher may use his own plan in !!!?„iihat. ^-iS Em,mahne Costigantigan herself thundering down its great cliffs, sings a They might be varied thus: P After deciding upon a suitable rhythm. Tbe pupil comes in contact with the tions must be supplied. Spaces for the school pupils in these electives, and at- adding technical material and concert certification of the data on the card must- might be with us this evening as Rawson’s mighty tone which can be identified as “G” other pupils who are successful and awak¬ a key should be chosen which will bring tendance in the high schools has grown to pieces. By adopting this scheme the school be allowed for and signed by the teacher, guest of honor. A seat has been reserved on the pianoforte, only deeper—much the melody within easy range of the voice- ens to a realization that the standards in in¬ such an extent as to tax their capacity. An examining committee is able to measure pupil and his parent or guardian. tor Miss Costigan in a box at my right, deeper—than any piano could record The highest and lowest tones should not strumental proficiency required by the examination of high school statistics still the progress of the pupil from time to time. The amount of practice required should but we have given up expecting her, and Pitch is governed by the number of occur too often, as this is apt to tire the board of education are equal to those re¬ the concert will proceed. The next num- vibrations in a given second. T reveals the fact that a large percentage ot A pupil who is in any grade of profi¬ be on the basis of the standard held to be voice. High notes should also be used quired for any other study in the school *o be played at the request of Miss vibrations in a tone, the higher in pitch all of the pupils entering high school never ciency may apply and receive credit, pro¬ fair, namely, ten hours a week for full sparingly, in order not to spoil the effec¬ graduate. Less than half of those who do curriculum. . , vided that he displays satisfactory prog¬ Costigan herself. The request appears „ it is. When a sound vibrates very swiftly The teacher must be protected, m the credit and five hours for half credit. A tiveness of the climax. The .climax should graduate never go to college. In order to ress and capability in all of the material little inappropriate, perhaps, but the tele- it becomes inaudible to the human earear. So.So mw event that the pupil is lacking in capacity weekly lesson of at least thirty minutes in occur at an appropriate place in the song serve properly the great masses who can¬ for which he has been certified by his pri¬ gram from Miss Merchant was quite plain, too, when it vibrates very slowly it be- themselves™03410”5 Wl11 readily and musical talent, by the use of monthly duration must be taken in all cases, and all suggest and should fit in with the idea expressed. not follow a formal academic course or vate teacher. The organist will play Siegfried's Funeral comes inaudible to human hearing The ThU „ V • ~~ Un'inZT'1 "l lMC '"“iT^VVssed report forms supplied by the school board. lessons missed must be accounted for. A unimportant words should not be stressed who cannot afford to remain in school to March, from Gotterdammerung.’” lower “limit of audibility” as it if called sisfefof ^ ‘S called trochaic. It b'.nimP?r,ant words should not be stres ^ On this report he is asked to record the total of ten hours of practice each week The audience was quiet and tense a ” cu> ot one in™-- con- by giving them long note values or by take technical and vocational courses, mod¬ -u.u.c w* qmer ana tense as the is about 16 vibrations per second. The lowed bv a .W* °r a-Cented syllab>e fol- pfacL LI satisfactory or unsatisfactory progress of and one private weekly lesson, for a period Placing them on the accented beats of the em educators have been brought face to of eighteen weeks, is considered by most slow, sonorous majestic strains of Wag- upper “limit of audibility” for musical The iamb £^ JLeach foot- measure.? ^ his pupil. In this way he is not judged face with the necessity of offering oppor¬ CERTAIN FORMS must be furnished school authorities to be equivalent to five tnZLrZT tT mUS‘C r0lkd 3"’ay tone is 4138 vibrations per second. But having Th” hoH ifhom this by the failure of a weak pupil whom he toward heaven. The organ wept. The the limit for audible sound not dis- g ” *t ^syllable ab,e first: - The.- instructionsuvuvus herenere given «a v intend^ tunities in high school in activities which by the board of education of the pub¬ points, and half of the practice amount merely to be elementary. Skill in the art has reported as unsatisfactory. lights were dimmed, and in that hall it tinguished as musical tone, goes up to 30- create an interest in cultural pursuits by lic school system in order to carry on the equivalent to two and one-half points. Cer¬ o sweet and fir fjlm cliff aid scar, of setting verse to music requires, besides seemed that all the world was mourning. 000 vibrations per second and more After making practical contacts with modern The Proper Grading of Pupils proper certification of music study taken tain boards of education reduce the amount The horns of Elf land faimfy bllwi“ some native talent, continuous appheatio11 with private teachers. Certain boards rule I was sitting next to Standish Davis, these limits are passed there is silence culture and the useful arts. This modern N ORDER to insure the proper grad¬ of credit to four points for ten hours of In setting this m ... . ng! and unremitting study. I that no pupils may apply for school credit W°f"L lL;e ntTS,platf°rm- fac- There is no limit to sound-only to our educational attitude has brought about the ing of pupils, it is necessary to require practice and two points for five hours. mg the audience. I looked up when Davis perception of sound. general recognition of the wisdom of for private instrumental study unless they the use of standard material which is listed {.Continued on page 617) e unaccented part of the wiuM, granting school credit for applied music are at the same time taking elective courses in the graded catalogs of publishers. In measure; as, wSj'ilUu&it' °f >hC breaM AUGUST 1927 Page 579 ™ me, the etude Page 678 AUGUST 1917

The Teachers’ Round Table Conducted by PROF. CLARENCE G HAMILTON, U.A. New Hints on Trumpet-Playing Professor of Pianoforte Playing at Wellesley C°ll‘‘e „ ,0 Teach>„ etc„ aad o This department is designed to help the. teacher upon Zch properly belong to the Musical By BEN VANASEK technical problems pertaining to Muscat ™e0?' „ °7’and adiress mast accompany all inquiries - ■—1 Questions Answered Department. Full nam. and auares- -1 1 f . much as possible slowly; listen to the quality, fullness and First Principle the tenderness and free Vibrations of the therefore must act .g q{ ^ {une rather than to the length or powfr A TRUMPET' should he held very lips, more than in the instrument, There oil lip-flesh. Tong e ar influence over of long-tones; they should be sung ■*. lightly in the left-hand and the should be always felt a very gentle sensa- greatest importance, as d wjth fectiy jn the pitch of the instrume,, j Nothing is so fatal to progress as to con¬ right-hand fingertips should rest tion in the lips, when the mouth-piece is lip-vibration is ' • tongue ar- Clearness should he the central aim of ' Scale-Fingerings LEFT HAND fuse and paralyze a pupil by jaotmg at easily upon the valve-caps. The right- placed upon them. The more that the breath cohesion. Per ci ^ ^ piayer—clearness of tone qualltv Here is an interesting contribution to him for mistakes. Stop and consider, when hand thumb should be placed against the centers of the lips, in the cup of the mouth- ticulation is obtained y dearness of technical knowledge clear our discussion of how to teach the scales, you are about to lose your temper, whether the apparent stupidity is not on your mouth-piece shank, the little finger free piece, are held together, softly touching well brought up against P^ j jn_ JJess of musjcal interpretation. Do from Miss Margaret Martin, Green Bay, CQDAEF and not inserted in the hook. Do not lean each other, with the corners of the mouth stantly kept there, as th .. . hasten to nlay fast; always keen thh • own part, rather than on that of the pup , Wisconsin: because you do not make it sufficiently the instrument downward as a clarionet firm, the easier will the different registers terception of the air-passage by g “c„P(thathat whichwli’ich is done,,tnl» is donej m is held, but keep it as much as possible in be controlled. requires for the instrument a permanently mimi.. Wnv a lonz time I have been using, Clear to him just how to remedy his faults __ _ for when easy exercises ate with mv own piano students, an a horizontal position. Let it slant a trifle The lips are to conduct the Sir-current well-sustained abdominal breath-pressu e. An inexperienced teacher is particularly -r triple tongue- mastered, those that are more difficult original rule for fingering scales, i the right—the elbows slightly spread upwards for the' lower register; in a In light staccato, double o , thought I would submit it apt to err in trying to do too much at the matter quite clear, a natural would be from the body—so that the foreground straight direction for the middle register; mg, do not restrain the tongue action, wi! entail less wink I with freedom, to \he Teachers’ Bouhd Table. Here once. Realizing a .pupil’s vast needs and placed before the second F. Such a “cor¬ view may form a triangle. The standing and downwards for the higher register, but let it go freely, as the essential prill- as . as> am «*» • i- as jou would how many things he ought to know, she rective accidental” is often inserted even t*SSk*&« pupil bow many before an F in the following measure, position should not be strained or nil- The lips must be held, as much as pos- ciple of good tongueing lies m its free sing, as you would s|,,„ and remember keys be is required^ to^piay^to^h deluges him with information and criti¬ natural, but such as will allow the lungs sible, free from the teeth. All the facial action, independent of all other muscles, that m aimuntmg i»' u '‘rent loudness cism until her wisdom passes m one ear although it is there superfluous, of course. SP Then'i ask him how many Observe, however, that when a sharped to function with ease and freedom. There muscles must constantly be kept loose, ill Higher registers are obtained by smaller of brass-iiistrtmirnt-. th, "iistant aim oi fingers he has to play with, and he and out the other. Rather, try to ac¬ are three essential factors in good trumpet- order to act freely and quickly. The dimensions; thus the air-current can also the player should U t > .ii.mitaiii a clear, fingersn T , ,;jen”oll asknalt him,m how complish one step at a time, and see that or flatted note is tied over into the follow¬ he will need to coin- ing measure, the sharp or flat is continued playing: first, an instrument clean inside; chin muscles must work upwards. Lip vary in proportion by the form of the mellow tone quality. I m more the knowk ave, and he answers . that step is taken intelligently before pass¬ second, conscientious daily practice; third, Concentration is very Soft in feding, very tongue—flat down for the lower register, edge in trumpet play is based on ing to the next. Someone has said that as long as the tied note lasts; then its personality, patience and will-power. slight in action, being an extremely supple and gradually swelling upward towards scientific principles, the m .hall we play if one teaches one important fact clearly function ceases. Thus in the following and pliant movement of the tissue mem- the roof of the palate, when going higher, with precision; f i the Octave are played flrst^ and then and thoroughly during a lesson, he ought illustration, the F sharp continues through Second Principle , brane. In lip-concentration, the muscles laws to which every brass-instrument the first note of the second measure, but S5W1S WposTte h^rtfe to he thankful! T) REATHE NATURALLY, in the same must, nevertheless, be kept loose; which Fifth Principle player must conform. Practice without There, all the fingers are used first posite its letter, and follow the fingering Also, do not give too much material at the last F is natural: manner as when not playing, using makes them flexible. With flexibility they F)REPARING the lips a few minutes fatigue, without tiring lips, without and then the group of three once ' Make the lesson assignment short I lore are the exceptions. Whenever around the circle in the direction of the the muscular tension of the diaphragm, have elastic endurance; and when possess- ■*- before practicing, with the mouth- straining the lungs. Study theory of music th,- thumb falls on a black key by arrows, through as many octaves as you enough for the pupil to digest thoroughly Ex. 2 rhythmically; and always avoid the defec- ing these qualities, they have an easy and piece alone, will be found very beneficial, and have a good dictionary of musical following the rule, other fingering Sometimes the poor candidate is so deluged is ueeesiary. In the right hand, if wish. Similar diagrams may easily be tive clavicular respiration, which obliges free control of vibration; as it is the Morning lip-dressing is obtained only by terms. Transposition is an essential study the scale starts on. a blackkeythe constructed for the minor scales. with studies, new pieces, review work and the shoulders to move. Send a continuous central muscle motion of the lips conduct- long-tones. Carefully touch each note to every good trumpet . sight-reading second or third finger should be used so forth, that his practice hour seems hope¬ instead of the thumb. When the current of air straight into the cup of the ing and governing the amount of wind softly, make a normal crescendo and allow and classical orchestra mini|>et parts scale is complete, the finger with A Young Teacher’s Problems lessly inadequate. Five Pedagogical Points mouth-piece; and keep doing so always, on the wave-length of the air-column, the tone to diminish freely. Breathe should not he neglected in the daily work. which the pupil ends should be the Patience and tact should show you how finger with which to start the scale. 1 I have about thirty pupils in Open the throat as in the act of yawning, that obtains the higher acoustic results. The thumb should fall on the first this, my first year of teaching, all to lead a pupil gradually to the right posi¬ (Continued from page 507 in July issue). and beware of a swelling neck—as, from _ ____, white key which comes when be¬ of whom have received Instructions tion of hands and arms, to supply the the speed of the air running through the Fourth Principle ginning the scale. In the left hand, from a teacher whose Ideas axe tcuy- lacking information as to note-values, to To the first class belong the studies by if the thumb would fall on a black Kohler, Op. 190 (for beginners), Op. 128 tubes of the' instrument, results easy play- r I 'HE MOUTH-PIECE is to be placed Orchestral Evolution key by beginning with the fifth foref hastleft° to prevent the outward tendency of the twentieth century it th. third fimrer. with the excep- tifully, after being pieces which your pupils have studied those and you takes your choice.” , broad and good sonority is derived. th® upper lip, the lower lip being the teacher for two years, ' 3. Lack of space forbids my giving e between a whole which they like and can play the best ; Bring up the £' ' — - e' differ, itemized details of such a course. Excel¬ sring up the a.r'f^m'the Wer sec- Principal leaning support. The besTposi- class o«h“ "in STurtTJore than fhl TT? ****** " ft W nue ior major a sixteent for surety and expression is what will i of the lungs and keep it constantly tl0n of the mouth-piece requires that the iive-and-twenty years that have intervened T8 1 ' K, Cl’mi"g mou " 1,1 * * not seem to have any trouble In find¬ all of a sudden, program, rather than the mere “prettiness o drop about how such as Mathews’ Standard Graded Course current without throat stiffness; that is, the ho1® 111 the cup of the mouth-piece, least a score—probable more th? th * gC! s, of the tonc worle in,ereSt''iK to trace through correct fingering. If they forget tets, and so forth, of the desired grade, 4. Here is an exercise for loose wrist. power, .and consider the instrument as a mirror. With the same and correct posi- these manv of the smaller r some three centuries the c\ elution of the the fingering, they are able to find patience imaginauie, uut f Hang the right arm loosely by the side. it again with little effort. control of my temperamental self and choose from these the ones which are “slide-trumpet” propelling the air into the bon of the mouth-piece on the lips, should support Organizations that h w”* n°W orcl,estra. which, as a musical organism, when laboring with a stubborn Now raise the forearm, with the hand pupil. When can I do? All of my best adapted to your class. tubes so that breath-pressure becomes be obtained the entire register, in control ag0 would have msseH 3 3” cen,tury reached its supreme development as a According to William James, it is the Finally, as to No. 7 on your list. Short, dangling down from the wrist, until the what may be called an air-wave of con- Ibe embouchure, from low F sharp to marvels. Yes orehest e * ™etroP°"tan medium of giving to the world the master cash value of a rule such as you suggest tceVed* Sr^hald limber fingers are naturally at home in hand hangs a few inches above the key¬ tinuous unity. The sustained control of high C. A wrong position will prevent night as if there up over thoughts of Beethoven. True, we have which tells the story. If it works, it is light, running types of music, while large board. Lower the forearm till the hand the air-current should always be directed a free tongue articulation, which, in re- sowing of nmsl.-al ,ee" 3i veritablveritable® orchestrasordieslras that aare larger than Beethoven gyving U1 musical uragon's-teeth , . worth while, and if it does not, it is no leaving a lesson in a sudden passion hands and stronger fingers are better rests on or in the keys and the arm is straight into the sounding-body, which §ard t0 Kp vibration, will also hinder \xnS. g ns-teeth. of Impatience. With these pleasant meditation. ! kne'v- orchestras with a fineness ot i pupils' adapted to octaves and chords. But each below them. Next, reverse the entire produces the "Timbre” in its continuance easy playing. good- . , is but mild surprise^t^the message^tW teCîc which ‘lay never To understand scale-fingering, the pupil cital * Where can I get a list of pupil should be developed in as many di¬ process, first raising the forearm till the of unity, throughout all harmonics, dis- It is advisable to remove the mouth- catchy, interesting little duets, trios, must firmly fix in mind the principle of rections as possible so that he may be¬ hand hangs above the, keys, then lowering simulating the action of the valve's. piece from the lips often; i the “young Americans of h i J2' 1 piece irom me ups oiten; as the circu- cestrv” nf i ,i_ Japanese an- lancicsfancies never dar.-.l to dr, am But. essen- alternating the groups of three and four s when the pupils come an “all-around” pianist. If a piece the arm to the side, in the first position. lation of the blood refreshes the lips and an orchestra fortial,-v a"d » : fingers beg for Repeat all these motions with the left Third Principle restores strength to the embouchure ( orchestra for the purpose of cultivlfln, *!a11^ and "’’egrally, there has been to fingers. Sometimes it is a help to draw which a pupil wants is not right for him, familiarity with classical w ^ s'gnificant addition to the orchestra for for him these diagrams, the one for the typraof fingers should piny pieces show him frankly why it is not, and, if hand. I overcome which •* wrote-none that has materially right hand and the other for the left; he is insistent, tell him that you are the Repeat the entire exercise several times ^rySfanS6 S? 1*3? 5 K ^ Z ^ ^ ^ TSR "f ^hT^- IOl8.h'Most Important of all—how before practicing any study or piece—so gravity to be balanced upon a soft lip- allowed free play-to be easily inclined Zu Md “ 15 a&recable to note that s.on of ,i Capab"'t,?S f°r ,he f t To use the diagrams, begin each scale doctor and that you can’t give him the with the finger indicated by the figure op- cb<‘ I implant rhythm in my pupils? that you may make sure that the wrist cushioncushion. Never press the mouth-piece forward_ or__ backward__ for the middle finished ‘‘Un' 'nas'«>- ° If thev start with a given tempo and wrong medicine! against the lips; contract the lip-muscles register—downwardlward for the lower reo-isterregister" offlA C. '^ was" *he chief feature il creators. and are left to count alone, they are starts in the proper condition. Then, while nearly faint for want of breath be¬ Accidentals practicing, occasionally raise the forearm, toward the mouth-piece. Play “on the and upward for the higher register. The lfs Concert. The First Orchestra fore half through an exercise. If I lips” but not “against them.” Always jaw should move with ease and without The r, u kJOHT HAND. ask them to accelerate the tempo, When accidentals occur In the letting the hand fall loosely from it. Fi¬ Y\7 E NOW are entering upon the sec- the piece sounds theâme^ p g avoid the abuse of their frailness. Do stiffness, as it is the principal support XT OR Ty Trrn- cir,v°rCheStra treble clef they affect the same notes nally, think all the time about keeping the ’ v ond quarter of the fourth century occurring in the same measure in the not spread nor tighten the lips, but leave upon which leans the mouth-piece The JN i. , , H . SURPRISE much more since u n CGDAEB bass clef, do they not? But in some wrist loose.' FHia r»rinf*inlp floPS not SPPI11 5. Alertness of sight-reading and keen¬ them completely at liberty, always ready teeth should he taken into consideration India ‘t15 1.eaLrned that in far-off Florence \ I'm!"'? a , "' ’J ' the You certainly have assumed a consid¬ ness of rhythmic perception are thus en¬ for gentle concentration. There is a natu- only as a soft background upon which lies Palacepit OrchestralMahara Jab of Mysore1, A UMe hand °f ,0verS °f • erable responsibility in your first year of ral limit to the! strength of human lips; the lip-cushi 'estra has given at i ~ “ cul,turaI arts met in the BardiBart palace teaching, and I am not surprised that you hanced. But meanwhile keep a solid back¬ f the first / ■ ground of itemized and accurate work, so so do not seek to require from them more play with teThouSt,the thought, 0aTif■ if fheleethwerethe teeth wee’ Sst^TZn^''J?'alI,s oi the leading works nf ^ and Saw ,he first Production of run up against serious problems. It would No, an accidental affects only the line , if the teeth were master in connection with the Beeth,, Peri'a. "Euridice'-an eve•ent whose take a small volume to answer all your that the pupil may not become careless than they can easily give. Urging them about to break. ‘ or space on which it is placed. For in¬ questions at length, and so I shall only about details. stance, in the following measure: vocal qprds of brass instrument players, the air prepared behind the lips, and the when hZ "™ds al1 the more vivid »( ! mVS1C; fnr " marked th,e il , fM* summarize my opinions on the various They should be used carefully, as they are tongue jerked backward and forward, so dktam f“nsidc;red that in this empire Vt!-1’1’ *,c, n,ost elaborate in ,l,e ar , 3 subjects. elastic but pressing the air into the instrument and of muskll n the W°rld’s êat center^ hism J^ "'°rk’ S° ,m',or,am in .mUS,“l To attain success in any form of teach¬ "If the modernists started a conservatory A good ing you must first and foremost culti¬ thus obliging the lips to vibrate. young in oeddenmt3”'1 comParatively so chestra 'T SC°red for a |,r'Kii!>Tr„,- of composing, no doubt a student who of lip pressure. The lips are to be con Strike the tone with the tip of the were hut 6 ta art> these concerts ct, Z ° seven Instruments: a harPs vate self-control. The era of the “hard, wrote a melody would be reprimanded, and sidered as cushions and to act as an esseir positive, exacting” teacher is fortunately one who wrote several would be expelled." tongue, directly in the orifice between the to the memo^f ^ 3 Week dedicated di Jmh ,3rge gui,ar- a Pr, '‘1 ,-vre (°r Z the second F, on the fifth line, should not tial resting-point only between the mouth¬ lips; for the tongue must catch the lips Bonn” All nf l' !6, great “Genius of withf 3 ,arge lu,e (or theor^l' nearly past, and his place is being filled —Pacific Coast Musician. by the teacher of tact and sympathy. be sharped. Ordinarily, however, to make piece and the teeth. Tone quality lies ir ■-n order’ to produce’ ; i easy vibration and tion that never ^ t0 the reflec! fiu,« in a certain seen® never m the history 0f man has "g pic,ure *hea,et of New Vork (.Continued on page 615) AUGUST i927 Page 581 THE ETV])q Page 580 AUGUST 192t HOW MUCH PRACTICEf fffE ETUDE HOW ‘"THE FLYING DUTCHMAN" IN THE GIPSIES’CAMP The shape and conformation 0f AUGUST NOELCK, Op. 279 BEGAN hands go far to determine the amount IM ZIGpUNER LAGER 4 Praeger, in his “Wagner as I Knew practice necessary for a music stud °f Him, tells us of the beginnings of “The according to Leopold Auer, veteran vi?' c,.rdi,,tt. national Hungarian Danoe. An ntnnlkni ...y tode 3*' Flying Dutchman,” begun by Wagner when, The Musical Scrap Book teacher, in his -book on “Violin Playimr”n Tempo di Zsardas M.M. J=i26^ - as a young man, he went to Paris hoping Anything and Everything, as Long as it is Instructive I Teach It” Of course, he is writm!*! to get “Rienzi” produced. violin practice, but pianists also may “There existed in England,” says and Interesting something from him. eatl1 Praeger, “a melodramatic burlesque by “Even an expert cannot predict with Fitzball, a prolific writer for the English Conducted by A. S. GARBETT certainty the skill which a particular jJJ stage, entitled ‘Vanderdecken, or the may develop .... Experience may sW Phantom Ship.’ On mentioning the names that the fingers of the one hand need to h of three of the original dramatic personae, Captain Peppersal, the father of the Senta, kept continually active in order to ret,'6 MUSIC IN RUSSIA BEFORE GLINKA their flexibility; while the fingers of ft Von Swiggs, a drunken Dutchman, in love As everybody knows, Glinka with his Araya was the beginning of a long era ofoi ototherjier mmayay nonott be used for weeks at „a tin,' with Senta, and Smutta, a black servant, time, the character and mode of treatment of ‘Life for the Czar" founded the modern Italian domination.” Elizabeth, her sue- and yet after some slight finger-gymnasft the story is at once perceived.^_ Vander-_ school of Russian nationalistic music. Be- cessor,. we learn, favored brenc . work and a small investment of time they deckcn retains much of the legendary Tore fore him, we learn from Montagu-Nathan’s Catherine the Great• r*v® ® 0 be regain all their agility and are ready to with which we are accustomed to surround “The History of Russian Music,” the music, but, none-the-l s , . . . ;m. perform their futrctbns ; 1 fcctly_ him, except that Fitzball causes him oc- foreigner had dominated Russian music. given the credit o , por “Sarasatc. once told me■ tliat he did not casionally to appear and disappear in blue “Irl literary and musical life the no doubt Alexander I practice at all during tin mnmer. David- and red fire. Vanderdecken, too, is under foreign product, for a long time after reasons ot stareinstate , French, music. in. the. off- an-,bo Stalest colli-i i his time, wtio a spell. The utterance of a single word, Peter’s ‘window into Europe’ had been favor of the court. The presiding genius was director of the I’ grad Conserv- though it be joy at his acceptance by opened, was alone deemed worthy o'f notice. was JJUTO1UBMBoieldieu. .Theil„e!W!W home .product,,_ once more atory. from 1880 to 1N'< . Here_.. I myselfvotli Senta, will consign- him again to his ter- The immense store of folk-song that has beân^toTccupyân"entirely‘ ' subordinate‘ordinate was head of the violin <’: partment/and rible fate for another thousand years. been collected during the last sixty years posjtjon! and the nourishment given it by with whom I played. . ing quartet ocon- “It was perusal of this medley of the had previously been more or less under a ;ts jmperial foster-mother was thrown certs for more than twenty years, always spectral and burlesque which led Heine ban, owing to the refusal of the Church away. Hid his Stradivariu in the safe to treat the story after his own heart, and to sanction references it contained to pagan ‘But__ with_____ the events of 1812, a dormant during the summer no He did not it was the discussion with the poet that deities and ceremonials. And the native Russian patriotism suddenly raised its take it out again until . were .. . determined Wagner in his choice of sub- musician was a humble being on whose head. Rostopchin’s flames caused another for the first quartet i < d the follow- ject. The libretto- was finished and de- Part any attempt to proclaim the existence fire to be kindled.” (Rostopchin set fire ing autumn, and he n ■ > other instru- livered to the director who, whilst ex- of Russian music would in all probability to Moscow causing Napoleon’s retreat), ment d-'ring the wli nine which in¬ pressing entire satisfaction with the work, have been regarded as an abominable “The Russian nation awoke to the con- tervened. only asked its price so' that he might de- beêsy- sciousness that it was good to be Russian. "Joachim, on the conti . practiced a liver it to a composer to whom “The middle of the eighteenth century A national feeling was aroused that has great deal; and, durin. , inert tours, beerr promised, and whose opera had the id seen an Italian musician established never since subsided.” he played in the compartment of his rail- next right of being accepted. The poem the patronage q»f the crown. The Em- Glinka was eight years old at the time road coach. Whether tl - was liecause he was not sold, and Wagner again turned to press Anne’s invitation to Francesco of the Moscow conflagration. found it necessary to keep his fingers his ‘arranging’ drudgery. . . . moving, or because he was nervous in “As to the composition of the music, I general, I can not say. It is a well-known have heard enough from Wagner on this THE QUEEN’S CHAIR fact that Joachim, when aching, always particular opera to convince me that, had his Stradivarius in his hand, and Concert pianists accustomed to a large rangement of Schubert’s Erl-King. though it occupied but a few weeks, At illustrated practically all that he had to

„o, d.„, : ;r,hprofit^° by7 his — exception. Georg Henschel for the Queen asking me to close the lid, example." isincr amniint nf ‘Rnhi’nctoin,c urkan -j .... "TURN AGAIN, WHITTINGTON" wlren fere happened ^e mS"to^ SB. , , 1—J—o — *-—— . .« ». ..U.UOW., ai_L, u,' rather succession of acts on thp Among the composers who ran away with Her Majesty seated quite near the part of her indeed Most Gracious Maiestv MANUEL DE 1ALLA from home to make a start in life is Count piano. Every now and then .he „ ij J. , “The war," remarks Carl Van Vechten Boieldieu-, whose overtures “Caliph of “The great pianist began with some by the player, gently’push fa£- chaiTfSher n his “Spain and Musi,.'' “has had a Bagdad”Hao'nan and “DameDame Blanche,”Hlanrhe ’ are stillc+,11 Chopin( hnrnn nocturnesnnrtnmpo andan/1 nfherother soft.nt. sweet and-1 fartherr . \„a, xiuiI . me nl9n„ mosl 5allltarv y away from the piano, the salutary effect on Sjtanish music, played though the, operas are seldom things which greally pleased the Queen,” sounds issuing from which were growing while it has killed tin- I art in most heard. Mary Hargrave in “TheThe Earlier says^says Henschel in his Musings and Mem- mnn> ar,d . « mg , , TT „ her alarming near- the relentless hoofs of th m by -n ™°vCrn SCh°<’1 vanish “S “Boieldieu was twenty when he left ness to the huge concert grand, the open “By that time, however the'oSL?0”'' was^Ianu wTVn home, for some reason, secretly,” says hd of which threw the sounds back in the at a safe distance Id aft "-f "as Manuel de Falla, w.iora G. J«n- Mary Hargrave. “He travelled part of the Erection of Her Majesty’s chair with re- of pleasure and relief stole over W8 ^ 6 To’ T°da-V bc : ,n0St stnk'^ way in a cart, spent the night in a shep- doubled force. wonderfully impressive fealure, T™' ^ °f ^ Span,sh schl" tomorT herd’s hut and arrived in the capital with Then I sang again, and then- last, home reached RubinsW u f"1 be ,a compeer of European fame- the sum of eighteen francs ($3.60) in his Rubinstein settled down to play Liszt’s ar- and the ‘child’ completely^ dead”*33 ^ f* J -.aS. ls .Ravel or Stravinsky. _ pocket, the score of an opera, and his good (It is pleasant to record in 1927 that looks. (He had come to Paris from --__ this prophecy has been fulfilled and De Rouen.) Falla’s music is being widely played in “His good looks were undeniable, judg- THE TONES OF A FLUTE Europe and America.) mg from a- charming full-length portrait SoME DAY< perhaps> we shall , Manuel de Falla was bom at Cadiz, (at the age of twenty-five). He is stand- ,itSZ “wor?h hthP;r wP£h f v^°rgan plPe surrounded with water N.°'embcr 23, 1877. He studied harmony ing by a harpsichord in a blue, swallow- J® ,g°ld, Elaborate analyses of the tone from flute,’ A,eian glass, silver and gold Drove a‘er he "cnt to Madrid where he studied high boots, smiling, gracious, handsome. f“ d‘ „D yt Clarence Miller s book, that the tone from the gold flute i piano "ilh Trago and composition “Soon,‘Soon, however, the youngvm,mr man wawas= in,'n TheJ™ fienceScience of Musical Sounds,” one lower°wer and richer, W:having-- a l on ls‘r mel' with'vith FelineFelipe Pedrell.Pe^r.it Heu.. was ,.;11still under despair, seriously considering the idea of of the bef of modern books on acoustics, louder series of partials than fl.ite. t fourteen when the Madrid Academy of throwing himself into the river, when a contains the following interesting informa- °ther metals. s °* Music awarded him first prize for h‘s messenger from home found him and sup- tio11: “Mere massiveness of the wall, doe p,ano Paying. plied him with money and letters of “The traditional influence of different “U6!1 the desired condition • a heav ♦ T* “Betwecn 1890 and 1904 he divided his introduction.. After this, things improved, metals on the flute tone are consistent obtamfd fr°m thick walls’of bra« k time between composing and piano playing, He earned money by tuning pianos at with the experimental results obtained rgidity as ‘0 produce an b°th aS sn|"''; and in concerted chamber Erard s, and sang his own songs at recep- from the organ pipe. Brass and German the walIs must be thfn mUS'C‘ The compositions of this period tions in the Erard salon, His gift for silver are usually hard, stiff and thick, sive bv ?nerXlbIe.and must be made n,a"’ Tu "0t Published, however, and now de composing ‘romances,’ drawing-i songs, and have but little influence on the air material dens'ty of the ? "nnot ,,c urged to speak of them- was greatly admired, and even the import! column. The tone is said to be hard and ™ ^lne goldg°ld .flute tube^^,K anriand Z ,nh<-> went t<.Paris, where, from the ant Marmontel condescended to write trumpet-like. Silver is denser and , ga pipe surrounded with ^ d 'ery first, he received a 1 welcome made friends and Sdds to the ^ with Mehul and Cherubim and with The much greater softness and density of these str' WhlCh bave a rich8 qUalit fnend,-v.In 1910 he made his debut International Copyright secured Gretry, now growing elderly but still at gold adds still more to the soft massive- ng them T ^ W0Und or loaded S' ^ 3 "i;mist in Paris an(Hhe foUowinf Copyright 1927 by Theodore Presser Co. the height of h,s fame. ness of the walls, giving an effect like ‘sXe? ?%%«*$** 3i *t ^ in London. ™ April L 1913, the is un.mpaired.” * or Casino, - at v:—Nice produced. . ..his /*_.*first ^ra.opera. La Pula Breve." Page 583 AUGUST 1927 THU ETUDE Page 582 AUGUST 1927 AT HOME An expressive drawing-room piece exemplifying the singing DAHEIM W. LAUTENSCHLAGER,Op.i()3,No2 tone, double notes and*\;ross hands;’ tirade 3|. REVERIE Andante eon moto

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International Copyright secured the ETVDe AUGUST 1927 Page 585 Page 584 THE ETUDE AUGUST 1927 IN LOVE’S GARDEN IN LOVE’S GARDEN VALSE CAPRICE homer tourjee VALSE CAPRICE HOMER TOURJEe A graceful modern waltz to be played in orchestral style. SECONDO Moderate amoroso M.M. J-=72 PRIMO

Moderate amoroso m.m.J-=72

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A lively little original duet,for players of SECONDO HELEN L. CRAMM,Op.37, No.2 about eoual attainments ^

Copyright 1925 by Theodore PresserCo. British Copyright secured THE ETUde AUGUST 1927 Page 589 Page 588 AUGUST 1927 THE ETUDE A graceful and delicate drawing-room number. ZEPHYRS BRUNO BRENNER A good practice piece also. Grade 3d. CAPRICCIO Aniantino M.M.J=108

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Copyright 1927 by Theodore Presser Co. British Copyright secured International Copyright secured Copyright 1925 by Theodore Presser Co. TEE ETUDE Page 590 AUGUST 1927 PASSING CLOUDS , a.e.lumley-holmes Acharming number by apopular English composer, well adapted for certain scenes in“pioturep aying. 5 1 - Andante moderato M.M.J=ioa , <3s u lfT^i • '•Tj.fl

Copyright 1927 by Theodore Presser Co. & From here go back to the beginning and play to Five* then ulav 7W« r . uT'T . ' a . In the style of an aesthetic dance. Grade 3| NODDING" FLOWERS”P“yI","nMlon“ C°wri8h,"cured Molto moderato 108 __ „ s --- GEORGE DUDLEY MARTIN

Copyright 1926 by Theodore Presser Co Copyright 1927 by Theodore Presser Co. ; British Copyright secured AUGUST 1927 -Page 593 THE ETUDE jrgE ETUDE J,ag,BS2 AUOUSTt927 JAZZ SCHERZO Idealized “jazz”. Very cleverly done. Suitable for concert use. Grade 5 DAVID W. GUION

MINUET CLASSIC WALLACE A. JOHNSON Introducing a fragment of the most famous Minuets written. Grade 2£

Tempo di Minuet M.M. J = 104

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International Copyright secured AUGUST 1927 Page 59 7 T0 ETUDE ,Gt.8'&4' iSw.8'&4',Oboe; coup, to Gt. ROYAL PAGEANT EUGENE F. MARKS

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LES TRESORS DE COLOMBINE PETIT AIR DE BALLET R. DRIGO

Copyright MCMXXI by J.&W..Chester, Ltd. Page 600 AUGUST 1927 PSS STUDS A miniature ballet movement, Grade 3 MOONLIGHT DANCE JAMES H. ROGERS In moderate waltz tempo M.M. J.=

Copyright 1926 by Theodore Presser Co. 0 THE LITTLE GREEN HUNTSMAN In descriptive style, Grade 2* A FAIRY TALE y. p LUDEBUEHL AUGUST 1927 Page 603 THE ETUDE Page 602 AUGUST 1927^ THE ETUDE ACQUAINT NOW THYSELF WITH GOD Joshua I FRANKLIN RIRER AUGUST 1927 Page 605 0E ETUDE THE ETUDE Page 604 AUGUST 1927 UNDER THE MOON

FREDERICK H. MARTENS R- S- STOUGHTON

An Imprint of Distinction—KIMBALL croon, In the dark and the dew It will car - ry you through ' If you are look - ing for tune, Lips like ros - es that cling To your own lips will bring The wonder-ful rap - ture that i-j

an imprint of distinction to its whole environment. The hand and brain of genius are plainly audible in the deep, rich appealing tones of the Kimball piano. It expresses an ideal that has made it the favorite of eminent figures in the world of music throughout the last three generations.

some - one t With the stars look-ing down from a- fades but too soon. Take the road of ro-mance, Pluck the ers. There is a Kimball exactly suited to your home. Catalogs andournearestdealer’saddresssentonrequest.

w. W. KIMBALL COMPANY i 1857) mue, CHICAGO, U. S. A.

Copyright 1927 by Theodore Presser Co. British Copyright secured AUGUST 1927 Page 607 THE ETUDE 0E ETUDE Page 606 AUGUST 1927 the vocal organs which comes only w;th True Vocal Art in Singing fc 4 -np'HE WOMAN who suffers from the study of the coloratura. No other a so-called ‘harsh voice’ should so good and dependable a method has been By Lotti Rimmer understand that the term is a mis¬ discovered to give flexibility and resiliency nomer. No voice is harsh in itself. All de¬ The Singer’s Etude to the voice, to make its tones easy and Part V pends upon the management of it. One of spontaneous, to round them out, and not Mme. Bernhardt's greatest charms was her Edited for August only to save from strain but also to help EXPRESSION in singing and speak¬ hot be seen. By a broad shape of the lips, voice. Persons say that to hear Iter speak the voice to recuperate from the exacting ing can be guided with more free¬ giving the mouth an oval position, the clear was to listen to music. This charm lay not by demands of an operatic role, and especially dom if the development of language Sound of the ah is emitted. The student so much in her voice as in her wonderful EMINENT SPECIALISTS in the modern school of art. Coloratura u hPen studied. A voice gets its texture will find that the uvula rises slightly and power to control it. Every woman may is the meat and drink of the singer’s voice ' fraom proper articulation by a flexible the tongue remains stationary. The tone as well as its elixir of youth. should always be directed towards the front. make her conversation as tuneful and It is the Ambition of THE ETUDE to Make This Voice Department „ ' The human voice responds in pleasure giving if she will. 5£ measure, if the individual has a An unpleasant a (ah) is often due to a “Many will tell you that the use of the “A Vocalist's Magazine Complete in Itself" nasal articulation. To rectify this defect Syllables Strong and Weak “'per conception of the symbols and voice in singing is entirely different from mechanism of speech. Therefore, public the pupil should try exercises which ap¬ that in talking. This is a mistake. When Tpeakers should have an idea of the peared earlier in this series, closing the 1 wish to place the voice of a pupil for By E. A. Barrel! nose with the fingers and singing (Ital¬ phonetic symbols. singing, I teach’ her to speak correctly. ian a) Ba-ta-pa, ka-ya. The “Melodious” Voice One op the first things a vocal teacher p There are many orators whose voices After she has learned this, it is easy to ad¬ ,re unvoiced on account of consonantal vance with the vocal art, for to sing is serving his novitiate will notice is the Strength in “A” friction produced by an unruly tongue. A merely to talk upon sustained musical By Emma Thursby strong tendency, common to about nine- clear distinct delivery can come only from HE PHYSIOLOGICAL character of tones. tenths of voice students, to alter the pro¬ T Before giving up her. teaching, one of the first to make American singers nunciation of words immediately the pupil a well-balanced use of voice so that it may the vowel a expresses directly clear¬ Breathing “First" Miss Thursby was for years one of the honored abroad. Her art was lost to opera begins to sing. The alteration is either give natural, spontaneous Utterance of ness, joy, and action of strength as in ttnpHE FIRST ESSENTIAL for a foremost of America’s singers in concert because flattering offers were repeatedly (1) by distortion of vowel-sounds, or (2) every word and line. Only then is the Allah! ballad, Parliament, attraction, am- A sweet, musical voice for speaking and oratorio. Representing the methods of declined on account of religious scruples as by shiftng and falsifying of normal ac» vitality of the speaker or singer felt, giving atonal, gratifying, la-la, la! attachment. or singing is correct breathing. To those two superlative teachers, Lamperti to life on the stage. She is- one of the few the listener a strong sense of certainty and In the sombre a (ah) the upper lips are exponents of “the golden age of song” still learn to breathe correctly it is necessary and Sangiovanni of Milan, and with a voice “Sing a word as you say it!” the pleasure. Masters of diction are rare, due somewhat lowered, the mouth shaped less left with us, and as such her words become only to carry the body perfectly poised. of exquisite quality, her singing was often pupil is admonished over and over again-- to the lack of proper development of Voice. broadly, the tongue slightly arched at the doubly valuable.—Editor’s Note. The work with a pupil’s voice begins with compared with that of Patti, and she was but to no avail. He will continue with Perfect clarity in delivery and smooth vo¬ side. her feet. Nature does nothing without a consistency, and generally with complete calization are the hall-marks of a good The neutral sound a (ah) is a sound be¬ purpose. The arch beneath the instep of actor or speaker. Much beauty of the act tween the clear and sombre a. The mouth “This is where the average American continues, blending and softening the whole. unconsciousness, to change “heart” to the foot is not there for beauty only. It remains the same as in the clear a, only the woman makes her mistake. She forms her So, when we are speaking properly, though something approximating “hot," “bud¬ gets lost by faulty articulation. is so placed in order that it may support tongue is raised slightly in front, whilst words in the throat, back of the tongue, or every syllable is enunciated separately, the ding” to “Bud-deeng,” “bye to “by-eeee” the weight of the body, just as the arch Phonation and Tone Sequence the pharynx widens. The sombre a is forces the sound too high, pinching the air, instead of being cut off sharply after (as in Signor Tosti’s long-suffering and beneath a bridge supports the weight of tone and shutting off the nasal resonance. each sound, as it is when We speak in the awfully knocked around “Good-bye For- N THE VOICE we discern three dif¬ found in qualifying expressions, such as its expanse. When we stand, as the ma¬ I throat, continues to pass uninterruptedly eveP’), “dew-drop” to “doo-drop," and ferent kinds of sounds: the natural, tall, small, substantial. jority of persons do, with our weight on She should let it issue between these ex¬ into the nasal and oral cavities, which so forth. primitive phonetic sounds, the normal, and The U in Ur, quality of “A” belongs to our heels, we produce the dislocation of tremes and form it into words upon the tip of the tongue and lips, which consti¬ form the resonators, blending and soften¬ In general, the rule to be followed in the ideal—which together make the per¬ the broad and obtuse vowel. It is, how¬ our anatomy that would be produced in tute the keyboard of the voice. It is in this ing the sounds. In singing the musical this matter is simply: When singing a ever, pronounced similar to a. The vol¬ a bridge if its weight rested on one side fection of cultured articulation. scales every note is a pearl, as is every word, make it correspond exactly with its ume of the sound is diminished though, of its arch only. Many persons stand with correct placing of the*Voice that the whole The English language has various word in the speaking voice, and the con¬ correctly spoken equivalent. Now, easy as owing to the arching of the tongue which their weight on their heels, lean back from secret ,of its beauty lies. If your voice sounds for “a.” Some dictionaries specify tinuous resonance is like the string which this rule is, the pupil will need ever to be assumes a broad position, touching at the the waist and raise their shoulders, feeling tires when you read aloud, the trouble is six different kinds: the long, the short, the holds the pearls together. on his guard—or he will transgress it to same time the incisors on both sides. On that they are standing very straight indeed. that you are talking down in the throat, Italian, the intermediate, the broad, the irritating it by putting it to a use for the very great detriment of his singing. account of its dark color, the physiological Instead, they are augmenting the trouble obscure. which it is not intended. If your tones Testing Resonance character represents an earnest, sinister by weakening the spine and distending the Here are two examples of wrong pro¬ In pronouncing the clear vowel a (ah), nunciation. The first excerpt is from “Maid state of things as in disturbance, murder, abdomen. With bodies so distorted one are nasal, you are going to the other ex¬ TO TEST your resonance, while you the lips are farthest apart, the upper lip treme and placing them too high. Quiet,” a song by Elizabeth Posten; the burned, lurcher, conjurer, murmur. NEW COURSE of SINGING cannot breathe naturally. In order to gain are talking press the tips of the slightly raised, showing the upper teeth STANDARD EDUCATIONAL WORKS (To be continued) by CORRESPONDENCE correct poise, the spine should be perfectly nostrils together with the thumb and finger. second, from “Nebbie” (Mists), by Res- only; for the lower row of teeth should Enunciation If your resonance is good the nostrils will Including Voice Culture, Sight Singing and Mu¬ KNOWN THE WORLD OVER straight, and one should lean forward from sical Knowledge. A thorough, practical course. tir-pO PERFECT the enunciation pracr puff out and the sound be choked. If the hips until the ear, shoulder, hip and BEGINNER’S BOOK by THEO. PRESSER 1 tice with the letters of the alphabet loosing the nostrils makes small impression Some Popular Vocal Misconceptions Al SmaU monthly payments. Send for Prospectus. instep form a straight line, and the weight State distinctly which course you desire. School for the Pianoforte—Volume One of the body rests upon the arch of the and learn to place each tone in the front upon your speech, it shows that you are Price, $1.00 ALFRED WOOLER, MUS. DOC. The greatest of Erst piano instructors. instep. Many singing teachers spend time of the mouth. With the exception of five not using the nose as you should. By Herbert Wendell Austin sounds—b, p, m, f and v—every syllable “Test the speaking voice with the piano STANDARD CRADED COURSE OF STUDIES in teaching their pupils to breathe correctly than to the individual parts the singers For (he Pianoforte By W. S. B. MATHEWS and to raise' their chests. If they simply should be formed solely with the front of and see how unconsciously we all speak Not long ago I was in a home where In Ten Crades, Ten Volumes tongue. B, p, m are lip sounds. In pro¬ upon musical notes. Every one’s natural there was a sound-reproducing machine. might assume. Incidentally there are such Price, $1.00 each taught them to poise the body properly, the things as bass solos, baritone solos, tenor Faust School of Tuning The original and moatsuccessful graded course. nouncing te, de, le, ne and re the tongue voice lies upon a certain key, and from My hostess had put on a record of a love- chest would raise of itself and good breath¬ solos, contralto solos and so forth. Any HARMONY BOOK FOR BEGINNERS should just touch the back of the teeth. this its inflections rise and fall, according song duet. When it was finished, she STANDARD OF AMERICA ing would come naturally. voice, regardless of classification, may as¬ ALUMNI OF 20WI By PRESTON WARE OREM Price, $1.25 Ke, ge and je are formed a little farther to the laws of harmony. In speaking, the placidly handed it to me and laughingly Every Music Student should have this work. sume any part of a song if ^such part is Piano Tuning, Pip. and Physical Poised back, with the tongue touching the palate. voice reverts to the tonic, and frequently pointed to the words “tenor and bass.” Reed Organ and Player STANDARD HISTORY OF MUSIC Many persons think that to enunciate leaps an entire octave in the rising inflec¬ “Such a misrepresentation!” she scoffed. transposed in its vocal range.” Piane. Year Book Froo By JAMES FRANCIS COOKE Price, $1.50 4*'T'HE CORRECT POISE, once ac- “In mixed quartets the soprano usually Adopted by many leading schools and colleges. clearly it is necessary to move the lips a tion. In ‘Yes,’ used as a question, the voice «i - lent q£ dre*m-»» mists,an-vl “The very idea of so preposterous a thing 27-29 Gaingbnro Street A quired, never should be lost. When assumes the melody or leading part. In great deal and open the mouth wide. Ex¬ will rise an octave. In ‘No,’ it will de¬ The correct version of these, of course, as tenor and bass being sung together BOSTON, MASS. we walk, the straight line from the ear to male quartets one of the tenors usually K: cept when pronouncing p, b, m, f and v, scend an octave. would be— without soprano and alto! Furthermore, THEODORE PRESSER CO. the instep should not be broken. The body takes the melody. The first tenor of male the lips should scarcely move. “Every woman with a sufficiently musi¬ did you not notice from the singing that should move forward with the foot, not Ex. 2 quartets sings higher than the second tenor, 1712-14 Chestnut St., Philadelphia, Pa. “While practicing these syllables try to cal ear should ‘place’ her speaking voice the parts were not tenor and bass? They after it. When we sit, the poise of the and the voice of the former usually has a obtain a perfect resonance, which accom¬ with the aid of the piano and experiment were soprano and alto—unmistakably!” body should remain perfect, our weight soft feminine-like tone, especially if the panies the well-placed voice, making it to see how her intonations rise and fall “My dear friend,” I replied, “that is not resting upon the thighs, not on the spine. leading part is with the second tenor. musical. In the organ, though every note musically in conversation.”—New York a misrepresentation. Voices are classified After a little practice in poising the body There are exceptions to this, however.” is distinct and clear, the vibration of each Herald. according to quality, range and texture. correctly our breathing will be deep and My hostess, at first incredulous, was Such terms as “tenor find bass,” “soprano diaphragmatic, as it should. finally convinced of the logic of my ex¬ FUNDAMENTAL STUDIES IN and tenor,” “tenor duet,” and so forth, “The vocal instrument is like an organ, planations. the diaphragm while inhaling and exhaling apply to the classification of voices, rather VIOLONCELLO TECHNIC acting as the bellows, the throat doing service as the pipes through which the air Community Singing By GEORGE F. SCHWARTZ is carried to the resonators, while the tip By Elmore E. Hackett of Jrtmm-v of the tongue and the lips in enunciation Ideal Material for Use in Teaching ’Cello Playing—Superb By C. T. Hilton may be likened to the keys with which the Every name that stands out promi¬ Schumann-Heink, who has become the So take the utmost pains with your p- for Musicians Undertaking “Self - Study” on the ’Cello nunciation and diction. They are near tones are produced. With her respiration nently in the history of song is that of world’s greatest singer of the lieder and own mistakes and musical wanderings are as important as the voice itself, and t One of the most impressive and inspir¬ natural and noiseless, every woman has a one who laid the foundations of her art “heart song,” formed her voice and style not observed. There is a certain whole¬ THE text matter in this volume alone is worth the price of the perfect and tuneful instrument at her com¬ student who treats them in a hasty ai ing things in music is the singing together book. Careful explanation is given of many things in the care in the school of coloratura. by the teaching of her Italian mother and hearted, warm feeling that follows upon mand. disdainful manner will probably ney of great masses of people. In that mighty of the instrument; correct position of arm, wrist, hand and Lilli Lehmann who later became the made her first success in Verdi’s operas. (though he have an excellent and pleasii volume of massed tone every voice is community singing. Temporarily, at least, fingers, correct bowing position; the three clefs; intonation; etc., etc. Know the Throat personification of the Wagnerian hero¬ Why is it that we now have singing voice) be likely to hear ringing in his ea merged in the whole. No single voice each man is at peace with his neighbor. Detailed guidance is given with a number of the studies and alto¬ 4‘T TNFORTUNATELY, few Ameri- ines first made her reputation as a bril¬ actresses but so little of the superlative the plaudits of multitudes charmed ai outstands the rest. All sing toward a cer¬ Moreover, the minds of the singers are gether all that will help in mastering the fundamentals of ’cello play¬ ing is given. Certainly this set of studies with the illuminating text can women understand the instru¬ liant coloratura soprano, with the Casta singer s art ? The one sure solution lies in thrilled by the music proceeding Horn i tain purpose. There is no division. The more inclined to kindliness than to criti¬ Diva from “Norma,” one of the test pieces matter accompanying them should do much toward giving many first¬ ment or how to produce musical notes the haste with which the years of prepara¬ lips. vast choir symbolizes harmony. cism. This is surely a good mood upon of its class, as her particular achievement. hand opportunity of appreciating the possibilities of the ’cello. upon it. The throat is merely the pipe of tion are spent and the voices hurried into The churches lose much of their hold which to plant the sermon. Instead, we the vocal instrument. In speaking, as in Nordica, who reigned for years at the' a strenuous public activity before they uPon the people because they have not “At my recital in London last spring, have, as a rule, the anthem performed by PRICE, ONE DOLLAR singing, it has no use except as the chan¬ Metropolitan as the superlative Briinn- have been sufficiently schooled to stand the critics were particularly nice about the more congregational singing. Almost the paid choir, to which we listen critically. nel of the air. In talking, the throat should hilde, spent all her younger years in the the strain. Whatever the ultimate goal everybody loves to sing. Even those who Mosart I sang. One of them said, ‘Here And is it any wonder if we carry that THEODORE PRESSER CO. chestoutstreet PHILA., PA. remain relaxed. It should never be moved coloratura roles—being almost unapproach¬ of the singer-male or female—the long say they “have no voice” like to meander is a girl who can sing Mosart, and anyoM critical mood over into the parson’s dis¬ in forming the syllables any more than able in the brilliant trills and roulades of and successful career is assured only to after the elusive tune when everybody who can sing Mosart, can sing anything- are the pipes of an organ. the Jewel Sohg from “Faust.” those who acquire that perfect control of around them is singing so lustily that their course? >rtisers always mention THE ETUDE. It identifies you i e in touch with the higher idea When you write to onr ndv< AUGUST 1927 Page 609 0E ETUDE THE ETUDE Page 608 AUGUST 1927 , rrh music we know only in a general a fresh point of view. Another innovation was really a return to earlier practice— “Onward, Christian Soldiers” Ch probably Saint Ambrose himself THE CONGREGATION has largely TLot suddenly bring into existence what Saint Ambrose allowed the text of a hymn COURSE IN gathered; there is silence, broken “ ffled “the Ambrosian style.” This in its natural rhythm to determine the only by an occasional foot-fall in rhythm of music. 'S bably had been a gradual development the aisle, or a murmured word of greeting. Saint Augustine tells how he first heard Theatre Organ Playing Pr° hich many men and many tendencies We note the elderly face here and there, The Organist’s Etude church music in the Ambrosian style and t0 The genius of Saint Ambrose to whom the reminiscences of old well¬ what a deep and lasting impression it Two- and three-manual Kimball theatre unit organs for had^been chaotic, simplified loved melodies may mean much. The Edited for August made upon him. lessons and practice. Special course for pianists changing worried business and professional man is h t had been enormously complicated, There were other schools of music, or to organ. Advanced pupils have the advantage of lessons there; he who would like something to By EMINENT SPECIALISTS 4 defined the spirit and general tech¬ rather leading tendencies—for there was make him forget his problems for a time. ie at music for the Church. nothing so distinct and definite as to be before the screen under the same conditions as prevail A not too religiously minded young man Itis the Ambition of THE ETUDE to make this Organ Department There had always been music in ser- called a school—which were, in a degree, in any large theatre. Graduates are in constant demand, and girl may be seen sitting side by side “An Organist’s Etude Complete in Itself’’ and many different ideas had been rivals of the Ambrosian. These were the in the gallery, more to enjoy each other’s vl. , out The dominant influence “Gallican” and “Mozarabic”—but that for at big salaries. society than to think seriously of the which they stood was not of enduring im¬ -1—|—f— =b=dH== naturally had been from Greece. What- Write for Catalogue E. coming service. the Greeks said about art and philo- portance. i d i=i=l The first few solemn notes of the organ sLhv in those distant days was virtually Service Playing 4^ A Traditional Choice VERMOND KNAUSS SCHOOL OF float out through the auditorium. Insen¬ the final word. Many things, in music THEATRE ORGAN PLAYING sibly the atmosphere changes. The volume especially, went on existing simply because THERE IS a tradition, outside of of tone, swells; new and interesting figures By Henry C. Hamilton Greece approved. canonical literature, that books of 210 North 7th Street Allentown, Pa. of accompaniment weave most naturally these different musical styles were left in around the theme; the deep foundation Parti The Ambrosian Reforms the Cathedral of Milan to determine which bass seems endued with life and promise. have their place and can be made of value note, and with the first and-third lines in CAINT AMBROSE discarded the should be accepted by the church. The Two melodies now thread their way in preparing the way for some quickly un¬ harmony and the second and fourth in O formulae of the later Greeks and story goes that the book of Ambrosian through each other. Does not this per¬ derstood classics, as the flowing melodies unison. The effect coming, unexpectedly, went back to earlier principles. We may music was found wide open, whereas the 0RG0BL0 fect agreement in tone—this masterly and of Handel, Haydn and Mozart. in the Cantata and set to the following think of this early sacred music as crude others were shut tight. Thereafter the exquisite contrapuntal tapestry—awaken in AUSTIN ORGAN Standard^ Ex- It is desirable, when approaching the was really magnificent: in many ways; but certainly it was aspir- Ambrosian modes were acclaimed and the s) the mind the desire for more beauty and end of the prelude, to modulate into the ing—trying to find form and expression others destroyed as they no doubt deserved I\. church instruments in Philadelphia agreement in the things of life? The tired * of the highest award key of the Doxology or whatever it is “We’ll crowd Thy gates with thankful worthy of its own spiritual origin. Saint to be. and vicinity, testify to the reputation Aus¬ -ition entered. man of business feels there is something in customary to sing at the beginning. tin organs have gained. Made of absolutely songs, Ambrose was largely instrumental in Interesting as are Saint Ambrose and highest grade materials, they stand to their the world besides the ceaseless search for Nothing sounds more glaringly out of High as the heavens our voices raise, clearing the road, in making it possible his work for a reformed music, his great work with record unparalleled. They are dollars. The faces of the aged show some¬ place than for an organist, at the end of always dependable, as any first grade prod- And earth, with her ten thousand tongues. for music to work out its own salvation. contribution lay in preparing the way for thing of their feelings. The young man his voluntary, to sound a fortissimo chord Shall fill Thy courts with sounding praise.” Many rules laid down by Greek and a greater advance, a more sweeping and THE SPENCER TURBINE COMPANY and girl feel, for the time being, in the in some unrelated key as the signal for Organ Power Department other musicians of the day simply made creative change in sacred music which was erty” was found' to be in perfect playing Hartford_Connecticut presence of musical realities and gain the people to rise and sing. A few bars The effect of the unison singing on the music harder to play and harder to un¬ to come. It is fitting and inspiring that from that a desire for life realities. can easily be improvised in such a way second and fourth lines, supported by full derstand and appreciate. Saint Ambrose the Cathedral of Milan should carry But listen! Another strain is heard. as to make the conclusion of whatever he harmony from the organ, was especially eliminated these rules and worked out through the centuries the music of its AUSTIN ORGAN CO. A Pipe Organ Instructor for Pianists Some well-loved hymn-tune appears. But is playing become the enunciatory chord imposing, the higher notes seeming to be what was certainly a simpler system and distinguished Bishop, the sainted Ambrose. 165 Woodland St. Hartford, Conn. it is transfigured in a new and glorious (in the proper key, of course) for the particularly significant. However, this type one with which it was much easier to But the coming of Gregory I, the Great, Graded Materials form in the company of other interweaving people to rise. of arrangements—a strong, slow, but irre¬ work. Also the “Ambrosian modes’* had was to have a still wider influence. melodies that seem to turn the organ pipes sistible onward movement without pause— for the Pipe Organ into the tongues of angels. By gradual Giving the Initial Note may not be practicable for the general fiOILMANT ORGAN SCHOOL By JAMES H. ROGERS modulation in the most natural manner HE MATTER of giving the congre¬ service unless the people could be made we are carried into the opening chord of Melody Phrasing gation the initial note of the tune used to it. Custom plays so large a part Dr. William C. Carl, Director Designed to give a good working the familiar Doxology. It seems a fitting as a signal to begin singing has always in congregational singing, especially in knowledge of the instrument. By Angus McKay climax. We sing because we want to been a debatable subject. I grant that hymns of long usage, that a radical change Teacher of Organists offer praise. The minister then lifts his is not always a success. But for a special An instruction book of great worth, giv¬ it is not the most artistic thing to do ple. A choir could never be expected to ing explanations and directions so clearly voice, “Let us pray,” and we feel, as we occasion, such as just mentioned, a happy We are all very ready to claim for the A Distinctive School for Serious Students under any circumstances and is in ex¬ sing through a whole hymn in one breath, that anyone with a knowledge of the piano bow our heads, that we are not far from presentation of an old ecclesiastical compo¬ organ that it is the king of instruments. tremely bad taste when accompanying a (To be continued) not even a single verse. We allow them could use this work for the study of the Him who hears and answers prayer. sition, usually too severe in its simplicity, is It is all of that. It is an orchestra in it¬ Free Fall Term choir or more especially a soloist, except as a general thing to take a breath at the organ without the aid of a teacher, even This is the effect of organ music rightly in cases of dire necessity. But the greater a most effective innovation. self. With its string tone and flutes and October 4th though it is not so intended by the author end of every line, robbing its last note, so Scholarships chosen and thoughtfully played. part of any congregation is an untrained A great deal has been said in regard to reeds there is a wealth of orchestral color¬ particularly. Naturally a teacher should The First Mass and Saint as to be ready for the attack on the next the playing of hymns. The subject has ing at our command. Neto Prospectus Ready be secured whenever possible, but there Selecting the Music mass of voices, and it will be found that this sounding the starting note as a signal been very largely covered, and yet this Ambrose Let us think of the orchestral stops as line. . are cases when a teacher is not available or It is exactly the same when playing 17 East Eleventh Street, New York THE BEST IN music, and that music ensures a better response. Some organists phase of an organist’s work often leaves Article One of a Series individual, man-played instruments rather cannot be afforded. melodies. Divide the passage into its com¬ properly performed, is our only hope begin playing the hymn for the assembled much to be desired. than as mere tabs on the console. Let us ponent parts. Make a “break” after each Price $1.25 for educating the listener. The expulsive congregation without warning of any kind; A most important thing is phrasing. The Church, the Cradle of make them perform accordingly- How part, and, as in the hymn tune, rob the A Catalog Organists Should Have power of a new affection is often miracu¬ others sound the pedal note first. I have It is well to commit every familiar Modern Music much more art and feeling there is in a THEODORE PRESSER CO. note you leave so as to attack the next “Descriptive Catalog of Organ Collections” lous in its working, and perfect music, attended churches where one or the other hymn-tune to memory. This, combined passage properly phrased! By phrasing one promptly. And do not stop there. Send a Postal Card for it if frequently and wisely administered, can of these two methods was in vogue—large, with serious study in organ and harmony, By Bertrand Brown is meant primarily a “break” or momen¬ Make other breaks' wherever you feel that Theodore Presser Co , 1712-14 Chestnut St., Phila., Pa. take away the desire for the worthless. well-to-do and fashionable churches—and can hardly fail to fit one for this im¬ tary stop in the melody where the oboist they will accent a particular motive or But it must be chosen with the wisdom the people invariably had not got a start portant part of service-playing. Then, by HE WRITER of the first mass or flutist or other soloist would naturally T otherwise enhance the beauty of the num- that the exigencies of the case demand. until about the end of the first line. There playing from the words only, except in the must have been a singularly inter¬ take a breath. A study of melodies shows An organist who chooses mostly long and seemed to be a feeling of “I don’t know case of some new tune, one is naturally esting man of God and of music. that they are usually divided into several ber. We are our own orchestra as well as SUMMY’S CORNER complicated works and who plays little what anyone is going to do,” and, of free to enter into the spirit of the different It seems strange that we do not even know distinct parts tlie same as a paragraph conductor. Let us humanize our playing. else but fugues may be doing considerable course, no one wants to appear conspicuous verses and use suitable phrasing and color¬ with any assurance who he was, nor is divided into sentences. In a great deal These breaks, together with judicious use for a few musical critics, but it is not the by singing a solo from the pews of the ing. under what circumstances he wrote the of music the breaks are marked in by the A group of New Piano Numt of the expression pedals, make phrasing best way to begin spreading a love for church. While tone-painting can hardly be in¬ first notes of a form of composition—the composer. Where they are not, it is up to ADAIR^ MILDRED __ good music among the people who need add another hundred per cent, to the lis¬ The speed of the Doxology varies dulged in unduly during the congregational mass— which has meant so much through¬ the performer to use his own judgment. Mermaids—Grade 2-3 -Vhe'rwis musical training. If he finds he cannot tener’s interest in our playing. greatly in different places; also the matter singing, yet most varied treatment may be out the ages. A hymn tune will make a good exam¬ useful teaching number. appeal except in the things the people given. In case of a quite familiar tune, Most authorities seem to agree that he CARRE, JOHN F. know, let him use familiar melodies to of pausing. Sometimes this is tile result of the setting this hymn is given in the such as Onward, Christian Soldiers or was Saint James, first Bishop of Jeru¬ GyPS"6ay2af“^M "colorful musicmusic-tha " that presents’ a.' goodly' supply of teaching problems begin with, well and tastefully arranged. salem, martyred in A. D. 62, and known It is also of qualified recital proportions for the grade. For, after all, many a time-worn melody hymn-book, and, more often, a case of Come to the Saviour the organ can, with Shall We Memorize? custom or tradition. I have heard it good effect, depart from the custom of to us as Saint James the Less. There are the Piano. that seems to have outlived its day can be many traditions about him—how he fasted rendered in the following ways: simply doubling the voice parts and adopt By Rowland W. Dunham Little Harp Player .$0.30 Bravo! Pur hinello. made into a thing of real beauty. In until Our Lord came to him in a vision, Nymphs. other words it may have a classical setting. a freer style of accompaniment. We all and how zealously he exercised the duties It is possible that the power of the will iapp?rM?m™tsun!ry.'.'.::::::::: 3S know the splendid effect of a familiar Argue as we may against the drudg- The value of a precious stone is enhanced of his office. There are many confusions and a little hard work can conquer most by its setting—why not apply the same hymn played by a large and efficient brass ery of memorizing, there is no doubt as well, and it seems that what might of the supposed inability to memorize “Stalning 'theîtsuai high"standard 'in' "ednca-'' ' principle by presenting to the world, in that the day is fast approaching when in Mrs. Goodrich’s band. How different from the lifeless have been the most fascinating and inspir¬ When this day arrives we shall find the tional value which pri a new »and tasteful setting, old gems an organist who seriously offers a recital WRIGHT, N. LOUISE presentation often to be found in church! ing tradition of all has been lost in the standing of both the instrument and its of melody? Such things make splendid °n an artistic basis must play as do all Etude Comiûe—Grade^ 4. More like the corpse of the tune than its haze of years—the legend of that musical player upon a plane far above where it „ ____—<■ for r young< players. Requires mus: preludes. Many hymn-tunes are adaptable other musical recitalists. The organist perament, accuracy in attack and an alert keyboard freedom. living reality. Of course the band is,play¬ composition, that origin through Saint is to-day. We shall not have to look to contrapuntal treatment, varied harmony who says he cannot memorize must then I, ROWLAND ing an arrangement that amplifies the James of the first music of the mass. apologetic when we speak of our profes¬ de-Caprice—Grade 4-5 . and figures of accompaniment. The varia¬ simple tune to a wonderful degree. There he a church or theater player and not an¬ sion. The appearance of a qualified organ _.Tzando. Call's* for* a* 'light but sure touch to < tion, too, may take the form of a Song nounce himself to the world as a recitalist. 30d A poetic middle section provides a splendid o are counter-melodies, syncopated after¬ The Bishop of Milan recitalist will be welcomed, patronized and without Words, a Scherzo or a March. e general brilliancy. beats, accent and rhythm that we hardly XT EARLY three hundred years after The organist who will not take the reviewed as befits such a performance on After arranging Beulah Land, Jesus trouble to learn his music thoroughly will look for in church. But the organ is the martyrdom of Saint James the what we have so fondly termed the king Loves Me and The Lord’s Our Rock in I remember, some years ago, when con¬ nnd himself sadly outdistanced and over¬ quite able to furnish a free and effective Less, Saint Ambrose, Bishop of Milan, of instruments.”—The Diapason. a classical form, the organist is in the ducting the little cantata, “The Rolling shadowed by those who will. After all, accompaniment. In Onward, Christian appears as the next great name in musical Publishers possession of some most effective organ Seasons,” that this old-time tune was used CLAYTON F. SUMMY CO., Soldiers if there is a good trumpet on the history. In the superb Cathedral at music. Of course, no one should confine service of personal and intimate explora¬ 429 South Wabash Avenue Chicago, Illinois in a certain place. The setting was that Great, its use, either as an inverted pedal Milan, what are known as the “Ambro¬ 'Really to enjoy music, a sincere convic- himself solely to such things any more tions in the vast field of musical litera¬ of No. 2. I felt dissatisfied and eventually a counter melody, or the suggestion of sian modes” are still preserved, and tion is the first essential, and such a coll¬ than to “heavy” music. But easily fol¬ ture”— The Pitch Pipe. i touch with the higher Ideals o decided to have it rendered very slowly one of the numerous “calls” based on the Ambrosian music is played and sung. ection is best established through the self- lowed, familiar or even humble melodies erttaerg always mention THE ETUDE. It without any pause whatever until the last major triad, gives a suitable color. Saint Ambrose was born in A. D. 338. When yon write to onr adv The influence that had been at work in AVGUST 1M7 Page 611 THE ETUDE t0 STUPE Page 610 AUGUST 1927 F\A HOant to learn to play Q Organ and Choir Questions Answered Musical Pointers popular music / By HENRY S. FRY SCHOOL FOR YUU IN A FEW MONTHS • Former President of the National Association of Organists, Dean of the Pennsylvania for THE TRAINING OF Chapter of the A. G. 0. SHEFTE RAPID COURSE vibrating disc, it was found possible to secure Musical Parents several distinct varieties of tone quality and For PIAN O In 3 Volumes to QoiJm\ fSMSSS degrees of power. The credit of flvst trans¬ uattnt Some time ago I acceptsH d forming such raw ideas into a practical form A POSITIVE REVELATION of--*— apparatus,■ which ””8 named the Diaph * Conducted by ISSSTJ? tlA^X earTtfr THEATRE ORGANISTS parts well. I now have two tenors, hut u t must, howe”“" A legitimate musical work that has the endorsement of Hope-Jones. impossible to make them carry their own . In 1893-5 he invented several part. Although I play their part ana nave varieties of Diaphone, embodying the Trem¬ MARGARET WHEELER ROSS America’s Best Teachers and Pianists. them sing it over and over again, the instant ulant or motor-bellows principle. The first they hear the soprano melody they simply organ to which the new invention was aD- Begins with the very beginning of the study of music. swing, into that anil sing the soprano part. plied was the magnificent instrument buflt Fall Session Opens September 12 by the Hope-Jones Electric Organ Co in in The Etude unless accompanied by the full name Fundamentally and Musically correct and beyond criticism. as they do in all our hymns. As a volunteer Worcester Cathedral (1896) containing two w B —No questions will be choir they work together nioely, and I feet Diaphones of 32-foot and 16-foot pitoh re¬ andni address ofu, the.. inquirers. C- - »• or pseudonym given, will be published. All dry uninteresting unnecessary matter omitted. Explains and we could have a fine choir if I could over¬ spectively, speaking on a pressure of about Direction: CHARLES H. DEMOREST and HENRY FRANCIS come this difficulty.—L. P. G. 22 inches. The two stops in question are The following item from Time is quite first presentation. This method gives you fctato jhti YOU NEED TO fflWSjfttjj* A. Tour problem is a difficult one, and of considerable power, though not very regu- to our discussion of the value of memory posts upon which to hang corre- music and syncopation via the SHORTLol tiUL/lthn PARKS, Famous Theatre Organists we advise perseverance. If yon could niam- — n"e to secure one reliable tenor to sing with The above gives some idea of the develop¬ Lusfc study for the boys and may help lated incidents. Students have lessons and practice before the Screens pro¬ the two you now have, it would probably ment of the Diaphone stop. Dr. George Ash¬ ® discouraged mother with an aspiring If you are spending nine or ten months Why waste time and money studying what you will not help you very much. In your work with those down Audsley, in a more recent work than vided by the College in its studios. New two, three and four you have, I would suggest that you use very that from which we ha quoted—' hi tic son ’n mus*c teaching, take your vacation where need or use in playing popular music in aU its forms? short excerpts from parts for soprano and You learn to play almost immediately. Your teacher manual Wurlitzer and Moeller theatre organs for lessons Stops and Their Artistic ristratlon”—also athe ’ you can pursue an allied subject that will tenor, each part haying a distinct melody, gives credit to Hope-Jones having invented Music Makes Iron Men help you in your teaching and will broaden and practice, owned and operated by the College. and work along these lines until the tenors the Diaphone, and says : ..' of rpeculiar._ or your dealer can supply you or get it direct from us. can. sing their melody while the sopranos are construction. The tone of the Diaphone pipe The Brown football team played through your mental horizon, as well as take you singing theirs. By getting them to do this is created by pulses or vibrations generated in the last season undefeated. They con- out of the pedagogic rut. A change of FORSTER MUSIC PUBLISHER, Inc. successfully with short melodies you may its resonator by the rapid motions of a pallet 218 SOUTH YVABASH AVE., CHICAGO, ILL. SCHEDULE OF LESSONS gradually bring them to a point where they actuated by compressed air (pipe wind) that o red Yale, Dartmouth and Harvard on occupation is the best possible vacation for will not be so readily influenced by the so¬ enters the boot which contains the mechanical First Year (Beginners) pranos. Of course, you can do this only in portion of the pipe. The pallet Bimply closes successive Saturdays, using no substitutes the person who really likes to be busy— Shefte Rapid Course rehearsing, until they become proficient and opens the lower orifice of the resonator until the last four minutes of play in the and such you evidently are. 1st term—First working registrations. enough to do the work of the services. Vrd 1 For Beginners (No know- $1,00 in U.S.A. so many times a second, according to the size last of the three games. . There is no better method for instruct- vol‘ 1 ledie of music necessary) ^ 2nd term—Playing of weekly news features and song slides. and pitch of the pipe, acting much in the same Q. I a manner as the striking tongue in an ordinary At an alumni dinner, De Ormund mg young children than the one you have Yd. 2 r°r $1.00 in U.S.A. n high school. Next Sep- lingual pipe. As the vibrating column of air 3rd term—Short feature films and jazz. |_So attend school in Portland, in the resonator controls the notion of the (Tuss) McLaughry, Brown football coach, chosen. If you have pursued it to the lalne, and would like information as to hoto pallet, when adjusted, the pitch of the pipe is olaced the credit for this unusual and point of certification, then I would not Vol. 3 For Advuneed Students $1.00 in U.S.A. 4th term—Long feature films and cuing. o acquire a position-1-* —f not affected by a cbnnge In the wind-pressure, while the strength and quality of the tone are splendid record to the power of music, review it, as you suggest but I would <>d the. oraan __ ... altered. The tone produced by the best ex¬ He scorned the report that he had built up take up a different line of study. Your START TODAY amples Is full and commanding; but owing to and you’ll 6s Second Year (Advanced) full "details concerning the American Guild his men on milk. Said he, “Music is what skill and proficiency m this method, as m Organists.—E. W. B. the complex character of the. mechanical por¬ PLAYING 1st term—Actual screen playing of feature films. tion of the pipes and the difficulty of regulat¬ makes Iron Men. The players depend on everything else, will come with practice almost TOMORROW A. It is, of course, not ethical to apply ing the action of the same, it Is almost im¬ rhythm and morale, and if you would main- m its use You will find Evansto^ Ilh- 2nd term—Improvisation including waltzes, marches, jazz, -position unless there is a vacancy. possible to secure uniformity throughout even irse will be to watch for a suitable the short compass of the pedal organ. There tain morale you must have a few singers no.s, a splendid place to go for your va etc. opening, Youyou might,mignt, however,nowever, make your*de-„__ are also very grave questions regarding the sire for a position known to the organists of durability of the stop. These facts will effec¬ on your squad. When we are traveling to cation. The climate » pleasant, assoc,a- 3rd term—AH scenics, effects and constant screen practice. Portland, including the Municipal Organist, tually militate against anything approaching a game I keen my men singing.” tl0ns congenial, and the large number of H|Mr. Charles' ■ fijjjr''—Croi they might be able a free introduction of the Diaphone. In all 4th term—Screen playing before audiences. to assist you in your efforts probability it is destined to swell the ranks Now we must all admit that there is a students reduce the cost of living Rea- appointment._ Perhaps_, . might also secure of the curiosities of organ-building.” certain psychology in a victorious mental sonable restaurants and cafes abound, and, a letter of introduction to one of the Portland By a pneumatic action, we take it for LENGTH OF COURSE organists from your present organ teacher. granted that you refer to the action known attitude. We know there is physical buoy- ,f >°u *r.e,not metlcuIous> room For information relative to The American as Tubular Pneumatic. Two other forms of ancy and rhythm in a lively song, and foot- n0Lpe hlgh; , , . The time which will be consumed in covering the course will Guild of Organists, address the Warden, Mr. Pneumatic action arc Tracker Pneumatic and ball players would choose no other sort. The music sect,on of the city library Prank L. Sealy, F. A. G. 0., 39 Vesey Street, plectra Pneumatic. Tracker Pneumatic action be determined to a large extent upon the ability as organists New York City. is practically never used In the modern organ. There is a corresponding rhythm and buoy- êre is ru y a joy, or i • , of those who take it. Students who never have studied organ Tubular Pneumatic action Is still used, but Q. What is Celeste ToUet What is Oto¬ not nearly so extensively as Electro Pneu¬ «> in .h, human I* and the previously will require two full years to finish the course. phone t What is the greatest possible distance matic, The distance at which Tubular Pneu- between the two is sure and certain. Hence 101 us 1 “ “ . . from key to pipe at which a pneumatic action matio action is successful depends on the type Experienced organists may cover it in one year or less. will be successfult In a number of The i. i, ,t,Thla conclude .ha. .he .11. Etude, in 1921, I think, there appeared an of action used, and one prominent firm of builders who continue to use this action to a 0 win the fighting morale, could be «e of splendid con article on making homemade improvements great extent claim success for It at a distance NOTE—Church and concert organists of experience are on an old organ. Do you think it would do strengthened and stimulated in a football Qn the Northwestern campus, any harm to put at least a full organ pedal of twenty feet, and thirty-five feet when a re¬ eligible to enter the advanced course. lay is introduced. We would not advise its team by the power of song. If the men . ^ Ravinia Parkj with on the organ which I playt I think I could use at a greal do it. Can you tell me anything about the We can see go into the game accompanied by a sing- a “ g ■ , r)n-hestra in sum organ in Christ Church, Philadelphia, as to organ pedal o„ ing heart and a consequent bodily rhythm, Chicago Symphony Orchestra in sum the number of stops and so forth t—W. H. H. tided, of course, that you arc so A. Celeste tone is produced by two or 'omplish it successfully so far a they will possess mentally and physically, meêrp\“;es offef s0 much in sumltler for more ranks of pipes, slightly out of tune ical. construction is concerned. With each other, enough, so as to produce a the winning spirit. musically interested party. I would FREE FELLOWSHIPS beautiful undulating effect. Perhaps the first Singers are almost without exception un- tne n ui y Fvanston take un stop of this nature was that known as t*— usually healthy people. A wide open throat suggest that y u g p ,’, . Mr. Demorest and Mr. Parks have each consented to award Unda Maris (wave qf the sea)—which-which itin i Free Fellowships of two lessons weekly, each of thirty min¬ organs consisted of either open or covei and nasal canals, deep breathing and cor- a single course * a daîfs’oend flute-toned pipes, tuned slightly flat so rect posture are the fundamentals of yo.ee a day'at the music library utes, for the entire Fall-Winter season of 40 weeks, to the to produce, when drawn with a unison si students who, after an open Competitive examination, are or correct pitch, the wave effect suggested so, what is the difference In the manipulationt the name. The following quotation fruii What is meant by ■ Double Touch” or "Second found to possess the greatest gift for playing organ. Free Wedgewood’s “Pictionary of Organ Stops’ Touch” and how is it played! Is it ever per¬ under the heading “Diaphone” may - induce a pure blood stream, a robust ap- aneous "LJ Fellowship application blank on request. missible to play with both hands on the Or¬ interest. chestra Manualt—B. F. W. petite, and the “good digestion that waits ^ 0„ are back at home. Mark “It frequently happens in organ building, A, There is no difference between the ■hereon.” This in turn produces a natu- tm unt^y^n ^ them for COMPLETE WINTER CATALOG ON REQUEST when the requisite conditions are fortuitously actual playing of a Unit Organ and a Straight complied with, that a pallet wili commence Organ. The keys are manipulated in the same ral rhythm in the systemic functions good >nP refec?on. This is the best possible to vibrate rapidly, and it is often within the manner and the stops operated similarly. The circulation, and proper elimination, hence, J ^ resident to get a PIANO TUNERS and province of an organist's or organ builder’s classification of the Expression Pedals is likely 3mall_town TECHNICIANS observation that such a ‘fluttering pallet ’ to be different, however, and instead of ex¬ a courageous spirit, a clear mind and J . s8tisfactory after results, STUDENT DORMITORIES or a Tremulant m a state of rapid vibration pression boxes for Swell, Choir. Echo, Solo. strong, efficient bodily members. vacation witn sa^ » . fatprs arid repairmen. Practical Shop School. Artistic and comfortable dormitory accommodations for men and women in college when provided with a resonator in the form Great or Orchestral, you are likely to find So it is only reasonable to conclude that Mrs. C. P. C., Wallas on, building. Piano furnished with each room. Prices reasonable. of a soundboard or wind trunk, generates Expression Boxes for 'Reeds, Strings, Flutes Sfnd for Catalog E. tones of considerable power. The safety valves and so forth. ^ging and bodily rhythm mean good 8etts.^You will find_ the following books of steamboats constantly act similarly What “Double Touch” or “Second Touch” is a de¬ Y. M.C. A. Piano Technicians School must have been a phenomenal instance of this vice for producing an additional effect, by giv¬ healthth'and and fightbg” ' morale!” S5 S helpful * f"yourself: 1421 Arch Street Philadelphia, Pa. is recorded by Mr. Casson to have been Wit- ing the key enough extra pressure to make J fighting morale bring certain victory. Music Tl;ach®rs’ 13 e„j, . Teach” the device effective. For instance, “Tuba on crefore, Coach McLaughry does not err Teaching,” Thorndike How to Teach utf hjf w^rdsf Te second Touch” means that by pressing the key farther down the Tuba will speak for that len he says “Music makes Iron Men-’ Strayer and Norsworthy. Since y ay particular note. By the use of this device CHICAGO it as a terrier does a rat.’ The idoa must certain notes may be made more prominent a?- 1, Ad.. Ohio.—You ..k »ta. u S ..h«M than others played on the same manual. IP some instances the “double touch” idea is ibest way to spend your vacation period, t*j J ? ” are better equipped to start systematically be adapted to tonal use An applied to pistons, making mauual Pi8*0?® have always held to the theory that the ™ Qwn ^hild than many teachers you experimental attempt at such adaptation wna effect the pedal stops also, when pressed in cher of music should be a broadly edu- Y «r Leschetizky said upon Wa(Je in 1888 by Messrs, Blackett & IIowden anisCn°USh t0 operate the double touch mech- MUSICAL 2L?eWSastle' T?e bulk of the apparatusar cd person, far out and beyond the eon- mM^ ^ good teachers. - in a box nK . '■’here can he no objection to playing with square for the 16-foot IVrnote) Windfinches both hands on the Orchestral Manual, w * S of ,tl,e chose, subject. This educa- _ , good pupils.” You can make contains stops on which such use is effective. w need not necessarily come from'the pupU w;th your intelli- tss-room. You can do a great deal by a y enuipmentf Do not hurry the Itemized Price List COLLEGE dl-planned course of summer reading ^minaries and avoid straining the mus- Write to us about anything in this Line “The outstanding literature of the organ m d. perhaps, a small amount of private Pi ■ and hands. A very young byai°slidingSbdând^set1 screw d iTorT* emphasizes its secular nature. The toccata, c7lw Marie Jupplement of thix Maj&zine ir Printed by Ur aching. T on can widen your knowledge c _ ^ taught and interested m 60 East Van Buren St. Chicago, in. the instrumental Fugue, the Suite, the Son¬ & tsasai) into compartments? whichewerj dirther'par' general history by attendance at sym- c , makjn„ a game. You will titioned into spiral channels. The boreP of ata, the March, the Variation form are A Conservatory Pledged to the Highest the channels constantly increased and thl '°ny concerts and operas, connecting the mu Staff” by Carolyn M- Bowen, Artistic Standards. Established 1867 apparatus was surmounted by a shod hln secular, partly in origin, partly in ten¬ By sundry modifications of the*sealing and dency," - 8 o, the compositions and the com- find Wind pressure and by the adjustment ft the Cask* p. Koch, in The Diapason. Please mention THE ETUDE when addressing our advertisers. THE ETUDE etude AUGUST 1927 Page 613 Page 612 AUGUST 1927 T0 of the violin) produce perfect fifths, but d Of these two faults, it is the that the A and D are imperfect the notes a down stroke with an imperceptible A GOOD or bad accompaniment *VeV which produces faulty overtones, on the D string being too sharp for those tremor of the wrist. Another confusing often determines the success or 6eC°nks whistles and the general “swiver- failure of the violinist’s perform¬ on the A, while those on the D are too circumstance is the changing of the hori¬ sqv-noise that violin playing is heir to. ance. It is a good deal like the setting of sharp for the corresponding notes on the zontal position of the bow on the four The bow is not, however, equal in jewels. The artistic setting of an indiffer¬ The Violinist’s Etude G string. strings. Naturally, a bow running down J!ht throughout its length. Try bal- ent stone often gives it a more striking Test the A and G together, by placing hill will need to be held back, and one JviOLINS—0/Every I ■ • a it with a pencil near the center, and elegant appearance than a very fine Edited by ROBERT BRAINE a finger on each string, in exactly the going up hill to be hastened. Moreover, anf|L will observe that, before the stick stone which is poorly mounted. same position, and using your eye to judge. .the heaviness of the G and D, and the ■ L evenly, the pencil will have to be lightness .of the E. and A strings calls for No one knows the extreme importance It Is the Ambition of THE ETUDE to make this Department The interval is a ninth, or a second raised' of a good piano or orchestral accompani¬ sS?d pretty near the frog. This entails correspondingly heavy and light treatment. s Grade—OLD and NEW | “A Violinist’s Magazine Complete in Itself” one octave. We will assume that the ment better than the professional violinist. ninths on both strings are correct. This Shtrious problem for the violinist. So complicated is the whole problem The leading concert violinists of the day proves conclusively that only the D string * The fact that the hand grasps the bow that it is little wonder that most teachers have their regular piano accompanists who is at fault. Replace this D with the next the frog is another factor which makes point merely to the result to be attained ! particular lightness at the tip and in many cases have played for them for in thickness. See that all the strings are and leave the pupils to discover the Expert ‘Repairing— Violin cAccessories $ years and are thoroughly familiar and in Concerning Accompanists in tune. The D is perhaps still too sharp particular gruffness at the frog. While methods—that is, except in the one ad¬ & sympathy with their style, their character¬ for the others. Take a still thicker one these two phases are of value m playing monition that every student hears dinning successfully. The violin and piano usually $ istics and temperament. Sarasate, the great impressive pianissimo passages. Thibaud this time. It is possible that one slightly Cached strokes at the two extremes, they in his ears and every teacher feels bal¬ bump along half a beat apart and rarely Spanish violinist, one of the most famous glared at the offender like an angry lion. thinner will meet the requirements. Use £er much more difficult the smooth le- ancing on the tip of his togue, Do not G§j| W- R • FORD COMPANY, Inc • Successors toGittelson |jj press! solo violinists of all time, would not trust It is hardly necessary to say that the music come out together. patience over this process of elimination Such uneven construction means that Amateur accompanists should remember to the chance of securing an accompanist turner’s place was vacant for the rest of and you will be rewarded. fwe must be an infinitesimal gradation For the convention of violin teachers, a & Howard • 150 West 57th Street • New York City ® that the unpardonable sin in accompanying in the various countries he visited on his the evening. It is a great advantage if the Once all the strings are perfectly of pressure and lift from tip to frog. At suggestion is here given for a new yell is to stop playing with both hands when the world tours. He took Mme. Bertha Marx pupil can have his violin teacher accom¬ gauged, and produce perfect fifths, make the point a slight pressure (in addition to which will, in a way, offset the other: page must be turned, thus making a break who had accompanied him on the piano pany him in recitals and concerts, but in a note of the thickness of each string as bhw-weight pressure) must be exerted by “Do not lift, lift, lift— in the continuity of the music. In such for many years on all his concert tours. case this cannot be done it will be wise for registered on your gauge, and, when you the first and second fingers, steadied be¬ Do not lift, lift, lift— cases it would make a better effect if.the Mme. Marx had played for him so long the teacher to engage a professional accom¬ buy strings, always choose those of the neath by the up-pressing thumb nail. At Do not lift, lift, lift— violinist kept right on playing and left the that she knew his moods, his style, his tem¬ panist and, if possible, attend a rehearsal same measurement. Of course you will the frog there must be a similar lift; and, Wheref AUGUST GEMUNDER Si 50N5 NOSEK VIOLINS accompanist to find his place again after perament and his interpretation of all lead¬ before the performance. carry your gauge with you. Once you are of course, there must be a multitude of “Right at the point, the point, the point— SffflU? Violins, Old and New he had finally succeeded in turning the page. NOSEK VIOLINS REPRESENT THE ing violin works practically by heart. She satisfied with a particular brand of strings, varying pressures between. . Right at the point, the point, the point— Hew For All Kinds of Players On no account should the violinist also stop GREATEST ADVANCEMENT IN was his other self, as it were, and her splen¬ The Student’s Problem it is as well to confine your purchases to The problem is further complicate!} by Right at the point, the point, the point— /MW Our Catalogues are Free and will safely did accompaniments had much to do with as is too often the case, for it gives the There l” THE ART OF VIOLIN MAKING OWEVER, not being able to pay the that brand. the necessity of changing from an up to SINCE THE DAYS OF THE the great violinist’s triumphs on the con¬ whole performance a pitifully amateurish fee of a professional in most cases, See that the strings look fresh and are GREAT MASTERS OF CREMONA cert platform. Each artist has his own con¬ the violin student usually has to depend on transparent when you buy them. Never AND BRESCIA. ceptions of violin works, and it is most im¬ Keeping the Place in Ensemble Playing the services of an amateur, and “there’s buy yellow looking strings. Master Nosek highly recommends these new hand¬ portant that his accompanist should be thor¬ the rub!” For when the young girl, who The Accompanist’s Duty A little trouble in the eliminating pro¬ made violins for discriminating artists, and claims oughly familiar with these conceptions. By Hope Elizabeth Stoddard VIOLINS that they surpass the most expensive genuine old is considered a “finished” musician be¬ npHE ACCOMPANIST should prac- cess at the beginning will save endless The ideal accompanist should have suffi¬ instruments both in tone and craftsmanship, and cause she can play the Last Hope or Bart- tice until he has fully mastered this mental torture, therefore buy strings with that they are highly endorsed by the world-famous cient technic to play the accompaniment to The fear of losing his place in en¬ as soon as the fingers are able to respond teacher, Prof. Ot Sevcik, Jar. Kocin and a score let’s Polka de Concert at a church sociable, difficulty. It is a case where good musical a gauge in your hand. of virtuosi. Send for interesting, illustrated circular any composition with such ease that his adequately. tries to accompany a budding violinist, it judgment must be used in deciding which semble playing has caused more than and prices. mind is free to follow the liberties and nu¬ However, sensing the melody through the very frequently happens that before the part of the accompaniment should be one artist to “hang his bow and fiddle JOSEPH BLECHA Clarkson, Nebraska. ances of the violinist. All expression marks eyes is not always sufficient assurance of piece has ended the violinist is the one who played and which neglected. Here is a Pressure and Lift under the shelf,” as far as playing cham¬ and dynamics must be followed with ex¬ keeping one’s place. For these organs are is “finished.” On the other hand, the skill¬ safe rule in such cases: If the violin has ber music is concerned. But here are treme care. He must be able to follow the neither keen nor quick enough to help the ful accompanist can cover up many mis¬ the melody during the bars where the By Edward Moore two remedies—not infallible but undoubt¬ MASTER REPRODUCTIONS Ask for Our Circular of violin part with his eye while he is playing player over the “black” passages, where takes and much crude playing of the un¬ page must be turned, the chords or har¬ edly beneficial—which every student should ,d other Vega Violin Models EDUCATIONAL MUSIC BOOKS the accompaniment. He must be a good If a great convention of violin teachers notes swarm like birds in a cherry tree. skilled violinist who is likely to be nerv¬ mony designed to accompany it should be try before resorting to such extreme $S0 and Up for Schools, Academies and Colleges Including sight reader, and have a retentive memory. were to be held with all the zest and spirit Then there comes into play the inborn ous; playing out of tune, forgetting re¬ played, even if counter melodies must be measures. facturere of the famous Vega and Vega- Text Books, Reference Works and Collections He should know the accompaniments al¬ of a political campaign, the cheer leaders sense of rhythm. The student can feel the peats, coming in at the wrong place after omitted; if the melody is in the piano part First is the gaining of the knack of injos, and other Orchestra and Band would choose a yell something like this: duple and triple rhythms, and can apply its. Write for catalogs! most by heart so that, if a page sticks or the piano introduction or after rests, skip¬ “seeing ahead.” This means that the stu¬ when the page is turned and the violin them to the ticking of a clock or to his The VEGA Co. 159-80 Columbus Are., Boston gets lost, or if the music falls off the rack, ping bars, and getting mixed up generally. “Never press, press, press— dent anticipates the trills, runs, chords or has only an accompanying part, the mel¬ own pulse-beats. The other rhythmical he can keep on going without interrupting Many people think it looks “cute” to have Never press, press, press— turns a few measures in advance, by run¬ ody must be brought out by the pianist. patterns are merely variations of these the performance. He should be able to children accompany each other in violin Never press, press, press— ning his eyes over them and anticipating Sometimes the piano part is such that all and can readily be learned. He naturally play with one hand, while the other hand and piano work, and so it does, but the great Where? them in the finger-tips and bow arm. the notes of the accompaniment can be emphasizes the first beat of each measure turns the page so smoothly that the per¬ trouble is that not one out of fifty of these “Right at the nut, the nut, the nut— Finger patterns may be formulated in the played with one hand while the other is and the others fall easily into rhythmical The “Whole World” Music Series formance proceeds without a break. Above juvenile pianists can accompany a violinist turning the page. Right at the nut, the nut, the nut— mind even while the fingers are executing all, he must have the faculty of “feeling Right at the nut, the nut, the nut— difficult passages. This is not so hard as line. (This, of course, takes it for granted is the world’s premier line of musical collections with the violinist” so that the violin and There!" it sounds! that he has hold of the obvious' facts, .for piano, violin, voice, organ and other instru¬ piano sound with complete unanimity, thus Perfect Fifths There is not the least doubt that these All have had the experience, during the that is, the number of beats to a measure ments. Each volume contains 256 or more pages giving it the effect of proceeding from a words would carry the house by storm. hours of practice, of working out men¬ and the exact value of each note.) devoted to the choicest classic and modern com¬ single brain. In a gathering such as this, it would Then, in ensemble playing, when the By Hermann Becker tally a difficult personal problem at the positions. Printed from engraved plates on clear scarcely be possible for one timid voice same time that an intricate exercise is visual sense fags, if the inner ear keeps expressing another sentiment to be heard. white paper, and substantially. bound in either Necessity of Softness Every violinist, violist, or cellist recog¬ being mastered. This may be poor prac¬ firm hold of the rhythm, notes slide by Are perfect fifths in strings obtainable? So, let us say the convention is over, the cloth or paper. HE VIOLIN accompanist must have nizes the importance, the absolute neces¬ tice as far as that particular passage is like trees past a railway train and disturb T They are. It is a simple matter involving violin teachers have disbanded, have be¬ the added virtue of being able to play sity, of having perfect fifths at every concerned, but it is excellent practice in the student no whit more. If he fail, Here is the Complete List of “Whole World” Collections two principles—buying good strings from come home-loving fathers, golf enthusi¬ very softly. When the violinist is playing point on his strings. This means that, a reputable firm and. eliminating bad separating the digital and mental func¬ perchance, to perform a difficult run, he _r _ Book i ...„ asts, or club members, and are ready, one Modern Piano Pieces . Concert Violin Solos. harmonics, and flageolet notes, the accom¬ whenever the finger presses two strings in strings. tions, Let the student try reading a book need not despair, for the theme is not and all, for any new thing. Operatic Violin Pieces. paniment must be somewhat subdued, since the same relative position on violin, viola, The first principle needs no elaboration. while he plays the C major scale. If he relinquished. Never once is he at a loss _ital Piano Pieces!!!!!!!!!!! Standard Violin Concertos. The bow naturally is pressed against the Piano Duets . Light Violin Pieces. these tones are comparatively light and a or cello, (the flat finger in this case being succeeds in doing this, he can certainly as to what measure he has reached. His A firm of repute will stock strings of all strings while playing. Believing other¬ Light Piano Pieces . Encyclopedia of the Violin. very large volume is impossible. The same placed across two strings parallel to the Perform the far easier task of casting his Concert Piano Pieces (Paper).. Children's Songs . grades and buy good strings always. They wise, try attaching two pieces of twine to rhythmic feeling infallibly points the way. Concert Piano’Pieces (Cloth).. is true with left-hand pizzicato work, and bridge) the stopped note's should produce Ws ahead a few measures to pursue the Children’s Piano Pieces. cost more at the time but less in the end, the bow, one at the nut and one at the If these two practices—that of looking Modern Opera’ Selections. Sacred Music . to some extent with all pizzicato work. A perfect fifths. for they will outlast bad and cheap strings ■nclody line in ensemble work. Grand Opera at Home. point. Laying the violin on the table, hold ahead and that of hearing ■within—are not Light Opera at Home. Grand Opera with a Victrola... too robust piano or orchestral accompani¬ Should any imperfection exist, faulty many times over. But, even if his fingers fail in their duty Saxophone Pieces (Eb Alto).... the bow up by these two strings, high the cure for all ills, they are at least war¬ Songs Whole World Sings. ment will drown out such passages and intonation, particularly in double-stopping, ®f performing a difficult passage, the stu- Love Songs . Saxophone Pieces (C Melody).. It should be understood that with a enough in the air for the hair just to ranted to aid the student appreciably in Ballads Whole World Sings.... Saxophone Pieces (Bb Tenor).. render ineffective an otherwise excellent is bound to become the result. It is a dent can still hold the content of the Organ Pieces (Paper). string of a certain gauge (thickness), there graze the strings without any pressure. keeping his place in ensemble playing. ’’ Pieces performance. The ideal accompanist,. as quite common occurrence for a player to nielody in his grasp and can continue i Mpder ’iolln Piec Organ Pieces (Cloth) . is a corresponding ratio of thickness in the Carry it across the strings at the proper i Hon c Albun described here, is very rare, and the violin¬ try string after string, and find no approxi¬ Gilbert & Sul others, always providing that they are all place and at the proper angle. See how For Sale at all Music Stores (except in Canada) or sent direct on receipt ist who finds him usually retains him for mation to exact intonation. well made. “clear” or “vibrant” the tone is then! It Fingering—A Rung in the Ladder of marked prices It seemed to be far easier, previous to Choose three or four sets of strings of will sound (at least to the unprejudiced Some accompanists have a person to turn the great war, to choose strings which varying thicknesses; do not pick out any ears of golfers) like mice scampering* and By Caroline V. Wood This “Whole World” Catalogue the pages for them so that they can keep agreed to work together harmoniously. of the outer sizes—over-thick or over-thin. both hands always at the keyboard. This In these more unsettled days of jazz and squeaking between the plaster and the wall. a „ , , ,;nlP studying and marking the Is Sent Free Buy a well-made string gauge and see There should be pressure. The ques¬ A student of the violin or ’cello (and second t.n e stuay g will works very well if the person turning other discordant elements, the strings, on that the measurements of these strings are to every music lover in the United States (not tion is, what or who shall give this pres¬ & of otl- instruments as well) stow where some alterations are knows how to do it and does not get ex¬ the whole, seem to have followed suit. within a point of each other. For example, Canada) on request. It is an intensely interesting cited and flustered, beginning at the wrong sure? Most of it is exerted by the weight f.. 'd ,not overlook the importance of proba y ready to go ahead (This casts no reflection on the great music should your thinnest A string gauge at 13 ^shing the fingering of each piece advtsable He «then ^ ^ ^ booklet, profusely illustrated, containing the titles, time, turning two pages at once, or tipping of the bow itself. The first maker of the establishments the world over, who try points, choose others which measure 13)4 descriptions and complete contents of all the books the music off the rack. As a case in point: their utmost to render satisfaction to cus¬ bow in its modern form was wise enough takr: !le attempts to learn it. This may an s ir ^ho is trying to work with- 14, and 14)4 points; and so with the other to give it weight enough to clutch the listed above. Whether you are a teacher, a student when Thibaud, the great French violinist, tomers.) strings. end it ■ m e tlme ri8,u at first, but in the Th , guidance should pay par- strings without gnawing them—to slide , or a musical amateur, you will find a number of gave a concert in a western city, a local The fault is due mainly to modern inl, ‘ 18 Certain}>' a biS aid t0 a quick a"r T inattention to fingering. Even when smoothly and yet not grate over their sur¬ Higent grasp of the technical side of ticular a iece> it ;s sometimes books for violin, piano, voice, organ, saxophone, musician begged to be allowed to turn the methods, with the prevailing high wages nest set first. See that the instrument face. Un mu!'c- It does away with much of the it is P changes to suit his etc., which will prove the most satisfactory collec¬ music for the accompanist. All went well and overhead expenses which demand perfectly in tune before testing the fift until the page turner, who by this time had There are two ways of showing °hr 2Z)?my that must result from only advisable to make som^ ^ ^ tQ speedy production, and, often, pre-war Make the test an exhaustive one, coveri tions which you have ever used. Mail us a post¬ developed a strong case of stage-fright, let prices. Consequently, enormous quantities sensibility of this advantage: first> £ rnatfrfiClal atte,'tion being given to the mdivi_ ^bjcb another is not yet card today with your name and address and the all the fifths from the first position never digging into strings already suffi¬ his elbow slip off the piano down on the of strings, good, bad and indifferent, from s0m5.Of fingering. It gives the student use ^mpt. But, if no fingering at catalogue will be sent by return mail. perhaps the tenth, on all pairs of strin ciently weighted; and second, by never thmg sound upon which to build. ready to ‘t student should by n0 bass keys with a bang. To make matters which the bewildered musician attempts to Tune your instrument constantly Nc lifting the bow to such a degree that the sob en takmg up a new piece, either for all i S' . ’ it time wasted to work 35 W. 32nd Street worse, this happened during one of the most select his requirements, flood the market. suppose that the E and A, (in the c; clinging contact of hair and strings is first °ni ens5mble work, the student should means ^ sujtable fingering be- D. APPLETON & COMPANY New York City P‘ay it thrniiob nn idea of out »» " _ niece. AUGUST 1927 Page 615 THE ETUDE 0E ETUDE Page 61b AUGUST 1927 Department of Bands and Orchestras Violin Questions Answered (Continued from page 578) “ hundred ated it from .the position of an, accompa- By MR. BRAINE_ ■ musical niment to voices. .From it he banished AMERICAN ^thusiasts may be pardoned a slight pride several ■ instruments’ used freely- in Han- impaiiied bp the full name en, will1 behr published.r.„hlirhr,I "a™e en v t we ]iave in these United States del’s scores,’ but which had become obso- X ' original score of this historic work. lete. In fact, Handel (1685-1759), with CONSERVATORY History of Stracliinrius^^ th6 violin to *he concluding me.. ui t“ for many years, has been a part of all his masterful genius in certain lines, ta, by B >f the ..re a million to one ' ' Bela, which h valuable collection of rare books and had done almost nothing to advance or- Tbe chance! ... rapid*— and urn- imitation Strati.. Do not ■ PB-.--you Tnight 1 it by something 0f - uscripts in the Newberry Library of chestration. It was Haydn who so organ- nrffefthat '“thenthere were plenty of imitation „ slow, sympathetic nature, such as the rhitaô where interested visitors have ized the orchestra as to give to it balance OF MUSIC Strads seventy-five or a hundred years «g* Meditation from “Thais,” Traumerei, bv Schumann, Souvenir, by Drdla (which y0;, h nrlvilege of its examination and study, of proportion in sounds, coherence of violim say you already know), Berceuse from 1 Xo Claudio Monteverde (1567-1643), construction and at least definite con- varius in a musical encyclopedia or, otneisir “Jocelyn,” The Swan, by St Sagns, Berceuse KIMBALL HALL, CHICAGO, ILL. work- in. the public library of your city. and by Reynard, Largo, by Handel, or something th most daring of the early musical sideration of tone color. Principally he George Grove's “Dictionary ot Music the similar. 2. If you can play the compositions 'oneers, belongs the. credit of having used wrote for strings, flutes, oboes, bassoons, Musicians” is an excellent authority 01 . . in a really autistic manner, you subject. ovcellent progress. th first' real orchestra in the accompani- horns, trumpets and kettledrums. His PUBLIC SCHOOL Books on the Vlhri mewment ofux opera.uyw— Many- - of the. instrumentsc ,. . later works make frequent use of the CLASS PIANO METHODS G. W. N.—The only I find resembling G*' he inaugurated into this service, bo it l clarinet; occasionally he introduced the Prudent Thiei l. M.—Your violin is an imitation, and that in your ’ ” a genuine Amati, since il says, “Made thi we find that when his “Orfeo” wai contra bassoon, .the piccolo and the Eng¬ Direction of Charles J. Haake. Gail Martin Haake made violins a Paris in 1772. While hardly Germany" on the label. The violin is famous maker, he made some produced, in 1608, he required an or lish horn. This department offers a thorough training to students to teach ruments. • 2. The Etude pub- evidently a factory-made copy of an Amati ■but ' just' what **.’its v ."'’ tell with- chestra of thirty-seven instruments: t Mozart (1756-1791) was the first to piano classes in the public schools. Mrs. Haake has had personal charge from time to time about HI _„ ... Take the ' vibrato. 3. Books containini_„„„ ...-tides harpsichords, two bass viols, ten tenor give to the clarinet its proper place of of such work in the Public Schools of Evanston, Illinois. Send for special you inquire, which is near your home an . “Violin Teaching and1 Violin_i Study." of the leading violin dealci viols one double harp, two little French importance as “the soprano of the or- circular. by Gruenberg^ and^ “The Vh_ and How to you an idea of its value. vidins, two large guitars, two organs of chestra.” Then to him belongs also the , Honeyman. ' SCHOOL OF OPERA ! through "" ""rT"1 established-Mg CoT,.ls"u*,,i wood, two viole di gamba, four rom- credit of having employed the various H. M. N.—While il.!" ■ impossible for little instruments with due regard to their tech¬ e to make any dependable predictions.™ bones, one regal, two cornets, om A school of opera has been established under the personal direction of Ohs.bscre Violin Maker. your future, without kumvine you and octave flute, one clarion and three trum- nical and tonal qualities. He discriminated Edoardo Sacerdote, the noted conductor, master of the voice and coach. P.S.R.-I cannot find any details of the bearing "3;(‘iV.Vln", inr^11y°wU pets with mutes. It is not recorded if carefully in his use of the open and Further particulars furnished on application. _>. _«n,i „-„rt_ „f__ the GermanGenuan violin maker had a good chance of building up a largo tech- and becoming a good violinist. It all di Monteverde had his orchestra concealed stopped (made by inserting the hand in about whom you inquire. There are violin md n makers in every part of the world having only Pends ra 1 aptitude for as had Peri and Cavalieri (in the first the bell) r of the. French horn. He a local reputation. Possibly a letter addressed i”’1 “ I cannot say SCHOOL OF THEATRE ORGAN PLAYING to the Mayor of Eisleben would bring some uithoi oratorio). possessed unfailing taste for the best use information. “J® P' To Haydn (1732-1809), r t be given of the timbre of each instrument, with This department has attained a foremost position among simihar for all time the honor of having refined regard to the changed quality 6f its dif- schools in the United States. Students have special advantages to play In justice to the advertisers of The tha orchestra, as well as of having liber- ferent registers. before the screen and to secure lucrative positions. Frank Van Dusen, Etude, 1 fear 1 cannot comply with your “Director”. Send for special circular. roquetsi to give you the “name of the most tur violin is evidently an imi- reliable and the best violin maker in the ius. I have no idea of .the I'nited Slates nl tlie present time." This is eeing it. Y.m will have to a rather large order. Besides, then to a competent violin dealer, SCHOOL OF ACTING t deal of■a o who s mean northing. There are ^ M m a,., ..... profession or craft, millions of v lins in existence containing A Plea for Band Scores Direction Walton Pyre. Students thoroughly trained in stage craft, . The United States has many violin makers labels exactly tc that in your violin. expression, oratory. who turn out violins of great excellence. n „ By J. B. Cragun Each of these makers has his adherents rle Violin. Send for special catalog prefer his violins above all others. B.A. M.—The _ . “Johannes Udalrlcus Eberle mac parts or have gone from section o section 571 KIMBALL HALL CHICAGO erning Maggit lolins. iu Prague, in 17111." A well ki 'A band master will get good results 5. L.—It would b_almost impossible »?ys of these violins. “A very only when lie knows at what place and learning each part by memory. of luck if your friend' violin■ should His violins arc highly an h It is with pleasure that we note the genuine .Maggini. ‘ ivell-kn — ' finish. Ilis varnisl is excellent, exactly how each member of the band is violin authority estimates the number of Thei several violin maker of tills name mating mistakes. Up to this time this has publication recently of the first band store genuine Maggini violins in existence in tbe .’ • good.” If your n is a genuine of which we fiave any knowledge, outside whole world at present as only fifty, of which Eberle1 at imitation been very difficult, for we have had no there are only four in the United States. veral hundred dolli such thing as a band score of the type a few in text boots. This has been pub¬ There are hundreds of.thousands of imita- *•<*”■ >u •e the violin to make lished for the Grieg composition which is tions. Maggini violins are quite valuable if as muo ...... ,.reservation that has been available for the great or¬ genuine and in a good state of preservation. and the quality of this par- chestral, and chamber music compositions to be the contest number for the coming high school band' tournament. It is hoped Double-Stops in High Positions. for many, many years. Many band mas¬ J. D.—If your aim is to become a' solo ,rilM ters, insisting on careful work, have la¬ that many other, similar scores for band violinist, with the ability to play the great F- M- music will soon appear. concertos and other solo pieces requiring a on y°li: boriously copied their own scores from the Songs here it c virtuoso technic, it will he necessary for- t,’“ ted I bolding t: to master double stops In the higher violin perfectly still when pi. thus chaf- tions, so that you can play them in ing the chin against the rest. Many 'Tf --expect to co persons are troubled with ..,sities, —s - “The Etude As a Teacher” By spots and lumps on the neck caused by the To The Etude: rubbing of the violin. This will not happen ; Students of piano In suburban di not so necessary, since passages of thi if you hold the violin perfectly still in play¬ Who are unable to get to a teacher th acter in orchestral violin parts are usually ing and do not press against : * *— round, will find The Etcub a most v: marked divisi (divided) so that part of the It is possible, however, that -4-nswers to Charles Huerter violins play the upper and part the lower is too high or tile wrong slnu In my early years I had longed to flgjji H I"" -- ’ouble-stopping dividual need. You might go thoroughly, you cannc do better _ store and try different shapes vvlth college and conservatory teachei (Dan You ISell ? § Schradieck’s “Scale Studies ‘ r the Violin," which is com- Many Foremost Singers and Leading Voice Teachers use the which contain all the scales i thirds, sixths, fortable. there was little extr Wfc THIS ISSUE) octaves and tenths. 2. If, t you say, you sons. My mother ( i numbers of this outstanding American Composer can play the first violin part ...... The Millton-to-One cided to subscribe f r The Etude. I could to William Tell, by Rossini and similar eol R. 1-. c.—The chance are a million to one scarcely wait for th issues to come to thor- positions, you must have considerable techni Ss* vioIil> is an Station Stradivarius. oughly digest their ontents. Studying each intermit Strads runs into — article broadened my musical education much. I was studying 2. Noise is produced by irreg¬ Worm-Holes In Violin. the millions, they all bear labels like ular vibrations. Musical Sound' B. S.—If the two European exnerts do- ,that F°u send • only < fourth-grade music at the time she subscribed iolin ii and could play third grade excellently. I is produced by regular or con¬ “/ am always interested in seeing anything from the ofd ihose long years ago, comes home to us, Amati; Gaspar da Salo. anner a pianist playing from os though it were our very thought; upon Theodore Presser Co. Philadelphia, Pa. thmn- d°hnwever° .mcuuoc muBL ui ^tnese “iaholM fUri 1 ^ ^ watch the keyboard. J WATCH POR THESE TESTS OF YOUR STORE ire counterfeit. There is not one chance in 1 c°uld never keep his place. If I'0’1 ? a each repetition, experience has made it OF KNOWLEDGE, APPEARING IN EACR Everything in Music Publications :: 1712-1714 CHESTNUT STREET nany thousands that your violin s ren Slay.,ng th'' violin from memory, without using moi,e true and touching . ... In beauty ISSUE OF “THE ETUDE MUSIC MAGAZINE. & IS?1/". ? I— « toVwSS 2a..w?t*h. arms "and fingers t nn.i ' everything is in the proper posWoS and strength, in beauty of music and in might take it witli you o the a<>t.Iiln eorr“uclt with the higher ideals ot art and life. finger drops on G, in the passage you name- AUGUST 1927 Page 617 T0. ETUDE TEE ETUDE Page 616 AVGUST 1927 Department of Public School Music (Continued from page 577) The Missed Lesson Report on of other school courses of instruction, re necessary to supply a small form Man7. Place* suPPb boards of professional TT. lSthe certification of each lesson that ™ners, but the work may be handled CHICAGO American Conservatory!! 1 for the cert by the supervisor and his technical assis¬ ts been taken fo tants, if they are available. The individual missed. The report contains the data in examination shou,d consist of a selection CHICAGO’S FOREMOST SCHOOL OF MUSIC g/ single form for one lesson and is the same of Qf thg material certjfied as studied as that supplied on the private teachers on the forms. Space wi„ nQt permit of report. The practice missed can be ac- the printing of specimens of the various MUSICAL epuhted for on the pupil’s practice report report forms. If our readers are interested 42nd Session Commences September 8,1927 for the following month. . in examining the detail of the forms, di- The establishing of school credit for in- rections and information, it may be possi- Offers, superior courses in all branches of music and dramatic art, including Master School. Diplomas, strumental study costs the board of educa- ble to present illustrations of all of this 62nd Year Degrees and Teachers’ Certificates granted by authority State of Illinois. Thorough preparation lor concert, tion little in comparison with the carrying material in another issue. COLLEGE opera and teaching positions. Many special features, recitals, concerts with full orchestra, lectures, etc. Combined Course in History, Appreciation and Harmony Excellent Dormitories Offer Accommodations at Moderate Rates HERBERT WITHERSPOON, President (Continued from page 543, July, 1927, issue) UNSURPASSED FACULTY OF ONE HUNDRED TWENTY ARTIST-INSTRUCTORS Page numbers referring to Musical History study are those in “The Standard Among these might be mentioned History of Music” (Cooke); those aligned with Appreciation listings are pages in PIANO — Heniot Levy, Allen Spencer, Silvio ORGAN—Wilhelm Middelschulte, Frank Van PUBLIC SCHOOL MUSIC—O.E. Robinson. “Standard History Record Supplement;” and the book for Harmony study, to which Scionti, Henry Purmort Eames, Louise Robyn, CLASS PIANO METHODS—Mr. and Mrs. reference is made, is “Harmony Book for Beginners” (Orem). In each issue is pub¬ FALL TERM OPENS SEPTEMBER 12 Kurt Wanieck, Earl Blair, May Doelling, MUSICAL THEORY, COMPOSITION- Charles J. Haake. , lished enough of this course for study during one month. Mr. and Mrs. Charles J. Haake. Adolf Weidig, Arthur O. Andersen, John SCHOOL OF OPERA—Eduardo Sacerdote. TERM 2-Part 4 Palmer, Leo Sowerby. VOICE—Karleton Hackett, E. Warren, K. DRAMATIC ART, PUBLIC READING— VIOLONCELLO—Hans Hess. Week Subject Chapter Topic Page Howe, Eduardo Sacerdote, Charles La Berge, Walton Pyre, Louise K. Willhour. More than 125 teachers of world-wide reputation. Private Elaine De Sellem, John T. Read. ORCHESTRAL INSTRUMENTS—Mem¬ 13 History 33 Famous Pianists and Teachers of XIX Century... 189-192 THEATRE ORGAN SCHOOL —Frank lessons only or courses leading to Teachers Certificates, VIOLIN—Jacques Gordon, Herbert Butler, bers Chicago Symphony Orchestra. 13 Appreciation * Piano Selections of Gottschalk, kullak and so forth — Adolf Weidig, Scott A. Willits. and others of equal importance Van Dusen. 13 Harmony 26 Additional Uses of Second Inversion. 113-117 Graduation and Degrees in Piano, Voice, Violin, Cello, GUEST INSTRUCTORS, 1927—Josef Lhevinne, Oscar Saenger. 14 History 34 Piano Virtuosos . 193-200 Church Organ, Movie Organ, Theory, Public School Music, Admission to Teachers’ Normal Training School; Students’ Orchestra; Vocal Sight Reading. Admission to all 14 Appreciation * Piano Selections of Paderewski, Rachmaninoff- — Dramatic Art and Expression, Toe, Ballet, Interpretative Free Advantages: Conservatory Recitals; Lectures; Musical Bureau for securing positions. 14 Harmony 26 Harmonizing Basses Using Inversions.t. • 117-120 and Classical Dancing, School of Opera, all Orchestral In¬ THIRTY FREE SCHOLARSHIPS AWARDED 15 History 35 Great Violinists, Past and Present. 201-208 EXAMINATIONS FROM SEPT. 2 TO SEPT. 6. (APPLY FOR EXAMINATION BLANK) 15 Appreciation* Records of Violin Selections of Kreisler, Elman.. — struments, Chautauqua, Lyceum. Concert and Languages. Lyceum and Chautauqua engagements secured 15 Harmony 27 The Dominant Seventh Chord.... 121-124 Examinations Free - Catalog mailed free on application - Moderate Tuition Rates 16 History 36 Composers of Piano Pieces of Smaller Forms. 209-213 16 Appreciation * Piano Selections of Chaminade, Godard. — AMERICAN CONSERVATORY, 571 KIMBALL HALL, CHICAGO 16 Harmony 36 Writing Seventh Chord Progressions. 124-126 JOHN J. HATTSTAEDT, President. Karleton Hackett, Adolf Weidig, Heniot Levy, Associate Directors *Records are available in the catalogs of the talking machine companies of selec¬ tions by these composers and artists. 85 Letters from Etude Friends SCHOOL MUSIC Catalog Sent Gratis Upon Request A very’helpful catalog for School and College Directors and Music Supervisors. It lists numbers for Unison, Two COSMOPOLITAN „ add to your repertoire; Part, Three Part and Four Part Choruses; Music for Special Occasions, Operettas, Sight Reading Material, Knowing the Composers by Sight piraona°lyT’clo'wlaliy I (lo not like them, but they are of FREE FELLOWSHIPS Orchestra Collections, Writing Books, Etc. SCHo?OL MUSIC4 dr4armtatic Drake University Pi day and generation so you had better DR. CARVER WILLIAMS—President ' JSTIDB : learn them. I am glad it is not I that will THEODORE PRESSER CO., 1712-1714 Chestnut Street, PHILADELPHIA, PA. Thfe other cloy a girl of fifteen who has have to five with them." Here, then, you (Two Private Lessons Weekly) to be awarded to the students who FALL TERM STARTS SEPTEMBER 12 DES MOINES, IA. taken lessons for some t,nl*tll"a8ofI“m “f. have a man honest enough to appreciate the ty of 60 Ai fact that though he was “glad he did not have after an open competitive examination, are found to possess the l, Conce, dans ofimy Vl, sk. remarked, "We have those to live with" certain compositions, yet, since Diplomas, Dexret MUSIC DRAMA statesmen in ..nr home.” I at once ques¬ they were of his pupil’s day and generation, greatest gift for playing or singing. Clare Osborne Reed Departments-Piano, Voice, Violin, Musical tioned her and. I hough she had heard some or it was right that the pupil should study them Theory. Composition, Violoncello, Orches¬ ART their names she knew nothing of the musi¬ /COLUMBIA tral Instruments, Public School Music. cians’ lives ami could not recognize their ^Does it not'seen/to you ft J‘in all fairness Dramatic Art, etc. pictures. Give me a child who knows the teachers should make it their business to ac¬ Full courses in Music and pictures of claBBical musicians when he sees quaint their pupils with all phases of their PROFESSIONAL DEBUTS, Many Fret Advantages and Scholarship them, ami something of their aspirations Piano and Fiolin Prizes subject and should be broad-minded enough scaoOLOf Ttyfi torn Dramatic Art afld attainment ’ That child will he an to realize that personal views and prejudices For particulars address—Edwin L. Stephen, Mgr. intelligent pupil one who grasps technic cannot be sufficiently weighty to cause them to ENGAGEMENTS and SITUATIONS TWENTY-SIXTH YEAR OPENS IVI I I I A I feflsily, one whose .imagination -helps him COSMOPOLITAN SCHOOL OF MUSIC Degrees: Bachelor of Music; withhold from the pupil’s gaze any aspect of SEPTEMBER 12, 1927 JL V Mm, PWSP Mm Box E, I6th Floor Kimball Hall Bldg., Chicago river difficulties and keeps him from being their art? Particularly in the matter of ad¬ Bachelor of the Science of Music vanced ideas teachers should bring themselves Public debuts are given artist students in Central Theatre, Chi¬ “ SfiS»e teachers eitals appoint children to realize that after all It is he pupil who (Music Supervisors) isicians or toll a story .Will hnvp fn live with these ideas” and who cago, when they are ready to commence their public careers. A One of America’s Finest Institutions Devoted to Education in Music about them.1 That is a good thing to do. much ®f?p i’tarrpft g>rf|oal Bachelor of Expression special bureau established in the College assists artist students (Dramatic Art) better than having an older person give ex¬ •FULLY ACCREDITED COURSES LEADING TO planatory talks that never really explain Lily A. Smith. CERTIFICATES, DIPLOMAS AND DEGREES CONSERVATORY of MUSIC But simply go ill one ear and out the other. in obtaining professional engagements. Graduates who have quali¬ Franklin Stead, Director For full particulars writs . Illustrative pictures may be found m by authority of the State of Illinois newspapers, in magazines, in advertise¬ Playing by Ear a Hindrance fied as teachers will be assisted in securing situations without charge •s, Recite HOLMES COWPER ments. Picture cards of great musicians . suers' Certificates are also published. Music books may be deco¬ To the Etude : . to teacher or employer. Dean College of Fine Arts rated with picture of the composers and notes Wp wished to sing a song the other night A School for 44th Year Begins September 24,1927 khout them. Sometimes it is well to paste a but had not the music. My nine-year-old Special Classes in Technique and Interpretati Picture of the composer at the top of the pu- niece offered lo accompany us if some on for Teachers and Advanced Students. Course. ^ Pjl s music. It arouses Imagination in him ana would hum it for her first, fche gave a The Mature Musician The Public School Teacher Vome, Violin, Organ, Theory. Harmony, &lv6s him incentive for further work. Composition, Cello, Opera Study—Dept, of Speech DEPARTMENT OF Maey Scott Deynan. rhqpeW?histabil?tyJo STUDENT DORMITORIES The Young Artist The Ambitious Amateur : wilT t Dept. for’Childrei and Public School lSu.fc.SMCi(d Artistic and comfortable dormitory accommodations for men and worn Fireproof bu’’ All athletics. Horseback ridinc The Teacher of Music The Talented Child hidings with ample grounds. Two beautl Theatre Organ Playing come a really g college building. Piano furnished with each room. Prices reasor catalogue Francis T. York, M. A., Director A Matter of Distaste To the Etude : Make reservations now. FACULTY COMPOSED OF DETROIT t , ,5 the usual hour tWfliUt in" after school. Training in the following departments: The scift4fr5hoDoL Prcsident and Director AFFILIATED WITH THE UNIVERSITY OF CINCINNATI with writing book No. 1 to accompany it, point. The Don Juan is in the original form W. GRANT EGBERT, Musical Director I a H Hamilton, is complete and com- *~o eight-measure phrases, in tliree-four tempo, _ rehensive. I feel certain that you can each of which is repeated. Incorporated with Collegiate Standing £and Degree conferring privileges The form of the minuet undergone con- Board of Regents of the University oof the State of New York. make a- selection from this list that will siderable change. For Sixty Years Noted for the Highest interesting to. know that at the re¬ fit'your needs. hearsals for the first performance in Prague, MASTER SCHOOL OF PIANO under the direction of LEON SAMPAIX, Master Standards of Attainment in the fall of 1787, Mozart coached the singers . Pianist and Pedagogue. Mrs. C. B. G. Roanoke, Virginia. minuetpersonally - Heand -once showed ~m them~ how to dance the Certificates, Diplomas- and Degrees „! . remarked to the singer, NEW SCHOOL for MOTION PICTURE ORGANISTS with new and fully Offers courses in Piano, Voice, String Answering your request tor intormation Kelly, that-.lered he considered his accomplishments and Wind Instruments, Organ, Theory, Awarded, of the Don Juan Minuet. iQ dancinglancing more importantimpor than’ thos^ in equipped practice organ for student practice. Opera, Dramatic Art, Languages and Faculty of distinguished _ artists. This is one of the most interesting Young Wolfgang Amadeus SPECIAL COURSES in COMPOSITION directed by DR. WALLINGFORD Dancing. Public School Music (Ac¬ Beautifully situated within a ten-acre n of tl campus, all dormitories and buildings are positions i 'olfgang Amadeus Mozart, and Constanze RIEGGER. credited). Teachers’ Training School, the first fi via u'eber Mozart, bom July 26th, 1791, a few Master School for Artist Pupils. owned and operated by this Conservatory. •mg Don months prior to the death of his immortal a, about father, played variations of his own on this VIOLIN, ’CELLO, VOICE courses under eminent masters. ~:"-'et the first time he appeared in public, Address Registrar Dept. E for Catalogue and Information. e Don has sent the party of concert, April 8th, 1865, at the theater SPECIAL NORMAL COURSES with practical teaching under supervision. Concert Hall Main Buildinf his palace for entertain- der Wien," when he was led out on the Highland and Burnet Aves. at Oak Street, Cincinnati. dances played -'*• - „ ■ by his mother. He also played at this COURSES lead to CERTIFICATE, DIPLOMA, DEGREE. Burnet C. Tuthill, General Manager country time a concerto by his father, no inconsider- , hi...... able accomplishment far a lad of thirteen years LARGE SYMPHONY ORCHESTRA making available opportunity for advanced students to play and sing solos with orchestral accompaniment. DANA’S MUSICAL INSTITUTE i SCHOLARSHIPS available for unusual talents. WARREN, OHIO petroit ConsemtomMusic The Only University of Music in the World Choral and Operatic Singing available for good singers. Splendid Dormitory privileges available. All branches taught on the daily lesson plan : ; Special Music Supervisors Course Catalogue on application to LYNN B. DANA, Pres. Desk E. By Tcrpandcr. By Edward J. Dent. Cloth Advance credit allowed for work satisfactorily completed elsewhere when applying to -. hun- hound ; one hundred and twenty-five pages. the course chosen...... _ Full-page 11- Published by E. P. Dutton and Company; at lustrations. Published by the National Bu- $1.00 per copy. reau for the Advancement of Music. Price, Terpander of the ancient Greeks, and a FALL TERM BEGINS, SEPTEMBER 22, 1927 S2.00. leading “innovator” of his time, is made a There is power in the printed proper noun, figure-head on which to hinge a discussion of For full details write for illustrated catalogue. g)ljc Qkbe lanfc Jhatitutr L awrence to he sure I I- we liaytonlans, Chelseans, the rise of music from the time of St. Long Beachinos or Bangurians, our pulses Augustine to the present school of “modern- Conservatory of Music quicken to um!,, alhgfo, on seeing our ists." All this is done in »n enns0-ins. vnnn- Address Registrar, 1 DeWitt Park, Ithaca, N. Y. of (Qmnr ’ ■ i letter giving his_ ner,__wonderfully and lucid way, consider- cApplcton, Wisconsin nhjec , .... de- ing the abbreviated length of the book (it is Oilers Complete Courses for novations scarcely more than a good half-hour’s read- Students of all Grades s this there practical ing). Perhaps, -aside from its fascinating Voice - Piano - Strings - Theory - Orchestra A Department of Lawrence College ns dime- literary style, its chief charm is that it casts Acknowledged Preeminent Four year course leads to Bachelor of ical machinery may...__ lie_ „ _ aside a deal of the salvage of the ages and Music degree or teachers certificate. musical ad- presents in a high light a panorama of the As a Conservatory of Attainment Public School Music Supervisors Course -■ hieh have real significance in the leads to Bachelor of Education degree con¬ Piano, Voice, Violin, Cello, Organ, •r city step forward (some annals o The finest conservatory in the West ... a reputation for musi¬ ferred by Western Reserve University. cal instruction not only comparable but on a par with schools on Band Instruments, Public School Music, the European Continent, the Detroit Conservatory of Music or a gentle vril of remonstrance, is like arrangements by J. Ros:-Rosamond Jo Public School Art, Dramatic Art. bound: one hundred and eighty-nine pages. offers to earnest students ideal facilities for outstanding accom¬ enue, Cleveland, Ohi< Publishers: The Viking Press. Price, $3.50. plishment in the Musical World. ” the” day’ when- “Massa’’-” —” his young favorable light, • feel y-,, aaugnters, the latter beflowe_._--idv stiffly Orchestral and Choral Training, joyously as thoi ■ - fond parent starcijed, walked into the little frame church and onr daughtc just come on the plat- of the n(Igr0 to reTel ln the simple and earnest O*1 MUSJC Fall Term Opens September 12,1927 r fourth encore. singing of the slaves, to the day when eager Unrivaled Free Advantages k Festival, Artist Recitals. throngs rushed to the box office to hear a Frederic A. Cowles Music Center Director of the South From the Laiul of the Sky-Blue Wate.. fly Bledsoe or a Burleigh in a program of negro faculty^811 £nin°g °Harp?0ânBALTIMORE, MD. NORMAL CLASSES AS FOLLOWS: „0’ especially clear through the use of cop formation and Booklet, Address . Begun as an explanation of the peculiarities notaticm examples. -'The • five species HAROLD RANDOLPH, Director MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th St., New York City. MISS ADDA EDDY All Branches of Music Taught m the “Rhapsodies Hongroises,” but con- ‘ ternoint are chrried up to their tl One of the Oldest and Most Noted Music Schools in America. Katharine M. Arnold, 93 Madison St., Tiffin, Ohio, Arnold School of Music. New York City Address, 16 East 11th St. 136 W. Sandusky Ave., Bellefontaine, Ohio tlmioH for ie pure- i-love„ oft> tne4-v,„ Csuoject„L out (n lOUULCUiuiui. r which amich isj, probably_. as far a Allie Edward Barcus, 1006 College Ave., Ft. Worth, Tex., August, Chicago, Ill. „ —.->rt through intimate knowledge 'wm care Altogether a Elizette Reed Barlow, Cor. Central Are., 1st St., Winter Haven, Fla. Send for Catalog °f the habits of the gypsies), this book fur- afuBrooklyn, N. Y. Offers thoro training in music. Courses leading to ™e gypsy camp watching the flash of brigm. Specializing in Violin, Piano and Vocal Instruction Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio; Fall Classes—Col-ambus, Ohio St Louis Mo Bachelor of Music Degree, Diploma, and Certifi. heads and hearing the joyous singing of the Schubert: 1. The Symphonies. By A. En^rFori11 c“mmeroM ArtVnS-a; ^0UrSeS All branches of Theoretical work Beatrice S. Eikel, Kidd-Key College, Sherman, Tesas. ’ '•lolins. We sit and eat from the great Brent Smith. Bound in. paper and published Degteesând ‘ Ida Gardner, 17 East 6th Street, Tulsa, Okla. Musk Methods and Musk KkdmgkrtenMe^hoi1 caldron ; we watch the sleek white horses be- by the Oxford University Press, 48 pages. Price, 50 cents. , . nn Gladys Marsalis Glenn, 1605 Tyler St., Amarillo, Tez. Bulletin lent free upon request id for like children. This diminutive volume contains very en- . ERNES Florence Elizabeth Grasle, Lansing Conservatory of Music, Lansing, Mich. W. ST. CLARE M1NTURN, Director. It little behooves’ „„s to-day,___ widely__ removed- tertaining and very skillful analyses of Schu¬ Catalogs Harriet Bacon MacDonald-13434 Detroit Avenue, Cleveland, Ohio; Cleveland, Ohio, August 10th. bert's C Major and B Minor (. Unfinished ) gTAUNTON , 'V'lT=t.Oll-l7>vJ Mrs. Kato Dell Marden, 61 N. 16tb Si., Portland, Oregon. ;!Vin ability .T judg? of’The prejudices symphonies. The aauthorBut^' who seems en- Mrs. Wesley Porter Mason, 1927 Classes-August, Chicago, III., 10834 Prospect Ave. which appear in this book. Perhaps some of svmDbonies.■ ’ with an almost uncanny gift for look- Robin Ogden, Box 544, Waterbury, Conn. mszt s ideas are “old-fashioned;” but they o the composer's mind and perceiving Atlanta Conservatory of Music Ellie Irving Prince, 4106 Forest Hill Ave., Richmond, Va. Jan., June, Nov. of each year. meas written with burning earnestness uuu ins intentions and “mental workings, WILLIS J. CUNNINGHAM Virginia Ryan, 1070 Madison Ave., New York City. Michigan State Normal College Conservatory of Mus nf ^ with the perspicacity and the strength therem ___ THE FOREMOST SCHOOL OF FINE ARTS Piano Stella,H. Seymour, 1219 Garden St., San Antonio, Texas. Courses ui singing. piaoe, organ, violin and theory. J IN THE SOUTH Isabel M. Tone, 626 S. Catalina St., Los Angeles, Calif. Courses for training supervisor, and teachers of public school mllsic Advantages Equal to Those Found Anywhere. JOSEPH D. DeNARDO Mrs. H. R. Watkins, 124 East 11th St., Oklahoma City, Okla. Graduation leads to a life certificate valid in most state, „I as, perhaps,p», wise ... select these two Students may enter at any time. Send (or Harmony, Composition Total living expenses need not exceed twelve dollars per week Tkik J ( - n afternoon. ■ Catalog. GEO. F. LINDNER, Director 394 teachers enrolled in Summer Normal Classes of 1926 INFORMATION AND BOOKLET UPON REQUEST ... „ Write ftfcaZ}' a”d eIceptlonaIly low’ nrif.0h, auu vigor or ljiszt i t vssjtrszbinds trapslatlon of the vrite to our advertisers •ention THE ETUDE. It Identifies j —.. identifies you as o a touch with the higher Ideals of art and life. k higher ideals of a When you write THE ETUDE Page 620 AUGUST 1927

NEW YORK SCHOOL OF MUSIC AND ARTS 26 WEST 86th STREET New York's Oldest Music School .... Many new and wonderful features planned for the coming season by this institution. Same celebrated faculty headed by Ralfe Leech Sterner, Arthur Friedheim, Paul Stoeving, re eric les erg and other celebrated masters. Frank Stewart Adams, Director of Motion Picture Organ Department. For seven years organist of Rivoli and Rialto Theatres, New York City. Individual Instruction. Entrance at any t^e. SEVERAL FREE AND PARTIAL FREE SCHOLARSHIPS OPEN FOR COMPEIliiUJM Dormitories in School Building. . A real home for music students. Many Free Classes and Lectures. Diplomas and Teacher’s Certificates.. Public Concert every Thursday night. Vocal, Piano, Violinan a ns rumen s. u ic cool Music Dept. Dramatic Art, Drawing and Painting, Interior Decoration, Dancing and Languages. ILLUSTRATED CATALOGUE ON REQUEST _ TWO NEW COURSES COMBS INSTITUTE OF MUSICAL ART Conservatory o/Music PHILADELPHIA ACCREDITED CRITICAL AND PEDAGOGIC COURSE FORTY-THIRD YEAR for Teachers and Advanced Pianists under CARL FRIEDBERG A School for the Beginner, NORMAL COURSE FOR TEACHERS Ambitious Amateur and Service. Four-year Course leads Methods of interrelating all theoretic subjects and correlating them the Professional Musician to Degree of Mus.B. Band and with the study of piano, violin, voice, etc. Orchestra Rehearsals—Chorus. TUITION FEES VERY MODERATE'. CATALOGUE UPON REQUEST, ADDRESS DEPT. U Accredited in N. Y., Pa. and Fall Te ■n Opens Sept. 22nd Instruction in all branches. Orchestral Albert and Band Departments. Two Complete ITHACA INSTITUTION VIRGIL SCHOOL OF MUSIC Student Symphony Orchestras. Peda¬ OF gogy and Normal Trainin i by the late A. K. VIRGIL and Accredited Courses in PUBLIC SCHOOL Music. Degrees Conferred. MUSIC ^ >1 DeWitt Park, Ithaca, N. Y. Special Courses Students of All Grades SIX SPACIOUS BUILDINGS For all particulars address: THE A. K. VIRGIL CLAVIER CO., or DORMITORIES FOR WOMEN MRS. A. K. VIRGIL, Director Send for Illustrated Catalog —College of Fine Arts— Phone Susquehanna 10485. 510 WEST END AVENUE NO OTHER ADDRESS NEW YORK Syracuse University Gilbert Raynolds Combs, Director Harold L. Butler, Dean Administration Building Syracuse, N. Y. 13.11 South Broad Street THE AMERICAN INSTITUTE MUSIC, ART, ARCHITECTURE 900 STUDENTS 42 INSTRUCTORS OF APPLIED MUSIC TEMPLE UNIVERSITY Four-year Courses in t 59th Street New York City * School of Music — Piano, Voice, Organ, Violin, Com¬ THE JUNIOR DEPARTMENT FOR 1521 LOCUST ST. PHILADELPHIA, PA. position, Public School Music CHILDREN AND YOUNG STUDENTS ..Thaddeus Rich, Mus.Doc., Deanj leading to the Bachelor's degree Piano.i Violin, Cello, and Ensemble. Classes in E. F. Ulrich, Assistant D,.tn for the study of i Elementary Theory, Audition and Rhythm HIGHEST STANDARDS ei MUSICAL INSTRUCTION Teachers’ Certificates, Diplom id for % Season Opens September 15,1927 Cxt£E£n

-DISTINGUISHED FACULTY- SCFKRIOK FI ISO, HOUR AND VOICE DEPARTMENT* CONWAY Virgil Portable Keyboard 0 h t 1 I ™A,N,NG1 FOR OPERA ^ Prepares for Leadership In Comn For Pianists and Piano Students STUIIENT^REpITu's—OPEORTCNITY FOR ORCHESTRA!. M,AS|ES IN THEORY HISTORY AND AITRECIATION OF Keep Up Repertoire PUPILS MAY ENTER AT ANY Perfect Your Technic TIME DURING THE YEAR Strengthen Fingers on this Instrument Student Dormitories. Brsoth School,. Write ior Catalog Key Action Perfect Touch Light to Heavy Catalog on request Zeckwer-Hahn VIRGIL PIANO SCHOOL CO. GRANBERRY 137-139 West 72nd Street New York City Philadelphia Musical Academy PIANO SCHOOL Highest Standards of Musical Instruction 149 East 61st St., New York, N. Y. For year took, address i aging Director For PIANISTS, ACCOMPANISTS and INTERNATIONAL cationaYagency MRS. BABCOCK TEACHERS QFFERS Teaching Position*, Col- MUSICAL DEVELOPMENT THROUGH ,, Jf,ge*’ Conservatories, Schools. Also Church snd Concert Engagements Fall SIGHT-TOUCH and HEARING. Booklet Term CARNEGIE HALL, NEW YORK Sept. 12 th

EFFA ELLIS PERFIELD THE NATIONAL CONSERVATORY PITTSBURGH MUSICAL INSTITUTE, Inc. Catalog Free Pittsburgh, P«* Trinity Principle Pedagogy OF MUSIC OF AMERICA sight 1^::°™:: GUIDE TO NEW TEACHERS ON rOUo'nbeaCo1n!e8rva lofyCh“"r'*d b ®c Jh"r,>er binging ( • “Numbers" 4Srd Season open, OctoberHr!’"' ■ ^ TEACHING THE PIANOFORTE Enroll Sept. 89, 80, Oct. 1st. Artistic Facultyl Adels Ms’rg„,.es, Rs.pl. The Courtright OMwundmo»tpij*tifi System of Musical to op^/IxT fn"thV «* York Kindergarten Mr«.Lillian Courtright Cud,116 Edna Aye.,Bridgep< r advertisers always mention THE .ETUDE. It identifies you as one ii £ touch With the higher ideals of art and life. AUGUST 1927 Page 623 tub etude AUGUST 1921( THE ETUDE Educational Study Notes (Continued from page 605) The Choir Master A CONVENIENT < GRADES % and 3 11 Give a List of i For the Teacher Getting Ready for Under This Heading We J

'' BATCT„ to=n M«°hod..MU5iCa! *2.00 September classes of Piano beginners Any ofJTheseWidely UsedJInstructors and Easy^St AFdder r Thyself with God, by CO. 11 St. PHILADELPHIA, F CHOIR MASTER’S GUIDE FOR OCTOBER, 1927 MORNING, October 2 SUNDAY EVENING, October 16 - from “SymplKmie^^ ^Organ? A Song in the Night ■ B!= i S m£mm r"Mv God°toThee Piano: Sic : in SSiiSPS TEDEUM .:.**%*■rMhS,v — Witt K,,P Hta in Per-^ o^rojr by R. Drigo. mi™Lo.« .Kite (Baritone solo March ....Verdi .Saroni Si.! SUNDAY I 23 .. IS ■» » -D«™ V. Armstrongr SUNDAY MORNING, Piano: Alla Marcia PRoE^E by James H. Rogers. '%*“ SSSS nuddlHfTe

■ Under the Moon, by R. S. Stoughton. rSlaND-NUNC DIMIt|l£^ ^eafffi, and Master Mine^ ^ If iiSSt: n ■

-'"“aSAtA'SsK i': ,. Grand chorus in c Maitland SUNDAY MORNING, October 30 IPiig§a ISiSsras : Tannhauser March... Wa9ner Pastorale.. ftWH '■ “nsoKB33KSKS 1 EVENING, October 9 Piano: Jesus, Lover of My^Sou^ Does Music Help the Day-School Pupil? LANS^- s-» *.*« .* %V To the Etude : schools in his city and get s‘«lhr mforma- smss ; . • tion Let the importance of music m de¬ rnolin {b) Lift Up Yonr 1 li have been able to get the following y ’ ■ the minds of children through statistics relative to the children of the mus;c ftudy during school hours be im- Zl ° AveRTM°aRrL .Bach-Gounod schools of Enid, Oklahoma, a city of 30,- nrp„e(1 on every member of the b (Violin, with Organ or Piano) SbshSS ■ t only for the sake of t

SUJNUAYSUNDAY EVENING,J October 30 who do not

of sc iolrliiis li? s “ssrsar —§ A-lS B,“,1'.e.“. .E,"Ri 7. C. Marks (b) The Lord is my S o,gsr^™ 85 P (Duet for S.‘ and T.) ' postludE '

XI XII Permanently Adopted by Foremost Teachers

the STANDARD HISTORY OF MUSIC H - PRICE, $1.50 world affairs we are too prone --• . regard the vital importance to life of heart of manku . penally representative 7“'“^; A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES s the fine arts. It is through art that Pffy.r^XÎ S {gsssessss People find their better, truer selves, of the truth Sometimes it is expressed in literature, the dawn of creation it sometimes in sculpture, sometimes m ™ w „ Pointing. But of all the fine arts there trmnphtriumph m>erover eezil the „ J Tumnnor pbcwfr COMPANY :: PHILADELPHIA, PENNA. B « none which makes such a universal sang together witn joy. AUGUST 1927 Page 625 0E ETUDE Page 62b AUGUST 1927 THE ETUDE The World of Music Playtime Book Twenty-five Primary Pieces (Continued from page Si ilbum of Cross-Hand For the Pianoforte for the Pianoforte Advance of PiecesAIb s iw*for the«•“—— Pianoforte nyBy N. Louise Wrightwrignt nyBy ivniuMildred Adair A Department on Piano students like to p ay pieces m Every experienced piano teacher knows This is one of those attractive little Matters of Interest to Publication Offers which cross-hand playing 1S* * that most students are benefited by being books that are intended to10 star*»u JtmJuj & technical device is “showy and m winner t- .* . Music Buyers on New Music Works This the uiece ai i,?ss?v8sir»“35r..y the Na- may be secured for $19.00 in cash. There publication of judiciously compiled al¬ these reasons, we have been prompted to Qn the’Keyboard’’JPnCe, 50 cents, has an appropriate text and Mmtrtbve is no more complete reference work avail¬ Album or Cross-H. bums of music has been found a most compile and publish this new album to Th/advance of publication price of this line drawing. The book iforks its way heknown as the Album of, Cross-Hand k which is somewhat larger, is 35 cents gradually up to.the one octavescale. S1 Moses December 1 1927. Particulars able at the present time, at any price, than Beginner's .Method effective means of doing this. Whenever u tnethe rviiuuiiniNational Ajociatlonôfa-m Organ* the six volumes of Grove’s Dictionary of Book the demand for a certain type of com¬ Pieces in our highly successful series CQ’ t id ies toB be delivered The special mtroductory pnce in ad oamaker Auditoruff k City. Study Pi°ce* for Special Purposes. It whenPW book is published. vance of publication is 30 cents per copy, Music and Musicians, which may be pur¬ positions justifies it, a volume containing For a String ftnartet, a prize of one chased for this amount. Those who do the best obtainable material is compiled will be composed of piano pieces, some as postpaid. thousand dollars is offered by the Community not feel that it is convenient to spend and published. There are several excel¬ Isv as Grade Two, but mostly in Grade Junjor Atlthem Book for Unison Arts Association of Santa Barbara, California. $19.00 at the present time have the oppor¬ Eclectic Piano Studies—Heinze.35c. lent volumes of marches for general use Three, in which this technical device ap- Voices w}th piano or rgan The Manger and theStar— The competition is open to composers of the Forty Negro Spirituals—White.75c. 0 world, and closes February 15, 1928. Par tunity of securing sets on the time pay¬ H. M. S. Pinafore—Sullivan.50c. such as Contemporary March Album, ^TtSic^revTousTy published volumes Accompaniment Choral Cantata for Christmas ticulars from George W. McLennan, banta ment plan at only a slight difference in Price, $1.00; Parlor and School Marches, Barbara, California, U. S. A. cost. The total price by the time payment asL'__“ .... Price, $1.00 and School and Home • yL series devoted respectively to Trills, Selected, Edited and Composed By R. M. Stults ..30c. Vioi 4 Prize of Five Hundred Dollars for plan of $2.00 down and $1.50 a month is Marches, Price, 75 cents but there, has been ' 4rii< i/i/ios. Chords and Thirds and By Edward Shippen Barnes Cantatas even when intended for church a male chorus Is offered by the Associated only $20.00. We have likened these six an ever increasing demand for Indoor Sixths’ (Double Notes). The retail price on g. { is coming into vogue use, must liavc botbdra,"aRC stUngP of Glee Clubs of America. The competition volumes to “storehouses” of musical infor¬ Early to Order is the Teaching Music and Marches such as are used for Lodge work, of these volumes is 75 cents, but, in ad- d m“reB In organizing Junior turesque qualities. A mere string o closes December 1, 1927. Particulars may be had from the Secretary of th si ns ring or¬ mation and it is possible to gain an idea Teacher Who is Wise Making it Pay or where indoor drills are practiced. The vance of publication we are offering this ^^“^Hiary Choruses and the like, hymns or argumentat.ve platitudes will ganization, 113 West 57th Street, New York of the tremendous amount of information It is none too soon to make ready for By Doron K. Antrim compilation of this album is the result. new Album of Cross-Hand Pieces at the usc of tWs material is indispensable, not do. A Christmas Cantata P City. crammed into each volume when one real¬ This work has been done very carefully, the next teaching season. Time flies In the business world, men of experience very low price of 30 cents, postpaid. better for a young choir to sing ticular must tell the’ Chmtaws st y A Prize of One Tlionsnnd Dollars, for izes that there are close to a million words rapidly and September will be with us ancj great vision constantly are giving to only those parts of marches that are ^ in unison for a considerable period before This is exceedingly Weil done in each. Think of how much more effective in a few weeks, we might say a few those seeking to equal their success in suitable for indoor marching being in¬ Piano Dialogs attempting part singing Many of the Stults new cantat , T ^q/Ut Stults- teaching work could be done through hav¬ days. Too many teachers wait until they practical fields, guidance and advice cluded, all others being eliminated. While November 1 1927. Full particulars may he ing in the mind information upon the lives By Helen L. Cramm finest roteslyar;KthPuSedmafck taest made^’a very had fmm Richard Copley, 10 East Forty-third are in urgent need of music supplies be- through publishing books. Unfortunately, this work is being prepared for publica¬ Street, New York City. of great composers and various musical fore they think of ordering. Then there there has been little of great practical value tion it may be ordered for delivery as S* :,,ras^T^K S3. WtcS^rreal musical ® subjects gathered from time to time in ref¬ is a grand rush and everything is ‘wanted offered the music teacher for guidance in soon as it is “off press,” at the low price erence to the pages of Grove’s Dictionary. immediately. Telegrams, special delivery the necessary business management in the of 30 cents a copy, postpaid. [ustcal Fund So- Think of how much greater delight there letters and hurry orders are showered teaching profession. Mr. Antrim, out of compositions in is for the student of music who has at Miss Polly’s Patch Work mpetition^closes upon the supply houses. Each sender of his own personal experience and observa- December11'^'!,1 1927. Particulars may be had hand these volumes telling many things such a message thinks that no one else tion, saw the need for practical suggestions Quilt—Operetta id rehearsal. , from the Musical Fund Society, 407 Sansom about so many phases of the musical art sss^that they an* actually instrumental dialogs c_^ p a*xheThe special introductorymp,e u“““ price m ad¬ has thought of any such method of getting alon these lines belng made avaSjfable to By R. M. Stults Street, Philadelphia, Pennsylvania. which he is studying. Think of the great between'the players, each player having an postpaid, vance of publication is 30 cents per copy, quick service. Delays in getting teach- teachers. He therefore set about very sys- Tlie Swift Prize of One Hundred Dol¬ satisfaction of the music lover who can ing material result from the congestion, tematically to gather information and One of the surest “money makers” for independent part, both parts being equally gJx Recreation Pieces for postpaid. churches, charitable organizations, or com¬ lars is Offered this year for a setting for male satisfy his desire for knowledge upon cer¬ Nearly aU delays are due to this condi- ideas to be incorporated in a series of ar- easJ . , . , , , „ in ,ld. Four Hands for Teacher voices with niano accompaniment, of Blow. tain musical things about which he is in tion. Why not avoid all probability of tides, which here are to be found presented munity activities is the presentation of a The special introductory price in ad- _ doubt, and think of the added pleasure of disappointment by anticipating every es- in book form. o^nly every music musical play. Not only do such affairs • ti. :!n cents ni SirVo^Li™” lrTt4- aw being able to make excursions into the his¬ attract large and interested audiences, but sentm need just a week or two in ad- teacher will get many times $1.50, the price POStpaKl- BTntl e genen,r- ionship and of stimulating interest in re¬ For the Saxophone Sayduets with each other they should have bbakgisgcspeeially planned for the pur- tor■ smatt «dwtn11 V£j°%rt°iiS«gSffaJ3 any cultured group. In bringing this great we will surely do our bestf but we shall “advert^"8 procedures for the ligious and civic matters. We have stood in groups where concert !, certain amount of drill with the teacher. The numbers are all very tuneful of two cantatas introducing reference work to attention, we have before all be happier if we know that our “ methods m A most perplexing problem that con¬ saxophonists of national reputation waxed Jn the beginning, the pupil’s part is m a Jan(, the texts are sensible and appealing. French^nnadinn vhansons populate.^. f$n00 us the limited number of sets on hand and customers are .doing their part in assist- ^ !■“ advice gwen in this fronts many amateur organizations is the enthusiastic mrr the master playing ability £ ass of five notes, so much the better. Theiie pieces may be sung either in unison, for a û|freraf°^®Rttnfig0?chan80ns’ populaires ins us in eivine good service book was the sendm8 of questionnaires to selection of a play that is within the and perfection of tone possessed by H. TWs‘ js the case ;n the Sue Recreation tw0; three or four parts. They are suit- |Qr P ale voic(,s. and $250 for a group of therefore it is impossible to guarantee de¬ ® 8 & 8 • 3,000 successful music teachers throughout livery on every order made for a set of capabilities of the available performers. Benne Menton. Such a recognized author- by Georges Bernard. But in this abje either for club or school use. chansons P°Pala‘ves.arranged for mixed ity on the saxophone is the one who is super- w(ffk the teacher’s part is more than The speciai introductory price m ad s[jintS of “the Canadian-Pacific * Kali way, Mon- Grove’s at either the $19.00 cash price or MOOflStrOmMoods From Nature—mature the Uchapterunit?d Sheadings,tate,s and are Canada “Where- Some to Lo- of Mr. Stults and his versatile librettist, Lida Larrimore Turner, have been very suc¬ visini? the prtparation of a Beginner* usually interesting, and the little duets vance Gf publication is 30 cents per copy, treal to whom application may be made for the $20.00 payment plan price, because Four Sketches for the Piano cate,” “Getting Started,” “Prices for Les- when the few sets remaining from the last cessful in previous works of this nature Method for the Sa.rophone.that we soon when well played sound like real nmsic. postpaid. eonfln^ôânldian c'omp^sersl the first large printing are gone, we will be forced By Gordon Balch Nevin sons,” “How to Get Pupils,” “Some Funda- and in Polly’s Patch Work Quilt they have shall have on the market. This method does The Special introductory price m ad thre ”^re open to international competition, to return orders and remittances; and Mr. Gordon Balch Nevin is a well- ™enf,alf, °! Advertising,” “How to Retain produced a play that should present no not aim to be a short cut self-instructor, yance of publication is 35 cents per copy, Mel0(RouS Study Album hv therefore, it is a case where the first come known and successful organist and com- Pupils, etc., etc.. This work is cloth bound difficulties for any group of amateurs. although it may be used with real results postpaid. for Young Players thf AtwatcT°K?””Fouîdat1on, to assist “iin- will be the fortunate ones and the ones who poser. The new work that we are now and lsa substantially prepared volume that Everyone who is familiar with their tal¬ delay ordering risk disappointment. announcing for the first time, represents wl11 stand the wearing use of constant ref- ents will realize that this does not mean .f'l.BiOmSh..™;* New Collection of Favorite By A. Sartorio a somewhat radical departure from Mr. erence to it. a lessening of the play’s attractiveness. tion hook for the saxophone that teachers SongS And Choruses for All Xhe studies of ArnoWo W S Heart Songs Nevin’s usual line of work. It is impres- e ... , _ Mr. Stults’ easy, graceful flow of melody of this instrument will be able to use to good QCCasiotlS âVe prove11 .vejy.,su educational had by addressing the Atwater Kent Founda- sionistic music of the better type. Mr. SUlllvan S Famous “H. M. S. has endeared his compositions to the advantage in private or class instruction. U^s work is just coming off the press find in theno just the f Don, Miladelphui rcnnsylvaina. State audl- When we see most collections of music, Nevin, fortunately, is able to write in free Pinafore” Through the material afforded in this the La\ month of the special features and, students find to:interest- tions are t0 be hela |„ the early fall, we immediately think of their use at or hearts of the people from his earlv suc¬ about the piano, but this volume, entitled modern style without losing his sense of Undoubtedly, this rollicking light opera cess, the “Sweetest Story Ever Told,” to method, real players with good musician- introductory offer. For so compact a book, ing to practice, fc™ f the -- melody. Moods from Nature consistsi of has ided more entertainment for “Heart Songs,” conjures in the imagination his more pretentious recent musical com¬ four very attractive piano pieces entitled nearl two generations than a tw °f edy production “Hearts and Blossoms,” not only the practical use to which it may respectively^ “By_ the Broofe,” “The Vast its kind hitberto published wilf “ “ rr'.'ts1,.“xtrirs Hr ri*. ■ ■ be put in schools, homes, lodges or other It7 and the librettist’s wit, humor and facility Heavens,““Twihght Hour,” “The Open on amusing people with its sparklifg organizations for solo or group singing, but of expression are always a source of de¬ Road” These four short pieces will be dialogue and Pca4 tunes ' P ]“f that it is otilv right and proper that stu- ^ book is adapted for unison singing, rhythms ^\defimte and well contras tea ’Auna C. Barrow. „ it also is to be seen in the reading room and light to an audience. Those who con¬ published collectively in handsome style as people enjoy cle'n fun. JWe are pre- template the production of a musical play on the library shelf. It is of a convenient each one being illustrated with a photo- paring a new edition of it t, P literature book size, and even if one did not during the approaching season should, by te ”5'n"4"» A t Sf—? - ^ possess a piano, this book would be valuable all means, become acquainted with Miss and interesting if at hand on the library ■sriss&nrrffLi as,-* ssyass m Polly’s Patch Work Quilt. In order to shelf or reading table for moments when enable directors to obtain single copies of gThe special introductory price in ad- ?"r ^Stottag Tema'nd'whid, ^havf this work we are booking orders for it in one felt like reviving in the mind treasured vance of publication is 50 cents per copy, good reason to believe wfll b „reatl memories and sentiments wakened by the advance of publication at the reasonable reading and singing to one’s self, numbers PostPald- creased. While the new edit;edition™ &.„ t price of 45 cents a copy, postpaid. This O, SS BrAm’.Firrt Syp. For .*v- — preparation, all advance orders will be time for Fan a copy, postpaid. Immediately upon its 0f publication is 10 cents per copy, post- Young Piano Beginners n Danc^ that are to be found in this book. The A Child’s Day— close to 400 numbers for which words and accepted at 50 cents a copy, postpaid. completion by the hinders, however, this pajd. The re-appearance of this work which Madam Anne DeBeausset Suite for Pianoforte music are given embrace old favorites in Forty Negro Spirituals folk songs, love songs, the most popular By Paul Zilcher Violin Method for Beginners low price will be withdrawn. Eclectic Piano Stud ies othe^pubTisWng^hoLrwUl^brlelcom; ^Frederic' Cardini Merie'Munson SS)“ patriotic songs of all nations, sacred songs Morning Song Studious Hours By Ann Hathaway By Clarence Cameron White Secular Two-Part Song Compded byS,1-® a series news to the ma. ay0 teachers who prefer /‘Iiiiippinr Sefne Erana Mr Melchor and hymns. A complete description of this Going to School Playtime This book is now very nearly ready and Mr. Clarence Cameron White, the dis¬ Collection This is the third volume m ^ ^ ^ yQung beginners with the ^;,rias, Mr. Bruno Papas,' Mr. Yien book, going into all the details of what is Happy Comrades Lullaby we are confident that it will be on the tinguished violinist, composer and teacher, given in it and how it is given, might al¬ This little volume is by a composer bas made of this work a veritable labor This is a good all-round collection of Wfb bysta„dard writers. The first t«b!e ^MaT?n the German Lute market for the fall trade. The book is all secular wpart songs. AU of the songs ", enytitled The P^no Beyinner con^ ^ ^^tfuUy revfsing the book, which Mr. Wilil Rohbeek: most cause the reader to doubt the sincer¬ who has had great success in writing for done']-it the illustrations, these are now of love. In selecting the forty numbers comprising this work, all the available are restricted as to compass, so that im easiest exercises. Ihe seconu will br somewhat en- Switzerland ... Piano and Violm ity of statements that it all is procurable young students. The six pieces compris- being It is one of the best books of Parts are adapted for average voices, tains the ... d The progressing Piano in its new edition w , issued Drs. Brunschvig and Chessex for $1.25. The wonderful value in this ing this volume are very aptly illustrative its kind ever published. The work material has been sifted and the most book is made possible only through of their titles. They are very melodious first position and its sole aim is to lay a appealing numbers have been selected. large quantity production. The Theodore throughout and are exceedingly well con- thorough foundation for good violin play Mr. White, who is a skilled harmonist, Presser Co. arranged for a goodly number structed. They are particularly well con- ing, developing technic and musicianship has made his own arrangements in all SiSs .•-? of these volumes from this large edition trasted in rhythm and they require some hand in-hand. The author is a very well cases. The work is written for solo voice W, ,"«,U| «nJ al3 trade. V™ “'fa r. our confidence’ln1 Rs unusual merit. TM. ab.re. with piano accompaniment. It will be J-ell contrasted in character. Many of the 7 en very successful and a gr a revised and enlarged edition of tVc are sorry that the program given on so that its patrons might have the oppor¬ little independence of the hands. In known teacher and player with i large‘ tunity of securing this interesting volume point of difficulty they will be classed in following. gotten out in handsome style printed from mhiCs°b^kP°rary WFiterS are rCpreS help to practical teachers. ^ ^ „Brehm,s First Steps for Young Piano Afril «th at a price which figures less than a third grade two. This most attractive new The special introductory price plates of the regular sheet music size. The ' 1 . • , . nrice in ad- The special introductory P Beginners” may be ordered in advance of r(,aeh us in tiuie t0 be presented in the last *be "pecla . in‘roduct°r> pr l- ,nnv. vance of publication is 35 cents per e ty, ».cation gt 2g cents a copy. Etude. of a cent for each of the musical numbers teaching work is ready for delivery, vance of publication is 40 s per copy, Ihe special introductory price in ad¬ contained in it. Retail price, 60 cents. postpaid. vance of publication is 75 cents per copy, postpaid. Advertisement AUGUST 1927 Page 627 THE ETUDE 0E ETUDE Page 626 AUGUST 1927

^== Advance of Publication Splendid Rewards for r—1 Offers Withdrawn New Etude Subscriptions The Presser Personnel There is always a pleasure in presenting Note the inside back cover advertise- new publications and the Theodore Presser ment showing useful articles offered by us Co. doubles that pleasure through the ad- for new Etude subscribers. Make an vance of publication offer method, which effort to secure one, two or three new means that when a new work appears, subscriptions, select your reward and there are a number of individuals who will when you receive it you will be surprised receive an exceptional bargain through and delighted. Each piece of merchan- their foresight in having placed an advance dise has been carefully selected. A post of publication order for the work at the card will brine a catalog showing addi- very low advance of publication price. As tional premiums, these prices invariably are close to the cost of producing the work, business necessity Watch the Expiration Date requires their withdrawal and the establish- v_ ment of a fair market price. The three °n Your Etude Wrapper works named in the three succeeding para- If the date opposite your name on the graphs have been offered during a num- wrapper reads Miss Maud E. Walsh has been her of months past at low prices, but now Aug. connected with The Etude Music they are marked at the prices given. Teach¬ 27 Magazine since 1903 and we do abilities of conscientious individuals ers, of course, have the opportunity of se¬ not believe that in that year she who have seen long service in our it means that your last paid for copy had any idea that the magazine organization. Miss Drexel, for in¬ curing individual copies for examination, was mailed with that date. Be sure to with which she was taking a posi¬ stance, has been with us since Jan¬ which customarily is granted under the ex¬ send your renewal at once and avoid tion would ever expand to its pres- uary, 1000, and during the past 21 amination plan. proportions. years has gaine.d considerable ex¬ possible disappointment. The price of a In tl ir years Mi3s Walsh perience and has developed abilities Himalayan Sketches,, by„ Lily„ Strickland.... .—. year’s subscription is $2.00, two years. much of the subscription - making her one of the important This suite for the piano has been produced $3.50. Note the card in the upper left- ing to do herself, but now August Anniversaries members of the Circulation Depart¬ Etude Circulation Departmei Fingering the Scales Tony’s Parade ment of The Etude. in splendid style and the characteristic at- hand corner of The World of Music page divided into quite a few section: Anniversaries of the following musi¬ Miss Drexel is head of one of mosphere of these numbers makes them explaining our custom regarding discon- Miss Walsh has charge of th. cians are celebrated this month. Perhaps the sections handling the recording portant division caring for all By Helena Maguire By Marion Benson Matthews interesting in many ways, particularly as tinuances. some of you can honor their days by play¬ of Etude subscriptions and re¬ program novelties. The price of this vol¬ eign subscriptions and what 1 newals. There is considerable de¬ he termed the wholesale bran< Do you know how to finger all of your “Oh, yes!” exclaimed Tony, who was ing some of their compositions at your tail In a matter of this kind and an ume is $1.25. Beware of the Circulation Department, c Tony stretched himself out on the soft” experienced individual such as Miss August Club meeting. You might also A Collection of First and Third Position Cwindlorc Ing the sales of music dealers scales, or do you have to have your teacher green grass, beneath the maple tree. always eager to see parades. Drexel is able not only to function news stands. Where other men “Well, then, let us sit here a few min¬ look up some interesting details about their in her own position efficiently, but Pieces for Violin and Piano. Considerable ovvlIlulels of the Subscription Department tell you? Fingering the scales is really a “I’m tired after practicing so long on also is frequently the advisor of time has been taken in the preparation of Never pay a stranger cash for an Etude most of their subscription en problem, is it n<>;? We have seven notes such a hot day,” he yawned. “It’s count¬ utes,” said Half Note, “and we shall see others who have not i" ~ -' this volume and its careful preparation subscription unless you are convinced he upon a cash b ’ " ' " August second, Enrico Caruso died in experience in decipht vith i in each octave and only five fingers to ing that tires me the most, too 1 What’s id addresses in all s of li has resulted in a compilation of violin num- is thoroughly reliable. So-called “ex-ser- the use of counting? What’s the use They sat beneath the tree, and gazed up Naples, Italy, 1921. itings and gh all i: finger them with, so some fingers must bers of great value to violin teachers and vice men” and “college.men taking orders of keeping time, anyway? Seems to me the road. Tony was beginning to get im¬ August tenth, Alexander Glazounow, implete for average violinists. The number of pieces for votes to secure a tuition” and in- play twice. be acceptable the Postolliee for folks would get along just as—.” Here patient, when he spied a number of little Russian composer, was born in Petrograd, the safe delivery of the_=_ in this volume gives the purchaser real numerable other scoundrels cause both Do you know that once upon a time it Miss Drexel is familiar with othei value for its price of $1.00. ourselves and our musical friends a loss careful records he kept of sncl he dozed off, leaving his sentence in the black figures advancing. As they drew 1865. wholesale distribution, because tin was considered correct to go up and down August eighteenth, Benjamin Godard, departments of the Theodore Presser Audit Bureau of Circulations re near, Tony saw they were notes—quarters, Co., since the four years from 1014 Twenty-Four Melodious and Progressive £ fWe.”t quires this for the careful audi the scales using only the second and third eighths and sixteenths. And what was the was born in Paris, 1849. to 1918 were spent gaining addi¬ Studies for the Pianoforte, by C. Ourlitt, be resPonsible for the work of swindlers. they make of The Etude drculatioi fingers over and over again. Just imagine! matter with them? Some were running, August twenty-second, Claude Debussy tional experience in the Mail Read¬ Op. 131. There are few piano teachers who . to assure the advertising work ing Department. Try this yourself and see how very clumsy was born near Paris, in 1862. It may not be possible during the need be told about the teaching worth of V that The Etude does have the tots some were walking. They straggled all distribution each month of well <>vei over the road, and jostled and pushed one August twenty-second, Maud Powell, course of these introductions to these interesting and tuneful studies, but Address 200,000 copies, a distribution tliaj it is and how rough it makes your scales members of the personnel of the American violinist, was born in Peru, Theodore Presser Co. to cover indi¬ every piano teacher should make it a point When returning to your winter address, no other journalistic endeavor ii sound; and you know, sound is the most another. the musical field has ever ap “Is that the parade?” asked Tony, Illinois, in 1868. vidually all the members of the Cir¬ to see this superb new edition, and to see it if The Etude has been following you to proached by even a third. important thing in music. culation Department, but it is a teachers need only to specify the new your summer home, be sure to advise us August twenty-third, Moritz Moszkow- great pleasure to be able to present In Miss Walsh v.e Introduce a re So John Sebastian Bach set about to im¬ frowning. to our readers one who lias been a Presser Collection edition. The most crit- at once giving both your old and new liable, trustworthy, efficient ant prove the method of fingering scales. "Well, it’s one kind of parade,” smiled ski was born in Breslau, Germany, in 1854. most competent aid in the safe de¬ ical comparison with any on the market is addresses. We should have this informa- faithful member of our organize livery of The Etude to those who tion and she is one of the mans After he had been listening to twenty Half Note. have invested their money in a invited, because the Editorial staff super- tion at least three weeks in advance so who have taken pleasure over ninnj “What kind?” demanded Tony. years In well-serving Eicon friends of his children linger them with second ??? Ask Another ??? subscription. vising this new edition did excellent work, that no copies of The Etude will go “A parade where they don’t keep time,” The price is $1.00. astray. and readers. and third fingers lie said, “This will never 1. Is an English horn a brass or a iir5]f5]fc do,” and he set to work to see what he said Half Note. “That’s no good!” sniffed Tony. “And wood instrument? Save Money on Etude Clubs could do to improve the sound of his 2. Who wrote the opera “William Tell?” Three Splendid Etude where is the music?” You still have time to save on The Etude Music Magazine clubbed with other high children’s scale-. First he brought the 3. What does sensa ritardando mean? Numbers for only 35 Cents “How could there be music, where there class publications. Note these prices: thumb up from where it had been idly 4. When did Wagner die? For the summer months we offer, for ETUDE MUSIC MAGAZINE.... is no time?” asked Half Note. “You said hanging in front of the keyboard, saying, 5. What ‘ meant by enharmonic only 35 cents, three splendid issues of MoCALL’s . there was no use keeping time, anyway; “Here! This isn’t a violin we’re playing! change ? The Etude Music Magazine to those Regular price..$3.00 J Save 65c You don’t have to hold anything, so you so you should be satisfied with this sort music lovers not familiar with our publi- ETUDE MUSIC MAGAZINE.$2.„v , Boltl 6. What the national anthem of oust get to work and help finger the of parade.” cation. Here is an opportunity to get PICTORIAL REVIEW. 1.50 ( _ MODERN PRISCILLA.. SUCH A HOT DAY! “Oh, well—parades have to keep time, or scales; we now call you a finger.” . . . interval ? acquainted with the most widely read _ . -( v3.a5 • — > $3.40 they wouldn’t be parades,” admitted Tony. 7. What musical journal. Why not give several of yTTn!fvLPrrAC .St.OOj Save 60c Then, being a practical man he saw that What was all that whispering? It MUSIC MAGAZINE.$2.00 A Bolh “Yes, and other things have to keep 8. What nationality was Liszt? your friends a musical treat? The . ,$2.00x Both most of the work should be done by the seemed to Tony that he could almost make time—clocks, for instance. And speaking 9. What is a triplet? amount, 35 cents, may be remitted in -i!!>$3.oo " —> $2.35 MUSICAL stronger fingers. He said, “Seven notes out the words. He could make out words of clocks, it is time for me to be on my 10. What melody is this? stamps if it is more convenient. Further, ____ ■ .$3.00 ) Save 65c and five fingers. Fingers one, two, three, now Some one was saying, “We’ll show it will be credited on a full year’s sub- etude MUSIC magazine.$2.00 q Both E MUSIC MAGAZINE, . . . way. I’ll leave you to think of other in¬ 00 V Both four, five, one, two, would not do because him. Just do as I tell you. I’ll see that scription when themusic lover decides PE0PLE’S HOME JOURNAL.... _50 ( $2 25 AMERICAN BOY.. 1 MERCHANDISE stances where keeping time is of the - f $3.00 there would be always a hitch in getting he is reaejy for you.” Then the voice Regular price. ..$2.5i Regular pric greatest importance. I’m sure you can 30 J Save $1.00 the thumb under the fifth finger; and be¬ ETUDE MUSIC MAGAZINE.$2.00 \ Both spoke aloud. .. _ . , , think of many, if you try. But you can sides you don’t get anywhere on the key- “Tonv, look here!” it said. Tony looked ST’NICH0LAS.A!!l$5.25 AND STRINGS do your part by keeping time in your prac¬ behind him. There stood a big, fat Half Answers to Last Month’s Regular price.$6.On) Save 75c circle before you have a sharp on the sixth ticing. Y’ou will be glad you did, some PROMPT MAIL ORDER SERVICE tone; and you can’t put the thumb on a day.” And Half Note hurried down the Questions (July). BAND - ORCHESTRA Mack key. So,” said Bach, “we’ll play the N“Tony,” asked Half Note, “would you TO ALL PARTS CF THE COUNTRY street to overtake his straggling brothers. 1. Beethoven wrote 32 piano sonatas. ■ $3.50 first three fingers tivice in each octave, and like to see a parade?” _ AND 2. Bach was born in 1685. ETUDE MUSIC MAGAZINE. . , ...$2.00 1 Both _ then add the tied-up fourth just once; and 3. Poco a poco stringendo means little YOUTH’S COMPANION. AMERICAN MAGAZINE.7'’.'.'.'. ’.Tso) ^B°,h Vs,trings’ Yiolin bows, cases, PICTURE > $3.50 we won’t play the weak little finger at all Club Corner by little more hurriedly. Regular price. ) Save 50c bridges. Violin fingerboardP charts, pitch except as a kind of pivot to turn ’round on Regular price.$4,50 J Save 25^ Dear Jun.otEtudf,: from the other 4. Paderewski is a Pole. Morgan music ETUDE MUSIC MAGAZINE. . . 1 Both pipes, tuning forks, Ma~'-,:- when we’ve gone as far as we wish and D We a?e g°oRingTtoI>te:il you of our “R. H. T.” GOLDEN BOOK. ETUDE MUSIC MAGAZINE.$2 00S ~ (Juitar picks, Ukulele picl 5. A spinet is one of the ancestors of the REVIEW OP REVIEWS. 4.00 ! £5 ^>ur remblem, °signifies > $4.75 ar| going to turn back.” modern piano. Regular price. ..$"100.) Sare 25c Regular price.$6.00 J S So that is how we came to finger the 6. Verdi wrote “Aida.” ETUDE MUSIC MAGAZINE. . . . .$2.00" 1 Both ETUDE MUSIC MAGAZINE. scale one. two. three, one. two. three. Buyers of Band Orches- COLLIER’S NAT’L WEEKLY.. .. 2.00 NATURE MAGAZINE. g uu 7. Hans Sachs is one of the principal i Musicnvill find our stock \ $3.50 our; and nobody has been able to improve one that guesses i« have a short characters in Wagner’s “Die Meister- Classical, Standard and Regular price.. 1 Save 50c °n tb’s fingering that Bach made for his "liSm We combine work withnth pleasurepleat”- aim singer.” ETUDE MUSIC MAGAZINE. . . | Both pram* e__ » e alsonicn «study♦ the FASHIONABLE DRESS. 3.00J twenty children. 8. A triad is a chord of three tones, > $4.25 Of course, when we get ’round the circle composers. Regular price. 1 Sare 75c each one a third above the preceding one. ® where we begin scales on a black key, ETUDE MUSIC MAGAZINE. . . . .$2.00'|1 Both 9. The term for becoming softer is CHILD LIFE. e,meet a difficulty; for it is clumsy to diminuendo. > $3.90 Regular price. I1 the thumb on a black key in scales. ■ various assignments.. 10. The melody is from My Country Rood way to get around this is to divide From your friend, ETUDE MUSIC MAGAZINE. . . . .$2.ooq Both Reporter Mildred Nice (Age 15), ‘Tis Of Thee. _ HYGEIA. .. 3.00 l ur rule into three parts. For your first $4.10 Washington One, two, Regular price. Save 90c Th SCfles: “C>” “G,” “D,” “A,” “E,” say, h^vfenjoyTuking piano lessons for fou Try to do; th« , ntl finger on the seventh tone of Dear Junior Etude : Three, four. I and several others in my town want to , Sj3 6 *n 'he right hand, and on the Scales galore. at»my P^^The Etude ” ^ ^ ^ organize a music club and I wonder if some of m hasten the goal of your ambitions by seeking But L°ne 0f the scales in the leS hand.” the Junior readers who have had experience THEODORE PRESSER CO. ,en y°u reach “B” begin a second in clubs would be kind enough to give some Five, six, mt all nearby homes where there.re musicusic lovers, and interesting them in a subscriDtkmsubscription be^lo0S/1Llm3SirtoW°M™li.hfor suggestions to help us? We would appreciate 1712-1714 Chestnut St., Philadelphia, Pa. ° J“eE™de. Write the circulation department as to how you can become an author- shar^f4 wil1 include the scales “B,” “F- it very much. In mem’ry fix; the” purpose*®!”studying and giving concerts. ized Etude17 agent" ‘ and e: n money securing subscriptions in your spare time. ‘‘D-fl’ „ ‘G-sharp,” “C-flat,” “G-flat,” and From your friend, Seven, eight, at- The Enharmonic set, this is And play first-rate. (.Continued on next page) THE ETUDE Page 628 AUGUST 1927

—June - July - August—| JUNIOR ETUDE—Continued

THREE SUMMER ISSUES OF BIG The Junior Etude contests, which have been discontinued during July and August, And maybe I will some day, who knows? From your friend, will be resumed next month, and the win¬ Eva.ngelixe Hbnthobn (Age 13), The Etude Music Magazine ners of the “Church Music” essays con¬ _ Kentucky. test will then be announced. -you can EARN these fine awards easily Dear Junior Etude : I live about one hundred miles north of the Gulf of Mexico. I will soon be fifteen Only 35c Tony’s Parade yiars old. 1 have dark bol1'"-1 ’ ksmsHt —NO EXPERIENCE NECESSARY— h THE ETUDE MUSIC MAGAZINE SIMPLY SECURE NEW SUBSCRIPTIONS FOR

50 EXCELLENT PIECES OF MUSIC The ETUDE MUSIC MAGAZINE ) INSPIRING EDUCATIONAL ARTICLES FOR ONLY 35c

You would think nothing of spending several dollars for a lunch only

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r and we will do the rest.

THE ETUDE MUSIC MAGAZINE

The Biggest Musical Buy of the Time!

THE GEMS OF CZERNY ARRANGED AS A GRADED COURSE OF STUDIES Selected “Czerny” Studies

ing arranged in . in difficulty from the enth grade. Czerny’s tail and his mastery of

writer. The object of tion is to present his very best studies of all grades' in attractive'and convenient form for general use. The success of this work has been of the most flattering character. It is the best work of the kind ever offered. It is printed from beautifully eng and substantially and thoroughly bound in heavy

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