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

2-1-1921 Volume 39, Number 02 (February 1921) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 39, Number 02 (February 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/676

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE Presser’s Musical FEBRUARY 1

Building a Vocal Repertoire Mme. Alma Gluck

How to Double Your Progress Leroy B. Campbell

The Average Amateur Pianist Constantin von Sternberg

Too Difficult Music Clayton Johns

Improvement in Practice Clarence Hamilton, M.A.

How Debussy Succeeded Commendatore E. di Pirani RENEWAL.—No receipt t for renewals. On Beethoven Nursery Subscription Price, *2.00 per year in United PRESSER’S MUSICAL MAGAZINE . _rent you will be States, Alaska, Cuba, Porto Rico, Mexico, Hawaii, I your subscription is paid Philippines, Panama, Guam, Tutuila, and the City jipt for your subscription. of Shanghai. In Canada, $2.25 per year. In England Selected Sonatas and Colonies, 11 Shillings-2d| in France, 14 Francsl and cash deductions are allowed fo Tales when remitted by International Postal money order, Price, $2.50 payable at Philadelphia. All other countries, $2.72 Retold Single copy, Price 25 cents. npHE recital programs of piano virtuosi frequently REMITTANCES should be made by post-office o A feature a Beethoven sonata, and every advanced EASY press money orders, bank check or ’ ' J1 AlThou^ eyry possible' care “taEmtte^pnCu^iI^^ student has occasion at times during his course of United"---*- study to use these standard classical compositions, FOUR-HAND so valuable for developing technical facility. The PIECES ADVERTISING RATES will be sent on application. complete Beethoven sonatas comprise two large vol¬ Advertisements must reach this office not later than the 1st umes, but not one student in a hundred will ever By Geo. L. Edited by James Francis Cooke of the month preceding date of issue to insure insertion in the have need of all of them. This volume contains only the most used sonatas, such as the Moonlight, Spaulding Pathetique, Waldstein, Appassionato, etc.—fourteen numbers being included. It has been issued in the Presser Collection, bound more strongly than usual, l UNIQUE collection of characteristic four-hand the editing being in conformity with the Cotta edi¬ 1 pieces suitable for pupils in the first and second tion, which is the one most frequently used. ' grades. Jessica Moore has taken the old familiar nursery rhymes and given them a new and humorous setting to which Mr. Spaulding has written melodies in his own inimitable style. The duets are similar The World of Music to the writer’s earlier books, You and I and Just Seven Songs from We Two, in that the text has been printed between has been in Buenos Popular Choir - staves in both primo and secondo parts, so that Way Down South Collection By Lily Strickland Anthems for Church Service Price, 35 cents Celebrated Pieces in Price, $1.25 npHE latest in the series of pop- I A ular collections of easy and Easier Arrangements is for church re have issued For the Pianoforte 3 time. Like the volumes it con- Price, $1.00 he best numbers i our catalog suit- OlANISTS of moderate ability, whose technical e for use of the av¬ -*■ training, does not permit their attempting the erage choir, and fur¬ great classic masterpieces, will be delighted with the isssss siSS iSSS nishes a most eco¬ arrangements that aomprise this volume. Teachers, nomical method of too, who wish to inculcate a taste for the best music replenishing the in their pupils will find them invaluable. Very little repertoire and violence has been done to the originals, the object keeping itup- having been to bring the works within the reach of . to-date with performers in the intermediate grades. , ..^ortunity \ bright, new judging ,tlej ^ andeffec- Songs of the Melodies North American Without Notes CONTINUATION OF A B C OF PIANO MUSIC Indian By Mrs. H. B. Hudson Price, 60 cents WITH PREFACE AND EXPLANATORY NOTES 'T'HE apparently paradoxical title of this work is A well justified by its contents. The little melodies By Thurlow Lieurance contained in the book are written out in capital let¬ ters instead of in musical, notation, but they are written out in such a manner that there can be no Price, $1.50 misconception as to time. This idea was first carried out most successfully in Mrs. Hudson’s previous book, A/f R. LIEURANCE’S songs are real Indian music entitled ABC of Piano Music, of which this may be —they have the color of the plains and the regarded as a continuation. The melodies are all mountains and the wigwams and the campfires. The very easy and pretty to play. An artistic title page adds to the book’s attractiveness. peculiar characteristics of the North American Indian are most vividly portrayed in the melodious themes, many of which were obtained at great personal sacri¬ THIS interesting little volume consists of fice by Mr. Lieurance. The accompaniments have -*■ original melodies and arrangements for four- been artistically made hand playing at the piano. They are not neces¬ and really enhance sarily for teacher and pupil, but they may be Mail Order the native beauty of played by two students, as they lie chiefly in the first and second grades. An excellent book for the Indian melodies. early drill in ensemble playing. By the Waters of Music Supply House Minnetonka (Moon Deer) ; A Rose on an Songs and Dances from Foreign Lands Indian Grave; Indian Arranged for the Pianoforte Spring Bird, and By Theodore Presser Co. By M. Paloverde the Weeping Waters 1710-1712-1714 Chestnut St., are among the popu¬ Price, 75 Cents lar songs included. Philadelphia, Pa. npRADITIONAL folk melodies and dances of As novelty numbers A various European nations arranged as second for recital programs grade piano pieces. Teachers will encourage the Music Publishers and these songs are un¬ pupils’ interest and obtain splendid results by using Dealers these numbers as recreational material between the excelled. usual routine of scales and exercises. j illSffEi isifpsiH

--—1 FEBRUARY 1921 Page 75 TEE ETUDE THE ETUDE Page U FEBRUARY 1921 The Best and Most Used Collections and ,9 V the Student—Albums and Works for the Music Lover IH Suggestions for the Teacher—Recreation Material for

PIANO COLLECTIONS VOCAL COLLECTIONS j PIANO TECHNICS AND STUDIES PRIMERS—RUDIMENTARY WORKS ARTISTIC VOCAL ALBUM FOR HIGH VOICE. ADVANCED STUDY PIECES. LITTLE HOME PLAYER. Piano or Organ. $0 ARTISTIC VOCAL ALBUM FOR LOW VOICE . -_.... _ ..... North America! S. Little Prelude, sod Fugues. SO 75 MASON, Dr. WM. Touch and Technic: Part I, Pieces of technical value as well as musical MaeDOWELL. EDW. 6 Poems after Heine, Op. 31 1 BERWALD’S MEN’S CHOIR. MEN’S CLUB COLLECTION. B1LBR0, MATHILDE. Spelling Leuene in The Two Finger Exercises; Part II, The merit in 4th, 5th and 6th grades. MASTERPIECES. The 21 best compositions from B1SPHAM, DAVID. Clebrated Recital Songs.. NEIDLINGER. Little Folks’Song Book. 1 Time end Natation...... ch (Leeison Scales; Part 111, The Arpeggios; Part IV, ALBUM OF DESCRIPTIVE PIECES. the greatest masters. * The most notable coUection of songs, an¬ SACRED DUETS. For all Voices. 1 The School of Octaves. 4 Books each .. 81 MATHEWS, W.S.B. Standard First and Second SINGER’S REPERTOIRE. 36 Songs. the pupil with all phases of notation. Characteristic piano pieces, depicting musi¬ cient and modern, made in recent years. cally various scenes and impressions. Inter¬ Grade Pieces. } CECILIAN CHOIR. Sacred two part Songs SLATER, D.D. Four Sacred Songs. 1 BURROWES’ PIANOFORTE PRIMER (PAPER) mediate Grade. " Standard Third and Fourth Grade Pieces .... 1 CHOIR BOOK FOR WOMEN’S VOICES STANDARD SONG TREASURY. 48 Songs. CLARKE, H. A. Theory Explained to Piano BERTINI, H. 25 Studies for Pianoforte, Op. 29. "E^S§||i|gShS AMERICAN COMPOSERS’ ALBUM. '■ Standard Fifth and Sixth Grade Pieces. 1 CHURCH AND HOMfi. Sacred Songs, High Voice STANDARD VOCALIST. 50 Songs. Students... BACH, J. S. Album of Favorite Pieces. Large collections for teaching and recreation STRICKLAND, LILY. Seven Songs from Way Teaches the principles of Harmony in the “ 25 Studies lor Pianoforte, Op. 100. “ Sacred Songs, LOW Voice. B1EHL, A. Elements of Piano Playing, Op. 30.... MATHEWS, W. S. B. First Lessons in Phrasing 1 BEETHOVEN, L. VAN. Select FLORIO, CARYL. Four Songs (Small Compass Down South. 1 “ Studies in Phrasing, Book I J ■' Standard Compositions, Vol. I, Grade I te E-B) STUDIO SONG ALBUM. 1 CUMMINGS, W. H. Rudiment, of Muaic. With ledge of music requin B1LBRO, MATHILDE. General Study Book. » Studies in Phrasing, Book II. 1 Vol. VII, Grade VII, each. GALLOWAY, 1 ID B. Seven Memory Songs Teaching Songs. Medium Voice. “ Melodies in Difficult Key.. MENDELSSOHN. Songs Without Words (Com- TWO PART SONGS. Women’, voices. “ 25 Melodies for Eye, Ear and Hand Training ” STANDARD GRADED COURSE OF STUD¬ WOMEN’S CLUB COLLECTION. BLOSE, JOH. M. Pedal Booh IES. 10 volumes, 10 grades, each. I MODERN DANCE ALBUM. .. all the essential fundan BUGBEE, L. A. First Grade Studies. Easy, This is the original, and in spite of dozens MODERN DRAWING-ROOM PIECES. 1 to a musical education. original, melodious study pieces. of imitators, still the one universally used MOSZKOWSKI. M. Favorite Compositions. FOUR-OCTAVE KEYBOARD CHART (Cloth) TAPPER, THOS. ’’ Second Grade of Melodic Studies ...... course of piano study, combining and suggest¬ CELEBRATED PIECES IN EASIER ARRANGE¬ MOZART, W. A. Sonatas, 2 vela., each. 1 “ (Boards). " ' *'oxart A volume to succeed “First Grade Studies” ing everything essential for acquiring a perfect MENTS . 1 “ Sonatas, Complete. _. J ORGAN WORKS JOUSSE'S MUSICAL CATECHISM (PAPER) by the same author. knowledge of, as well as finished shill in, piano CHAMINADE, C. Album of Favorite Compositions “ Album of Favorite Compositions. 1 K1LL0UGH, G. C. Gibbon’s Catechism of Music BURGMULLER, F. 25 Studies, Op. 100 ...... playing. CHOPIN, F. Complete Wallies. 1 NEW AND MODERN SONATINA ALBUM,. .. 1 499 Questions and Answers. Notation, , by doini “ 12 Brilliant and Melodious Studies, Op. 105. MORRISON, R. S. Seeond Grade Study. 10 “ Etudes [Ops, 10 and 25'complete 1 PALOVERDE, M. Songs and Dances from Foreign ’ ' intervals, scales, keys, chords, binding, illustrates and practically t “ 18 Etude, de Genre, Characteristic Etudes, iri.tic Piee “ Lighter Compositions for Piano...,. 1 Lands. Second Grade Piano Pieces.. AMERICAN ORGANIST.. ORGAN REPERTOIRE. Op. 109. Fresh and or nal te " Complete Nocturnes. 1 VENTH, c" °MU.icri Theory and Writing ’’ Selected Works (I. Philipp). ! PARLOR and SCHOOL MARCHES 1 CHORDS AND ARPEGGIOS (Orem). PIANO PLAYER’S REPERTOIRE OF POPULAR BACH, J. S. Eight Short Prelude, and Fugue... 'ok*::::::: Teaches theory through writing ex< CLEMENT!. M. Cradu. ad Parnaasum. ly or replace studies by such writers PIECES. 39 Popular Pieces. bog. CLASSIC AND MODERN GEMS for Reed Organ CONCONE. J. Selected Studies CLEMENTI, M. Sonatinas (Ops. 36,37. 38) . 1 POPULAR HOME COLLECTION. 46 Pieces... LANDON, C. W. Organ Melodies. ROGERS, J. H. Graded Materials lor Pipe Organ. “ Op. 24; 37, each. PALOVERDE, M. Left Hai Facility. COMPOSITIONS FOR THE PIANOFORTE BY POPULAR PARLOR ALBUM,.. .. An album of transcriptions for the pipe or- An instructor especially for pianists. 1 “ Op. 25; 30; 31, each.,. Easy study pieces. WOMAN COMPOSERS. 1 POPULAR RECITAL REPERTOIRE. 31 Pieces STAINER, Dr. i. The Organ (New Editon). I COOKE, J. F. Mastering the Scries. PARLOW. E. First and Secc I Grade Study Pieces ROGERS, J. H. Toy Shop Sketches STANDARD ORGANIST. Pipe Organ Pieces ... CRAMM, H. M. New Tunes and Rhymes for ROWE, DANIEL. Tone Stories for Boys and Girls Enables the teacher to start scale study PERRY, E. B. Lyric Studit Little Pianists (with words). WHITING, GEO. E. 24 Progressive Studies for the with very young pupils and carry it on to the Wrist Studies To play. “ School of Reed Organ Playing, 4 vois., 4 grades, Pipe Organ. To follow the elementary stage. 1 “ Sunny Day Songs (wish words). each. “ The Beginner’s Pipe Organ Book. A standard PHILIPP, I. Exercises in Extension. Unique DE LEONE, F. Little Tunes for Little People SCHUBERT, r. Impromptus mom ti Musicals! ORGAN PLAYER. OREM, P. W.-Pipe Organ studies Strengthen and stretch the hand DUTTON, THEODORA. The First Progress. SCHUMANN, R.‘ Selected Worts. “ Op. 60. Finger Gyir ■ - “ Preparatory School of EASY DANCE ALBUM. ichnical ex ENGELMANN, H. 24 Pieces for Small Hands.... “ 101 Short Exercise, in Passage Playing. Op. ^ ^ * School •• Pictures irom nouuaj *• Pictures from Storyland . MUSICAL THEORY, REFERENCE “ School of Velocity j Op. 299 .175 ' The New Gradus ad Second grade teaching 1 " School of Velocity, Op. 299. 4 book., each.. 50 books: SMITH,1TH,| HANNAH.I Rhymin; BOOKS, GENERAL MUSICAL “ 6 Octave Studies, Op. 553. 50 Book I. Left Hand T< FIRST PARLOR PIECES. “ First Pianoforte Instructor, Op. 599. 75 Hand Technic; Book FIRST RECITAL PIECES. SONATA3 ALBUM, Two Vois.. each . “ Preliminary School of Dexterity, Op. 636. 75 Book IV, Arpeggios; I FIRST SONATINAS . SONATINA ALBUM (Louis Kohler). LITERATURE “ Art of Finger Development, Op. 740 2 00 Book VI, Octaves an FIRST PIECES IN THE CLASSICS . SPAULDING, GEO. L. Souvenirs of thi “ Op. 740, 6 boohs, each. The Trill; VIII, V CODARD FAVORITE COMPOSITIONS. Masters. Introducing famous melodies. ” Practical Finger Exercises. Op. 802. 1 25 Each. CREENWALD, M.^ Children's Songs and Game' “ Album fda ffie Pianoforte. BALTZELL, W. J. History of HOFMANN, JOSEF. Piano Playing w CZERNY-LIEBLING. Selected Studies. Three The contributions “ Birthday Jewels.. ... ■ ■--- Questions Answered. boohs, each...••••• ■ 100 “ Juvenile Play Songs. “ Tunes and Rhymes (with words) . Over 100 pages of essays on vital; Czerny’s most necessary studies selected e study occupy a front place • Children’s Rhymes from A to Z. “ Youthful Diversions (with words).. piano playing and 250 question* ansi and arranged in practical and progressive “ Well-known Fables Set to Music (with words BENDER G.C. Buxineas Manna! foe MosicTeacbei a contemporary virtuoso. order by an expert in piano teaching. sssfhj STANDARD ADVANCED ALBUM. 28 Pieces . CLARKE, H. A. Harmony, A Text-Book MUSICAL BOOKLET LIBRARY. 9 toIs.. DORING, C. H. School of Octave Playing. Op. 24 75 GRlEG,3 ED.2"f!rst^Peer (lynt' Suite, Op. 46 ST ANDARD AMERICAN ALBUM. 42 Pieces.. -ided to enable the pupil to grasp easil OREM, P. W. Harmony Book for Beginnc DUVERNOY, J. B. Ecole du Mecanisme, Op. 120 75 PISCHNA. Sixty Progressive Exercises. 1 “ Album of Miscellaneous Pieces STANDARD BRILLIANT ALBUM 27 Pieces... nprehensively the facts and rules of th The plainest and most elementarv GURLITT. Album Leaves for the Young. STANDARD ELEMENTARY ALBUM. 82 Piece book ever issued. Adapted fo vate or clast ’’ Ecole Primaire, Op. 176 50 PLAIDY, L. Technical Exercises. 1 “ Album of Selected Compositions (Mathews). cTtuniDn cidct PlPr.ES 72 Pieces. teaching, especially suited for seli-instructu GREENWALD.M. 20 Progressive Studios. Grade 2 1 25 PRESSER, THEO. First Studies in Octave Playing HAMER, G. F. old Rhymes With New Tunes .. PERRY. Descriptive Analyses of Piano Works.. GURLITT, C. Easiest Velocity Studies. Op. 83 75 HANDEL ALBUM (Presser). “ First Lessons. Op. 117. 50 “ Selected Octave Studies. Equal develqp- HARTMANN, A. Fifly-one Old Hungarian Melodie “ Stories..Teaching of Standard T Pieces. ment of both hands, flexibility and strength. the best manner in intermeu.w./Tfficuky “ 35 Etudes Facile., Op. 130. 75 not beyond the fourth grade. “ School of Velocity. Op. 141. 7S RANSOM, E. Through the Major Keys dents, teachers and concert-goers should get HABERBIER, E. Etudes Poesies, Op. 53, 59. 1 00 ROGERS, J.H. Octave Velocity. Short, mterest- SSK sTcraNrsmssfcSMfcr.' acquainted with these books. HANON.C L. Virtuoso Pianist, Complete.. 175 ing, musical studies of great technical value 1 s and iUusi REDMAN, H. N. Pronouncing Dictionary of HEINZE, L. G. The Piano Beginner 80 Piano Pla. . “ The Progressing Piano Player 80 on technic, interpretation, SKINNER, O. R. First Year in Theory. . . HELLER. STEPHEN. Thirty Selected Studies. _ _ Pieces in Melody SWIFT, N. Storytime and Playtime. SCHMITT, H. Pedals of the Piano. Playbg and Expression, Op. 368. 1 TERRY, F. Little Artist, The STREATFIELD. Life Stories of Great Compoaers ’ 10 Melodious Studies in Velocity, Op. 380. 1 TREBLE CLEF ALBUM v ’ Music Masters. Old and New. „ TAPPER. First Studies in Music Biography. “ 25 Melodious Studies, Op. 45.. 1 0( ’ Melody and Velocity, Op. 872. 1 TSCHAIKOWSKY, P. Album lor the Young KROGMANN, C. W. Ten Five-Note R omposers about whom very little i A History of Music for Children. Direct, “ 30 Progressive Studies, Op. 46.., ’ Ten Melodious Studies for Advancing Players, KUHLAU, F. Sonatinas. 20TH CENTURY DANCE ALBUM. readable and never heavy. Full sketch of ’’ 25 Studies, Op. 47. Op. 876. 1 LEFT HAND RECREATION ALBUM VERY FIRST PIECES, THE . HERZ, H. Seale, and Exercise. WACHS, PAUL. Album of Favorite Composition ELSON, L. C. Mist; t and Disputed Point fnSstrS°!€r 8 ,ew,t portra,t8an ’ Twelve Melodious Studies in Embellishment, LICHNER, H. Sonatinas, Ops. 4, 49, 66 WAGNER-LISZT. Album of Transcription.. Teaching. . “ Education of the Music Teacher. JONAS, ALBERTO. The Pianoseript Op. 902. 1 LISZT, F. Album of Celebrated Works YOUNG PLAYER’S ALBUM. 70 Pieces. liC AND I A unique indexed volume coverin ' Ten Brilliant Octave Studies, Op. 1044. 1 New Am WILKINSON, C. W. How to Play Well-known of modern piano playing in which “ Finger Freedom Studies, Op. 1060. 1 Pianoforte solos. and records can be kept by the so “ Studies in Syncopation, Op. 1079 1 HEACOx!PARTHUR E. Ear Training. . ... WODELL, F. W. Choir and Chorna Conducting.. KLEINE PISCHNA. “ Studies lor Left Hand Alone, Op. 1103. 1 KOELLING, CARL. Major and Minoi SCALES AND CADENCES (Presse rk takes VOCAL METHODS AND STUDIES l7d‘S' SCHMITT, A. Preparatory Exercises, Op. 16a.. SCHMOLL, A. Studies and Study Pieces, 3 vo TEACHERS’ SPECIALTIES Hoot, F. W. Methodical Sight Singing, Through AIQOUNI, K. H. Practical Method for the Young LEVENSON, C. Selected Studies in Second KOHLER, L. First Studies, Op. 50 ABT, F. Singing Tutor, complete. Violinist .SI Third Positions. “ 12 Little Studies, Op. 157. beautiful. ARTHUR, A. Lessons in Voice Training. Med “ Methodical Sight Singing, Progressive Musi- ^ BENJAMIN, FRANK T. Comprehensive Violin LIEURANCE. THURLOW. Indian Melodies.. “ 12 Preparatory Lessons, Op. 151. CONCONE, J. Fifty Lessons, Op. 9. MUSIC WRITING PENS. Per dozen. 3 Method. 1 PLEYEL, I. J. Petit Duos for Two Violins, C ’’ Very Easiest Exercises, Op. 190. GREENE, H. W. Standard Graded Cour •’ Introductory Lessons in Voice Culture!...... 100 BILLS OR RECEIPTS. Package of 100. PRESSER’S FIRST MUSIC WRITING BOOK.. BLUMENSTENGEL, A. Scale and Arpeggio SCHRAD1ECK, H. Scale Studies. “ Small School of Velocity. Op. 242. •• Guide lor Male Voice. 1 25 BLANK BILLS. Large size (50). STANDARD PRACTICE SLI PS. Pad of 100.... Studies, Vol. 1. “ Technical S udies. Vol. 1. KROEGER, E. R. 15 Etudes for the eultivatien of SIEBER, F. Elementary Exercises, 36 8-Measure BUNK MUSIC BOOKS. 6 staves, 32 pages STANDARD LESSON RECORD. DANCLA, CH. Six Petit. Ah. Varies, Op. 89 SEVCIK, 0. School of Bowing, Op. 2, Vol. I the left hand. SCHULZ, F. A. Scales and Chords. Studies, Op. 92, Soprano 60 8 staves, 32 pages. STUDENT'S HARMONY TABLET. DE BERIOT, C. Method for Violin, Vol. 1. 1 STANDARD VIOLINIST, 32 piece.. 8 staves, 40 pages. KUNZ, K. M. Two Hundred Short Two-Part SCHWALM, R. Daily Exercisex MARCHESI, S. 20 Elementary and Progr. “ Op. 93, Mexzo-Soprano. ”0 . 8 staves, 64 pages. TIME CARDS. Lesson and Practice Record. FAVORITE OLD TIME TUNES. Violin and Piano 1 STUDENT’S POPULAR ALBUM. 22 Favt Canons, Op. 14. Vocalises for Medium Voice, Op. IS Package of 25. FRANKLIN, F. A. Operatic Selection. Compositions. LACK, THEO. Op. 289. L'Arl du Clavier. SMITH, WILSON G. Etudes Arabei ss, Op. 75 1 MYER, EDMUND J. Vocal Instructor. Aprs VACCALN.' Practical Italian Vocal Method. 75 BLANK MUSIC PAPER. 12, 14 or 16 stave “ Selected Classic.. TOURS, B. Complete Instructor for Violin. SPAULDING, G. L. Etudes Melodiqu V1EHL, G. Graded Studies in Sight Singing ... 75 HOFMANN, R. Rest Studies in First Position, 100 special studies in modern style. PAPEROID WALLETS VIOLINIST’S POPULAR REPERTOIRE.29 pie LANDON.C.W. Playing Two Notes Against Three For students just beginning third WHELPTON, G. Vocal Studies for Soprano and Op. 25, Booh 1. WATSON, MABEL M. Bel Canto Method for V Each study brings out some special point. HOHMANN, C. H. Practical Violin School, Ger¬ Positively the^most ^ elementary met ‘ Vocal 6 fines, wldespaclng, 7 x 8>4, 100 sheets. man and English Test, complete. 1 LESCHETIZKY METHOD. The Modern Pianist. STANDARD CONCERT ETUDES. 1 'help for the busy teacher. ^ The needed CLARKE, H. A. Harmony Tablet. . ' Same in S Boohs, each . (Prentner). for all purposes. ■ WICHTL, G. Op. 10, The Young Violinist Difficult. To follow Standard Graded Course. Sight Singing. The GUARD, F. F. Music Pupil’s Lesson Book at KAYSER, H. E. Elementary and Progressive LOESCHHORN, A. Selected Studies. STEINHEIMER, S. Time Studies. ROOT,^. W. Methodic. i'tudent'rMa'nuaTo'f'sight Singing. Practice Record. Studies, Op. 20. 3 Boohs, each WOHLFAHRT, F. Elementary Violin Metho A new and attractive set of studies for MUSIC TEACHER’S DESK TABLET. Pad of 1< LEVENSON, C. 50 Selected Studies in the First Beginners, Op. 38. second and third grade work. Each study is " Op. 45, 2 Boohs; Op. 74, 2 Boohs, each ’’ OpC*65,,tSmd!e.*forhthe Development of Technic ended t( emplify and w and Expression, three books, each. rhythmical The Theodore Presser Company cheerfully opens accounts “ Op. 65, complete | ble individuals, grants liberal discounts to the profession and offers many “ Op. 66, Etudes Progressives, three books, each STREABBOG, L. Twelve Melodic Studies, Op. 63 " Etudes Progressives, Op. 66, complete. 1 “ Twelve Easy and Melodious Studies, Op. 64.. othTadvantages, such as the “On Sale” Plan, to the Mail-Order music buyer. Helpful Catalogs Cheerfully Furnished Theodore Presser Co. “On Sale” Plan MacFARREN. WALTER. Comprehensive Scale VOGT, J. 24 Octave Studies, Op. 145.. A postal request is all that is necessary to obtain any of our carefully prepared, W1ECK.F. Piano Studies. graded and classified catalogs, suggesting numbers for teaching, concert or guarantees satisfaction. Any Presser publication will be sent for examination form mill be sent gratis upon request church purposes. Descriptive catalogs of piano collections or theoretical works upon request. You may specify special items that you would care to examine or A selected graded list of pieces in sheet and musical literature may also be obtained. Tell us the branches in which you tell us your needs and let us send you a package of material to select from. You are interested and state whether teacher, performer or music lover. pay only for what you use and return the remainder. The same large dis¬ count allowed as though the music was purchased outright. THEODORE PRESSER CO., ■ffiJSSSr PHILADELPHIA, PA. -ANNUAL SUBSCRIPTION, $2.00- THE ETUDE Page 7G VEli 111' A H1 1921 THE ETUDE Standard Graded FEBRUARY, 1921 Single Copies 25 Cents VOL. XXXIX, No. 2 America’s Intense Amateur Interest in Music Case VII. Chemical engineer, head of laboratories in a great industry. A remarkable self-taught pianist, who has Very few Americans realize the intense and ever-expand¬ given successful recitals and composer of works played by fine ing amateur interest in music in America. pianists. "liPSif Moreover, music is the only serious art of to-day which is Course of Studies Case VIII. Senior partner in leading banking business. cultivated largely in the home. Even the art of reading, itself, A fine violinist, who has regular Sunday quartet practice in has unfortunately few devotees in comparison with the past, his home. when all educated people were more or less compelled to know FOR THE PIANOFORTE Case IX. Millionaire manufacturer of cotton yarns. the latest and best achievement in literature. Excellent violinist. Has given a small fortune to help boys Where the home study of reading and painting has ad¬ in Philadelphia receive a musical education, and has provided vanced but slightly music has progressed enormously, and is Compiled by W* S« B. Mathews them with a club house. constantly making giant strides. The number of serious-minded Case X. Dentist, one of the most prominent in the city men of large affairs who find time to give to the practical study with very large practice. A splendid violinist and regular par¬ IN TEN GRADES ^ TEN BOOKS ^ PRICE, $1.00 EACH GRADE of music is really amazing. ticipant in string quartet work. The public knows that men such as President-elect Hard¬ Case XI. City editor of one of Philadelphia’s largest ing, Mr. George Eastman, and Mr. Charles Schwab are not dailies. Fine violinist, conductor. Has conducted his own merely music lovers, but are practical musicians. It does not symphonies. Busy newspaper man. An Unequaled Educational Work for the Piano stop to think, however, of the thousands of other men and Case XII. Most famous Philadelphia author, with world¬ women in all parts of the United States who are only a little Thousands upon thousands of copies of these grades have been used for the instruction wide reputation, a lawyer and publicist. Has written a sym¬ less famous and who find in music the inspiration and intellectual phony that was highly praised by Liszt. of piano students in all grades from the very beginning to the virtuoso stage. No such refreshment which they seem unable to get otherwise. Case XIII. Steel manufacturer. Excellent bass soloist. verdict of approval has ever before been given any educational music work. It is this earnest amateur interest in the home which has Has given recitals, repeatedly taken leading roles in oratorio. developed music in America rather than the professional in¬ Case XIV. Lithographer and printer. Officer in leading terest. Augmented by the talking-machine and the player- establishment. Fine musician, composes regularly. Takes piano, American homes are now among the most musical in the This is a Complete, Progressive Series of the Indispensable Studies active interest in all things musical. world. But the remarkable fact is that such an enormous num¬ ber of American men and women in businesses and professions for the Piano from the Very Beginning to the Highest Grade Hearing Colors think enough of music to want to be able to play acceptably The Cream out of all the standard sets of studies is here brought together in progressive for themselves and want to read everything they see about Chromacoijsia is what they call it now. Chromacousia is the phenomenon of hearing colors, or rather seeing colors order and all those who have used this extremely successful set of studies know that music. That the daily papers the country over are devoting more and more space to music and music study, that an indus¬ when certain music is heard. Years back enthusiasts implied they are try fast approaching the billion-a-year mark, has resulted from that certain phases of music suggested certain colors, and this musical interest, is all a matter of common knowledge. called to mind the fact that the vibration rates of colors bear Your editor recently made a mental census of just a few a peculiar relation to the vibration rates of the gamut under A Convenience to Teachers-An Advantage to Pupils highly accomplished amateurs in the city of Philadelphia. The certain conditions. Then came the Kindergartners, Scriabine result follows. Remember that these are only a very few of the and an. American pianist, Mary Halleck, and others, all fussing Each volume supplies all the needed material for the grade with which it treats, and in most conspicuous cases of prominent musical amateurs in only with the problem of relating music to color. Now the Medical addition pieces for study diversion are suggested. Constant revising, enlarging and re- one city in America. Summary, a (recognized medical authority, in a recent issue re¬ ports the cases of blind men who, upon hearing certain kinds editing keep the system modernized and filled with the world’s best studies. Case I. Partner and general manager in one of Phila¬ of music, always see colors. The investigations were conducted delphia’s largest departments stores; large salary. A fine in South America, and the report given follows an extract from choral conductor, who has rehearsals twice a week; also, a very El Siglo Medico. Any Teacher May Inspect Any or All of the Ten Grades good organist, playing every Sunday. “The patient at first attached no importance to the phenomenon. Case II. Owner and manufacturer of one of the largest Fifteen years before he had become totally blind from disease of the optic Our “On Sale” mail order examination system provides for the furnishing of teachers iron businesses in Philadelphia. Very fine organist and spends nerves and from the very onset of his blindness he noted that certain with material and only that which is used is paid for. sounds produced visual effects. For example, the first bars of Gounod’s a great deal of time in organ practice and in writing music. Ave Maria, called forth a color hard to define—a sort of mixture of violet Case III. A leading Philadelphia jurist, who is an excep¬ dnd rose This appeared only as a haze without definition. On certain occasions he beheid an emerald green on hearing the violin. SUCCESS BRINGS IMITATORS, BUT THIS “ORIGINAL” GRADED COURSE HAS NEVER BEEN tionally fine performer on the piano. Has a fine pipe-organ “Commenting on this case, Ribon states that chromacousia is seen in in his house and has given recitals. Colombia under exceptional circumstances. He himself knows of a sub¬ SUPERSEDED SEND FOR OUR HELPFUL BOOKLET FOR TEACHERS THAT ALSO CON¬ ject who sees blue under the influence of certain musical airs of which Case IV. Philadelphia’s most prominent Episcopal clergy¬ TAINS A DESCRIPTION OF MATHEWS’ STANDARD GRADED COURSE he does not know the names: he never pays much attention to the phe¬ man. Plays Beethoven’s Sonatas with ease and Bach’s fugues nomenon. The color seen by the blind correspondent on hearing Gounod’s with fluency. air is doubtless light violet, for that is the shade, along with blue, which Gounod’s music usually produces in the subject predisposed to chro¬ Case V. High salaried sdles-manager in large textile macousia. v^r- •>'■' -■' 'r^'T''' “ ■ mi — THE ETUDE FEBRUARY 1921 Page 79 ~ Zfi:^h£A». 'k Vrs, ^u.^ c X.^-. ..<■■■ J__;_ -

A New Master The New Grove Although Arthur Nikisch, in a recent report, intimates The new sixth volume of the great Grove Dictionary—« that no great master has conje forward during the war m Ger¬ devoted largely to America, also includes elaborate references many, the German papers are giving a great'deal of attention to the advance in musical progress the world over. Of the to Franz Schreker. Schreker is a modernist, and is best, known 700 new biographies, 299 have to do with foreign contempo¬ for his operatic works. As'yet none have'been produced m raries worthy of recognition in such a work. As the last edition Acquiring a Vocal Repertoire America; so we are in comparative ignorance of what his music of the first five volumes bears the copyright of '1904, the ad¬ is like. In his native land he has Been hailed as “The‘Messiah An Interview Secured Expressly for The Etude with vance' in sixteen years has been nothing short of tremendous; of German Opera.” Although born in Monaco, his parents that is, at least 10 per cent, of the space of the work is given MME. ALMA GLUCK were Austrian and he was brought up in Vienna, wherte he studied to the last decade or so, while the remaining five volumes cover with Robert Fuchs and later taught composition in the Im¬ Eminent Operatic and Concert Prima Donna the musical development of five centuries. Although there are perial Conservatory. He has now been called to Berlin to di¬ the inevitable mistakes and omissions which always accompany Biographical so detailed and voluminous a work, Messrs. Waldo Selden Pratt rect the Opera and the High School of Music. His first opera was produced in 1912 in Frankfurt am Main. It is entitled printed repertoire of a great English singer who sang and Charles M. Boyd, the editor and associate editor, deserve [Mme. Alma Gluck was born at Jassy, Roumania. Her that the pianist or the violinist regards it. A few songs Der feme Klang. His other operas, Das Spielwerk, Die Ge- of the day—a few ballads—a number of songs of the art- all of his works from memory. It was amazing in its an immense amount of credit for the care and judgment dis¬ father played the violin, but was not a professional length. Such an artist is valuable to the manager because musician. At the age of six she was brought to America. song type sung by “everybody,’’ a few operatic and ora¬ played in a historic work. Certainly no musical library is seichneten and Der Schatzgrfiber, have aroused the enthusiasm torio arias and the “repertoire” is complete. As a mat¬ he can supply a multitude of requests for special pro¬ of musicians, who are partial to the regular operatic forms She was taught the piano and sang naturally, but had no ter of fact, the singer must have a much larger and more grams, and he knows the requirements down to the very complete without this sixth volume. idea of becoming a singer. Her. vocal training was not tost accent and phrase mark. Incidentally he was capable rather than the music drama of the type of Wagner. Although varied repertoire than the pianist or the violinist. This begun until she was twenty years of age. Her teacher, is especially the case with the singer who aspires to of playing from memory all of the pianoforte accom¬ it is only eight years since his first opera was produced eight at that time, was Signor Buzzi-Peccia, with whom she appear in opera or in oratorio. Many oratorio and chin ch paniments. The reason why thousands of girls do not Cyril Scott tells a highly-amusing tale indicating how musical terrible years for his native land—his progress is said to have remained for three years, going directly from his studio singers with gorgeous voices, who have depended upon “get on” in the concert field is that they have nothing to to the Metropolitan Opera House of New York. She sell but what might be called the “raw material.” The ambitions may often be miscarried by a mere incident. Hans been remarkable; and we may look forward to big things fiom their ability to read at sight, have lost fine positions Richter, when he was conducting the famous Halle Orchestra of remained there for three years, when the immense suc¬ simply because the director knows that such a prima public demands the finished product, and in these days Schreker in the future. cess of her concert work drew her away from opera. vista reading of a work will not satisfy the public in when the competition is more severe than ever before in Manchester, was invited to give a concert in Dublin, Ireland. She then studied with Jean de Reszkc, and later with these days. A part or a role must be studied for weeks, the history of the art, and when there arc numerous so- When they reached the hall just before the concert, they found to called “glorious” voices, the artist whose repertoire con¬ Music, the universal language, is becoming the first post- Mme Sembrich for four or five years. Since then she months, years, before its artistic resources are fully de¬ their amazement that no chairs were on the platform. A nonde¬ has appeared in all parts of the United States zeith un- veloped. A great singer recently expressed it—“it will tains the most works developed in the most finished man¬ bellum bridge between the enemies of yesterday. The Italian Re- script collection of stools, boxes, sofas and arm-chairs was hur¬ varying success. Her records have been among the most take me months to get this song in niv system, and 1 shall ner is the most successful. Mme. Gluck’s very practical vista Music ale” devotes fourteen pages to a review of opera and aspect of this subject will be of great interest to all riedly brought together for the dignified body. What had hap¬ popular of any ever issued. Very Jew vocalists seem be bettering -it all the time”—and this was said about the music drama in Vienna, tracing its development since the war. simplest kind of a folk-song. Not long ago we saw the young singers.—Editor of The Etude.] pened was that two firms had been ordered to bring chairs, and to realize the necessity for a repertoire in the same sense when the rival Irish truck drivers arrived, neither would permit When hearing an artist like John McCormack sing a others. Then Handel, Haydn, Mozart, Lowe, Schubert, the other to deliver the chairs. A fight ensued in which both Sixty Dollars an Hour, and Worth It Many seem surprised when I tell them that my vocal popular ballad it all seems so easy, but in reality songs Schumann and Brahms. Later the student will continue drivers were so badly used up that their helpers took the chairs training did not begin until I was twenty years of age. One of our Etude friends writes protesting that no lesson It seems to me that it is a very great mistake for any of that type are the very hardest to sing and must have with Strauss, Wolf, Reger, Rimsky-Korsakoff, Mou- back to the store-houses. can possibly be worth more than $5.00. He is very indignant girl to begin the serious study of singing before that age, back of them years of hard training or they fall to banal¬ sorgsky, Borodin and Rachmaninoff. Then the modern French composers, Ravel, Dehussy, Georges, Kochi in, over the fact that a famous Russian teacher of violin, now resid¬ as the feminine voice, in most instances, is hardly settled ity. They are far more difficult than the limpid operatic arias, and are actually dangerous for the insufficiently Hue, Chausson, and others. I leave French for the last So Much for Beauty ing in America, receives $60.00 an hour, that a New A ork until then. Vocal study before that time is likely to be injurious, though some survive it in the hands of very trained voice. because it is, in many ways, more difficult for an English- Two real estate operators in a suburb adjacent to a very voice teacher is said to receive a similar amount, etc., etc. So speaking person to sing. It is so full of complex and careful and understanding teachers. The Lyric Song Repertoire large city had adjoining pieces of property and decided to many, many times have we heard that no lesson is worth more The first kind of a repertoire that the student should trying vowels that it requires the utmost subtlety to Then when the student has her voice under Complete overcome these difficulties and still retain clarity in dic¬ build the same number of houses, each operator appropriating than a certain fixed sum (once upon a time $1.50, but ascended acquire is a repertoire of solfeggios. I am a great be¬ control, it is safe to take up the lyric repertoire of tion. For that reason the student should have the advice in these days of H. C. L. to $5.00) that we feel it necessary to liever in the solfeggio. Using that for a basis, one is an equal sum of money to the opeiation. One operator hired Mendelssohn, Old English Songs, etc. How simple and of a native French coach. comment upon what must appear a fallacy to all sensible assured of acquiring facility and musical accuracy. The a real architect who put beauty into his designs. The other experienced listener can tell at once the voice that has charming they are! The works of the lighter French When one has traveled this long road, then he is was a so-called “practical” man and engaged an architect people. had such training. Always remember that musicianship composers, Hahn, Massenet, Chaminade, Gounod, and qualified to sing English songs and ballads. hardly worthy of the name. His houses were tenantable, but In the case of all efficient teachers, the price for a lesson carries one much further than a good natural American Songs anything but beautiful. The first operator realized nearly is all that the teacher can get. Most of them get about one-half voice. The voice, even more than the hands, needs a kind of exhaustive technical drill. This In this country we are rich in the quantity thirty per cent, more upon his beautiful houses than the prac¬ of what they are really worth. The teacher who can take a is because in this training you are really build¬ of songs rather than in the quality. The singer talented little 'Jewish child out of the slums of a big American tical man who did not understand the intrinsic value of beauty. ing the instrument itself. In the piano, one has has to go through hundreds of compositions If music were valuable for no other reason than that it makes city and give that child the training which will enable her to the instrument complete before he begins; but before he finds one that really says something. our home life more beautiful—that it satisfies the natural earn annually, let us say,$100,0.00.00 (as in the instance of one in the case of the voice, the instrument-has to Commercialism overwhelms our composers. They approach their work with the question, human desire for inspiring sounds, its place would be more artist we know), has enabled that individual to develop an asset be developed and sometimes made by study. When the pupil is practicing, tones grow in “Will this go?" The spirit in which a work is than justified. Pater familias is beginning to understand that paying the interest at 5 per cent, upon $2,000,000. Reckoned volume, richness and fluency. conceived is that in which it will be executed. an investment in music of any kind worthy of the name is sure in that way, what do you think that teacher’s lessons were There are exercises by Bordogni, Concone, Inspired by the purse rather than the soul, the m to pay dividends in life which will be collected for years to worth? Vaccai, Lamperti, Marchesi, Panofka, Panser- mercenary side fairly screams in many of the There are very few men or women who have the ability to son and many others with which I am not works put out by every-day American pub¬ develop a pupil and then to exploit that pupil’s talent so that familiar, which are marvelously beneficial when lishers. This does not mean that a song should “Why not study the guitar?” we were recently asked. There intelligently studied. These I sang on the syl¬ be queer or ugly to be novel or immortal. It a large income will result. Here we meet the old law of supply is no reason, if you are content with the very limited scope and lable “Ah,” and not with the customary syllable means that the sincerity of the art worker must and demand fixing the price of any commodity, whether it be a literature of the instrument. The guitar is a beautiful instrument, names. It has been said that the syllables Do, permeate it as naturally as the green leaves but its possibilities are restricted to its gentle tone and its peculiar shoestring or a battleship. If there were thousands of originals Re, Mi, Fa, etc., aid one in reading. To my break through the dead branches in springtime. Of the vast number of new American com¬ character, which make it especially adaptable to one kind of music. of the paintings of Correggio, Whistler or Millet, one might mind, they are often confusing. posers, there are hardly more than a dozen who buy the Annunciation, the famous portrait of Mother, or the Furthermore, it has no place in the modern symphony orchestra. seem to approach their work in the proper spirit Go to the Classics One. may become a great artist by painting solely on small bits of Angelus for the price of linoleum. The very fact that there is of artistic reverence. ivory, but why elect to do this when the whole rich field of art is only one individual capable of doing some one particular thing After a thorough drilling in solfeggios and in front of you? This same advice applies to many other instru¬ always raises the Value of his artistic services! When the pub¬ technical exercises, I would have the student Art for Art’s Sake, a Farce work on the operatic arias of Bellini, Rossini, n a ments. — lic demand for those services is large, the remuneration cor¬ Donizetti, Verdi, and others. These men knew Nothing annoys me quite so much as the Drum, Trumpet and Jewsharp responds. how to write for the human voiee 1 Their hysterical hypocrites -who are forever prating There is a twofold lesson for teachers in this. Strive in arias are so vocal that the voice develops under about “art for art’s sake." What nonsense! Those who are concerned in providing the proper music The student who deceives himself into think¬ every way to do something useful that the public really wants, them and the student gains vocal assurance. for Sunday will be interested in the prohibitions put upon the ing that he is giving his life like an ascetic in and do it better than anyone else in your community. Do not They were written before modern philosophy earlier colonial residents of New Haven. Here is a choice blue entered into music—when music was intended the spirit of sacrifice for art, is the victim of a hesitate to ask for your services what you are rightfully en¬ law which will delight the most radical modem reformer with for the ear rather than for the mind. I can¬ deplorable species of egotism. Art for art's titled to receive. Many teachers who struggle along on pit¬ sake is just as iniquitous an attitude in its way, an azure proboscis: not lay too much stress on the importance of tances are themselves to blame for not having the so-called using these arias. They are a tonic for the as art for money’s sake. The real artist has no “No one shall eat mince pies, dance, play cards idea that he is sacrificing himself for art. He “nerve” to ask’ for what is really their right. voice, and bring back the elasticity which the or play' any instrument of music except the drum, more subdued singing of songs taxes. does what he does for one reason and one rea¬ son only—he can’t help doing it. Just as the trumpet or jewsharp on the Sabbath Day.” When one is painting pictures through words, In a recent memorable work»"Fundamentals of Prosperity,” and trying to create atmosphere in songs, so bird sings or the butterfly soars, because it is If the drum and the trumpet—why not the bagpipe or the Roger W. Babson gives, as the essentials of life success, Faith, much repression is brought Into play that the his natural characteristic, so the artist works. accordion? (Oh, we forgot the accordion was not perpetrated Integrity and Industry. These apply quite as much to success in voice must have a safety-valve, and that one Time and again a student will send me an urgent appeal to hear her, saying she is poor until 1829.) music as in any other phase of life. finds in the bravura arias. Here one sings for about fifty bars, “The sky is clouded for me,” and wants my advice as to whether it is worth -s » “I have been betrayed,” or “Joy abounds”— while to continue her studies. I invariably q words being simply a vehicle for the ever refuse such requests, saying that if the student £ _ melody. Alma Gluck. could give up her work on my advice she had Page SO FEBRUARY 1921 THE ETUDE FEBRUARY 1921 Page 81 THE ETUDE better give it up without it. One does not study for How the Scales Should be Practiced Every Day a goal. One sings because one can’t help it! Th« “goal” nine times out of ten is a mere accident. Art for art’s sake, is the mask of studio idlers. The task of acquiring a repertoire in these days, when the were red hot and the finger only dared to graze it with vocal literature is so immense, is so overwhelming, that Scale and arpeggio practice every day preceding the study of etudes and pieces is a good way for the stu¬ a very swift stroke. This touch develops great strength, the student with sense will devote all his energies to power and flexibility to each finger, and the general sup¬ work, and not imagine himself a martyr to art. dent to begin the day’s musical menu. P r *; - The time is undoubtedly profitably employed that way, pleness of the whole hand is also increased because of as the scales and broken chords, especially the tonic, the strenuous action of the fingers. sub-dominant and dominant, broken up in various ways Fourth, the Wrist Staccato Touch. Here the wrist, and following each other in a cadential manner, do con¬ and not the finger, is the chief acting or motor power The Average Amateur Pianist The Cause and Cure of Nervousness stitute in themselves a veritable mine of technical resource for the individual strokes. But unless the hand is al¬ which becomes a valuable foundation for all subsequent ways thrown back as far as it will go, and is then per¬ playing. mitted to fall upon the keys, primarily by its own gravi¬ By CONSTANTIN v. STERNBERG By Mme. A. Pupin r * * The scale itself may be likened to the raw material tational weight and in a very relaxed and loose manner, out of which a composition is originally fashioned. no true wrist stroke will result, and the wrist will never It would seem to be a great mistake to ask one who Scales are akin to the bricks, stones and wood out become free and supple. As this Wrist Staccato Touch is used far more fre¬ is about to go on to play if she is inclined to be nervous, of which a building is constructed. have played it! I’m going to play it, too!” She can quently than the Finger Staccato it should be practiced To avoid a misconception of the superscription I will It is this altruistic impulse which is the generator of yet once, when I was to play at a Conservatory concert Each tone in the scale may be likened to a brick or only imitate instead of giving forth the reflex of a per¬ stone out of which a building is constructed, and, just most assiduously. This touch, when properly marked, is say right here that I have heard some very bad playing art, and where this impulse is missing all efforts at at Toronto, and just before I went on the stage the sonal impression from a composition. as every brick or stone must be sound, and every plank always indicated by a dot over the note. by avowedly professional musicians—even by some art must fail, for the result cannot be but a counter¬ director asked me that question. I was in the middle The evil indicated in Question 4 is, I am sorry to flawless, so must each tone played in a scale be a pol¬ Five, the Arm and Shoulder Pressure Tfouch involves well-known, not to say, celebrated ones, while, on the feit. And it is here, in the primary impulse (and not of my number when I remembered that question, and say, peculiar in America. Having been a traveler for ished and musically beautiful one by careful and scien¬ the muscles of the entire arm and shoulder, and these other hand, certain amateurs have gladdened my heart on the money plane), where the average amateur dif¬ immediately made a mistake. many years and in many countries, I feel safe in mak¬ tific key manipulation. become very powerful by its practice. We apply it to by their thoroughly artistic playing. The dividing line fers from the artist, because with most amateurs the Children in an audience can put one in a panic. I ing this statement. The a. a. regards the composer or The writer, in his own teaching, has for years past the scales when playing octaves quite slowly and where a between amateur and professional is indeed not drawn altruistic feeling is absent. always have refused to play when there was a baby in author as being respectively in the “music line” or made it a custom to have his pupils play at least one powerful singing tone for melodic and chord work is re¬ by the matter of monetary remuneration. Such a divi¬ the room. How can any human being tell what a child Some Possible Protests “book line,” just as another man is in the shoe or hard¬ major and its related minor scale, both melodic and har¬ quired. It is the first touch (the Pressure Legato sion would be both unfair and superficial. The differ¬ a few months old will do? I have been so annoyed monic, at each lesson, followed by some broken chords, ware line. I have no thought of claiming the slightest Touch) applied to the whole arm instead of to the hand ence between the two devotees of music is between To avoid injustice, however, let us assume that the by babies brought into the room by thoughtless parents, notably the tonic, sub-dominant and dominant seventh alone. superiority for the composer or author over the hard¬ their sincerity or pretence; it lies—I dare say, exclu¬ impulse of the a. a. (average amateur) is a composite that I would have to rise from the piano and announce chords. As a “wind-up” for scale work, a Loose Wrist Stac¬ ware man; it would be egotistical and silly to do so. sively—in their respective mental attitude toward the of elements which are not wholly bad; a disposition that the program would be continued as soon as the The pupils are also requested to determine in what cato can then be applied to the octave scales; speed and But I do claim a difference, since there are differences art divine. The one uses music for ulterior purposes, toward trifling; a disinclination to treat anything seri¬ children were removed. keys the etude and piece under consideration are writ¬ brilliancy being the chief object in view. other than between superiority and inferiority. Even a for money getting, for the gratification of personal ously; mind-laziness; a propensity to be satisfied with In the school where I studied in Leipsic, there were ten, and then the appropriate scales are rapidlly played vanity, as a social slide and for kindred selfish ends, semblances instead of realities; to seem something rather child can distinguish between one who sells me what semi-annual reviews. Each pupil had to play a solo or Ingenious Practice than to be—these traits of character are most frequently I ask for—whether it be good for me or not—anc one who This simple, procedure leads eventually to great facil¬ while the other makes music—plays, sings, conducts, concerted piece. This took the entire week. A sonata declines to supply me unless it is for my benefit. The ity in determining what key every composition is based In order to carry out this practical program for daily composes, as the case may lie—because he finds his found with the a. a. and they crop out, not only in their by Haydn was assigned to me. Every morning I played upon. scale practice any first-class book on scales and arpeg¬ greatest happiness in it; because without it he would piano playing, but in everything they do. If the a. a. dentist refuses to extract my tooth if filling it will be of greater benefit to me, while the merchant will sell me my sonata through three times, to be sure I could do Scales executed with various finger touches will be gios, containing all the major and minor scales in their feel like one innocently imprisoned, deprived of that should protest against these charges, we will gladly anything within the law, without care whether the hat it from memory. I think it was on the third day I saw found useful in developing muscular power and also in regular rotation, can be used. particular form of free utterance which to his nature take them all back and, to boot, grant him (or her) and the cloth are necessary to me. Their vocations are my teacher looking for me and I slipped out, for I was sharpening the tonal discriminative sense of the ear. A little ingenuity and explanatory effort on the part is like native speech. every imaginable virtue of mind and heart; but there scared. of the teacher will soon enable the pupil to fashion many What part the money question plays in this differen¬ would still remain a number of puzzling questions for neither superior nor inferior to each other, but the un¬ The next day I met him c kinds of arpeggios from the three primary triads ('I onic, tiation can be easily inferred from the biographies of which, if we take these virtues for granted, there seems derlying ethics are different. the way to the conserva- Various Touches A similar difference exists between one who makes tory. He said, “I shall call Sub-Dominant and Dominant) and also from diminished the great master musicians in history; inasmuch as to be no answer. To mention only a few of them: l you this morning. But To practice the scales with the following touches and something which any other man in his trade—other you have no music.” seventh and other four-voiced chords. their best work was never adequately paid, if paid at 1. Why does the a. a. measure the value of a piece in the rotation given will be found very practical. things being equal—can make just as well, and one who The practice is delightful and useful, and the imagi¬ all we should have to call them all “amateurs” if “Oh!” I replied, “I shall play from memory.” First, the Pressure Legato Touch. Play very slowly by the mechanical difficulty rather than by its beauty? gives you in every piece of work a part of his inner¬ native and creative powers of the student arc thereby 1 money or no money were the distinguishing feature. 2. Why would the a. a. rather play a difficult piece There was not another of the many pupils who played to insure a full, round, singing tone. Note the legato stimulated. The foregoing holds good, to a certain degree, with most self; of his highest nature, something that no other connection from one tone to the other minutely, so that badly than play an easier one well? from memory. My teacher went off and hid himself. After the student has juggled with the scales with the works in any and all branches of art, but, for reasons man in the ivide world can do as he docs it. And with a perfect singing effect is produced. See that the normal 3. Why do all the a. a.’s play the same piece and in I think he soliliquized, “I shall not stay here and hear various touches quoted, he can then apply the following we need not discuss here, it applies with particular this point in view, it is a piece of.very frivolous ingrati¬ the same queer, wrath-provoking manner? that Americanerin make a fool of herself.” and correct hand position is always adhered to, viz:— rhythms to them, viz:— force to musicians. The artist in any branch be he tude to airily disregard the personality of the composer the wrist slightly elevated, so that the fingers, nicely 4. Why does the a. a. hardly ever remember (or I had played only a page, when the Herr Director Accenting groups of 2 notes through a stretch of 2 painter, sculptor, literateur or musician—is compelled so far as to leave his very name unnoticed! curved (especially the outer finger joints) rest grace¬ know) the name of the composer of his piece. Out of this ingratitude comes the explanation of Ques¬ came and stood by the piano. Soon the most critical octaves. to claim monetary remuneration because he has a fully upon the keys. 5. Why does the a. a., after having played and liked tion 5. The a. a. does not penetrate the aesthetic con¬ teacher camq up. When I finished there were three stomach to feed—sometimes several of them—and be¬ The nails, of course, must be trimmed rather closely cause the majority of his fellow-men, unable to measure a piece by a certain composer, never ask the music tents of a piece sufficiently to catch so much as a glimpse critics to compliment me. The next morning the to the flesh in order to secure the correct position. Cor¬ their esteem of him by the merits of his work (of dealer: “What else has that composer written ?” of the composer’s musical personality. As soon as he teacher, who never praised anybody, said to me, “You rect hand position may be likened to a human body while which the general recognition is often very tardy), This list of questions could be continued for pages, gets the “swing,” the lilt and superficial melodical cling- played your sonata very well.” walking, where the feet are planted squarely upon the measure their respect by the orderliness of his financial and the answers, because of their difficulty, would clang of a piece—never mind the harmonies; the pedal ground and the forward motion is upright, easy and free. These groups constitute Rhythmic Cycles in which the When I gave students’ recitals in a hall I had a way circumstances. Money is, nevertheless, only a neces¬ fill volumes; but in the last analysis they would all kills them anyway—he is completely satisfied and happy; Just as a person must first stand firmly upon the feet student? * ‘W ? and »he Rythmic sense? Ihe of preventing the young players from suffering from student is greatly stimulated by the exercise. sary incidental to the artist, not a primary motive; for, lead back to our starting point: to the mental attitude, the composer’s style, how life was mirrored in his brain, before walking is feasible, so must the wrist, as the nervousness. I had each one, before going on the if it were otherwise, there would have been no Bach, no which is either selfish, thoughtless or frivolous. his world-view as it crops out at every turn, all this is carrying instrument or machine of the fingers, be first nliid ?r I)reIimi!'ary scale work a stage, meet me in a small adjoining room. There I pushed, rthe pupilf-’ is then ready for r Beethoven, Mozart, Schubert, Wagner, in short—no The first question I can explain by referring it back a matter of, I dare say, conscious indifference to him; sufficiently raised, so that all the fingers can rest com¬ difficult scale “fixed them;" but none was to tell another how it was tricks such as playing them ii ‘ to vanity and a love of self-display, with the addition Hecuba, nothing. thirds, sixths and tenths: musical history. fortably upon the ivories, with the cushioned tips se¬ in contrary motion and ii that this particular a. a. is usually very cautious in curely postured upon the keys. broken-chord fashion. In the The Listeners latter attempt he takes a The Artist’s Prime Motive choosing his auditor. When there is none, as we will I had the pupil bend down a little. I would slap her This Pressure Legato Touch, which is used primarily The primary motive that sets the artist’s powers suppose for Question 2, he cajoles his conceit into the If we now look at the average type of man that listens back, right hand, left hand, faster and faster, till she for slow, broad, singing melodies, requires that consid¬ ~ sdfte^rtSZicn! aworking is an innate, unconquerable desire for com¬ belief that, by playing the same piece which Hofmann politely to the playing of the a. a. (I say man, because, was all in a tingle. Each one would go out laughing erable pressure be exerted upon the ivories. The prac¬ two th,ec o mnr ? ChaS6S through the scales for munication, which is altruistic by its very nature. He and Godowsky played in their recital, he has put him¬ oh, just because!) we cannot wonder if he secretly ac¬ and set the others to wondering what made her lose tice of this important touch in the scales will give great receives his impressions in the way we all do: through self upon their artistic altitude and that those poor all fear and play so well. The slapping simply stirred strength to the whole hand. cuses every lover of good music of affectation and the senses and through the mind. A landscape, a street fellows had to consecrate their lives and devote their up her blood. Second, the Relaxed Pressure Legato Touch. The hypocrisy. The way a Beethoven movement is presented scene, picture, statue,, book or event impresses him as best powers to something which he, the a. a., has muscles arc now more relaxed, and we increase the to him by the a. a. explains very simply why this listener it does everyone else, but with him the impression easily accomplished in his leisure hours and without so speed from Moderato to Allegro and even Presto. But prefers the coon-song and so-called “comic opera” wishy- widens into an experience more or less personal and very much trouble. we are still playing legato, only swifter and with greater As to Question 3, I am thinking of Grieg’s pretty washy stuff. Wouldn’t anybody? The poor listener Soul Exercises brilliance. this experience continues to vibrate in him, to invade deserves no blame; the fault lies with the unscrupulous reUsE”* ^ °f m°St °f the cl™d* used that mysterious range within his nature where mind and infinitely graceful Butterfly, which the amateurs, Third, the Finger Staccato Touch. This touch is usu¬ from whom circumstances compelled me to hear it, playing of the a. a. That a fine-blooded saddle horse ally illustrated by a point over the note (not dot) and, and soul mingle and unite, to generate there an im¬ requires much more painstaking and loving care and By Watson V. Malone perative urging for expression; to develop into a furor played as if the title were either “the limited express” if the composer wants a very short, strong and crisp hand by ,HiS treatment than an ordinary hack horse I think he crcans, until he finally liberates his soul from’this in¬ or “wild buffaloes in a cyclone.” If it is the E flat Noc¬ staccato lie should always use the point over the note accrue by this daily procedure, W thTLTamfand would admit and possibly understand; bat that the same ward clamoring by giving it intelligible utterance turne by Chopin, has anyone ever heard an a. a. play Moscheles once said, “Exercise your so'.l more than to stress his intention. The finger makes a very rapid fingers will develop muscularity in a most splendid and difference in care and treatment is to be observed be¬ surprising way, because this daily scale program w h through that medium which he has learned to master: melody and bass at the same time? Was not the left your fingers.” He did not pretend to tell just what kind wiping motion on the key, just as though something were tween an artistic composition and a piece of musical in colors, lines, words or tones. hand always in advance of the right? It often seems being rapidly pushed from the key or as though the ivory twaddle never seems to occur to the a. a. of a gymnasium the soul should seek. What he meant Of course, this process is not a fully conscious one to me as if the a. a. played the piano for some incon¬ in all probability was that the student who does not have zsszziX"1 covers the It would be easy to lay the blame for these conditions and it is extremely complex—psychologically speaking ceivable, mysterious purpose far, far removed from at the door of the music-teacher, but the briefest obser¬ in his vision the most beautiful and ennobling things in —but in a simpler form we all go through such a process making music. That must be the reason why, at times, vation of circumstances would disclose the utter injus¬ life would be limited in his scope. Any great poem, any quite frequently. When we have seen a good play they produce such horrifying sounds without noticing tice of such a censure. The blame, far from the teach¬ great painting, any beautiful piece of architecture, any at the theater, read a good book or enjoyed the sight it. They must be engrossed in this mysterious purpose er’s studio, lies much nearer to the place where, by glorious glimpse of nature, is a soul exercise. But of a fine picture, why do we urge our friends to see to such a degree as to have no time for listening to right, the pupil’s character should be formed. This, there is something more to it. We must exercise the the play or the picture or to read the book? We do it their own playing. Besides, the listening has to be however, is another story; I may tell it some other for no lesser motive than does the artist—namely to done by the poor, polite liar—the auditor; that is his soul anew every day. The dead people in the musical time. For the present it may suffice to have pointed out add to the experiences we have in common with our part, you know. Assuming that this a. a. had some world are those who are content to live a humdrum, day- how grave and how unnecessary are the evils for which friends, to further our mutual understanding. Not slight knowledge of culinary art, she would not offer in and day-out existence, with no new sources of in¬ her guest a dish which she had not tasted while pre¬ the average amateur alone is to be blamed because he spiration before them. Get a new book at least once a having at our command any artistic means to convey to them the impression our experience has made upon paring it—(I hope SO) at least, for the sake of the (or she) is lacking in respect for merit. He is unable month. Every Sunday take a walk in the country and us. we can do no better than to wish our friends to go guest) ; but with music it is “different, you know.” to conceive anything as being superior to himself. If see something new, just to exercise your soul. through the same experience itself, so as to have them Funny, isn’t it? And as to selecting a piece that is sun and moon were within his reach—he’d play bail with them! Why not? share our pleasure. altogether beyond her: why, “Julia and Gwendolyn _ THE ETUDE FEBRUARY 1921 Page 88 THE ETUDE Page 82 FEBRUARY 1921 • Select the Best Fingering Early Teaching Material strong, may be used in this grade, which is advanced second. Fairy Princess False, by Farrar; Wayside By Frederick A. Williams By Virginia M. Madden Rose, by Fischer, and Song to the Evening Star (Wag¬ ner), arranged by Greenwald, are good compositions for older pupils who are not yet advanced. Several valuable Probably all teachers realize the importance of The problem of securing suitable material for teach¬ sets of pieces are the Mill, the Barcarolle, Hunt and good fingering in piano playing. To select such finger¬ ing purposes in the earlier grades is a problem familiar p Canconetta, by Dermuth, and Encampment Pieces, by ing as will give the pupil the greatest case in playing to all foundation teachers. It is not lack of publications Neidlinger. The latter contains Sunrise Parade, Sunset certain passages is an important part of the teacher’s The Curve of Improvement in Practice with which she is confronted (I use feminine gender Rest and Guard Mount. Gay Little Dance, by Ashford, work. While many publications have the fingering because the majority of foundation teachers are women), well marked, it often happens that such fingering is and Flying Watch, by Cramm, are interesting, and By CLARENCE L. HAMILTON, M.A. but rather the bewildering array of pieces from which In the Fairy Dell, by Williams, makes a good recital extremely awkward for some hands and not always to cull those suited to her pupils’ needs and which number. Trot de Cavaliere, by Rogers, is a brilliant practical. Probably the person who did the editing Professor of Pianoforte Playing, Wellesley College possess that important attribute, wearing quality. little sketch, and General Bum-Bum, by Poldini, is a never would use this fingering if he were to play Of the making of catalogues, there seems to be no fine march. Another recent march is one by Clayton the works himself. It is curious, sometimes, to see end, and the young teacher, just starting, has before her Johns. Good Night and Good Morning are two inter¬ the different fingering used in different editions of the long process of trying out various teaching pieces esting numbers by Theodora Dutton. the same composition. This would indicate that dif¬ on her pupils until she has at length formed a list of “I am quite discouraged. Two of my most talented words were written by the student at the rate of six or separated by considerable intervals. Adults, however, It is hard to place the grade boundaries since we ferent people have different ideas as to what should standbys. Having recently come from music school and reliahle pupils have brought me poor lessons to¬ seven words per minute, and the fifth hundred at about may endure much longer periods, although wide breath¬ have, as yet, no fixed standard for determining them, be the best fingering. And this implies that the or conservatory, she has been associated with the great day. Apparently each of them has practiced faithfully, fifteen per minute. With various backslidings, the speed ing spaces between these periods are still desirable. but I should call the following, third grade: matter is open to individual choice. Following are masterpieces of musical literature, and it is a hard but nothing seemed to go right, and I am afraid they are continued to increase from this point, until the final hun¬ Undoubtedly, the practice periods are more productive Hungarian Battle Song and March of Fingal’s Men some examples, which show different ways of finger¬ losing interest. Does the fault lie in myself or in them?” dred words of his “stunt” were written at about twenty- when the mind of the student is alert, hence school transition to descend to the child’s level and determine (the latter may be used earlier), by Reinhold, are both both its capabilities and limitations. That in itself is ing. The reader may take his choice. In the writer’s Cheer up, dear teacher! It is probably the case that five per minute. children should be encouraged to get some of their prac¬ stirring numbers and the set of Miniatures, by the same opinion some of these fingerings are rather awkward. they have merely come to one of those resting places that tice “out of the way” in the morning before school. no light task, and, as the time to form a pupil’s taste composer, has a beautiful little serenade. Day Dreams and develop his musicianship is at the beginning, she The fingering in brackets has been added by the occur at intervals in the course of the steep climb Quiet surroundings and a competent instrument, in and Boatman’s Song, by Williams, are melodious, also writer as being more practical. toward expertness, and that after a brief breathing good tune, are vital factors toward" concentration and must, of course, have good practical material with which Twilight Idyl, by Schnecker. to work. space they will push upward with renewed vigor. Such pleasure in practice. Many pupils are seriously ham¬ The set, Wonderland Folk, by Rogers, offers some ex-, an experience is not, by any means, confined to music pered by the necessity of working in a room full of dis¬ Since we all like to try things that are recommended, cellent numbers. . The Sirens has a lovely melody, the from breakfast foods on up, the young reader may be practice, but may serve as an illustration of what tracting interests. I recently visited a school for girls second movement introducing quintuplets. The Giants seems to be a universal law, which applies equally well in which one of the practice pianos was located in a interested in some of the compositions I have used in my is very descriptive. It is a good piece for the teacher own work with young pupils, which now covers a con¬ to all forms of learning, and which has become pretty public room, where students were constantly walking herself to use when endeavoring to stimulate the young siderable period of time. Experience is a valuable well established by the efforts of scientific investigators. about and conversing. How many ears, too, are blunted child’s imagination. The little people usually guess teacher (even if she is slow of method and prone to An interesting study of the conditions of improve¬ by a piano that is considered “good enough to begin which folk of fairy lore the composition you have repeat herself interminably), and one cannot fail to ment in practice is furnished in a volume by Edward L. with!” A prominent teacher told me recently that she played them represents. The Mermaid, by Schytte, is a learn some practical lessons from those who have studied Thorndike, professor of educational psychology in Co¬ had induced the parents of nearly all her pupils to pur¬ fine piece for teaching artistic effects and the Curious under her. I shall name only compositions with which I lumbia University, and entitled The Psychology of chase good grand pianos. So a teacher, by watchful Story and Water Sprites, by Heller, are old friends. am personally acquainted, having given them the only Learning.* The book is a somewhat lengthy compen¬ care, may do much to improve the external handicaps About this time numbers from Tschaikowsky’s Al¬ true test of wortn—that of actual teaching. dium of the research work of a number of scientists, under which pupils are often compelled to labor. bum for the Young may be used—Morning Prayer, Rev¬ made with a view to a better understanding of the proc¬ erie and Skylark. Some of the simpler ones like Dolly The Right Piece at the Right Time esses of learning and of the ways by which these proc¬ 2. Physiological Conditions Is III and Old French Melody could be used much esses may be best favored. These include proper nourishment, good spirits, ab¬ Just a word of advice (odious word!) in passing. earlier. Considerable space in the book is devoted to a descrip¬ sence of disease and the like. Thorndike mentions prac¬ As so much, both of the pupil’s welfare and the teacher’s For advanced third grade the Mendelssohn Kinder- success, depends upon giving the right piece at the right tion and discussion of experiments conducted in the tice testts made when the subjects were hungry and stuck Op. 72, Nos. 1 and 2 come in. The Landon ar¬ fields of telegraphy and typewriting. The results of again when they were well fed, with the results decid¬ time, let me emphasize the importance of never assign¬ rangement of the Pilgrim’s Chorus, by Wagner, and the ing one in a hurry. Give the matter time and thought. these experiments are tabulated in a series of diagrams, edly in favor of the latter condition. A headache or a Harthan arrangement of Schubert’s Hark, Hark, the two of which may serve us as typical examples. cold in the nose may seriously interfere with progress, Do not be guilty of hastily pulling out something just Lark, remain useful ones. The first of these shows the rate of improvement of Rates of Improvement as will bodily fatigue or recent illness. While such con¬ before the lesson or hurrying into the music store and Mazurka Noble and Knight and Nuns, by Theodora a beginner in learning to send telegraphic messages: Besides the various diagrams relating to experiments ditions must be reckoned with, however, they should demanding of the wearied clerk: “Something pretty Dutton are both fine pieces. for the second grade.” Also, be able to play the piece in the two subjects named above, Thorndike gives not be allowed to interfere with the daily practice rou¬ artistically yourself (no difficult matter in these early The Earlier Classics The last example shows fingering used in two dif¬ many diagrams and tables derived from practice results tine, except when they have become prohibitive. grades) and do not fail to arouse your pupil’s interest ferent editions of the same work. There is certainly in such subjects as ball-tossing, marking specific letters Pupils now approach the stage when the earlier clas¬ Psychological Conditions and ambition by doing so when you present it to him for sics are possible, and one has a larger field of reliables quite a contrast here. In arpeggio playing, pupils arc on a printed page, adding, multiplying, memorizing and study. apt to use the third finger where the fourth should be the like. While the rate of improvement varies consider¬ Interest and general pleasure in the work is here the from which to draw. In fact, from now on the teacher strongest factor, hence favorable conditions are very All progressive teachers agree that the best way is to used. It is well to rememlicr that where there is ably in such tests they agree generally in two respects: is not so concerned in finding something good, but in directly dependent upon the teacher’s personal influence familiarize the child with both clefs from the beginning but one white key lietwecn the fourth and fifth fingers (1) The rate of improvement, at first rapid, grows picking out from the store already at hand, the ones and tact. By assigning interesting music, by exciting the (using the grand staff) and have him able to play, by her pupils can master. the fourth should be used in place of the third. If gradually slower up to the maximum point. pupil’s imagination, his desire to excel his fellows, his means of his first exercises, a melody in one hand and there are two white keys between the last two fingers (2) This rate never increases continuously, but is Le^ me mention, too, Grieg’s Lyric Pieces with ambition to learn; in short, by instilling a real enthu¬ simple accompaniment in the other, before his first real Watc.ten's Night Song, False in A minor, and Patriotic the third should be used, and so on. always interrupted by periods either of no improvement “piece.” This eliminates the number of first grade pieces whatever or of actual retrogression. Such a neutral siasm for his work, the teacher may arouse a compelling Song. Perhaps you have pupils in this grade who may force that will constantly stimulate progress. The days written for the treble clef above, and reduces the num¬ be able to do justice to his lovely Birdling. In the Rus¬ period has been named a plateau. ber within the reach of the very little player. Indeed, These conclusions, arrived at after a long series of are fortunately past when the dull grind of technic was sian school, Kopylow’s Album Leaf in C also might be supposed to be the only road to expertness. Give the in the first grade we must depend upon whatever course possible to some. tests in many subjects and by different investigators, of studies we may be using for most of the small pupil’s should apply with equal force to music practice. And pupil attractive and varied music; lead him to search Among the late publications in the way of duets is for the beauty of thought which it contains, and he will music, and hold out an occasional piece as an inspiration a very interesting set, In Friendly Lands, by Ashford. do they not coincide with our familiar experience as until he has worked up to grade \y2 at least. teachers? Have we not observed how a beginner, con¬ come to revel in the joy of expression and to experience I use the numbers for sight reading work among older the impetus which such a joy inevitably brings. In Tunes and Rhymes for the Playroom, by Spauld¬ pupils. A Poor Performance and Its Sequel In the above diagram the thermometer-like figures at fronted with many simple details of notation, technic, ing, the numbers Ding, Dong, Dell, the Gobbler and form, etc., absorbs them at first rapidly, and soon ad¬ I hope this bouquet of compositions, which I have the left of the vertical line indicate the number of let¬ Educational Conditions Bussing Bumble Bee may be used rather early, and ters per minute transmitted by the student, ranging from vances from the zero point to a state of elementary culled from time to time along the highways and by¬ By Ina B. Hudson Under this heading must be considered the choice and others in the same set later. As an adjunct to the young zero to 120. The lower, horizontal line is divided off efficiency? But now his interest wanes or is usurped ways of teaching, may contain some blossoms pleasing systematic arrangement of suitable material. The teach¬ pupil’s studies, I sometimes use the Musical Picture into weeks of practice, with the understanding that the by more novel subjects, consequently, improvement to you also. ing of practical music has often been looked at askance Book, by Octavia Hudson—an excellent collection for thfaft?™^ I,fCndc'1 two piano r<*itals in one day. I practice time is approximately the same for each week. slows up and is even occasionally checked, to be re¬ by educators on account of its indefinite and hit-or-miss emphasizing, phrasing and appealing to the child’s imag¬ character PTf°rmance was of the most medioer Accordingly, following the broken line, we discover vived only by fits and starts. m‘he evening it rose to the highest forr character. Many so-called piano teachers, for instance, ination by means of the text. that during the first four weeks the student advanced While we may take courage in the thought that such Lines and Spaces have assigned an arbitrary list of studies and pieces to In grade 1 ;4 there is more to be found in the way of disinclined t and.e®c'ency- The following dav I fel from the zero point to a speed of about fifty-five let¬ plateaus are almost inevitable, we should, nevertheless, their pupils without plan or purpose, and often with good teaching pieces, though some are tied up in col¬ f should nn,° faCt,Ce- 1 sai(1 to myself that in the en ters per minute. At the end of eight weeks he was able take every means, either to prevent their occurrence or By Sonora Anderson culpable disregard of their fitness. Fortunately, a bet¬ lections, and not printed separately. In First Progress, former of th comm°nplace musician, like the per to send about seventy letters in the same amount of to free the pupil as speedily as possible from their influ¬ ter class of teachers has awakened to these discredit¬ by Theodora Dutton, there is a melodious little piece, can hone r aftern00n’ and what is the use! All time, and during the next four weeks he advanced to ence, when they are present. First, let us examine their There is no wonder that little folks get somewhat con¬ able conditions and is seeking to standardize methods The Dancing Lesson, with left hand melody. In For¬ it so T win k*S a° appreciate good music when I hea eighty letters, but fell back to seventy-five. Hencefor¬ causes. Here again, Thorndike’s book is of assistance, fused in trying to learn the alphabetical names of the and to formulate plans for definite and well-regulated est Sketches, by Flaxington Harker, is another of the ward his speed continued to fluctuate, though with a since we find him assembling these causes into four lines and spaces. Suppose you were suddenly asked to ho iS of p,ayi"g myse,f- „ progress. The ideal of what is to be accomplished, too, same type—Peasant's Song. Sleep, My Dolly, by Swift; found tmrdif aU °* t"e piano was too strong, and gradual advancement, so that at the end of thirty-six groups, the external, the physiological, the psychological memorize the names and the location on a map of twenty- is becoming more truly educational. By means of ear In the Pavilion, and In the Field, by Schnecker, are five towns you had never heard of! Did I plav thif°mS.u°Ver my music in a.critical way weeks he attained the one hundred mark. and the educational. We will now discuss these groups training, explanation of musical construction, the study good, especially the latter. Gavotte, by Armstrong, may it? I was ?! l!?e afteni°on performer would pla; Our second illustration has to do with the rate of more in detail. Here is a tried-out way that works well in teaching of composers, and the like, the pupil is now brought be considered as belonging to this grade, while his improvement of a learner on the typewriter in the course the lines and spaces. First teach the spaces in the right giving it the sam dto "d’ af'er ,r-vin* !t- that 1 wa 1. External Conditions face to face with music itself, and not mere manual dex¬ Court Minuet is second. Good Night, Little Girl, by hand, of writing the same paragraph of one hundred words how Ae artist r,h ary rcndering‘ Thc" I recall* These involve such factors as the length of prac¬ terity. Toward this end, too, the important movement in Cratnm, is a valuable teaching piece. About this time, into her music and eVe.nmK Performance had put lit once daily, for twenty-five days: FACE. tice periods, the time of day in which these periods favor of granting school credit for outside music study if the pupil is musical, Schumann’s Soldiers’ March and Then teach the spaces in the left hand, Each group of 100 words is represented on the bro¬ manipulation**^ Angers ^nd 'f^ d°ne.'} occur, the kinds of instrument used and the environment cannot be too highly commended, aligning, as it does, Joyous Peasant may be used. Morning Prayer, by ken line by one of the short horizontal marks, of which A C E G, head, how she had mid d f ’ Ru,ded ^ a ,rainc< of the pupil while practicing. music practice with the same system as other school Streabbog and Cupid’s Lullaby, by Farrar, are others. the writing time is measured by its position relative to showing the child that the spaces in the left hand are The net result offf^l ?hrase collnt artistically As to the first item, Thorndike asserts that “the ex¬ studies, and thus setting the seal of school authority upon After the introduction of the pedal, Fairy Stories, by the other of the u- if two pcrformances, one poor an< the vertical line at the left, beside which the number of Slm>lar to those in the right, except that you drop F and perimental results obtained justify in a rough way the the pupil’s work. Rogers, is a little gem. The set from which it is taken, words per minute is indicated. The number of words «■ this: Th. avoidance of very long practice periods and of very Along this line the importance of early teaching should Toy Shgp Sketches, contains other good numbers for written, in groups of 500, is further indicated on the Then teach the pupil the spaces above and below the- second gave me the clut s^l, Playi"B’ -th' short intervals.” What constitutes a very long or very be especially emphasized. A recent book* says: “An later use—Dolly’s Delight, etc. Sunday Morning, by horizontal line at the bottom. staff, and that G comes on the first space above the wasted when we endure d,dlS ?S not cons,der t,mi short period he confesses is a somewhat indefinite quan¬ insecure or an inaccurate foundation must result in an Becbter, and Little Choral, by Schumann, give excellent According to the diagram, therefore, the first hundred treble staff and that F comes on the first space below tity, varying with the individual student. In the case increase of plateaus. If, at the beginning, during the opportunity for demonstrating the use of the damper the bass staff. This, with similar work with the lines of school children, for instance, the daily practice hour pedal, as does also Evening Twilight, by Reinecke. •Published by Teachers’ College, Columbia University, seems to place the position of the staff in the mind of may be divided into twenty or thirty minute portions, • How to Teach, by Steeger and Norsworthy. Dream Fairy, by Seeboeck and Elf’s Story, by Arm¬ the child. 1913. of mind or action*” no sympathy with impurity THE ETUDE THE ETUDE FEBRUARY 1921 Page 85 Page 81f FEBRUARY 1921 . ....---- ...... - ...... initial spurt, lor instance, the learner is allowed to go Acquiring a Repertoire so fast that what he learns is not thoroughly learned, : ' : ...... V.. or if he is pushed at a pace that, for him, makes thor¬ By Anne Guilbert Mahon oughness impossible, plateaus must soon occur in his learning curve.” Teachers of musical short-cuts and This is but a limited list and should be within the other play-at-any-price methods will do well to ponder I. Necessity for Acquiring a Repertoire scope of even a moderately advanced student; but it The Folly of Giving Too Difficult Music u.1| on these words. Every musician, whether teacher or student should can be enlarged as time goes on and used as a basis have some sort of repertoire. It may consist of but a for the different styles of music you wish to play. ’ V i The Limit of Improvement few perfectly memorized pieces, or it may 'nc’ud® Making your repertoire as varied as possible will not to Students In proportion, then, as the above conditions are made many; but some sort is an absolute necessity to both only insure your giving pleasure to different classes of more favorable, the curve of the pupil's improvement teacher and the pupil. The teacher’s reputation is often hearers, but it will be a source of happiness and satis¬ By the Well-Known American Composer and Teacher largely dependent on his ability to play in public. He y/:,-.'xSx will become more continuous and upward in its ten¬ faction to yourself. With a widely varied list, you have * . - dency. It is, of course, inevitable that the nearer the is so often judged by the selections, played and their music to suit each mood, to satisfy and comfort as CLAYTON JOHNS ideal of perfection is reached the slower will be the ap¬ execution that it behooves him to look carefully to nothing but music can. parent progress. Just as in climbing a Swiss mountain, this branch of the profession. suitability of the composition, just as the gardener should the way is constantly more strenuous as the summit is Your repertoire need not be large, but it must be The following article might be compared to a First detail by the teacher who should instruct carefully the III. Memorize Your Repertoire Thoroughly decide about the composition of the ground in, which the approached, so in music study the final ascent is so well chosen and perfectly memorized. It is said that Rondo Form with one theme and several episodes; the pupil in the principles of using the wrist, hand and plant is to be planted. Piano literature is rich in beauti¬ difficult that few, indeed, accomplish it. But it is our some of the greatest pianists have astonishingly small It is better to have a few pieces perfectly memorized theme recurs more than once and the article closes fingers, and of correct fingering. Haphazard fingering is than many through which you stumble and make mis¬ ful music which can be selected according to the taste duty as teachers to urge our pupils on to the extent of concert repertoires when one considers their ability and with it: just as bad as haphazard accenting. Every piece needs takes. In keeping up your repertoire you will have to and technical equipment of the student. The student’s their ability. the scope of their knowledge. They have demonstrated Theme accurate study in touch, accent and fingering if the “brush up” your pieces frequently. Memory plays tricks ability and inclination should be considered just as the Just here the question arises as to what is the limit that it is wiser to have a few pieces perfectly mastered Do Not Try to Play Music too Difficult pupil hopes to become a good pianist. Accent is so mis¬ of progress for an individual. We are all aware that on us and it is only by constantly referring to the notes leading ; accent is relative, and the difference between nature of the plant should be considered. A student who than a great number of which they are not entirely Does the trouble lie with the teacher, or does it He this limit varies: that one pupil may climb very high, that we can be sure we are playing the piece with accent and pressure is most important. has small hands, closely knit together, ought not to try with the pupil? Does the teacher find it tiresome to to play certain etudes of Chopin and Liszt, for instance, while another falters at a comparatively low level. Per¬ Realizing, then, the need of a proper repertoire, the absolute correctness. Even if you think you can play give simple pieces within the pupil’s grasp or does the any more than a plant which grows compactly should be haps fingers are unresponsive, wrists unyielding, thought next step is the selection. a piece perfectly from memory you should at least once Accuracy connections slow. But when the limit has apparently pupil wish to play pieces beyond the ability? Whatever given a trellis upon which to climb. in every month go over the notes and see that you are A good touch, correct notes, correct accent and finger¬ been reached, can it be overcome? the cause may be, the result is unfortunate. A pupil, who There is an endless number of Studies (too many) de¬ II. How to Choose a Repertoire playing it right. Note all chords, arpeggios, phrasing, ing come under one and the same heading—should be Let us conceive of a typist who has reached her ap¬ couldn’t play the simplest Heller Study correctly recently voted to special finger development. Even these should studied at the same time. If the student could and would parent maximum of speed and has held this limit for a Make your list of memorized pieces as varied as marks of expression, and be sure that you play them said she had played at a commencement concert Liszt’s be played with a musical sense of touch, phrasing and read the music away from the piano and carefully con¬ year or more. She is now offered a much better posi¬ possible. Scan the programs of great musicians and the correctly. Be certain of each section, each phrase. Rigoletto Paraphrase. Just think of it! Suppose a pupil relative value of accent. If the student would choose sider the fingering and phrasing of a piece, much time tion, provided she is able to write five more words per programs of popular recitals. Note the variety of the Be able to begin anywhere. Know the piece so thor¬ who had never properly learned the rudiments of Greek special passages from the composition at hand and make minute, on the average. The chances are in favor of her selections. There is usually something to suit all tastes. oughly that you can visualize the notes when away from were given a Greek tragedy to read. How impossible would be saved, not to mention the gain in the under¬ of them exercises for him or herself, much valuable time attaining this speed, if the offer is attractive enough. In Pattern by the great musicians and include in your the piano. Only in this way are you proof agai st this would be! It really would not be different from standing of it. would be saved. When reading music away from the piano, let the stu¬ other words, under the innfluence of a special incentive, repertoire something which will please the people for forgetting,—against mistakes. If you lose vourself in the case of a young music student to whom a teacher For the sake of progressive study, the student should dent be his own musical director and beat time, con¬ she has materially advanced her limit of improvement. whom you play. You will be called upon to play before one phrase or section, you can catch yoursd f up quickly should give a Beethoven Sonata, but who had never, practice pieces and passages just a little beyond the stu¬ properly, practiced five-finger exercises, scales and sidering the relative values in each measure, in each In like manner we may urge upon one of our apparently many different classes of people, to suit widely varying and surely on another, if you know the pi' - well. dent’s capacity; but the pieces chosen for playing should static pupils an especially desirable reason for quick im¬ tastes. Consider them when making your selection arpeggios and who had never musically understood touch phrase and finally in the piece as a whole. Correct ped¬ Memorizing easily becomes a habit. The more you not be more difficult than the pupil can master. provement, and he may quite possibly respond vigorously. Some of your audience will prefer soft, dreamy and phrasing. aling, harmonically and rhythmically, is just as important The student is not obliged to play the whole piano memorize, the more you will be able to, and vmir reper¬ Let him be offered a specific reward; let his sense of music. Others will delight in sparkling waltzes, stirring Finger exercises, scales and arpeggios must be prac¬ as correct fingering. Shading goes hand in hand with literature. The average piano literature, with restric¬ rivalry be aroused by competitive playing with others; marches. There will always be some who appreciate toire will grow until you will be surprised and gratified ticed, not occasionally, but every day. These elementary phrasing. Shade logically, and not at random. tions, might be likened to an average garden. Beautiful let him be asked to perform at a recital at some near truly classic gems and who will request them. Others at the number of pieces you can include in > ur list of studies f8rm the foundation of all technic. To these , When the student carefully applies the principles of piano music and beautiful flowers can give the greatest date; and the needed inspiration may be furnished. there will be whose musical taste is not so educated, perfectly memorized ones; and the pleasure which you must be added a musical knowledge of touch, phrasing, these details, even a Heller Study needs as much thought pleasure. The selection of piano music should be rela¬ who cannot yet appreciate the higher class of music and will derive from this varied repertoire yourself, the shading and all the things which pertain to musical inter¬ as one by Chopin. There is so much good music badly tive. If the Chopin etude prove too difficult for the Summary who will prefer the lighter popular pieces of the day. happiness you will be able to give your friends and pretation. There are many pupils who have a facility played it behooves the earnest student to play it as well student, let the teacher choose something less so. It Our brief review of practice conditions only empha¬ Include, then, in your repertoire one (more if you your audiences will be unlimited. for technic, but who never take the time and pains to as possible. A student should be trained as a plant needs, of course, much more technical development to sizes the truism that no one method or combination of can) classic masterpiece, at least one soft, dreamy, study musically. Such students (?) are often contented should be trained, otherwise the student or the plant be¬ play a Chopin etude than a Heller study; just as'it needs methods can possibly be applied with the best results harmonious selection, one lighter and more brilliant, IV. Change Your Repertoire with a certain display of notes, playing over the keyboard. comes stunted. much more knowledge and skill to produce a beautiful to all pupils alike, and that, therefore, each pupil must and one of the popular high class modern pieces. Try It might be said of them that they have “an eye” rather Musical Plants Don’t cling to the same old pieces year after year. rose than to produce a simple daisy. A perfect daisy, be treated as an individual case. To be of real value, to have in your memory at least one of the well known than “an ear” for music. For the sake of analogy, let us compare a student to a however, is much better than an imperfect rose. old tunes with pleasing variations which will appeal Play them for yourself and for those who love them, There is no reason why music should not be as intel¬ any instruction must produce a definite reaction upon plant. the mind of the pupil. Thus, in the study of practical especially to the dear old people who will sometimes be if you like; but constantly add new ones t.. your list, ligible as words, if only the teacher and pupil would work Gardens and Music among your listeners, to whom this bit of tender, loved so that you can keep up to date and will not weary the together understandingly. Take a simple phrase of four A student should be given a good piano. music, this reaction is felt chiefly in the quality and ef¬ The student can become familiar with and enjoy the music will bring back the happiness of the past. Don’t listener by the same old pieces. measures: nine times out of ten, the pupil makes false A seed should be planted in good ground. fectiveness of the practice. As teachers, therefore, we whole realm of music by reading it away from the piano, should keep strict watch over the conditions of each forget the young folks, either. Be sure to incorporate Select the best, most varied repertoire your can choose, accents in each measure, not to speak of the lack of rela¬ A student is born with ten fingers, five for each hand. just as the owner of a simple garden can enjoy rare pupil’s practice, and should bring to bear upon him into your repertoire some good dance music, for . you tive values in these four measures. The God-given talent adapt your selections to your audiences, memorize them A plant which appears above ground, bears two or three plants and flowers by going to a botanical garden. A re¬ those particular influences which shall keep that practice may often be called upon to play for an impromptu for playing or singing a melody musically, is rare. But thoroughly and keep fresh and up to date. Y. u cannot cital of the most difficult piano compositions given by as steadily as may be along the upward line of improve- dance and you must have suitable selections at your the principles of melodic interpretation can either be im¬ leaves. then fail to be a success when called on to play for one of the great pianists is something like a botanical fingers’ ends. parted or acquired. The difficulty is that everything is A student should practice the fingers every day and pass either large or for small audiences. garden in which the utmost skill is needed to rear cer¬ left to chance, so far as accent is concerned. This is part of the time in the open air. tain plants, just as great pianists need the utmost tech¬ one of the reasons why the piano, in spite of its being the A plant should be watered every day and have a lot nical development.. most popuar, is the most unmusical instrument. of air and sun. “How to Get the Most Out of Your The student must not abandon the hope of becoming a Keep Them Up! Trouble at the Start When the student gradually developes his or her fingers Music Lesson” good pianist. Rather, the student must realize that cer¬ The real trouble is the start; whether the pupil begins through practicing scales, arpeggios and studies, com¬ tain things are too difficult just as a gardener must not By T. L. Rickaby “at the table” or at the piano; the first lessons should be bined with intelligent musical study, and when the expect to raise orchids in a simple rose-garden. There By Mrs. S. E. Foster given in the different meters—accustoming the pupil plant begins to shoot out branches, under cultivation, are so many kinds of roses, but even a common variety Your ability to play a number of pieces is practically to the mental side of music as well as the technical. This then the student begins to play pieces and the plant 1. Make a point of being two or three minutes ahead to do this of his own accord, but the teacher may do has its beauty, provided it be a good rose. all you have to show for whatever time, energy might correct false accents, which are so frequently begins to bloom. of time, so that you may feel rested and composed be¬ much to help, by assigning only such pieces as are Think of the pleasure music gives in the home. The and money you may have expended on your musical found, especially in melodic passages. There should be a fore starting the lesson. interesting and of real musical value, and by seeing A student needs a good teacher who can direct the fingers mechanical instruments, so widely spread, are a poor studies. Yet many pupils make no attempt to keep mental metrical drill, as well as a practical metrical drill, as well as the mind, just as a plant needs a gardener substitute for the personal touch given by a really musi¬ 2. While removing your coat and hat, quietly resolve up their pieces, dropping one completely just as soon to it that they are not relinquished for something else applied to different pieces in the possession of every who will know how to cultivate the plant. cal member of a family. Happily there are families in that you are going to have a profitable lesson. as another is taken up. During the first two years too soon. Further let him always “keep a string to teacher. Then let the pupil be shown the way a phrase which music is the chief interest, where Tom and Mary 3. Have a few questions which have come to your perhaps, not much, if anything, of permanent value them," and call for them from time to time-even Good music teaching and good gardening are much alike. of four or eight measures should be played. have a chance to make family life worth while. Happily, mind since your last lesson written out for your teacher is used, but afterwards, if real piano literature is months after they have been learned. This, of course, It may also be said that a mental metrical drill applied Let the teacher beware of forcing the student, and too, there are many little musical clubs for which there to answer. Your teacher will appreciate your interest. assigned, and if each piece is actually learned (and this means that a record of the pupil's work is kept, which to a practical metrical drill might, perhaps, prevent stum¬ the gardener of forcing the plant. are opportunities for the amateur to play before a small 4. Listen very attentively to every word your teacher means much more than merely being able to play the should be done in any case. bling. Stumbling is one of the worst features of piano audience. These opportunities ought to be an incentive says in explanation, and if you don’t quite catch his notes) it would seem to he an unnecessary and unrea¬ A very good way for the student is to keep the old study. Pupils who- practice really slowly would not These warnings are meant, particularly, for the for the student to do bis or her level best. meaning be sure to tell him so. sonable waste to allow them, to pass out of the fingers, pieces comprising his repertoire, on a special shelf, stumble. Fumbling is almost as bad as stumbling; the teacher and pupil, but many public performers force when they might be retained by merely playing them Let it be said again the student must not be discour¬ 5. Do not pass a mark or word on the printed page and every day play one or more of those on the top only difference is that the -stumbler comes to a sudden their strength for lack of proper preparation. over three or four times a month. Quite a respect¬ aged; Read music away from the piano or at the piano without finding out what it means and how to interpret it. ot the pile, afterward changing the numbers played halt, while the fumbler goes right on, no matter how The article concerns only the practical and objective able repertoire may be established, in this way. The side of pianoforte playing; the more subjective questions as much as you please, the more the better; but when it 6. Be sure you understand just how the difficult pas¬ to the bottom of the pile. In this wav they all come up many false notes may be played. Then it is that the pupil must have the inclination and thoughtfulness of touch (qualitative and quantitative) and of tension, comes to playing: Do not play music too difficult. sages of your new lesson are to be studied. regularly m succession and not one is overlooked. student becomes self-conscious, and the listener suffers accordingly. These troubles arise, either from trying to relaxation and a number of other relative matters, have All these observations and suggestions are trite. They 7. Immediately upon arriving home sit down and write play pieces too difficult, or from not having practiced been discussed in previous articles of The Etude. have been said over and over again. The only hope of a summary of all the new points the teacher has tried special passages carefully and slowly. The foregoing rudimentary principles may be applied betterment is for each student, after a certain or un¬ to give you during the lesson. Stumbling and fumbling might be corrected, if the in a larger sense, with certain emendations, to a student certain number of years, to become his or her own 8. Present this summary to the teacher at your next The Jenny Lind Medal student would practice imaginary breathing in phrases of more advanced in pianoforte playing, one who loves teacher. lesson.' It, with the questions which have occurred to instrumental music, like physical breathing in phrases of mu ic and wishes to become either a good amateur or a To sum up; Practice slowly. Analyze each phrase and you since your last lesson, will be a great aid to your The Cov„„me„, of Sweden hasconfer! ,he j„„y Li„d Me(U m good teacher; not one who means to become a public vocal music. Physical breathing in vocal music is abso¬ consider the quality of touch. Finger, phrase and pedal teacher as well as yourself, as he will be able to correct performer, but one who is a serious student, willing to lutely necessary. In instrumental music, the average stu¬ logically. Then listen, listen, listen to each phrase, each any wrong impressions you may have. develop bis musical possibilities. Many a student might dent breathes anywhere he may like. Let the student try shading and each pedal effect to your own performance. Try this plan, and you will find that your lessons have j Metropolitan Opera Company, one of the foremost singers of our limn. r • . taking an imaginary breath before a new phrase and see become a good pianist if the musical path were properly As an illustration of not listening, there is a true story doubled in value to you, because your interest and con- 5 how much more intelligible a whole movement becomes. directed. forthcoming iseae of THE ETUDE Mme. Claussen gives advice 1" an internet, ■» a of a well-known pianist. At one of his recitals, in the centration, as well as that of your teacher have steadily J The next step, in order, is the preparation of the hand. Reverting to the analoev between student and plant; __ 8,VeS advice of ?reat practical value to singers. early days of the phonograph, one was placed near the grown. V This needs particular attention, which must be treated in Let the teacher and the >tudent compare notes as to the THE ETUDE Page 86 FEBRUARY 1921 THE ETUDE FEBRUARY 1921 Page 87 piano. After the performance, some one said the pianist Historical Music Study had blurred a passage by the pedal. “I couldn’t have done such a thing,” said the pianist. But there it was . | g in black and white, so to speak. If the pianist had care¬ By Herbert Antcliffe ■ fully listened to his own performance he would not have blurred the passage. Whatever the shortcomings of a We are often told that music is the most democratic Secret of Success of Great Musicians r phonograph may be it is at least truthful. You have, doubtless, at one time or another, studied :!1i of all the arts; yet we spend most of our time paying, the history of music. Perhaps it is a subject in which homage to its kings, instead of learning to know their By COMMANDATORE EUGENIO di PIRANI By Way of Coda all your life you have taken a keen interest. You can give kingdoms. The invention of the clarinet in the last Remember that the practical and technical side of the dates of the birth and death of famous composers and decade of the seventeenth century was of far greater music is but a means to an end;'and the end, through executants, and speak with ease and certainty of the great importance than the composition of Purcell’s music the means, has to depend upon the musical capacity of events which have happened in the world of music. You which was taking place at the same time. It has Claude Debussy || each student. As a Maine guide in the Rangeley Lakes know all about the evolution of the orchestra and the vitally affected millions who have never heard a note once said: “There is as much difference in some people development of musical form. You have no difficulty of Purcell’s music and have scarcely heard his name. as there is in anybody.” This cannot be parsed, but in tracing the progress of harmony from the crudest Yet the period is mentioned more often as that of the it means a lot, and the moral of it is: “Develop your organum to the most complex methods of modern com¬ compositions than of the invention. Haydn’s arrange¬ A young composer once submitted to Rossini a new naturalness. One cannot force Continuously the imagi¬ sider Debussy’s music rather as a product of the brain posers. You can tell by internal evidence the date of own individuality musically; try to shun the pitfalls ment of various Croatian melpdies to form the Aus¬ work of his requesting him to give an opinion on its nation into unusual moulds without giving birth to than of the heart. almost any composition set before you. If you have of technical errors; and, Beware of trying to play music trian national anthem arose from certain conditions merits. The master after having perused the composi¬ something queer and freaky. The composer who gives I will not assert, however, that his works are deprived acquired all this, you have a grasp of one side of the too difficult. and gave rise to or strengthened others. Yet much tion remarked in his usual sarcastic way : “I notice in the reins to his phantasy and allows it to soar unham¬ of genius. They surely scintillate here and there, but history of music. But almost certainly you have missed more attention is paid to the dates and facts connected your work much which is beautiful and much which is pered into space cannot always watch like a Cerberus these fulgors are rather scarce, rari nantes in gurgite the most important aspect of such history. with his oratorio, The Creation, than to those con¬ new, but I am sorry to say the beautiful is not new and that the scales, the chords conform to new, self-imposed What do you think Bach considered the most import¬ vasto—too few raisin's in the cake. They do not suffice The Thematic Index nected with this hymn. the new is not beautiful." dictates. A natural simplicity, a total absence of af¬ for me; I like a rich cake with plenty of them. ant thing; to write music that should be sung at great fectation, is often more charming than the most elabo¬ With these words Rossini gives to all musicians a It must be owned that Debussy was not only eccentric festivals in the twentieth century, or to supply what was wonderful guide for their artistic pursuits. That means rate composition which at every moment reveals the By Ralph Kent Buckland required in his own day at Leipzig? Was Handel think¬ What Makes a Masterpiece Great ? in his music, but also in private life. He was unap¬ in substance: Seek only the beautiful which is not bor¬ fastidious adherence to some new tyrannical rules. It ing of posterity when he threatened to throw the prima proachable to strangers; he observed the utmost ret¬ If we try to look at our own day in the same light rowed from your predecessors and the new which is is like falling from Autocracy into Bolshevism. donna out of the window if she did not sing what he had icence regarding the intimate details of his career and Almost all editions of the classics (when for con¬ we shall find things much the same. How often do not at the same time ugly and repulsive. The same we can notice in life. One sees at times in written; or was he thinking of himself and those who existence; he sheltered himself from publicity and ad¬ venience certain works are grouped in a single volume, we acclaim a great modern work without considering Claude Debussy is one of the very few who to a cer¬ the country some completely unadorned peasant girl, had to listen to her? When Haydn and Mozart wrote vertisement. He was of the opinion that “to seers of such as the Bach Inventions, the Beethoven Sonatas, the what it is that has made the work possible as well as tain extent fulfilled in his works the two requirements, with her hair just divided in the middle after the old for orchestras of various sizes and unusual combina¬ visions a certain loneliness is inevitable.” “L’ame Chopin Waltzes and many of the works of modern com¬ what has made it great? We think, of this as the as well in the attainment of ideal beauty as of novelty fashion, with an out-of-date but immaculate dress; and tions, were they providing interesting exercises in score posers when similarly bound) generally have at the period of Debussy, Elgar, Strauss, SilK-liu-. or others and originality. In fact one of his most striking traits d’autrui,’ he said, “est une foret obscure ou it faut reading for students yet to come, or pieces suitable to the front of the book an index, giving from two to four whose names occur readily to our minds. Much more is his love of liberty and freedom. He is adverse to all marcher avec precaution." It was a kind of religion to bands with which they were associated? measures of the opening theme of each number. Some¬ important than any or all these composers - the fact the time-honored laws, whether concerning melody or him to be original above suspicion. “Me thinks,” he times this index includes the names of the keys in which that it is the period of renewed interest in the orches¬ rhythm or harmony or form. His melodies are bare of said, “it spoils an artist to be in sympathy with his sur¬ The Right Aspect the pieces are written. tra and of wonderful strides in choral singing, that it symmetry, they are evasive, elusive, like “iridescent roundings. I am always afraid of his thus becoming One might venture the assertion that very nearly all The answers to all these questions put us in the right is the day of club singing and compel it i n festivals vapor.” Harmonically he obeys no rules; consonances, the interpreter of his own milieu. Go not to others for of an audience made up of presumably well-grounded way for seeing historical music study in its right aspect. and of vastly improved military and brass bands and dissonances are blended, juxtaposed without the smallest advice, but take counsel from the passing breezes which musicians might he in quite a quandary if asked to de¬ All these great men, who scarcely knew their own great¬ of the decline of spontaneous and unsophisticated music. regard for tone relations. relate the story of the world to those who listen.” cide, from the thematic indices of various volumes, just ness, provided for themselves and their own generations, These things affect intimately the whole lit. i the peo¬ He recognizes no boundaries whatsoever between the He disliked unnecessary applause, and he remarked: which compositions had formed the groundwork of an for the people with whom they had to do. That their ple; the work of a few composers, even ..i the great¬ different keys; the same tonality is seldom maintained “Saches done qu’une veridique impression de beaute ne evening’s entertainment. work is of the greatest interest a couple of centuries est composers, affects that life only little an 1 indirectly. beyond a single measure. He uses key signatures but pondrait avoir d'autre effet que le silence. Enfin voyons On first consideration this ability to get some idea of later is almost an accident. They considered their own Let the reader not misunderstand, ho\vc\. • The in¬ he could as well dispense with them, like some of the quand vous assisted a cette feerie questidienne' qu’est la how a piece sounds from mentally running over the music in relation to the life of their own days. And we tention is far from disparaging the studs c the history ultra-modernists (for instance, the Viennese Schonberg). mart du soleil aves vous eu jamais la pensee d’ap- printed page of an excerpt may seem trivial; yet in¬ ought to do the same. True historical study is the study of great musicians and their great compositi ns. Espe- Somebody said that Debussy puts them in place yielding plaudir. Vous en avoueres que e’est pourtant d’un vestigation along this line will show that not only is it of conditions, not of dates and facts, though these help us cialiy for those of us who are active m iriaus it is only to an amiable and indulgent prejudice. developpement un peu plus imprevu que toutes vos a valuable accomplishment, but that it is- a faculty not to grasp them. important we should make this study. But let us add to “I prefer,” said Debussy, “to hear few notes of an petites histoires sonores.” common even among musicians. Consider this, for instance. There is known to have it a fuller appreciation of their significance by realiz¬ Egyptian shepherd’s flute, for he is in accord with his To a pressing request from the editor of Le Monde The beginning of this process, of being able silently been in existence early in the thirteenth century a remark¬ ing how they found the world, not only th world of scenery and hears harmonies unknown to your treatise. Musical for his likeness on the morrow of the success to pick out, without referring to their names, the pieces able piece of music, Sumer is i-cumen in, which is in music but the world of people, and how ti > left it. Musicians will listen only to music written by experts. of Pelleas et Melisande. he answered: “Willingly, and one has heard, or to get some idea of how new pieces the form of a Rota or Round. It is quite unique and is a When Palestrina was horn and died and In whom he They never turn their attention to that which is in¬ you receive the only one that has been taken. But I tell will sound when played, lies, of course, in the cultivation puzzle to all historians, because it came a century before was commissioned to write his great Masses arc import¬ scribed in Nature. It would benefit them more to watch you beforehand when I sat to a photographer I was two and the daily application of tonal thinking. This is any other piece with which we can compare it. Conse¬ ant facts. Still more important is it to know the a sunrise than to listen to a performance of the Pastoral years old and since then I have changed a little!” The closely allied to the thought process that enables the quently it is at present of no historical value, and unless general conditions that made them desirable and those Symphony.” A French writer has characterized him as portrait of Debussy generally known is taken from a composer to write down his ideas, though it is a reversal and until other pieces of a similar type and the same which made them practicable. From these we can learn “le tres exceptionel, tres curieux, tres solitaire M. picture of Blanche, which idealizes very much the rather of this mental power without the inspiration back of period are discovered it will remain so. Did it shed anv a lesson of self-control as well as one of artistic devel¬ Claude Debussy.” clumsy and corpulent features of the real Debussy. original work. light upon the conditions existing at the time it would opment. “The proper study of mankind is Man,” and New Effect Children in school, learning to read, insist that they rise in historical importance according to the assist¬ His Sound Knowledge if the study of music is not part of the study of man In his search after something different, novel, unac¬ can understand only when they read aloud. The auditory ance it would give in studying the period. As it is its it is useless and an encumbrance. His early training was conventional and academic, nerve helps out the mental conception that later comes value is that of a rare and agreeable curiosity. customed, he is not satisfied with the modern scale system; he reverts to he mediaeval choral modes with and seemingly in no way conducive to the independent to the brain through the eye. Teachers, even in the ideas he has formulated for himself. Born at St. Ger- grammar grades, frequently find it necessary to caution their far greater latitude and variety. He is especially main-en-Laye, 1862, he began his studies at that most their pupils, “Don’t move your lips when studying.” The fond of the “authentic” modes Lydian (fgabcdef) conservative institution, the Paris Conservatoire. He poorly trained mind always insists on hearing anything and Dorian (d e f g a b c d) which he often uses in his obtained medals for solfege and piano playing, and “out loud" for a more perfect mental grasp. Introduction to the Keyboard opera Pelleas et Melisande. The whole tone scale finally, 1884, the Grand Prix de Rome with his cantata In music, though perhaps not so markedly, inner, in¬ which Debussy employs also extensively is not his ex¬ L’enfant Prodigue. He said that his music “court le tensive, soundless thinking is a great step toward dis¬ clusive invention. Russian composers have used it be¬ risque de deplaire a ceux qui aiment une musique, jusqu’a criminating musicianship. One does not have to cover By Sidney Bushell fore him and French masters have used it contempora¬ lui rester jalousement fideles malgre ses rides et ses one's bands with soot in order to understand the word neously. But it must be said that Debussy has intro¬ “black,” nor does one have to drink vinegar to get the To the young beginner, the first sight of that impos¬ duced it in many of his works with particular charm. he finds her much more charming than if she were clad In spite of his revolutionary principles, his critical meaning of the word “sour.” Why cannot the phrase ing array of white and hlack keys gives the impression The absence of a decided tonality, of harmonic repose, with expensive silks and laces. I meet often in these writings bear testimony of his knowledge and respect three and two, until, right at the bottom, on account c of a vast, unexplored territory, with not even a single make it particularly fit for the evanescent, vaporous mountains of the Berkshire, where I spend my summer, for the works of his predecessors. insufficient space, two keys of the last group of thr. landmark from which to take bearings. ideas of Debussy. a young girl wearing a farmerette suit with pants, driv¬ Apropos of Bach’s Violin Concerto in G he notes the are been left out. Have the pupil point out evet At the best, the extreme northern and southern limits One finds of course a perfect concordance between ing an old horse and a rickety wagon to the market. I “musical arabesque” contained in it. “From these same of this expanse are destined for a long time to be group of two black keys, from bottom to top, then in the ideals of Debussy and the means chosen by him to must own that I find her more lovely than the most arabesques the ‘ornament’ is derived which he names the shrouded in mystery, under ordinary instruction, which press upon him that the white key between each grou reach them, and that is what interests us most. “How fastidiously dolled up city girl. By the by, if all women basis of all art modes. The word ‘ornament’ he adds is usually confined to the two clefs and possibly the Of two black keys is, in every case. “D.” This will t to arrive?” We have here a nature which strives to knew how much more to their advantage they look at¬ in parentheses has no connection with the meaning at¬ first two leger lines above and below each staff. “°-eaS;ly fixed in the mind if he remembers th: free itself from all scholastic, academic restraints. As tired in a neat peasant garb they would stop wasting tached to it by the musical grammars. The premitifs The following is suggested as a good method to Jr .rcs ever> group of two black keys. From th a true artist he shuns repetition, plagiarism, not only in money in expensive gowns and fineries. —Palestrina, Vittoria, Orlando de Lassus, etc.—he con¬ establish a familiarity, which will beget confidence, with the outlines of his melodies but also in the combination For the same reason a simple, unadorned inspiration tinues, were mindful of this divine ‘arabesque.’ They located '°nS a"d namCS °f the °thcr keys can casil of chords, in rythm, in the accepted forms of composi¬ be as intelligible to the mind of the musician as are the the whole of the keyboard, right at the commencement. of a great master finds its way to our heart more found the origin of it in the Gregorian chant, and they words black and sour to the ordinary reader of print ? tion. A radical sweeping change was necessary. The supported its slender convolutions by means of strong On practically all modern pianos the first key, start¬ t„lh! b,ack ,keys tben may be dealt with as belongin directly than if it were clad in the most wondrous This is merely a matter of practice. If we read melodic contours had to be almost obliterated, dis¬ resisting counterpoint.” ing from the bottom, is “A.” The musical alphabet to the whrte keys, to help them as required, to lx- sh.v harmonies and arabesques. habitually as much music as—say—newspaper print, the sonances, which were formerly carefully avoided by the On another occasion he writes: “From Bach’s works really commences with “A,” so that this key’s name and it „ HaVC the pupil tourh ead« black key and ca The fact is that if we listen to a work of Debussy the one would .be as easy as the .other. position are synonymous. classicists, had to become the most momentous part of a somewhat striking analogy forces itself on the mind. for a*6’ Star.tin? at tbc bottom and go inf upwar his harmonies. Consecutive fifths, seconds, octaves first impression is less of real artistic enjoyment than Bach is the Graal and Wagner Klingsor (the evil magi- There are as many days in the week as notes in the for flats'’ S artmg at the t0P and coming downwar became with him daily bread. Forms had to be thrown of surprise, of amazement. We wonder at the antics, can in Parsifal) who would destroy the Graal and usurp scale. And exactly as we say, “Sunday, Monday, Tues¬ Some teachers have the habit of stopping pupils for on the dust heap. But where to find substitutes? As at the skylarks of this unbridled phantasy; we find it the homage given to it. Bach exercises a sovereign in¬ day, etc.,” to Sunday again and repeat, so can the mu¬ every. little mistake. This, we think, is wrong. It is sharDPlso'“r”a B baS no bey to help him to h we have already noticed, the Gregorian modes, the even clever, witty; but often we cannot help exclaim¬ fluence in music, and in his goodness and might he has not only annoying to the pupil, but absolutely injurious. sical alphabet be used to name all the ivhite keys. ing no black kd0CS ‘his for him- 311,1 in return “C” hav whole tone scale, the equivocal single chord (the aug¬ ing : “the man must be crazy 1” willed that we should ever gain fresh knowledge from Fluency in playing will not be produced by such a course. Beginning with “A” (Sund-A-y), at the bottom, pro¬ i" l ^ *° hc,p him fla‘- «lls upon “B" to d mented triad) and similar devices furnished him the Is that the ideal of art? Is it not rather to touch the noble lessons he has left us, and thus his disinter¬ It is, however, sometimes necessary to stop the pupil ceed to “A” and repeat for seven weeks or octaves, exactly sim-? * ass,stanee l,ci"S also rendered in ai necessary material for his unique, quaint edifice. the innermost recesses of our heart, to have us forget ested love perpetuated. As years roll by Wagner’s to make corrections, though, as a rule, it is better to till we find the last key at the top is “C” or Tuesday. of these f ?3nner by “E” and "F.” so that eacl Of course it is unavoidable that, through this constant the means' with which a powerful effect is attained, sombre and disquieting shadow lessens and grows dim.” defer the correction until the piece is finished.—Karl Now for a sure landmark, anywhere on the keyboard. or ^^ur wlnte keys has five names-“B” natura striving after something never done before, through the and let us enjoy the Isublime manifestation of genius It is remarkable that paying a tribute of veneration to Call attention to the fact that, commencing at the top “F” flat “F” natural or “B” sharp. “E” natural o uninterrupted refraining from the beaten paths, the undisturbed by considerations of “how” and “why”? So Bach, Debussy avails himself of figures created by ttat, F natural or “E” sharp. work of art must necessarily lose its fluidity, its it happens that unbiased listeners are inclined to con¬ Wagner, THE ETUDE Page 88 FEBRUARY 1921 FEBRUARY 1921 Page 89 Don’t Be Discouraged THE ETUDE Of Wagner himself he says: “Wagner has left us Pelleas entreats Melisande to lean further forward out an inheritance of certain formulas for the union of of the window of the tower, that he may see her hair music and drama, the insufficiency of which will some unbound and touch her hand. Suddenly her long tresses By T. L. Rickaby day be recognized. It is inadmissible that for his own fall over her head and stream about Pelleas. He is particular reason he. should have invented the leit-motif enraptured. “I have never seen such hair as yours, There is nothing that weighs heavier on the music itinerary for the use of those who cannot find their way Melisande! See! See! Though it comes from so high teacher than discouragement. Much of the musician’s in a score, and by so doing he expedited matters by it floods me to the heart 1 And is sweet, sweet as though work is done without pecuniary return, and, at best, in himself. What is of more serious import is the fact it fell from heaven! I can no longer see the sky through common with teaching of all kinds, it is not well pajd that he has accustomed us to making music responsible your locks. . . . My two hands can no longer hold labor as a general thing. Chords I Have Met for the protagonist. Music possesses rhythm, and this them. . . . They are alive like birds in my hands. And Furthermore, since success as a player often depends inner power directs its development. The movements they love me, they love me more than you do!” Meli¬ less on the teacher’s efforts than on the pupil’s natural By BEN VENUTO and W. F. UNGER of the soul have also a rhythm; it is more instinctively sande begs to be released. Pelleas kisses the enveloping gifts, it too frequently turns out that after much work comprehensive, and it is subordinated to a multitude of This is really a very agreeable little Lesson In Harmony. Our teacher friends will do well to encourage all of their students tresses. . . . “Do you hear my kisses? They mount and unselfish effort on the teacher’s part, no artistic different circumstances and events. From the juxta¬ taking up this study to read this article. Those who have never studied Harmony will be through your hair. . . .” return is apparent. One cannot gather grapes from position of these two different rhythms a continual con¬ delighted in this way to find how simple the study actually is What enchanting vision, wonderfully expressed by De¬ thorns nor figs from thistles any easier now than it flict issues. The twain do not amalgamate. Either the bussy by a precipitate descending series of seventh chords could be done ninteen hundred years ago. If a person I had shown Martin. “Very good,” said I—“I’m glad was greatly pleased at his original enterprise, and in¬ music gets out of breath running after the protagonist, built on the whole tone scale. "Better it is for youth has little or no talent for music, then it would seem Martin remembered so much of what I told him, and quired how he found the chord, and what he thought or the protagonist has to hold on a note in order to In the limited space allotted to these articles I can only To strive through ways uncouth that no particular reason for discouragement exists. that you have learned it too. That was better than I it ought to be called. “The dominant seventh and then allow the music to overtake him. There have been mention briefly some of the other works of Debussy At making, than repose on In every case pupils and parents look for results. If expected—a sort of ‘killing two birds with one stone’. some,” answered he, without hesitation. “I took the miraculous conjunctions of the two forces, and to Wag¬ which have become popular, as, for instance, his String Aught found made.’’—Browning. the children do not play well, the parents are prone to But now sit down and play your lesson.” Milton sat dominant seventh chord that you taught my young ner the need of praise is due for having brought about Quartet, his pianoforte pieces: Jardin sous la pluie, imagine that the teacher has in some way done less for down obediently, but his private plans were not yet brother and built another story on top.” “Very good,” some of these encounters. But these fortuitous occur¬ Reflets d’eau, Deux Arabesques, and the songs Ariette Martin and Milton, brothers, aged twelve and ten, them than for others. This is very unjust, for the accomplished nor off his mind, and he interrupted a said I, “but your ‘inversions’ belong rather to the curious rences have been due to chance; which more often than oubliee, Le Flute de Pan, built on the Lydian mode, and are two of my brightest pupils. One day a terrible truth is that ten times more work is expended on the perfectly good Sonatina fnovement at the first double¬ than the beautiful. I could tell you of some few com¬ not shows itself unaccommodating or deceiving. Thus, Sa Chevelure, in which we hear the whole tone scale. rain-storm started unexpectedly during Martin’s les¬ once and for all, it may be said that the application of unmusical pupil than upon the other species. son, and as neither of us had an umbrella, he waited bar, to voice a request:—“Mr. Venuto, Martin thinks posers at the present day who actually try to use these Debussy has not classified his works under opera num¬ bad-sounding sharps, just for the sake of being thought the symphonic form to dramatic action, instead of help¬ bers. Our work as teachers is responsible for an unlimited in my studio for the weather to clear. My next pupil he’s something big, now he knows about those “triads” ing it, as was triumphantly asserted in the days when amount of harmless pleasure. The parent does not exist did not show up, being hindered by the storm, and and “inversions”, and he crows over me because you different from other people, but really good composers Resuming, we find in Debussy’s career the following do not commonly invert this particular chord—by the Wagner reigned over lyric drama, is liable to injure it.” salient points: who would not rather hear their little one play a sim¬ Martin amused me by coolly seating himself at my never taught me anything of that sort yet. Won’t you Grieg’s music gives him the charming and bizarre ple piano piece than to listen to a technical marvel pro¬ grand piano and picking out chords by ear. His please teach me about some other chords, and than way, it is called the Chord of the Dominant Ninth. The continuous striving after originality which became Instead, they leave the lowest note in its place at the sensation of eating a pink bonbon stuffed with snow. with him a kind of obsession. It resulted in imparting a duced by a mechanical piano and a roll. What matter favorite as a steady diet seemed to be the C major when I go home, I’ll say, ‘Hey, Martin 1 There are some CHORDS I HAVE MET that are different from bottom, and content themselves with inverting, or rather Of Beethoven he writes: “The right lesson to be decided novelty and bizarrerie to all his creations, but at if nothing comes of it later, if "nine-tenths of the aspir¬ anything you know about’ ” “Go on with your les¬ re-arranging, the upper four notes, like this:— learnt from him is not to hold fast to ancient formulas. the same time depriving them of that spontaneity and ants fall by the wayside.” If they never play any son, Milton,” I replied, “and if we have any time left, Neither is it necessary to follow in the tracks of his naturalness which alone can make the work of art enjoy¬ more after lessons and regular practice are discontinued, early footsteps. But it is of greater importance to look able, unequivocal, intelligible to the majority of the it was a source of gratification and pardonable pride I’ll grant your request, and go you one better—Martin learned about chords of three notes, but I’ll teach you out of the open window to the free sky beyond.” listeners. while it lasted, and as a mental discipline it is not to The piano was in good tune, and the chord beauti¬ The bulk of Debussy’s works is not very large, owing about chords of four notes.” With a triumphant squeal, He was, as well in his art as in his life, strictly con¬ be despised. fully resonant, I found myself almost unconsciously also to the fact that he died in his 56th year (1918). Milton, returned to his Sonatina, and I managed to sistent and faithful to his principles. He made conces¬ Only Work Counts declaiming aloud certain lines from Robert Brownings The most widely known among them is his opera, squeeze in time before the close of his lesson-period to As a great deal of music has only four parts of sions neither to taste nor to fashion, nor to narrow¬ remarkable poem, Abt Voglert— voices, one of the five notes of this chord often gets Pelleas et Melisande, after Maeterlinck’s play. The sub¬ mindedness and pedantry. Like his illustrious pred¬ Further, the musical studies of the young people of a initiate him into some of the mysteries of the Chord of ject of the opera is vague and full of fathomless mystery. community, spread over a period of ten, twenty, and "And I know not if, save in this, such gift the Seventh. left out, and in these re-arrangements the one left out ecessor, he was a knight “sans peur et sans reproche." is often the fundamental note itself—the one that is in Maeterlinck’s man—as de Soissons says—is a being even more years, while not showing at the moment any be allowed to man. The great lessons he tried to obtain from the observa¬ many' ways the most important of afl—the one called whose sensuous life is only a concrete symbol of his specific artistic results, is a sort of leavening of the That out of three sounds he frame, not a tion of nature in its most sublime manifestations. “If the dominant.” infinite transcendental side. The libretto contains scenes you will learn to know nature do not listen to second¬ lump. The community is better for it, and who knows fourth sound, but a star. A Relay Race for Knowledge of exquisite beauty. To give a single instance of the hand reproductions like the Pastoral Symphony, but go what great musician of the future may arise from the Consider it well: each tone of our scale in Without recounting all the conversation we had about To cut a long story short, Martin carried his most delicate poetic perfume pervading the whole work, I directly to the original. musical conditions of later generations, conditions which itself is nought; it, I would merely say that Milton took the chord shall mention the opening scene of the third act, in which It is everywhere in the world—loud, soft, recently acquired knowledge home to Milton: Milton A Valiant Pioneer of Modernity owe their existence to the seeds sown in this one. G, B, D, F, at my direction, and put it through its in¬ and all is said: versions, as his brother had done with the triad came and besought some further facts as yet unknown After all, it is the work only that counts. If we are to Martin, and I showed him the form of the Chord Give it to me to use! I mix it with two in C, E. G, only with this difference, that there being four teaching music because we can do that better than any¬ of the Dominant Ninth in minor, and how the upper my thought, different notes, there were three inversions instead of Learning by Ear thing else, and because we like it (and no work is well And, there!’’— four notes of. it (without the fundamental) made what done unless these conditions arc fully complied with) but two. He then tried the experiment (on his own account) of using the chord C, E, G, B, but found it is called the Chord of the Diminished Seventh,—a then our motto might well be the follownig lines: (Here I desisted, seeing Martin’s blank expression of chord of strange and subtle qualities. By Sylvia H. Bliss face, and realizing that it was quite over his head.) quite harsh. “That is one of the Secondary Chords Martin continued his repetition of this same chord until of the Seventh, Milton,” said I: “they are all of use The piano teacher in the elementary grades is often Honor and shame from no condition rise: This done, a very large field is open in which teaching it began to get a little wearisome, and it occurred to in Music, but one has to understand just how to ap¬ confronted with the question, “Shall I play the new les¬ Act well your part.; there all the honor lies." by way of the ear is of inestimable value. Beyond the me to suggest a, variety. “That chord you are playing, proach them and how to quit them, in order to have son over to my pupil?” This is a question of moment region of understanding in a child’s mind is a realm Martin,” said I, “is called the Triad of C, in the funda¬ them sound good. The one that I showed you is not and deserves serious consideration. Playing by ear is responsive to our most potent and significant influence. So with all the seemingly unrewarded and unfruitful mental position. Triad means a chord of three notes, so harsh, and can be used without any special care. Afterward they were interested to learn, one by one, in ill-repute, and justly so, if it ministers only to indo¬ effort, the apparently unproductive labor, it is well not and fundamental position means that it is standing It is called the Chord of the Dominant Seventh, and its about the “wish” of the different tones to move in lence and continued inefficiency in note reading. Obvi¬ No mere words of ours can convey to their minds the to allow discouragement to gain a lodgement. It is a right side up on its proper bottom. Did you ever try fundamental (lowest note when not inverted) is the some particular direction, in certain chords. ously, such a course defeats the purpose of the lesson, hundred and one things in musical ideas or rhythmical tenant that has the faculty of ousting other and more ‘inverting’ it—turning it upside down?” “No,” said fifth of the scale, in whatever key you are in. To make and is merely a cheap makeshift. The teacher should be subtleties which their young hands are to execute and desirable inhabitants. Moments of discontent and dis¬ Martin, immediately interested, “how do you do that?” this chord C, E. G. B into a ‘dominant seventh’, you sure from the first that the pupil has the ability to read for which no mental perecedent exists. They work with¬ must flat the B. Then it will be the dominant seventh appointment come to all—so music teachers cannot rea¬ “Take the lowest note, C, and jump it up an octave,” notes, understand their values and solve the rhythmical out ideal or pattern, and it is only through an appeal to in the key of F.” problems of his grade, and then by every available means the ear, by the teacher’s playing, that we may hope to sonably expect to be exempt. “We cannot prevent the I explained. endeavor to shorten the process of transforming the reach the musical mind, and with the possession of the birds from flying over our heads,” says the Eastern and they learned various interesting facts about such written symbols into sound. idea comes oftentimes the power also to do. proverb, “but we need not let them build nests in our chords as these hair.’ Banish the “glooms.” Think of the good that Martin did so, then looked around at me for further may be done-think of the brighter phases of the work. “One other thing you will notice, Milton, about this There is -- - suggestions. “That is called the “first inversion,’’ said i recompense for toil other than rest and gold. chord: the different notes seem to be wanting each to I: “now jump the E up an octave, and you will have Keeping Up We may not know what it is. In our blindness we may go to some particular place. The F wants to go down the second inversion. He did so, and presently tried not even recognize it when it comes. But it will come to E, the B wants to go up to C, and the G wants to the experiment of jumping up the G an octave, as he By Walter W. Harrison in one way or another if we do our part. “There 'go down to C. True, they don’t always do this, but had done with the C and the E, but found that brought where they don’t, there is sure to be some good reason never was a right effort but what succeeded” is the the tones of the chord in the same order again as at Probably one of the haidest things for the busy ple, go to the theater regularly, play a little chess, strive that the composer understood. This is called the sweeping but eternally true statement of our own Con¬ the start. “Try a different chord,” I suggested, and teacher to do is to keep up with things. Schumann once to keep on studying some language and read The Etude Resolution of the chord.” wrote, “Two things in the world are very difficult: First, he hit upon the C minor triad—C, E flat, G and was —which one is called the Italian sixth, which one the religiously every month from beginning to end. I get cur duTto sow.may n0t rCaP’ bUt * °nC Wil1' Tt to establish a reputation for oneself—and then to pre¬ the new music and often force myself to play some 15 soon having a fine time trying out its inversions, in French, the Neapolitan and the German, and which way serve it. I must confess that it was far easier for me piece by modern composers, whether I like them or the same way. their different voices wish to go. All these things you to get a start in my profession than it is now to keep le rn about when you study Harmony. up.” This does not mean merely keeping up in music, Ifwhkhi!tlidfc>°’7and find me at n'ytoil’ Keeping Up Financially And. *li ii S ^ ,10d though faintly wrought, but keeping up in every way. Here are some of the “Now go home and air your knowledge to Martin!” The Eleventh and Thirteenth The business methods of my prosperous friends in the means I have used: Were aTfUr,TS C,efl * ' Presently the rain cleared up, and Martin took his One day either Martin or Milton—I forget which— business and professional world interest me immensely “The Dominant Seventh and Then Some” H nnZ 7 labor: shal1 1 »«»' >' "ought leave, but it appears he carried more home with him said to me, “Teacher 1 There are chords of the seventh Keeping Up Physically Only a few ideas are applicable to my own profesisonal Next week Martin announced at his lesson that he sMi 770r olcancr Wak »f w than I anticipated. When his brother Milton appeared and chords of the ninth'—can there be chords of the work; but those ideas are often very valuable to me had “invented a new chord)” but that it didn’t seem I exercise every day until I manage to get in a good N^ofZ\r7' S"Caf 1 W for his lesson, a day or two later, he was agog with eleventh and thirteenth and fifteenth and—” “Hold For instance, one of my friends always insists upon to “invert” very well. It was this: on!” said I—“what would the ‘fifteenth’ be?” Martin sweat. Exercise that does not produce a sweat is hardly having his bookkeepers write after “Received Payment ” The ham ias,er 0Ur 1Cart and your very life were centered a very valuable secret. Many teachers feel And another reason for playing these first slow melodies lurking in your mind which suggested the following accordingly. The piano is in reality a drum—a drum with many musical enthusiasts sit with closed eyes during thought: 6 oom foerT'C you arc performing there would be no with a gentle, undulating arm touch is that the mature the entire performance in order better to get the mu¬ a college education, as it were—and unless the touch is that one of the reasons why students with “What would the audience think of me if I were to a “L h™ vandalistie thoughts. You would have player plays them in this very manner. Thus, the child sical effect. This is by no means affectation, but a e<-6 taught consistent with the instrument, naturally the pupil stumble or have a lapse of memory now? What would for alien th? ,"1ent^,ly with not even “standing room’ the Mason “Touch and Technic' method uses his fingers some but not too strenuously. His recognition of the fact that in this way the personality will not make continued progress. He will be able under “So and So” think of me?” tal attitude •UghtS" The f°1,0wing should be your men- progress so rapidly is that Dr. Mason, while fingers become each week somewhat more independent of the performer is submerged, and the meaning of legato to play slowly and sticky, but will not be able to Then your trend of thought centers upon yourself. and more graceful, until he is ready for such work the composer predominates. acquire nimbleness and velocity. never ignoring the true legato, also provided as the little running Etudes of Kohler Op. 157, or scales. “I wonder how I look to the audience.” 2 Dp? y0Ur work with a'l your being. You mention some who have become great players The practice of taking scores to concerts may be various wonderful exercises for the non-legato Even up to this time, which will be from four to six Then you take a side glance at your auditors—there under this teaching. True, one in a hundred has by admirable, but it is advisable to study before attending sits that great musician; he knows every note you are months, one need not stress legato more than to have the concert, as in this way only is it possible to con¬ ^ a ““by nature a phenomenal quickness of muscle, and this one and insisted upon their daily use. The playing, etc., etc —and all the while this maze of dis¬ these slower melodies “sung on the piano,” but, when this centrate and get the highest appreciation of the music. not to ^^you thC paid good money to hcar yoU’ can play rather rapidly in spite of the fact that he concerted thought has been bounding through your mind 1)601)16 Editor of THE ETUDE is convinced that Kohler or scale work begins, which, in its very nature, What is it, that indefinable something with its sim¬ forces everything, i. e., his natural muscular quickness is to be nimble, begin the use of the non-legato or de¬ your sub-conscious memory has been guiding your faith¬ makes him able to play in spite of his fundamental error. Mr. Campbell’s somewhat revolutionary pro¬ ple, direct appeal, which we call genius? It is not produTci4g‘‘thTgoods.’’yOUrS *f y°U WU1 °n,y 6arn Jt ty tached tap-and-relax touch and stress this idea until it ful fingers—and you have been playing for three or four Then a few others who are very sensitive and also human personality, for we of ourselves can do nothing. minutes without giving a thought to what you reallv cedure is really an important discovery. becomes automatic. A neat series of tones made in this It is the Voice of God. sensible stumble upon the right touch in spite of the were dqing. or^VsSl^unfit0?^ rhe g?ds” if you are nerV°Uf wise is the real “piano legato” anyway, since they be¬ teacher or instruction book. Either one of these cases come by practice a smooth and even sounding run. each composer to^rtlScf W°nderfUl could have learned to play in half the time by con¬ FEBRUARY 1921 Page 93 Page 92 FEBRUARY 1921 TUE ETlJDjf T1IE ETUDE tion, and therefore quickness, can also play slowly So let this early foundation work be of a kind where music, he hated the teacher. Why? Simply because too an acute mental consciousness of a very quick ability to vided he has the musical urge, but one who has 1°' fine a musical thinking was being given him too early usual strict legato foundation can seldom play rapi(j^ relax is preserved and progress will never be interrupted. in his study, an asset that would come by waiting a lit¬ This quick muscular relaxation for "the finger muscles tle until the child became more musical. The child can New Ideas and Their Usual Reception 1S n°t 5asy to secure, since all of the daily activities imitate physical acts readily in early life, but to add the of the finger muscles are to hold on, to make prolonged finer musical thinking at that period is inconsistent to Many will call this article musical Bolshevism, but 1, contraction. One holds steadily to a pencil when writ¬ child psychology. The worst feature was that this can people criticize that which they have not tried r The Teachers’ Round Table ing, one holds to knife and fork, in washing hands, in child’s chances for muscular fitness relative to later have tried this out and know it produces f0ur tb closing doors, in carrying a package, in holding an um¬ agility were being severely handicapped. better results. The profound (?) professors in the h Conducted by N. J. COREY brella (and, in this part of the state, he is, therefore, ger institutions will be the worst critics of this articl kept contracted nearly all the time when outside). The Importance of Non-Legato for Early Foundation The larger institution usually remains in a rut for th This department Is designed to help the teacher upon questions pertaining to“How to Teach, The problem is not in the least profound. Simply sit comfortably and let the name of the institution dra^ “What to Teach," etc., and not technical problems pertaining to Musical Theory, What Really is the Keystone of Agility ? stress in early childhood a neat non-legato where the students. They seldom, if ever, attend a convention^ History, etc., all of which properly belong to the Musical Questions Answered The act of agility must, however, come from a quick¬ finger bounds free after a stroke, and then use every seldom travel in quest of ideas—seldom even read th department. Full name and address must accompany all inquiries. ness to release or relax. One cannot contract ami strike means to develop the child musically. Ear training is technical articles in the Etude, yet they are perfectl willing to pronounce their opinions upon any subject middle C and -then strike another C an octave away the real slogan. With a delicately even non-legato well of voluminous size. Elementary terms in musical form often surprising how much one will have acquired at Good ideas and the artist pianist have all developed •‘Can You Pass?” with the same finger without relaxing quickly. The established the question of agility is forever solved. No are motif, phrase, section and period, the period, of the end of a year, if simple conditions are maintained. the smaller schools or under the private teacher wh" “Will you tell me where I can find answers to slower the power to relax the slower will one be able interruptionimci i ujJiiun willwin ucuuro in piugicas in ui uw r the third course, making complete musical sense. You will find Of course, it is assumed that you keep up your play¬ has to hustle and build up his work and draw student° questions on editorial page of July Etude ? to strike the two C’s in rapid succession. The quicker grade. When a habit is well established for quickness "1. Explain essentials of piano action. musical forms classified under such terms as binary, ing of pieces as well. Some pianists maintain that technic on the merit of his work. “There is a principle which “2. Name and describe the essential varieties of one can release the first key, the quicker he can sound and musical growth is in evidence, then the legato asset ternary, song-form, dance-form, sonata, rondo, etc. may be kept in good order simply by the daily and intelli¬ is a proof against all argument, bar against all infor. legato touch. the two keys or any two keys anywhere on the piano. can easily be added. “3. Name and describe the essentials of staccato Harmony is the binding force that unites the mu¬ gent practice of a well-selected list of pieces.. As each finger is taught to release quickly after a per¬ Remember this, that he who can run fast can also mation, which will keep the individual in everlastin sical product into a coherent whole. Without harmony 2. I know of no correspondence courses aside from ignorance—that principle is condemnation before invest “4. Discuss interpretation from the standpoint cussion stroke, so each finger becomes really independent. run slowly; he who can operate a typewriter rapidly can of phrasing, of form and harmony.”—B. V. music is chaotic. The various chords differ in im¬ those which I have seen advertised in the columns of tigation.” That is, each finger works without infringement upon also use it slower. So, one who has a non-legato founda- portance and function according to their location in the Etude from time to time. There are a number of another; each operates unimpeded from its own base. Evidently there are many who are thinking of pre¬ books in the publisher’s catalog which would be of paring for a possible examination, or do not feel con¬ any given composition. An intelligent interpretation One begins in this way to obey a physiological law pre-supposes a knowledge of harmony in order that inestimable assistance to you in developing your own governing quick muscular acts. I quote from a well- fident of their knowledge on certain topics that are the due value of chords in a phrase may be brought outline of teaching. By such study you can find and known authority: “The necessity of returning to free¬ Classical ? What Does It Really Mean ? pronounced essentials. .The editorial in the July Etude out. An entirely different musical significance may lie develop your own resourcefulness, which should be dom of body after using one muscle before using the has resulted in an avalanche of letters, which continue given to a phrase by a wrong emphasis of the har¬ your main stock in trade throughout your career. Write next cannot be too often impressed upon the mind of to come, asking for information regarding the foregoing By Francesco Berger monies. Three essentials in a composition, therefore, for the Selected Graded List of Studies. one who desires easy and graceful moves, for this is the questions. Hence I will give brief answers, in the hopes 3. It is difficult to keep supple the baseball, pounded, rock, the foundation upon which his house is built, no that they may lead to more detailed study elsewhere. are phrases, form and harmony, if it is to have musical One cannot protest too strongly against the current dirt-begrimed, cold weather chapped hands of the aver¬ matter whether that act be tp walk across a room or a work as a Bach fugue; and who can say he is 1. There are three essentials in piano action. First, sense. The thorough study of these elements is nec¬ misuse of the words “classic” and “classical.” So age boy. There are some boys whose hands are so play a piano.” wrong? , the key, or lever, which communicates the impulse given essary to musicianship, as punctuation is not always many, even educated, persons persist in applying these clumsily built up that flexibility will never be possible. Classical and Romantic by the finger to the hammer, the second essential. The as obvious in a composition as it is in printed matter. terms to all the works of a few composers (always It is not always possible to outwit Nature. What such How to Secure Velocity third is the damper, which remains lifted from the wire Hence, if this article leads to a study of these things dead ones), irrespective of whether the particular work Music has been divided into “classical” and “romantic,” a boy needs is to give close and undivided attention to as long as the finger holds the key down, and drops by all who have written for information, much good A word as to how to secure this quick release might they are discussing deserves or .does not deserve such thereby implying a contrast between the two, and assum¬ overcoming his defect by long-continued daily practice. upon the wire and discontinues its vibrations as soon will be accomplished, and many more will arrive at a not be amiss. After co-ordinating the mind with the distinction; while, with equal perversity, they ignore ing that the classical cannot be romantic, and vice versa. For this use the simplest finger training exercises, many as the finger releases the key. If you will examine a point where they “can pass.” larger joints nearer the brain in a high consciousness the claims of works by other composers (possibly living This theory 1 venture to dispute, on the ground that it of them away from the keyboard, where he will study diagram of a piano key action you will notice that it is for relaxation, then proceed to the fingers by way' of ones) to their share of classicality. In spite of this is opposed to the facts of the case. A so-called “classic'1 the motions carefully. This analytical practice should complicated with a number of small details, such as New Suggestions the wrist touch. Secure a percussion or hand touch conventional habit of proclaiming as “classical” any work is, at times, as romantic as you please, and a so- be kept up about five minutes, and then applied in jack, notch, butt, felt, regulating button, screw, escape¬ by striking thirds with fourth and second fingers. With piece of music which happens to have been composed called “romantic” one is, at times, as classical as possible. The following letter we print because we cannot an¬ simple exercises and etudes. Then the same careful ment, flange, mopstick, etc. While these are doubtless all a slightly swinging motion of hand, for momentum, by one of a very limited number of composers, it re¬ If it be necessary to label pieces of music at all, let it tie swer it. We have never heard of such appliances having attention should be carried into the practice of pieces. essential to perfect action, yet they are technical de¬ strike by swing weight the keys C and E in such a mains a fact that not every such work is of equal done according to the degree of excellence they reveal, been made as a help in teaching children. But when we In other words, the entire time should be devoted to do¬ manner that the instant the tone is reached the muscles merit; there are quite a number which are not entitled not by the naine of the composer. tails, the three first given being the gist of necessary think of the thousands of children who are studying ing everything right. But unless your boy is naturally relax and the loose hand bounds up on the keys. Do this to the high-sounding adjective popularly bestowed upon A great deal, admittedly the larger portion, of the knowledge. music and who like to help their mothers in baking pro¬ gifted with a love for music and desire to play you 2. There are two varieties of legato in ordinary clas¬ daily until the sensation and act becomes automatic. them. There are musical goats that pass for sheep music by Bach, Handel, Haydn, Mozart, Beethoven, cesses, it would not be a bad idea to provide them with will find you have undertaken “some job.” Plato’s The use of studies in 3ds, 6ths and octaves helps materi¬ sification. First, Clinging Legato, in which the tones among the classics,” and there are sheep among the Mendelssohn, and Co., is so unquestionably excellent utensils for cutting cookie notes and thereby learning statement that a boy is the most vicious of all wild ally as one becomes more efficient in the act. overlap one another, each key being held down until herds of “non-classical” goats. that it must be styled “classical.” But it should not them better. Everyone knows what a constant source of animals is not altogether devoid of its kernel of truth. This hand touch act is the exact sensation needed for after the next has been depressed. Allied to this is interest and delight “animal crackers” are to children. A boy is a problem all by himself. Some have a natu¬ the finger percussion touch, except one is from the If a w.^k °f a?y art is as Perfect of its class as it be so described because composed by those men. Legatissimo, which is applied to chordal tones taken can possibly be—if it be unsurpassed because unsur¬ The letter follows: ral faculty for getting along well with boys, and to wrist joint, while the other is from the large knuckle Liszt’s performance of one of his transcriptions was in succession; oftentimes each being held until a new passable—then, and only then, is it correct to speak of “Will you please help an amateur teacher? I am al¬ them they are the mosts interesting of all problems. joint. Each finger should be trained to strike the key quite as classical (because quite as excellent) as when harmony is introduced. Second, Plain Legato, the nor¬ it as “classical.” Whether the producer be living or ways planning ways to make the children’s lesson inter¬ to tone and instantly relax, allowing the rebounding he played a Beethoven Sonata; and Sarasate was as mal foundation of all piano playing. In this one key is dead, whether he hail from the Rhine or the Thames esting, especially the afternoons I should like to have Piano and Pipe Organ key to bring the finger up with it. When this becomes classical (because as excellent) in his rendering of a released exactly as the next one sounds. This may be whether his name sounds Scotch or Chinese, has them together. There are some things that I want and automatic then velocity is no longer a closed door to Chopin Nocturne as when playing the Mendelssohn produced by finger, hand, or combined finger and hand “1. What studies should I give pupils Who are nothing to do with the case,” as W. S. Gilbert would am not sure I can get. I cannot find them in any cata¬ finishing Beyer’s Elementary Method for the Piano f any student. After each tone in a run there is a slight Concerto. Both were unsurpassable, therefore classical. Also what are some good teaching pieces for these have said. And though he may have produced fifty motion. logue of juvenile publications that I have seen. rest or, in a word, one’s playing becomes perforated, as We call Mozart’s operas “classical,” and very rightly 3. Mild staccato, in which the finger is quickly flexed works worthily esteemed “classical,” if the fifty-first “Children like to use stencils, and draw pictures on the “2. in what grade is MacDowell’s To < it were, with repose, and repose is the first principle so. But we should not do so because their composer falls short of the standard of perfection which he has across the key toward the palm of the hand. The blackboard, or with tablet and pencil. Are there any for any phase of art. has produced Symphonies and Quartettes. They are amount of flexion depends upon the rapidity of the “3. How far advanced should a pupil be in piano set-up for himself, it has no right to be called “clas- blackboard stencils illustrating the lives of the great com¬ study before taking up that of the pipe organ? A classical because they are incomparably good music passage. In a high degree of speed but a slight move¬ posers? Thomas Tapper’s little book, ‘Pictures from the teacher told pae that Bach’s Two Part Inventions How to Use Legato from beginning to end, without a weak moment or should be studied before attempting the organ. ment of the finger by means of the metacarpal joint lives of the Great Composers’ could be illustrated in this What other studies would you suggest in prepa¬ Someone asks, “Is legato to be done away with?” By Are Strauss Waltzes Classical? blemish of any kind. And Wagner would long ago is possible. In sharp staccato, sometimes called stac- way. The children would take delight in drawing ration for this work.”—W. E. F. have been acknowledged “classical” if any one of his no means. Simply mse legato where it belongs, that is, A lady’s brooch or other piece of jewelry of per¬ catissimo, there is a combined quick flexion of finger pictures of the main events in the lives of these men. 1. The Czerny-Liebling Selected Studies, using your works were tmiformly great throughout. But those in the slower melodies. When using legato it would fect design, of perfect workmanship, of perfect metal inwards and an upflinging of the hand from the wrist The children would also like pictures that they can judgment as to just what point your pupil may be ready portions of his scores which are his best—those in be wise to touch the key as in non-legato, except not of perfect gems is every bit as classical a production joint. This is not adapted to high speed, however. color. The public schools have things of this type, but to start with them, as some of the earlier ones may be which he soars to the highest possible heights of musical to allow the key to bound up instantly. Simply strike as the Venus of Milo, or the Parthenon, or a Raffaello Chords, double notes and octaves staccato are pro¬ I have seen none connected with music.” omitted. If you will look over the Round Table files the key to the bottom, say with six ounces, and the in¬ cartoon or a Shakespeare play, or a Heine lyric, or expression—those which transcend all pre-existing works duced by an upward motion of the hand from the The Publisher can supply you with the following games for the past six months or so, you will see the standard stant the tone is reached, release approximately four a Beethoven Sonata, or a Chopin Nocturne. And one of the kind will unquestionably be ranked “classic” by wrist joint. Non-legato, called marcato by some, and which you will find admirable at your musical gatherings, etude course listed, as well as lists of pieces. In addi¬ tuture generations. ounces, leaving about two ounces weight on the key, of Strauss best waltzes (I do not say all) is as “clas¬ formerly indicated by the obsolete term portamento, is using a number of small tables with game parties at tion send to the publisher for pieces on selection, from which will keep it down, thus enabling one to play a sical of its kind as the Eroica is of another. We do By all means let us have an abundance of music a form of staccato in which the notes have about one- each: Allegrando, Musical Dominoes, Musical Authors, which you may choose what seems suitable to you. You good legato with the minimum of contraction, which not estimate the quality of a picture by the size of its worthy of being called “classical,” and let composers half their value in tonal length. It is generally pro¬ Elementaire, Musical Games and Puzzles by Daniel should keep for ready reference a list of pieces you canvas. UA ,ls condition is conducive to a better tone than in any other o our day and of the future gain courage from the duced by the down-arm touch, even in single note Bloomfield, Musical Euchre, The Great Composers, have found successful, carefully graded in a note-book. manner for scientific reasons that would require a whole “Classical” means nothing more and nothing differ¬ knowledge that if they produce what is superlatively passages. It is indicated by dots with a slur drawn Musical Casino, The Court of Music and Game of article to set forth. 2. Thechnically To a Wild Rose is in the second ent than perfect” so perfect as to serve as model S°° , they will no longer languish in obscurity; the over them. Triads or Chords. grade, but aesthetically it is in advance of many second for every other production of- its kind. That this was urel-wreath of “classicality” will not lie withheld 4. Music is as definitely divided into sentences as grade pupils. They may need a little more musical Keeping Afloat Legato a Musical Asset the sense m which the word was originally used is irom their brow till the mildew of age has dimmed the article you read in a magazine, in music these sen¬ experience before they are able to interpret it well. The strict legato can be somewhat modified in early shown by its being retained ax such in the language their youthful enthusiasm. They will no longer have tences being called phrases. An intelligible interpre¬ “1. The Round Table stated that a teacher could 3. A pupil should be able to play in the fifth grade which gave it birth. The Italian uses it to-day as he tation is One in which each phrase is given its due keep up her technic on a half-hour’s daily practice. lessons, and it is just as well, since legato is really one n,„-Wai-r *' laid *n l,ieir graves before the result of Will you please outline such a course? with facility before taking up the organ. Some begin of the fine musical assets and not a technical one. The did centuries ago to denote the quality of anything IrVn h1fe:wo,rk is admitted into the charmed circle of value, just as in reading aloud you carefully observe “2. Can you suggest any conservatories which earlier, but are not able to progress very far. The Two that is superlatively good. He will tell you that his acknowledged classicality. commas, semi-colons, colons, interrogation and excla¬ give a correspondence course in piano teaching? young player does not, as a rule, have an overwhelming “3. What will help a high school boy in third Part Inventions are excellent preparation, as they train enthusiasm for a strict legato. As he grows older and new pair of trousers is “cosa classica” (a classic the ri tim1 th,at a musical Cromwell arose to order mation points and periods. Take a tune familiar to all. grade whose fingers are very stiff? I am giving the ear in polyphonic construction, so necessary to the thing) as readily as he will so describe his dish of ffie removal of that bauble “classicality” from our him scales, Czerny and a few stretching exercises. more musical, which is always a slow growth, he will Old Hundredth. The first four measures come to a What proportion of his hour of daily practice organ player. The student who wishes to become an play a fine legato because he feels it. risotto. For him the best comic opera is as classical Th7m thc articlc> but the misnomer.—From pause like a comma; the second like a semicolon; the should he give to this?”—F. B. advanced organ player will need to progress much far¬ I saw a teacher one day spend a half-hour lesson The Monthly Musical Record. third, another comma; and ending after the fourth 1. This is not a case where a special course of study ther in piano technic than the fifth grade, however, as trying to get a child to play legato—a short passage in with a period. This is easily comprehended. Instru¬ is essential. Desiring to keep the technic you have things like the great Bach Fugues, and the Widor Sym¬ Czerny. In the first place, the passage from Czerny mental music is just as definitely marked as to phrases. already acquired, it is simply necessary to practice for phonies are of a hig\i degree of technical difficulty. would have sounded better non-legato, and in the sec¬ “I ‘root’ for THE ETUDE everv timo x . This tune constitutes a very simple group of phrases. half an hour daily on routine exercises, such as scales, Meanwhile if one intends to keep steadily at his piano ond place, the child did not as yet have a feeling for ETUDE Mend ‘Root’ is an undisguisable AmericanU^ *250P,e>” writes an enthusia Now place in contrast with this another similar group arpeggios, octaves, chords, passage-work, etc. It is not practice co-temporary with his organ study, if diligent legato. After twenty-five minutes the teacher said: and zeal not to be described by any other word. Tha^Tu^ besPeaks a kind of loy with another melody. After that repeat Old Hun¬ necessary to use the same material each day. A diffi¬ and ambitious, he need not wait until the fifth grade to “There, you have it at last.” The child made some tones begin. Organ technic is substantially the same as that in a row, but did not know they were legato. The most everywhere who promote its interests continually ralic 7^ ETUDE has so many frie dredth. Then sing Amen as the coda. Here you have cult etude with which you are familiar, such as of the secrets of ETUDE success. ^ Ca s ^or our sincere gratitude. It is musical form about as simple as you can make it. Czerny’s Toccata in C, will be an excellent thing to of the piano. Therefore, whatever advances a pupil in noticeable feature of the lesson was that the child was piano, will prepare him for the organ. Special study perceptibly bored; he hated the lesson, he hated his From this initial stage have developed the complicated include. While one it not ordinarily supposed to add forms, the description of which has resulted in books much to his technic under these conditions, yet it is for pedal technic may be taken up at the organ. Page 94 FEBRUARY 1921 THE THE ETUDE FEBRUARY 1921 Page 95 Musical Lapidaries

IBy Effrem Ginsbourg LA SENORITA SPANISH DANCE WALLACE A. JOHNSON, Op. 50 De Pachmann in one of his loquacious moments made a comparison of piano playing with his favorite avocation —collecting jewels. He said, “Each note in a composi¬ tion should be polished until it is as perfect as a jewel— 'as perfect as an Indian diamond—those wonderful scin¬ tillating, ever-changing orbs of light.” Anyone who has ever seen a lapidary at work polish¬ ing a precious stone, seen the microscopic care and pa¬ tience required in smoothing the tiny facets, has a lesson in this paragraph of de Pachmann. Once the writer saw de Pachmann at practice, and it may be interesting to know that he practices what he preaches. He took a passage of a few measures and played it over and over an almost endless number of times, all the time concen¬ trating with the greatest intensity until he had it the way he wanted it. Then he did not leave it until he had fixed it so that he could do it in the same manner whenever he wanted it. ._ Tonograms

Crispness in playing will never be obtained without crispness in thinking. Old pianists dream of triumphs, young pianists dream of conquests. He that toucheth Jazz shall be defiled therewith. Legend of a Famous Lieurance Song One ounce of Chopin is worth a ton of Jazz. Never leave till tomorrow what you can practice to¬ “By the Waters of Minnetonka’ day. The substitutes for scales are all about as good as the Thurlow Lieurance, who, with his talented substitutes for butter and flowers. William M. Felton. wife (formerly Edna Wooley), will make a few Faith in your art and in yourself is the first essential concert appearances in the East in March, has had of success, the others are minute attention to details and so many applications from singers of national indefatigable industry. William M. Felton fame for special coaching in his wonderfully suc¬ A Rising Composer with a Fine Melodic Cift cessful Indian songs that he will give a little of his time to meeting the great artists who are sing¬ Simple Pedal Rules William M. Felton was Ixirn in the city i Philadel¬ ing them. No other musician has had the wonder¬ phia and educated in the public schools, graduating from By Catharine Y. Keating ful experiences with the Indians that have < the Central High School. His father wa , talented musician and a well-known performer upon il„- con¬ to Mr. Lieurance through the great number of Some time ago I saw an article by Mark Hambourg years he spent with the tribes. Mme. Alda, Frieda which gave some very definite rules for the use of the certina, playing lengthy selections from VV'agn t. Verdi, Hempel, Julia Culp, Mme. Melba, Henri Scott, pedal. Simply stated these were: Gounod, etc., from memory. Julia Claussen, and the very gifted Princess Never use the pedal— As a child Mr. Felton commenced making little tunes Watahwasso, with her glorious voice, have sung a. For different harmonies. so that at the age of five he attracted tin- attention of By the Waters of Minnetonka in all parts of the b. For two different phrases. He was placed under the instruction of country. Few people, however, know of the beau¬ c. At the end of a phrase, unless there is some WiHiam C. Schwartz in pianoforte, and H. A Matthews special use for it. and Henry Houseley in harmony and composition. tiful legend that is associated with this song, Use the pedal— which inspired both the poet and the musician! After spending some time as the musical director of a. For long melodic notes, in which case it is usually It is given below. one of the largest photo-play houses in the United States better to depress it after the note is sounded he resolved to devote all of his time to musical compo¬ In the northern woods, a' brave of the Sun b. For all foundation notes of chords that require sition. • branch of the Sioux fell deeply in love with a separate pedaling. Although still a young man he has some fifty compo- maiden of the Moon branch of the same tribe. The difficulty I used to encounter, however was in sitions to his credit, many of the most successful being Secretly they met, time and again, knowing full ofT"l^e‘hr t0 P£da1/: alL A great "W editions for pianoforte. well that one of the ancient laws of the tribe of the classics have no pedal marks for pages. For two or three years, in Chicago, I watched the great pianists placed the penalty of death upon those of these M? p u S°UrCe of gratification to be able to state that at their recitals, and I observed that some used the ? a" 1S /bstinctively a native product, his entire branches who loved. An old brave saw the young pedal in certain specific passages and others did not ZZ edacat;°» having been obtained in this country couple at the trysting place and hastened to tell a matter of taste and judgment. There- evi,wi I1 in hls.home ci‘y- The days have departed, the others. Knowing that death was inevitable, fore I decided to study these passages and try them with to florid I?160 ** 1S nccessary for American students the lovers rushed to the shore of the lake and the Pedals. If they sounded more effective, I used the waded into the rippling waters till they were pedal. What better guide can the self-help student hat Felton’s T Cither for culture °r atmosphere. Mr. balancer! mspiration « entirely sane and well- finally buried beneath their shimmering waves. mo£2mW,?°Ut 3ny f°°Iish Str'v'ins toward ultra- Thereafter, nightly, the waters sang the song of “°de“ Consequently, his work may be expected to the lovers, to the accompaniment of the silvery “Don’ts” for the Student pleasing anZ °u. UP°n rational Iines- His melodies are ripple of the current, the sighing of the wind, and are tastef I W j' 3 natural appeal, and his harmonies the lone call of the night-birds. Mr. Lieurance By Roberto Benini has caught this effect magically—the movement of »orks wela We" diversified’ Among ”is ,arger “DonV; say, “I can’t.” “I will,” does the thing and SeeZZrCZmta\t0 ^ C<”'‘Vr' Polomi* the phantom canoe, the ripple of the waters, the Dont think of your teacher as a crusty ogre- if he acteristir mV ^ ^.^ncc' Among the smaller char- night-bird’s note, the lovely swaying melody—all -- a teacher at all, he is just as much and possibly more and SW CTf m tght m Autumn, Blowing Bubbles make a little masterpiece that was instantly iden¬ interested in you than you are in yourself StefS °n‘ghaVe mCt with favor. Of pieces in tified as such by many of the world’s greatest The Color rmay >e mentioned his successful marches, longDsmdyl0Se b6CaUSe the " Piece needs singers. Process o r Tt *nd Pas»”S Pa^de. The Wedding Several of the other Lieurance songs are equally ,forget t0 ‘T t0 P,ay better each day hands is weT/”^ P“bllshed for two and four Don t be afraid of easy pieces; only be afraid of not 1,01,1 beautiful, but have not as yet obtained the prestige doing them well. 01 not and more r wo.rtby °f displacing some of the older of By the Waters of Minnetonka. Among these “Don’t” forget to be courteous to your teacher and to pose In rem,0nal marches used for the same pur- are The Indian Lullaby, By Weeping Waters, In¬ show your gratitude for her efforts. chImin' ‘h;S.,SSUC °f The Etuoe will be found a narmmg new inspiration, To a Wood Violet. dian Spring Song. The picture accompanying this “Don’t” compare your progress with that of others- article is that of the famous Prima Donna, Frieda progress is not always on the surface. ! ’ Hempel, taken with Mr. Lieurance at his home in “Don’t” expect to do an unreasonable amount in an inadequate time. ln an Nebraska, when the singer was touring through fy^eZnhZZtion if hZZ f°r g°°d the West. “Don’t” neglect the little things in your study felt, it Zu Zr 'T , hea"m"!> 1° ‘ Don’t” forget that the greatest pleasure you ever will benefit rnankindZ-CHARizs mZschwxb. 2rx£S Xwork *"be ,he «»' ?»« the^hisZrkns oltL l['9h,'m{nlcs of earth a, s of the human heart."—W. S. Ni Copyright 1921 by Theo. Presser Co. British Copyright secured THE ETUDE FEBRUARY 1921 Rage 97 Page 96 FEBRUARY 1921 ntrvoj>t h i 3 1 CINDERELLA i » GRACEFUL DANCE ^ it} h* P#1. 3 a H.A.WILLIAMS Allegretto m.m.J 8 X l A 3 f -th-Jr j| f m . K1 2 1 1 ■ j —Ai-J

^5 m1 2 „III. >

UNDER THE LATTICE A valuablejstudy_pieceTorrpractice xaJegato thirds. Moderata_M.M.J=ll.M. J= 4t J"'“ ,hl,ds' JJATILEE LOEB;EVANS

# From here t>o back to and play to fine; then play THo Copyright 1909 by Theo.Presser Co. Copyright 1919 by Theo.Presser Co. British Copyright secured

British Copyright secured Page 98 FEBRUARY 1921 __ LITTLE COSSACK THE ETUDE FEBRUARY 1921 Page 99 A teaching piece of unusual merit, characteristic in style and interesting in harmony. Grade 2 -t THE SLEIGHING PARTY FERD.SABATHIL

Allegro con brio m.m. J=126 A lively characteristic piece, in the style of a patrol (coming from a distance and retreating.) Horns and sleighbells and a general air of jollity are sutrirested. Grade 3

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mm m m * Copyright 1^)21 by Theo.Presser Co. International Copyright secured \ the etude FEBRUARY 1921 Page 101 A WINTER FROLIC

1 mm Page 102 FEBRUARY 1921 TH£ £PURR THE ETUDE FEBRUARY 1921 Page 103 GARDEN OF ROSES

% From hnr« go back to the beginning and play to Fine’, then play Trio. THE ETU'De Page 104 FEBRUARY 1921 PERFUMES OF THE ORIENT

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A clever characteristic piece, reminding one of circus days and of antics of trained animals. Grade 2^ L.LESLIE LOTH the etude FEBRUARY 1921 Page 107

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Beginner s Book By Theodore Presser

Used More Extensively Than Any Other Elementary Instruction Book A Substantial Success Because It Supplies a Real Need

The "First Reader” in Piano Study Step by Step Grading Abundant Explanations Despite the author's long experience as a teacher and is a very important feature in an elementary piano in¬ without adding one word too many, explicit explana¬ in the musical educational field, this work was not structor. Elaborate care was taken to have the grading tions occur whenever needed, and they indeed help quickly put together. Every step was measured, every so gradual that the pupil will advance without dis¬ both student and teacher. problem weighed, all useless waste cut out with the couraging difficulties introduced at the wrong time. object of producing a work which would insure the Writing Exercises greatest progress without sacrifice of essential thorough¬ ness, If the work you are now using does not include The Scope of the Work These exercises are added to supply the common the following features you owe it tq your pupils to in¬ The first grade of study up to, but not including the needs of notation. Time and rhythm are, of course, also vestigate this "Beginner's Book” for Piano. scales is covered. Little pieces, duets, etc. are suggested covered, and then exercises at the piano are given. in case the teacher deems it desirable to turn aside from book work for a few lessons. Pieces, Duets, Test Questions Large Music Notes Without neglecting technical exercises, occasional in¬ The Simplicity of This Work Has All elementary books in the modern public school are teresting pieces are inserted to reward and entertain printed in large type to aid the child eye in forming im¬ Enabled Many Teachers the child. Little duets for teacher and pupil as well as test questions after every advance complete the work in pressions. The same principle is applied to this book to Achieve Speedy Results With by the use of large notes where needed. such a manner that its success does not surprise. Even the Youngest Beginner

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Mail Order Service to All Parts THEO. PRESSER CO. Send for Descriptive and Illustrated Booklet j Brunswick , f - Showing Various Styles and Prices Talking Machine Department Easy Payment Terms Cheerfully Arranged | PHONOGRAPHS and RECORDS 1710 Chestnut St. : Philadelphia, Pa. rue etude FEBRUARY 1921 Page 109 FEBRUARY 1921 ^he Brunswick Method of Reproduction

The Oval Tone AMPLIFIER The ULTONA The Brunswick Oval Tone Amplifier The Ultona plays each type of record supplants old ways of amplifying tone. exactly as it should be played, repro¬ It applies acoustic laws in a new and ducing those delicate shadings of voice Delights Musical Critics Most of All better way. or instrument in which a lover of fine music finds such great delight. It is oval in shape. Made of specially There are no attachments to take off treated wood. Sound waves are allowed or put on. The three types of needles to amplify and expand in the natural ONE makes the phonograph. All else is second- (J People without a trained appreciation of fine music way—the only right way. necessary to play all records are mounted T on the Ultona, ready for instant use at No metal is used in this tone cham¬ a turn of the hand. ary. No beauty in the cabinet, no efficiency in \/ may be satisfied with a lesser phonograph. ber. No tinny sounds, no ring of metal In each case the right needle, the cor¬ is present in Brunswick Tone, because rect weight, the proper diaphragm, the the motor, no minor conveniences will outweigh tonal of this scientific, all-wood amplifier. precise angle are employed by the But once you have heard The Brunswick you will It is a basic improvement in sound Ultona. qualities—to you, a musician. projection. This exclusive, patented tone arm is never be satisfied with a lesser phonograph. For Only Brunswick has the Oval Tone counter-balanced, diminishing those Amplifier. surface noises which result from too miich rigidity. Your appreciation of phonographic tone will be it will reveal to you the highest attainment of a Only Brunswick has the Ultona. equal to your appreciation of music generally. Just difficult art. as you would note defects not revealed to the unini¬ Prove this statement yourself. Visit any Brunswick tiated, so, too, you would note tonal beauties hidden from them. dealer. Be as critical as you please.

The more critical you are the more you will ap¬ Ask for your favorite selections, on Brunswick preciate what Brunswick has accomplished in tone Records, or any other records, for The Brunswick reproduction. plays all records at their best.

Brunswick Cabinets Brunswick Records It is only to be expected that Brunswick THE BRUNSWICK-BALKE-COLLENDER CO Brunswick Records can be played on any Cabinets should be exceptionally beautiful, phonograph using steel, fibre, or semi-per¬ for the House of Bhmswick has held ac¬ General Offices: 623-633 S. Wabash Avenue, Chicago manent needles. When you hear them for knowledged leadership in fine wood working the first time your own ear wiU instantly for over three-quarters of a century. detect something different. Branch Houses in Principal Cities# United States, Mexico and Canada They are artistic and fitting companions There i| a style, size and shape for every Merchandise Sales Co., room arrangement from the simpler cabinets New England Distributors:•istributors: Kraft, Bates & Spencer, Inc., R Canadian Distributors: Musical to the most magnificent period models. 79 Wellington Street, West, Toronto 1263 Boylston Street, Boston, Mass. rage 110 FEBRUARY 1921

Page 111 p-GROVE’S- THE ETUDE FEBRUARY 1921 Teachers ARCADIAN .fOYS MINUET DICTIONARY E. K. HEYSER OF Students and MUSIC Music Lovers A dignified old-fashioned dance movement in classic style: a useful study in solid chord playing and left hand octaves. Grade. S1.^ AND will be interested in these rewards MUSICIANS for WITH New American ETUDE Subscriptions Supplement

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smmZo^fpr!^fr7" authorities upon all phases of musical learning. The books II are liberally illustrated with I cuts, half-tones and notation I examples. Thousands of subjects are discussed: Biography, His¬ tory, Musical Science, Theory II Musical Industries, Instrumenta¬ tion, Esthetics, Musical Terms etc., etc. The work is the most notable musical compendium in II any language. I u *!ave these spl^did musical books m your own home. What I t“e_^'ncycl°Pedia Britannica is to General Information the Sfove. Dictionary is to Music. 1 here is no better Musical Refer- II ence Library at any price in any language Unabridged in any way II and much is offered in the Professional Directory eastern New American -----i- . . WESTERN Supplement BEECHWOOOi'SS-S”suburb of Phila.S AMERICAN2 I Editor-in-Chief | WALDO S. PRATT, Mus. Doc. COMBS "-""k Anit?W,VnSaiD RecorJ°f American Musical I Institutions. Personages and Achievements I JvThlS ,e.xc<:llent volume includes 415 BROWN ’ B.ograplucal Articles about American FflnY ClaMea0iuDuunln

Notwithstanding the low HEW YORK •■B&tsaw, Pupils would be interested in made for cash we accept orders s ubject to part payments. Write for terms. SALVINI The Etude? Send us their r Th?5e.t .is also f'ven as a premium jtor obtaining subscriptions to The names and addresses. We will WB6IL mail them a sample copy FREE, Particulars cheerfully furnished: ■ OAKLANDVcAL.psii t will help you to secure sub- SOUTHERN scriptions and to earn the collec¬ THEO. PRESSER CO. tion or album you have long m_ANT=HS«s: TOMLINSON JIPKIS been wishing for. School of Mu lie -joofi”'«8:;"chicago Sdrnon Morris, Doan CONlfERSECOLLEGES£rfct Spartanburg, S. 0, WESTE RN THEODORE PRESSER CO. Please mention THE ETUDE when addressing U12 Chestnut Street, Phila., Pa. Page 112 FEBRUARY 1921 To Miss Eva Poniero THE NORTHWIND CAPRICE A LA TARANTELLA CARL WILHELM KERN o In the rhythm of a tnrnnte/le, but more of the nature of a characteristic piece. To be played with dash and abandon. Grade 4. ’ ^*^2

British Copyright secured Page 114 FEBRUARY1921 TH£ AIR DE BALLET CLAYTON E.HOTCHKISS e played in the manner of a modern valse lente but with considerable freedom of tempo. Grade 5

Allegro agitato m. m. J- = 8 Valse allegro m.m J.=7s

Copyright 1920 by Theo.Presser Co.

British Copyright secured Page, m FEBRUARY 1921 the etude FEBRUARY 1921 Page 111 GOLDEN RAYS m > . DANSE CAPRICE o oe p ayed in u slow sehottische rhythm, very clearly and gracefully. Grade 3 Moderate) m.m.J=io8__ c i 5

IN A COTTAGE BY THE SEA HELEN E.GOODNOW WILLIAM C.STEERE A clever little home or encore song, unaffected and natural in sentiment.

Copyright 1920 by Theo.Presser Co musings British Copyrightsecured A .sjjnrf, „a«,. v.lues: —...mmJg&ST

Copyright 1920 by Theo.Presser Co. 5

British Copyrightsecured FEBRUARY 1921 Page 119 Page 118 FEBRUARY 1921 TjlE ETUDE TlfEETvLE DANSE ORIENTALE TELL HER

The compass ofthis excellent song renders it especially suitable for teaching and for the practice of the midd le part of the voice. Page 120 FEBRUARY 1921 THE Page 121 T0 ETUDE FEBRUARY 1921 TWO HUNDRED YEARS AGO HUMORESQUE IN SANTA PE THURLOW LJEURarp . tic violin number by a talented and promising American writer. A fine study in bowing. CHARLES H. BOCHAU In addition to his interest in the music of the Indian, Mr. Lieurance is also delving into the romance of the old West. iHere ^ An art Allegretto grazioso m.m.J=108 _ ■*ong of the Southwest, full of Spanish-American color. R Epical Lento y --'- r-T——

In Se’ ,long ye®rs a - SO, A fes-tive dance, and gay with ro - mance, in ban - ta Fe, long years a - go, A fes-tive dance, and gay with ro - mance, ZL A t1,* .“P -Pear8 with a sol - dier brave with

dy-ii&Z— fira dy-ing,___ Hur - rah! vo! Death to this chief-tain!-"beath -Spain o-ver thrown,_Hail Fripnrf r v8 !ri^e!- Bra - vo! -^—Jiail,Friends!No foe!-Hur-rah!

Copyright 1921 by Theo.Presser Co. British Copyright secured British Copyright seci simile Copyright 1920 by Theo.Presser Co. Page 122 the etude FEBRUARY 1921 Parje IBS Tll^PTUDg Registration:!liS.v.“"sHORT Sw. Full POSTLTJDE FOR EASTER Keep Your Piano Tuned \Ped. to Gt.& Sw. E. S. Astately closing number for festal use, introducing the well-known Easter hy mn, Worgan. HOSMEr By Sidney Bushell Poco allegro M.M.J=teo Pupils have often been warned to make sure that the piano on which they practice is in proper tune. There is more in this warning than the average person suspects. Beyond the fact that practicing habitu¬ ally to an untrue instrument will develop a false ear with regard to tone relationships in scales and intervals, and will lead to dis¬ aster when singing is attempted to an ac¬ companiment played on a true instrument, there is something more. It is common knowledge that every tone has its specific periodicity of vibration. Suppose now that the singer has to sing a tone which, to be true, requires a given number of vibrations per second. Imme¬ diately before he actually produces that tone, he has, of necessity, to hear it men¬ tally. We will suppose that his “ear” is good and that his training has been true. The mentally conceived tone then, vibrates theoretically at the required rate. At the moment of its production, the same tone is required to be sounded in the accompani¬ ment and sustained with the voice. But suppose the piano to be untrue; the wire producing the tone vibrating at. a lower speed than required for true pitch (flat). What happens ? The singer either has to be false to his training and sing down to the piano, or, retaining true pitch, suffer, with his audience the resultant discord. However slight the variation may be it will affect his tone unfavorably, for instead of augmenting the vibrations required to pro¬ duce the true tone, the slower vibration from the instrument will have a dampening effect which, for the sake of illustration, may be compared to two watches ticking confusedly at different speeds. It is just as well, too, if you are to sing to a strange instrument, not only to assure yourself that it is in proper tune, but at what pitch. Half a tone higher or lower than the pitch of the piano you are accus¬ tomed to may lead you badly astray unless you ascertained beforehand what to expect. You will, of course, be familiar with the positions of all the tones in your songs with relation to the scale, and how they “feel” when you sing them to your own instrument, especially around those places where the so-called “registers” dovetail; and unless you are forewarned by a re¬ hearsal you will be feeling around for these same sensations that may not be there on account of a slight difference in pitch. A rehearsal should always be made when¬ ever possible when you are to be accom¬ panied on a strange instrument.

Achievement Through Imitation

By Earl S. Hilton

A perfect performance of a composi¬ ideal of traveling which grown people have Making Little Folks Happy in Their Music tion would properly be called its ideal of set. attainment. So, it is necessary to practice the mu¬ By Nelson J. Newhard By imitating the ideal one accomplishes sical exercise slowly until smoothness is = complete rendition of the composition. attained; then practice it faster and faster healthy and happy children. It was to At the first attempt of an exercise or —still retaining the smoothness—until the Recently, at one of the informal get- piece one should not expect to render it together gatherings for the purpose of this mother that all turned for a satisfying complete ideal is accomplished. answer to the question so near and dear to perfectly. But care to imitate the ideal, Step by step one imitates and reaches sewing, talking and sociability, which are every mother’s heart. in one part at a time, will bring better re¬ the ideal of perfection. of an almost weekly occurrence in many sults. homes in an Eastern city, more than a “How is it that your kiddies are so well- Of course, the exercise or piece (prac¬ half dozen mothers became vitally inter¬ behaved, well trained and as happy as the ticed in parts) should not be attempted at ested in a general discussion on the im¬ day is long?” "Show me the home wherein music its highest ideal of perfection, at the be- portant subject of children’s happiness. It Without the least hesitancy and with a dwells, and I shall show you a happy, beginning of its study. One must remem¬ was generally conceded that happiness is beaming countenance that bespoke much peaceful and contented home. —Long¬ pleasure in being' helpful to others, there ber that everything in the ideal cannot be fellow. the birthright of children. How to make accomplished at once. Even a baby and keep children happy soon became the was told the personal experience of how crawls before it can walk, and walks be¬ important question. six particular youngsters were brought up fore it runs. Crawling is not walking; "I am the friend of every effort to give Among those present at one of the meet¬ from infancy in “an atmosphere of good neither is walking the ideal of running, music its rightful place in our national ings was one mother known to have six music,” and thereby made most happy. but all the time the baby is imitating the life."—Warren G. Harding. British Copyright secured Fage 124 FEBRUARY 1921 TEE ETUDE FEBRUARY 1921 Page 125

- ■ ' ; .. S: ' himself of singing before all types of and concert stage blind you to the value .S A - ——-—-—- people. of the simple, inconspicuous experience The Secret of a which lies nearest at hand. Don’t have Therefore, my advice to singers in¬ the Metropolitan in view at your very first variably is: singing lesson. Get ready and be ready Perfect ® Sing as early and as often as possible. for the greater opportunity which will Department for Voice and Vocal Teachers Despise not the day of small beginnings, surely come if you are thoroughly and do not let the lure of the operatic equipped. Edited by the Well-Known New York Voice Teacher Voice- SERGEI KLIBANSKY A New Code of Ethics MAKE your voice a ^ A change seems to be coming over the ferences in their attitude toward their “Thank You for Your Most Sweet Voices.9*—SHAKESPEARE success-magnet, a vocal teachers of this country, and the lead¬ work. For instance, Southern pupils are friend winner. This wonder apt to take their work with less care and new method enables anyone ers of the profession are stirring their velop a clear, powerful volee of su fellows to a new professional attitude, are not so alert in their attitude toward bidding them eschew the policy of jeal¬ study as those in the West. The latter, rich, vibrant voice that everyone will admire. ousy and selfishness and adopt a stand¬ possibly because of their general good What Shall I Do at the First Lesson Wonderful New Method Makes Every Voice Perleel physique, are hard and faithful workers. We teach scientific control of the organa which ard of ethics commensurate with the art actually producethe'voiee. Just a few momenta’ they teach. Besides which, their poise is good, and By Sergei Klibansky daily-scientific SILENT exercise ol the vocal organs tyiTivs amazing results immediately. Indorsed by Vocal teachers should throw off their they speak more carefully. This exchange would also mean a "The oldest, most genuine and most the very start. In other words, don’t This may seem discouraging, and some instead of words he will fail to gain that policy of isolation and emulate the med¬ ical profession, where discoveries are great deal for the small college town, beautiful of all instruments, to ivhich music preach diaphragm to a beginner for fear pupils wilt rebel against such slow and confidence upon which depends the future common, property. Too many teachers which, very natrually, becomes a center of owes her entire existence, is the human he may startle you with an answer actu- tedious methods, but the progress will be success of their mutual relationship are now over-alert to hide their methods culture for the locality. One of the great voice.”—Richard Wagner. ally given to . me once when I was all the more rapid later on. It is always I know that teachers are of different and to preserve intact and unchanging— needs of American education is that the more difficult to repair a structure than younger and less experienced and at- minds as to the expediency of singing almost petrified—their particular formu¬ college towns scattered all over the coun¬ The quality of its tone _During many years of teaching I have tempted to instruct the. pupil in physi- to build from the foundation, a fact early and often, but personally I have las for local teaching. How much better try should offer opportunities for music. often been asked how I proceed to give a 0logy. To my question, “Do you know which all of us who have had any experi¬ always found that in no other way can to acknowledge each other’s virtues and Especially in the smaller towns they should enraptures the heart pupil a very first lesson in singing, and at the meaning of diaphragm?” she-it hap- ence are ready to corroborate. pupils be made to realize their shortcom¬ learn from one another. Personally, I include as an essential part of their life the risk of disclosing some of the “secrets” pened to be a woman—answered: “An ings and at the same time gain the con- am very glad to hear of a better way a concert series; should, themselves, un¬ as its beauty of con¬ of my art—as a matter of fact, however, imaginary line dividing the North from fidence which is to stand them in such than my own, or to be told of an easier dertake artist and orchestral courses and struction delights the I do not believe that any legitimate vocal the South Pole.” There you are with excellent stead when they are to appear and more efficient method of acquiring bring the highest music to teachers and teacher would hesitate about sharing his your attempts to instill a knowledge of before a larger public. Experience is the the same result. pupils, alike. As an addition to the cur¬ riculum, the hearing of music should be eye- ideas, any more than would a legitimate physiology into an unfledged pupil. If pure best teacher, just as the public is the best After all, the end sought by all good a requirement, and, furthermore, the col¬ medical man—I shall try to create the im- knowledge of physiology could produce critic. Why wait to try your wings, even teachers is the same; why not take each aginary atmosphere of a first vocal lesson, singers, every throat specialist would be a other’s advice for incipient errors? lege should insure its teachers against the if at first you are only able to make stagnation of ennui. Such a course Assume then that a pupil enters my marvelous teacher of singing, but as a A constant open-mindedness is one of short flights into the blue? An occa¬ would heighten the value of the teacher’s studio who wishes to begin the serious -matter of fact, I have never met one who the essentials of a good vocal teacher, as sional bump or two, a rather solid impact work and also curtail the mad rush to Schomacker Piano study of vocal art; that this pupil is en- was. it is for a successful profession or busi¬ with the earth, may often lie beneficial: ness. When new pupils come to me I New York, which is undertaken by so dowed by nature with an average, or an No! the less consciousness of anatomy, Company and if it proves a mirror of self revela¬ am anxious to learn with whom they many who can ill afford it. It is far unusual voice, as the case may be; that the better results at first, as the primary tion all the better. It hurts less to fall easier to bring artists and ensemble to this voice has happily escaped any per- object is to do away with all -elf_con. have studied and what points and features ESTABLISHED 1838 from the front stoop than from the roof of their former teachers stressed. When a college town, to bring a teacher to give nicious so-called training at the hands of sciousness on the part of the pupil- to a six-weeks’ master course, than to have PHILADELPHIA, PA. i incompetent singing teacher, but is, a twenty-story building. There would not they try to criticise their former in¬ inject the idea that singing is as natural be so many bad singers before the pub¬ structor I stop them, for in most cases individual students come to New York, it were, virgin soil which the teacher can as flying to birds, or growing to the most of them uselessly to pursue their cultivate according to the rules and formu¬ lic if they had tried their wings in these the pupil and not the teacher was at leaves of a tree. fault, and more often than not the pupil musical education. J las which he conscientiously believes will early and easy flights and found out what But, to get back to our lessons! Don’t misinterpreted the meaning. From every Another matter which hinges upon the bring about the best results. many of them learn only after much Ever-ready for the emergen¬ \KeepsSkin Smooth,Firm,Fresh pump air into your lungs with the same de¬ teacher, if he is a good one and no char¬ ethics of music teaching is the relation How would I proceed with this initia¬ time and money has been thrown away, cy—for the sore throat, the 1 — — Youthful Looking gree of violence you would use in cranking latan, there is something to be learned. of teacher and coach. I believe that only tion into the noble study of singing? that they have chosen the wrong career. painful cough, the irritating To dispel the tell-tale lines of a Ford without a self-starter. This can be We might even follow the custom of those who have themselves sung cat] teach First of all, I would endeavor to estab- “The first thirty years of my life I was hoarseness that comes so sud¬ mho and Improve facial fatal with so delicate a machine denly—Piso’s should always exchange professorships, as practiced _ in the technic of the voice. Coaching need contour—there is nothing quite so a mediocre tenor, and now I am a suc¬ good as plain lish an easy unconstrained relationship be- human breathing apparatus. Fill your be kept handy to prevent the colleges. If closer communication not encroach upon singing, but should tween teacher and pupil. If the beginner lungs slowly and, above all things, take cessful professional man,” was the way these little ills from growing supplement it. The ideal way is to have Powdered SAX0L1TE one singer of rare acumen put it. were established between teachers of high is made to feel that he is facing an or- care not to exhaust your reserves. When big. It is good for young and standing in different parts of the coun¬ a coach and a teacher with the same ideas Too much stress cannot be placed upon old. Contains no opiate. deal, something akin to an hour spent the lungs are filled begin to count aloud Sergei Klibansky try it would aid both teacher and pupil. work together. the studio recital, as well as the semi¬ Buy it today. in the dentist’s chair with nerves taut in a sing-song tone, to ten or twelve, in I remember at one period before the war Cooperation in every field of the mu¬ [Sergei Klibansky, the well-known New public appearances which any wide¬ 35c at your druggist’s and courage keyed up to a painful experi- this way getting an idea of the even and lork voice teacher, was bom April 18, 1878, there was a regular agreement by which sical profession will be of great advan¬ awake, alert teacher should be able to se¬ ence, then the chances' of getting any- gradual division or exhalation of the He was educated musically at the Hoch Con- French children were sent to German tage to teachers and pupils. With the where ii'n the first lesson are slim, indeed, breath. cure for his pupils. These recitals are servatorium in Frankfurt am Main and at schools, and vice-versa, that each might thousands of music students who come to the Stern Oonservatorium in Berlin—there¬ generally a revelation to teacher and pu¬ For that reason I observe carefully the Another good exercise for regulating get acquainted with the other country. New York every year there is work after studying with celebrated teachers in pil alike. It not infrequently happens pupil s eye. Until I find there a soft, exhalation and inhalation is to inhale and Italy and in France. His voice is baritone In this country it would be of much for a large number of good teachers and D. A. Clippinger and he appeared with success in concert in that the pupil who has shown no pro¬ placid expression I know how futile it is count mentally from 1 to S; hold the value, because I have found that the pu¬ constant rivalry is unnecessary. Author of Germany, France and in the United States. nounced gifts of personality or magne¬ to expect free emission of tone. The breath and count mentally from 1 to 5- For eight years he taught voice at the Stern pils of various sections have general dif¬ —Sergei Klibansky. The Head Voice and Other Problem*. Price $1.25 eye is a wonderful indicator of mward exhale and count S again Repeat this Oonservatorium in Berlin and for three years tism is the one who expands under the Systematic Voice Training. Price $1.25 enmnnsiifp nr• perturbation,nPrt„rW;™ as*= the case process, counting 6-7-8-9-10. at the Institute of Musical Art in New York. inspiration of the audience, and gives a Prepaid Singers for allBranchesof Professional Work may be, and relaxation and not rigidity He has trained many prominent pupils.— Address 617-18 Kimball Hall, Chicago, Ill. Now I start to correct the speaking Editor op The Etude.] better account of himself than the stu¬ A Bridge to the Moon must be the first bodily condition for voice, as that is one of the greatest draw¬ dent from whom you expect great and Magazine Bargains right tone production. dazzling things. But it is not enough to By Sergei Klibansky backs to American students. We find One of the curious phases of the well- for “Etude” Readers But even with the eye quiet and re¬ confine one’s experimental efforts to stu¬ they dislike to sing in the English lan- The renewal or extension of your To the young men and women who laxed, I say nothing about singing; there known scepticism of pupils is that they dent recitals where they have, as it were, At the closing exercises of one of the .... ., . , ~ °inuai.of the most beautifulucauiiiui lan- present subscription may be included. come to the large centers to study music expect a teacher to impart in six lessons a claque of friends. It is important that large music schools the speaker took as Be Well and Strong is still another important preliminary, guages in which to sing, because they sel- —many with high hopes of becoming and this is a set of ten daily exercises dom use the consonants correctly For all the knowledge that he lias spent they should face different types of audi¬ ETUDE .$2.00 1 her theme A Bridge to the Moon. She $2-90 great artists with meteoric careers, for¬ Improve Your years in laboriously acquiring. Teach- ences, as each added success with stran¬ McCall’s .. 1.50 j You Save 60c told of an incident of her own college which were taught me by a famous instance, in the use of the consonants R getting the years of study that must pre¬ Swiss musician, and these, I insist upon and L, both splendid resonators, they are e[s ~ *;hat is to say, good ones —go gers makes for greater confidence and career when the professor of psychology, through years of apprenticeship, but the ETUDE .$2.00 l $375 cede it—she advised, “Do not be discour¬ gE what Nature intended my pupils using conscientiously. They particularly careless. They do not use higher aspiration to make good. Pictorial Review .... 3.00 f You Ssve 1.25 a young man just out of the university, step-by-step” pupil is a rarity. Consci¬ aged and think you have failed because are exercises which relax the body and the tip of the tongue, which is most import- Speaking among ourselves as one targe with all the intolerance and egotism of healthy energetic and attractive entious teachers are constantly learning ETUDE .$2.001 $3'60 you do not dazzle New York and get a strengthen the muscles used in breathing, ant for correct placement of the voice family of singers, past, present and fu¬ youth, tried to ridicule the ideals of the If yoo are not perfectly well. from their pupils—as every correction, Modren Priscilla . 2,00 j You Save 40c Metropolitan engagement or win a na¬ Of course, the teacher cannot trans- I then try to teach them the use of the ture—we may admit what we would not students by telling them that while they tional reputation as a great virtuoso. If form himself into a trained nurse and so-called singing consonants, Z-M-N-V- every suggestion may arise from the indi¬ do outside of the family circle, the over¬ vidual needs of the pupil, and adds just Pictorial Review'.'.'.’ .' were young and enthusiastic they would you can become successful teachers and see that these instructions are implicitly Th; and S, as in treasure, combining weening conceit of the genius singer. It Modern Priscilla ... • T^OOT $6-65 gather wood expecting to build a bridge carry the principles of true musicianship carried out by the pupil, but then, neither them with a following vowel as a con- so much more to the sum total of the is this that makes so many young sing¬ teachers knowledge. After all, a teacher Cosmopolitan . to the moon, but when they had been out back to your home town, you may be can a physician be sure that his patients tinuation of the consonant. In this way ers prefer to sit down and wait for the Pictorial Review 3.00) You Save 2.35 is only a guide. He cannot give you a ■ ■ ■ ■ in the world for ten years they would be the means of helping some genius to build are true to the regime he prescribes, for I give the pupil a simple and clear Great Opportunity rather than take ad¬ 2 00 4-50 voice that Nature has denied you nor can ETUDE . ..$ . ) $ glad if they could build an ordinary shed that illusive, shining bridge of which you if this millennial state were reached we mental conception of forward tone pro- vantage of the unimportant chance near he make you sing. Like a good guide he to shelter themselves. His students were dreamed. And even if you never succeed should have a world full of perfect sing- duction. at hand. New York is full of young men can only tell you how and where to go ETUDE . .$2.00) $3-50 resentful and indignant, hut the speaker in awakening the divine spark in a single ers and absolutely healthy individuals. At first I advocate only the practice of and women who are convinced that their Violinist . pupil, you will have laid the cornerstone We have now reached the be-all and the middle tones for, until the pupil has rightful place is upon the stage of the added that from a good many years of pupil^ aCtUal 9°ing mUSt ** d°ne by th® .$2.00) 3-50 of your bridge when you build in your end-all of vocal art, namely, Breathing, a clear, positive sensation of what free- Metropolitan, and continually refuse ETUDE . $ experience she had come to realize the No practicing should be done at home truth of his statement, and had had to be community a substantial foundation of First of all, stand erect. When you start dom of one tone really is, there is nothing small engagements for fear they may Organist . until the teacher feels that the pupil has .$2.00) <£6.25 content to build her shed only, but it was appreciation of the best music.” to inhale keep chest and shoulders per- gained by trying to build up or down the cheapen themselves in the eyes of the pub¬ ETUDE . a thorough understanding of the funda¬ Delineator . a better shed and a good deal more worth “Most of us have to be ‘hewers of wood fectly quiet, and thus unconsciously the scale. The extremes will come if only lic. A pupil can never know who may Every body's . mental principles. The teacher, too, is living in because it was built out of wood and drawers of water,’ but if we use the lower lungs are filled and diaphragmatic the middle, the keystone of the arch, is chance to be in the audience of what ETUDE . on trial at the first lesson, for unless .$2-?:u $5-25 she gathered to build her “bridge to the wood we have gathered to build the best breathing is placed on the right basis at firm and steady. may seem to him the most mediocre af¬ Woman’s Home Companion 2.00) You Save shed we know how to fashion, we can still he is able to convince the pupil by deeds moon.” fair, nor can he gauge the advantage to Please mention THE ETUDE when addressing our advertisers. the etude FEBRUARY 1921 Page 127

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Please mention THE ETUDE when addressing our advertisers. ■ FEBRUARY 1921 Page 129 Page 128 FEBRUARY 1921 the etude fHE ETUHE j , , ' Regarding the common charge against being put on the music committee. Such tjie choir of frivolity, a defence is fairly was surely the case in a church in which needed; also, against what some members the chairman of the committee said that of the congregation see fit to call their he didn’t know the difference between ■ 8:1: Mn&xt lack of devotional spirit, and what appears Yankee Doodle and the Long Meter Dox- lEastpr some others to be their desire to show ' ology. Selected List for Choirmasters off. Such charges spring mainly from a Archibald T. Davison hit it about right musical ignorance on the part of the min- when he said (referring to the chairman THE following selection has been made from the best new ister or the congregation. Of course, in of the music committee) : “He says he and standard numbers in our catalogue. Solos, Uuets, Department for Organists all choirs there are restless, nervous people, doesn’t know much about music, but he Anthems and Organ Compositions; all have the true festal who shuffle around a bit. In a boy choir knows what he likes. If you tell him that ring. In addition to our own comprehensive catalogue we carry a Edited by Well-Known Specialists some one of the boys may move his head a the church music he likes is not good, and complete stock of the music of all publishers. We will gladly little to one side to wink at Billy sitting that he is guilty of near-sacrilege in permit- I send any of these copies for your examination. across the chancel; but is everybody who ting it to be performed in his church, he gets lThe eloquent organ waits for the master to waken the spirit—DOLE sits in the body of the church sprouting very indignant, as becomes a citizen of a wings? Very decidedly, No! democracy, and says he doesn’t consider it BRILLIANT EASTER ANTHEMS UPLIFTING EASTER SOLOS 12948 Christ Hath Risen^ High All choirmasters know that most choirs any other body’s business what his taste 10999 All Hail the Glorious Mom.g ^ are filled with the desire of a devout in- is, and he doesn’t propose to let a high- 10240 Alleluia, Alleluia! ..Braider .15 t retation of the music, with little brow .tell him what sort of music he shall 10796 Alleluia. Alleluia! ....Stalls .15 16626 As It Begai High. Securing the Right Co-operation Between the Minister, the thought of ostentation or self-glorification. have in his church. The music suits him, R. W. Marti Neidlinger > Dawn.Norri Med. " In a good many cases the members of the and ,thfJ is enough- That attitude > Dawn. .Stult. Organist and the Choir inevitable accompaniment of ignorance, choir are so intense in their desire to in¬ ML....s High Feast 8924 Come Ye Faithful. Med. ^ and only education can cure it.” We Sing. (New).. .Stults .12 terpret the music soulfully that it is very Awake! Glad Soul-Bridge By James C. Warhurst Awake, Thou That Sleepest. 12534 Death is Vanquished. High. apt to seem overdone. So the unmusical Neidlinger Ignorant Music Committees 12535 “ “ “ Med. part of the congregation may think. It 10033 Behold, I Shew Neidlinger A prominent clergyman was addressing to him instead of the organist? In t Look back over your experience and ask 10009 Behold, x anew To believe that a person has good musi¬ we can certainly rely tell us that, judged might be well if the minister, instead of Look back over ; 10920 Break Forth wi . Joy 16162 Easter Dawn. Med-Scott a class of theological students, and after to this I would refer to another cal judgment because he singS or plays an by models with which most of us are un¬ many cases were the mem- 10472 Christ is Risen. 12721 Easter Trumph. High.Slielley mistrusting the devotion of the choir, your3el,f m how ms ..Mo,-risen his discourse one who was evidently seek¬ isterial friend, who said: “If I had instrument is a false notion. No such familiar, it is beautiful. If you say it 10475 Christ is Risen. would emulate efforts in his^share^of' berj of yo”r music co?mitt“ re,fly^ttef 10221 Christ is Risen.Risen.Wolcott ing knowledge, asked the question : “What money enough I would endow a chair knowledge is necessary for the minister. makes you feel good, beware of the psy¬ to serve. How many have actually known 10984 Christ isis Risen, Hallelujah! Wolcott attitude should a minister assume towards of n n every theological seminary ii The head of a department store needs to the service. enough about music to exercise real dis- chologist who will tell you. that emotions Agam, ,f the congregation could have crjmination? In all my church career I Our Passover.Shackley his choir?” The reverend gentleman : the United States,” thus showing that he know something about the stock and sales- roused by music are not always what they See the Place.. .Avery more faith in the sincerity of the choir ^ ^ ^ Qne member of a church Ye Faithful.. .Percippe swered, “The same attitude he would as¬ himself realized the necessity of more management in the tinware department; seem. And if you say it is devotional, you 8046 Hail Glorious Morn, they would derive a far higher spiritual musjc comm;ttee whose administration was is Swallowed Up. Ob. High . sume toward’s a hornets’ nest.” education in this matter. but it is not necessary for him to be a must have it out with the aesthetician, who 20017 Easter Day. (New).Berwr 8047 Hail Glorious Morn It is very evident that, in the course of If some ministers were to have their successful tinware salesman to be a good will ask you what abstract musical quali¬ benefit from the music. Here again, a unimpeachable; and he was stone deaf 1 ..Bohannan .15 Ob. Low . better musical knowledge would . help. Many committeemen are earnest and will- 10237 Easter Even. T,“1-- 12748 Hail Thou Risen^On his career, the minister had at some time own way the only book used by both choir store-manager. The captain of a ship en¬ ties it has that you should call it de¬ 10114 East, ” ' or other been badly stung. Probably he Some choirs are a very decided help in the jng> but ready to leave critical details to 10DUY uiorious Morn, The... ■ J and congregation would be the Billy Sun¬ gages a competent engineer to operate the votional ? 10391 Glorious Morn.Bird 12749 Hail Thou Risen^Oi n his choir a bass who had : worship of the church, not only in the otbers wbo are supposed to know more day Hymn Book. Both minister and machinery. The captain must know the It is this sort of learning, with the abil¬ 10163 Glory, O God...... Brackett musical part of it, but also in the respon- abou(- music. A music committee, if it ex- 10487 God Hath Sent His Angels.^ Hail^to of the eternal fitness of things and sang ganist are likely to make the final decision capacity and the function of that mecha¬ ity to apply it to every form of church i communion service, “Why do the sive service. A certain choir has been jsts at gp. should be composed, first of all, the matter of music according to the nism, but he will do better to remain' on music, that ministers ought to have; a 20024 God Hath Sent His Angels^ heathen rage and the people imagine given credit for the starting of a revival of peopie who know something about r™h °vt.... „„ whims of certain prominent members of the bridge than to attempt to run the en¬ clearly-defined idea of those elements which —. .Morris— Shackley in the church in which it sang by its soul- music. For, while a man may be a first- vain thing?” Or, he may have had a choir the congregation. Often an anthem or _ gines. If anything goes wrong with the are most to be desired and which are most 8078 In the Dawn of Early Morn¬ which sang, 0, Think of the Home Over hymn is sung because someone requested ful rendition of the music, thus showing rate dentist, or an expert in pig iron, there ing. Low. Violin Ob. machinery, he does not summon a consult¬ effective in church music, and an acquaint¬ ..„.„...er:Adams Sliackley There, after the said minister had preached it, regardless of its suitability. In one bayond doubt that the music can be made is no reason jn that fact that he ought to How Calm and Beautiful. ing committee of the passengers, as is done ance with the type of music which best 5337 Lord is Risen. High. Violin n elaborate sermon on “Hell and its en¬ a very important factor in the church be on a cffUrch music committee, Schnecker Ob.Lansing where the preacher had the final say, in the church by the appointment of a serves to exemplify them. But is a mere i I Kno it My R vironments.” the choir was asked to sing Where is My service. This body, which has done more than 5372 Lord is Risen. I.ow. Violin music committee; but he himself calls the theoretical education sufficient for the ou. . In attempting to analyze the situation Wandering Boy To-night? after a sermon Of course, we all think that without any other singie tangible factor to retard 10629 Jesus Chri engineer to account. The important point minister? Why not have it go farther? Neidlinger 8061 Light of Hope. High. .Geibel we find that in the various denominations on “The Prodigal Son.” In another, an music the service would fall flat; but have tbe progress of church music, exists for 10653 Lift Your 8062 “ “ “ Low.. “ is that the captain knows the machinery is How much more confidence organists Percippe 16241 Lord of Life and Glory. different conditions exist. For instance, organist was asked to play The End of a we ever stopped to think what a tremen- tw0 purposes. First, it affords the con- not working properly, and if his engineer would have in his judgment in the selec¬ 10242 Lord, My High.F.-A. Clark in the Episcopal church, where, to quote a Perfect Day on the chimes after the ser- cannot get results he gets another engineer. dous power it might be made to be if the gregation some authority in the conduct of 10162 Mom s o»e«,e ““'"BerwaH 9868 Resurrection Song. High.^ well-known organist, “the relationship of tion of music to be used, if he could sit The average clergyman has not sufficient minister, organist and choir would just get the service, some censorial power to insure 10376 Mom’s Roseate Hues.^^ the priest, organist and choir to each down and play it? Surely he ought to be 8059 Risen Lord. High-Geibel What the Minister Lacks knowledge of music; and what he has is together? To quote from still another tbe congregation getting what it wants, Low.. other, and all three to the church, is able to play it well enough to get a good 15586 Now is Christ Risen... Clark These things are apt to give an organist often of the wrong kind. Seminaries, at minister: “The organ, organist and choir Second, the music committee serves as a 10115 Passion and Victory.Dressier 7692 Sinf fairly definitely established by the canon insight into its real musical worth. can mar the best sermon ever pronounced, buffer between the minister and the Con¬ !indLT Mueller the “jim-jams,” and are the cause of an least in the East, are doing little to right 7142 They Car to the Sepulchre. , laws of the church,” the organist has a or help to make the poorest one effective.” gregation. If there is to be a music com¬ 15598 The Risen ^°„gisoQf unnecessary amount of trouble and worry. this wrong. Music should be a required 20018 wit (New)‘ e OISm°s High . .Solly very definite and decided course to fol¬ The Classical “Anthem” lortal. High. They make some of us become gray¬ course; for, as long as a standard of mittee, why not a preaching committee 6206 Victor Ir low. He is not allowed to exercise his In Wiirttemberg, South Germany, before 10689 Sing, Ye Heavens...... Starr Brackett headed, or, worse than that, bald-headed, church music is left to the instinct of the Selecting the Right Hymns to regulate the tone of the minister’s voice 10801 Song of Triumph. . . Morrison 4715 Voice Trumphant. High. Judgment in the selection of such music as the war, young theological students were 10675 Thanks Be to God.Hotchkiss even though we are quite young. So there clergyman, or to mismanagement by music Other things might be mentioned in the or to limit the numberofhisadjectives? might be used in churches of other de¬ required to take instruction in organ play¬ 10874 Thanks Be to God... Lansing should be a decided improvement in the committees, we shall have the same sort matter of musical education; for instance, Because, in the eyes of ^ congregation, 10120 Thanks Be to God.Marchant nominations, thus almost entirely elimi¬ ing as a part of their seminary course. At 10401 ’Tis Glorious Easter Morning^ musical education of the minister. An at¬ of bad music we now have. the singing of hymns by the congregation, preaching, prayer and music are not EASTER DUETS nating the possibility of friction between tempt along this line is being made by the a .Monday morning gathering of Baptist H^re also" the "minister could be a tre- be dealt with on the same crff^al ba«s 10389 Triumphant Lord.. ..Berwald ministers in Philadelphia, some time ago, 10063 Welcome, Happy Mo^|’ett 14467 Christ Victorioi (Alt. and minister and organist. But in other Baptist Divinity School at Hartford, Conn Ministers Should Have at Least One mendous power for good if he would select The second purpose for which the ^c Ten.) . churches, where the selection of music— where there is a course (compulsory let Course in Music the meeting resolved itself into one of only hymns which were real musical com- committee is organized is to relieve the 15662 Welcome, Happy Morni 9447 Every Flow* (Sop in many cases both anthems and hymns- us hope) on hymnology. I might here righteous indignation on account of what Rockwell . At least one course in music ought to be positions, instead of mere sentimental minister of nny actiw rMponsib^ e Livh is left to the discretion of the organist, quote from Archibald T. Davison, in his 10309 Why Seek Ye ,-Easthai 'compulsory in every divinity school for one brother termed “the classical anthem ditties set to music. Some hymns are used the conduct of he n™siUln this way • Stults there is great danger of disagreement, and recent publication, Protestant Church those who are to enter the ministry. The after the sermon.” Exactly what was because members of the congregation have the music committee becomes absent WOMEN’S VOICES 14403 Easter Mom. (Sop. and often open rupture, between the minister Music in America, in which he says (re- meant by the term classical is not clear; Alt.) .Schoebel course should be called “The Appreciation b«. ™ for W,-4 sing ***£* ***% " 10803 Alleluia, Alleluia! (Threi and organist. ferring to the matter of musical education but if he referred to compositions of such as the minister- . Part Brander of Church Music.” It should set forth them because they like them. sanna! (Two evitable jars and jolts attendant upon 10805 Hosan ORGAN COMPOSITIONS in clear terms, backed up by musical il¬ men as Bach, Palestrina or Mendelssohn, The organist also could help in this re¬ Consult the Minister f'lTST"} \ Tf* °f church music negotiation and admimstra- cannot be expected to have a thorough edu- lustration, the standard of music that ought it further strengthens the contention that spect, if occasionally the people were got¬ MEN’S VOICES Such might have been the trouble in the cation in music, nor does he need it; but, to be demanded in churches. Such a ministers should be compelled to take a ten together, informally, perhaps, and par¬ 10804 Allehiia, Alleluia!.. .Brander re-Rockwell Here is an admirable escape for the 10807 Behold, I Shew You...Solly 11219 Festal Postlude in C. case of the minister quoted at the begin- until he ceases to follow his instincts in the course should include instruction in the course at least in “The Appreciation of ticularly when a new hymn-book is intro- 10241 Christ is Risen. . . Rockwell Mmshall-Nevin ning of this article. At this point we might matter and consents to accept an educa- psychology and aesthetics of church music. Music.” For it is a rare sermon, indeed, duced,' asked to try over some new clergyman, Di .. .Diggle ask: Is the organist always capable of tion in musical appreciation, he is only that can rise to the inspirational heights Easter. Also there should be courses in the history tunes. This has been done with very grati- cal judgment, an.d fef mLt0d°s^ha inJ Hosmer selecting the music for the service, and going to injure church music by inter¬ of church music. Especially should there of such a classic as Mendelssohn’s Hear fying results. Take the average hymn- hiring certain singer and discharging will he bend enough to consult the preacher ference in it.” be one in the administration of it, to con¬ My Prayer. a the end that he may try to make the By this it is not meant that a minister sider the various types of choirs, financial Does the choir always help to improve : "used?" The writer served as ard which EASTER CANTATAS music help the service, and, if possible, to should have such professional musical problems connected with church music, and matters in the church ? Without going into organist in a chord, whence suns all—-J THE GREATEST LOVE VICTORY DIVINE fit the subject of the sermon. “Because” knowledge as to be able to sing or to play any discussion regarding the relative merits By J. C. Marks $1.00 (to quote from a very good friend—a min¬ the thousand and one kindred problems 5 thirty-one t , Decdu&c less knowledge_PYnprienre and experience of music By H. W. Petrie 75 cents the organ. All this is valuable, but not in that young ministers solve by painful ex¬ or demerits of the quartet, chorus, boy or hymn on Sunday morning always c ister) “the minister holds supreme place in th we than the clergyman, to whom the quality DAWN OF THE KINGDOM THE WONDROUS CROSS the least essential. What is meant is that perience. How many ministers can tell pastor’s choir, it is quite obvious that the with the day of the month the worship of the church and is held re¬ e hymns of the music and the nature of the per- By I. Berge 60 cents every clergyman ought to be able to listen exactly why the music usually sung to-the kind of choir must be taken into considera¬ By J. T. Wolcott 60 cents sponsible for its dignity and worth. Be- got into the habit of using the sanenj”-J _ - LmancTareYf. . _ much „ro

A Plea for Mixtures Re-read Old Etudes COLLECTIONS [AUSTIN ORGAN FOR THE By Sidney Bushell The record of output of the s) By Arthur B. Jennings . FEw days ago I inquired of a friend article is of paramount interest and readily Organist and Choirmaster, Independent Presbyterian Church ORGANIST \ been achieved by the superior if his wife still subscribed for The Etude. understood. It was like having an extra, standard these instruments have Savannah, Ga. AMERICAN ORGANIST, PRICE $2.00 His reply, which I believe is characteris¬ new issue of The Etude (always an attained both in their tonal purity Compositions by American composers tic of the attitude assumed by all sub¬ event) and I “ate it up.” and mechanical perfection. The numbers are chiefly,of intermediate scribers toward this journal was: It occurred to me that this “tip” might Wi-iy is it that mutation stops have been strange and mystic color like the wonder¬ difficulty and cover practically all styles It means much when repairers “She- eats it.” be of value to my fellow-consumers of of long experience say they find almost ostracized from American organs? ful stained glass of a great cathedral. Cloth Bound. By PRESTON WARE OREM Viewed from a distance, the transfused Turning over some old copies recently I these pages; so I make the suggestion— the faithful behaviour of Austin Is it the reaction from the former exces¬ THE ORGAN PLAYER, PRICE $2.00 Organs superior to any other. sive use in small organs? The European rays of light coming through such a win¬ came across an article on vocal technic, “Re-read your old Etudes.” One of the best pipe organ collections Price, $1.25 organs, old and new, are rich with them, dow produce exquisite imaginary colors which I had undoubtedly read when the You are liable to uncover a mine of in¬ [AUSTIN ORGAN CO.I obtainable. There are very few Church issue was new, but at a time when the teresting information with reference to and the European organs are set before which a close inspection fails to disclose. organ music racks upon which this book I 165 Woodland St. Hartford, Conn. I us as a standard. Masters of the organ Though we should pile up fundamental has never been placed. Cloth Bound. matter contained therein was too far ad¬ your particular line of study, a little too tones and couplers to an unlimited extent, vanced for my comprehension. heavy at first encounter maybe, but which, like Widor specify the use of mixtures. ORGAN MELODIES, PRICE $1.50 The majority of our organs built in there would still be a disappointing va¬ It so happened that during the two years since the improvement in your musical A compilation of 47 organ numbers the last ten years by standard firms have cancy—something missing of which we that have elapsed since its publication, I digestion, will be capable of ready as¬ Each a gem and of the type an organist have advanced to a point where this same similation. The Guilmant a cold and brutal tone in the full organ. were conscious in viewing the stained should have convenient as they are in this This, due in part to heavy wind pressures glass. flexible cloth bound collection. Brief, Simple, Vital, and excessive use of reeds, would not be Others assert that string stops provide THE STANDARD ORGANIST, Price 75c so obvious if the insistent stops were prop¬ the necessary overtones better than mix¬ Practical, New and The Democracy of Art Organ School An organ collection that is something erly mollified by being blended with good tures. When the strings are of genuine else besides low in price. Contains 43 By Emmett Y. King WILLIAM C. CARL. Director mixtures. When such is the case, the beauty, and of body consistent with or¬ pieces of all good character and wide Distinctive effect is analogous in richness to the won¬ gan tone, their overtones are not marked adaptability. Hundreds of students now holding derful coloring of the stained glass in the enough to substitute for mixtures. Some Lays a strong foundation for Americans take a pride in thinking father of Verdi.” When you see a cook positions. Students aided in secur¬ Saint Chapelle in Paris. Why do not or¬ builders do make strings that are brimful future musicianship by giving the that the poorest boy in the country has a in a kitchen, say, “Such was the mother ing positions. Practice facilities. gan architects insert a mixture in the solo of overtones. These, however, are of A NOVELTY FOR PIPE ORGAN main essentials of the subject in such chance to become President of the United of Beethoven.” When you see a baker in Fantasia on Hawaiian National Airs organ, to be used with the tuba mirabilis such stringency that they scratch through simple, understandable and interesting States. How much greater is this oppor¬ his shop, say, “Such was the father, of 221 Year October I2th-Catalag By H. J. STEWART when the latter is used in full organ the ensemble of organ tone like a school manner that it will prove invaluable in tunity in music to reach immortality 1 Our Rossini.” When you see a waiter, say, 17 E. Eleventh St., New York City A real concert novelty. Splendid for moving pictures concert halls are literally filled with artists chords ? room of busy slate pencils. They sound PRICE, 75 CENTS the class or for self-help work. “Such was the father of Palestrina.” who only a few years ago were starving. But mixtures are omitted not only from beautiful when used as a solo violin, but When you see a clerk in a police court, the loud departments of the organ; they when used with chords or any other stops When you pass some humble Italian la¬ SOFT VOLUNTARIES Read this letter from JOHN borer in the street, say, “Such was the say, “Such was the father of Wagner.” PIPE ORGANS are frequently omitted from the soft de¬ they are unmusical and will not blend. PHILIP SOUSA, Famous Our organs have ever been noted for their pure partments of even our large organs. By The effort to reproduce the strings of the Selected from late Pipe Organ Issues We Night Wind tone, perfect balance, durability and beauty of Cat. No. Composer and Conductor : means of string mixtures and flute mix¬ orchestra has sidetracked these builders design.^ Business founded 1844. Many of 15271—At Sunrise. The system adopted in your By T. HILTON-TURVEY tures, properly and softly voiced, beauti¬ from the composition of consistent organ Diggle .. Singing at Sight and Instrumental Guidance 15970—Twilight Devotion. Harmony Book is admirably adapted The Emmons Howard Organ Co. ful varieties of tone can be obtained that tone. I agree with Mr. Daniel, of Scran¬ 15944—Andante Pastorale. Galbraith.. for the student who requires an By Ralph Kent Buckland A lovely piano solo, very “ WINDY” WESTFIELD, MASS. otherwise are impossible. A mixture is ton, who recently said that “the organ 16103—An Evening Melody Galbraith.. instruction book that is “as plain as full of artistic charm. not a foundation stop; it is an embel¬ never sounds like the orchestra, nor is it 14772-Moonlight. a pike.” The text is so lucid that ■To sing at sight, that is, as the Spanish • Much of the trouble and complexity of lishment of the foundation stop. Shall desirable that it should do so.” 16670—Andante Pastorale . THE “ORGOBLO” he “who runs may read”—a decided mercilessly put it, primera vista, “first” the process of sight-singing lies solely in we have no decorations on our buildings? It is the office of the organ, as the 11515—The Angelus . Rockwell.. virtue in any text book. sight, is not always among the attainments the fact that vocal students fail to treat the Shall we have no delicacies with our musical voice of the church, to suggest 11543—Pastorale Scene.. . .Ludebuenl. , of even a talented vocalist. meals? To be sure, we do not live on that mystic sense of the infinite which is 11840—Adoration Chant I congratulate you on your scale as a stereotyped musical form, as Good instrumentalists read even difficult decorations and delicacies, but they serve the heritage of the human soul—the ker¬ . Rockwell.. , work and commend it to the student steady and invariable in its structure as a 13557—Chanson de Matin. • Gillette. scores as readily as they would a news¬ to make life more interesting. Founda¬ nel of religion. The mutation stop sup¬ of harmony. well-built eight-rundle ladder, which one 14172—At Evening. . Kinder. paper. But average vocalists, in taking up tion stops used exclusively, grow dull and plies the imagination of the organ. Why may pick up and carry bodily to'any de¬ 15396-Solace. a new piece, without the piano and plenty Price, 50 Cents net tiresome, whether soft or loud. rob the instrument of this very personal sired portion of one’s grounds. Practically It is argued by some that since the quality an agency long recognized by its of it, find themselves very much at a loss. there is but one scale—if one, for the sake ORDER FROM YOUR DEALER advent of octave couplers mixtures are greatest masters? Modern voicing leans THEODORE They lean heavily and long on the piano of getting on a working basis, disregards for every new piece added to their reper¬ no longer necessary to provide the power in many respects toward the stridency of THEODORE PRESSER CO. for a time minor intricacies. This scale is G. RICORDI NEW YORK toires. and brilliancy of the organ. It is quite the brass band, while many of the older 1710-1712-1714 CHESTNUT ST. PRESSER COMPANY always the same in intervals, regardless of The outcome of this persistent study true that couplers supply power and bril¬ organs possess, satisfying refinement with¬ PHILADELPHIA, PA. where it may begin. It is all just as simple liancy, but they do not supply one im¬ Music Publishers and Dealers with the piano is, for the greater part, pro¬ STUDY HARMONY out losing their inimitable grandeur.— as cutting cookies out of dough; no mat¬ and COMPOSITION portant thing that mixtures gave us—a From The Diapason. viding there is a well-trained voice to start PHILADELPHIA, PA. with, altogether pleasing. One ought not ter where the cutter comes down the re¬ by MAIL “nnsdtrSctloSeotT>r' to cavil. The vocalist knows the piece. sulting impression is just the same; no Alfred Wooler. wUnner^of At the slightest doubt as to pitch, back to matter where the tonic is placed, the re¬ course^Seud for prospectus stud Special Notices the impeccable instrument to have the sulting scale to the octave is invariable. rates. Composers* MSS. corrected. Practical Letters from Etude Readers If given a note—any note—and asked, ALFRED WOOLER, Mu*. Doc. A Pipe Organ Instructor doubt proved true and corrected, or else A 322 W. Utica St., Buffalo, N. Y. ■n? ANNOUNCEMENTS dispelled 1 taking that note as a tonic, to build thereon the scale—at first the major scale—there As the time signatures %, %-and % are for Pianists It is lamentable that to so many vocalists Precise Ideas of Time are many vocalists who would find it im¬ used almost exclusively in church music, the printed page of music is meaningless To The Etude: possible, off-hand, vocally to space the in¬ they need not be included in the condensa¬ WANTED and FOR SALE until translated into imitable tones by some In the Question and Answer Depart¬ tion given to a pupil. competent instrumentalist 1 tervals. Yet, with a chromatic sequence of Graded Materials The matter of key in music seems to of¬ tonics from C to C, any vocal student ment of The Etude for November is a Eugene F. Marks, F’OH SALE—One set “Gem Organ Pedals,’’ should be able to run the scale—the defi¬ Music Printers Engravers question in reference to time in music. • • ___j Augusta, Ga. concave, radiating for piano Almost like fer the most serious difficulty for tlje vocal new *35. F. 0. B„ at Hurdland. Mo., Ellis nite article is used understandingly, for the The questioner makes the request, “Give Huling. student in sight reading. Doubtless if all Prices on all classes of music idea is a fixed series of tones, immovable printing and engraving gladly me some precise' ideas about the different for the Pipe Organ music were in the key of C, fluency in Singing in Full Tone WANTED—Location by experienced teacher as to interval, when once begun—tone only quoted on application :: :: kinds,” stating that he is “always very By JAMES H. ROGERS sight-singing would advance apace; the To The Etude: 2, pi?“? at>d theoretical branches. Public being considered, as faultlessly as if play¬ THE MARSTON PRESS confused about ‘duple’ and ‘triple.’ ” School Music a specialty. West or Northwest scale could then be fixed in the mind abso- of't Inf timer’s art. Diploma given graduates. 17 114 N. Thirteenth St.. Phili., Pa. I, herewith, give a diagram of time, In reading the September Etude, I find preferred. Address H. S„ care of The Etude. Price $1.25 lutely_by which is meant the scale as ing it on the piano. YEARS’ EXPERIENCE in teaehing^hejnost an article in the Vocal Department, written which I use in my teaching. It is simple YOUNG LADY — Experienced teacher, Designed to give a good working played on the piano, tone and pitch only And so after all the whole matter sim¬ d d ' SIMPLER AND BETTER THAN and concise, and so easy of comprehension by an artist, with which I do not agree piano, harmony and theory, desires position knowledge of the instrument being correctly voiced as to interval with plifies itself into a working knowledge of ORAL INSTRUCTION. Write to-day for m conservatory or school of music. Address FREE illustrated booklet and guarantee plan. Kill The Hail Root that a child can readily understand it. It The statement is made that one in prac¬ A, care of The Etude. any syllable whatsoever or with a series one scale. The searchlight of one-ncss be¬ ticing should always sing “Mezzo Voce,” HE author, a most competent organ¬ NILES BRYANT SCHOOL of PIANO TUNING log again. Easy, painless, harmless. No scars. Boofcletfree. shows the whole system of time used in T of words, as ing thrown upon the subject, it matters but 1709 Bryant Building AUGUSTA, MICHIGAN Write today enclosing 3 stamps. We teach beauty culture. softly. My instructor, who received his for sale—A genuine Carlo Bar’gonzi, ist and musician, has attempted to D. J. Mahler, 2752-X, Mahler Park, Providence. R. I. music at a glance, and its simplicity is so made Anno 1757. Cremona, *6.500.00. A. little in which of the thirteen keys (Cb apparent that it should satisfy even the training under Gaetano Nava, in Italy, has Kaltenbrunner, 6359 Vinewond Avenue, De- get from the great mass of valuable not being considered, because rarely used) material of Bach, Stainer, Rinck, Merkel, German theoreticians in music, who al¬ always maintained that if one does’ not one places the scale ladder, one can proceed Beautifully sing with full voice, the voice becomes and Guilmant, only the best, and to pie- ways view the simple quadruple time as sent it in as practical and concise a form as though always reading in C, the only Curly, Wavy emasculated and one loses power in reso¬ ANNOUNCEMENTS compound time. Rate 20c per word as possible. difference being the tonic to which one re¬ Hair Like nance, which we need as well as being able The explanations and directions m this fers in correctly judging the interval above Diagram of Time in Music to sing softly. I have personally observed “Nature’s work will be found so clear that any one or below this tonic. Own” Simple. Compound. this myself. The rule should be.-Light . 1 .UBU™ orenesira, movie siugeis with a knowledge of music or of the piano There is, of course, still the question of tone for quick scales and “Canto Agilita” piano teachers to introduce our songs on y Duple .Ke %, % %, %8 route or home town. Make money ! Part can study the work without the aid ot a time. But in this regard vocalists, except, but in this work we should use different lars free Melody Music Co.. 6337 S. Mori teacher, even though it is not so intended Triple .%,%,%,Kg %. % %, °Ag Street, Chicago. Ill. perhaps, in grand opera scores, rarely ever degrees of power as the particular passage by the author particularly- Quadruple Via And so could “skips” varying in interval meet with the mathematical problems in demands. Of course this depends on h.w MUSIC COMPOSED—Send words. Ma rhythm that fall to the lot of the instru¬ scripts corrected. Harmony, corresponde An instruction book of great worth, providing lie indelibly impressed upon the mind, so as Omitting those not in frequent use we far the voice has been developed. abundant pedal practiceand without sacrificing mentalist. lessons. Dr. Wooler, Buffalo. N. Y. exercises for the manuals. Hints on regisrra- to be instantly available on sight. obtain the following: A particularly good exercise is running Liquid Silmerine hght octaves downward only keeping the 1 Kl I.EI.F.S *3.50 and upwards. Six i Simple. Compound. FLsP°ndence lessons. *5.00. Wm. Busl light quality as you descend. This helps a731 Concord Place, Chicago, Ill. "The fine art. which more than any "Language is not subtle enough, tender Duple .%,% %, % make the voice smooth and even, and THEODORE PRESSER CO., Phil®., Pa- tier ministers to human 'welfare. If- here enough, to express all we feel, and when lan¬ Triple .% %, % % « SCRIPTS prepared for publicafi ere is beautiful mule it is difficult for guage fails, the highest and deepest longings blends the upper quality into the lower. Music composed to words. R. Eversole. 6. Quadruple .. *A, % 1% S P»rv Chicago, Ill. flcontent to live."—Herbert Spencer. are translated into music."—Ingersoll. Please mention THE ETUDE when addressing Please mention THE ETUDE when -addressing Ethel M. Hart. our advertisers. our advertisers. addressing Page 132 FEBRUARY 1021 THE etude THE etude FEBRUARY 1921 Page 133 ' I desire on the part of the student to cover tioned which, as a rule, is dearest to the around, “to get on quickly” (as he imag¬ young beginner; I -mean the strictly musi¬ [ ines wrongly, inasmuch as without correct¬ cal or entertaining side of a Method. Are Violins Built in Our Own Workrooms ing his mistakes immediately they remain), there any pretty melodies to relieve the partly also bcause the former method of tedium of exercises, pure and simple? Combining all the points in tone quality and workmanship to satisfy the most giving lengthy exercises encouraged such Yes, there are, and in my opinion as fine critical requirements. Made of wonderful old wood 1 he top, bass bar, lining®. ,post slipshod practicing. and blocks from one of the first buildings put up by the earliest New England sett lers. a collection of original short melodies as The back, sides, neck and scroll from old Colonial furniture maple. Beautiful in An absolutely novel feature in the work Department for Violinists any Method can boast. And what is of texture; as handsome in appearance as the best of the Cremonas. is the introduction of double strings al¬ greater importance, these are invented Finest Italian Strings for Violin, Viola, ’Cello and Bass (also Harp.) ready in the earliest stages : first, only such absolutely in accord with the technical Edited by ROBERT BRAINE Write for catalog, prices and terms to as are composed of an open string with the facilities acquired at the time of their ap¬ stopped finger, which promotes a correct pearance, not only of the left hand, but MUSICIANS SUPPLY COMPANY ‘/f All Would Play First Violin We Could Get No Orchestra TogetherV — R. SCHUMANN position of the left hand; very soon, how¬ also of the right arm as well as the result ever, also thirds and sixths, etc., as they of supplementary bowing studies in Op. 2. 60 Lagrange Street BOSTON, MASS., U. S. A. develop naturally out of this system of One sees how methodically the Bohe¬ stopping. It requires no comment to see mian master has planned and carried out Otakar Sevcik and the Violin Beginner how beneficially such an early study of his work. Nothing vital is forgotten, no double strings, i. e„ the relative position of fine point has escaped him. Slowly but fingers on adjoining strings, must act on surely and with scientific inevitableness By Paul Stoeving the intonation through the training of the the student is carried along the steep permanent part of musical literature. His ear and the orderly disposition of the winding up-hill road of the beginning on [Paul Stoeving, the author of this article, He 1 coming to America this year to teach at the was born at Leipzig in 1861. He received an fingers on the strings, besides strengthen¬ the violin. iuildhall School ing article gives some valuable ini Ithaca Conservatory in New York was a mat¬ exceptional general education, studying mu¬ 1914 he re¬ mcher of Kubelik, ter of surprise ami congratulation to vast ing them and stretching and loosening the But what of the student himself, who sic under Wohlfahrt, von Walden, Herrmann, turned to America. He is the author of a Seveik’s famt splendid series of books on the violin ami numbers of American students who had as¬ finger joints. approaches this Method? Is it too diffi¬ Schradieck and Leonard in Paris. After violin playing, as well as interesting com- e. but to the music te pired to study with him. Professor Stoeving Bel Canto many successful tours abroad he came to the positions for the instrument. He has had y excellent pedagogics s ‘of i i the Still the remarkable features of this cult for the average student? Too diffi¬ United States and remained here many years abundant opportunity to observe the work of lent to him which i institution.] Method for the Beginner are far from ex¬ cult? No. But it is not an easy one in hausted. I only point out the thorough which it is all play and no work. Intelli¬ from $50 upwards. Repairing and Reconstruction. Violin Method Correspondence invited. Catalogues. If Otakar Sevcik had written nothing proceeds with pretty studies in rhythms of and sharpened like the fine edge of a dis¬ when he finds that he is only introduced way in which the master treats (also as an gence, a good ear, a will to work and By Mabel Madison Watson else than his Method for Beginners it which the average pupil at this stage is secting knife, to write a Method of Be¬ to one single finger, the forefinger placed outcome of his system) the difficulty of natural aptitude for the instrument are HUGU5T GEMUNDER 81 50N5 would place him in the front rank of quite incapable, as to bowing and the left ginners that was really one. And a great on all four strings successively in the same chromatic progressions with the same necessary to obtain from it the full bene¬ Estab. 1846 141 West 42nd St., N. Y. Price $1.25 musical pedagogues. To appreciate its hand; and presently difficulties in both re¬ stumbling block in the way of all pre¬ spot; i. e., a whole tone from the saddle. finger on adjoining strings or the oblique fit. But these traits of the good student unique charcter, we must compare it to spects increase at a terrific rate. What ceding attempts was the physical impossi¬ And this one finger is employed for a page positions of the fingers, the source of so pre-supposed, there is no Method which A method that makes teaching and other works of the same kind, and note can a pupil who has barely learned to put bility of treating in one work of reason¬ or two of further, already familiar bow¬ much trouble for the tyro in playing dimin¬ so unfailingly brings results, so thor¬ study pleasurable and combines the ire You Organizing an Orchestra or Band ? its outstanding features. his fingers down and draw his bow cor¬ able proportions, with any sort of thor¬ ing exercises. He may not understand the ished seventh chords in tune. The pupil oughly fits him for the higher demands art of melody playing with foundation If we would trace the family of Violin rectly with the whole length and the upper oughness, both the bowing problem and wisdom which dictated this strange and taught after Seveik’s Method rarely ex¬ made on him later. A right beginning on SlStra aend'B0andeBooksng ^OOT^BEGINNL-.. technic. Can be used as preparatory Tutors to their fountain head we must third (lower and middle third having that presented by the left hand. slow proceeding; but his left hand will periences any handicap on this score. the violin is the surest passport for subse- or supplementary material with any go back one hundred and eighty years to never been as much as mentioned), do with a Sevcik with his usual originality cuts show the fruits of it. It is the first finger Not less admirable is the masterly t quent success. any amateur organization. . . . violin school for beginners. There are Francesco Geminiani, a pupil of Corelli, piece in the dotted eighth and sixteenth We publish other easy books both secular and sacred. this Gordian-knot with one blow by sep¬ on the violin which shows its companion treatment of the higher Positions, the That this master of the highest techni¬ Samples sent to Teachers and Band Leaders free attractive and original studies in this who, in 1740, published in London the rhythm, or with arating the two fingers the way, serves as sign post, an¬ cal development on the violin, this teacher change of Positions, the gliding and por¬ E°lWoo'T & SONS, 1530 E. 55th St., Chicago, 111. work as well as many familiar airs easily first Method for Violin Playing, and to scales of fifteen problems; in other chor of safety and pillar of light. From of giants of fiddkrand bow, has been able tamento, the latter written on two lines, arranged for violin and piano, and Uso Leopold Mozart, sixteen years later, fol¬ words by using the it they measure their distances; it holds one indicating in smaller notes the exact to identify himself in his Method so com¬ as viol.n duets. lowing this pioneer’s example in his Vio¬ ascending and de¬ first part of his them (providing it has anchored itself) procedure of the gliding finger. For lucid¬ pletely with the needs and struggles of AKADEMIE & ETERNELLE lin Schule, on somewhat different early scending allegro? work, Op. 2, on from drifting astray on treacherous, un¬ ity without the written word, ingenuity and the beginner, is a striking testimony to his Silk Strings Teuton violin playing lines. Both works Theodore Presser Co., Phila., Pa. Spohr’s Method Bowing, as a sup- familiar seas. thoroughness there is nothing like it in pedagogic genius, his sympathy and devo¬ LA FAVORITA & ELITE are interesting and instructive from an was followed by pi e m e n t to his Shorter work is made of placing the didactic violin literature. tion to their cause, and is the noblest Gut Strings antiquarian point of view rather than for numerous others, Method for Begin¬ other three fingers, but here also whole There remains one point yet to be men- jewel in his crown. For Sale by Leading Importers and Jobbers any practical value they might have for from Alard’s, de ners. Free of bars of rest between the stopping and Sole Distributors M. E. SCHOEN1NG CO., Inc us now, although both, especially Gemini- Beriot’s, David’s these fetters, the repetition signs speak for themselves. ani’s, show the unalterable validity of and Dancla’s, down Master Pieces latter could now The Coloratura Style in Violin Playing some of the fundamentals of the art as to those of Hen- be devoted exclu¬ Novel Features laid down by the earliest Italian masters. n i n g, Hermann, sively to the early Space forbids going further into detail. A coloratura singer is one who excels pable of executing the most difficult tech- Carl Albert for the The violin schools of Baillot and Spohr, in trills, rapid scale passages, turns and nical feats, while the other Will lag behind, Schoen, Hoffman, development of the The novel features of the work reveal Violin Instructor published 1831 and 1829, respectively, are embellishments of all kinds. Not all sing- is not definitely known. Probably it Dessau and others; left hand and themselves almost at a glance. We notice From Rudiments to Artistic Perfection. Most VIOLIN the next arresting landmarks in the prog¬ ers are fitted to excel in passages of this comes from subtle differences in the brain everything this im¬ from the beginning that a certain uniform Effective Studies Used, Including Sevcik. ress of violin methods. Of the two, the cent date, Joachim kind Some only succeed in compositions and nervous system which are more re¬ With Piano Accompaniment plied. From these position of the four fingers on all strings Studio: 126 West 97th Street Frenchman, Baillot, was perhaps the bet¬ and Wilhelmj. in which such florid passages are absent, sponsive, and better capable of develop- Telephone 5348 Riverside New York City Arranged and Edited new and physiolog¬ is adopted. This, which the master calls the ter fitted to write one. As profcsseur at While some hardly In the same way we have many violin- ment in the case of one individual than in ically sound prem¬ semi-tone system of stopping, is carried By the Paris Conservatoire by the side of rise above a ques¬ ists who have fine tone, good intonation another. I once asked a famous trainer ises the master through all the variations of stopping Rode and Gavinie, he was commissioned tionable utilitar¬ and guod musical understanding, but who of race-horses why it was that, of two ARTHUR HARTMANN to write in collaboration with Rode and which are possible in the first position. are unable to master compositions requir- horses, both seemingly alike, with the same VIOLINS DETAILS TO-DAY. ianism, the ma¬ The work is di¬ 13025 Adagio and Allegro, Archangeto Corelli .60 Kreutzer, a violin method for use at the In other words, independent of the whole iijcr -it velocity, agility, and very great training, one could be developed to go a GUSTAV V. HENNING 14593 Andante Religioso, . . . F. Thome .60 jority are praise¬ vided into seven 2424 Gaylord Street DENVER, COL. 14684 Berceuse.S. Barmotine .50 Conservatoire, which should embody the and half tone exigencies of scales, which 13026 Capricciette. . . . Alfonso Cipollone .60 worthy attempts parts, presenting in technical feat, ' Such violinists succeed mil,5 ^ ^ toffwas best that could be gathered from were formerly* made the regulating factor 13782 La Cinquantaine, . . Gabriel-Mane .50 to solve the diffi¬ Parts I to IV the very well with violin pieces, in which the do was 2.55. He assured me that it wa the granaries of the past and present. culty of providing for stopping on the violin, the fingers by only problems to be overcome are the pro- due to a difference - the brain mid ne - .3027 {^(^!(r.^“!« Both Rode and Kreutzer died before the first Position; in this system are placed on all strings alike, 1 Rossini-Paganini .75 for the beginner, gmakah aEVCIK- Part V, exercises ductioii of a beautiful tone, artistic phras- vous system of the jj 13220 Serenade.F. Schubert .60 work was well under way, and Baillot with whom we are in gradually progressing order, with half ing, perfect intonation and an interprets- possible to get so much more speed out of 13753 Romance, . . . Johan S. Svendsen .75 finished the work alone. It is the noble for developing steps occurring between first and second, 13711 Italian Cradle Song,. . A. Cipollone .60 here alone concerned, a work which would tion of a high order; but when they seek one than the other. . 13961 Petite Berceuse, . . . . E. Schutt .40 achievement of a great teacher, and espe¬ strength and flexibility of the fingers; next between second and third, and then teach all a beginner should learn, and 14297 Valse, Op. 39, No. 8, P. I.Tschaikowrki .40 cially is the copious text in it of 'more and in Parts VI and VII, the second, between third and fourth fingers, etc., 14298 Rakoczi Marc* which would serve as a sure foundation third, fourth and fifth Positions with -h^,td= *2To? 14489 Ni than historical value; but, as a method and guarantee for future success. But it until all available positions of the four P. I. Tsch for beginners, it shares with Spohr’s and changes of Positions, shifting, gliding fingers, in respect to each other, have been cult bowings ’double SZ.ZSSZSf £££££ 14685 Italian Song, cannot be denied that, after all, they are harmonies, perilous skips and all ^e juany me , individuals seem to possess all subsequent works the faults I shall (portamento), scales on one string (first gone through. E, Granados .75 only attempts. Almost without exception to fifth Position) and broken chords. varieties of violin jugglery, they simply tie ^ ^ ^^ with the aid of HILL'S HAND point out presently, which render it al¬ The advantages derived from this sys¬ they teach only some things, of many After a few explanatory remarks ac¬ EXPANDER (Patented). En¬ .’ .' E. Schutt *60 most obsolete. tem, which brings the various scales only "^liS^afJeTthe most diligent thing, (nve^boy -dof^and dorsed by leading colleges. things a little, and nothing thoroughly. companied by illustrations on the correct Used and recommended by Correct intonation remains more or less a incidentally, are striking. By it the fin¬ practice, finds that he is not in he^w A ^ ^ ^ to another boy> Artist! at well as Instructors. Baillot and Spohr manner of holding the violin and bow, the gers of the beginner accustom themselves Indispensable as the Metro¬ matter of special gift, and chance and this coloratura work, is wise it nerecoguiz m0re nome. $7.50 Postpaid. Spohr took his task seriously enough; pupil first learns to draw his bow. This to seek their right places on the 'finger¬ bowing facility likewise. One and all is of necessity the first step here as the his limitations* and chooses only—- with° t£n. It isX WALTER H. HILL CO., and, great violinst and composer as he board, not so much directed by ear alone ^ * *£ fi5erf lack system, logical continuity of prog¬ bowing supplement cannot come into ef¬ tions for public performance^ wffich^er ^ ^ violin playing. Some people was, he could not help making at least the as by a sense of location, which, developed :ss by Mr .Hart- ress, and especially application of the psy¬ fect until a little later when the left hand musical examples in his Violinschule systematically, finally acts with automatic 111 are edited in chological and physiological laws govern¬ has learned to act to some degree inde¬ On* the 'contrary,**1 ^^ve ^known violinists seem THE ETUDE VIOLIN STRINGS worthy of him. However, he admits, in sureness. At the same time it induces The ETUDE Strings arc nearly as perfect as the high¬ ing the work of muscles and mind and, pendently of the bow arm. But already, who succeeded verywell with £fgJy unable to got the slightest idea of an introductory note that he never taught the beginner to keep his fingers, espe¬ est grade imported string,but are much less expensive- through it, of fingers and bow. requiring difficult finger a . playing on a string instrument. We even a beginner. In consequence, the instruc¬ here, Sevcik, unlike other writers and cially the first one, on the fingerboard, THEODORE PRESSER CO. That, in spite of such shortcomings, such for example as the “ ^ find tlfeSe ‘.-knacks” in playing different in- tion derived from Spohr’s Method is frag¬ teachers, makes the hand stroke the em¬ an important factor with respect to into¬ 1712 Chestnut St. Philadelphia, Pa mentary, jumpy, one-sided, discouraging great players have learned from and have bryonic beginning of right arm work; and bv Bazzini, but who failed to be struments. I have often tried to teach been formed through one or the other of nation which the author spares no trouble and wholly inadequate. To give but one he does not forget the relaxatory rests to in indicating. make much of f“X le" thoven even well-advanced pianists to play the these various methods is true enough. enable the pupil to think, criticise and cor¬ the Chaconne of Bach or the but some of them could not grasp or two examples, he begins right enough, The value of the system is further en¬ But what is this fact as against the thou¬ rect the preceding stroke, while he also Violin Concerto. Such vio . ’ b ;dea at all. On the contrary, violin with the open strings, although in the hanced by the original and ingenious way therefore wise if they confine themselves ^ ^ to many sands of failures that have followed in the gets accustomed to the uncomfortable po¬ Zaiikl HIIOTHERS worst possible, because most difficult, form, through which the master has arranged the i. e., held out very slowly. But already in wake of a few successes? And more of sition of the body, etc. to difficult technical pieces. oconle who are simply helpless when they whole of his study material in the form of Just why it is that m the: case oi ro ^ piano MUSIC PRINTERS and ENGRAVERS these failures than many think are dis¬ However, passing over the beginnings the following section, where fingering is small sections of one, two, four and six SEND FOR ITEMIZED PRICE LIST AND SAMPLES tinctly traceable to an inadequate method for the right arm, we stand presently be¬ violin students possessing seemingy Q secret of success ;n public violin introduced, in the most uncomfortable of measures, which are repeated. This is of for the beginner. fore that for which the pupil has of course talent, with the same amount o P ’ , • ;s t0 “,1ut the best foot foremost,” scales, C major, he brings such finger¬ course the principle every good teacher It took the whole pedagogic genius of eagerly waited; vis., putting his fingers under the instruction of the same te , I - * ( ^n1v mmnnsitinns which ‘ nm.tMn.s avp awn oViunniPU «TTHING 'N ™'S PHI1.ADF.LPH1A. PA. ing (interval study) in slurs of eight tries to instill in‘o his puoils but which is whole notes over two strings. He then Otokar Sevcik, after it had been trained on to the strings. His ardor may cod so seldom followed, partly from an innate Please mention THE ETUDE when addressing Page 13 If FEBRUARY 1921 THE ETUDE THE etude FEBRUARY 1921 Page 135 New Musical Books NEW MUSIC PUBLICATIONS! Noveltieslovelties of IntereslInterest to the TEACHER, STUDENT,TUDENT, PERFORMERPERFORMI and MUSIC LOVER

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“Rattling” a Violin ‘h^tk'g^PiibKc' ShduMJMMusicf ^ofin^'cornetjGu^tar^and'MandoHn™ sSect agSyS aTgar.si'.s SSSffli rSSSSi™* B Am very, vcrynueh^pleased with the Carl University Extension Conservatory asssrt a«@ 4&«g£S jj instruction.—Hugh E. Tost. Dept. A-67, Siegel-Myers Bldg. Chicago, Illinois PRICE, $1.25

THEODORE PRESSER COMPANY :: PHILADELPHIA, PA. I _ ETUDE FEBRUARY 1921 Page 137 Page 136 FEBRUARY 1921 THE ETUDE the Great Singers on the From Death Unto Life Schumann’s Fantasie Our Service Aims to Russian Album From the Yellowstone Easter Cantata Aid the Busy Teacher Art of Singing for the Pianoforte Four Songs Stuecke, Opus 12 The war has closed, almost normal busi¬ By J. F. Cooke By R. M. Stults No library of pianoforte music is com¬ By Thurlow Lieurance An Opus which contains such gems as ness conditions, so far as our business is The huge fortunes earned by great Mr. Robert M. Stults is extremely well plete. without containing a volume made In this new set of songs Mr. Lieurance Why, Soaring and Whims, by Schumann, concerned, have returned. We. want to singers during recent years have given known through his many successful an¬ up of examples from the works of the has taken a new departure. These songs may indeed be entitled a master work. say that never, except with the great the public an even greater interest in the thems and also his church cantatas. We modern Russian composers. Our new are intended to reflect in some measure Schumann's entire Opus 12, entitled Fan¬ take pleasure in announcing that his new tasie Stuecke, is well worth knowing and world war, has this business in the serving vocal art. What is it that can take an compilation contains a selection of the the spirit of the great West and the lure of unknown little girl, living in poverty, and Easter Cantata is now almost ready. This very best numbers from all these com¬ nature. The songs are entitled, respect¬ playing. It is most convenient to have all of educational material to the people of cantata should prove one of his most pop¬ tlie pieces in one book, and this book in a few years place her in a position of posers. In making this compilation those ively, A Mountain Madrigal, The Eagle the United States been in any way af¬ ular works. The text is selected from the numbers have been selected which have should be in the library of every pianist. importance and opulence. In some cases and the Lark, Mg Collie Dog, Farewell, fected. Scriptures chiefly, together with a few proven most playable and most appre¬ Our new edition, which is to be added to it is a fine voice, and in others it is some¬ Cabin Mine. Although the thematic mate¬ It has been the object with the active appropriate hymns. It includes both the ciated. All that is merely bizarre or un¬ rial is chiefly original with Mr. Lieurance, the Presser Collection, is now almost head of this business to publish educa¬ thing far more than a voice. During Passion and the Resurrection and the usual has been excluded. The pieces lie there are introduced occasionally some ready. It has been prepared with the tional teaching material of actual practi¬ nearly a score of years the author of this time of performance is about thirty or chiefly in the middle grades, from three to interesting snatches of Indian melody. utmost care and revised after a compar¬ cal worth, and our publications and our book has been collecting in person ideas forty minutes. There is good solid five. These songs are something out of the ison of all the celebrated European edi¬ constantly increasing trade stand out as a and inspirational helps from the world’s chorus work and some attractive solos. The special introductory price in ad¬ ordinary and open up an entirely new tions. monument to the success of that work. greatest singers. Each chapter is devoted The first part of the cantata, which is vance of publication is 40 cents, post¬ field. The volume has an introductory The special introductory price in ad¬ The appreciation which we have received to a particular singer—Caruso, Galli-Curci, complete in itself, may be used separately paid. text and explanatory notes by Mr. Lieur- vance of publication is 25 cents, postpaid. has furnished us with a lasting inspiration. Eames, Melba, Sembrich, Garden, etc., in Holy Week. The music throughout is Our catalog has increased to tremendous prefaced by a complete biography and a in Mr.* Stults’ best melodic vein. Wedding and Funeral Thc advance of publication price is 50 Offers on Works in NEW WORKS. New American Supplement proportions. There is hardly any small portrait. Then the singer relates in per¬ The special introductory price in ad¬ Music for the Organ cents, postpaid. to the “Grove’s Dictionary” vance of publication is 25 cents, postpaid. Advance of Publication Advance of Publication Offers— need in the teacher’s work which cannot son just what points have been the most By Kraft The appearance of a new section to a lie supplied by text-books, by studies, by important in making a career. Sometimes Twelve Melodious Studies Withdrawn Melodic Study Pieces for the This new compilation will prove of ex¬ February, 1921 Sp*cP1It,offer famous dictionary is always an event. One compositions of our publication. In late in this way it has been possible to put into treme value to the p(actical organist. It for the Pianoforte We are pleased to announce that four Left Hand Alone, Opus 1237 famous dictionary of the English lan¬ years our publications in octavo form for words certain ideas about voice culture will be most convenient to have bound up By Albert Franz of the works which have been listed on Child’s Own Book—Liszt, Tapper.$0.12 guage has been in preparation nearly church and secular use have become only that are not to be found in any other form By A. Sartorio under one cover. The proper music to be In the earlier grades of pianoforte in¬ this page for a few months past have now Composition for Beginners—Hamilton. . .60 second in importance to our piano works. fifty years, and the lexicographers have —real jewels of information and instruc¬ Although this work has now gone to used at two of the most important of the struction it is necessary to have much come from the press and are ready for Crown Collection for Pianoforte.50 gotten only as far as the letters “Sh.” From the dealing, business point of tion of the greatest value to (lie young press, we have decided to continue the special church services, weddings and variety in the studies. This is an aid both delivery to the advance subscribers. Fol¬ Earliest Duets—Kinross.30 The Grove’s Dictionary was commenced in view—First, our publications have been singer. The book will resemble in appear¬ special advance offer during the current funerals. The volume will contain such to the teacher and the student, the teacher lowing’ are the works—special offers are herewith withdrawn. They can now be Easy and Progressive Lessons, Book I, 1873, by Sir George Grove, Who com¬ reasonably priced, and this is no small ance the handsome publication by the same month. These study pieces comprise both numbers as are in conventional use and. works much better with fresh material with words—Czerny .20 pleted the first edition of his great work item in the whole scheme. Our discounts author Great Pianists on the A rt of Piano original numbers and arrangements from which are needed universally as well as a and something new is always an inspira¬ seen on imspection and at regular pro¬ fessional rates. Elementary Piano Music—Neely.50 in 1889. In this he was assisted by a large have always been and will always be, the Playing.. well-known works. The pieces are ex¬ judicious mixture of original compositions tion to the student. Those who have been corps of workers. In 1904 a greatly en¬ and appropriate numbers specially ar¬ Children’s Album for the Piano, by First Position Pieces for Violin and best that can be given. Our whole aim The advance of publication price is ceedingly well made and display re¬ using Streabbog’s Opus 63 and similar Piano.35 larged five-volume edition appeared, handed down to the organization from $1.00, postpaid. markable ingenuity on the part of ranged. Many of the numbers will be standard works will find it very much to Louis Kohler, Op. 310. Price, 75 cents. found suitable to use for still other pur¬ This is one of the favorite albums of First Ten Weeks at the Pianoforte— edited by J. A. Fuller-Maitland, M.A., the experience of the head of the business the writer in bringing so much within the their advantage to substitute occasionally R. C. Schirmer.20 F.R.S. While sufficient in its day and as a teacher is to aid the teacher in every reach of the left hand alone. In point of poses. this new book of studies by Albert Franz. little pieces of real educational value for unquestionably the finest work of its kincT way possible and furnish publications of First Ten Weeks difficulty these studies will lie in grades Our special advance price will be but These studies are just as melodious as which Kohler is so well known. It is for From Death Unto Life—Stults.25 60 cents, postpaid. extant, the advance in music in the last merit, mechanically well made, reasonably at the Piano three and four. They will form a useful those mentioned above and they are no about the second grade. It is not an ex¬ From the Yellowstone—Lieurance...... 50 ercise book, but a collection of 30 little sixteen years, particularly in America, priced, with good discounts and on terms By R. C. Schirmer adjunct in any intermediate (trade work. less valuable from a technical standpoint. Great Singers on the Art of Singing- New Pipe Organ They are more modern and less conven¬ pieces. This edition has been carefully made the preparation of a new volume always satisfactory to*the Tionest person. This little work is intended for the first Our special advance price, postpaid, Collection tional, however. revised and fingered. imperative. This has resulted in the sixth We will be very glad to send to anyone months of pianoforte instruction. It will Will be but 40 cents. Heart Songs... The special introductory price in ad¬ Elementary Studies for the Pianoforte, or “American” volume of Grove. The in the music profession, to any music be published In sheet form and has only Our New Pipe Organ Collection is a Melodic Study-Pieces for Left Hand Stults’ vance of publication is 25 cents, post¬ by Louis Kohler, Op. 163. Price, GO cents. beauty of this is that it supplements all teacher, whether dealing with the Theo¬ twenty-four pages. It is an excellent comprehensive compilation similar in style Alone—Sartorio . and character to our two previous suc¬ paid. Here is another educational work in of the other volumes, so that anyone pos¬ dore Presser Company or not, a new set work to take up with pupils who are Anthem Book Milkmaids and Fanners—Spaulding.. . . sessing the five-volume edition can simply ' This should prove to be one of the most cesses, The Organ Player hnd Organ about the same grade as the one above, of our catalogs brought up to date. Our starting for the second time and are al¬ Repertoire. It will consist, however, of First Position Pieces but entirely different in character. This New Pipe Organ Collection. add this one and complete the set without catalogs are now separated. It is possible ready familiar with the rudiments. The useful choir collections that we have ever entirely new material, both original and for Violin and Piano is a set of studies, purely technical, de¬ Russian Album for Pianoforte. purchasing the work over again, as is so to get a late catalog covering any classifi¬ studies are all original by Mr. Schirmer, offered. So many of the anthems by Mr. Robert M. Stults have proven successful transcribed. Many of the pieces have voted to the development of the hands. Schumann’s Fantasie Stuecke, Opus 12. often the case with reference books. There cation—Piano Catalog, Singers’ Guide, but this name must not be confounded In beginning the study of any instru¬ These studies have been very popular that there is a great wealth of material been especially written or arranged for are over one thousand items in the index etc.—and with that first bundle of cata¬ with Schirmer, the music publisher. Mr. ment there is always more or less drudgery, with many teachers for many years. Sixth Volume—Grove’s . from which to select, hut we have en¬ this work. It is a volume which will be and this is particularly true in the case of the new work, including 415 biograph¬ logs will be sent a description of our R. C. Schirmer was for many years the Stults’ Anthem Book. deavored to incorporate the mcSt appre¬ found useful for playing in church, for of the violin. For lightening the burden Rachmaninoff Album. Price, 75 cents. ical articles about new American musi¬ method of dealing. It will explain the head of a large conservatory and is a recital work and for moving pictures. Tschaikowsky Album . ciated ones into this new volume. All of the violin student there is a much more Here we have drawn together nine of cians and 290 biographical articles upon particular aids that we offer to the service thorough-going teacher with a European The pieces are of intermediate grade and the most popular pieces of this great Rus¬ Twelve Pianoforte Studies—Franz .... foreign contemporaries. While the book these anthems are thoroughly practical limited range of selection in the line of of the school and the teacher; it will ex¬ education. This work was used for many and at the same time of musical worth. none are overly difficult. sian master. Every pianist wants this is designed as the sixth volume of Grove, attractive teaching pieces than in the case Violin Studies—Kreutzer . plain our “on sale” plan, music stock kept years in his own private teaching in the They are not difficult to sing and they Our special advance price will be but of the piano student. In our new album volume. Wedding' and Funeral Music for the it is also complete in itself for one who the entire season; it will explain our dis¬ conservatory and with great success. The 75 cents, postpaid. Twenty-four Easy Melodious Studies desires the latest information upon Amer¬ may all be rendered with telling effects. of First Position Pieces we have endeav¬ Organ—Kraft . counts, prices, terms, means of transporta¬ studies are all short and of an interesting The volume will be uniform in size and ored to select only the brightest and most for the Piano, by Gurlitt, Op. 50. Price, ican musicians and American composers. tion; special “new music” plans; how to nature, and there are plenty of notes of style with the various numbers of our Violin Studies melodious numbers, pieces which will 75 rents. This volume is ready and may now be Pocket Metronomes order music; how to return music. instruction throughout the book for gen¬ popular series of anthem collections. By Kreutzer prove a real pleasure to play. All of the Here we offer Opus 50, a set of melo¬ obtained at a low introductory cash price Our service is rapidly returnine to The special introductory price in ad¬ pieces are in score; the violin part over dious studies well known to many teach¬ Again Obtainable eral directions. It takes a pupil up to the This will be the newest addition in the of $3.50, postpaid. normal. We certainly suffered during one-octave scales. vance of publication is 20 cents, postpaid. violin department of the Presser Collec¬ the piano part, and there is also a sepa¬ ers. They are in about the third grade— We have been compelled to disappoint the war, but our troubles, particularly Our special advance price is but 20 tion. The Kreutzer studies represent a rate violin part. This volume may be a standard teaching work, interesting, many patrons through our recent Inability Easter those of help, are about over. Prices have cents, postpaid. Elementary Piano certain point of proficiency in violin play¬ taken up to good advantage by students musical and of great educational value. to renew our supply of “pocket metro¬ ing. They mark a certain stage in the who are still in the elementary stages. Music not come down to us as yet, although we Instruction nomes,” but at last a manufacturer has hear many rumors to that effect; that is a progress of the student preparatory to Every number is a genuine first position This year Easter arrives somewhat Tschaikowsky Album By Herbert G. Neely The Etude Pays 33 1-3 consented to accept our order and a large readjustment of immense proportions and going into more advanced work. One who quantity of this useful little apparatus is earlier than usual, so it is advisable to for the Pianoforte This work is really an instruction book has conquered the Kreutzer studies is al¬ The special introductory price in ad¬ Per Cent. Dividends select musical numbers for Easter services of such far-reaching consequences that we promised for early delivery. For the in¬ await with wonder how it is going to be Tschaikowsky’s wonderful gift of mel¬ along the more modern lines. It is ready a reasonably good violinist. Our vance of publication is 35 cents, postpaid. at once. For the assistance of soloists founded on the weight technic of Breit- new edition of these studies has been n)ost The saving bank pays you an annual formation of those unfamiliar with the worked out, but we have faith that there ody is just as delightfully represented in interest varying from three and a half to article we wish to say that this is very and choir directors, we are always ready his pianoforte pieces as in his symphonies haupt, who is one of the educators of carefully revised and prepared by Mr. will be a readjustment, not to the low Czerny's One Hundred four per cent. similar to the well-known metal-encased to furnish copies for examination and prices of before the war, but ta fair or in his string quartets. They are de¬ Europe. It teaches relaxation as one of Frederick Hahn. Mr. Hahn’s work is Easy and Progressive The finest “safe” bonds you can buy tape measure, only the tape in place of reasonable time in which to make a satis¬ and normal conditions, favorable to all lightfully arranged for the instrument the prime principles of piano playing, well and favorably known. feet and inches is marked with figures factory choice. Our catalog not only in¬ and great stress is laid on this feature The special introductory price in ad¬ even in this inflated era do not pay more concerned. which he himself played with great facil¬ Lessons, with Words than 8 per cent. used to indicate the tempo markings on cludes a large number of tried and estab¬ ity. Apart from the standard numbers, throughout the book. The author of the vance of publication is 40 cents, postpaid. By F. L. Hudson music; the tape is drawn out to the re¬ lished Easter anthems and solos, but this Let the Theodore Presser Company book is a disciple of Breithaupt and has Yet by subscribing regularly for The which everybody wants, there are some Etude you save 33 1-3 per cent., as it can quired mark and the case is swung like year we are adding three new anthems of supply you with anything needed in your adapted his principles to the American The Child’s Own Book of Czerny’s One Hundred Easy and Pro¬ which will prove new and interesting to be had for $2.00 a year, whereas if you a pendulum, the speed being regulated unusual merit as well as solos and duets, work by mail order. Accounts are easily need. He has produced a most excellent gressive Lessons are too well known to opened. Advice on all subjects connected the average player. The book will con¬ Great Musicians—Liszt buy it by single copies it costs $3.00. automatically (and accurately) by the all written in the spirit of the occasion. instruction book for the beginner, and we require description, but our new edition with the profession cheerfully offered. tain a very liberal number of works and By Thomas Tapper of Book 1 of this work is positively More than this, you never mis? any of length of the tape exposed. Regular clock¬ Our miscellaneous church music stock in¬ will be'very substantially bound. take great pleasure in recommending the work metronomes are now so high in price cludes the standard issues of all publish¬ book to our patrons. You will find some¬ Tlie Child’s Own Book of Great Musi¬ unique. Each little study has had added the fine issues and Uncle Sam brings it The special introductory price in ad¬ to it an appropriate text with a character¬ right to your home every month. that many of our teacher and student ers, and we are prepared to meet all de¬ Milkmaids and Farmers— thing of great interest in this work, some¬ cians is really a series of little books on vance of publication is 50 cents, postpaid. the “cut-out” plan, each book devoted to istic title. For instance, number one is The Etude will be so good for the rest patrons will be glad to get this practical mands for music of this class. If you are a Half-Hour Entertainment thing that will interest every teacher. little “pocket metronome” for fifty cents. a church singer, choir director or organist, the great masters of the past. Only a few called Pupil’s Song, and it begins thus: of 1921 that it will bring the richest possi¬ for Young People Five-finger exercises are discarded en¬ do not hesitate to ask us to help you in Composition for Beginners of the great masters remain to be done. On the piano I will play; ble dividends in inspiration, instruction tirely. The work can be taken up by Teacher showed me just the way. the selection of music either for Easter or By Geo. L. Spaulding the veriest beginner, but there is a great One of these is Liszt, possibly the most and entertainment. Talking Machines By Anna Heuermann Hamilton Other studies are entitled. The Diligent general use. This is a new form of entertainment, deal of information for the teacher. interesting of all. Children love to cut First of all, however, if you are buying and Records A book that fills a need in our system out the pictures that come on a big sheet Child, Grandfather’s Clock, The Milk Man, somewhat less than an operetta and yet of musical education, in that it brings to Our price for the book is only 50 cents, The Etude, “piecemeal,” from month to We start the New Year with the most more than a mere action song. It is just with eacli book and then paste them in Playing Soldiers, etc. This device adds The Earlier Duets the one in the lower grades an under¬ postpaid. greatly to the natural attractive qualities month, remember that you can save 33 1-3 complete stock of Victor and Brunswick the sort of a work for which there lias the little volumes, making a little book “of per cent., starting to-day, if you send us records that we have ever had on our By John Kinross standing of musical ideas in their simpler their own.” The price of the volumes al¬ of the studies, and the author has shown long been a demand. It may be produced forms and how to express them. The The Crown Collection at once $2.00 for your subscription. shelves at one time. A great many Victor Teacher and pupil duets, in which the ready published is 18 cents. Those who unerring taste and understanding in the by a group of young people without anv 1 tudent is introduced to melody and har¬ of Pianoforte Music Begin any time. records are still unobtainable, but during pupil plays alternately the primo or stage accessories or properties and, if de¬ order the Liszt volume in advance of pub¬ composition of the texts. mony formation, beginning with the most Talk to your teacher about it. She will the past month we have located a number seeondo parts, are particularly useful in sired, even without special costumes. The This volume of classified music has been lication are given a special price of 12 The special introductory price in ad¬ elementary materials, just as the child gladly forward your subscription. of valuable records in out-of-the-way elementary piano instruction, since they text is clever and characteristic and the selected by a number of experienced cents each. vance of publication is 20 cents, postpaid. first learns to form the simplest words of places—records which it has been impossi¬ tend to develop an early knowledge of music is in Mr. Spaulding’s most tuneful ’ ’ ’ institution. The special our spoken language, from a few letters ble for months past to obtain through the both clefs. Duet playing cannot be style. There are opportunities for sing¬ regular supply houses. In ordering rec¬ started too soon, and these little four- ing, drilling and marching, and for danc¬ of the alphabet. Teachers who wish to ords from us it is always well to name a hand pieces by Kinross afford a happy ing if desired. There is no spoken dia¬ take time to develop musicians rather than Pupmtlim The ETUDE offers 35 cents toward any of the above Special mere players of an instrument will find division of its own in the book, making it first and second choice. and pleasant medium for the purpose. logue, but the piece is sung or played 1 I dilllllll price(i Works in Advance of Publication, We send records to any address in the They are so easy that they may be taken throughout. This work could be used as this work a valuable assistant in their semi-instructive. The pieces are all ot a (pages 136 and United States postpaid if the order up almost at the beginning. Our new and a special program number, or it could be efforts. Young teachers, whose training very attractive order. The book can be amounts to $3.50 or more, safe delivery carefully revised edition of the popular incorporated as a specialty in some larcer in self-expression of musical ideas has taken up with a pupil of the second or Offer — 137), for each yearly subscription sent us, not your own. guaranteed. Let us put you on our mail¬ little book should be much appreciated. show. been neglected, will find it a great HUP third grade! . . . . ,n to themselves. The special advance price is but oO ing list and you will receive booklets of The special introductory price in ad¬ The special introductory price in ad¬ new records each month. vance of publication is 30 cents, postpaid. Special advance of publication price, 00 cents,- postpaid. vance of publication is 25 cents, postpaid. cents, postpaid. THE etude Page 138 FEBRUARY 1921 THE ETUDE FEBRUARY 1921 Page ISO

LAWRENCE CONSERVATORY Minneapolis School of Music, =3C2= A DEPARTMENT OF LAWRENCE COLLEGE ORATORY AND DRAMATIC ART Jd*11irawing.^expressi°n, theory, piano tuning, physical WILLIAM H. PONTIUS CHARLES M. HOLT miltore, languages, students’ orchestra, glee clubs and Schools and Colleges Director, Dept, of Moelc Director, Dramatic Art rthorus.’ Certificate, diploma, and degree courses. Superior 60-62 Eleventh St., So. MINNEAPOLIS, MINN. dormitories for men and women. LARGEST SCHOOL OF ITS- KIND IN THE WEST For detailed information and free catalog address ALL BRANCHES OF MUSIC AND DRAMATIC ART Schools and Collides CARL J. WATERMAN, Dean APPLETON, WIS. CHICAGO ^ SUMMER MASTER COURSES SUMMER MASTER SCHOOL FOR PROFESSIONALS AND ADVANCED STUDENTS June 27 to August 6 [Six Weeks] June 26th=July 30th=i92i DAVID JOSEF SPECIAL ENGAGEMENT OF LHEVINNE The American Conservatory announces the return BISPHAM engagement of these world-fampus PROF. LEOPOLD AUER artists to conduct Master Violin Instructor of the World OSCAR SAENGER HERBERT WITHERSPOON MASTER CLASSES Celebrated Vocal Instructor J Famous Singer and Teacher specially designed for professional pianists and RICHARD HAGEMAN singers, teachers and advanced students, for a MME. DELIA VALERI Conductor Metropolitan Opera Noted Expert in Tone Production term of five weeks, from June 26 to July 30. Noted Coach and Accompanist RUDOLPH GANZ ERNESTO CONSOLO REPERTORY CLASSES AUDITOR CLASSES Renowned Pianist Famous Piano Virtuoso PRIVATE INSTRUCTION FLORENCE HINKLE CLARENCE EDDY Dean of American Organists DAVID BISPHAM WILL ALSO ORGANIZE A CLASS IN RECITATION TO MUSIC America’s Foremost Soprano

The extraordinary success of last season, both with regard to the number of those attending and the high achievement attained, is the precursor of what to expect this season. Classes will be limited as to number—be advised to register at an early date. eFREE scholarships^ have each consented to THE SUMMER NORMAL SESSION of six weeks—June 26 to August 6,1921. Special public school . oaenger, Mr. witnerspoon, mine, ten, mi. mo6uu«», **—. » * . • —... . music SUMMER COURSES, LECTURE COURSES, RECITALS —many free advantages—moderate tuition rates and comfortable award a Free Scholarship to the student, who, after an open competitive examination, is found to possess the greatest gift jor singing or playing. dormitory accommodations. Faculty of 95 eminent artist instructors. Catalog and summer prospectus mailed on request. FREE SCHOLARSHIP APPLICATION BLANK ON REQUEST Write for comolete summer catalog. Lesson periods should be engaged now. Private and Class Lessons are given by all teachers. Write for “^^^RY ^CCOMMODATIONS FALL SESSION OPENS SEPTEMBER 12th AMERICAN CONSERVATORY FELIX BOROWSKI, President DR. F. ZIEGFELD, President Emeritus JOHN J. HATTSTAEDT, President KARLETON HACKETT. ADOLF WEIDIG. HENIOT LEVY. Awociaie Directors Chicago Musical College CHICAGO’S FOREMOST SCHOOL of MUSIC 571 Kimball Hall, Chicago T) CARL D. KINSEY, Vice-President and Manager

/O the a\ ary W°°D CHASE rCH°°L Lake Forest University Detroit Conservatory of Music lYCEUm vSJ ®FAYUSIQAL ARTS 47th Year FIFTEENTH CHICAGO SEASON School of Music SflLRTS Courses in all branches of music, Francis L. York, M. A., Pres. Elizabeth Johnson, Vice-Pres. QOMSERVATORY A School for the Training of Professional Musicians including piano, voice, violin, theory, Finest Conservatory in the West Theory, Piano, Voice, Dramatic Art,Violin, Teacher’s Normal Training harp, wind instruments, etc. Special Elocution—MUSIC—Languages Offers courses in Piano, Voice, Violin, Cello, Organ, Theory, Public School Music and “Public School Music” course fitting Drawing, Oral Interpretation, etc. Work based on best modern and —*- ath^A^t DTHEODORE HARR“MN.0bS«tor PUPILS MAY ENTER AT ANY TIME WRITE FOR CURRICULUM Faculty of International Reputation Music Department and Teacher of Voice. ALEX¬ young women for positions. ANDER ZUKOVSKY. Head of Violin Depart¬ Faculty of collegiate standing and ment. MAURICE ROSENFELD, Head of international training. department with superior equipment. Piano Department. JEANNE BOYD, Head of Theory Department and thirty others of equal Delightful dormitory for girls on col¬ Master class for virtuoso violinists under SIGHT READING /COLUMBIA lege campus. EUGENE YSAYE Season 1919-20 Diplomas, Degrees and Teachers’ Certificates MADE EASY FOR PIANISTS Lake Forest is situated within easy Fine Dormitory in Beautiful North Side of Chicago. I SCHOOL OP~ access of Chicago and its advantages, PIANISTS can become perfect sight such as the Art Institute, Chicago Sym¬ Free Catalog on Request Start Now readers by studying my course on Department E, 600-610 Lyon & Healy Building, Chicago "The Art of Sight Reading.” Sight read- phony Concerts, Chicago Grand Opera, ana’s MUSICAlInSTITUTE BURRO WES COURSE S MUSIC STUDY performances of solo artists and of of all pianists—beginners and advanced. NMUSIC musical societies. WARREN, OHIO Kindergarten and Primary—Correspondence or Personal Instruction It tells you of the difficulties of sight reading CLARE OSBORNE REED, Director ■ and how overcome—method of reading and Governed by influential Boat THE SCHOOL OF DAILY INSTRUCTION IN ALL Happy Pupil.-S.ti.fiod Parenl.-Pro.perou. Teacher., Cl...e. are doubled by use of thi. method The Cave Man in Opera practice—faults made and how rectified— A School for the Serious Study of Music ■ how to play accompaniments at sight—etc. WRITE FOR CATALOG RRANCHES OF MUSIC ^hSu KATHARINE BURROWES The cave man has appeared in musical 20TH YEAR-START NOW I Piano. Theory, Voice, Violin, Public I lake forest university 171 NORTHWESTERN AVE. .... DETROIT, MICH. burlesque in America, but it has remained School Music Methods, Normal I SCHOOL OF MUSIC iterpretation, | Box M. E. Lake Forest, Illinois for Rudi Stepan, born in Worms, Ger¬ CHICAGO many, 1887, to introduce him to opera. ..3. Sigf \7ALPARAlSO UNIVERSITY Ing, Orchestra Conducting. \/ ALUA SCHOOL OF MUSIC DETROIT INSTITUTE OF MUSICAL ART His work, “The First Men,” was pro¬ -GUY BEVIER WILLIAMS, President- ML The COSMOPOLITAN VALPARAISO ^ Voice, ^iolin, Organ. TTijjoryand Public School - A School which offers every advantage incidental to a broad musical education duced in July, 1920. The composer began Jniversity School of ||g _o_„_ _ 60 Artist Teachers, including 12 of toe leading members of the Detroit Symphony. Orchestra his work upon the text by Otto Born- Private Teachers fj£j COLUMBIA SCHOOL OF MUSIC SCHOOL of MUSIC tudents may attefid theT1^cE^pENgES ARE TIIE LOWEST The only school in Detroit with its own Dormitory for Women graber in 1911. The opera deals sig¬ 1 Room, $90.00 per quarter. Catalogue Students May Register at Any Time F°r Catalogue, Address H. B. MANVILLE, Bu and DRAMATIC ART Don?#»l RusspII Hodedon, Sc.,D. LL.D., President. 5405 to 5415 Woiodward Avenue, DETROIT, MICH. nificantly enough with the evils of brother E. H^ SCOTT, Kimball Hall, Chicago 4rth.h YEARYEAB —STUDENTS— STlil>K> i » ACCEPTED AT.. ANY 1 .... killing brother and brings out a strange 16th Floor Kimball Building, Chicago, III. DR. CARVER WILLIAMS, President moral fantasy in this mysterious setting, JNT1NGT0N COLLEGE CONSERVATORY with the fur-clad primitive man. Bradley Conservatory of Music Chicago College of Music An eminent faculty of 60 artists offers to MacPHAIL SCHOOL a MUSIC Franklin Stead, Director prospective students courses of study dusic Department of Huntington ^P^IjjS^te^not make^oney. ^Faculty of unquestioned standing. The tragedy of the work is that its based upon the best modern educational teachers Minneapolis, Minn. FOR "la DIES ^fcRJS^.^LANGU^IEsPEXP'RLSSIQN^and^DRAMA^C AJR1 composer died in battle in September, AH Branches of Music principles, also courses in collegiate studies Serial CaurZs Giving Teacher, Practical Work Analicable to Their Need. Complete courses in Piano, Voice, Violin, Organ 1915, five years before the production of for students unable to attend university. Dramatic Art and Public School Music his work. The music is said to be fresh, For information, address Dept. E Expfcrfeneed-eoach to organic Lyceum and Chautauqua Companies. Catalog FREE. Student! may enter now. original, mysterious and forceful. E. L. STEPHEN, Manager Please mention THE ETUDE when addressing our advertisers. Tlle etude FEBRUARY 1921 Page U1 THE ETUDE Page UO FEBRUARY 1921 Do You Prefer Flats to Sharps? For (nstance, in a passage m quarter time, By Arthur G. Colborn vith the melody in bass„having some beats > Schools and. Colleges = Schools and Colleges ) triplets in both treble and bass, and So many admit having a preference that NEW ENGLAND, PENNSYLVANIA AND SOUTHERN NEW YORK some in half notes’ some in eighth and there must be a reason for it. Quarter notes and rests, I had them Turn up a number of pieces jn the key counted as though each beat were a trip¬ of C and examine them carefully to find let and counted one-un-un, two-o" ™ The Fletcher Music COMBS CONSERVATORY IRGIL Piano Conservatory whether sharps or flats predominate. three-e-e, four-o when the beats Method Sharps have it by a good majority. It soon equalized. PHILADELPHIA TH£ HOME OF THE VIRGIL METHOD follows, therefore, that when playing in In Public Schools • THIRTY-SIXTH YEAR V THE GREATEST OF ALL TEACHING METHODS & Residential and Day School of unparalleled Facilities for atta aiug a complete r a sharp key the adding of sharps (perhaps Introduced into this country in 1897 and later Tunes and Real Studies taught in England, Canada, France, Australia, double sharps) tends to complexity; but Japan, China and Germany, this Method has MRS. A. M. VIRGIL, Director in a key with a number of flats in its sig¬ By Mrs. T. J. Walters seemed until last year to be exclusively for the A SCHOOL OF INDIVIDUAL INSTRUCTION TEACHER OF ADVANCED PIANO PLAYING most intelligent and successful parents as well as (Theoretical and Applied Branchea Taught Prirately and in Claates) nature naturals will abound, and the trend Truly, The Etude is appreciated most teachers. This has been changed through the is towards simplicity. Because of its distinguished faculty, original and scientific methods, u, us “smaller” teachers. The longer one generosity of an Akron citizen who is at present ideals, breadth of culture, and moderate cost, combined with efficient management,^the combs Virgil Artistic Technic Public Performance financing its introduction into the Public Schools. Conservatory affords opportunities not obtainable ."" teaches the more they study each individ¬ So important is this step for the musical future Competent Staff of Teachers and Assistants Rural Teachers Should Know of America that Mrs. Fletcher-Copp closed her s, Non Milita ,d Depart ual pupil and his needs’and y°u.as one Brookline home and with two Fletcher-trained Special and Yearly Courses of the makers of The Etude, cannot ap¬ Reciprocal relations with Unit 35th Season- How to Tune the Piano preciate how much good it does one to find three of the Akron schools. It is proving an entire [Dormitories for Women) success. A normal class will be held opening Jan¬ SALES DEPARTMENT FOR- that the things they have themselves A School of Inspiration, Enthusiasm, Loyalty and Succeai October 4th, 1920\u'°jJ By Frank V. Howard uary^ 15th until Easter. All supervisors, music Portable Keyboards solved are indorsed by the leading teachers Illustrated Year Book Free Send for Circulars opportunity of seeing the inspiring results already of the country. Many a time I have found Offices, Studio* and Dormitoria* and Catalogue Tekniklaviers I am a music teacher in a small town in obtained and the modus operandi of this world- GILBERT RAYN0LDS COMBS, Director < Broad and Ree. satisfaction in that I was on the right famed Fletcher method. a farming district, having previously lived KATE S. CHITTENDEN, Dean\ Bergman Claviers track after reading the “Round Table,” For full particulars apply to in an outlying district about twenty miles MAY I. DITTO, Cor. Secretary Child’s Pedal conducted by Mr. Corey. That is, to my The Courtright System of Musical Kindergarten away. Mrs. Fletcher-Copp Oldest and most practical system. Write for Pittsburgh Musical Institute, Inc. 212 West Fifty-ninth Street mind, one of the most valuable depart¬ Virgil Piano Pieces We were a music-loving community, 890 Elmore Avenue AKRON, OHIO New York City ments in The Etude to such as I am, Spring Class to be held In North Carolina. Over 1100 students last year. Affiliated and Studies living, as we did, far away from the with University of Pittsburgh —* degrees away off from any musical atmosphere, for Music Students. town, and being so dependent on each other. or surroundings. It has answered many There were quite a number of pianos, but ESTABLISHED 1 Piano Voice Violin Organ Theory a vexing question. Send for a visit from a tuner was a rarity. I was much interested in the piece, 4259 Fifth Avenue - Pittsburgh, Pa. Interesting Catalogs I am a professional musician, and, DEARniW CONSERVATORY “Why He Didn’t Get the Pupil,” in the Institute «t Musical Art daresay, know as much about tuning and r EiHDV/i/ 1 BALTIMORE, MD. OF THE CITY OF NEW YORK Address VIRGIL PIANO CONSERVATORY March Etude. There is an underlying repairing pianos as the average professional truth therein contained. The average par¬ HAROLD RANDOLPH, Director Frank Damrosch, Director 0 WEST 72nd STREET NEW YORK CITY tuner. But being only an amateur, I find -HaTn Philadelphia ent, especially the people who are not One of the oldest and most noted Music Schools in America. An endowed school of music conducted great difficulty in obtaining the tools, and living where there is any real musical at¬ Musical Academy solely in the interest of higher musical materials needed for the work. I have mosphere, feel just as “Mr. Finnegan” did. education and providing complete and known pianos to remain for years a dis¬ They want Mary or Jack to play a “tune” TEMPLE UNIVERSITY SCHOOL of MUSIC Atlanta Conservatory of Music 881 S. ltth Street, Philadelphia, Pa. instrumental and vo comprehensive courses. tress to owners and listeners alike for lack for them as soon as possible. SPECIAL PREPARATORY CENTRES in different of attention. THE FOREMOST SCHOOL OF FINE ARTS COURSE IN parts of New York City and Brooklyn for children To further show you what I mean, two between seven and twelve years of age. If the music teacher in the small town Harmony by Correspondence weeks ago a young lady, past twenty-one, WITH CERTIFICATE For catalogues address or outlying district could get the necessary came to me for lessons. I think it would tools and parts readily and would learn to Secretary, 120 CLAREMONT AVE., be foolish of me to waste her time on STUDENTS! tune, he would be a much greater asset to Bach and Czerny and others. She had It is not too early to plan pleasur¬ NEW YORK CITY Have Removed to Their New Building the community in which he lives and to the to start at the very beginning, as any able and profitable music study this summer. music world at large, and incidentally add child would, and, if I can teach her THE ALLENTOWN 150 Riverside Drive (Corner 87th St.) Walch for announcements on these pages considerably to his income. to play, the third or fourth grade will MR. and MRS. CROSBY ADAMS CONSERVATORY OF MUSIC MODULATION RALFE LEECH STERNER, Director probably be as far as she will care to go. Annual Summer Classes for Teachers of Piano 210 N. 7th Street, Allentown, Pa. COURSE Music and Americanization She will then be able to pick up the hymn- for the Study of Teaching Materia! How to create and play 800 IDEAL location overlooking Hudson River. book or easy songs, and a few popular MONTREAT, N. C. Strong Faculty, Thorough Instruction different modulations from Building completely equipped for resident By Mary Louise Townsend things or the easy pieces in The Etude, any key into any key. and day pupils. Gorgeously decorated studios For catalogue, address the Director It was very gratifying to read in The which I shall get her to take soon, and Price $50.00 by mail, or personal and concert hall. All large sunlit rooms, roof she will be satisfied. Therefore, it is not instruction, or with normal teacher. garden, elevator, and every modern conven¬ Etude some time ago that Community ience. A real home for music and art stud¬ singing is to be used in teaching English to policy to make her get “cold feet” by giv¬ ADVANCED MODULATION ents. Proper chaperonage for young ladies. foreigners. ing her something she don’t like. School of Music COURSE I do not want it understood that I All branches of music and the arts taught, This idea has interested me for several OF Conservatory How to create 100,920 modulations. would be slack as to teaching time, ex¬ from the beginning to the' highest artistic years. I wrote an article some time ago, SHENANDOAH COLLEGIATE Interview by appointment. finish, by a faculty composed of most eminent pression, touch, etc., but pretty nearly as Address: advocating this use of Community singing INSTITUTE teachers of Europe and America. All rec¬ Mr. Finnegan said, “Get them playing Effa Ellis Per field by the Government. An abstract of it ap¬ LEADING SCHOOL OF MUSIC IN THE SOUTH reational advantages. Terms, including pretty melodies as soon as possible.” [*arge Orchestra, Full Regimental Band sent from this^school AVA West 45th Street, New York City tuition, board, practicing, etc., on application. peared in the Americanization Bulletin of FREDERIC A. COWLES, D Telephone: Bryant 7233 About two weeks ago eight of the young the Department of the Interior for June, folks came in to spend the evening and tat lor Booilet free”2s"c. iToX IIoTdAYTQN, VA. 1919. have music, as usual. I got out The NO TEACHER I am glad to see your commendation of Etudes, new and old, and played from THEO.W'pRESSERWrCof,° Philadelphia1,mpil this important factor in Americanization. SKIDMORE oi^arts them, just the easier things, which I flatter A woman’s college offering progral myself I can play, as they do not require Studies, Fine and Applied Art, Horn . , „je student desiring general courts In I^nKUage Music, Physical Education, and SecreWuu m™. An Interesting Rhythmical fine technic. One young lady said, “How Literature, Expression and Domestic bmence wim tue all leading to ths B. S. degree. Dormitory accom¬ ■ugliest type ot musical Instruction, Ward-Belm modations for 300 students. For catalogue address Problem is it that I can’t make it sound as well as Iffers CONSERVATORY ADVANTAGES Charles Henry Keys, Ph.D., President, Box you do? I play all the notes, etc., but S°d(12’ JSX? S&SZSF%J£22s' J, Saratoga Springs, N. Y. PIAbfCg^qjlOOL By Mrs. Amy Allen Miller there is something more that you do.” As the late war developed the I told them I was sure it was interpreta¬ “wariLBelmimt,‘Balmont Heights, Box A E, Haslmile, Te Carnegie JfalL, NeivYorlc. A difficulty frequently encountered by tion. Even in those simplest little things “Ithaca Conservatory of Music- pupils in the first grade is to equalize the in The Etude it counts so much more if HgigisiEiasEisiaiaaa®® [al advantages for those who look forwarc FOR PIANISTS, TEACHERS and ACCOMPANISTS beats, in quarter time, where triplets form you interpret a piece as it should be; and, GREATEST SURGEONS of the WORLD Vocational training for professional Music Teachers part of the measure, and quarter rests and to do that, requires a fine touch, and cor¬ " THOSE MANY POINTS \ lest places^available in America. ^Beau^ Complete lessons for the elementary grades fully outlined. A course of demonstration notes, or eighth rests and notes, fill the re¬ rect phrasing. Do you not think so? Any¬ REGARDING WHICH methods-lectures, covering three years’ actual werk, in the even development of mainder. Where this occurs in both treble \ s. Resident and day students. Reason- way, that was what made the difference in So the Dunning System is developing the SIGHT, TOUCH and HEARING and bass, it appears to some pupils, insur¬ her rendition of the same pieces I played. MUSICIANS DISAGREE | mountable. The Registrar, De Witt Park, Ithaca, N. Y. ■hers’ Certificates Write for Booklet Are thoroughly discussed and presented [ Experience having taught that the aver¬ age pupil would copy in preference to A Busy Blackboard in Louis C. Elson’s Book GREATEST MUSIC TEACHERS making an endeavor to understand a pass¬ By Patricia Lynch MISTAKES AND DISPUTED POINTS IN E Crane Normal Institute of Music INTERNATIONAL £»&*£££ age sufficiently to play a similar one later, I would like to pass along a suggestion MUSIC AND MUSIC TEACHING Training School for Supervisors of Music MRS. BABCOCK Schools and Colleges! I played for the pupil only as a last resort which has helped me immensely in my CLOTH BOUND, PRICE, $1 BOTH SEXES /YFFERS Teaching Positions, Col- when every other method failed to get the Voice culture, tight-tinging, ear-training, harmony, Announce your special the Normal teacher ^ leges, Conservatories, Schools/ desired result. work with the little folks. Theo. Presser Co., Philadelphia, Pa. Ask How It Is Done From Summer courses now In my studio I have a blackboard which practice-teaching. Graduate! hold important peti¬ Also Church and Concert Engagements To overcome this lack of rhythm, I tried tions in college!, city and normal tchoolt. I, in my spare time, fill with exercises in nearest you, whose name will be given in the next issue of Thousands of Etude readers will soon having these pupils count the passage in a 53 MAIN ST., POTSDAM, NEW YORK CARNEGIE HALL, NEW YORK plan their Summer work note-reading, scale-writing, etc. I ask the different manner until the sense of rhythm the Etude or other musical journals. Pupils to come a little early and they do this work while I am finishing up the pre¬ MARIO SALVINI, Director * 200 West 71st St., New YorK City CALVIN I School of Singing Opera. Concert, Church, Oratorio (Public Appearances). Opera department" ‘ purpose of giving performances of srtlst students, vious lesson. I find that it helps them very T)irector of Metropolitan Opera House and et by Arturo Toscanini. Giorgio Polacco, Gennaro much and at the same time does not take KJ gxclusioe Vocal Studios of ‘Distinction. Lining up to the Highest Standard of Jtri e personal direction of Mario Salvini. conductors, --tagemasters and coaches of the world's greatest or Ifethea6 theatre. tre^' AddressAddresB rcorrespondence, nr ream?1 ai? “"TS-— Mario Salvini, 206 W. 71stu. i.,u„ St., time from the regular lessons. Please mention THE ETUDE w n addressing our advertisers. n THE ETUDE when addressing o Page W FEBRUARY 1981 TEE ETUDE Page 1U FEBRUARY 1921 THE ETUDE

Children’s Department This is YOUR OPPORTUNITY! {Continued from page 142) Practical Hints on Material That Aids in Making Teaching Success FOR those who have been delayed in Junior Etude Competition Puzzle Corner A Guide for Teachers the selection of their magazines for 1921 The Junior Etude will award three pretty prizes each month for the neatest Mixed Programs The Second Grade of Study —we offer a complete list of the most and best original essays or stories and an¬ 1 Start the Child Beginner With popular publications—at a substantial saving. swers to puzzles. By Selma B. Albrecht STANDARD CRADED COURSE of STUDIES-Gr.de 2 Subject for story or essay this month, BEGINNER’S BOOK-School of the Pianoforte-Vol. 1 “A Musical Valentine.” It must contain Arrange the following correctly : ETUDE $2.00 ETUDE.$2.00) $C-75 not over, one hundred and fifty words.. 1. Carmen .By Mendelssohn lor the and are wel^sel^ted for a purpose. Many suggestions are gtven >*3-75 Any boy or girl under fifteen years of age Pictorial Review 3.00 7 Save $1.25 Cosmopolitan . . 4.00/ 25c 2. A Day in Venice.MacDowell work progre; may compete. 3. Lohengrin .Thomas grading is so gradualist £ettfe^c^ serve to entertain ,s3.6o ETUDE.$2.00 1 $J_.25 All contributions must bear name, age ETUDE $2.00 4. Songs Without Words.Chopin as'wtlfasrewlrd the child for progress._, 1 Grade Piano Collections J McClure’s.3.00 j Sa*75c and address of sender (not written on a Modern Priscilla 2.00 1 Save 40c separate piece of paper), and be sent to 5. Mignon .Schumann STANDARD GRADED COMPOSITIONS-Cr.de 2^ ETUDE.$2.00) $C-50 the Junior Etude Competition, 1712 6. Faust .Verdi j First Study Can Be Pleasingly Varied With] ETUDE.$2.00 Chestnut Street, Philadelphia, Pa., before U2'90 World’s Work 4.00 | s~50c 7. Hansel and Gretel.Beethoven McCall’s 1.50 for their tunefulness and other attractwe^miMgrafie teaching material that can b ‘ Save 60c the twentieth of February. The names of 8. II Trovatore .Gounod FIRST GRADE STUDIES for the PIANOFORTE^ ETUDE.$2.00/ $Q-00 the prize winners and their contributions 9. Woodland Sketches .Bizet conjunction with the Standard Graded Course. ETUDE.$2.00 ) $4*25 will be published in the April issue. By L. A. BUGBEE merits attained success. All the Little Folks 1.50 / sJj? soc 10. Peer Gynt Suite.Liszt YOUNG HAWK* ALBUM _ Please comply with all of these condi¬ American. 2.50 / sl^25c 11. Hungarian Rhapsodie .Grieg Seventy nnmbere.for *Jeinpc\^ y Thisis one of the best obtainable compilatio ETUDE.$2.00\$J.00 tions and do not use typewriters. ETUDE.$2.00 Collier’s 2.50 ( st*50c 12. Rain Drop Prelude.Humperdinck general study book American. 2.50 1 13. Sonata Pathetique .Wagner SOUVENIRS of the MASTERS PR1CE. $1.00 v cl material lor eiementary students Little solo and duet Woman’s Home Corap. 2.00 1 I $5’25 ETUDE.$2.00) $0.10 A MUSICAL CHRISTMAS 14. Carneval .,.Cadman By GEO. L. SPAULDING simplified form. Altogether there are twent; pieeI7 serve to teach many Important things to the young pianist. F.mnu, melodies are here reproduced in a simpimeu un lassjc or modern write (To one address) J' Save $1.25 Farm and Fireside .50 f 40c (Prize Winner) 15. Land of Sky Blue. Water.Nevin 3 Our church was giving a concert on 16. Madam Butterfly .Handel MUSICAL PICTURE BOOK pRICE 75CenU gsS ! cat E sac* v~ - »■ - “ » ETUDE.$2.00 )1 $^.65 ETUDE.$2.00) $ m .40 Christmas night and every one in the 17. Melody in F .Foster By OCT A VIA HUDSON . inted in Bpeoial McCall’s.1.50 McCall’s. 1.50 4 vicinity was going, I was seated among 18. Old Black Joe.Schubert ktrge°notes, *S,«I*£»*%»«* MaVhave 'accompanying text | Pieces in Sheet Form for the Second Grade] Christian Herald 2.00 )1 Save 85c Little Folks 1.50 ) Save 60c my friends when a violin solo, played by 19. Unfinished Symphony .Puccini VERY FIRST DUET BOOK pricf. tbc-* a young man, suddenly brought back cher¬ 20. Messiah .Rubinstein Those are^not _ teacher^and^student^duets^but^are^ hn^tw^stiideDts 4103 r bparKS "7235' Rose Petals.iimstefa $°’"" ished memories to me. Feeling faint, I ■ ETUDE.$2.00] ETUDE.$2.00] $£.65 16294 At the Dancing School;°V r 30 16653 Lit&e'lndian* Chief istrfcichmd l$6.9S went outside for a breath of air. There, AntnonJ i°n 1f||7 Waltz of the Flower Fa Pictorial Review. 3.00 I McCall’s. 1.50 16112 A Dance McCall’s. 1.50 I Today’s Housewife.. . . 1.00,) Save 85c crouching between the pillars, I found a Answers to Composer Puzzle 7779 June Moi Forman .30 ^ Narcissus _.SUter Modern Priscilla. 2.00J \ Save$1.55 young woman who was trying to catch j Works for Continued Progress in First Grade] 12916 The Sold Iteinheimer .30 16054 At the Fair.Ward ETUDE .. $2.00] every note that was played. She said that ETUDE.$2.00] Popular Science M’thly 3.00 tSSm“natSS through THE “ON SALE” PLAN clearing house for thousands of Etude readers. In this people stopped to gaze at Bob and his they loved music, they had saved a small mother. He was about to say something capacity we render a complete and dependable service. We sum that they might attend a concert, but to one young man, but a voice within acknowledge and enter subscriptions with the same pains¬ they gladly gave it to a man begging at seemed to say, “They are gazing at me now Number of Grades the door and wished him a Merry Christ¬ Detail Various Phases of Study in a taking care practiced by the House of Presser for nearly 40 because I am poor and ragged, but the Works Covering in TIME DIFFICULTIES mas. In the morning they found the sup¬ next time they take the trouble to look years. You may avail yourself of this dependable service. posed beggar at the door, his arms laden at me it will be as a great violinist in this notation c?mS,lete^jItemtjftMtaieUldInnpl th" TRILLS Playing Two Notes Against Three the’scales are rhythmically treated. with gifts. He explained that he was a very hall.” Many years later it came true. Daily Trill Studies By C. W. LANDON Price, 80 cents musician, who had disguised himself to Spelling Lessons in Time and Notation B, JAMES H. ROGERS Price. $125 A practical solution of an oft-met rhythm: Mildred Hansen (age 13), By MATHILDE BILBRO Price, 50 cents problem.--- seek the true Christmas spirit. He spent OCTAVES Anv student of intermediate grade having Duluth, Minn. n excellent work that teaches notation satisfactorily completed this work should the day with them and all were happy. hrough the spelling of words. possess a clear, well-rounded tnU. Exercises in Time and Rhythm Opportunity Coupon First Studies in Octave Playing By E. A. HEPLER Price, 6® cents Elizabeth Stanway (age 14), By THEO. PRESSER Price, 80 cents These exercises include almost every possi Norborne, Miss. Owing to an error in copy “The Hon¬ Short studies that can be taken up by The Trill—New Gradus, Part 7 b'.e problem in rhythm._ THE ETUDE, Theo. Presser Co., Pub’s. 1712 Chestnut St., Philadelphia, Pa. orable Mention” list is omitted this month, SCALES pupils in the second and third grade. By I. PHILIPP Prlce' *100 A compilation of original and selected Rhythm and Technic but will appear in next month’s list. Mastering the Scales and Arpeggios Octave Velocity studies for the development of the trill. By M. GREENWALD Price, $125 Please find enclosed $.:.to pay for my subscription to THE ETUDE Letter Box By JAMES FRANCIS COOKE Price, $1.50 By JAS.H. ROGERS A valuable set of studies (grades 2 r one year and for the other magazines as listed below. Short, interesting studies covering .an covering many sp< ‘ Dear Junior Etude : forms of octave work. Ranges about PEDALS triplets, double m NAME. I sent in a letter to you once before, Letter Box but it was never printed, so I decided to Dear Junior Etude; Pedal Book Studies in Syncopation Octaves and Chords-New Gradus, Part 6 By DR. J. M. BLOSE Price, $100 ADDRESS. try again. I saw my name in “Honorable Men¬ By I. PHILIPP Price, $1.00 By A. SARTORIO Price, $12! Touch and Technic" Part II-The Scale. An excellent set of studies for pupils I am in the eighth grade at school and I tion” a while ago and was pleased to find An exhaustive treatment arranged in a 4eS«eCpedUaty Tan^bi^ed inThe TOWN.STATE. By DR. WM. MASON *100 logical and progressive order hy a "1°B grades 3 and ( am now thirteen years old. I can hardly that I had won that, if not a prize. of piano tec1""- No. ..^...„. ....NEW RENEWAL wait each month to get my Etude. I wish some of the readers of The I should love to hear from Junior Junior Etude would write to me, and I o .NEW RENEWAL Etude friends. will close, hoping to hear from some of MUSIC PUBLISHERS AND DEALERS PHILADELPHIA, PA. Name of other magazine From your friend, the young writers. 1710-1712-1714 Chestnut Street 3 .NEW RENEWAL Alice Slocum (age 13), Your friend, THEO. PRESSER CO. " ■ .. • • • Name of other magazine CHECK HERE 17 Wagar Place, F. 21 Alice Slocum (Age 12), Ionia, Mich. Ionia, Mich. IVERS & POND PIANOS

YOU can secure for your hair all the natural beauty ol health bv simply giving it proper care through the use of CANTHROX SHAMPOO which is so very easy to use and so effective that it has been for years jhe favorite of all who want to bring out the lustre, color and waviness that are natural to their hair. Canthrox, the hair beautifying shampoo, rapidly softens and entirely removes all dandruff, excess oil and Free Trial dirt, and gives such massy fluffiness that the hair appears much heavier than it is, while each strand is left with a silky brightness ?fferjug and softness that makes doing up the hair a pleasure. For Sale at all Drug Stores No Good Hair Wash Costs Less One reason for the great popularity of Canthrox is that it requires so little trouble or time to use it—You just apply the fragrant invigorating lather thickly, rub thoroughly into the hair and scalp, rinse out carefully with clear warm water, after which it £JL dries very quickly and easily. H. S. PETERSON & CO., Dept. 205, 214 W. Kinzie St., >, IU.

cZraruP SMALL GRAND de LUXE

All the broad experience of Ivers iff Pond Grand Piano building is embodied in this delightful model. The incomparable tone quality, remark¬ able volume, and unexcelled durability which have determined over 500 leading American Educational Institutions to choose the Ivers & Pond, show to WayDown 3outii maximum advantage in the Princess Grand. The demand for high-class Grands is insistent—their "WonJs by ‘Music by construction slow and painstaking. We therefore T. H. Strickland Lily Strickland urge prospective buyers to order now. A COLLECTION OF When you take up the matter of a new piano, you will want a grand. Why not start now by letting us mail you a catalogue showing the Princess and all our grands, uprights Artistic Songs, Idealizing and players? Southern Negro Characteristics Wherever in the United States we have no dealer, we ship direct from the factory. Liberal allowance for old These songs are all very characteristic and while pianos in exchange. Attractive easy payment plans. some are grave, others are gay; some are reminis¬ cent, others descriptive. Write us today 'J'HIS group ol songs may be used as^s programmed individually. They rank un questionably among the be|t Souther! Ivers & Pond Piano Co. thoroughly familiar with % the Southern 'darkey” and herself had 141 Boylston Street “IST ’ BOSTON, MASS.

Price, $1.25 FTst. Philadelphia, Pa.