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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1910 Volume 28, Number 05 (May 1910) James Francis Cooke
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1910 289 MODERN STUDIES TH E ETUDE ,,w STYLE, PHRASING Knd interpretation New Publications These Studies Are Worthy the Examination ot Every Teacher Presser’s First Blank MATHEWS’ STUDIES IN PHRASING Musical Thoughts lor By W. S. B. MATHEWS Nature Studies In Three Books. Price, S1.60 Eac.. \ Song Cycle for the Ten little Tots Music Writing Book This is a remarkable collection of in¬ School Months Price, 5 Cent* dispensable teaching material for form- School Songs forVoice or Piano *Qg fine Melody ^“8- nn NEW YORK CITY I Your c a*. J STRICH&ZEIDLERi ® ce soliciti ™bxu^our advertisers. -_rresponden THE ETUDE 291 THE etude THE QUICKEST MAIL ORDER MUSIC SUPPLY HOUSE Theodore Presser JUST PUBLISHED Forty=four French Folk=Songs and Variants from Canada, FOR EVERYTHING IN MUSIC Normandy and Brittany TWENTY-FIVE YEARS AGO, as a sequel to the founda¬ COLLECTED AND HARMONIZED BY tion of the ETUDE (then only a journal for piano teachers), the JULIEN TIERSOT publishing house of Theo. Presser was founded to furnish prac¬ English Translation by H. G. CHAPMAN This new method by the eminent tical teaching material in conformity with the suggestions and organist of Worcester Cathedral repre¬ Paper, Net, $1.00 doth, Net, $2.00 advice of the journal. sents the ripe experience of one of the most distinguished English organists The great charm, the chief beauty of this NEW PUBLICATIONS have been issued continually—ever abreast of the times— of the present day. It shows in living collection, lies in the fact that it is made up of adapted to all modern educational demands, carefully edited and annotated by the foremost musical example the practical appli¬ This volume includes fifty lyrics carefully old French folk-songs, which, though in many teachers of the day, and all of the most helpful character. selected from the wide range of Brahms’ vocal cation of every principle. Every iota cases colored by the influences of a new en¬ output. Each song bears the distinct stamp of of descriptive and explanatory matter PROMPTNESS. A stock, second to none, drawn from every quarter of the world, the composer’s genius; no two resemble each is to the point, and everything not vironment, have kept the quaint loveliness of linked with a corps of efficient and trained workers, means the correct filling of an order on other The songs of Brahms have taken their directly relating to the practical side musical contour and the clarity of diction of the day of its receipt, whether for one piece of music or the stocking of a music store. place in the hearts of all who are truly musical. of organ tuition is excluded. Of their age. Besides the Canadian-French PUBLICATIONS Together with Schubert, Schumann and Franz, especial interest are the chapters on ECONOMY means not only the giving of the largest discounts possible and the most songs that constitute the major portion of the jPracticdl—Helpful—ComprehensiveJ Brahms is one of the four great figures in the accompaniment, extemporizing, solo¬ favorable terms, but, mark you, fair retail prices as well. Our best endeavors are devoted to history of the “Lied.” This volume, the ulti¬ playing and specifications. collection, are a number from Normandy and ! PROMPTNESS and ECONOMY ' the teacher’s interests, saving time, thought, labor, giving the greatest value for the least outlay. mate choice of his many songs, has been This method isideal forany one wish¬ Brittany. Mr. Tiersot has provided these issued in the luxurious and artistic style of the ing to learn to play the organ with the songs with copious and valuable notes. SATISFACTION. Nod volumes of the “Golden Treasury” series. least expenditure of time and energy. d by fair and helpful d ' May be ordered for examination May be ordered for examination SATISFACTION THIS BUSINESS t i grown to be the largest mail o world and is now establis ies in height, 44x150, with an ; Every Te INFORMATION AND CATALOGUES on any subject in music free; the On Sale plan (one of our r ideas to aid the teacher) is very liberal; our New Music Idea pleases every teacher. Send us a postal card order as . trial. Write to-day for f.ssrsvzic'.sxr:': w ...gfrirS—■ ‘BETHANY” A FEW OF OUR STANDARD PUBLICATIONS STUDIES AND EXERCISES ACh“eaf&°fthe OF OUR PUBLICATIONS SENT ON EXAMINATION TO RESPONSIBLE PERSONS IOC ANOTHER “STAR OF THE SEA" IOC “MY GUIDING STAR” By LOUIS A. DRUMHELLER 1 OC f°r a Hmited Period “Regular price 50c -»• J byPp.wfo‘remeCtprice, $ •SRVSr&JT' DEP’T T „ w,T^!™mu^c&NESw TO,,, ^TDEODORE^PRESSER, 1712 CHESTNUT STREET, PHILADELPHIA, PA. —..■ LThM- Pr«^r co„ Kimas-a- THE ETUDE 293 Modern Studies EDITION WHITE-SMITH SENT ON INSPECTION TO LATES Two Pianos RESPONSIBLE PARTIES Pianoforte Methods £Ld Studies STANDARD GRADED COURSE MAGAZINE Eight Hands OF STUDIES FOR THE The following list is a selection; of the lii PIANOFORTE Contains the first rudiments of of the literature for this arrangement, for tw pianos, eight hands. We shall add oth< W. S. B. MATHEWS BARGAINS Morrison (C. P.) music, progressing gradually to the tions by the best foreign composers. McCALL’S Method third grade of difficulty. Pieces of all grades are represented, s A. 0. COJHINGS^& SON*Publishers and Itasio Dealers, OBERLIN, 0^ MAGAZINE )$2.00 that teachers can take advantage of the us. A unique feature of this work is fulnessof ensemble playingwith even beginner. a OR LADIES’ WORLD > FOR This list will be found particularly rich i ta C5 )$1.65 the concise remarks in connection WITH THE ETUDE concert work. Suitable selections will be | a book FOR Musm coveas amp stili“ENTS- with each piece, suggesting further WOMAN’S )$3.00 HOME COMPANION explanation by the teacher. The same liberal discount allowed as ) FOR Musicians’Art a AND our own sheet music publications THE ETUDE )$2.20 Told in Picture and in Story.” The theory of musical instruction Berlioz, Marche Hongroise.*2.00 COSMOPOLITAN \$30Q Kohler (Louis) Beethoven, Turkish March . 1.15 in this work is not presented all Behr, Mitzi Katzchen .'. * ~ zzz AMERICAN MAGAZINE) FOR Bellini, Norma, Fantasy. Method. Op. 300. at once, but is agreeably combined Boccherini, Menuet in A. Bizet G.. Carmen. theAe?uoe English and German Text. )$1 .85 Parts 1 and 2, each 75c. with matter of a practical nature. Chevallier. Kinderfest Marsch. .75 HARPER’S BAZAR Special price, postpaid, 38c. Some teachers consider this method Engelmann. Over Hill and Dale. OR Complete, $1.50. “ Parade Review . ) $3.00 superior to Kohler’s Method, Op. Festival March .... GOOD HOUSEKEEPING In the OR > FOR 249. Concei 1.00 PICTORIAL REVIEW OR SUCCESS ) $2.00 (Grades V and VI.) Price, $1M WITH ETUDE For the development of flexibility, CHORDS AND ARPEGGIOS All with ETUDE lor T echnical Studies FAVORITES EVERYWHERE $4.30 strength and perfect control over Keler Bela, Lustspiel, Overture . 1.75 Kontski, de. Awakening of the Lion.... 2.50 McCLURE’S loo nn the fingers, wrists and arms; also " Persian Marcli. 1.50 The Operettas MAGAZINE Carlyle Petersilea. Vols. 1 and 2, each *1.00. Kowalski, Hungarian March . 1.90 OR WORLD TO-DAY FOR for the cultivation of rhythm and Kramer, Op. 7, Jubelfeier Polonaise.... 1.15 Special price, each, postpaid, 60c. Kucken, Op. 72, Fest-Polonaise . 1.50 mmm WITH ETUDE /$ 2.30 accent. Koelling, Hungary, Rhapsodie Mignonne 1.00 “ Sailors’Song and Hornpipe... .85 Both with THE ETUDE $3.30 Lacome, Impromptu a la Hongroise.... 1.25 ssssa' Lachner, March fiom Suite . 1.65 DELINEATOR Liszt. Kakoczy March . 1.50 AND j$4.00 ’• Second Hungarian March. 1.90 WHITE-SMITH MUSIC PUB. CO. Lvoff, Russian Hymn .50 REPENTANCE SELECTED STUDIES FROM EVERYBODY’S FOR A. L0ESCHH0RN AND I BOSTON NEW YORK Mattei, Tourbillon, Valse . 2.25 THE ETUDE Mendelssohn, Ruy Bias, Overture. 2.75 Jl$3.05 62 & 64 Stanhope St. 13 East 17th Street “ Spring Song . 1.00 * War March of the Priests 1.25 AMERICAN BOY ) $2.50 WITH ) FOR Special Offer in New Music AWAKENING OF THE BIRDS Michaelis, Turkish Patrol. THE ETUDE ) $2.00 FOUR CHARMING WALTZES Raff. Op. 174, No. 6, Polka . “A NAUTICAL KNOT” Excellent Pieces for Summ< “ March from Leonore Symphony.. HOUSEKEEPER 1 Festival Waltz (a pleasant melody) Rossini, Barber of Seville, Overture ... $3.00 Flowers Waltz (a snappy sway) Barber of Seville, Fantasy. (Grades D to V.) TwoB AND ) Amitie—(Friendship) (reverie waltz) “ Semiramide, Overture . MODERN PRISCILLA | FOR Enchanting Spring (echoes of spring) “ Tancredi, Overture. In grades 3-4. Regular Price, 60 cents each, “ William Tell, Overture. STUDIES AND STUDY PIECES with THE ETUDE ) $2.00 his offer, 15 cents each, or all 4 for 50 cents. Rubinstein, Trot de Cavalerie. IN TWO ACTS Rathbun, Festival Procession March... A. SC H MOLL SEVEN SPLENDID INSTRUCTIVE PIECES “ Marche Triumphale . GET OUR NEW Key Bruit Price . These three books comprise a small DESIGNER library of graceful salon pieces of small $2.25 Child’. Song F 1 .30 COMIC MUSICAL QUARTETS AND FOR YOUR ENTERTAINMENTS FOR St. Saens, Op. 40, Danse Macabre. THE ETUDE Schmidt, Op. 9, Polonaise No. 1. $1.80 te Waltz Bb Eb 2 “ Op. 32, Polonaise No. 2. a judicious selection from these pieces a valuable aid In arousing a sense for ‘“euseVdlse, Coquette Vabe^ Whirl’ (Grand Galop de Con- what Is artistic In plano-playlng. REVIEW OF REVIEWS) $4.50 Op. 78, No. 3, Menuet.. -: offer, to cents each, 3 for 25c, all 7 for 50c. (s published in 3 keys. Rosamumle, Overture.. Edited by E. R. Kroeger. Books I, R FOR Complete offer of all eleven copies, |i.oo postpaid. iTw^onhTcroaTl 1*!gh ClaSS since December i, 1909. THE ETUDE j Rosamunde, Ballet Mus of Complete EDITION KUSSNEB. Price, $1.00 each H. F. W1EGREFFE MUSIC CO. /OUHG PIANO TEACHERS: JS,“JSS Vocal Score with Libretto, each $1.0( $3.00 5206 Ashland Ave. Chicago, 111. Orchestral parts for hire. L. C. KUSSNER, Publisher SCALES, ARPEGGIOS AND OTHER CLUBS OF VALUE ADDRESS ALL ORDERS TO J. FI8CIIER A BRO. THEO. PRESSER OO CADENCES TEACMEKS KEPEKTOIRF. C 7 All Bible House 17112 Chestnut St. PROFESSIONAL DIRECTORY on page 352 Inaerted 12 Time. Before Half Million Mu.ical It contains all of the major scales, ‘SWEET DREAMS OFHOME’ People for $12.00 harmonic and melodic minor scales. ... chords of each scale, the chromatic THE scale, and scales In parallel —J' STUDENTS PLAY trary motion, etc. Arranged Gloaming, Reverie, 30c. dore Presser. Price, 35 cts. Yankee kids, March, 20c. Gn» Bell’s Lullaby, 20c. Birth of the Flowers, Reverie, 20c. MUSICAL KINDERGARTEN METHOD BACH'S INVENTIONS HEW CATALOGUE FREE For the Nursery and the Class Room ..---Constitute the..... best.„st preparationpreparatl 1 CHAS. E. ROAT MUSIC CO' the "Well-Tempered Clavichord.’ - 6 Battle Creek* Mich. Especially Designed for the Use of Mothers and Music Teachers Ing as they do an admirable Introduc¬ tion to polyphonic playing. The work haa been edited, revised, fingered, sod Rv DANIEL BATCHELLOR and CHAS. W. LANDON annotated with extreme care, a special feature being the writing oat In foil SUM MER SCHOOL Price. $1.50 of the correct execution and Interpreta¬ ADVERTISING IN il00 of the various embellishments In trails SSSSX ZEX'JglSSZl faTJ pubiisned. It „ a con. the body of the text. In small notea h V in a pleasing and attractive manner. caching music to the young accompanied by their proper signs. THE ETUDE This method uses various devices to awaken and 1,^,1 . Book L Two-part, 30 cts. Book 0, Thrc* We have large and valuable lists for ehild but this is not its sole purpose. The aim is to develoo’fhe^nKj46!6?1 of the >'«><■ jps^cH- r r . | J is Indispensable to with the natural bent of the child’s mind, larirelv in the sniri? nf —i ^ject conformity part, 30 cts. Complete, 50 cts. —f- valuable piano material for teach¬ a Successful Season deV7nS.ahr|lSailTi?yni,r^0nS- ,useful *>«*““ ‘hey ihustrate the fubfe'ct to he?6 PLayf“> 1 -rTl ing purposes, written by the ablest “°d“nrcomP°s«s-. All grades TWO PIANOS— USE the JUNE ISSUE Large Discounts, Liberal Terms. Head¬ are represented. It is yours FREE as it is possible to make it. _’ UOOK ls as thorough and complete a I t Forms Close MAY 10th quarters for Everything in the Line of for ihe asking. Write for it to-day. Four Hands. Six Hands. jfrji Specially Low Rates Theodore Presser, 1712 Chestnut St., Philadelphia MUSIC AND MUSIC BOOKS ■r~TT-f Lists on application. Discounts the same. M. WITMARK & SONS THE ETUDE T*S0. Presser Co., Publishers THE ETUDE 1712 Chestnut Street Dept. 48 Wilmark Building 1712 Chestnut St., PHILADELPHIA Philadelphia, Pa. 144-116 Wesl 37th Street THEO. PRESSER CO. “T” NEW YORK CITY 1712 Chestnut St., Philadelphia 294 SELECTED "CZERNY STUDIES THE ETTVDE Copious Annotations, by IN THREE BOOKS PRICE 90 CENTS EACH MAY, 1910 VOL. XXVIII. No, 5 VALUABLE and noteworthy addition to the technical lit¬ Naturally the wonderful One of our readers recently sent us a circular with for 500 circulars would not be more than, fifty cents erature of the pianoforte. T his work represents a and beautiful phenomena of the announcement that she had given over fourteen each. Properly presented to influential members of diligent sifting and careful selection of material from MUSIC spring have had a very power¬ thousand music lessons. The figure staggered us at the local boards the plea is bound to be considered. the entire works of Czerny, including all the popular AND THE opus numbers, together with many less known, but ful appeal to musicians. When first, until one realizes that the teacher who gives eight Will you not endeavor to do your share in this equally meritorious studies. Mr. Liebling’s editorial YEARLY this issue reaches our readers lessons a day for two hundred and fifty days each year movement? The Etude stands ready to help you work has been of the most exact and painstaking miracle the whole land will be rejoic¬ gives, in all, two thousand lessons a year, and twenty in every possible way. Why should music be character from both the technical and interpretative ing with its floral banners and thousand lessons in ten years. Many teachers exceed ignored by boards of education, composed of butch¬ sides ; the annotations are of real practical value and garlands. It is the glad time musical interest. The three volumes, which are care¬ this number. Think what a glorious opportunity for ers, bakers, masons, politicians and men in all occu¬ of the year. The world is continually enriching one’s practical experience! Every pations of life, except the scientific study of educa¬ fully and closely graded, the studies being arranged in progres¬ awake again. sive order, range in difficulty from the early second to the sev¬ lesson should be as much a lesson for the teacher as tion itself, when the greatest pedagogical thinkers The Choice of Genius In spring something comes enth grade. for the pupil. ■ The information is there if you mine insist that music is an essential study and one with¬ Rounded and enriched is the marvelous art of MLscha Elman by the tone into the heart and mind that demands expression. It is Czerny’s mastery of technical detail and his mastery of for it. out superior in promoting intellectual discipline. This musical expression are truly remarkable ; he was a most of the Baldwin Piano. the time of all the year when music should be most voluminous writer. highly revered. Instead of this our concert halls in the If you let the lessons pass by like the water over a is addressed to You. If you do not act, the other It is, of course, impossible to study but a small portion of With the music which this master draws from his old Italian violin millwheel, only serving their immediate purpose of teachers may feel in the same way about it, and this Baldwin-tone is singularly in accord. large cities close and the season ends at the very hour his works, and even in the more generally used opus num¬ when it should begin. In London, where the climate is grinding out a living for you, don’t wonder why you cause will be lost. Your chance is here and now. bers there are many studies which are unnecessary in the pres¬ Flawless purity, mobility, fire ; these qualities are not more it a little less severe, spring time is music time. do not get ahead. Every lesson should add to your ent day. But in practically every volume there is to be found than in the singing keyboard of the Baldwin. some pianistic gem which should not be neglected. Many teachers are now searching catalogs for music ability and to your earning power. You don’t need the A writer in the School The object of this present compilation is to present his very Of Elman’s playing of Schubert’s “Standchen” to Baldwin accompaniment suggesting the spring. What has a title to do with the assistance of a diploma or the reflected glory of some THE Journal tells us that the best studies of all grades in attractive and convenient form for Saint-Saens said— significance of a piece ? The world is filled with beau¬ great teacher if you have mined out real ability from State Superintendent of general use. The success of this work has been of the most IMPORTANCE “Such blending of tone with tone is the perfection of polished art.” tiful spring music. One teacher we know brought large the ditch of practical experience. Education in Michigan nattering character. It is the best work of the kind ever offered. quantities of blossoms from the woods, the orchards The teacher who has this experience and has gotten OF GOOD preaches that none but pretty It is printed from beautifully engraved special plates and and the fields to turn her studio into a veritable bower substantially and thoroughly bound in heavy paper. BaldwhTreHalogue!1 A^ine't^n^r^t "^re^ntJuIv^wilVbrfng ycm*thla twok- it by honest effort is about ten times as capable as the APPEAR¬ women an-d handsome men of the most beautiful and emblematical flowers in the should be employed in the student, arrogant with an alleged ability, fresh from ANCE world. The program her pupils played was brightness some great European school or metropolitan “$ao-an- schools. At first we were PUBLISHER Gbe Balfcwin Company itself, and the whole recital breathed the exuberant 142 W. Fourth Street hour” teacher. Give us the teacher with real experi- inclined to laugh at this THEODORE PRESSER CO., PHILADELPHIA, PA. spirit of the resurrection of the world. Those who statement, and then to dis¬ attended never forgot the event. pute it, and finally we were Don’t let lethargy get into you now, and complain, completely convinced that the gentleman in Michi¬ Some time ago, we said “It’s the weather,” or “It’s the spring.” If you do, your gan was right. All teachers should be good looking editorially that it seemed to pupils will lose interest and commence to drop off long —particularly music teachers. us that one of the most seri¬ before your real teaching season ends. Now is the time There are as many standards of personal beauty ous conditions confronting for a little extra spurt. Plan a brilliant and taking as there are people in this world. Follow the sun PUBLICATIONS OF the music teacher in America recital to take place at the end of May, and follow it around the globe and you will find few who will was the fact that the school up with another one with some increased distinctive accept your own idea of what a pretty face should boards of our different BOSTON ARTHUR P. SCHMIDT and individual interest at the end of June. be. Some of the women we know with the most NEW YORK For centuries musical festivals have been given to American cities provided 120 Boylston St. LEIPZIG courses of studies, and made irregular features are, nevertheless, the most inter¬ 11 West 36th St. celebrate the yearly miracle. You don’t need a great esting and the most beautiful. How is one to such demands upon the hall, a great orchestra or a great chorus to give a define that kind of beauty? The little pupil who “spring festival recital ” It can be given right in your pupil’s time at home, that in many cases pupils are practically forced to dis¬ comes into the studio of the teacher does not have tfmt Wfelts to own studio with your own pupils, and it will help you to define it. He knows, he feels, he is convinced. THE and them more than you can estimate. continue their music lessons. We know from per¬ sonal experience that the claim made by many If the teacher is not beautiful he has the desire to {Turtelanb “And therefore take the present time, get away as fast as possible. Features have little MUSIC LADDER With a hey and a ho. pupils, “I simply haven’t any time to practice,” is a perfectly just one. The school work cannot be or nothing to do with it. He may not even look at And a hey nonino; the teacher’s face. For love is crowned with the prime neglected. If the pupil fails in school he has the chagrin of being, “left behind.” How those awful It is the duty of every teacher of music to be In the spring time, the only pretty ring time.” beautiful. It is hard to be beautiful under some —Shakespeare. words, “left behind,” ring in our recollections of 3 Collection of Kfjgntes ant Ctmeg our own childhood days. With music it is all very circumstances. Forbes Robertson, the most famous different. Failure in music brings with it no public of English actors, has a face which is far from To Teach the Nolo up and down from Middle C One of the instructors in disgrace, consequently the school has the prefer¬ the ideal of the matinee girl. It Is hard and rugged, Mechanical Engineering in the THE ence and the music teacher suffers. What we really and has the signs of struggle written all over it, bg Summer School of Harvard LESSON need in this country is enough stalwart teachers yet many speak of this man as possessing the most University, in order to gain fHabtl fflatu'son SHHatson with the initiative and the courage to go direetly to handsome face they have ever seen. FROM THE practical experience in cement the heads of our school boards and tell them as The music teacher must learn that beauty is noth¬ MAN IN construction, secured employ¬ Price, 75 Cents forcefully as possible that the great thinkers of all ing more than the visible evidences of character. THE ment as a laborer in the Bos¬ ton Subway, now being built. time in the science of pedagogy have placed music The writer, we have mentioned above describes this splendidly in the following: DITCH Several of the graduates of among the most valuable of all branches of educa¬ tion. Who is going to do this? Are you going to the university followed their "Beauty of face after one attends to her SIX AND EIGHT-HAND PIECES FOR PUPILS* RECITaTT put this off upon the shoulders of some other hair and skin is almost entirely a matter of teacher’s example and are now teacher, or a THE PUPIL S DUET engaged in laborers’ work in the big ditch. : you going to do your share? expression. The emotions get hold of the TWO PIANOS, EIGHT HANnv Why is it necessary for these young men, with a tel> you what one teacher in Olney, Illinois, muscles of the eyes and mouth and nostrils EASY university equipment, to go down into the grime and did. Miss E. E. Hurn, of that city, conceived the and shape them into attractive positions. A. FOERSTER, Op. 138, IS L. E. ORTILOp. 29, ^No. ALBUM slime of earth when they have had a theoretical training idea of helping in this cause in this manner: She The man’s or woman’s own substitution of At the Dancing Master' printed a little four-page appeal with a decidedly a feeling of sympathy in place of a snarl, a A. SARTORIO. Op. 400, I FRANK LYNES. Op. 14! No 6. second to none in the world? Simply because there is The Marionettes. Waltz..".. (First Serie*) a practical knowledge which only comes through prac¬ human description of the practical advantages of smile instead of a frown, a soft and win¬ A. SARTORIO, Op. 174, No . tical hard work. music to the average student in after life; she did some voice where the taskmaster used to The Victor s Return. March. The instructor mentioned is quoted as saying: “I not even give the names of great educators who be, throws beauty into the unattractive face MODERATELY DIFFICULT 15 Pianoforte Duets in th have lauded the educational importance of music. NICOLAI VON WILM.^Op. 230, No. 5. MODERATELY DIFFICULT have learned more about practical engineering problems of the hitherto repulsive. You can’t avoid W. FINK, O Easier Grades in the few months I have been down digging in the What was the result? The heads of the-educational that. Practically all the handsome faces are GEORG EGGELING. Op. 125.. ditch than I had learned in all my previous experience.” interests of the city have come to the conclusion made up of symbols of attractive, states of by mind. We can be gentle and firm at the LUDVIG-SCHYTTE, Op. 93, No. 1. There is a lesson in this for teachers and students. that music should be encouraged rather than dis- CARL BOHM. Op. 357, No V Sometimes we think that they do not value their every- same time. We can be charming by expel¬ Brise Printam&re.' ’Polka DENNEE. FOOTE. FRANKE. GURLIT1 couraged, and that the students who study music . day work highly enough. They pass it by as though it should be allowed time from home-work to enable ling the baser loves of power, authority and I SELECTIONS FOR TEACHERS AND SCHOOLS A~S^F^T^T| LYNES. ORTH. SARTORIO and other.. was a kind of routine affair which they are unfortu¬ them to practice properly. self-assertion. nately obliged to endure. Every lesson should be a If ten or more teachers will get together and I never knew a good teacher who was not lesson to the teacher as well as to the pupil. Price, 75 Cents have a similar plea published, the entire expenses good-looking, not one. I have known those Please mention THE ETUDE when addrcT---- who didn’t inherit much of . a capital to start 296 the etude 297 could scarcely be recognized by the a„di THE ETUDE procedure was merely a bit of fun, but it ^ ^ with, but those that are good teachers put as an excellent illustration of the vai„e ^ „'* two-purtofone arc also good His pianoforte Concerto that little fund to good interest, and by Chopin was usually very fastidious ab0°^ in F sharp minor, a well-established favorite both with suitable dress, by insurance against damage ditions of his performance, as he was, itl Jhe ^ musicians and the public, was followed by two others from worry, irritation and fatigue, and by costumes and many other matters. Q M. 111 E minor and C major, respectively. Besides other the cultivation of a bright and affectionate asked to play in a social gathering, hg f CV ^ instrumental music, a wind octet, quintets, four string sympathy, they made themselves attractive quartets, even trios, concertos for violin and violoncello, the piano lacked its pedals, which had b tha, to the eye and ear. They are what I under¬ etc, he has composed an opera in five acts, entitled off to be repaired. His friends wanted hin" taken stand by radiant. From their faces, rays do Kmt Manfred, and two in one act each. Der Tier- what he could without them, but he ref to A KEY TO KEY SIGNATURES. for here in the corner of a very modest IVirlhschaft were gathered some of the greatest art-workers of Leipsic (literature and painting were represented, as BY WILBUR FOLLETT UNGER. Helpful Letters from Our 1 well as music), and every day at noon they met and spoke of their work, their hopes, their plans and their Readers arts; in such an atmosphere the plant of high ideality Doubtless all teachers have at times experienced 'ould not but thrive, and I could only wish that we some difficulty with young pupils in getting them might some day have such unostentatious and practical to remember key signatures. I have even heard gatherings among the artists of America.” of some busy teachers who do not themselves know I Some of the brighten ideas that < office come, in our correspondence. li ken a narto^i REINECKE'S ASSISTANCE TO ‘‘THE ETUDE.” the signatures of all the keys. terexting and helpful tetter suitable for column, tee are glad to share it with 7* ■ Hi. Reinecke rendered valuable assistance to The I have found that the trouble lies most frequently Editor.] *n---Tsi Etude through many extremely important articles. He with those keys that have three and four sharps and was a good friend of the publisher and frequently flats, which are truly confusing in the juvenile mind TEACH THE PUPIL TO THINK. showed his sympathy and interest in this journal and in until they are mastered. To the Editor of The Etude: American musical education. His contribution to The Below is a rather interesting, although possibly I was very much interested in the artkh Etude of December, 1909, ended thus: not very original, table of keys and signatures. You “Directing Our Pupils’ Thoughts." by Julia ? “In closing, I wish to thank the editor of this maga¬ will notice that vertically the letters are the same; Plumb, which appeared in the October Em* zine for giving me the opportunity of gossiping over horizontally on the top line there are the flats, and Teaching the pupil to think and to eoncentrateT a period of my life now far in the past; it has been a on the lower line the sharps; diagonally the num¬ mind upon the work in hand is one of the nJ pleasure indeed, and I have been deeply moved as I bers correspond. A careful perusal of this chart important elements in the art of music teachi have let the many letters written by Schumann, now may be of assistance to someone. and I believe the subject is one that should be Jl yellowed by time, glide through my lingers in order more attention by the teaching profession If a to choose from them those best fitted to complete my slow pupil can be trained to think more qnicldy task. And I might add that it would be an especial (HU F. lb gratification to me if these random, unadorned remi¬ much better progress can be made by that pJj niscences of mine should aid in altering the heretofore and much time and patience saved. P one-sided view of me taken by my American friends; It is a well-known fact that some pupils will instead of looking upon me merely as the good uncle accomplish twice as much in a given time Z who writes pleasing songs and piano pieces for the others can accomplish in the same amount of time The Muses simply because they have the gift of quick Jr*.’ young people, let them consider my numerous orchestral Erato Calliope Urania tion. This is often taken for talent, but in\Z Clio Thalia Melpomene Polyhymnia Terpsichore and chamber music works; my many songs, both secular (Tragedy) (Sacred Music) (Dancing) (Lyric Poetry) (Epic Poetry) (Astronomy) cases it is nothing of the kind. I have know (History) (Comedy) and sacred; my piano concertos, etc., etc.” talented pupils .w readers, and also Notwithstanding this last wish of an eminent musi¬ very good readers who were not talented. cian, Rcmcckc is likely to be best known by the com¬ positions which are more readily playable, such as those Some people can read a book through in mod, THE STORY OF THE MUSES. TEACH MUSIC THAT ENDURES. BENJAMIN FRANKLIN’S UNUSUAL MUSICAL in his Juvenile Album, Sketches in Tone and his less time than others, for the simple reason that INSTRUMENT. . Characteristic Sketches. they are able to think faster. Pupils who are £ BY CAROL SHERMAN. BY F. ALLEN. Books have been written about the many-sided Our readers possessing files of back numbers of The about learning to read music arc usually slow about Franklin. His omnivorous and practical mind Etude may desire at this time to refer to a few of the everything else they do. They were horn et Very little is known of the origin of the muses. So A writer in the Dominant gives a long list of songs, seemed ready to attack any new branch of science many excellent articles Reinecke has contributed to this many different accounts are given, and so many differ¬ many of which have had a tremendous vogue in their with the same earnestness. Music did not escape journal. We give the following list: nafure to°bc sCoP ^ bcCa“St h is ing names have been applied to them, that few musicians day, but which are now forgotten. The striking thing him, and he actually invented a musical instrument “The Scale in Modern Music." April, 1910. have anything more than a very indefinite idea of the about this article is the fact that most of the songs have that was sufficiently unique to arouse the interest tiJLti?JT’ h°wcrcr’ ,ha« can bed- of some of the great masters. “Schumann and Mendelssohn.” December, 1900 , ,a ccr,a,n CXUnl l>y teaching the pupil to significance of these goddesses of the liberal arts and come into their comet-like existence, run their course “My Pupils and Myself.” January, 1908. sciences. In very early times they were looked upon and vanished in less than a quarter of a century. One How long “musical glasses” have been used for uoon T r ?S,ak“ inMcad o{ depending 1908^ NeW'y Discovered Sketch by Mozart.” April, upon the teacher to point them out for her it is as the nymphs who were supposed to be in charge of of these songs (“After the Ball”) is said to have sold their special purposes no one really knows. There the mythical fountain of inspiration. three million copies. is an account of an Irish performer who played “The Works of Robert Schumann.” December, 1906 works eomUthe°n ma,hcm3,,icS in ,ha‘ * 307 306 THE ETUDE THE ETUDE a the same ve.in, but yet more romantic, is fl* | or fired off or tapped out with unendurable rigidity "Chopin owed much to Poland—to the country with something like contempt by those ■n to the subject in the slow movement of nc old musicians like my teachers, Hiller and Mac and the people, and the folk-songs and folk-dances; inor Sonata: by the aid of the arm and the forearm. A superior farren, both of whom openly declared that must but Poland owes infinitely more to him. Although technic can, with few exceptions, be more quickly had said its last word with Mendelssohn, ^ven tne a patriotic Pole, he was not an average nor a typ¬ and favorably acquired in this way than when the broad-minded Prout only ventured to give tw elbows are required to contribute their power. I ical Pole. Nations imagine that they produce their significant illustrations from Chopin in Ins harmony do not, however, censure the performance of any geniuses. That, however, is mere foolish self-com¬ book. Theorists regarded him as a writer placency and vaingloriousness. Geniuses are gifts. elegant drawing-room music on the same plane a* virtuosos who execute rapid octave passages with Poiand had as little to do with the making of Chopin Henselt, but addicted to a sad misuse of those hate¬ a stiff wrist. They do it with great precision in the as Italy, England and Germany had with the making ful chromatic chords. The people who could only most rapid tempo, forcibly and effectively. It must, of Dante, Shakespeare and Goethe. Genius is the re¬ play his easiest nocturnes and the A minor valsc Selections From Articles Worth Re-reading after all, depend upon individual peculiarities whether sult of a felicitous but fortuitous concurrence of used to cry fie! upon him for being so sentimental, the pupil can learn better and more quickly to play circumstances. forgetting that these pieces were just the ‘pot-boil¬ The Story of “The Etude’s” First Year, Including the Best from “The Etude” of 1883-1884 such passages thus or with a loose wrist. The pres¬ “Chopin’s pianoforte style is as such an ideal style ers’ by which he won the affections of the pianists. ent style of bravura playing for virtuosos cannot dis Now I come to think of it, when I played the I' At the Huggestion of rafter upon which —the nature of the instrument and the nature of appear selections from art ur purpose is to extract the brightest ideas uml most valuable thoughts pense with facility in octave passages; it is a n minor Fantasia at my examination for the .Mendels¬ • limited circulation in the early daysi of the publication, could the style are coextensive. This could not be said from issue* “ -- sary part of it.—Translated from the German of Fried sohn Scholarship in 1875, there was only one English possibly tune by n which The Etude n of Liszt’s pianoforte style, which is more many- musician—Arthur Sullivan—out of a committee ol rich Wieck, father-in-law of Robert Schumann, Feb¬ sided, but less pure. Chopin’s piano style is also fifteen who knew anything of the work. [Editor's Noth.—Tub Etcdi^wus founded, by tbe present INSPIRING THE PUPIL. ruary, 1884. a virtuoso style. Virtuosity, however, is there as a “Chopin arrived at a fortunate time. The romantic Seek by all means to inspire your pupil with a means to a higher end, not for its own sake. No tendency in music, initiated by Spohr and Weber Iniref Vtrelnta'^near'wbteb city tlr/presser bad been enizaK- d love for labor. To this end try to have him appre¬ THE USE OF SLOW PIANO PRACTICE. 111 teaching at a large Institute (Seminary) for Young pianist-composer’s music is so much played as Cho¬ ciate the delicious feeling of sureness, which he ex¬ in opera, was beginning to make itself felt in ab¬ Women Previous to this time Mr. Pl-esser bad been engaged What is slow practice? For every pianist there pin’s, and no composer’s music is so rarely well stract music. In an incredibly short space of time for four years iu (be music business. His teaching experience, periences whenever he has carefully studied his together'with bis musical training under such teachers as are three grades of speed in all passages admitting played. In fact, if the present state of things pre¬ the diatonic track of Mozart and Beethoven was Stephen Emery, Mr. George E. Whiting, J. L. 1), I arker. piece, and is able to play correctly. When this sen¬ of rapid playing. They are first a very slow rate; vails much longer, the public must lose its belief of obliterated by the chromatic experiments of Schu¬ “One might quote dozens of examples It. .T. Lang, Carl Zerhalm and others In America, as well as sation steals upon him, then, for the first time, does Ills European training at Lelpsle, under the tuition of so slow, namely, that each motion is fully deter¬ Chopin as the most poetic of pianist-composers.” mann, Liszt and Wagner. Incited by their example, ing as these, yet all different: thc IJ flat major Pre- Ueinecke. Jadassohn and others, led him to realize the neces¬ he experience genuine satisfaction from his playing— Chopin distanced all his contemporaries in the ease sity for a paper of the scope of The Etude. Starting wllh a satisfaction which intelligent labor alone can af¬ mined by the will, and there comes the response lude, with its ingenious chromatic accompaniment the ridiculously small capital of $250, It was necessary at TOBIAS MATTHAVS OPINION. with which he manipulated the new progressions, I figure; the majestic C minor Polonaise, with its the outstart for him to write many of the leading article* ford. Thus lay hold of him by his musical con¬ through the sensory nerves that the motion has been and especially in the marvelous grace with which in the journal himself. The articles which will appear upon science. Difficult passages must be practiced until fully performed after which there is a moment of Tobias Matthay is well known in England as a theme in the bass and resultant strange harmonic this page every month are quite as fresh and appropriate he crowned them with melody. to-day as when they were written. They arc especially valu¬ the pupil is able to play them at a somewhat faster pianist and as the author of an exhaustive work effect; the unparalleled pedal point in the Coda of the repose before the next motion is ordered. Very slow “However intricate the harmonic web, Chopin’s Barcarolle; but perhaps above all thc amazingly able since many of the issues from which they are taken time than is really indicated, or than is really neces¬ upon the study of pianoforte touch. He was born ai-e now out of print, and thus this Information could not practice is any rate of speed that admits of this mo¬ melody never lacks charm—charm of a tender and original first Scherzo in R minor. It i< n0t gen. be secured In any other way.] sary, so that he may then execute them in the re¬ at Clapham, England, in 1858, and is now one of ment of mental repose between the reception of the always refined kind. Austerity was a mood he never orally known that this piece was published under the quired time with greater ease and accuracy, and with the professors of pianoforte playing at the Royal knew. From- the marvelous mazurkas to the great STUTTERING IN PLAYING. sense of having played one note and the act of be¬ title of ‘Le Banquet Infernal.’ a title which proved no nervousness or uneasiness whatever.—/. C. ballades you can find no page that is not absolutely ginning to play the next. The second rate of tempo Academy of Music in London. Regarding Chopin .too shocking for thc drawing-room. But it explains There is a certain method of practicing pieces which Eschmann, January, 1884. he says: attractive. It is interesting to compare his Op. 1— is as ruinous to the player as it is annoying to the is moderate-—the rate in which, as soon as the mind the weird character of the piece, and those terrific a Humoreske Rondo — with the later works and teacher-or listener. It is a fumbling, uncertain feeling THE VALUE OF THE MUSICAL JOURNAL. becomes conscious that one key has been [flayed, ‘‘Chopin’s success in making his musical and augmented sixth chords on the last page. The de¬ to note how quickly the chains of dominant sev¬ after the keys, giving the impression that the player poetic invention synchronize so perfectly with the moniac character given by the passing-note- in the Every live, progressive teacher should read regu¬ it orders the next without suffering a moment of re¬ enths and Spohr-like progressions of diminished is attempting to test his accuracy before delivering acoustical and mechanical possibilities of his in¬ arpeggio passages is wonderful, and the peaceful larly one or more of the many musical periodicals pose to intervene. The third rate is that of velocity, sevenths on a dominant pedal were abandoned in the real stroke, much after the manner in which the strument must be attributed, in the first place, to his middle section (usually exaggerated out of all sense published in this country. To keep pace with the a degree of speed in which the will orders a series of favor of combinations of the two which appeared blind first test the ground with the foot or the cane infinitely fine musical ear, which forbade his writing by performers) is in the highest degree artistic current events in one’s professional calling is a sim¬ acts at once; as, e. g., four octaves of the scale of A magically novel. The very first of the mazurkas before making the step. In a similar way the player the inappropriate. “Towards the end of his life Chopin recognized ple duty. Show me a one-sided, unbalanced musi¬ or three octaves of the broken chord of C, etc., seems to test the tones before they are fully compre¬ and the .fingers play them as rapidly as possible, the It is difficult to determine exactly how far his Ba dC * passage on tbe measures marked A, more clearly the power which a real mastery of cian and I will show you one who does not regularly hended and enjoyed. With this comes a kind of stam¬ mind not being conscious of the fact that one key own particular ways of key-treatment (touch or counterpoint bestows. That a man could exhibit read musical literature. Goethe’s saying, “Licht, mering that is nerve-racking enough to produce nervous has been played before it orders the next. Exclu¬ technique) influenced his invention, or how far his such endless variety of invention in such unpromis¬ mehr licht” (Light, more light), should be the motto prostration. The result of such practice is that in the of every teacher. How often is it that a subject sively s-low practice will spoil the playing. It takes poetic feeling compelled him to gain his particular ing ground as tin- mazurka and polomlas affordis course of time the whole method of playing becomes which flutters vaguely before our minds is brought the life out of the music. It must then be alternated playing-technique, but the results are clear enough to my mind the highest evidence of his greatness. unbearable. This evil can often be traced to a defective out to daylight in ■ one of these journals by some with two other degrees of speed in proportion of, i -1 J.cou,d discourse for pages on his codas and con- vision. It indicates a lack of proper co-relation between The more salient features of the pianistic progress one who has made special researches into it, and say, six slow, six moderate and six fast repetitions,; c ding cadence alone; but it is needless when their the eyes and the fingers. The eyes are uncertain in he wrought are found in the enormously greater thus enabled us to emphasize and fortify our own and so on, over and over until one learns the passage.— beauttes are al everyone’s reach. It is a very super- reading and seem to ask the keys if what they read delicacy and variety of tone he demanded in his views. We give a list of some of the well-known and W. S. B. Mathews, March, 1884. fictal remark to »ay that Chopfa is sentimental: is true. The fingers are even more uncertain, and in cantabiles the musicality and often the extreme reliable journals that are worth ten times the cost „ o.'nattc progressions convey a greasy, licklv order to make sure try the keys the second time. This lightness of his passage-work, and the laying-out of f“ to every subscriber. THE TIME FOR WORK. cbm can the »ri‘cr of the A flat Pcs error may often be avoided by first practicing slowly this in note-groups beyond the octave limit, and I suppose that every artist at a certain point in Coneere the.first a,ul third Scherzos, thc Allegro de with the hands playing separately. This often requires his extensive use of chromatic passing-notes; and, [Editor's Note.—This editorial, which appeared In the ideonat 1 nd, ma”>r M'cb dashing compositions be time but it invariably pays in the end.—Translated from fourth issue of a struggling young magazine, is remarkable his career is brought to a sense of realizing his own perhaps more notable still than these points his adequately described by such an epithet? Surely because It was followed by a list of ten active, established limitations. He has gone a certain distance, he plays the German by Theodore Presser, October, 1883. magazines, all of which are now, so far as our information rubal^T °f tHC immense Possibilities of’ the goes, entirely out of existence. The publisher's efforts to beautifully and now he would like to be something assist his competitors were thus wasted. The magazines extraordinary—he would like to be equal to the first, V1NCHNT D INDY'8 OPINION. MUSIC AS AN ACCOMPLISHMENT. were : Musical Art. Folio, Musical Herald, Indicator, Musical if not the first in his own line. Then comes the sStoSsar* but «*» ~ <■' It is deplorable that our social laws practically force Record, Musical Review, Musical Visitor. Thc Voice. South¬ “With regard to his cantabile no doubt his in¬ in hfo *Sirent/r*nch comP<>aer write, of Chopin, ern Musical Journal and Musical World.] period of real work. Paganini, who was probably a young lady who wishes to maintain her place in dention was here greatly influenced by his own firs nnrf' , Composition Muricalc." Book II, the greatest apparition ever seen in the musical society to become accomplished in music. Why has technical habits. Front the internal evidence of his ‘‘W*3' as PURITY IN PLAYING, world, studied enormously until he was thirty, after not some other more readily attainable accomplish¬ since called i THE ETUDE 311 310 THE ETUDE cellent idea for the student to realize at the out- To understand the action of melody upon har¬ NEGLECTED DETAILS IN PIANOFORTE DEVELOPMENT OF THE SENSE OF Some teachers make the mistake of taking the value * start that the pedal is anything but a detail, but mony we must trace the development of song STUDY. HARMONY. of the short grace note from the value of the preceding rather one of the most significant parts of the in¬ from its primitive origin. It is reasonable to sup¬ note. It should take its value from the note suc¬ strument he is attempting to master. pose that the first forms of melody were simply ceeding it. BY FERUCCIO BUSONI. BY DANIEL BATCHELLOH. “Great pianists of all times have realized its limit¬ natural inflections of the human voice. These are less possibilities. Every change of harmony de¬ always present to some extent in vocal utterances, (The following is the continuation of a Interview with the eminent Italian Pianist, which appeared mands a corresponding consideration of the correct In all people a latent sense of harmony exists. and they become more prominent under the influence in The Special Spring Issue of The Etude. employment of the pedal. It is like the dissolving Although the science of combining tones into chords of strong or excited feeling. The earliest forms of pictures of the stereopticon. It must be used to was unknown until a comparatively recent date conscious melody were probably cries of joy, and DETAILS OF TRADITION. make the tones blend properly and beautifully. there has been in all ages an underlying instinct we still have a survival of these ill the yodel of the Incorrect. “The correct idea of the performance of a piece as “Quite as important as the knowledge of when of harmony. The musical scale was slowly de¬ Swiss and Tyrolese mountaineers. Or they would not have objected to hearing the a whole often depends upon hearing it correctly and how to use the pedal is that of when not to veloped through a long course of ages. Out of the These inflections and impassioned cries would parts inverted, so as to be all in fourths! But all played. The traditions of the great players of the use it. In hundreds of instances students employ indefinite gradation of sounds the human ear picked naturally enter into the earlier forms of worship, the while they were feeling after harmony, and past have been traditions that can only be preserved the pedal when it should not be thought of, and out certain tones which seemed to fit into a natural and St. Paul’s allusion to unintelligible "tongues” when their ears became more discriminating they aurally. By this unreliable method, and by this method desecrate musical masterpieces in a scandalous scale. To the early musical theorists the perplexing (see 1 Corinthians 14) probably had reference to could not any longer tolerate the hard, bare fifths— only, are the traditional performances of Bach, Scar¬ manner. thing about this scale was that the intervals from some such form of vocal expression. By degrees at least, not consecutively. But, although they no these inflections took a definite and authorized form, latti, Clementi Beethoven, Mozart, Haydn, Cramer, “One could talk indefinitely upon such an important tone to tone were not all alike. Some attempts longer struck the fifths togther, as in the illustration and some of them are still used in the church under Czerny, Liszt, Rubinstein and others to be trans¬ subject as details. There are many considerations were made to produce a scale in which the steps above, they found that they could use them retro¬ the name of “Gregorian Tones.” The one which' mitted to posterity. It is almost impossible to pre¬ of the subject which should be left to those who should follow in more regular order, but the human spectively, an idea probably suggested by the re¬ serve the details of the performances of these great make a specialty of teaching young pupils, and which has the most varied inflection is called Tonus Pere- sponsive entry of the parts in a round. This gave ear rebelled against this uniformity and insisted on grinus, which may mean the wandering tone, seeing APPOGGIATURA IN RECITATIVE. masters by verbal records. They may be described do not come within the province of the virtuoso having the natural scale with all of its irregular rise to the Canon form, which was an advance be¬ in books ad nauseam, but still words do not give or teacher of advanced players. Among these are that it wanders off from the major beginning into a yond the Round, because, instead of repeating the In vocal recitative it is often desirable to introduce intervals. minor ending; even an idea of what their playing really was. The the significant matters of dynamic marks, time, same subject, it introduced a rival or counter sub¬ an appoggiatura, or long grace note, where none is With the rise of harmony the scale tones were correct sight-reading, etc., etc. It is safe to say ject, e. g.; written. This is particularly the case in Italian opera. otlly thing to retain these impressions is the human grouped into their chordal relations and then it was ear. Naturally these traditions vary as the human that if the average teacher of beginners would give IV The rule, briefly stated, is as follows: seen that the apparent irregularity in melody was VII more time to the study of details, he would pro¬ When an accented note is followed by a note of the memory diminishes. They are like plaster masks duce better results in the long run.” due to a higher law of regularity in harmony. same pitch it is usual to make an appoggiatura from of the human features. With every impression the Although melody is essentially the flowing move¬ above and let the note itself disappear. The following original cast deteriorates. So it is with traditions. ment of single tones, which follow one another in example may show this: “The best way to get an idea of traditions is to linked sweetness, there are abundant evidences that As we come down the centuries nearer to our own hear the performances of living pianists who have SCHUBERT ON EXPRESSION. in melody there is an underlying basis of harmony, ne we find these tonal inflections swelling out preserved them. In this way the student may learn Why do so many students of music devote long although' it is even now largely unconscious and gr andly into the German chorale, e. g.; many details which he can never discover in any hours to the acquirement of technical proficiency was originally entirely so. Melody has been defined other way. The regular attendance at the recitals very often at the cost of the musical value of a as “retrospective harmony.” If that is not uni¬ V of virtuoso pianists should be a part of the regular piece? Music is essentially a means of expressing versally true there is much truth in the statement, course of study of every advanced student. He emotions, or of conveying an idea. This cannot be The canons became more rich and complex as and, in some cases, the harmonic relations between should hear not one pianist, but many different ones, done by merely putting one’s lingers in the right musicians grew more skillful and versatile in the art the different sections of a melody are very clear. in order to gain different ideas of the performances place. It can only be done by thinking musically, 1 * of grouping tones. The next advance along the line Take for instance these two sentences from “Adeste, of retrospective harmony was the Fugue, and from of different works. as well as playing. Many prominent concert pian¬ g -fgzzjzjiL.rfaH-j-di.J . j I 1 ists are at fault in this respect. Most of the promf- Fideles:” this source came some of the most magnificent Our coun-try! the bod - y of which we’re mem-bers. nent critics of the day have inveighed against it, effects of polyphonic harmony. Examine the prayer scene from “Der Freischutz” and “The student who looks upon the pedal as a mere and one or two musicians realizing the fault, have several examples of this usage will be found. detail is one whose playing will become a nightmare endeavored to rectify it so far as they are concerned. THE PUPIL IN A HURRY. to people of good taste. Let us consider a few Where they have succeeded they have made for¬ One of the most trying kinds of pupil to be found things about the pedal which piano students often tunes—as in the case of Paderewski, Dr. Wiillner, is the one who wants results so quickly that he ENTHUSIASM, THE TEACHER’S ASSET. ignore. In the first place, it is impossible to deny Schumann-Heink, Sembrich, and a few, a verv few cannot stop to get them. His idea is that if he plays others. The fault, however, is by no means mo'dern. the fact that the piano in some ways is a very de¬ |J —4-|| slowly people will think it is because he has a A letter of Schubert’s written when on a concert- To the musical tnemory the second clause un¬ BY DANIEL BLOOMFIELD. ficient instrument. It has a short and compara¬ natural taste for music of a quiet and sober char¬ tour with his friend Vogl, the singer, shows us that mistakably harmonizes in thirds with the first tively brittle tone and has other characteristics acter, and this scares him. Nothing frightens a man the same thing existed then as now; clause. For another example take the simple but Notice here the stepwise movement of the melody, What makes one teacher more successful than which are unsatisfying. Its great advantage, how¬ so much as the possible risk of being thought dull! “Some assured me,” he wrote, “that the keys effective tune, “Innocents:” which is characteristic of the chorale. It is custom¬ If one plays music more quickly than one’s ability another? Why has one teacher a better hold on ever, is its comprehensive harmonic scope, but in his pupils than another? The answer is simple. One under my hands sounded like singing voices, which, ary in Germany for the whole congregation to sing will, permit, the result is a blurred picture of what this the organ, with its couplers and its pedals, if it be true, is a delightful compliment, as I cannot possesses as capital enthusiasm, the other lacks this 11 1. 2. these chorales slowly in unison, so that the rhythmic should be. The rhythm is distorted, the melody excels the piano. Larger harmonies can be played endure that execrable hacking, peculiar even to dis- beat is largely lost in the long drawn tones, and the most valuable asset. Onei has his heart and soul, obscured, and the spirit of the music entirely lost. upon the organ than upon the piano. The orchestra, tinguished pianoforte-players. It neither tickles the majestic swing of the melody is seen to be an ex¬ yea, his very life, in his 'work; the other is cold, Students who have a tendency to hurry their work perhaps, is the ideal instrument, but even the or¬ ears, nor moves the feelings.” pansion of the older Gregorian tones, although to should remember that -great excellence in piano without a spark of that fire which conquers hosts chestra lacks something that only the piano Pos¬ We badly need more pianists who make the keys some extent modified by the habits of harmony. In playing does not depend on the number of notes and enables one to reach the apex of achievement. sesses, and that something is the pedal. sound like singing voices.” It is easier to do nowa¬ other hymn-tune forms the tone inflections have scrambled over in a given space of time, but on the This is a material world in spite of what philoso¬ "I never realized the importance of the pedal so days, with a modern pianoforte, than it was in Schu¬ been modified to a greater extent by rhythm and evenness and clearness with which they are played. phers may say, but it can be molded according to much as when I was orchestrating one of ity bert s time, but comparatively few people take ad¬ harmony, but the evolution from the primitive forms Any one, for example, who has heard Sousa’s band, any one’s wishes by enthusiasm—bubbling, hearty en¬ own compositions that I had previously playfe vantage of the fact. can be traced with more or less distinctness! has been struck with the brilliance and energy with thusiasm. The successful teacher, barrister, physician, upon the piano. Wheti played by the orchestra the The unaccompanied melody, or plain song, was which his marches are played. This effect is not Notice how the second and fourth sections of this successful man in anything, is imbued with a desire whole beauty of the piece seemed to be lost. I in use long before the rise of harmony. The art due so much. to a rapid tempo as to the perfect tune give a harmonic response to the first and third to get ahead, to achieve, to attain, to acquire. Every realized at once what was the matter. The inde¬ INTERESTING MUSICAL FACTS. of combining tones into their chordal relations steadiness which that energetic leader has taught action of his is full of energy and zeal. Nothing is scribable evanescent quality that had made it beauti¬ sections. brings us down to a later time. Naturally, the first his band to acquire. Brilliant effects are pro¬ FULL alld c°mplete Japanese orchestra is said to See, also, the bond of harmony in the following allowed to stand in his way. Nothing can stand in ful upon the piano was due to the pedal. frequently consist of I flute, . large drum, 2 bell-rat- attempts were very crude, but they laid the founda¬ duced better by one who is doing a little less than melodic sequence: tion for more artistic results later on. Two causes the way. Enthusiasm overcomes every obstacle. “When one comes to think of it. the piano is the “ wooden clappers, and 2 small drums. After all, he is really capable of, than by one who is attempt¬ seem to have led to the idea of singing and playing The music teacher must compete with others. How only instrument possessing a ‘damper pedal’ < some musical dehght is a matter of individual opinion. ing something a little above his ability. times erroneously called the loud pedal) It is true with two or more melodies combined. The first part can he keep and increase his number of pupils with¬ n. j mentor of the harmonium was a Frenchman out showing himself devoted to high ideals and to that the pipe organ has pedals, but these are simply singing of which we have any record was by the the interests of those in his care. We do not re¬ for the purpose of extending the range of the in S. G'““-- Anglo-Saxon gleemen. It is quite likely that they DO YOU KNOW? quire psychology to teach us that Enthusiasm is con¬ strument They are merely an extension of the got the idea from hearing a natural echo to their That in the orchestra the player is occasionally tagious. It was the means by which Napoleon, Beet¬ keyboard The harp, as improved by Erhard has Pm'Lf? °f to™' t™« i. II,< songs. This would lead them to try an artificial echo obliged to count as many as 100 measures' rest, and a senes of pedals, but these are merely a means of the!e il Gft,l,as- Zoroaster, who wrote the first of by having different voices to sing the same melody, hoven, Wagner, and every other genius succeeded. The harmonic relation between the different that in order to come in at the correct place they It was enthusiasm that drew the world to the feet making chromatic alterations more readily playable before Christ l° ^ave ^'vcd f°urteen hundred years but coming in one after another. Hence arose the count mentally? without increasing the number of the strings phrases is not always so simple as in the above practice of singing rounds and catches, which are of Socrates, Plato, Abelard, and every other great illustrations. The well-known “Old Hundredth” is an That William .Shakespeare mentions the word music “The damper pedal, then, is the distinguishing how 'exe!f!i'lI,t| f°I-tIlC youn«er generation to realize the most primitive forms of part singing. over 140 times in his works? teacher; it was enthusiasm that enabled Joan of Arc, example of a more complex character; but the har¬ as a mere girl, to lead thousands. characteristic of the piano. Without the pedal the The other cause was the improvement of musical That Viotti was called the father of modern violin piano would lose 50 per cent, of its charm. Every older rln ^ , 1IS apparent iconoclasm. The monic relations can be traced in the opening of the The teacher must add fervor and passion to every¬ instruments. When the organ came into use it was playing? student knows the principle of the pedal and the different lines and also in the cadences. inevitable that experiments would be made in strik¬ thing he does. His teaching must not be perfunc¬ a Jew of V.’C1StS l0?thCd him-and said s°- Here are That a collection of Welsh music was published as wonderful acoustical law whereby, when his fom We now begin to see why a sympathetic harmony tory; it must be alive, full of glow and ardor. He “musical Wayf< ‘n W.h!ch they described The Ring:- ing different tones simultaneously. Some of these early as 1742? presses down the lever and the little wedges of feh enhances the effect of a tune, while another har¬ must instill into his pupils a love for their art, for “murderous 1 ’ sea"sif,k harmonies,” “rancid musicy." were found to be pleasing, while others were harsh That Bononcini, Handel’s famous rival, lived to the are lifted from the strings, the wires set free in their work. He must show his pupils that thev ousness” „ , ar!Tlon,cs> “paroxysms of musical nerv- mony—which .is alien to the underlying structure of and unpleasant. The first thing they noticed was age. of ninety and that he was still engaged in com- this manner sympathetically reinforce all the bar have something to live for, that the secret of achieve¬ "pestlfe’u,dehrifU.m tr?mens in music,” “hell noise." the melody—neutralizes it. It is interesting to the agreement of tones an octave apart. They were posing for the theater at that age, after which ment lies in enthusiasm, intense enthusiasm which hammer °f-vertlneS °r Partials seated by t e Weatings,” and" "“fL,1" •‘““C “d°g music” ‘‘‘onal notice how harmony influences melody, and again prepared for this, because men and women had al¬ all track was lost of hirrt? hammer Striking the wires, giving the sound of e Quite a lor of cP'demic of harmonic insanity.” how melody reacts upon harmony. In comparing ways sung in octave unison. Further comparison has no room for self-interest or vanity, but has one notes the composer demands. 11 That Max Bruch wrote a successful symphony unwavering ideal—SUCCESS. would fike tol P|,?PlC W,’° ,"°w l°ve their Wagner the English glee with the German part-song we find of the simultaneous tones showed that fifths pro¬ when he was 14 years of age? : QUite i.mP°ssible for' the student to delve duced a fuller and richer effect than octaves. ard Strauss h / *he same klnd of thin8s about Rich- that in the glee melody takes the leading place, the That Clementi is called “the originator of modern Fourths were also appreciated, and the first at¬ so in Sew of V we, n0t Sl,re Aether it is safe to do harmony being subject to that; while in the part- pianoforte playing as distinguished from harpsichord To define the precise functions of music, and fix its Friedrich Wi 1 happcncd to the Wagner critics, song the chordal structure is the most important tempts at harmony’or counterpoint were limited to playing?” place in a scheme of fine arts, has proved one of the octaves, fifths and fourths. It seems strange to us thing, and the melody takes a secondary place. So That Frederic H. Cowen, the celebrated English most intricate problems in that intricate science, aes¬ even though it coulfbe v” " qT became Schumann^ t fa*er °f CIara Wieck’ who that it was some time before they learnt to appreci¬ the excellence of the glee depends upon the indi¬ composer, was born at Jamaica in the American West thetics.—lames Lully. could have the knowledge'of a Helmholtz ° ? Pianoforte factory' aSdSn"^ d’eo.lo{’y’ worked in a ate the sweetness of thirds. Consecutive fifths had fore becoming ' , "d 1,1 ? circulating library, be- viduality of the separate parts; hut the glory of the Indies r be a very poor player. Nevertheless, it is an ex! no terrors for them; they would have been charmed he also taught singbg Pian°f°rte tcach£r‘ La,er part-song is the rich massing of the whole. with this piece of harmony(?): That Sir George Grove, the compiler of Grove’s Dictionary of Music, was originally a civil engineer? THE ETUDE 313 312 THE ETUDE THE VOCAL NUMBERS. LOVE AFFAIR—J. RICHARDY. There are three good songs this month, all secular This is another waltz movement, of quite differ¬ and all of lighter character, suited to the season. Educational Notes on Etude ent style from the preceding. While it is still in Homer Tourjee’s “Ah! That Was Many Years the French manner, it is of the slower, languorous Ago” is a tuneful number of the ballad type, with Music type. This waltz might be used for dancing, a very taking waltz refrain. must be played very tastefully and in a dreamy Mr. Brander’s “O How Lovely” is a showy waltz manner. A considerable freedom in the time is song, not at all difficult, particularly adapted for a By P. W. OREM allowable, provided the rhythm be not distorted. light,* flexible voice. The melody is very catchy and refreshing. ORIENTAL FESTIVAL—R. S. MORRISON. Admirers of Tod B. Galloway will be pleased to MOMENT MUSICAL—M. MOSZKOWSKI. see his “O Heart of Mine" in a higher key. It js This piece in its rhythmic effects reminds one As noted elsewhere, this new composition by the very taking and expressive. of some of the Oriental dances now so much m famous modern master was written especially for vogue. These rhythms seem always to have had The Etude. It is one of the best and most at¬ a fascination for composers. Note Beethovens tractive of M. Moszkowski’s shorter works. It is "Dance of Dervishes,” Mozart’s "Turkish Rondo, ’ ARE MUSICIANS IRRITABLE? full of vigor and refreshing gayety, a real “spring” Rubinstein’s “Turkish March.” Morrison’s “Ori¬ piece. It displays considerable originality in modu¬ Are musicians as a class irritable, peevish, fretful, ental Festival” will prove a very entertaining char¬ lation and in harmonic treatment. The passage-work fractious? Whatever the living professors of the acteristic piece, suitable for recital use or for study. is in the composer’s best pianistic vein. This piece divine art may be, it seems pretty sure that equa¬ It will afford excellent practice in grace notes, and lies well under the hands, and it should be played bility of temper was not a characteristic of all of could be taken up to good advantage by third-grade with ease and freedom by any good fourth or fifth- the departed geniuses, although the late Herbert pupils. Play it steadily and with accents well grade student. It will make an admirable recital Spencer declared that musicians seemed of all people marked. number. The composer’s metronome marking to be those who were truly happy. Handel was (quarter note = 132) may prove a trifle speedy choleric to a degree. He even dangled a prima- for some players, but the piece sounds equally well DREAM OF SPRING—H. BEAUMONT. donna outside of a top-story window until she prom¬ at a more moderate pace (as low as quarter note This is a delightful mazurka movement, fresh and ised that, in spite of her indisposition, she would = 96, even). Play it in a brisk, clean-cut manner, inspiring. The principal theme will afford excel¬ sing that night in his opera. Notwithstanding his very accurately and with steady accentuation. Note lent octave practice. In playing these staccato oc¬ noble qualities he was, like the revered Dr. Johnson, the effective tnodulation into D major and the taves the wrist should be held loosely and the hand something of a bully. Bach and Mozart, Haydn, clever return to B-fiat major. The characteristic be allowed to bound lightly. All stiffness of effort Schubert and Mendelssohn were all men of sweet passage-work divided between the hands in meas¬ or pounding effect should be sedulously avoided. disposition, but by no means of a yielding character, ures 30, 35-37 will require a zephyr-like quality. There is much technical contrast in this piece: the whereas Schumann and Berlioz were, at any rate in This piece is a real gem. second theme introduces light finger-work in limited their writings, vitriolic and mordant, even if they arpeggios in connection withlstaccato octaves; the were lovable otherwise. Beethoven was a man of moroseness, easily moved to passion and bitterness DANCE NPRVEGIENNE — A. BACKKR- Trio themes introduce the legato and light, rapid of speech, and Wagner, who had a different kind of GRONDAHL. grace notes. A good all-around piece for the parlor, genius, was likewise prone to ungovernable outbursts recital or study. This is a characteristic bit of writing by a fa¬ of spleen and contumely. But it is not to unreason¬ mous woman 'composer. The music of the Scan¬ able anger one attributes Beethoven’s disgust at dinavian composers displays certain peculiarities of ' EVENING PARTY—P. WACIIS. hearing that Napoleon had assumed the title of rhythm and harmony which adds a certain quaint, This is an easy teaching piece of unusual merit Emperor. Beethoven was enraged and disillusion¬ local coloring to all their music. This is particularly by the well-known French writer. This piece is well ized, and so changed tin- title of the “Buonaparte the case with the compositions of Grieg and balanced and beautifully written. Strict attention Symphony” into that of "Sinfonica Eroica: in Svendsen. This trait is known as nationalism in must be paid to the rhythms, particularly to the Memory of a Great Man.” music. The “Norwegian Dance” now under con¬ characteristic figure formed by a dotted eighth fol¬ The only exhibitions of temper to which Mozart sideration displays it in a high degree. It is an lowed by a sixteenth. The second theme gives op¬ gave way seem to have been 011 those occasions idealization of one of the folk-dances, brilliantly portunity for the practice of melody-playing in the when he was charged with having looked too long worked out. Play it buoyantly, with verve and left hand. The entire piece will require much ex¬ on the wine when it was red, and it is satisfactory enthusiasm. One can almost see the figures of the pression and a graceful delivery. to know that his biographers deny there was ever rustic round dance and hear the scrape of. the occasion to make this accusation against the com¬ poser. Weber wielded a skillful pen, and his person¬ fiddles. 1 11 e. ruuK-i '• IN UiVI DILIVO. ality was normal. On the other hand, Liszt. Rubin¬ In the four-hand numbers two famous modern stein and Tschaikowsky were notable examples of MYSTIC PROCESSION—G. HORVATH. composers are represented, each by an original the irritability of genius. Both Liszt and Rubinstein One of this popular composer’s recent numbers, pianoforte duet, not by an arrangement or tran¬ often gave their pupils a bad quarter of an hour; a characteristic march movement. This quaint com¬ scription. Both these composers have displayed 1 but then they were so seriously concerned with their position reminds one of a procession of phantoms special liking and aptitude for four-hand work. art and all that it meant that they could brook no or of a stealthy gathering of conspirators, such as Brahms’ "Waltz” is taken from one of his sets stupidity or lack of earnestness on the part of their one often views in melodrama. Note the sinister of short, idealized waltz melodies. This particular pupils. Tschaikowsky was chiefly angry with him¬ drum beats and the shivery chromatic harmonies. number may be considered as of the Hungarian self—yet he was a greater man than lie knew. The Much may be made of this number as an interme¬ type. _ It has a vigor, almost ferocity, of movement character of Spontini seems to have been placid and diate-grade teaching piece, and it should prove a that is decidedly uplifting. Play it in brilliant industrious and that of Gounod almost seraphic. favorite at recitals. sonorous style, not too fast. r>ratints and Grieg were retiring, and indifferent to praise; but criticism provoked Bizet, whose “Car¬ Moszkowski’s “Germany” is one of the favorite men shares with Gounod’s “Faust”—not the opera GIPSY REVEL-W. A. HARDING. numbers from his well-known set of four-hand of the same name by the splenetic Berlioz-the tm- pieces entitled “From Foreign Parts.” These arc This is an excellent bit of writing by a talented tatlmg appreciation of the music-loving world. American composer. The rhythm partakes of the characteristic pieces representing the various Fun, pean nations. “Germany” is a glorified folk-son- ° "lg ?ou d the serenity of Lully. He was nature both of a quick waltz and a mazurka, with TtaI- ° f niece of Louis XIV, who wanted a pretty a touch of the gipsy character. The music depicts TrT m L ,fathfrland” sentimental and poetic' rei-hinm«0j 3 pa£c> but bis appearance did not a wild dance in the firelight, accompanied by the It should be played expressively and with refined shading; quite slowly. an exnert"nl h'm t0 u'6 lady’ and although he was typical gipsy orchestra, the tinkling triangle and the Strum»t? p!aye.r °" thc guitar' then a fashionable in- rattle of tambourine. From a technical standpoint t with both the French and Italians, he was entered < the piece offers some valuable features—the figures MARCH OF THE SEASONS (VIOLIN VXD 11 er books as an under-scullion. Lully in sixteenths will require nimble fingers and a PIANO)—G. GRAF. t disheartened, but rose, as we know, to great favor a quick eye: the arpeggios will afford good practice, of °.Urt' "e said to have been the inventor and the rhythmic effects will demand close atten¬ HenrvepeS comP°s>ti°n known as the overture. tion. A fourth-grade pupil should do well with this owed m„^UrCe,,> *° Wh°m 'landel » said to have piece. on the two lower strings. Play it i„ the ! DANCING STARS—L. A. DRUMHET.I.F.R. irsh, This is a quick, lively waltz in the modern EVENING STAR (PIPE ORGAN)— French style. It is hardly suited for dancing, but is intended more as a drawing-room piece. Play R. WAGNER. ■what trials h co"ductor s baton; we cannot know it in snappy, brilliant style, with careful observance of all dynamic signs, and pedal as indicated. This ft: z°l, b“S”’, r-'S A. indispensableh“sS”-l7’*^ef°re ^ th°ught °f the is an unusually well-balanced waltz, all the themes soft voluntary, suitable for many purposes CJtecllve being of equal excellence. The theme in which the be satisfactorily registrated on 1 may repeated notes occur will require careful practice.. manual organ. Use one or 1 } a?y two~ Follow the fingering as indicated. for the theme, with a light strinlT^ S01? Stops accompaniment. Do no, ,««'« d by grumbling, 315 THE ETUDE THE ETUDE 314 WALTZ WALTZ J. BRAHMS, Op. 39.No.l3 SECONDO J. BRAHMS,Op.39, No. 13 Vigoroso m.m. J = 120 Vigoroso m.m. J =120 . t . . GERMANY DEUTSCHLAND THE ETUDE PRIMO SECONDO A f t 1 i ji ,.>h. p marc, un poco THE ETUDE 318 THE ETUDE 319 . --^ v? „ 4 sx-" ^ Jr i l --_ ^ r , fl _ i £> v-- %_i i»» £ t: m .J. ^ _ 4 I ~—x. 5x-. | > £. af X- > > ,tf -f^cT ,n Axi H i 2 i » . 4 3 4 T" iaja,,4;}^^_4_ Tj3^p- 5-v \ PQsempre leggieriss > > / I f—— t_ tt ^V -J. 1 0&, l * t t % O 1 A ^--- f 3 4 3 ft r - 1 q j^T* . * . ~yPu. \ > l I, a -#■ ■#■ ?- Hi S?"l !f T i British Copyright Secured 331 THE ETUDE the etude DANCING STARS VALSE BRILLANTE LOUIS A. DRUMHELLER, Op. 103 332 THE ETUDE THE ETUDE 323 THE ETUDE 335 THE ETUDE GIPSY REVEL CAPRICE WILL A.HARDING, Op.15 Vivace m.m.J-=80 British Copyright secured 389 828 THE ETUDE THE ETUDE ORIENTAL FESTIVAL MARCHE GROTESQUE R. S. MORRISON o Fine of Trio; then, go back to % and play to Fine. EVENING PARTY MAZURKA PAUL WACHS British Copyright Secured THE ETUDE 331 330 THE ETUDE MARCH OF THE SEASONS Copyright 1910 by Theo.Presser Co. British Copyright secured 333 THE ETUDE THE ETUDE AH THAT WAS MANY YEARS AGO JAMES WHITCOMB RILEY O HEART OF MINE Cantabile T0D B- GALLOWAY, Op.46, No.l 1. 6 *h eart of mine, we shouldn’t wor-ry so! What we’ve 2 .We hav re err’d in that dark hour we have known, When our 3.For we know,not ev’- ry mor-row can be sad; So, for - jfe. rfi ri - :Y?i & —4. ^ FT- 1 J —'0 - ■j J j J .-4 j i '¥ J ^1 -if-+ f p Hf lpr^ j 5. t=| i|«N J 4* 4 4 THE ETUDE 335 the etude 334 To Mist Sadie Benjamin o HOW LOVELY asphodel’s song A. U. BRANDER MARY FLETCHER THE ETUDE 337 336 THE ETUDE ‘O THOU SUBLIME SWEET EVENING START” THE ETUDE EDUCATIONAL CARTOONS Picture Object Lessons that show at a glance why some teachers and why some pupils fail to succeed. If you want more of these cartoons drop us a postal with the line—“Please continue Cartoons. "MY DAUGHTER HAS A HEADACHE AND CAN’T COME FOR HER Note the heighth of the piano stool, the lack of a foot-rest, the stooping shoulders, LESSON.” This cartoon Is a kind of a daily tragedy for teachers. The teacher works largely the strain upon the spihe,'the had finger and arm positions, the distance of the eye from upon the enthusiasm of his pupils. When he finds, that after all his work, his pupil is willing upon the least pretense to sacrifice a lesson for the pleasure of going to the the notes, the bad position of the lamp on top of the piano, and remember that notwith¬ theatre or to a vaudeville show, do you wonder that the teacher is discouraged? The standing the teacher’s admonitions pupils will fall into these evils when the teacher is pupil’s headache is too severe for Czerny, Chopin or Godard, but she can watch a trained baboon try to keep his equilibrium on roller skates without any noticeable distress. absent, unless the parent is properly instructed. Why not call the attention of all the ah a—, —ru]e t0 oblige the pupil to pay for all lessons parents of your pupils to this cartoon which shows exactly how not to sit at the piano? MUST WE ALL BE SPECIALISTS? obliged to study piano whether you like teas, and receptions in order to make teaches music first and the instrument it or not. And so you will very soon both ends meet. The case is even afterwards. BV OSCAR HATCH HAWLEY. have the choice of taking piano, violin more hopeless if he decides on teach¬ Finally, there is the question of and clarinet; or piano, violin and voice; ing voice, and if he decides to teach other instruments than the three men¬ In this age of specialization one who or piano and violin, or piano and voice, piano in a small town he may find the tioned. Frequently in the country a makes a profession of teaching more or piano and clarinet, or piano and any¬ competition so keen among girls who young man wants to study the cornet than one instrument is frequently thing else you may want to study, but teach for “pin-money” at 25 cents a or the flute, or the trombone, or the spoken of by his brethren at large as a always piano. If the conservatories lesson that he has a hard time keep¬ banjo or guitar, or the mandolin. Per¬ "jack of all trades and master of none.” have made that rule it must be for the ing enough of a class together to make sonally the writer does not believe in Some unthinking people even go the reason that it is recognized as a neces¬ it pay. having very much to do with young length of calling such a teacher a char¬ sity that a pupil should know more than TEACHING TWO BRANCHES. people who want to learn the banjo or latan, or worse, and for that reason the one instrument. If, then, a pupil is mandolin or guitar, yet he must admit old-fashioned music teacher who obliged to study piano and violin, and Now, in the name of all that is sen¬ that as a youth he had great pleasure taught you music first, and any instru¬ desires also to study voice, do you sup¬ sible, if he has studied two different in playing on all three of them. When, ment you desired to learn afterwards, pose that conservatory is going to give instruments and the voice besides, why as a boy of thirteen, he was playing has fallen into disrepute. Yet why this him a certificate of graduation unless is he not competent to teach them? third banjo in a banjo quartet and should be the case is hard to under¬ he has become proficient on both in¬ Why should he be restricted to one tenor in a brass band, he thought he stand unless it-is that specialists in all struments and also is able to sing? In small department of music when there was setting the world afire musically. lines charge more for their services addition to becoming a proficient per¬ is so much to be taught and so many At about the same time he was playing than general practitioners, and so the former he must also have a thorough who need teaching? Why should the- guitar in the glee club, violin in the or¬ impression may have gained ground knowledge of harmony and counter¬ community in which he resides lose the chestra and piano around the house, that their services are worth more. But, point, history and musical biography, value of his knowledge just because a so that he was getting something of is a specialist in music worth more as orchestration, etc., and then he is con¬ foolish custom has decided that no one the. all-around quality of the music a teacher than one who teaches several sidered competent to begin his work as person has brains enough to absorb the business. Yet, those were pleasant a musician. instruments and other departments of principles of teaching involved in two days and it sometimes seems a pity music study? In nine cases out of ten The conservatory having granted him different instruments? A man or wo¬ that we have to turn down the aspiring the general teacher is better fitted- for a certificate of proficiency in piano, vio¬ man who can not learn the great prin¬ banjo virtuoso with a stern admoni¬ his duties and produces better results lin, voice, harmony, history, etc., the ciples involved in teaching piano, violin tion that ‘it is not good music” and than the specialist. young man goes forth to make his liv¬ and voice in a course extending from therefore we cannot teach'it. As for The person who plays only one in¬ ing as a musician. He has the choice the age of eight to the age of twenty, the cornet, the writer believes in let¬ strument, such as the piano or the vio¬ of becoming a teacher, a player in then that person can never learn the ting. a young man have all the cornet lin, knows only one side of music. The bands and orchestras, or a concert per¬ correct principles of teaching anything. music he can get, because it will help person who is only a singer sometimes former (if he has the ability). He de¬ A teacher does not have tc be a Godow- him musically and every other way. knows nothing of music at all. cides to devote himself to teaching and sky to teach the piano, nor a Kubelik Moreover, the cornet (or any brass in¬ In some first-class conservatories you at once the question arises: “What to teach the violin, nor yet a Nordica strument) is the acme of simplicity and will be asked, in applying for admis¬ shall he teach?” He has fitted himself to teach voice; but he has to have com¬ does not require much study, learning sion : “What instruments do you desire to teach two instruments and possibly mon sense to teach any one of them, to study?” They do not say: “What to read the notes being the principal the voice, yet he knows that absurd and no more common sense is required thing. instrument?” but “what instruments?” ethical restrictions do not allow him to in teaching the three than in teaching If you say violin and clarinet you will teach more than one instrument. The The writer believes that every teach¬ one. As a matter of fact it is the opin¬ er in the country should make himself be told that you must also study piano. violin is his special delight, but he can ion of the, writer that a specialist in If you say that you do not care to not get many violin pupils in a small of value to the community in which he teaching an instrument teaches his resides, and he can best do this by giv¬ study piano, you will be told that if you town, and he may soon find that it is specialty to the exclusion of teaching Study at all in that school you will be necessary to play for dances, afternoon ing instruction in all branches of the music; while the “all-around” teacher art to which he is devoted. 339 THE ETUDE 338 THE ETUDE tion, however careful, of a piece of mechanism will SURFACE WORKERS. acquired in four octaves. Pupils who have but a WHY “SYSTEMS” FAIL. not disclose the secret of its working: you may small amount of time for practice may not attain examine a motor-car engine ever so closely, and be this skill before the third year of study. able to describe it ever so accurately, but without working on a piece foi- ^evenU months. and. to 2. For the period covered by the “First Steps” BY L. EHREMAYER. a knowledge of mechanics you will have little or no her expression - you will find an ample number of finger exercises. idea of how to drive a car, and still less of how to It-’Tersel’f. "Would1 it he wise to drop It now The strictly technical exercises should be contin¬ take it up again later for expression, eg.-; In no walk of art so much perhaps as in music ually and industriously practiced during work on keep it in good repair and obtain the best results does fairly wSl ou it so far as notes and „me tr| do we come across more cases of disappointed am¬ from it. In the same way, the most exact knowl¬ concerned.—»• the etudes and pieces with which the book abounds. bition. The fact has forced itself upon the atten¬ Some of them should be made into separate exer¬ edge of the anatomy of the arm is more likely to tion of teachers, for too often it could be proved Pupils might be divided into two general classes- cises and practiced by themselves for speed. For mislead the teacher if he possess not, at the same that such failures are due, not to lack of talent, but those who are clever, and those who are dull. A. example, the exercise at the bottom of page twenty. time, a thorough knowledge of the laws of mechan¬ to some fault in the training, which only positive GENERAL GYMNASTIC EXERCISES. as your pupils are able to play pieces of a moderate a matter of general observation, the clever ones You will notice that each of the first four measures ics, acoustics, physiology, etc., together with a scien¬ genius could overstep. The outcome has been the We have a letter from a teacher in the Far West degree of difficulty. For elementary instruction have little or no application, and the dull ones are makes a five-finger exercise by itself. Each should tific mind capable of applying them. rise of “system” after “system,” each claiming, in who seeks information in regard to certain gym¬ ' books you cannot do better than make use of the be practiced alone, over and over again, until such This brings us to the second fallacy involved in hard but slow workers. Hence it is the exception its own particular way, to have smoothed the path organ methods of Landon. velocity as is practicable at that early stage of the term “scientific” as so many adopt it. To be nastics prescribed in some instruction books, the to find the right combination of aptitude and of the student, and bridged over the lacunae which study is acquired. Then the complete exercise may “scientific” does not mean to possess a good use of which she is unable to understand, as they POINTS OF INTEREST. ingness to work, and hence, again, it is only tht heretofore had put a stop to his progress. be practiced as a whole. Learn to analyze your memory and be able to accumulate a number of do not pertain to direct hand training. As the let¬ . in a dally practice schemeofoneln_ _ each, few that accomplish brilliant results. The clever The number of failures does not seem, however, t-lmlf hour to exercises in this way, and apply the same process facts from books and experiments, finally to pass ter is long and the questions can equally well be recommend pupils - ones often require more patience than those who clinical work, scales, etc. •itielsed for very often to both etudes and pieces. You will to have materially lessened. It is true that innova¬ an examination by enumerating these facts and answered in a general way, it will not be necessary tls; Is it too much V are dull. Children who have a great natural fond¬ tions have not had much time as yet to overcome formulae in a more or less original r.nd orderly “ T sawf*-4, li—ar that coulain points i which find it conducive to most excellent results. to print them. as they seem to take . ness for mu^jc are anxious to gratify that taste and the forces of conservatism. At the same time it is manner. Facts are very necessary, they are the In the instructions referred to, the pupil is placed ... lip the points in this manner. equally true that, after making every allowance for Again I am criticised, some teachers saying It is sit down and play, enjoying the music because it ACKNOWLEDGING ONE’S AUDIENCE. brides of the edifice of science; but they do not, of standing in erect position and put through a set "terrible" to give pieces before the end ot the sounds good. They find the work necessary to ac- 1. I am soon to give my first public recital, and lack of results with “impossible” pupils, nearly themselves, constitute that edifice, any more than second grade. Who is right? of breathing exercises, including various arm mo¬ quire the ability to play or to understand the music would like to know whether it is good form for ft every system has, against its successes which are, the bricks in the finest brickfield in the world con¬ 3. When should the minor scales be given? pupil to make his bow when he first comes on to made public, numerous failures which, in the nature tions, the teacher directing the same by a series of 4. Is It helpful or harmful for me to play the page terribly irksome. The dull ones, however, xjfl, the platform or when he leaves at the dose of his stitute the villa you reside in. In the world of military-like commands. Such exercises are intro¬ . melody an octave higher while the pupil is playing performance Or should be bow both at the begin¬ of things, remain more or less unknown. There science “brickmakers” abound, but the architects the lesson? Should I beat the time? little love for music, are as willing to work at one ning and dose? must be some reason for this. who alone are capable of drawing the plans accord¬ duced into piano study by some teachers on the 5. When should the use of the pedal be begun? thing as another. 2 At what grade do vou think one could begin ground that it is impossible to accomplish the best 6. Uow many pieces should a pupil memorize using the Czerny-Liebling Studies, First Book? The genius is one who works and creates as un¬ ing to which may be laid the bricks of the edifice during the course of the year? I offer prizes it With such a pupil as you name, you must first 3. Could you suggest, any works with extended results in piano playing unless the physical system consciously as the flower blooms, and with no more are rare indeed. To be truly “scientific” implies a six are memorized by June. Is this too many ? be careful to select pieces that are well within ;;r arpeggios in various forms, and also octaves?— is in a thoroughly healthy condition; that endur¬ 7. I give occasional written lessons, requiring an¬ effort. For it is a fallacy to suppose that genius faculty for accurate and sustained reasoning from swers on all points gone over—notation, signature technical ability. Occasionally it is a good plan to implies a capacity for taking pains, or a power for ance in the linger muscles is impossible unless there definitions, etc. They do poorly in this. Is it wise cause to effect, going back, if necessary, to first select something a little more difficult a, an i; 1. I should no more consider it good etiquette making efforts. “Geniuses,” says Professor Wm. is abundant strength in the upper arm muscles and to give such work? principles—and this faculty is the appanage of a 8. Do these questions indicate thoroughness on centive, but do so sparingly. Second, try and find for a player to come on the platform and begin to James in his “Psychology,” “are commonly believed the entire body to sustain that endurance; that the my part? I am anxious to become a good teacher. very few. pieces that are short, especially if you are present, play without greeting his audience in the usual man¬ to excel other men in their power of sustained at¬ tendency to a stooping position while sitting at the —R. V. C. True science involves not only accurate reasoning ing pieces containing new difficulties to be over¬ ner, than for a person to enter a drawing room and tention. In most of them, it is to be feared, that keyboard tends to hinder a complete oxygenation from effect to cause, and from cause to effect, but A daily practice scheme of one hour does not per¬ begin conversation without first giving the conven¬ so-called ‘power’ is of a passive sort. Their ideas of the lungs, and which breathing exercises may come, as the mere length of a task often discour¬ also the disentangling of the real from the apparent mit of very much work or progress. In many tional greeting. It is only proper courtesy in both corruscate, every subject branches infinitely before help to counteract. Hence, it is maintained, the ages pupils. It is sometimes well to drop a difS- cause. For instance, a pupil plays a wrong note in cases, however, it must necessarily suffice. I would cases, which should also be observed in the same their fertile minds, and so for hours they may be daily practice of such exercises will help to build cult piece for a few months, and then take it r, reading a chord: why is that? The symbol may be suggest for the one hour of practice that yon assign manner when leaving either the drawing room or rapt. But it is their genius making them attentive, up the system, give it strength and add to the mus¬ again for polishing. This is what virtuoso pianists unusually complex, or the type may be bad, or the five minutes each to special technic, scales and ar¬ the concert platform. In bowing to the audience not their attention making geniuses of them." pupil’s eyesight defective, or his muscular sense cular power that will sustain the hands and fingers are doing constantly. If you will examine the pro¬ the player courteously acknowledges its presence peggios, making fifteen minutes; fifteen minutes Most unfortunately, we try to emulate the genius weak, or his shoulder not firm enough; or again, in long and taxing passages of more than ordinary grams of any of our greatest pianists, Paderewski on etudes, fifteen on pieces and fifteen on reviewing and bespeaks its attention. by dint of making efforts, and the feverish haste of the association of the symbol and the action may technical difficulty. The value of such exercises is for example, for the past twenty-five years, you 2. The Czerny-Liebling can be undertaken when and memorizing. The lessons will naturally have to our boasted civilization allows no time in which to but imperfectly be established; which of these, obvious and unquestioned. It is for every teacher will notice that the majority of the numbers on the pupil is half through the first grade, but would to decide for himself, however, whether conditions be short in order to carry out this scheme. pause and reflect on the futility of a process which singly or in combination, causes the mistake? Only their programs, for the entire time, con-i-t of the better be used rather sparingly at first, as it pro¬ make it possible for him to introduce it among his 2. You are right in selecting pieces containing is contrary to Nature’s laws. Because we have, as careful observation and experimentation, on the same pieces. The same repertoire is kept in con gresses rather rapidly into the second grade. pupils. I saw a statement by a distinguished pian¬ points for special study. Children do not thrive we are pleased to say, subjugated the powers of lines long ago established by Bacon, can decide. slant practice for public performance. Elementary 3. Your third question is rather vague, as it does ist, a few years ago, to the effect that a man needed so well when not given pieces before the end of the Nature, we fondly imagine that it requires but a But what musician tdkes into account the pieces, however, do not possess the intrinsic inter¬ not indicate whether pieces or etudes are desired, to be something of a giant, in strength and health second grade. Indeed, some of the very first five- sufficient effort on the part of the will to accomplish Baconian method? Even if he has read about it, est that will hold the attention in this manner; or what grade of difficulty. at least, to be able to cope with the requirements finger exercises can be made into little pieces, and anything we purpose, quite oblivious of the fact he is—with all due respect to the profession—in¬ hence, during the years of early study tou won of modern piano playing; that he should be able written out in figures, as I indicated a month or two SUGGESTION FROM A ROUND TABLE READER. that the so-called “stlbjugation of Nature” implies capable of applying it: he has not the scientific spirit. to lift one side of a grand piano and carry it with ago. A large part of the work in the best instruc¬ better try and not select pieces that’ will require implicit obedience to her laws. Go to any electric The musician is an artist before everything, and It has been a problem to the writer to devise ease. Although this was doubtless an exaggeration tion books consists of very short pieces from the “several months” for the pupil to learn, for he will power station, and try to see whether you can the artistic temperament is proverbially antagonis¬ means by which each individual finger will do actual in order to accentuate his meaning, yet advanced very beginning. Therefore, do not fear criticism, not thrive well thus, but will develop a sort oi enforce your will upon the current that flows from tic to the scientific spirit. Why? Because art im¬ work, unaided by the hand or arm. pianists can readily understand the importance of particularly if the results of your teaching are obstinate distaste that will be discouraging. Will the dynamos without carefully observing the laws plies emotion, and the emotional qualities, as Sher¬ Without premeditation I asked one pupil to strike the principle involved. One can scarcely imagine good- In this case criticism will but call people’s the pupil you mention, I should advise you to try of electrical conduction. Yet have we for genera¬ each key of the C major scale eight times with the lock Holmes declared to his friend, Dr. Watson, Fanny Bloomfield-Zeisler carrying one side of a attention to you and invite investigation, which is a very short piece, and in-ist upon its thorough tions been trying to play in somewhat similar are antagonistic to clear reasoning. This seems grand piano, yet one only needs to hear her play to of course, just what you desire. little finger, ascending and descending one octave. study at the very beginning. Do not assign too fashion with the brain dynamos and physiological most unfortunate, for if a scientist—a real scientist, realize 'what a fund of reserve strength she has The pupil supported the knuckle joint of the finger, long a lesson, as short lessons, well learned, pro machinery of our pupils. No wonder we are so I mean—has not enough of the emotional quality stored up in her body. Health and strength are , 3\?h!r?.1S no definite time that may be assigned but it was impossible to finish the exercise, on ac¬ for the taking up of scales in the minor. In a «cn- duce the best results. Give single movements only often disappointed with the results! to make him an ardent lover of music, he is little two enormously valuable and necessary assets in count of fatigue. It could not even be played by eral way I should say the major scales should lm rom sonatina . as the‘large number of pages spread I became early convinced that there could be but the conduct of any of the affairs of life, and any¬ the strong second finger without fatigue. As the likely to apply his scientific method to music-teach¬ thoroughly learned, their construction understood e ore a pupil discourage before practice i> wo one best method, viz.: that based upon fundamental thing that will help to bring about that condition thumb joint drew badly under this test, I caused the ing, and the poor student must go struggling on and the pupil be able to play them in a compass of begun, especially in the case of a pupil who has a! principles—and if a hundred different teachers were is worth every consideration. The only question is, hand to be closed tightly, the clinched fist resting as before in the quagmire.—Musical Standard. four octaves, any one at the call of the teacher ready been discouraged by long tasks. Surface to start independently to establish a method upon when and where such special treatment should be on the white keys while the thumb played a key before the minors are attempted. workers demand a good deal of strategy from the such principles, the result would be identical, given undertaken. and the one next adjacent eight times each. By teacher ,f they are to be brought to a point where equal mental powers. If the growth of animals, 4- It is often a help to the pupil to play the means of this the thumb ceased drawing, and at REED ORGAN. they will accomplish anything. Try and make yon ENJOY YOUR TEACHING. melody an octave higher, as you suggest. Offiv the next lesson the hand could be held in posi¬ plants, crystals even, follows definite laws, surely ntwL rCu 1ZC that >hc ,m,st acquirinu a repertoire tion while the thumb could play the C major scale man, himself a product of creation, must have at¬ all the better if memorized, and that her old pieces BY E. E. S. HARRISON. ascending and descending, striking each key eight tained to his high estate through the operation of are the ones she can play best, and that her family times, counting four in a measure, two notes to each certain natural laws and must continue to develop audiences will enjoy most. Hear one or t«o oi arasS'Srat J!""" "“r- in body, mind and soul, according to those laws. A writer, in a recent magazine article, tells of a *ervt-ch lesson, and try and make her realize Now I have every pupil in a large class pursue And if we apply ourselves to the study of those farmer he knew, who went through miles and miles of ££?£■ *“• “ — • “» >■"- Sone hat .f she is ,o play well she must keep up 2 cer- same laws, then—but only then—can a fundamental Pupils beginning the study of the reed organ this method daily, and they have certainly benefited beautiful country and took particular notice of every should be taught in exactly the same manner as a mleTbcr °f hcr °,d 340 THE ETUDE “breaks,” if any, listening for attack voice, five or ten minutes at a time, program 11. 8. What are wild animals kept in1 and finish of tone, and, if possible, hav¬ four or five times a day, and in any m Cage. ing the applicant sing a song in order singing done this register must be used 9. What do puppies do when they are to judge of the general technical and exclusively at d, however weak the hungry? Beg. 2 Piano Solo—Pulse of Spring.-Weil artistic equipment. Finally, it is always tones may be, even though it be neces¬ 10. What do they give cattle when sary to cease all public singing for a 3. Piano Solo—April Song. ■ • fontame they are hungry? Feed. well to ask the applicant what he or Department for Singers while. Changing from one register to 4. Chorus—Awake with the Gark^ 11. What do lawyers, doctors and she considers the chief defect or diffi¬ Department for Clubs judges look for? Fee. culty, and in what department help is the other, from c to d, c to c sharp, and Edited for May by DR. B. FRANK WALTERS, Jr. most needed. back and forth on the same tones, c, c Bright Ideas and Suggestions for Organizers of 12. What do little boys and girls sometimes call their fathers? Dad. Without some such painstaking plan sharp and d, must also be practiced Clubs and for their Members. J- J- J- of voice examination and the prescrib¬ 6. Piano Solo—Sunshower ..Atherton All these questions and all the an¬ until there is no “click.” Students ing of exercises to meet individual 7. Vocal—Spirit of Spring.. ... • Parker swers are very easy. This makes the should further be taught to talk and needs vocal instruction becomes a per¬ 8. Violin and Piano—Spring Song, game move more rapidly, and the per¬ read in the “medium” voice, so as to j.olnurst functory routine of scales, arpeggios centage of those who will succeed is give this register all the use possible. and songs; in fact, merely “singing les¬ 9. Piano Solo—To Springtime Grieg larger. Games that require long study Gradually, as the practice is continued, the diagnosis and cure of ether of the fine arts; family, friends sons,” which anyone who sings a little 10. Vocal—Violets .Hervey move slowly and are less exciting for the power of these lower medium tones CLUB AND RECITAL PROGRAMS profitable account as advertising, since it. Piano Solo—Spring Dawn... Mason SOME VOCAL DEFECTS. and neighbors are audibly informed of or plays the piano, and (it seems) children. Consequently, if you award increases and equals that of the “chest” anything in which so many individuals 12. Piano Solo—Pattering Raindrops, the student’s vocal defects and the every choirmaster or organist, feels FOR SPRINGTIME. a prize you will be obliged to give it tones, so that there is not the same are interested is likely to be widely dis¬ W. G. Smith methods followed to overcome them. quite competent to give. Such teach¬ to the one who completes the list first, temptation to force up the latter. cussed. 13. Piano Solo—Rustle of Spring, BY DR. B. FRANK WALTERS, JR. Comment, advice and warning are not ers may benefit their pupils to the ex¬ withheld, and some other student’s Many students will object at first, PROGRAMS. Sinding tent of exercising their voices and rapid progress and wonderful success teaching them something of rendition; and think the whole thing very silly; Mua You should make an effort to have 14. Piano—4 hands, When Love Is rin The Etode for Juno. 1008, there ap, Young (Waltzes).. Engelmann ANSWERS TO MUSICAL GAMES. under another teacher are discussed. but what vocal knowledge they have is but after a few months’ perseverance the ’ the your program for this occasion as at¬ neared a voice department by Dr. B. Frank In The Etude for April a series of Walters, Jr., which attracted more attention In such a case a teacher who knows the result not of study, but has been they will realize the benefit of such tonal art The Spring Festival is by tractive as possible. Program blanks The writer is a firm believer in light and comment than any similar department games were published, in which were in¬ that his instruction has been sound picked up in general association with physiologic training in the ease, even¬ no means a nineteenth century inno¬ with an attractive cover are now on refreshments after events of this kind. during the last few years. We have requested can but point out again the work to singers. When a voice rich with pos¬ vation. Even in the days when music A glass of some refreshing fruit punch cluded some musical conundrums and Dr Walters to conduct this department again ness and beauty of their singing and sale. You might add to the attractive¬ for the benefit of teachers and earnest stu¬ be done and the time necessary to do sibilities but imperfect in some im¬ was little more than a barbaric col¬ is always appreciated, and sandwiches, questions by M. A. Freebourne. The fol¬ dents. Dr. Walters is one of the leading throat their ability to get effects they never ness of the program by including the it, answering with the truth the objec¬ portant respect comes to them they lection of noises made by beating upon made from the fresh spring salads, lowing are the answers: specialists of Philadelphia.- He also holds the before imagined—alw.ays provided that following list of musicians born in the position of instructor In diseases of the throat tions as they are raised, and endeavor¬ have no cure to give, nothing more instruments of percussion, the Spring- combined with meats and nuts, are al¬ the student is ambitious for the best Springtime. June is added to the list. ANSWERS TO CONUNDRUMS. at a leading college, and is the operating sur¬ ing, by good temper and sincerity, to than the usual routine to offer, though ways relished. These little extra geon in a large hospital. For many years he voice. Of course, “chest contraltos” or- retain the student’s confidence. In there is a crying need for .radical these 'uninviting sounds. touches cost a trifle more, but they 1. Mascagni (mask-on-ye). taught singing hut the extent of his medical “female baritones” can get along in a 2. Schumann (shoo! man!). and surgical practice made it necessary for meditating upon the salient features of training. Notwithstanding the occasional humid linger long in the memories of all who him to abandon this work. Dr. Walters is small way singing as they have always 3. Handel (handle). the case it may be well for him to ex¬ days, the Spring, in all except our most an original, earnest seeker for truth, who amine critically his plan of teaching, THE “BREAK.” been used to, but as soloists they leave April. Pictures of the great masters who 4. Paine (pain). has kept himself in touch with the latest Southern cities, is the most delightful F. B. Busoni .1866 vocal teaching methods, but who thinks for to see if it can be better systematized much to be desired, and anyone with were born in the Springtime, framed 5. Franz (France). Take, for instance, the average un¬ time of the year. The transit facilities T. Dohler .1814 himself. Some of our readers may differ and more clearly expounded, so that a trained ear can pick them out in a in flowers and hung around the walls, 6. Liszt (list). from him in the following article and it is trained contralto with good weight and are better, and the music-room or Spohr .1784 his students may be kept informed of chorus by their “hard” tones emitted will prove an interesting feature if the necessary to inform them that quality in her tones from g to g studio may be more readily ventilated Lachner .1803 7. Field (field). against the policy The Etude to encour- the reason for each step and whether in this region we are discussing. framing is done neatly with flowers than in midwinter. The opportunity Tschaikowsky .1840 CONUNDRUMS AND ANSWERS. scussions. The Etude pre¬ effects as gained are to be mere step¬ that do not wilt too rapidly. Smilax is sents* as many sides as pos for securing flowers, the most effective Flotow .1812 questions, but it ping stones or part of the finished THE HIGH TONES OF SOPRANO AND of all decorations, and the added fresh¬ always useful, and is really quite in¬ ANSWERS TO "MORE CONUNDRUMS." product. May. expensive in season. CONTRALTO. ness that can only be secured from 1. When it is a halftone. tiSSd of technical dispute for centuries. Without such explanation students Henselt .1814 No better form of advertising can be In this article we present the opinions and blossoms grown without artificial help, 2. Sweet peas (pp.). may get a wrong impression of just Another change equally as important, Sullivan .1842 found than that which comes from suc¬ advice of a highly trained scientist and contribute greatly to the charm of the 3. The tonic. teacher. Our readers will find it profitable what their voices are ultimately to be. and sometimes as noticeable, is that Goldmark .1830 cessful pupils’ recital. One to ten dol¬ to consider them carefully.—Editor of The hut whose voice changes suddenly Spring recital. 4. Sharps. If, however, they are made a “party to from the “medium” to the “head” Brahms .:.1833 lars spent in this way should be re¬ Etdoe.J as she sings on up the scale into If your recital takes place in the time 5. Because it is covered with notes. the transaction” they can frequently voice. Sopranos, of course, must, and Balfe .1808 garded as a legitimate business ex¬ a weak tone out of all proportion to when the orchards are qi bloom, a trip Vocal aspirants should approach answer and silence not only others’, contraltos should, use the head register Wagner .r8i3 pense or a kind of investment. Returns 6. When she is on the high sea (c). the lower part of her voice. Perhaps to the country and a small remunera¬ Raff .1822 7. Because it has plenty of bars. their teachers in the same spirit as but their own, criticisms. by the time c is reached the tone is in order to sing their upper tones beau¬ tion will induce the farmer to part with will surely come if you go about the they would their physicians, for the matter right. 8. When it is a second. A building in course of erection is sur¬ strong again, and she may be able to tifully and easily. Where the upper some of the gorgeous floral beauty of June. conscientious teacher appreciates the rounded with many unsightly timbers, Elgar .1857 9. When it has only five lines. sing to high f or g without difficulty. register is used the teacher will find, in his trees, and you will secure decora- responsibility entailed in accepting a and the uninitiated backwoodsman Stainer . .1840 Any song she attempts will disclose some cases, the change made easily r than anything the student quite as much as the physician might mistake the temporary scaffold¬ Schumann ..•.1810 A STAFF SPELLING GAME. ANSWERS TO QUESTIONS. the inequality about the point of and naturally; in others, the singer wjll town can provide. does in treating a patient. In en¬ ing for part of the permanent structure. R. Strauss .1864 1. Schubert. change, however, and in order to carry up the “medium” voice to f or g Complete this with vases of other deavoring to merit the confidence re¬ Enough time and care are expended Grieg .1843 BY MRS. FREEMAN GORDON. 2. Johann Strauss; “The Blue Danube” obtain the power demanded by a dra¬ natural flowers in bloom. posed in him such a teacher is con¬ upon such preparations for building to Gounod .1818 3. John Sebastian Bach. matic song she will generally force the To preserve the spirit of Springtime, fronted throughout his course of in¬ mislead those who know little or noth¬ the floral motive should be continued Offenbach .1819 A good musical game has savec 4- Haydn. lower register to g sharp or a, which struction with the double problem of ing of architecture, and the same thing throughout. For instance, in the R. Franz .1815 many a weak recital. After the chil 5- Handel. more than ever emphasizes the defect. dren have done playing, and have re pleasing his students and satisfying is frequently true and necessary in the Now, how many of the class of chorus number of both of these pro¬ 6. Mendelssohn. their ideals, and of benefiting his stu¬ Interest may be added to the above covered from the shiverings of stage preparation of the singing voice. The teachers • just referred to understand grams the effect could be greatly if the teacher offers a small prize to 7- Bach and Handel. dents and demonstrating in their per¬ fright which usually accompany juve proposition, seriously stated by some the physiology of voice sufficiently to with a “break” over into the “head” voice heightened by having the singers learn the pupils who successfully give from & Rossini. formances his own possession of that the words and music “by heart,” and m e performances, there is nothing lik, teachers, that every pupil should “prac¬ prescribe the remedy or even to realize (a duplicate of the other change the oc¬ memory the nationality of the compos¬ 9- Bach. vocal knowledge essential to the equip¬ i have them carry in their hands, a good musical game to conclude the tice beautifully” from the start is as that there is anything wrong and cura¬ tave below) ; still other singers making a ers of the above list, as well as the 10. Beethoven. ment of a teacher. instead of theirir music.m recital or club meeting. impractical as that the foundation of a ble in the production? Indeed, this smooth enough change about e or f, but works by which they are best known. These two objects seem at times to natural blossoms. The following is suggested because 11. MacDowell. building should be dug without the “break” is so often found in the con¬ with the “head” tones weak, wobbly and The following programs have been it is also educational. The teacher o, 12. Grieg. be well-nigh irreconcilable. However workmen soiling their hands. Some Another effective arrangement is to selected for their practicability and at¬ tralto v.oice that many people believe uncertain. All these conditions must be make a proscenium arch like that of club leader gives each child a page o 13- Coleridge-T ay lor. docile at first, the average student exceptional voieds there may be which it to be natural to the voice, and really tractiveness. They represent two grows weary of the effort, of the prac¬ dealt with individually, giving the the stage of the theatre, and cover this twelve-line music paper: that is. a shee; 14- Sir Arthur Sullivan and Sir Ed¬ require only the singing of melodious enjoy the “yodel” as the singer' passes grades. The first may be played by tice, of the waiting for results which singer with the easy, natural transition arch with green vines and flowers. with twelve ruled staves. If this is noi ward Elgar. vocalizes and operatic arias to bring from one register to the other. The pupils of the lower grades, while the can come only with growth and the one kind of work, and the others spe¬ This may be done at comparatively obtainatde, the staves may be ruled bt 15- Haydn. them to perfection; these do not re¬ length to which some teachers will go second will appeal particularly to those lapse of time, and too frequently gives cial exercises adapted to their needs. slight cost by making the foundation the teacher. Over each stave sh 16. Bach. quire the voice trainer, but the “coach.” in their denial of the principles of of the upper grades. but a half-hearted cooperation in the Thus the contralto must be shown of the arch of chicken wire. The wires writes a question. The answer to thi- For the rest the work required is well registration was amusingly illustrated • 7- Wagner. plan mapped out as compared with the difference between an e or f taken should be completely concealed by the question is a word that can be spelle< exemplified by Signor Campanari in some years ago by a lady who forced PROGRAM I. that complete compliance yielded the vines and flowers. The pupift or club onffthe fiv.e Enes and spaces of th. his own career, as described in an a very “chesty” voice to g and a, break¬ in the “medium” voice forced up and i Piano—6 hands. May Day.Rathbun directions of a physician. Yet, while members who appear should stand article by him, “The Architecture of a ing over into a weak “medium” above, in the “head” voice, and the sopranos 2. Vocal or Instrumental— ht wT,°r lnstance- question migh THE CHARITY CHILDREN'S occupying a position of less authority framed by the arch. If there is room be What vegetable is usually server Voice.” To quote a single paragraph: who then complacently informed a must gain control of and develop their w'th corne,! beef? The any erve. CHOIR OF LONDON. than a physician, the teacher is none enough, very pretty lighting effects may (a) Sing, Robin, Sing..Spaulding “A would-be singer, I care not what little group around her that .there was imperfect upper registers. The best b (o) Jolly Raindrops... Spaulding One of the most striking customs of the less expected to work the cure. be secured by arranging footlights his natural gifts, should treat his vocal no such thing as registers—she didn’t way to. make any of them recognize 3. Piano Solo—Ode to Spring_Weil ^ THe pup!1 would "her with the assistance of lamps placed the English metropolis - for over a The wise teacher recognizes the pre¬ chords in exactly the same manner the believe in that “method.” the “head” voice is to have them start safely and securely upon the floor and 4- Piano Solo—Violets (Intermezzo). and one-half was the so-called monitory symptoms of such revolt, spaces of the sta^tnTotTf •1"1,es am tuner manipulates the inside of a piano. The only way to “cement” such a high enough to be surely in the upper concealed from the audience by means letters. ,n "°tes '"stead o] Charity Children Festivals.” On the bears with the impatience and sym¬ - o Hamer Each little peg -that controls the vibrat¬ break in either contralto or soprano register, and then sing slowly down of mirrors, so arranged to reflect the 5- Song—The Violet.Metzler I hursday of Whitsun - week (seven pathizes with the depression, even ap¬ ing string is twisted and turned until voice (and the same thing is frequently the scale. High g is usually a safe light upon the performers. In this case 6. Piano Solo—Dream of Spring f Wha7 tWf-K;e good Onions: weeks after Easter), 1704, the children pearing for a time to accede to the the note responds without a flaw to found in sopranos) is to reverse the starting point. Though a contralto the lights in the audience room should (Mazurka) .Beaumont course preferred, until, encouraged and shapeThEgr 6 °f f°0d is °val * the different charity schools of the required pitch. How tiresome it is process by which it was originally may say. it is impossible, she can be darkened. The teacher or club 7- Action Song—Busy Little House- stimulated to renewed endeavor, the to listen to a piano tuner in the house! 1^. What is the nickname for Caro- London assembled in St. Andrew’s brought about; that is, develop the usually sing it very softly, and with leader should remember, in this con¬ student eventually recognizes the bet¬ If he is a good man at his trade he o maids .Watson Hollem and joined in a service of song lower part of the upper register by both sop'rano and contralto this soft nection, that only flowers and vines not 8. Piano Solo-Fair Daffodils.Forman ter plan, the higher culture, and wins, strikes and restrikes the note until he ^3. Where does honey come from! and thanksgiving. These services be¬ carrying it down, and stop over-de¬ ■tone should then be slurred down, likely to wilt easily should be used, to the teacher’s and his own enlarged is satisfied.” 9. Piano Solo—Spring Revels_Kern came so celebrated that famous com¬ veloping the lower register. The tones semitone by semitone, to d on a sound and that an effort should be made not to. Piano Solo—In the Lovely Month ideals. posers were attracted to them. In order that this necessary “tuning” from g to d like “aw” or “00.” The d once reached to destroy the acoustical • qualities of Unfortunately, not only from within, the room. .Schumann Bed.netd^t^’are^tiied" tired 1413and.6 sleepy!d° ™ In t8o' the services were moved to may be done in a systematic way, and in the upper voice, the singer is to t. Piano Solo—Peeping Crocus.Sudds the Cathedral of St. Paul, and held but from outside sources, do dissatis¬ without any loss of time, it is well to By enlisting the assistance of the make a sudden drop to a loud “ah” on each year until 1877, when the custom faction and criticism arise, to be nur¬ run over the voice of each new pupil pupils as a body the teacher will be put n P?aT“^riI c°°-,ing .Robinson e. and thus contrast the sensations of T3- Piano Solo—Spring’s Awakening, tured in the mind of the student, and as the piano tuner first runs over the to little extra annoyance in making 4^“" Bear3®6* ™ was given up. Both Havdn and Ber¬ the two registers. This process is to lioz were much impressed by these sooner or later expressed to the keys, finding out the compass, testing these somewhat extensive preparations. ting? Edge.art °f 3 knife does the cut- be repeated again and again while she 14 Piano Solo—To Springtime. teacher. Vocal practice cannot be ear¬ in different regions for inequalities of This very enthusiasm may be turned to festivals. Between 5.000 and 6,000 semitone by semitone, must be practiced studies the sensations of tone produc¬ 7- What is a __ , ned on unobtrusively, as with certain power or quality, taking note of Eggeling children took part, and elaborate com- in sustained tone work in the “medium” tion in the two registers, singing down times called? Fad. P“ ^ Craze so™e- Posttions. such as the Hallelujah Chons from the “Messiah,” were sung. 343 THE ETUDE 342 THE ETUDE pass of basses and baritones can fce ex¬ about the same degree of opening and people, singers can least afford to “burn “CLOSED,” “OPEN” AND HARD WHITNEY MOCKRIDGE tended from a difficult c or d to an easy occupy an intermediate position be¬ the candle at both ends.” Late retir¬ in the upper voice and changing into ing and amalgamating them with the TONES. TEACHER OF SINGING high /, g or even a, besides overcoming tween the two series. ing on two or three consecutive nights, the more open “medium” voice, and tones of the upper register until the PREPARING FOR ORATORIO, CONCERT In this region “closed” tones are not any tendency to flatting and giving a Now we will call the vowel sounds when not compensated by late rising A Tonic AND RECITAL WORK A SPECIALTY starting in the lower voice and chang¬ “tuner” is satisfied. desirable. They impoverish fhe volume degree of flexibility sufficient for first mentioned closed vowel sounds, the following mornings, has invariably ing over into the more closed head A contralto’s lowest tones can fre¬ Horsford’s Acid Phosphate taken when After May 1st will teach in London, Eng. of the middle voice and int€Tf*£* rendering any of the old style color- and the second series open vowel been followed by relaxed muscular tone Present Addrea, 88 W. 61th Street, New York quently be much improved in power you feel all played out, can’t sleep, and London Address, 4 Olazlmrj Rd., West Kensingtonat, voice above. The changes should be pronunciation where most o ature work for these voices. sounds, because these words describe and hoarseness in many cases under the made from c to e, c to f and c to g, and and “depth” by learning to sing them have no appetite, refreshes, invigor¬ nunciation is done and where clearness (Another phase of this subject will bt the relative conditions of the throat writer’s observation. On the other with the larynx pulled down, but such ates and imparts new life and energy. vice versa, until the student can sing is most desirable. Thetr place in the discussed by Dr. IValters in a forth, when they are uttered. Further, it will hand, most singers agree that sleep action must be limited to the tones a head register tone at will. Develop¬ baritone voice is from high d up. coming issue.) be noticed that when the vowel sounds within four or five hours of a perform¬ SUMMER SCHOOL from a down, and never applied above ment of power is thereafter to be singers close as low as fc or c, u “u” and “6” are properly pronounced, ance is to be avoided (there are ex¬ ■DRIVATE Instruction in Voiceand Piano this point. Some contraltos make this gained as in the “medium" voice by the expense of power. The tones from th& larynx is slightly pulled down. ceptions, of course), as it causes a cer¬ A by a celebrated teacher. Voice plac¬ adjustment instinctively, but others, ing, diction, interpretation, opera, oratorio sustained tone singing and the con¬ TECHNICAL TERMS USED in This same action can be applied to the tain amount of relaxation to be carried for Teachers, Concert Artists. Etc. stant use of the “head” voice in its possessing equally good voices, sing production of any of the vowel sounds, over to the time when the vocal chords VOICE STUDY. FREDERIC J. LAPIEHRE, C proper region, never carrying the their lowest tones in much too shallow closed or open, with the result that they need to be “keyed up” for instant re¬ Rnv 24-3. Atlanta. ( a way. By placing the finger on the [In order that the common technical te™. medium voice above c or d used In voice study may lie more clearly 3? become deep. sponse and perfect clarity of tone. larynx or by watching it before a mir¬ lined in the sense in which Dr. Walters m By the application of these principles ror, while singfing on low g, alternately ployed them in the previous article wo „ri„, THE SINGER’S APPETITE. are best sung in the “open” voice. the following. There is a crying need to we can govern in an exact and positive the vowel sounds a (as in heart) and The tones above c are more mu more definite nomenclature in vocal manner the pose of the tones produced Eating at night is not necessarily u (as in shut), the downward movement Terms are often misapplied either throM harmful if the need is felt and the LAMPERTI-VALDA sical and sufficiently powerful when ignorance or through a mistaken effort by the vocal chords. If we want to of the larynx will be noticed. Practice “closed” voice. About increase the number of definitions The term "darken” or “cover” or “close” the proper articles selected, but eating for SCHOOL OF SINGING i contralto should be able to and experiment in connection with sung Dr. Walters employs are used in the 2 pleasure at any time is a dangerous and d the tones of a bass or bari¬ widely accepted definition of the words Th«! tone, we make the singer use one of Address Mme. GIULIA VALDA, develop high g or a and sing it easily, these vowel sounds will enable the stu¬ practice for those who would have ” 160 Boulevard Maletherlees, Paris, France tone are not always musical or free, be¬ /extracts are reprinted from Thk Etii.i‘tS the “closed” vowel sounds or some *‘%?£8:£gS. full voice. Many operatic contraltos dent to get control of the muscles June, 1008.—Editor of The Ettde.] ™ J their voices at the best. Candy in any cause of the Singer’s ignorance of how shading or modification thereof; if we can sing high c, and a good soprano is which pull down the larynx so that it but the smallest amounts had better to vowel them. This is the region for The tones which are made by the vocal want to “brighten” or “broaden” the of course expected to do so. When a may be depressed at will, with or with¬ be avoided. Many a husky, irritated or “JSJnin” Sacred “hard” tones which frequently require chords are transmitted to the external tone we make him use one of the open Frank J. Benedict I singer applies for help with these tipper out making a tone. The practice of even inflamed throat has been traced to 7Va*n Cantata a good deal of painstaking practice to air through the upper part of the vowel sounds or some shading or modi¬ Dramatic Tenor tones, the scientific teacher will first the lowest tones with this sort of ad¬ over-indulgence in sweets. Many of us justment will in time give that full, remedy. Trained singers are often larynx, past the epiglottis and soft fication thereof; if we want to “deepen” By HOMER A. NORRIS test the voice carefully to see if the the tone, as should be done in the lower can call to mind small blisters on the deep quality characteristic of the con¬ conscious of something being wrong palate, over the tongue and lower jaw singer makes the change into the parts of the bass, baritone and con¬ tongue after eating candy. These are Price, $1.00 tralto voice and an increase^ volume here, which they notice more in some and between the lips. Now these tones the result of the acid condition of the “head” register at the proper point. tralto voices, we teach the student to A short Sacred Cantata of moderate difficulty and extension downward of the com¬ songs than in others. For example, are “posed” or directed by these mov¬ If not, she must be taught to do so, depress the larynx slightly for all secretions caused by the candy, and a in four scenes. The principal soloists required pass that she before thought was im¬ words like “heart” and “love” become able parts; the quality becoming “nasal” similar irritation affects the throat. and then the tones above the change possible. if they pass behind the soft palate and vowels sung. are: “Jesus the Christ” (Tenor), and “Mary hard and unmusical because sung with Simple food, in moderate quantities, at Magdalene” (Soprano). Two lesser parts, can be developed one by one in sus¬ We have thus far dealt with some To illustrate: The word “heart” on too open a throat for this pitch, but a out through the nose, or what is called regular times, is the best rule for the “The Children,” ai ' ~ ’ tained tone singing, arpeggios and of the defects in tone making of the “hard” if focused at a certain point at the high f of the baritone voice when C.B. HAWLEY scales until the difficulty is removed. word like “live,” in the same' region, voice user. roeiodi: woman’s voice and indicated in outline the roof of the mouth, or “choked” as properly sung contains the vowel sound e particularly Frequently it is a mental and not a causes no embarrassment owing to the interesting s choruses : Vocal Teacher, Composer their remedies. Let us now turn our they are transmitted through a throat “a,” but a “closed” “a.” Now analyze RELIEVING THE SINGER’S COLD. efiective and well within the range of the aver¬ physical one. Students often dodge the vowel sound itself necessitating the and Conductor attention to partially constricted as in the act of a “closed” “a” and it will be discovered Taking cold often follows disorders age choral society. The solo parts are dramatic high tones simply because, being high, Organist Madison Are. M. E. Chureli, New York relatively closed throat. The remedy swallowing: or the tone becomes to differ from the blatant “a” of the of the digestive tract. Things may fre¬ and expressive, thoroughly vocal. Several they think they must be difficult. THE MAN’S VOICE. for the hard tone is therefore to shade “sombre” by a certain pulling down of “open” tone by containing just suffi¬ quently be set right for the singer ^nd of the principal numbers have been used de¬ STUDIO They feel as though they had climbed tached for church purposes and as anthems, Suppose we take the case of a bari¬ the vowel sound in the first-mentioned the larynx, or “white” by too great an cient of the French vowel sound “eu” valuable time and more valuable repu¬ 35 Wesl 42nd Street, New York to the top of a ladder and in order to tone with a compass class of words toward that of short “i,” to slightly close the throat, which notably: “Art Thou Weary?” (Soprano Solo Telephone 5442 Bryant reach higher are bound to strain. This elevation thereof; or there may be in¬ tation saved by the use of a saline laxa¬ and Chorus); “Praise ye the Lord ” (Chorus); producing the intermediate vowel sound “closing” takes off the strident quality is what happens when a register is numerable combinations of these quali¬ tive as soon as the indigestion makes “Seek ye the Lord” (Solo and Chorus'. “eu.” In singing the word “heart” on inseparable from a tone produced at forced up, but where the higher register ties, all dependent upon the shape or itself apparent, followed, if indicated, the descending scale of high e this pitch with the open throat. Send for a Copy to Look Over is used in its proper place, a new lad¬ relative dimensions of the channel by the old-fashioned hot foot bath, hot lemonade and a sweat. When there is der is placed on top of the lower one through which the sound waves are WHAT “FALSETTO” REALLY IS. Theo. Presser Co., Philadelphia and up this the singer can climb with transmitted to the external air. The no general cold, but the voice is hoarse Everybody knows that tying up an ease as soon as she gains confidence but an untrained singer. He sings up the problem is—how to use these movable and the throat raw, a cold compress arm will finally cause the muscles to enough to trust herself to it. scale of c with his mouth almost closed, parts so as to secure the best pose of worn at night will frequently work the predominant vowel sound produced waste away. Now tying, tip a register wonders. A level teaspoonful of salt is the vowel sound to be uttered on the tone and to overcome defects. BROOKFIELD SUMMER SCHOOL OF MUSIC WHAT TO DO FOR LOW TONES. being a sort of “ugh.” This becomes —not using it—will cause those mus¬ added to a glass of ice water and a Opens July 6th Closes August 30th higher tones, e, d sharp, c sharp, is a A soprano ought to be able to sing an unmusical hollo by the time b flat VOWEL SHADINGS THE SECRET OF cles which produce that mode of vibra¬ handkerchief is wet therein and wrung Highest Grade of Instruction Under Favorable Conditions. At Moderate Prices. shading of this same “eu” sound. On “ --1 d, c or b flat and c is reached, unless he has in¬ TONE POSE AND QUALITY. tion of the vocal chords to also waste out. This is placed around the neck; PRIVATE LESSONS IN VOICE—PIANO— ORGAN— THEORY stinctively altered the adjustment and c sharp' the sound should be more nearly Normal work in voice conducted bv Herbert Wilber Greene a feature of the session. away, so that when the attempt is made a piece of oiled silk- (procurable at any changed the vowel shading thereby to pure “a,” which should be fully estab¬ Aside from such defects as breathi¬ For prospectus address H.W. GREENE. 864 Carnegie Hall, N.Y. City. After done 1st, Brookfleld Center, Com, to sing in the weakened register the drug store) is placed on top to prevent something like an “ah” or else “closed” lished on b, and the scale then finished ness, throatiness and nasality, for which tone is found to be small, breathy, of evaporation, and over all a flannel the tone into an “eu” or “oo.” In the on this vowel sound. In all scale work special exercises must be’given, the poor quality and so entirely different bandage. The cold is soon followed by last case the tone may be fairly mu¬ the transition from one shading to simple and exact and scientific way of OF BOSTON from the rest of the voice that it is a sensation of heat. In the morning, sical, though pronunciation of words . another must, of course, be smooth and controlling these movable parts is by (Pierce Building, . .—and <... HHH called “falsetto.” The term “falsetto,” after removing the compress, the neck with this adjustment would leave con¬ unobtrusive. singing certain definite vowels or therefore, should be used to indicate Copley Square) ‘frequently in music written for that siderable to be desired. As he sings vowel shading. No one can sing a tone is to be bathed freely, followed by bay F. W. WODELL only the state of development, not the voice. Where the “chest” register is above c, the tone as produced in the THE LOW TONES. any kind of a tone except a pare ham rum, cologne water or alcohol and used these tones will be strong register; for upon studying the matter water, to harden the skin. SUMMER TERM original adjustment approaches more —Without sounding some vowel or vowels. Montreal, Canada, dune 1 enough, but some sopranos have never For the low tones of the baritone or scientifically we discover that the and more a yell, while the throat in the bass voice the singer must learn to de¬ The tone is posed by the relative posi¬ voices of a Schumann-Heink, a Caruso, SIMPLE HOME REMEDIES FOR FOR SIX WEEKS learned to use the “chest” register “closed” adjustment—until he has been tions of the movable parts of the chan¬ either in singing nr speaking, carrying press the larynx—as in the case of the a Sembrich, etc., include those very HOARSENESS. VOICE ^ PRODUCTION ^ ^ ^ ART OF SINGING shown how to use it—will tend to contralto in order to secure the maxi- nel through which it is transmitted, and registers which, in an undeveloped con¬ Hoarseness may be further relieved down the “medium” voice instead. This squeeze shut altogether. these relative positions are governed dition, are called “falsetto.” The “nat¬ by inhaling the steam from boiling at least avoids that harsh quality so In remedying these defects we have “deptlT" Thd that. duality spoken automatically by the vowel sound ural” voice, in any given case, can only water into which compound tincture frequently found in association with to rouse the singer’s perception of Place about d ^ aCtl°n shouId *»k« uttered. The pose of the tone is abso¬ mean the habitual voice—that is, the of benzoin (Turlington’s balsam) has the “break.” Nevertheless, the power of vowel sounds by contrasting for him the lower tones, as produced in the lutely bound up with the shading of the voice that has been developed through been dropped—a teaspoonful to a pint and then making him contrast a “u” vowel sung, and every singer fulfills this MR. PERLEY DUNN ALDRICH “medium” tones carried down, is not with an “a,” an “a” with an “a,” etc., habit and use, for the same registers —three or four times a day. A paper adequate, and the singer must be law whether he or she recognizes the that are called “falsetto” in one singer funnel may be placed over the open until he has mastered and can produce tact or not. Study, therefore, the vowel taught how to gain more power and these contrasts. We will ask him to are accepted as legitimate when in an¬ bowl or a small tea-pot used, by plac¬ fj? Will give lessons in singing from June 1st to $1 retain quality in using the “chest” down sounds uttered in different regions of sing first, on a or b flat, the vowel other singer they give a tone of ing the lips over the spout, being care¬ August 15th at his summer home, Harmony from middle r. A plan that frequently The practice of the low tones in all the. voice when our representative requisite vibrancy and strength. ful not to draw the hot water into the sound “a.” It’s ten to one that he will artists sing, and you have the key to Lodge, 11 Kennedy Place, Ventnor, N. J. (At£}gic) J® succeeds in demonstrating to her this succeed in producing only a somewhat mouth. Boric acid—a teaspoonful to a the male.or female> should be done the management of tone pose. lower action is to have her make an brighter shading of the “u.” We will n the morning, while the voice is stm HYGIENIC HINTS FOR THE glass of hot water—makes a slightly In order to test this matter, stand explosive and sudden exclamation as direct him to open his mouth and try low from the relaxation of sleep. VOICE USER. astringent gargle of benefit to a con¬ For Particulars Address, 1710 CHESTNUT STREET, PHILADELPHIA, PA. in the word “stop” on low b flat or a with the back to the light so that it is again. Some improvement may be gested throat, and equal parts of alco¬ in as loud a voice as she can muster. A WARNING. reflected from a mirror held before yon noticeable, but still the “u” sound is BY DR. B. FRANK WALTER, JR. hol and water used as a gargle will It may require many attempts on this into the open mouth; keep the tip of predominant. He fails because he has sometimes prevent tonsilitis. or other words, carried over some les¬ “deep” ^ not yet a real perception of the sound the tongue down and the jaws propped Singers and speakers find from ex¬ These are simple remedies found in sons, before she can make the vocal MUSICAL CELEBRITIES he is to make. We then tell him to open with a piece of match-stick about perience that they must avoid some every household, and their early use Price, 7S Cents chords sound in the lower register. say. not sing, the word “hat,” short and an inch or an inch and a quarter long things and not fail to observe other may aid a singer to keep an engage¬ Once she succeeds, the tone is to be sharp, at a high pitch, then the word so as to secure a clear view of the in¬ ment or ward off a prolonged attack prolonged for a second or two and things, if their voices are to be at their ing great hut. He will by this time commence menffrom0bottomlo top ofThe^4' side of the mouth and throat. Now that would greatly interfere with prac- then repeated until she can strike it at best. A very slight indiscretion that to realize what we are driving at and speak or sing the vowel sounds "8,” tice or professional opportunities. This collection is of parti : because nothing like it ei will in the lower register and hold it. to the average man or woman would can begin to sustain the two vowel tones TA SimS ** the *5£ * (as in lid), “u” (German) and “oo," They are by no means intended to take After this it remains merely to have impossible °r carry with it no harmful consequences sounds themselves. From this we lead and you will find that the upper and her sing down in the “medium” voice may mean, to the singer, success or the place of the family physician or •seek the assistance of Ct , 7 fina,1y ack part of the throat and month is to the “chest” and from the “chest” riT01V° sustaininS the “a” until, failure in an engagement. specialist, however, and all singers and finally, he can produce instantly that remedy is to “open” tb C-h/r' The not so open as when you make the into the “medium.” as imblending any students are urged to consult a physi¬ adjustment for the middle part of the close” the upper ton* ^ i?lldd,e ancl HOW SLEEP AIDS THE SINGER. two registers, striking and restriking }owel sounds “5” (as in hat), “a” (as cian in every case where the indisposi¬ baritone voice which makes the tone eflFect of raisinrtVeTa/vn^1^, has th' ■n father), “a” (as in shawl), and V Sleep is especially necessary if one tion seems to be deep-seated or the re than satisfied with the highly ai the tones—as Campanari says—mellow- it freely movable as an,d ,TlakinK musical and free. (as m Sh„t). The French vowel sound would be in perfect voice; sufficient simpler remedies do not give prompt ngidly down. By this^?84 hcdd5n^ it y ttlls means the com- eu (as m yeux). the German sleep, taken at the proper time. Of all Theo. Presser Co., Philadelphia, Pa. Us in bfise) and “c“ (as in met) show m THE ETUDE when addressing our advertisers. 345 THE ETUDE 344 THE ETU D E to watch a series of colored lights, slightest touch, however rapid, should aesthetic standpoint, there are certain tinguish the stops above and belowr in numbers, indicators and various other be sufficient to start the mechanism laws of consistency which cannot logi¬ CHURCH ORQANS! that vertical line than you could dis contrivances for informing him, more Estey Church Organs which moves the draw-stops. There cally be disregarded. An artist, for in¬ tinguish the stops themselves m a or less, of the particular group of stops ought to be a separate bellows and ex¬ stance, would not introduce into a pas¬ horizontal line. The “visual accommo¬ on which he was playing. I ftcn haust for every piston—not one for toral painting a whale or an iceberg, or Automatic: 0 estey standard maintained anything totally foreign to the subject. dation” would be more complete and wonder that things have stopped where each row, as some builders have un¬ maximum facilities The “Ride of the Valkyries” and a Symphony Organs! more simple; the concentration of both they are, and that individual stops were wisely adopted, usually owing to the highest grade of product Palestrina motet, are, when associated eyes on the vertical line would be more not done away with altogether. The inane demand for small consoles. PIONEERS AND LEADERS ALWAYS together, just as incongruous as the accurate, and individual points in tha builders might have saved a lot of ex¬ The draw-stop rods should be of Examine Key Stop Action and Wonder¬ landscape and the whale.—The New vertical line would be more easily pense and possibly made the console good length inside the stop-jambs, and ful Reedless Oboe and Saxaphone Music Review. picked out, and the whole operation even still smaller. The pistons might should be so balanced that, at what¬ ever angle, in reason, you may attack would be more easy, and therefore less have been labeled from />/> to If, and the the stop-knobs, it should make little THE SWELL PEDAL. to the eye—especially, and what “crescendo pedal” could always bring id Music Ri is cannot Estey Organ Co., Brattleboro, Vt. difference to their free movement. A good organist may be known by his _ __ad by other systems, either important, when this has to be on the other stops, in between the Granted that we have such a perfect use of the “crescendo” of the swell Tonally or Mechanically. sustained for a long period as in an jumps of the pistons, in the same old Our special Solo Device in our SYM¬ stop-control system as the above, how organ. A poor player, where he has a PHONY ORGANS requires no atten¬ LEMARE ON THE MODERN tice) for ' one to throw his whole organ recital. Th SHRYOCK IS n the 28th of each m SJERNSDORFFm CLASS PINS tracy r::::: Special^designs for musical ^clubs and classes PIANO TUNING MtE veon ... ""bENt’&BUSH CO.TrerS 15 School St„ - Boston, Mass. wm oi li n u J. WARREN ANDREWS for the child, if partaken of freely. I POSITIONS wTlder^ ofl^cture^a^nushm'io!?"0*1'1 S™DY’in Form ^ CLASS PINS and adapteefto theneeds of those'who ra^fpend drank it between meals instead of WINKLER but a short time in the city. Send for catalogue. id found it most beneficial, WraflSrath sc,“Jewy£11'’1'" Pl»«™i‘y, Oatr.i rark ive-year-old boy has been very BUNDE & UPMEYER CO. JVIusic typography in all its Branches Manufacturing Jewelars 1 11 MACK BLOCK - MILWAUKEE, WIS. jpg Dudley T. Limerickj PIANO FRAUDS! S. fiichs Street, Philadelphia pfip^ iillH: io The Piano and Organ D I' haTs! tcl1 them that we attribute his gain in e of the new conductor! strength arid general hcalrli to the free Purchaser’s Guide been yery pronounced and use of Postum, and this has led many By JOHN C. FREUND friends to use it for 1 Editor of “ The Music Trades ” msG^eSJ”P°rtant (u"Paid for) facts about all you from fraud S player platlos- This saves e66 Pages, 12th Ytar. 25 cents by Mail, Prepaid lOBim MUSIC TRADES CO. Dept. “X,” 505 Fifth Ave.. New York City year old. He wa° ^and when properly made, it is very d aeschoo?nnde °n his ,(!ehcious- I want to thank you for the ZABEL BROTHERS ntra^on^egaTlonai ^nefits wc have ^derived from the use MUSIC PRINTERS * tnheWWhUm-maV’7; ,,f Musl<'- ■ Read "Tlu' K««d to Wcllville.” found ¥§i "SZJtZ’JgZSZ, am. SPRINGTIME AND ENGRAVERS Please mention THE ETUDE when addressing our ac Si7uniso0nnSiSAs°,fheVsonVSya: St., Philadelphia, addressing our advertisers. THE ETUDE 355 354 T H E ETU D E Learn Piano Tuning RECITAL if 3 5 MUSIC !i Duets, Trios and Quartettes The Mary Wood for Organ, (Pipe or Reed), of Artistic Pi< SM7 $ y Violin, Piano, ’Cello, Etc. MUSIC and DRAMATIC ART 5 CABINET ORGAN and PIANO FREDERICK MAXSON a pH o 5 THE WORLD RENOWNED New Piano Music SOHMER g-Jars: CLAYTON F. SUMMY CO. TH::.=H'SsKrr 5* EAST 34th ST.. NEW YORK CITY CABINET ORGAN §Si; and VIOLIN Se.bo«k. W. C. E. Op. m- The g-cass; ■Sffi tssmsvsss.. pieCces?CtKxcellenTTeachins inater'iaL°rt CABINET ORGAN, VIOLIN and ’CELLO iEvetothechM. Each”neisa^ PIPE ORGAN and VIOLIN Hi AW ATHA | ?iSl GUIDE FORJHEwMALE VOICE Op. 23. ' Price, 81.00 VON UNSCHULD UNIVERSITY OF MUSIC 1712 Chestnut St., Philadelphia, Pa. Author of the Hand of the Pianist, Method Uschetizhv m EMERSON PIANO C0.rrj? high grade Grand and Upright Pianos. Catalog on request. Please mention THE ETUDE i 560 HARRISON AVENUE, BOSTON THE ETUDE 357 356 THE E TIDE kCE OF MUSIC IN THE to its charmed circle, but with what COLLEGES. reluctance do they concede its value as LEARN TO COMPOSE AND ARRANGE MUSIC a disciplining force or place it on a Summer Schools parity with the studies that have no in¬ What Others Say fluence whatever upon modern life ex¬ cept for discipline! Yet music in its for :nt of one of our largest LOUIS II ANNOUNCES HIS USUAL SUMMER COURSES OP MUSIC STUDY "We are a by out lotas deepest significance and as a whip to the nee asked what one study ARTHUR in the mind, both in its mathematical and :t for his child provided russellII Russell M ethods CICity„ hear and hearts to understand. His life esthetic demands, is far more valuable [ be chosen. He promptly For Pianists, Vocalists, Class Teachers, Etc. , ’ Address for Particulars ic.” When asked to ex- than Latin or Greek and carries with it HARMONY and COMPOSITION the advantage of touching the needs Nearly Fifty New Teachlne Centers NQRMAL INSTITUTE OF MUSIC “Because every faculty Opened this Season throuzh the Country | 853 Carnegie Hall, New York LESSONS BY MAIL and appreciation of modern civilized * play: the moral nature, : 1, the physical, the emo- life as it is touched by no other science t or art. r- lal, without which CHAUTAUQUA (N.Y.) ; ALFFiED ^ WOOLER. a™. Doc. Coming so direct The smaller colleges, most of which act with a borrowed initiative, are as practical and permanent advantages all around in the short t< from one qualified tot, speak with au- INSTITUTION weeks. Artists' Recitals, Pupils' Recitals and Concerts. 322 West Utica SI., BUFFALO, N. Y. yet blind to the truth' as regards the thority on the subject:, may we not ask MR. SHERWOOD’S ‘ _ S H EJRfWOM JJS JS C H O®®®^mme kJ : not its proper value of the art from any standpoint, . ©ftbeCitg illege curriculum, on a except the necessity of employing it in 22 nd Summer Session 5 ♦jj nstitute of /16nsical Hrt. oFMew Uorh it with chemistry, the the most perfunctory manner in the mathematics? daily routine of college life. The plea of the young men and women of our Sommer Courses for Teachers and Students of the average college MISS GENEVIEVE BISBEE ESsSSSS ££?;aB3»s ‘•FROM BRAIN TO KEYBOARD” iy to vote an increase country is, “Give us less Greek and (Leschetizky Method) ents of Latin and Greek, Latin and more and better training in music.” They feel that it is better music department asks EMILE SCHOEN SUMMER COURSE FOR TEACHERS p.«„i.i„g elf :fvJr"’:'o* \:hi worth while to sing in a living language ease the vote is too fre- 15 East 98d St., New Yoi DANA'S MUSICAL INSTITUTE, WARREN, OHIO than to forget a dead one. Telephoi the negative, deficit in the other tter of course, and BE PATIENT WHEN TEACHING. Music teaches most exquisitely the art of development.—D’ltraeli. to make the usual of influence and to the THE SCHOOL OF MUSIC-EDUCATION DR. ANNIE PATERSON. CALVIN BRAINERD CADY Principal make up the 1 SCHOLARSHIPS^^— 1 /T. ... . \ the music depart- The personality of the instructor has SUMMER NORMAL f goes the head of much to do with the young student’s ——TWENTY-SECOND SEASON —— worse, the salaries enjoyment of a lesson. A bright and Portland, Oregon, June 23 to July 28 the department of cheery demeanor, and, especially, a music, however, show a balance on the kind and patient way of pointing out Cleveland, Ohio Aug. 2 to Sept. 2 right side of the ledger the amount is faults, are traits which go far to pre¬ on application 900 Beacon Street, BOSTON, MASS. at once appropriated by the science or serve harmony in the music room. The irate music master or the “cross” music equipment, and the music department mistress are, happily, as much out of The American Institute of Applied Music is told that it will have to wait until fashion as they are out of date. Allow¬ A? /A\ A (THE METROPOLITAN COLLEGE OF MUSIC) another time for the improvements it ing that false notes irritate the sensi¬ n\ 212 WEST 59TH STREET. NEW YORK CITY has merited as well as earned. tive musical temperament, what earthly ■/SIX WEEKS’ SPECIAL SUMMER COURSE FOR TEACHERS Let us look for a moment at music excuse is there for men and women to JUNE 20th TO JULY 30th so far as it relates to the life of the 25th Year Begins Monday, September 26th, 1910 forget themselves so that they get into for catalogues and circulars. KATE S. CHITTENDEN, Dean o f the 1 student. It certainly plays a most im¬ a furious rage, rap frightened children portant part in his daily routine. First over the knuckles, and fling music or comes the college chapel, where always books at the heads of offenders whose THE NEW only crime is that they have not yet whole school. Then there are the glee, grasped the secret of musical excel¬ club, choral club and choir rehearsals, lence? If easy-going ways and pliant classes in sight singing, individual les¬ methods do not meet with universal VIRGIL sons and singing in the college societies favor, it is always possible to combine and on the campus. There are also the the requisite firmness and exactitude public performances of the different with tolerance, sympathy, and endur¬ Practice Clavier musical clubs, societies and individuals. ance in the case of students who, by Thus is music before the student body nature, are not so bright or receptive as and in the public eye during much of others. It is in these matters that the The only reliable instrument of its the day and every day. Not so with a teacher’s powers of character-reading kind. Far superior in its latest majority of the other departments. and restraint come into play.—Musical construction to anything which has Their work is carried on privately, and Education. appeared before. it is limited to a very few hours per week. When we inquire for the mu¬ sical department at a college, we are SEE THE VIRGIL SCHOOL OF MUSIC usually shown an old building long Summer School Announcement Five Weeks’ SUMMER SESSION for piano teachers and players in since discarded by one of the other de¬ correct and most advanced methods, beginning July 5th. partments, or some obscure corner near For catalogue and prospectus address: the roof that would be highly undigni¬ FLETCHER MUSIC METHOD fied to assign to any other branch of on page 360 of this issue A. K. VIRGIL. 45 East 22nd Street. New York The attitude of the faculty of the average college to that of music is usually indifference, while the trustees STUDY MUSIC THIS SUMMER AT THE seem to think the department work must be kept in the background. At one college the president was so afraid that music would dominate the institu¬ NEW YORK SCHOOL OF MUSIC AND ARTS ted the number of 58 West 97th Street :ly, those who were la mater made the RALFE LEECH STERNER, uestion with broader YEARS NEW YORK CITY’S MUSIC SCHOOL ollege to be expenc of the trustees. W REGULAR STAFF OF EMINENT TEACHERS WILL BE IN ATTENDANCE DURING THE ENTIRE SUMMER Uii heard of such a fun or ^ORRESPONDEN^Ce'sTUD^1^ PUNNING SYSTEM OF IMPROVED tained a reprint from the Glasgow WIT, HUMOR Summer Schools SHEPARD PIANO SYSTEM Herald, in which “R. T.” quoted some and ANECDOTE novels1 of” the late George Meredith' BUSH TEMPLE CONSERVATORY «Er- MUSIC STUDY FOR BEGINNERS EMIL LIEBLING’S ■: Piano, NormahVoice, A HEART-TO-HEART TALK WITH Stop $Ig5? MUSIC ll IN CHICAGO of music as he was in his views of life SUMMER NORMAL From July 2 to August 6,1910 ■':J; $65 FOR TEACHERS ■“He also did something which I don’t At all hours of both day and night THE COLUMBIA RSCHpOL OF MUSIC Mr. and Mrs. Crosby Adams SSmeS Announces SUMMER NORMAL SESSION Departments irssafs: SUMMER CLASSES myself for composing. He was not an SSSt Austrian; but when he was alive he lived in Vienna, the capital of Austria. He ate Austrian bread, and why God THE KROEGER SCHOOL OF MUSIC think.” was an Italian patriot at the time Italy BEAUTIFUL SITUATION and roaring” (as his pupil Ries puts tdl?*1 But'sire*cou 1 d^not h^f'Beelhovffl it), or he would stand beating time even though she tried. Here is the with hand and foot to the music, which fmmm,11 was so vividly present in his mind. ? and he’s a German! I told :gularly every night, after sit down to the piano. Witl my father about Italy and ms yenow-olack Tedeschi, this man thoven5can was frequently re came over my pillow and made me call him Master,^Master. ^And he is.^ He him’in spite gof my hatl”* Tcame^here American Conservatory KIMBALL HALL : : : 8 : :_i CHICAGO, ILLINOIS .of you. I heard the jreat symphony. I fell D. A. CLIPPINGER tming of my music. That’s at his mercy. There’s no one tl’Pupil: “The-‘Eroica,’ the *C SUMMER NORMAL SESSION I must detest music to get and the—t' ' eLficrtoTseekT'enrmJoTra^ ‘° JU'y 3°th’ ^ L6CtUreS ^ eminent “USt* ^ Much f SSft^aTrnd I? ' ' “Do you believe SCHOOL OF MUSIC COSMOPOLITAN ORATORY ANDD DRAMATIC ART SCHOOL THE BACHELLER is lulled withth the igentle strains of- dC Ninth Symphony on a cot¬ op MUSIC SUMMER SCHOOL tage piano! This is somewhat in line plenty of time to his work.” George Eliot’s novels, in which the There is a story to the effect that music takes the form of “a quick pas¬ Sophie Mentor used to practice upon MICHIGAN CONSERVATORY OF MUSIC sage of descending fifths!” George Washington Ave & Park St., DETROIT, MICH._FREDERICK L. ABEL, Director Eliot, however, did not compensate for practfe keybj0;lrd' j?nhe day She k “can bring THE if you can fancy a thread of honey if°it would never* thr°Ugh yOUr heart as if '* wouId hearsal of Oberon. To one of the sing¬ A Normal Class for Voice Teachers ers he said: “I am sorry to see you And here is WEIGESTER take so much trouble.” The flattered IDEAS :: PLANS :: MATERIAL :: ILL USTRA TIONS in “Diana of r-ys? are not told so in the book: ST replied*” tti’e ^sarcastic trouble “*f SeCm-S a ^hame t0 g° to the MR. ROOT, author of “Technic and Art of Singing,” notes that are not in the mvreic.’’6* will hold a ten-day session, July 5—15, for normal work with usss&aaft,*-: »« me lo composing songs—not to Ms . July20thto/tug.31. teachers of singing and those preparing for the profession. CaSe'h°all .TwYork O# I Circulars upon Application to FREDERIC W. ROOT Kimball Hall =: IChicago. 111. the 360 THE ETUDE REED ORGAN MUSIC The Fletcher Music GRADE L 1510. Polzer, J. School March, Op. 46,..SO 20 1536. Oesten, Max. Norwegian Shepherd Song, Op. 140, 3771. Read, E. M. Sunset Nocturne,.. 30 1503 Barnard, D’Auvergne. The Grenadiers,.$0 20 1531. Rossini, Q. William Tell. 20 1550. Rawlings, Alfred. Postlude in D,. 20 Method Summer School MUSIC 26071 Engelmann, H. Op. 336, No. 1. Butterfly Waltz, . . 25 2426. Schmoll, A. Op. 54. March of the Crusaders, ... 30 1088. Reinhold, H. Op. 39, No. 13. Gipsy Song,. 20 3817. Engelmann, H. Op. 556, No. 3. The First Dance 1537. Schumann, R. Nocturne, Op. 23, No. 2 (Nachtstucke), 20 1195. Richards, B. Evening.. 20 1508 Rossini G Tyrolienne (from William Tell), .... 20 3821. Engelmann, H. Op. 556, No. 7. The Surprise (Taran- 1509. Strauss, Joh. Thousand and One Nights,. 20 1540l Rossini.’ G. Cujus Animam (from Stabat Mater), .. 20 3656. Tschalkowsky, T. Op. 39, No. 8 (Valse). 20 8819. Engelmann, H. Op. 556, No 5. To the Dinner 2696. Wagner (from Tannhauser”)* Song to the Even¬ f March), .. 80 44 Will be held this Summer in ing Star.. . 15 1440. Landon, Chas. W. Melodious Easy Studies for Piano 2412. Wandelt, B. Op. 13, No. 1. The Little Soldier ... 80 1532. Wagner, Richard. Bridal Chorus, from Lohengrin; TEACHING! or Reed Organ (School of Reed Organ Playing, 3330. Zernickow, E. Op. 13. The Daisy.. SO Pilgrims’ Chorus, from Tannhauser, . . . . 30 Brookline, Boston’s most Vol. I),.1 00 1601. Lange, 0. Flower Song,. 20 GRADE HI. 1542. Wely, L. March of the Halberdiers. 8(1 1456. Streabbog, L. Paul and Virginia,. 20 1557. Wely, L. Wely’s Celebrated Offertory In D Major. . 2« beautiful suburb, opening II II 2379. Streabbog, L. Op. 118, No. 7. My First March . . 15 1530. Armstrong, F. L. The Organist's Muslngs. 50 2843. v. Wlckede, Fr. Op. 83, No. 1. First Thought, ... St 238o! Streabbog, L. Op. 118, No. 2. My First Waltz ,. . . 15 1605. Weber, C. M. von. Invitation to a Waltz. 20 2211. Battmann, J. L. Chapel March,. 20 the first week in July. 1806. Weber, C. M. von. March Maestoso. 20 1559. Batiste, E. The Celebrated Andante,. 20 GRADE IV. 1507. Home, Sweet Home,.. 15 1562. Beazley, J. C. At Eventide,. 20 1516. Clark, Scotson. Procession March,. 50 1523. Clark, Scotson. Torchlight March,. 20 1567. Battmann. J. L. Op. 75, No. 1L Overture —Volun- ^ PECIAL railroad rates—owing to the National GRADE H. 1527. Clark, Scotson. Marche des Girondins. 20 1552. Beazley, J. C. The Victor,. 15 1547. Clark, Scotson. Pilgrims’ March,. 20 1568. Battmann J. L. Op. 75, No. 14. Overture —Volun- Educational Association’s meeting in Bos¬ How Can It 1524. Beethoven, L. van. Adagio from Op. 13,. 20 1548. Clark, Scotson. Belgian March,. 20 ton—will make this year especially favor¬ 1521. Czibulka, A. Stephanie Gavotte, .. 20 1554. Flavell, E. M. Devotion,. 20 1546. Gounod. C. Funeral March of a Marionnette,.... 30 1528. D’Albert, C. Peri Waltzes, . 30 1526. Gounod, Ch. Faust Waltz,. 80 2184. Knight. T. H. Hilarity March (Two-step). 56 able for the many teachers who desire to 1549. Farmer, Henry. Retrospection,. 20 1534. Oounod, Ch. Marche Romaine (Marche Pontificale), 20 1541. Landon, Chas. W. School of Reed Organ Playing, . 1 00 3439. Friedmann, C. Op. 74. Bavarian Blue (March) . . 20 1198. Gurlitt, C. Idylle,. 15 study this Method. 2650. Grainger, Alfred. At Eventide, . 25 1555. Mendelssohn, F. Wedding March (from Midsummer Be Made To •2126. Hanisch, M. Festival Polonaise, Op. 109, No. 1,. . . 30 Night's Dream). • • ■ 8* 1560. Handel, G. F. ’ Angels, Ever Bright and Fair. 20 1566. Hall, King. Cantilena,. 30 In deciding on a Summer. School course, it is 1513. Hewitt, H. D. Studies and Exercises (Supplement to 1518. Landon, Chas. W. School of Reed Organ Playing, 1201. Mozart, W. A. Gloria, from Twelfth Mass. 50 well to remember that the Fletcher Method, first Landon’s Schoo* of Reed Organ),!. 75 Vol TIT, ... . .1 00 3578. Petre, T. Op. 27, No. 7. In Good Humor,. 2C 1525. Jungmann, A. Longing for Home,. 20 2900. Le Defile. Marche Militaire,. 50 1563. Spark, W. Wedding Procession (Grand March). .. 35 introduced into America under the auspices of the 1612. Landon, Chas. W. Studies and Exercises (School 2901. Le Thiere, Chas. Danse Des Aborigenes,. 35 1556. Tritant, Gustave. Spring Song.. 20 Pay Better? of Reed Organ Playing, Vol. II).1 00 1511. Leybach, J. Marche Pathetique,. 30 2082. Voorhies, H. G. Frolicking March (Two-step), ... 40 New England Conservatory of Music, Boston, is 2794. Lange, G. Op. 78. Tanzlied,. .... 80 1514. Leybach, J. Grand March in G, 30 1539. Wagner, Richard. Tannhauser March, arranged, . 30 the Oldest, the Best, and the Original Musical Kin¬ 2817. Lebierre, 0. Op. 102. The First Violet,. 30 1529. Leybach, J. Pastorale. 20 1520. Leybach, J. The Gem of the Sea, .. 20 2654. Leybach, J. Valse Brillante . 30 FOUR HANDS. dergarten Method. It has been proved to be all it 1200. Lichner, H. Mattie’s Polka, Op. 135, No. 2,. 30 2903. Lichner, H. Op. 297, No. 6. Andante, from Sonatina 1545 Behr, F. Hungarian Song. Grade II,. • 20 1502. Lichner, H. On the Playground,. . . 20 in D Major,. 15 2706. Dewey, Ferdinand. Little Folks’ Round Dance claims to be, having been taught twelve consecutive 1504. Lichner, H. The Dancing Lesson,.. . 20 1193. Mendelssohn, F. Nocturne from Midsummer Night’s Grade II. 26 years in different Conservatories. The Director of 1517. Lichner, H. The Parade March,. 20 Dream,. 15 1544. Enckhausen, H. Op.68,No.l. Glen Waltz. Gradell, 20 2816. Lichner, H. Op. 104, No. 6. At Home.. 35 1535. Mendelssohn, F. War March of the Priests, from 2130. Gurlitt, C. Op. 147, No. 1. Merry Hour March. a prominent Conservatory where the Method has 2375. Losey, F. H. Op. 48. March of the Pear Guard . . 40 Athalia. 20 Gradell, . .. 35 1564. Handel, G. F. See! The Conquering Hero Comes, . 20 been used since 1898 writes : 2714. Mutter, C. F. The Body Guard,. 40 1196! M*ne.r Invocation™5. ° . & .*!*’. . . .’ 15 1543. Streabbog, L. Op. 105. Le Petit Carnival Polka. “I can say without hesitation that I consider it MR. WM. H. SHERWOOD, 1561. Oesten, Max. Op. 166, No. 10. Departure fron Home, 20 1538. Mozart, W. A. Andantino (Fantasia). 20 Grade II. 20 2416. Ortlepp, L. Op. 2. To Arms! (March), .. 20 2254. Neumann, K. Forget-Me-Not Gavotte,. 40 2131. Streabbog, L. The Golden Stars Waltz. Grade I, . 85 the first Method of Musical instruction extant for the instruction of children. Its scope is thoroughly whose music teaching at $8.00 SELECTIONS FROM THE ABOVE SENT “ON SALE” AT OUR USVAL LIBERAL SHEET-MUSIC DISCOUNT comprehensive and it is based on a scientific study of the Child mind. The results from the use of per lesson pays, has written a this Method are little short of astounding.” &ee& ©VQm JfHetfjob jVIustcal Pictures School of -THE FOLLOWING FACTS BEAR REPETITION- series of Normal lessons for CHAS. W. LANDON Reed Organ playing PRICE, 50 CENTS First: That the course is worth its cost to Price, $1.50 Foreign Fingering COMPILED BY CHAS. W. LANDON teachers, with weekly tests, that A MORE POPULAR COLLECTION OF MEDIUM the Teacher, for her own personal musical ad¬ The method is superior in many practical points to those IN FOUR GRADES tn general use. It is carefully graded ; every point is concisely vancement, for it gives practical basic instruc¬ explained and illustrated; not only the how, but the whys and GRADE PIECES HAS NEVER BEEN PUBLISHED Price of each, $1.00 (Sheet Music) will enable you to make your wherefores are given; Every piece is especially arranged for A complete school, consisting of a melodious set oi tion in such subjects as Modulation, Transpo¬ the Reed Organ to bring out the best effects of the instru¬ ment. Every piece is fully annotated, fingered, phrased, and Every piece in this work is a gem. They are adapted Exercises and Etudes for each grade, supplemented by a sition, Ear-Training, Memorizing, Sight the expression indicated. The “Reed Organ Touch” is taught, for the organ as well as for the piano. We never forget number of appropriate pieces in sheet form, especially teaching pay better. a hitherto neglected feature in the study of this instrument. The that, first of all, a book must have musical interest; it must composed and arranged for the instrument. Studies and Reading, and in a word it enables every left hand is especially developed. Every feature of technic Is unfolded by beautiful pieces. then have some technical value; and must be well con¬ Exercises for each grade. teacher to practice what too often she has structed before it meets our approval. The pieces do not To a great extent do these studies develop touch ant occupy more than two or three pages each, and there is as technic for the organ, looking toward fine and artistic playing, been able to preach only. much music in a volume of this size as there is in many The pupil is taught phrasing, expression and the kind of mt JftrSt gear for tfje ’ others double the size. touch to use for the various pleasing effects that even an Second: That there is an increased demand There are more than 30 compositions' by as many com¬ almost beginner can produce. for Teachers of the Fletcher Music Method, posers, among which we mention: Schumann, Tschaikow- $iano or Cabinet (Drgan sky, Wagner, Gurlitt, Horvath, Ashford, Goerdeler, En- in spite of the cheaper copies of it which gelmann, Sartorio, Kullak, and Handel. jfor Cburcb and 1bome claim to be “just as good” or “improvements.” A Complete Technical Course lor Beginners Classic and JModern 6etns Third: It is true that the Fletcher Method Ask Without the Use of Exercises Little Rome player takes more time to acquire and is the most ex¬ pensive Musical Normal Course, BUT, if the And we will tell you * COMPOSED and COMPILED BY PRICE. 50 CENTS EUGENE THAYER, Mus. Doc. Reed Organ Teacher decides to spend money and time for An excellent collection of very easy compositions, similar Price, $1.00 a Normal Course at all, she cannot afford to Op. 100. Price, $1.00 to “First Parlor Pieces;” the difference between the two all about it volumes being that this work is suitable for the organ as well This work has been made to answer a demand for Reed take any but the BEST, and the one which as the piano. Organ Music from Grades III to V, of which there nevei has been a volume obtainable. Conservatories of repute and intelligent par- ■ There are twenty-nine selections in the volume, covering a wide range of composers. A few of the pieces mentioned Material will be found in this volume for all occasions ents are demanding: conjunction with ai here may give some idea of the character of the work : Marches and Voluntaries, Religious and Secular. “ Gaily Chanting Waltz,” byBehr; “ The Young Recruit,” Mendelssohn, Handel, Farmer, Battmann, and Leybacb THE FLETCHER METHOD l.y Rathbun; “Little Hostess Waltz,” by Engelmann; are a few of the authors of the 58 compositions to be found “Sunset Nocturne,” by Read; “Haymakers’ March,” by in this volume of 120 pages. Zimmermann; and “To the Playground,” by Margstein. laug Urgant One hundred Voluntaries For Further Particulars Apply To H Graded Course of Instruction Three Volumes Price, $1.25 Each By CHARLES RINCK PRICE, 50 CENTS EVELYN FLETCHER-COPP Siegel-Myers School of Music ic of high ___writers of Containing short pieces, including interludes and preludes, P. O. Box 1336, Boston, Mass. r.r:”*'1- ™ America. The pieces are alike suitable for ex¬ Cabinet Organ hibition as well as being useful for instruction purposes. In for the organ, either pipe or reed, but especially for students Or 31 York Terrace, - Brookline, Mass woha ™ dearth of good material for the reed organ, we By M. S. MORRIS Price, 10 cents each and amateur use. Suitable for church service. It is written 1565 MONON BLOCK, CHICAGO would most emphatically recommend these volumes to all A carefully compiled list of books and pieces for this popular in purely strict style and will make an excellent studv for players. The pieces are both attractive and new. instrument. All publishers. theory. 3 THE0 PRESSER, PUBLISHER, 1712 CHESTNVT ST, PHILADELPHIA, PA. Important to All Pianists and Students A Rich Red-Brown Color NEW That is one of the distinguishing characteristics of “CRADIIS AD PARNASSUM” BAKER’S By ISIDOR PHILIPP Breakfast Cocoa IVERS & POND PIANO CO. BEG TO PRESENT IN A NEW MODEL COLONIAL CASE to all the merits which have made previous models of this famous small Grand so popular in the musical centers of America, the New PRINCESS GRAND makes its debut. This remarkable piano will appeal especially to those who appreciate refinement of case-work and finish, as well as tonal charm, durability and structural perfection. In no respect can finer work be built in the light of to-day. IVERS & POND pianos embody an experience of over SO years. They are used in nearly 400 leading Educational Institutions and 48,000 discriminating homes. On our ."*» PB'NOESS GRAND «, any planVta subject to approval. Easy payments; old instruments taken in exchange For catalogue, paper pattern showing floor space the New Princess Grand requires, and full particulars; write us to-day IVERS & POND PIANO CO., 114 Boynton have been established 60 YEARS r„ every family in moderate circuratanre* „ system of. payments PIANOS take old instruments in eSSSa vose piano. We VOS0 home free of expense. Write for CamloSfii ri *1? ne"i p,al*0 ln your -vose 6 SONSONS PIANO CO., Boston! Mass emanation. ‘“4 effects wl the/W-”M"C a s‘-vle of which the is to hear whether one has played wrongly in any concerts. Between 1805 and 1812 he reached the the use ’of wh " UM y Pr°Ved that he wel1 knew delicate and subtle an art as music, which Nature holds All the com3nd- •"'I arC’ in niany "ay- deplorable one particular. If so, find out1 where and what the touch = - at We now term flat finger’ weight- as its rarest gift? The very thought that such an end, height of his fame. Haweis says of him: “He had- touch’ a singing tone produced by a perfectly 2 « r0S,"#ns.,0r Pianoforte which up to mistake has been. The whether and where may not and only such an end, is to be accomplished is sufficient for years been at work with new effects and com¬ clusively rcma,'ned- in fart- be difficult to determine, but the what is often diffi¬ in itself to drive away all charm from the study. binations, but at the very time when each new ex¬ Haydn Beetho ’ "hc,hcr «'Rncd Bach. Rameau, cult to ascertain, because that which is false and Mas d Mendelssohn once failed to obtain the prize offered ploit was being greeted with frantic applause he the legitimate °J CV°" Schubert: that is to say, incorrect is, in most instances, contrary to reason. for the best symphony at Vienna. He claimed that betook himself to an exhaustive study of the old Thus it escapes the understanding as well as the “He alone possessed the secret of these , ways fubordinate to then*l™mental, ^ ™ *'■ he could not compose with such motives alone, that masters. He seemed to be continually groping after! music, Dtirimr th® claims ®nd exigencies ot sense of perception, according as the false notes may sions, so natural, so obvious to us no pro^res- it was deadening to all real inspiration. In art, above something—seeking to find some clue. For ten or Pointed out tlfe r?ma,],lc Period, however, we be few or many in number. It is advisable, there'- n° has successfully imitated T„ 'vhich *h all things, our motives must be pure, whatever may twelve hours he would try passages over in different style, man?W K.row,n« h.fluencc of the eweerto fore, instead of looking for wrong notes, to fix the tun.e no familiarity can 'oh Lf ^ E flat N°«> , he the immediate incentive.—Editorial from the second ways and with such absorption and intensity that at dominant key of its delightfulflavor! fr°m thc extension of the8/ "v* * principally by the unusual attention exclusively upon the' right notes, and to nightfall he would sink into utter prostration, servintr as J' , >nUt aK°*Wr, or touch of virtuosity, issue of The Etude. familiarize oneself with the effect which they pro¬ through excessive exhaustion and fatigue.”—A my oT,r,'o„”,r0“ «»■ ... HARMONY STUDY APPLIED TO PIANO PLAYING. duce. With a sense of the correct, the conception Fay, December, 1884. touch ° W Up under the heading of ‘agility serious errors ®"l‘ .type’. rhrouKb that, two very of the contrary, or incorrect, will logically develop Theory and practice must go hand in hand in the Chopin exago-B ?P! ’I*0 Pianof°rte music, of which itself. Hence, the hearing can never be suffered to [In this issue The Etude announced among the con¬ insuffidenc^of alC„d-thc cffpc,s in Proportion hi* study of harmony, as in other things. No one can be slumber while one is playing. Take care that the tributors for tile following vear Thomas a'ltecket E M called even a theoretical student of harmony who can¬ Bowman. Calvin R. Cady. Ciillxa Lavalle. Dr. Louis Maas, ahead of them.” ? ** Ch°pm leaP‘ leagues selected for ?'nn,1,e musical education: t Note- right is protected in its rights. Cultivate a love of Hamilton Mncdougal. W. 8. B. Mathews. J. W Metcalfe. architectural lo»;nt3fevUS *H*erinB. and not for tin- not write a correct and well-sounding exercise. No one the right, if only for the sake of self-satisfaction.— AR- Parsons. S. N. Penfield. W. S. Sherwood. A. A. can be called a practical student of harmony who a tt__ cieV(> and others—surely a pretentious FREDERICK CORDER'S OPINION. written solelv for °- *hC WOrk’ 2‘ E"tire I-ouis Kohler, February, 1884. role in the hli v,rt>iostty. and playing no useful cannot tell why this or that progression is good or the baJancc of the composition bad. Let all students remember that when a harmony JL'Sm By this time—February. 1884—The pgSrwritSrtd1 composts!116^1 was °h exercise is written it is not finished and ready to be Li IDE had published a large number of excellent exercises th tai valu,e' Thp his” standard of the journal at Mendelssohn was a known admirer of the me¬ capabilities*!^ ~est. Conno>sscur who appreciate* ' set aside, any more than a scale on the pianoforte is fhj,is fhown by the fact that the first real piece which best able to inTS‘C as a ,aneua*e o{ emotion, a.-,! finished forever after it has been played. When you S- A'11'!1?'" W1 “rpfully annotated and edited lodious character of Donizetti’s music. Upon one have gotten far enough to play your scale with the teision of the first prelude from Bach's lighter compositions occasion he attended a concert at which some of poser by hearing [pret t,le emotional state of a corn- ta w w? tf >bv !'rgn* Kniiak. The circulation of the snore. 3nng h,s Productions.”—John Comfort Fill- right fingering and without stumbling, then you can I°Ain?al was then about 8,000—the high-water m-irk heinsr the tuneful selections from the works, of the fa¬ really begin to practice it. You say in reply that you o.OOO—an infinitesimal fraction of the present circulation.? mous Italian were played. Some of the members vet1^38-31^ Seemed t0 me that Chopin has not have written your harmony exercise correctly and that THE VALUE OF THE LOOSE WRIST. of the audience hoping to gain Mendelssohn’s favor you have worked upon it'for two hours. All well and by showing their own superior knowledge com¬ ~^Httefontt0gem-dS "’hich a11 -vour Acuities - The tones which are produced with a loose wrist good. Now go and'practice it and other similar exer¬ menced to run down Donizetti’s music. Mendels¬ option as with as you will—governs y are always more tender and more attractive, have a cises until you can write any of them correctly in two sohn listened patiently, and then said: “I like it— Physical but also S C po"’er- b governs not r Filler sound, and permit more delicate shading than Maria von IVcber y°Ur mentaI ranSe of visiot minutes.—■/, Carroll Chandler, December, 1883. do you know. I should like to have composed such the sharp tones without body, which are thrown out music myself.” 308 THE ETUDE 309 THE ETUDE PAGE 7. The same error is frequent with a dotted sixteenth PAGE 4. How to Get Up a Business- note followed by a thirty-second note, thus: Bringing Circular ^WVlSS ALICE STONE commenced the J I.* study of music at the age of ten, and From “Dollars in Music" has been continuously engaged in musical By GEO. C. BENDER IT makes little difference whether you are NOMENCLATURE OF MORDENTS. studying music for the home circle, the work ever since then. There are two distinct usages in naming Mordents. concert hall, or the opera, your time and your When she was fourteen she commenced a Let us first understand that the word is derived from [Editor's .Vote.—This Is the continuation of an article which appeared In the Special Spring Etude of last month. effort are valuable to you. Thousands start three years’ course with Dr. William Carson, the French word Mordre (to bite). It is therefore an In It Mr. Bender describes many thiDgs which every teacher embellishment that is bitten off short. The Germans who attempts to extend his business through advertising studying music only to find out that they are of Chicago, and this was followed by four should know about.] going the wrong way. Does it pay to pay years at the Massachusetts conservatory, Following is a form of a circular which has been following Mordent, and twice for anything? where she was under the personal tuition of used with success by a metropolitan teacher who was fortunate in securing large classes. This cir¬ Isn’t it better to seek a really good teacher Herr Anton Gregorowitch, the famous Liszt cular had an ornamental cover of gray cardboard at the start? How can you find such a pupil. upon which was printed in dark blue. teacher ? After her studies she made several concert this embellishment |—p~ -|| a Frailer, or sometimes a Should the tjeacher desire a shorter and less ex¬ Surely not by means of a hap-hazard rec¬ appearances with success, and then deter¬ pensive circular, the cover may be dispensed with n with print the third instalment from Mr. Louis C. Elson’s forthcoming book. This new ommendation. The teacher must show re¬ mined to make teaching her life work. Con¬ I educational subjects has been undertaken with the view of assisting Frail Trill. Some maintain that the Prall Trill should and pages i, 6, 7. 10 of the following employed. The -.- .- . means of having these oft-disputed points property explained to them. circular would appear to better advantage if the sults of training and of teaching. sequently she studied many other teaching 'i book of reference is usually an encyclopedia. It defines but it does not bring the misused terms in juxtaposition pages were five inches long instead of four. A I emphasize the distinguishing attributes of the terms by means of contrast. In writing this work Mr. Elson has methods, and has met with uniform success formed an educational service of highest value in establishing a court of final resort. IV'e urge our readers to read cover adds very greatly to the attractiveness of a ...... r jjarch and April very carefully. There is a great need for more definite The German circular, and, if you can secure the addresses of ever since, as the following circulars indicate. parents with children and send the enclosed circular, AMERICAN FINGERING. 'Mv accompanied by a little note requesting that it be “All training is founded upon the principle To counteract this false impression it would be well carefully read, you will doubtless secure many pupils. that culture must precede proficiency.”—Her¬ ‘ The surest way not to fail is to determine This is not American at all. It did not originate in for the teacher, when first allowing the pupil to use the custom of calling the following Mordent bert Spencer. to succeed.”—Sheridan. the United States and it is at present but little used damper pedal, to choose a composition that is chiefly here. It is chiefly employed in England, where it had piano or pianissimo. is not logical, for the vertical line is always a sign PAGE 1. a very early origin. The earliest harpsichord and spinet An excellent marking for the damper pedal is that of inversion in embellishments; therefore, if the follow¬ fingering came from the fingering used upon the violin, now being introduced, in which the sign --1 ing /w is a Praller, this •Mv- should be called an where, as the thumb is never used, the fingers are PAGE 5. PAGE 8. is used. This is far more definite than “Ped.” and inverted Praller. marked r, 2, 3, 4. In the early days of piano playing and it can denote exactly to a sixteenth or thirty- Other Germans make a further' distinction and call (harpsichord, spinet and clavichord) the thumb was not second note where the pedal is to be put down or re- used, and tile above fingering was therefore found quite this /w a Praller only if the accent is on the first note, while if the accent falls on the third note of the “Miss Stone has taught my practical. When the thumb gradually came into use it An absolutely definite but far more cumbersome embellishment they call it a Schneller. We very rarely VERY few people know that the greatest was marked with a cipher, thus—o, 1, 2, 3, 4. The method of marking the damper pedal is to notate it daughter for over three years. dare suggest a change in established terms, but in this V delight in music comes through the present writer has much old music thus fingered; but upon a single line placed below the piano notation. understanding of it. You have seen advertise¬ (Portrait I am not a musician, but many case if this were called the “Upward Mordent,” of there was some danger of mistaking the “0” for a This is chiefly used for pedal studies which are in¬ Some Very Good ments of piano-playing devices showing the of my musical friends who \thole note; therefore, in England a character made and this -v|v the “Downward Mordent,” we believe Child.) tended to teach absolute exactness in the use of the Reasons Why It operator in the seventh heaven of delight. have heard her play praise thus X was substituted, the fingering running thus— damper pedal. that less confusion would result. This is very rare because the highest in Miss Stone’s work very 1, 2, 3, 4. As all the above instruments, except the APPOGGIATURA AND ACCIACCATURA. Pays to Invest in music is not revealed to the pupil until the highly.” clavichord, were staccato in their action, there was very These had better he called the “Long Grace Note” pupil has earned the right to enjoy it. “I cannot tell you how de¬ little attention to any care of fingering. The thumb The Right Kind of and the “Short Grace Note,” respectively. Some Eng¬ Then, what does the presence of the pupil lighted I am to know that mark X was finally changed to +. with a good musical education mean in the Music Lessons. :: :: ( Portrait Horace is doing so finely. At LANGUAGE OF MUSICAL TERMS. home! what hours of brightness, melodv, of lish works make the mistake of calling this happiness! first I didn't think he was mu¬ A few celebrated composers have led many into the Child.) More than this, the pupil is being benefited sical, but you seem to have erroneous idea that a composer ought to use his own the “Long Appoggiatura,” which is tautology, and this every day. Music improves the mind, leads gotten on the right side of language for tempo marks and words of expression. to the better discipline of the body, refines him, and made him practice. Wagner and Schumann have used German; Berlioz and the taste and builds up the character. 1 value this because when I was teaching D’lndy have used French; MacDowell lias employed the . “Short Appoggiatura,” which is wrong. Surely these are benefits which no thinking him he simply would not practice.” English. The idea seems patriotic, but it is neverthe¬ itm “In sweet music is such art less an error. If it were pursued to its logical conclu¬ parent will deny to a child. Miss Stone will be pleased to show many Appoggiare means “to lean,” Appoggiatura, “leaning sion we should have had Rubinstein using Roumanian; Killing care and grief of heart." similar testimonials. against,” and the' long grace note really leans over Dvorak, Bohemian; Tschaikowsky, Russian; Grieg, into the next note. Acciactate means “to squash,” and —Shakespeare. “To each is given a certain talent, ci certain Norwegian; Liszt, Hungarian, etc. Musical notation the short grace note is literally “squashed” into the outward environment of fortune. Truly a “Here work enough to watch is international. A composition written in New York thinking man is the worst enemy the prince of The Master work; and catch could be read in Russia, Greece. Chile, Japan and many Page “2,” that is, the back of the cover, was left More important than these misnomers is the fact that Darkness can have?’—Carlyle. Hints of the proper craft.” other nations, but if the word “Sweetly" were attached blank. On the next page, printed in good type, on a there are thousands of misprints of the notes them¬ good quality of white paper, was: to it very few in the above-mentioned nations could selves. The most usual error is to find the long grace understand what it meant. On the other hand, if it were marked “Dolce,” competent musicians in every PAGE 3. country would comprehend it. To an international turned into short grace note PAGE 6. language, such as notation, one language only should PAGE 10. he attached, and since Italian has the precedence, hav¬ Rack of Cover ing begun with the opera, about 1600, and is almost the universally employed, it should finally be accepted as carelessness ignorance of the O the folIowing Pages the reader will find the only language for musical terms or tempo marks. MISPRINTED TURNS. some notes pertaining to the work of An implied confession of this is shown in the fact that A turn over and a turn after a'note mean two wholly typographer. No further rule can be given to detect •JCAVE you ever thought for one moment Miss Alice Stone, who has been engaged in in many works where English or German have been different things. Yet there are many misprints in this these numerous misprints than the following: The long much employed it has been found best to add an Italian grace note is yearning, tender or sorrowful. The short what a desolate place the world would music teaching in this city for six years. matter against which the young teacher should be be without music? translation of the words. .See some of the larger warned. In some editions of Haydn’s sonatas there grace note is almost always crisp, bright and snappy. Miss Stone employs ideas taken from vari¬ Terms. works of Schumann or MacDowell for instances of are several turns printed over notes which are intended \ et the short grace note may sometimes appear, in very Have you ever realized that the most highly this addition. ous methods she has studied and formulated to be played after them, and it is probable that the sorrowful music, to give the effect of a sob. It is thus cultivated and advanced nations of the world Lessons 45 minutes in length. • into a method which is peculiarly her own PEDALING. errors come directly from the composer himself. In used m the prison scene of “11 Trovatore.” Because of have been nations in which music was highly Twenty lessons, Twenty-five Dollars. The testimonials given are from parents There are a few mistakes made in the application of many Italian songs and vocalises there is carelessness the countless errors made with these two kinds of grace prized? Ten lessons, Fifteen Dollars. the words and signs here. Of course everv musician notes it has become the custom to write the long grace who have voluntarily expressed their appre¬ in this matter, the composer supposing that the taste Have you realized that music is now looked Payable in advance. will understand the ordinary “Ped.” and ,' but occa¬ of the singer will guide him even if the notation of note out in full notation in modern editions. ciation of Miss Stone’s work. They are given sionally the Germans substitute for the usual star upon as one of the great essentials in the AH lessons must be taken or forfeited, turns is vague or incorrect. One misprint, or error, is. Another dangerous half-truth in connection with the in preference to press notices since they in¬ of discontinuance. A more confusing use of the mark long grace note is the fact that some teachers make it education of the cultured man? ences ow ing to continued sickness will be however, so constantly made that it deserves especial dicate actual results. for (he damper pedal has been occasionally employed notice here. Very frequently the turn is written over a rule to give the small note its face value. This is Think over these things for a minute or so excused. Whenever possible. Miss Stone will by a few composers. As pressing down this pedal lifts. generally correct, but by no means always. It was Miss Stone gives pupils’ recitals regularly a short, dotted eighth note, followed by a sixteenth and then read the following pages. the dampers from the wires “Senza Sordine (“without practically correct in the eighteenth century editions, and will be glad to inform you of the date of * f'ad to accommodate pupils by appointing note, where it is intended to be played after it. The dampers”) would mean with the damper pedal, while following examples will illustrate this: but is not to-day. It is often permissible to make the the next one if you will kindly send her i ff Cr ,CSSOn ,10l,r- providing she is informed sufficiently in advance. “Con Sordine” would mean “with the dampers,” and long grace note longer than its face value, but not postal with your address. therefore without the pedal. It is best not to use this shorter. In violin or vocal music, if the note follow¬ vague method of marking, which often confuses young ing the principal note is of the same pitch, let the “A flayer may hare technic and yet neither students. It originated with Beethoven (see his marks grace note take almost the entire value of the note it soul nor intelligence.’’—Goethe. at the beginning of the “Moonlight Sonata,” Op. 27, precedes, making a strong portamento to the next note, No. 2) and has been copied by a few later German composers. «.r°L“UrSe. ',t 1S an error to cal1 tfle damper pedal the Loud pedal. It does incidentally make the music louder, but it ought not to be used for that purpose.