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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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Recommended Citation Cooke, James Francis. "Volume 28, Number 05 (May 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/558

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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

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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. 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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 .” December, 1906 works eomUthe°n ma,hcm3,,icS in ,ha‘ uS d!d tbat dear °ld German professor midst. The Greeks recognized Apollo as the god of Polly Willis (Dr. Arne. 1710- nearer the keys, thus, while still allowing all strings ber of sharps and flats in the “ f . he num- spindle and operated by the foot of the performer. seven. Thus: signature is always music and poetry. 1778). o sound, „ gives less force to the impacf This dff! a. .hi. 1 B. C SVfr" P"un "V"” 5 Der Nussbaum (Schumann. The sound was produced by applying the fingers ‘o Pi.y .hi,’ B^^A-now wo .h.11 The muses were worshipped in both Greece and Italy 1810-1856). :rfrsofirrndouvmporiance in theuse °f the D 2 sharps. Sapphic Ode (Brahms 1833- to the wet edges of the bowls as they revolved. when a 1 “ can be gradua*ed on the upright by the adherents of pagan beliefs. In the city of Rome 1897). when a lesser degree is desired, but on a grand Db s flats. Of energy teacher; one who is full a grove and a separate temple were consecrated to ** m caIled tbe instrument the ‘Armonica.’” This list could be increased to ten times its present Mozart wrpte music for this unusual musical ma¬ teacher^who hasC6P rC!CrCnCC for his art St,Mti them. Along with the peculiarities of mythological not"at Ml S°whPedal sh0uId be jessed fully, or size without much effort. The immortal songs will be chine, and it became very popular in parts of b ? v ki „ When the pedal is Partially depressed soul Of your chili Srl: °ne .who wiI1 deve!°P ( e traditions was the one which associated the nightingale, Germany The composer Naumann wrote sonatas the swan and the grasshopper with the muses. In the as fresh and new one hundred years from now as they b wh° bf°4°“ wa,,: Rivc time for it, and at one time it was used in some of the if**”. St® ■M* «»* A 3 sharps. accompanying picture the names of the muses are given, are to-day. Audiences and musicians will demand them t* only H learned to ntaihati. ninf-tcnths of the people who court orchestras. Beethoven wrote a piece of Ab 4 flats. but the conceptions of artists regarding these myth¬ as much then as now. The others will doubtless drop twenty-four measures for the instrument. In a note nroneif Whe" ^ >Cy Wcre y°unff can not p,ay ological personages differ greatly. into complete oblivion. Why waste one’s time with Germany the instrument was called the “harmonica.” learn thorou«rhf II. is because they did not music that is for the moment only? Plenty of good pline which re Tbere is no l,ne °f mental disci- Its tone was often irritating, penetrating and ex¬ damper V more Quires more earnest concentration and music is produced nowadays for educational purposes. citing, and it was said to have had a bad effect the middle of lower register. And some^Unislimo Japanese nm Practice than the study of music. A Had I children my utmost endeavors would be to These pieces are the rungs in the ladder reaching to upon the nerves of the performers make them musicians. Considering I have no ear, Ph*““5“ 'TC "" ““ »f the damper ped. S fSSZ EX aSdXVto? ke\,et « say with one stei^c SayS tbat a thousand miles begins the heights of the immo-rtal. Make this matter very the soft pedal for sustained effects. no, nor even thought of music, the preference seems Music of all the liberal arts has the greatest in- flats Gb has, he simply subtracts on^f °W h°W many ers began with Vk U ]S with music- AI' »reat p,av; clear to your pupils and they will regard classical music learns that Gb has six flats. fr°m seven and because the,. Vle lrst rudiments and succeeded odd; and yet it is embraced on frequent reflection. —that is, music with the qualities which insure endur¬ fiuence over the passions and is that to which the e they worked almost incessantly. —Walpole. ance—in a different way. —AraJo/°o»Sh°U d g'Ve the greatest encouragement. Dorothy M. Latchem. 300 THE ETUDE 301 manila envelopes labeled ' 1 wo-step«, ’ “\\aitz ,, THE ETUDE A PRACTICAL MUSIC STUDIO. institutions are in a town, they would make more “Sentimental Songs, "March Songs," AValt* Songs." etc. The teacher explained that the made I have seen hundreds of returned students and con¬ By NAN BOWRON. 0fLet ufdescribe^Sfss Henley's discovery, ^ which her studio a kind of club room open to all wj,0 cert players from abroad who have not been able will show what can be done eyen WI f fairly were interested in music. They were free to come to show how to give the hand the best means of Miss Henley was certainly tired. She had to change The room in which she found herself: was or ^ any time, except ic»«m hours, and bring ,i!tir overcoming the inequalities and physical limitations cars at R-and had a wait of two hours. There at any time, except lesson hours, and bring their good size, rather longer than wide, with thr friends and all the trashy music they please! Tfe of the average hand under ordinary conditions. was no library or reading room, no, park, "no friends and all the trashy music they pleased. Th;s windows at the front. The wails were cove provedproved to be a great attraction to the young men These people scarcely know how many resources nothing.” So she resigned herself to a dreary period plain paper, the woodwork and floor being in^perfect there are in the knowledge of how to sub-divide of patience. who came in almost daily bringing songs of their color harmony—for is not harmony of color a the use of the muscles for the arm, fingers or wrist As she settled herself on the hotel veranda she own, and looking over and buying from that table important as harmony of sound in the musical atmo¬ knuckles and the muscles used for lateral and roll¬ was attracted by a strain of music. That was The teacher always cheerfully played for the boys! sphere? On the right side of the room, near enough ing movements in combinations to assist the weak nothing strange in this age of phonographs and often singing with them. This of course gained to the window to insure good light, stood the piano, A Plea for the Recognition of American Musicians pianolas, but this was of a different nature. Scales? their confidence and put them in a receptive mood fingers and to regulate the use of the strong fingers Something slower—evidently finger exercises. A the first object seen upon entering. Above the so that when she would announce that she had in piano playing. Neither do they analyze their sitting on the extreme edge of a very narrow shell, c lovers designed to bring them to a fuller appreciation of the standing study played rather slowly but with such perfect such a pretty piece and would play a bit of Chopin music logically or in a sufficient number and variety sat four musical cherubs, the two in the center and authority of American Music and Musicians smoothness and accent that Miss Henley became or Mozart, telling some anecdote of the composer of ways. singing from the same book, at the ends, one play¬ interested and began to look about. There across or composition, they would really enjoy it. Not The great Belgian scholar, Dr. Van Eden, said ing a mandolin, the other singing and beating time. the street she saw a sign, “Music Studio,” where unfrequently they would say: “Yes, that is lovely, By WILLIAM H. SHERWOOD at lunch at the Cliff Dwellers’ Club a few weeks evidently a music lesson was in progress. How MUSICAL PICTURES. but I supposed Chopin was a classical writer,’ or ago that what our art and our artists and literature, surprising in this little town! [Editor’s Note.—No American musician has worked more loyally o patriotically tor our architecture and citizenship required and would All along the wall near the piano were grouped “I never thought Mosart could write anything so America than Mr. \V. II. Sherwood. Bij his areat triumphs in early life u* « //«*«*ov .««- Miss Henley determined to see what the rustic be benefited by, in his opinion, would be to build a pictures of composers and pictures of musical sub¬ pretty,” which all goes to show that they are only •and hy his work as a virtuoso and educator in America, he has icon the hiyhest praise. The Etude desires to do every* idea of a music studio was like. Knowing some¬ thinu possible to support thc efforts of those who have the promotion of musical worfc in America nearest to their stone wall excluding us from every influence and jects such as Beethoven in his study, Mozart in afraid of classical music because they do not know hearts. The journal was founded hy an American. and it has been supported principally by Americans since its thing of music, she decided not to interrupt that every communication with Europe for the next Vienna, Liszt at the piano, etc. On the opposite it. Mozart's “Magic Flute" has become almost very heninnim). It now goes to all parts of the civilized world where the English language is spoken. We desire to make study; she would wait a few minutes and see what it a magazine of value to our friends abroad as well as to those in our home land, but we shall never forget the mission three years. He said that if we were left to our side of the room, under a large picture of St. popular in town—many of the boys whistling the •assumed by thc publisher in consecrating the work of the journal to the development of American musical art.\ was to follow. She had not long to wait for it own resources for that length of time we would Cecilia, stood a small reed organ surrounded by melodies. Now if the pupils give a recital of Chopin soon came to an end. Then came the click of a have our own authorities, nationality and originality pictures of organists, large portraits of Bach and or Mozart music, will not these boys attend. Cer¬ In music notes from the associated press from But while our Rockefellers and Carnegies and metronome for a minute and the same study was stamped upon us for all time to come, instead of Handel, pictures of Bach copying music by moon¬ tainly, and bring their friends. Vienna, dated December ist, 1909, we read that others have done much for education and have played at full speed and with all the grace and beauty borrowing and imitating so much from abroad. It light, Handel in the attic, Guilmant at the organ, It would seem at first glance that the selling of given us many other advantages, from which we all of a concert solo. Surely this pupil—if indeed it were at the Royal Opera in Vienna five of the foremost is certainly in order and an opportune time to make etc. Also on this wall were smaller pictures of St. popular music would tend to foster a taste for it profit, scarcely anything has been done for the poor not the teacher herself—must be quite musical. members of the company are American singers. a plea for individual judgment and self-reliance, if Cecilia by different painters. Another wall space Experience has shown otherwise, however. These Soon Miss Henley found herself ascending a flight We also have read of late years of many other music student. From experience with hundreds of not actual loyalty and patriotism on the part of our was used for pictures of singers, from Jennie Lind popular songs can be selected with care, and all of clean wooden stairs at the top of which were instances among the Royal Opera institutions students it may be observed that the best talent is people in its attitude toward our artists and musical a number of doors. On one of these was the sign: toMme. Tetrazzini—also scenes from famous operas. that show the least trace of vulgarity thrown out. abroad and the Metropolitan and other opera com¬ very likely to come from people without resources— Still another group was of violinists. All around “Miss W-, Music Studio,” and on this she There are very good harmonies in many of the bet! panies in America—how our own singers have taken young people from the rural districts who must knocked. The door was promptly opened by the the room about a foot from the ceiling was a row ter popular songs, and by calling attention to these some of the most important roles, and in many cases submit to cheap teaching and hurried efforts if they A MILLIONAIRE’S OPPORTUNITY. pleasant faced teacher, note book and pencil in of pictures of composers, framed in passe partout the way is paved for appreciating still greater bcau- want to try to get a musical education, and then hand. She cordially invited Miss Henley to enter, and hung at regular intervals. Arranged in chrono¬ are outranked by none. Why should Mr. Rockefeller not provide some¬ Meanwhile quite a number of American music go back home half prepared or half starved in an thing for music at the Chicago University? During seated her in a comfortable, old-fashioned rocking logical order from Palestrina to Josef Hoffmann No one of undeveloped taste in music or anything teachers who have located abroad have their studios effort to give their best life and strength during the lifetime of.the lamented President Harper I chair, back to the piano, and excused herself to finish they formed a frieze appropriate as well as oramen- else can be either forced or pulled up suddenly- filled by American students who have gone abroad the most important years of their career to trying had many conversations with him on this subject. the lesson. Miss Henley could not see the pupil, tal. .These pictures were not expensive, many of they must be met in the language which they under¬ but thought from the way in which she played over them being Perry or Brown- pictures, some taken to study, and who are paying the highest price for to teach for a living. Dr. Harper hoped, up to the day of his death, to stand, and coaxed up, step by step, by some one in see a large appropriation for music. Can our mil¬ her new lesson that she must be a young lady at from current magazines and supplements of music sympathy with them. The teacher can easily draw lessons. These same teachers in several instances By the time enough is acquired to enable the least, and quite well advanced. She turned slightly magazines. lionaires be brought to take the kind of interest the line very sharply at teaching this class of music were treated with scant courtesy at home, but not student to continue his studies he finds in many in her chair to take a peek, but what was her surprise On one side of the room was a long table upon in our art and young music students that they have —that is a very different tiling from the outside mis¬ so abroad. Several of our composers have been cases that it is too late. Those who are more to find herself behind a screen. Evidently this taken in so many other directions, and can this same which was a display of small instruments—man¬ sionary work with the public. -equally honored in European capitals. It is not fortunate are led to believe that they must go teacher did not propose to have her pupil disturbed. dolins, banjos, violins and guitars. At the end of Subject be freed, in a reasonable degree at least, Still another point in bringing good music to equal necessary to mention names. Some of them are abroad if they would obtain the best in music study. As there seemed to be nothing else to do, Miss this able was a cabinet containing strings anil all from commercialism, which certainly has retarded notice is the price. Keep the price of both classes household words with our music lovers. Our public And so thousands of our music students manage Henley gave herself up to listening to the lesson. supplies for these instruments. This enterprising the growth of much that is best in our art, although school music system and our brass bands have to go to Europe, where they spend millions of dol¬ This was really not so uninteresting for she soon teacher was a member of a mandolin club in the the same, put them side by side on the popular table helping it along, doubtless, in occasional instances. equal recognition abroad. We have produced paint¬ heard some of Heller's studies so musically played village, and made business of the supplies as well and notice that before many weeks one sells as fast lars. Very few of them are ever heard from again, A few days ago it was reported that Mr. Andrew that she wondered she had never before noticed how as pleasure of the playing. tion? °ther' Is not tb>s a start in thc right direc- ers, sculptors, architects and literary men whose and when they come home and try to obtain the Carnegie had provided for a fund of $5,000 a year lovely they were. Then followed a movement from A book-case contained all the music used for standing is unquestioned throughout the civilized means for livelihood and recognition they find that to send a young piano prodigy abroad to complete one of Haydn’s sonatas^-which the pupil carefully teaching, each study being incased in a manila en¬ If the phonograph records could be controlled world. In the above lines, however, recognition has the foreign teacher and the foreign soloist get his musical education. Everybody can appreciate analyzed before playing. Last came a dashing piece velope and each grade on a shelf by itself The things would be easier. Many of these records are been much slower and less generous than in our everything in sight worth having. the exception to the general rule that appears to and the lesson was over. Certainly the quality of teaching pieces were also graded and arranged in of the best class if people would only listen to them, inventions, sciences and material resources. have influenced Mr. Carnegie to provide thus splen¬ this lesson was as much of a surprise as the pres¬ order. Curtains kept out the dust and also added and Perhaps the time is coming when they will, Nothing in recent years ever did as much to give JOSEPH HOFMANN’S OPINION. didly for musical talent. May he continue to do so ence of a music studio in this small town. The to the general appearance of neatness. A smaller of iMi*.S,Hen ey Were *° bc askc<1 her impressions this country a real standing abroad and to cause often. teacher now removed the screen and presented the According to Joseph Hofmann, the great Euro¬ cabinet (home made) next this book-case contained of the little studio which she discovered, she would the world to look up as the war with Spain. In But would it not be a step which would reflect pupil who turned out to be a girl of twelve years pean pianist, in an article written by him for the string orchestra music, that for each instrument on ,orget to mention thc neatness and order to be various countries the American citizen was not as She showed Miss Henley her note book in which a shelf of its own. Ladies' Home Journal of October, 1909, the fad of honor and long withheld acknowledgment and’credit found on every side. If she had peeped into a little on our American teachers if somebody were to pro¬ was very neatly written the analyses of her studies much under the protection of his own country as flocking to Europe to study music is a “popular One corner of the room containing desk and type * C °Set sbe wou*d have found a broom, dust- vide a fund of $5,000 a year for five students, in and many of her pieces, accompanied by pictures of an Englishman; while, for instance, our musicians superstition” which has no foundation in the real writer suggested that the business side of mush and' wo,PmmKP'Wrine;cr’ Pai,s and a" array of dusters, sums of $1,000 each, to be selected by competitive the composers pasted in. It was not so surprising and artists were not looked upon as they have been merits of the case. Mr. Hofmann is certainly an after all that this young girl played with so much riitHe IT g CCter' £ Shdf °Ver the desk contained full fhaVC glven ‘hese humble helpers their since that time. But in some respects we are not examinations, and -to enable them to study in this understanding. * ttle 1!b,i?:ry °[ th,lrty or forty volumes. Let us anrV^fr?L0f Crcn»y and fresh appear¬ authority on such matters, and he hopes that some¬ country, instead of providing for one musical ance of the country music studio. much ahead of the dependent American colony in glance at these books. Four histories, four biotr thing will happen to cause the American students prodigy to go abroad and run the risk of being THE DANGER OF THE POPULAR SONG. raphies, theory, harmony, analyses-hoth harntonm Boston at the interesting time when the tea was to stay at home and find out what their own best spilled in the harbor of Boston. spoiled by such a large sum? There may be a The curse of the small town (musically speaking) and descriptive—counterpoint, anecdotes of musi nerve force in piano playing. teachers can do for them, in order that their stand¬ difference of opinion, but I think that it would be is the popular song—that is the trashy popular song, ards may be so upheld and approved, and gain such more worth while for five students to stay at home °fr rStrrentE’ ^'-stratC BV EMIL SCHOEN. COMMERCIALISM AND MUSIC. for there are popular songs and popular songs. teachers’ ? ■ !ISt °,f books exclusively for authority that they may not follow the example of and study music with that sum of money than for Among the young people in many villages is to be Owing to the commercialism that has prevailed produced 7°^“ of the fin«ers, hands or arms is the others who have made magnificent successes one student to go abroad with a sum of money found a good deal of talent and many good voices. fully selected and SiTI-'ow ^ in our country in musical matters, and to the fad tPracdfiondHy nlUS<\,,lar contraction. This muscular con- in. Europe. Mr. Hofmann thinks that they have a which would seem to be more than any one person Are they to blame for the taste they have? Hardly which has been industriously encouraged by those could well use. when they have never heard anything good in all pHyingnof that‘twefye"year old'girT?" ^ nerves th*. Caused hy a stimulus transmitted by the mission to stay at home and develop musical interested, and which has been helped along by our their lives. There are a solemn few who preach energy with-tbe stimull's depending upon the standards accordingly. In speaking of this subject Mr. E. A. MacDowell rich people influencing our would-be students to classical music till the young people have a horror On 1,Ch is derated in thc brain, It has actually become unprofitable of late for the once made a strong plea, as he expressed it, that spend all of their money abroad and give all of the we should cultivate our own orchards at home, have of the very word classical, and from the mournful or weakness Tf h W‘ * be ev,dent ,llat any imperfection American piano makers to pay the fortunes spent strains these preachers inflict upon their hearers “ch kiJ“- K."sar”- are , ,C central ncrve cells, where impulses prestige and credit to the artist and art on the by. them in former years to bring over European our own fruit fresh from the trees and have the whenever they get a chance, I don't blame them. o( Cw,s"rfeZed,0f0r„""','he, Pi“° nervous W ,’ °r °f tbc nerve fibres, which transmit other side of the ocean, things have sometimes artists. In doing so the American piano maker has trees preserved for more fruit in the future, instead being framed on hrel s°dTS ZTc 'c'?1! ’'f' s s by worked like a stone wall and a high tariff against of buying ,t all abroad at high prices and having Let us see what the opportunities are for hearing of.nrl,b„rt„r„uslci'fiSJ“sCd P.ct„r« impulses TcT win °r °,f *hc mi,scles "P0" which these undoubtedly done much in the past to raise the American achievements. This is not so with our nothing for it after it was eaten. music of any kind in the country. Of course, this formance ii res.uIt 1,1 an imperfect technical per- musical standards, and we owe to him a debt for universities. They have been endowed as no other .A gentleman who took the prizes for the best means the towns which are not within reach of any . A few plaster busts of old masters added a • , well to r’ HT again Padere\vski truly says: "It is enabling us to hear several of the greatest artists city. Usually a few minstrel shows come along in schools in the world, and are authorities on educa¬ S the '?membCr «“* in ">c case of pianoforte play- in. the world, whose appearance in our country piano and song compositions last May from the the course of the winter with brass bands. They tional matters to-day second to none, and are every¬ National Federation of Music Clubs, and who took mfsciL oot?8e °f !hc bra,n has to he interpreted by might otherwise have been delayed. The American play some fairly good popular selections—Sousa’s couch and a few plants behindTw ^ 3 Sma" where acknowledged as such. the Paderewski prize for the best orchestral piece a muscles the mo *hc ".’°rc hi8h,y trained are the piano maker has frequently been the chief agent in Loseys, etc., on parade and before the performance! ‘*'7 We all know from history that much of the best SCbT adc,lg a bomelike and cosy feeling Usefl,! system tb» more harmoniously working the nervous making the reputation and offering the means of a year or two ago (Mr. Arthur Shepherd), did all of talent and ability in all lines in our country has his studying m this country. I believe Mr. Arthur ™e'r sf°"f ar' ofte" ^ the comic type, except ceed in l^.nCarfr h impossible for the player to suc- livelihood for other European artists of less ability. those of the male quartet (if they have one) which sprung up from modest sources, with no material ■*.’22* ?• that which hlS tbat which he produces to approximate But what of the young American artists who are Foote did likewise. Mr. Arthur Whiting did all of may be depended upon to sing, “I'm Waiting for influence extend beyond thTpupds? aU this assistance of wealth to help the young student to rapid transm? C.°nceTS hc Briefly summed up, growing up in our midst and who are acknowledged his studying on the piano in America,, too. Such a You etc., and Down Where the—etc ” These his deserts. From the time of Abraham Lincoln, feet muscular °f nervous imP«Ises, quick and per- on many sides to have as fine talent as any in the splendid teacher as Miss Georgia Kober. who is pieces are enjoyed because they are either fast, funny, business-like methods. the rail-splitter, many a man who has helped to If we sfi, iCOntro1.are required, world, but are deprived of an opportunity for a positively acknowledged, where known, as being or sad. The hearers think they have been listening make history for our country has had to work for as Pianists P c°nsider how few achieve prominence hearing under favorable auspices owing to these one of our best woman pianists, also learned it all to some, of the best music in the world. business-like waybill get° most of ^ Work..in this a living while obtaining his education. Through the certainly all of the desirable ones to K fT*8’ and hard we "««ority who fail despite very conditions which have been broadcast if not Here is where the mission of the music studio work V^ ,,arge" present magnificent endowment of our universities whichwU u enmight-! beheSe quoted. are a few out of manY examples ‘ hy nature * vi fint tbat tb°se succeed who are blessed actually monopolistic? In the matter of science as comes in. Music studios in country towns .even the she should reach down from herloftv H 1 T'1Cn much provision is now made for impecunious stu¬ system TLeIf1-iS'0°d muscles and a sound nervous well as art I am in a position to state that we are larger ones are very rare, but if teachers could dents if they show real ability and the right spirit ri,?uheriATe-iCan artists who have obtained prac- cular or net- adures are those who suffer from mus- doing the best things to raise the standards of Itnrt y a-lthelr muslcal education through years of realize what a beneficial and uplifting influence such and a solid character. The university provides after years of°|US 'veakness of some kind, their reward piano playing that are being done at the present many ways and means to assist them in their educa¬ t o,S 71 maSterS at h°me’ supplemented by addl ailments lard Work being ruined nerves and other time, in many respects; particularly with regard to tion and H a start 1 life. fortuLt J 7 i °r ”!°nths of study abroad, un- the resources of the hand and arm of the player. 177^77 f°r ,themselves and others, attempt to give all the credit to some European master P THE ETUDE 302 (9) See that the expressive device of the slur be tive. How can such a desirable state be secured? fully utilized in every piece. The phrasing slur over IS THERE AN “OVER-SUPPLY” OF MUSIC is a question pregnant with difficulties. two notes of a different pitch, or over a number of TEACHERS? Examinations by some self-appointed board notes, the last of which ends a motive, occurs very satisfactory, as the entire proceeding lacks th{ frequently in good music; and a finished player BY LESTER S. BUTLER. weight of authority and may smack largely may be readily recognized by the delicacy with commercialism. This, at first view Q * which he shades off the tone at the end of the slurs. Two articles recently appeared in a Boston daily presses one if a fee is charged for the ex»““at”£ The most common fault made by those who attempt that should receive more than passing notice. One Of course, colleges and schools would not be sub to interpret their slurs is to make the final note too was headed in heavy-faced type: “Student of Mar- ject to such an imputation; but there ,ls. OIl*.1:e®„ loud, or to bounce it up with a jerk as if it were a chesi, Radcliffe woman, washes windows and be¬ which the public could give that would be fair t sharp staccato note. The right way is to play the comes Socialist;” and the other, “A woman reared all and might remedy the evil being discussed, final note so softly that it may seem to but catch up in luxury up as a vagrant. Daughter of a president large measure, and that is for everyone who wishes of Hobart College is arraigned in court.” In the the dying vibrations of the previous note, and to to be a teacher of music to give up, except as a release its key gently. first article a story is told of a woman who had side line, other pursuits for a livelihood, confining (10) Observe with care the varying shades of been the teacher of many vocal pupils. The woman his best efforts to the preparation for and teaching emotion depicted. Mark the introduction of an ex¬ had studied with Marchesi and was a specialist in his chosen art. The courage necessary to do this pressive cantabile by a slight slackening of the vocal culture, but now washed windows for ten would prove his earnestness, show his metal, ana, tempo; and the change to an emotionally exciting cents each, sewed, washed dishes for her dinners, knowing that he must stand or fall by his ability to and “any old thing” that is honest. She taught passage by a slight accelerando; but do not let free¬ give real value to his patrons, he would hesitate vocal culture at the Oxford for twelve years, formed before undertaking the work without thorough and dom degenerate into violent exaggeration. the Eisenach Academy and was prominent in many (11) At well-marked cadential points; at changes musical undertakings. Incidently she declares that careful preparation. I believe that this method would produce better of subject or movement; at cadenzas leading up to the New England Conservatory, like other large music teachers, and none too many, and that gradu- a pause; and wherever the emotional or construc¬ corporations, has a tendency to “gobble up every¬ tive aspect of the piece may be better elucidated by thing;” but the real cause of her unfortunate posi¬ ally the public would demand, by large majority, those teachers brave enough to face the trials and so doing, introduce a slight rallentando. tion is, she asserts, “over-supply!” (12) See that by a scholarly analysis, and an in¬ The second article recites a story much the same tellectual grasp of each work, you are enabled to in substance. Alone and absolutely destitute, will¬ entau. The public should be educated to the attitude of show in your playing its logical coherence and con¬ ing and anxious to work in any menial capacity, mind that a vocation requires the best, most vigorous reared to every luxury, a woman was found by a tinuity as an organic whole. and untiring effort from its workmen, and that policeman at midnight moaning on the ground in Even a few hints such as these should lead the a dark alley of Washington, almost helpless for when a “side issue,” entered into usually to increase student to seek fuller information, and should want of food. She had had a splendid education, the income as much as possible by it, comes into awaken in him a desire to elucidate in a worthy was at one time a beautiful singer; had been trans¬ competition with the real vocation, the “side issue” manner both the intellectual and expressive content lator of French and Italian patents, and she blames is put on the back seat because it does not represent of the music he has to play. And this he will not the office work for the failure in securing a choir the means of a livelihood. Can anyone doubt, look¬ fail to do if, first, he study diligently the general position which she desired. ing from this viewpoint, that the patron of a teacher plan or formal outline of the work at which he is These stories tell their own tale and carry a lesson who makes music teaching a “side issue” is not engaged; then, its divisions into periods and sec¬ which may be discerned if the observer finds the receiving the full value for his money. tions; then the minute structure of its motival ele¬ In answer, then, to the question arked at the true perspective. ments; and after that the part in the total develop¬ beginning of this article, I conclude that there is Is there an “over-supply” of music teachers in ment of the piece which each motive plays; if, an “over-supply” of nondescript music teachers, and America to-day? The answer may be “Yes” or secondly, he clearly defines this construction by an that the public could remedy the condition by giving “No,” and both assertions deserve discussion. intelligent separation of all the manifest divisions its patronage to those who made teaching music of the music, that is, if his punctuation be adequate; In any business or profession' there is an “over¬ a vocation, a profession, and not an avocation or and if, thirdly, he uses every device of expressive supply” when the thing to be sold, be it goods or “side line of business.” service, finds no market, or has to be disposed of at significance to interpret the emotional content of the less than a living profit. It makes little difference whole and all the parts. to the ultimate result what influence exerts its power No. student who makes himself master of the to increase this condition unless a remedy is found SOME VALUABLE RULES FOR PHRASING. principles here outlined need ever swell the numbers which will prevent or abate the evil, and to resist of those whose use of the word phrasing is cant; Michael William Balfe such increase of “over-supply” by legitimate meth¬ for its mystery will, by him, have been fully pene¬ Felix Mendelssohn Emil Sauer ods some professions and occupations are safe¬ trated, and its kernel of life have become a living guarded by law that presents difficulties to those The simple general rules of expression must be guide.—Touch, Phrasing and Interpretation. wishing to enter these vocations, making personal applied, wherever they are evidently appropriate, to effort and perhaps sacrifice necessary before they all phrases, or fragments of phrases or motives. can receive the benefits from such enterprise. This Some of these general rules are: keeps many from the practice of law and medicine, (1) Play a phrase which ascends throughout STUDIO REFLECTIONS. and the sale of drugs and other lines of business crescendo to the final note. where examinations and certificates are obligatory (2) Play a descending phrase diminuendo. BY S. REID SPENCER. to their pursuit. (3) Play an ascending phrase and descending crescendo and diminuendo. Most phrases, and most The worst players will seldom do anything tha figured passages, as well as figured fragments of MUSICAL PROFESSION UNRESTRICTED. is always wrong. No matter what happens, it i phrases, are best rendered by a crescendo towards usually right somewhere else. The making of ai No such restrictions hedge the music profession. the middle and a diminuendo towards the end. Anyone can be a music teacher. No examination, artist is like evolving order out of chaos; simp! (4) Never fail to give each accent, emphasis, little preparation—in fact, just the inclination is all putting things in their proper place rather thai legato, staccato, slur or other mark of expression that is required. It is not necessary to make it a drastic destruction. noted on the music its accurate rendering in each vocation, even. Avocation, a side business, will do. phrase. You will find' quite a wealth of detailed In the years required to make a finished playei In cities and towns a woman may stand behind the tTt,-15 c°?1Paratively little that any teacher ma: counter .all day; be a milliner, dressmaker, anything; expressive suggestions elaborately annotated on the best modern editions of the classics. ten him. The real work is the routine of carryini and a man may saw wood, do plumbing, sell horses, (5) Look for imitative phrases which are repeated out tew and simple instructions. If a pupil couli run automobiles as chauffeur, be a clerk, banker, always do at once what was required of him, a etc., calling any one or all his vocation, and teach and for melodic figures, whether repeated or not’ and to these give special prominence. soon as he understood, proficiency would be but ; the voice, harmony, composition, counterpoint, nrntter of a few months. It is like being directs pianoforte, play organ in church, train boy choirs, (6) Watch for the dominant theme, or the pri¬ mary motive, and emphasize its entry at each of o ollow a straight road for many miles. Then mixed choruses, conduct everything from a band its repetitions. is nothing more to be said, but a great deal 0 to a minstrel show, doing this as a “side issue,” ( ) By similar expressive treatment of a motival arduous progress to make. when, in the opinion of the writer, the time should 7 fragment at each of its appearances, however it mav There are few things more difficult than to pla; be occupied in recreation, not at the expense of be modified in the course of thematic development scale artistically. The correct fingering may b others, and needed mental improvement. you will often make its genealogy the more appar¬ mastered in a few moments, but a faultless scale Here 1 believe, a great source of the so-called ent, and thus elucidate the construction of the music even at a comparatively slow speed is seldom seei “over-supply” of music teachers. And the evil is The limit of the motive may be defined on the or heard The arm must not twist, the thumb mus not easy to remedy. printed page by a curved line, or by a break in the quickly prepared when going towards the littl Girls after a few lessons essay to teach the piano; normal rhythmical grouping of the notes; and if ger, the correct position must be acquired am boys with as little preparation become teachers of such a fragment be often repeated its thematic im¬ maintained, all notes must be uniform in quality the violin; everybody can teach the vocal art; even portance may be realized. Out of the simplest mo flatc „ ecb"lcaI1y- ‘he scales of five sharps and fiv< little training here may be dispensed with, singing tives of a very few notes, Bach and Beethoven the nJi6 ti'e easiest> as they are more adapted t< is so natural; and, of course, churches are delighted have developed the most marvelous and expressive movements. expressive maior -Urf! p°s,tion of the hand, while that of ( to get the services of an unprofessional organist The IS A?e hardest- from that standpoint. because he can afford to give much extra work (8) Beware of the common fault of displacing the rhvth^aUflenCe,shouId be made to ^el the correc without pay, as he doesn’t depend on this for a normal _ rhythmical accentuation by unnecesfarilv he!r, Jr°m tHe Very start' How often do w livelihood. There is reason to believe that if this emphasizing the first note of a phrase which begin! we are °r exerc,se start, say, in triplets, am large and increasing force of nondescript music t eraCCented bea> Remember that the pS tsomo ^ aware of it for some time. Of course, i teachers could be suppressed the right answer to dnl? 1 a- U"aCCe"ted Part of the measure or belt or 1 * Part un*iistakably gives the rhythm does not displace the normal accent; it simolv in Hans Sitt the question of "over-supply” would be in the nega- nm h! natUrei °f the is sUch that it can Mathilde Marchesi creases the first natural accent that occurs. ? 7 But thJm!?lunderstood, that is all that is necessary Friedrich Smetana ’ bbe tnany other points, is often overdone 305 304 THE ETUDE THE ETUDE ography of the musician. That tribute finds its echo in my heart. ‘God of the Pianoforte,’ Rubin¬ HOW TO PRESERVE THESE stein fittingly calls him in his work, Die Kunst und Cut out the pictures, following outline on the reverse of this page. Paste them'on margin in a scrap-boo , or o ^ referenCe and separate portraits. This is the third set of picture-b»o Hire Meistcr. Never was the language of praise, Eminent Musicians on Chopin albeit with flowery epithets, more justly applied than board for class, club, or school work. A similar collection could only be obtained by purchasing severa expensive oo Fielitz, Sullivan, Liza Lehmann, Vieuxtemps, Franck, Wagner, to the genius of Chopin, the dreamy Minnesinger, in the new series, which commenced in January, and included portraits and life-stories of Hofmann, Anton u published last year is now obtainable in book-form. and His Works who, now sobbing with passion, now mourning for Wagner, Danda, Gadski, Johann Strauss, Paganini, Bach, Paderewski, Foote, Bloomfield-Zeisler and Max Reger. his country, and again vibrating with melodies - -- worked up to a wild enthusiasm, has brought de¬ light and happiness to millions. “In the greater forms of musical expression MICHAEL WILLIAM BALFE. EMIL SAUER. FELIX MENDELSSOHN. Selected and arranged for ETUDE readers from an (pianoforte concertos, werks in variation form, etc.) Balfe was born at Dublin, May 15, Bach, Beethoven, Schubert and Schumann alone (Sour.) (Men'-del-sohn.) excellent symposium which appeared recently Mendelssohn was born at Hamburg, 1808, and died October 20, 1870, at surpass him. As tone-poet, master of color and Emil Sauer was born at Hamburg, February 3, 1809, and died at Leipsic, Rowney Abbey, Hertfordshire. His in the London Musical Times. creator of sound-effects—such effects as were com¬ October 8, 1862. He was a pupil of November 4, 1847. He was the son of father was a dancing master, and young pleted and considerably extended by — Nicolas Rubinstein at the Moscow Con- 4 Abraham Mendelssohn, a banker, and | Balfe obtained his first musical experi¬ no one else comes near him. In vain you seek his servatory from 1876 to 1881, and was 2 ;! grandson of Moses Mendelssohn, a ence as a violinist at his father’s danc¬ equal. Works, full of attractive melody, like his later a pupil of Liszt and Deppe. g* noted philosopher. He studied piano- ing classes. Subsequently he became a Chopin 'had little fondness for the F.nglish people stumble over eertuin hard, inartistic, and. to me, Incompre¬ preludes, nocturnes, impromptus, etudes, ballades, £ hensible modulations, and the whole is often too sweetish From 1882 he was engaged in various forte under Berger, theory under violinist at Drury Lane Theatre, Lon¬ and for England. I11 fact, upon one occasion while for my taste, and appears too little worthy of a man and scherzos, waltzes and polonaises, stand alone and - concert tours as a virtuoso pianist, in .s Zelter and violin under Hennings. .S don, 1824. The following year he returning from that country to Paris he is reported a trained musician.” unchallenged. The depth and tragedy, too, which Mendelssohn made his pianistic debut t, which he was highly successful. He visited Italy. He became first baritone to have said to a companion: “Do you see the cat- In 1834, at Aix la Chapclle, Chopin met Mendels¬ speak to us from the two sonatas, the F minor in Berlin, 1818. He first visited Eng¬ appeared in England in 1894, and J I at the Paris Italian Opera, 1828. While tic in this meadow? They have more intelligence sohn for the first time. In one of his letters Men¬ Fantasia, the. Barcarolle, the Polonaise-Fantasia, rapidly won the good opinion of the land, where he was a great favorite, in in Paris he was closely associated with than the English” ("Co a plus d'intelligence que les etc., are typical of the skill, the power and the ‘in¬ Q g delssohn thus writes of his new friend: “Chopin British public. He first came to Amer¬ rt 1829; toured through Germany, Austria, Rossini. On account of ill-health, how¬ Anglais”). England, however, is too broad to con¬ finite variety’ of the great composer. e is now one of the very first pianoforte players; lie ica in 1898-9, and was at once accorded •E Italy and France. He conducted vari¬ ever, he was obliged to leave Paris, sider the thoughtless complaints of a neurotic “For a proper interpretation of Chopin’s muse, ous orchestras and choral societies, in¬ & produces as much effect at Paganini does on the a hearty welcome, which has attended and he returned to Italy. He went invalid who lived most of his life on the flattery violin, and performs wonders which one would and a complete understanding of his inner meaning, 1 cluding the Lower Rhine Festival, 1833: 6 and superficiality of the gayest of European capitals. we must not look to the traditional pianists, but to his subsequent visits to this country. .2 to Palermo, and it was there he pro¬ never have imagined possible.” Leipsic was visited 5 Gewandhaus Orchestra, Leipsic, 1835, Throughout his whole existence Chopin had been those whose tastes are cosmopolitan, their percep¬ In 1901 he was appointed head of one and the London Philharmonic, 1844. £ duced his first opera. In 1833 he re¬ in 1835, and here there was a remarkable meeting the pampered pet of a favored few who had the ar¬ tions acute, their manners polished and their powers of the piano departments at the Vienna g He founded the Leipsic Conservatory turned to London, where he appeared with Mendelssohn, Schumann, Clara Wieck and g tistic foresight to divine his indescribable genius. of expression Cultivated and refined. In short, the Conservatory, but resigned this position of Music; aroused people to appreciate * at many concerts. The first of his other celebrities. Later Chopin met Thalberg, Chopin is exceptionally popular in England, as in true exponent of Chopin’s work must be one to in 1907 to go to Dresden. Since then « Bach; wrote the greatest oratorios many English operas was produced in whom it is said he absolutely despised. Sauer has again visited the United America. The London Musical Times, one of the fore¬ whom music is not a science, but an art; who pro¬ H since Handel’s, and exercised a pro¬ 1835 at Drury Lane. It was called most English musical journals, which is now in the States and achieved pronounced suc¬ « A TOUCHING INCIDENT. duces his music, not with studied calculation and found influence on the musicians of his « The Siege of Rochelle, and met with fifty-second year of its existence, has recently cess. As a composer he has written 3 After outlining the main epochs of Chopin’s in¬ mechanical intelligence, but with that heartfelt ear¬ day. As a composer his oratorios. gieat success. Many others followed, printed the following excellent symposium, giving a symphony in E minor, a “suite mod- The Elijah, St. Paul, Hymn of Praise, teresting life, the Times relates the following in- nestness which distinctly marks the true virtuoso. but the most successful of all and the the opinions of great musicians of the past and erne” and many smaller pieces for the . teresting facts pertaining to the death and burial “Unfortunately, the number of those who count it etc., will always be appreciated, as will Js most popular was The Bohemian Girl, present upon Chopin. piano. He is also the author of a book his orchestral works, such as The Mid¬ of Chopin: no penance to play in public, who idolize their Following a short biography in which it points of reminiscences entitled Meine Welt. « summer Night’s Dream incidental music. > which was produced in London, No¬ “His health now rapidly failed, and on October pianoforte and lovingly caress its keys, making them 2 to the fact that the date of Chopin’s birth has been Grove’s dictionary says that “his tech- FingaPs Cave Overture, Scotch Symphony 2 vember 27, 1843. This opera was trans¬ 17 he passed away. Liszt, who saw Chopin soon speak in clear, bell-like tones, is extremely limited. established with reasonably good authority as oc¬ ■ nic is wonderfully neat and accurate.” 0 and the Violin Concerto in E Minor. lated into German, Italian and French, after his decease, states that his face, which had They are the ‘peculiar faddists’ (wunderliche Kduse) § curring on February 22, i8ro. and not in 1809. as is This statement is more than borne out 3 The Songs Without Words are still much and was as popular on the continent as previously borne the expression of his suffering, who, through a single mishap in a whole evening, by those who have had the pleasure frequently stated, the opinion of Joseph Eisner, ' admired by pianists, arid his songs by ° in England and America. In 1849 Balfe now resumed a look of youth, purity and calm. An an overstrong accent, or a pause too short, have a of hearing him play. Emil Sauer is a <3 Chopin’s teacher, is given. When Chopin was only vocalists. His private life was above went to Berlin to produce some of his impressive funeral ceremony, at which Mozart’s sleepless night. No :omposer demands more care¬ man of unusually wide intellectual at¬ a child Eisner said of him: < reproach, and all his life Mendelssohn works. He achieved a great success, ‘Requiem Mass’ was performed, was held at the ful treatment in his works, round which are woven' tainments, and thoroughly deserves the dwelt and worked in an atmosphere of eminent place he holds among the and became very famous. He spent a ‘'Leave him In peace: tils Is an mimon way because his Church of the Madeleine, and the burial took place artistic arabesques like garlands of flowers, than elegance and refinement which have gifts are uncommon. Me does not strictly adhere to tin’ greatest living pianists. very busy life, and occupied many im¬ customary method, but he has o ne of his own. and he w at the cemetery of Pi-re la Chaise, Meyerbeer and does Frederick Chopin. The adequate interpreta¬ fallen to the lot of few musical portant positions, both in London and reveal In his works an original! ty which in such a degree other mourners walking the whole three miles bare¬ tion of his compositions requires extreme accuracy, (The Etude Gallery.) .geniuses. (The Etude Gallery.) on the continent. (The Etude oaiitqr.) headed. A touching incident was the sprinkling subtle handling and loving care of each individual Chopin’s opinion of his two and only teachers on the coffin, when in the grave, of Polish earth note, with a true sense of sound and color, accom- was expressed later as follows: which, enclosed in a silver cup, had been given to pahied by an artistic freedom in performance, aided Chopin nineteen years before by friends on his de¬ “From Zwyny and Eisner even the greatest must learn by the possession of a faultless technic. For this FRIEDRICH SMETANA. something.” parture from Wola.” reason, those who master the pianoforte ‘as mu¬ MATHILDE MARCHESI DE HANS SITT. (Smeh-tah'-na.) sicians rather than as pianists’—a new phrase, but CASTRONE. In 1831 Chopin went to Paris and met Kai'k- Sitt was born at Prague, September CHOPIN’S PLAYING. rapidly growing in popularity—suffer disastrous Smetana was born at Leitomischl, brenner, who was then a famous pianoforte teacher, (Mahr-kay’-zee.) 21, 1850. His father was a violin manu¬ shipwreck on the rocks concealed in Chopin.” Bohemia, March 2, 1824, and died at only to decide not to study with him. After much Regarding Chopin’s playing and his method of Prague, May 12, 1884. He was a pupil Mme. Marchesi was born at Frank- facturer, and Hans first studied this in¬ composition, the writer in the Times states: fort-on-Main, March 26, 1826. She was success as a performer he heard Field, who was a of Proksch at Prague, and also, for a 1 strument at the Conservatory of forerunner, but scarcely, in any sense, an instructor “Berlioz said that Chopin could not play strictly PROFESSOR NIECKS’ OPINION. the daughter of a wealthy merchant. Prague. In 1867 he went to Breslau, in time, and Sir Charles Halle related to Professor time, a pupil of Liszt. He achieved a of Chopin. Field’s opinion of Chopin was that he Although Professor Niecks was born at Dussel- I11 consequence of her father’s loss of II Niecks an account of a dispute between him (Halle) some distinction as a pianist, and s where he became conductor of the thea¬ was ‘‘tin talent dc chambre malade” (a genius of the dorf, in Germany, his work has been so closely con¬ fortune, however, she adopted the mu¬ rind Chopin as to whether the latter played his opened a music school in Prague. In d tre orchestra, later becoming Kapell¬ sick-room), a criticism which (as Professor Niecks nected with musical life in Great Britain that one sical profession in 1843. She first ‘Mazurka’ in four-four instead of three-four time, 1856 he accepted the directorship of the T meister. Later he occupied a similar says)_ makes one think of Auber’s remark that rarely thinks of him otherwise. He is now the and although Chopin was at first reluctant to admit Philharmonic Society of Gothenburg, in s studied singing with Nicolai in Vienna position in his native city. He left Chopin was dying all his life. Berlioz and many the change, he was ultimately convinced. One can¬ Professor of Music at the University of Edin- ' Sweden. After the death of his wife, £ but in 1845 she went to Paris, where she Prague to go to Chemnitz in 1873, but other contemporary musical lights were now in not help remarking that in the indefiniteness of burgh. He is an authority upon the life of Chopin. in i860, he made a tour of Sweden, but 1 became a pupil of Garcia. Following in 1880 became, for one year, conductor Chopins circle. Yet, with all the aural experience To the Times’ symposium he contributes the fol¬ he enjoyed of the best music of the period, he as¬ rubato many of the performers of Chopin’s music the following year he returned to .5 thts came success in London, and sub¬ ol the private orchestra of Baron von lowing: similated little or nothing that did not fit in his leave the composer entirely in the shade. Dr. Prague. He was, in 1866, appointed sequently throughout Europe. In 185’ “Chopin is undoubtedly one of the most ex¬ Derweis, at Nice. In i88t Hans Sitt own idiom. His compositions now developed in Hadow. in his second series of ‘Studies in Modern conductor of the National Theatre in E she married Salvatore Marchesi (her quisitely poetical musicians the world has seen, ounded a series of popular concerts, boldness and originality, and he began to stir the Music,’ points out that the tonality of Chopin’s Prague. In the same year his most .2 maiden name was Graumann), and two and if the stress is laid on ‘exquisitely’ and the famous work, Die Verkaufte Braut (The two >'ears later he became teacher critics. Rellstab, an eminent writer of the period, music was to some extent affected by that of Polish years later became professor of singhm qualification ‘romantic’ added, it may be unhesitat¬ Bartered Bride), was produced under ° e violin at the Leipsic Conserva- thus delivers himself of his feelings regarding the folk-songs, which are often written in one or other at Vienna Conservatory. She had great ingly said that he was not only one of the most, his own direction at this institution. ory- It is in this capacity and in his mazurka (Op. 7): of the ecclesiastical modes. but, indeed, the most poetical musician the world One of the members of his orchestra at . w“e» here> but in 1861 she removed capacity as a violinist that Hans Sitt is “We read that Chopin was very fastidious in his with her husband to Paris, where pu¬ has seen. His superiority among the post-classical that time, in whom he took a keen in¬ 1 method of composition. He would spend weeks in pils came from far and wide. Four J*®1 kn°wn. As a teacher he is very writing and rewriting a single page. How much composers for the pianoforte as to originality and terest, was Antonin Dvorak. Smetana Popular, and possesses a remarkable wrote many important works—operas, years later Mme. Marchesi became a i,"" , uiscoras, iorcea tra more fluent and confident are even some of our beauty of style and matter is universally recognized. g»t tor imparting knowledge. He has ."“k; “ar?,a modulations, ugly distortions of melody 1 symphonic poems, orchestral pieces. professor at Cologne Conservatory but rhythm. Everything it is possible to think of is raked youngest composers in these advanced times!” The influence exercised by him on music generally composed a great deal of music for his to produce the e%t of odd originality I 1 especir chamber music and piano pieces. He is resigned after another four years to strange keys, the most unnatural positions of chords. is. on the other hand, too much overlooked. He instruments, some of a technical na¬ must be reckoned among the national t, resume her work at Vienna. She gave p»veS c?mbinations with regard to fingering. . , EMIL SAUER’S OPINiON. was a creative and inspiring power not merely in composers, his inspiration having been % ture, but also some very beautiful works 41 1 (,l0Pin had shown this composition to a mai pianism, but also in music at large. To be con¬ up this position in I878, but continued the latter would, it is to be hoped, have torn it and thre Emil Sauer, considered throughout the entire mu¬ mainly founded on Bohemian ideas. a more important character. These it at his feet, which we hereby do symbolically.” vinced of this we have only to realize the difference sical world as one of the very greatest virtuosos Unlike that of Dvorak, it did not g r“id\in the1 Austrian cap- between Chopin’s harmonic sources and kind and ltai. in 1881 she returned to Paris and include three concertos for the violin, And Moscheles remarks: since the time of his famous teacher, Franz Liszt, rapidly achieve a very wide apprecia¬ 3 degree of expressiveness, and those of his prede¬ stin resides in. that city. As a teacher V1°,a concerto, a ’cello concerto, a writes as follows: tion outside his own country, but is 0 uliei.exvhe^ehf Heldl'Tel!i' l;sighs,1t;jmI Chopin,luS' pho groans:Pin makes where a grinningField shrues grimi cessors. Original as Schumann was, he was greatly 5 >mp ony and many smaller violin “When you ask what Chopin and his immortal gradually becoming better understood h Cunj?yed most remarkable suc¬ S :„°:'1trLf h0pi,n .hvlsts his Whole body; where Field 1 influenced by Chopin. On Liszt the latter’s in¬ cess. She has published a method of Pieces _and clever songs Jn addition tQ works mean to me, I find mere words inadequate as time goes on. It is sad to record r-2?enno U. ”g nto the food’ choPin empties a handfu fluence was, of course, much more powerful, for that towards the end of his life singing and twenty-four books of voca this, after going to Leipsic he became T-' '"^S„peppf“r- • , ■ • In Short, if one holds Fir to the .full expression of my feeling of almost rev¬ II at everv°deMenLbefore a. distoI'tirlS concave mirror Liszt s originality as a composer was less, and his Smetana became deaf, and finally in¬ exercses. Her most famous pupils a member of the Brodsky Quartet, in < 1 O 1 delicate expression hprnmps pnarea /vr»rt erential appreciation of that great master. While familiarity with his fellow-pianist’s compositions sane. He died in an asylum in Prague. perhaps, are Mmes. Melba, Calve and I am seated at the pianoforte, he is ever my inspira¬ cam;. 5 ayCd the viola' also be- greater. But Wagner, too, must have been strongly (The Etude Gallery.) miners may put them rich tion Of all the gods who have showered countless of^L r^,Ct°r of the Bachverein and practicing tnese studii influenced by the Polish master, whether directly play them—at least, l those who have not ’ jewels on our pianoforte literature, he remains the without having a i or indirectly does^not matter. No doubt the chro¬ servatory emS’ °rchest£e one at whose shrine I ever tender heartfelt thank- matic in the texture and the psychological and in¬ offerings on bended knee. ‘Doux et harmonieux iSSwaafr genie! graceful and deserved tribute paid to timately subjective may be said to have been in the r at that time; but Chopin was indisputably the national colouring of their motivi; buthmy°flnge?"talr Chopin 111 the opening of Franz Liszt’s noble bi¬ firstSt totn giveon-.ro a1 strong impulse1.. ii•1 ^at (JJrectjon

* 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 ‘“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 '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.

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

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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

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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 ' if ,ht *a,t 0i really essential movements in the performance of a you. are trying to teach others to enjoy. Show your great pianist from those which are merely inci¬ able finger control and skill. The character of hands rik T'T "m be the **? pupils that you are a musician and really love your music selected will need careful attention as soon octavo . w"en learning to play them i dental and irrelevant. Certainly the great pianist music. Don’t go through your musical life and see only better not*V’U,ar,y- Thirds, sixths and tenths himself would be the last man capable of doing it. technic, pedals, phrasing and mistakes. Take delight in pertnes • , tempted until a fair degree As to a knowledge of anatomy, the mere observa¬ every lesson and watch your business’ grow. Pertness ,n all the major and minor scales ha: THE ETUDE 341

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 so that they can be moved they do not move at all. Therefore no the stop-knobs remain stationary. the player,”—X. Scharwenka player ten times the amount of work gaged working the swell pedal. The ab¬ place of draw-stops were tried in and out with the least possible effort, argument will convince me as to the They ought not, however, to condemn to do, with, perhaps, half the result. surd effect can be imagined; the tone isfied with the England years ago. and have more or 1 unhesitatingly state that there is advantages of inactive stop-knobs over the other system, if the only exempli¬ remained level and passionless to the less all died a natural death-after hav- notIling to compare with them for ease the others. fication of which they happened to ears of the hearers, while their eyes were PRELUDES AND POSTLUDES. music from your r been put to the most severe and ab,1,ty I To begin with—the old organs had have tried was faulty. amazed by the meaningless “gaping” of more artistic results. practical tests. no means of stop control except by Organ preludes and postludes, in¬ th swell shutters. The following rules Church Organ, ThetP are three well-known arrange¬ hartd, until Mr. Bishop, a well-known PRACTICAL STOPS. stead of being legitimate introductions of the late John Stainer should he im¬ ments or groupings of stops. The LISZT ORGANS A FAMOUS AUSTRALIAN ORGAN. organ builder of his time in England, and endings to religious services are pressed on young players: an inadequate wind supply How can we in any way accept such Furnish the most perfect substitute for “Never use the swell pedaj, unless the Let recent experience invented the Composition pedal to as¬ frequently the reverse. We have in an argument, when we have a perfect a pipe organ of any instruments ob¬ proper expression of the music demands may be the cause, and—it which will prove that I have no such Vertical, n rows of t1 i the stop- sist the hands in the control of the tainable, and are superior to small mind a church recital recently given by system of interchangeable combinations a celebrated choir, in which the congre¬ a crescendo or diminuendo.” prejudiced spirit. Two years ago I ° o stops. Similarly, later, thumb pistons on every manual and pedal (with draw- pipe organs in many respects. They is so easy to install a gation, before hearing Palestrina’s “Never sacrifice the proper perform¬ was invited by the City Council of jambs placed at an angle of 43 degrees. were introduced with the same object, stops moving silently and quickly), and differ materially from all other reed organs, having a richer quality and motet, “Come let us worship, and fall ance of a pedal passage for the sake of KINETIC ELECTRIC Melbourne, Australia, to open the The Horizontal, usually arranged in and, about fifteen years ago, the firm of also six or seven pedal pistons, on which Lewis & Co. introduced key-touches greater body of tone. down; let us kneel before the Lord our using the swell pedal.” large rebuilt organ in their beautiful terraces’ any stops on any manual, pedal, couplers No other organ approaches the ORGAN BLOWER, which , and the mixed above the manuals—presumably to be Maker,” and the unaccompanied chorus “Be as careful of the way you let the Town Hall. This organ s rebuilt or even tremulants, can instantly be set Mason & Hamlin in the reputation it “Gloria patri et filio, et spiritui sancto. pedal return upwards as of the way you does away with the uncer¬ a cost of about $23,000 touched by one of the fingers when at the keyboard by the player—even dar¬ enjoys among the world’s most famous i the electric arrangement: which is so often playing: an absolute impossibility in Amen,” by the same composer, were press it down.” system, with a detached console ing the performance of a composition? musicians. tainty of hand or water to be found. the majority of compositions when the devotionally prepared for these ecclesi¬ “Observe carefully the length of the tainihg “stop-keys” in the place of The system I have in mind is that re¬ Send tor illustrated catalogue A fpur fingers are in use most of the astical masterpieces by listening to passage marked crescendo, and do not get blowing. Besides, it is slop-knobs, I gave twenty-three re¬ DETACHED CONSOLES. cently adopted by a well-known firm— ’s “Kaisermarsch I” the swell fully open till the climax, un¬ . _ ;.o •, [J, .Vjoa jfif' and the thumb only is available. and one of the best examples of which quiet, economical, requires citals on this organ, and, during my The two-row vertical—by far the best There is1 no doubt that the reason so And after the Palestrina anthems had less you are prepared to carry on the can be seen in St. Andrew’s Presbyterian three months’ stay in the city, it was and most_ useful in every way—has many organ builders in this country been sung, the organ pealed forth the crescendo by adding stops.” little or no attention. Church, Toronto. It rests with the “The swell crescendo is the more ef¬ necessary for me carefully to rehearse practically been abolished_this coun- have adopted the dead and inactive “Ritt der Walkuren!” my programmes on it every day. I try, owing to the unfortunate {most jdraw-stop a-- system. . owing to th« organists and builders in this country to Viewing this matter from a purely fective, if not used too frequently.” frequently played and studied unfortunate from the artistic or the mand for miniature, detached ~ and 1adopt -i 1 such a system- as standard.. ~■ ! built on this and other similar earnest student’s point of view) craze movable “toy consoles”—usuallv at- !>ulldera 1 blow, be only too willing, H. HALL & COMPANY systems for many years, but I thought for detached and low consoles. I have tached to the organ bv a long rone ** au ,ac*'nK orKanists unite with them New Haven, Conn. THE KINETIC ENGINEERING GO. those three months’ experience no space nor time to discuss or which, as my friend the late 'vY T ?'ld . p t,K'm to 'tan.l out again-t the MAKERS OF MODERN Church Organs Baltimore Ave. and 57th Street, same instrument would enable me to enumerate the large percentage of dis- 'Best used to say. “ought to be round jC cran,ks and suggestions (most of PIPE ORGANS “The Schantz Pipe Oigans LATEST IMPROVEMENTS Philadelphia, Pa. either confirm my preconceived views, advantages over the advantages of de- the builder’s neck!” They found it im- which are thoroughly impracticable to the Are not only equipped with every BOSTON NEW YORK PHILADELPHIA or (and I went to work with this lat tached consoles, such as being away possible,to convey wind into the rnn- earnest student) of so-called "organ modern device of merit, but for beauty CHICAGO LOUISVILLE DALLAS experts.” of voicing, tone quality, durability and ter idea strongly in my mind) find that from the instrument (what other artist so|e so as to move the draw-ton musical efficiency have no superior. ORGAN PEDALS practice and»«, use would„UU1U perhaps.cnnus w.„ is there whose wish would be separa- mechanism with the pistons and The pistons ought to be an adjunct to .Correspondence Solicited. Main Office & Works FOR UPRIGHT PIANOS me over to certain strongly claimed tion from his instrument, or who would get ’ - the draw-stop mechanism, and not an Pipe Organs of Highest Grade Only |_| OO K Manufactured and Sold by dependent system and an obstacle to it advantages,' My experience may per- Ju,~a f av,r|g to play it at aa distance other,°t ' alternative and’ made^it possible ind^Tc,'dcnt system and Our Instruments comprise all features which A. J. SCHANTZ, SONS & CO. Hastings Lo. We must be able to push in, if ncces- Fair Prices. Established 1827. All Sizes. JOHN J. HOLE are of real value. Many years of practical OrrviUe,.Ohio GENEVA, N. Y. sary, any stop which may be in a piston experience. Write for specifications. £r.$£ Kis tars« “T? *Fr tsa combination. We must be able to add EMMONS HOWARD Westfield, Mass. any stop or stops, by hand, to the * T" ”“Js ’ ■ .... THE PILCHER PIPE ORGAN ™aZ fe,him-, ,.”C„.hlS."fte"_bee" confine myself to the question at issue. Crescendo pedal. there before, and knows perfectly existing combinations, and have such JEWELRY FOR MUSIC LOVERS As I said above, the two-row vertical This selection can „ , 11 , stops instantly withdrawn for us when Established New York, 1851 St. Louis, 1873 that he is capable of reaching it: but arrangement of stops -GIFTS AT SMALL PRICES- again touching that same piston. If a GEO. K1LGEN & SON be is stopped by an insurmountable most useful in the wav of'easy ma- iaK"'V '' t,lc Back of tiu. 16-foot stop is on the full Great piston, fence or barrier at the first hundred nipulation and accessibility: and if it to a «!^i.Cr!lT mg inside the organ Pipe Organ Builders we must be able instantly to throw HENRY PILCHER’S SONS, - LOUISVILLE, KY. yards. He can see all the beauties in were possible, in writing, for me to ceeding ”T°ard—a very dignified prn- it off, by a slight movement of the back ST. LOUIS, IVIO. thc distance: but. alas, is prevented illustrate the ease and rapidity with izing the H a recita1- P-eal- Ladies' Collar or Cuff Pin*. of the hand, should we so wish. If States. Bcsfof References. Sterling: silver, gold or silver finish..25 cts. each or set of three sentiments, 75 eti from ever realizing them or showing which constant and frequent change of grouos and 1 at,?ns, and arbitrary we desire to add, say, the 4-foot Flute Hard enamel, Roman gold finish.25 cts. per set. Sold only in se them to others. This is exactly what stoPs can be accomplished with this color and nrvw PS> r*1 ™ay tor|e- to the Orchestral Oboe piston on the I suffered in trying to render such arrangement, the reader would, I know, crescendi etc T£r’, .1", mkin& gradual Choir (or any other stop or combina¬ ORGAN REPERTOIRE Kimball Pipe Organs works as those by Wagner. Tschaikow- be. convinced—whatever his precon- invented’ a irm h • , s ve.r>’ cleverly tion to it), we must be able to do so, A Book of Pipe Organ Music for Church sky and other great musical poets. ceived ideas may have been—of the called it a «<„C_ arn , contrivance and and the added stops should instantb truth .of nor »l»l.” s, HONORED I had been able to reach a certain trlltb.'°f my assertion. ™ ™ ny off when the piston is again touched, Compiled by PRESTON WARE OREM \ “interpretative distance” before—when . >s a well-known law in optics that, organist (whof .vt,,', t.L ....W l!‘e , am' ''iai.,„a« r Price, $1.50 for Ladie. say, the piston for Dulciana or soft By the Highest Award at the World’s Colum¬ I had means of doing so-but the maze g1Vep 3 m,mber °f objects in a vertical portnniLTJ ° ?Ter had the r The chief object in this compilation has been Sterling silver, gold orsilvi ^finish... .25 cts. each to cover the ground as widelv and thoroughly ?er finish.... 50 cts. each Hard bian Exposition in 1893, the greatest in history; or “false teeth” that confronted me, a borizontllline! adding by*hand^he^v ^Th^s™™ l^hing holds good of a Hard enamel, d finish.25 cts. each and the same honor bestowed by the Inter¬ 4 vciiiuus stops m as possible, incorporating many novelties and 5 cts. per set of three original pieces as well as some standard com¬ make an^ attractive, suitable and^lasting national Jury of Awards of the A. Y. P. Expo¬ and the Impossibility of getting at them vertical’"itee l? llh °!S ” accor.da?ce with theirTn^8.^.!.^ combination of Diapasons or any other positions and new transcriptions not to be for Teac_ _ _ ipils, and may be sition, Seattle, 1909. ■ so as to make constant and frequent example• "take'a vertkM eaSler' For nor 1,3(1 a properly "arrange fnictllr®: sct combination. \V0 oughtnight tot* be abb' found in other collections, composers of all schools being represented. italogue of other musical jewelry novelti Violins, Drums, Banjos, Mandolins, W. W. KIMBALL COMPANY changes in the wav of tone-color, made of stops and focus the eyes^the he cot,ld d° it), who'haSd, ; !°I” ‘,l a' uozen<,n2c" stops^tops insta,instantly, wit'1 and char it ahsoltif^lv lmnnccihlA fVio-.- _— eyes in the this aid tr» _™ , no nailed both nn,' ... THEODORE PRESSES CO. PIPE ORGAN BUILDERS cclarni bands- >f necessary, without the 1712 Chestnut St., Philadelphia, Pa. THEODORE PRESSER, 1712 Chestnut Street, Phila. ’ 1---...cans to an end Tt,'; S '®atesf jamming or resistance on ther CHICAGO aIs° saved Wm the trouble of haln " PKrt Tbc o«Rht tion THE ETUDE when addressing naving about an eighth of an1 inch,i and the 347 THE ETUDE THE ETUDE munity in which he lives look at it in SILVER G’S. fine violin Albert SPALDING engagements at large sums. They had that light at all. He is a good musi¬ — CATALOG- “IN .."EUROPE—Ju«I I“* ““ had their day. Two things were lelt cian, and has made a pleasant place for Many violinists and students deny for them to do-orchestra playing and himself. He is making and saving ^selves the pleasure of using silver teaching. There are much money, has a pleasant home, is r swings on account of the additional linists scattered all ov held in the highest respect, and may • c0St In this they make a mistake. whose one ambition in life was to fo look forward to winning a competence. The'very best quality of strings ob- low the career of concert playing, but His life is probably far more pleasant Department for Violinists l^n'idaver would'do'reany0artistic work. J. P- S.-The “Chemical Violin who were forced to abandon it and than it would have been as a concert glides the additional cost of the best Bridges are of first-rate quality, and Edited by ROBERT BRAINE settle down to teaching and playing in violinist. The large majority of violin j.. ’of strings is so small that, say if well adjusted can be depended upon orchestra, or conducting. teachers, especially in the smaller ^ a'year’s playing, it amounts to very to produce a good tone. 2. Ivory is too AUTOSTABILE VIOLIN TAILPIECE Students also do not realize what a towns, are obliged to combine their vio¬ comparatively small number of concert lin work with other branches, such as littk Silver G strings cost from 50 hard to be used for making violin violinists are necessary to fill the de¬ church work, piano teaching, compos¬ cents to $1 at retail, and are well worth bridges. An ivory bridge would not CORDE DE LUXE mand. There is only a handful of con¬ ing and arranging music, etc. For this the additional cost. Young students produce a good tone. 3. As a rule, pro- cert violinists, including those who reason the violin student will do well get the idea that the additional cost of fessional violinists use bridges made of SHALL I TEACH? compositions which these artists have ~ come to us from abroad, who spent to learn something more than merely these strings comes from the fact that maple. Some use the chemical bridge, VIOLIN E played at the concert, and he cannot How often is the remark, “I never their entire time each season filling en¬ solo-violin playing, for he can never they are wrapped with pure silver wire. ^ The director of an orchestra is the USED BY LEADING ARTISTS see why he should not achieve the expect to teach, I do not care for gagements to play at the better class know what the future holds for him. This is absurd.^ since the addltiona proper pers0n to select the music 15c Each $1.50 per Dozen same success. Alas! he fails to recog¬ ; would prob- teaching, I shall only do concert work,” concerts here in America, at least, in Besides, the study of other branches cost of using silver , p J played. As the first violin player i Catalog of fine violins sent free nize the vast gulf which lies between for each 77._. „_- . . t ■ heard from students studying the violin the ranks of the dramatic profession will make him a broader and more in¬ ably be but a cent or lwu ““H1 small orchestra of eight or ten pieces MUSICIANS’ SUPPLY CO. for the profession. I hear it almost genius and mere talent, and has no idea there is a demand for thousands of ac¬ telligent violinist. 60 Lagrange Street - Boston, Mass. of what a vast number of favorable [strcausedTby dfeclrewith which they usually directs it would be his duty, every day, and I almost invariably ad¬ tors. Even those of mediocre abilities are made. The finest selected gut is The prices paid to first violin leaders vise the student making it to lay down have a chance, but for concert work used on which to wrap the wire, and it of orchestras have a wide range. In only finished artists, of high rank have A BOOK UNDER THE ARM. SEE HOW men THE TAIL PIECE STANDS UP the violin and the bow, as far as is carefully stretched and tested to see the large cities a first violinist, acting any show whatever. THE OTZINACHSON VIOLIN making a profession of it is concerned, There is hardly a “self instructor” that it is “true.” Then the utmost care as leader of a theatre orchestra, re- if the idea of teaching is so irksome. Only a limited number of the world’s Original in for the violin published but di¬ is used in wrapping, so that the string ceives from $30 to $50 per week. In DESIGN, BEAUTY OF CONSTRUCTION, Few students in the United States greatest violinists of the present day BE WISE IN TIME. rects the student to “practice with a comes from the process perfectly a smaller city he would probably re¬ loHn “t STary ek,U« »T.Oo!“circu- PERFECTION IN BALANCING POWER have the faintest conception of the are able to keep continuously at work AND TONAL QUALITY on the concert platform at fees which I have gone into a description of the book under his arm” in order to learn smooth and cylindrical. Such a string ceive from $3 to $5 per night for the- difficulty of winning a position in the conditions at present obtaining in the they consider their dignity should en¬ to bow with a quiet back arm. Indeed, makes a far better tone than an ordi- atrical, concert or dance work, artistic world, where they will be able musical world of to-day at some length title them to receive. Youth, personal the same direction is sometimes met nary G string, and as a rule lasts sev¬ to command a good income from con¬ to demonstrate to the student that he appearance, magnetism, the power of eral times longer. It makes the whole H. D H.—The fingering of the £ R _The r tone you complain cert work alone. While from a tech¬ must be one man out of a million of with in schools and instructors, written interesting the public, in short, the violin sound better, and is worth sev- scales when shifting is governed by the double bass might nical standpoint the art of violin the population, if he would meet with by violinists of note, with the further same qualities which achieve success fimpc Jr additional cost. No art- positions. In ascending, the order of f J 6 «.«. . playing may not have advanced greatly lasting success as a concert violinist, instruction that the right arm must be bt would care to play a G string solo the positions is one, three, five, seven, come from so many different cau es on the dramatic stage, have much to do since the time of Paganini, the art of and one out of a hundred million, if he kept close to the side when bowing. on aChing but a silver G. etc., or two, four, six, eight, etc. In that it is difficult to advise you with- violin teaching has advanced enor¬ with the success of the concert violin¬ This is one of these miserable half- ist. One of the world’s best-known would become a great world violin Common cheap G strings are, as a the scales in three octaves in the out hearing you play and examining mously. Violin teaching at the present soloist, such as Sarasate, or Wieniaw- truths of the breed which have done so day is a science of itself. Every diffi¬ violinists, who is at present devoting rule uneven, false thin-toned, and have Schradieck scales, which you refer to, ycur instrument. Your strings may be Students’ Popular Album ■ ski, or Ole Bull. much harm in the world in every de¬ culty known to violin playing has been his entire time to teaching, and to ed¬ a faculty of changing pitch without the you will notice that in the A scale the too thick or too thin, or of poor qual- It is well, however, for the student FOR VIOLIN AND PIANO analyzed and catalogued, and some of iting violin works for publication, with partment of science and art, when read peg being touched, caused by the gut first finger falls on C above the staff, jty. Your rosin may not be of the proper to aim high. He should seek to “hitch the brightest minds in the musical an occasional public appearance, said by people who do not know how to not being properly prepared, and by In the B flat scale the first finger will quality, and you may have Price, 50 Cents world have set themselves to discover¬ to me, recently, “It seems that they do his wagon to a star,” even though he apply them. Practicing with a book careless, imperfect winding of the wire also fall on C, if the scale is begun ^ enough on your bow; A frequent falls short of his ambition in the end; A striking collection of ing the best way to surmount it, and not want grey hairs on the concert under the arm is an excellent method on the string. The wire often becomes the first position. If it is begun in the cause of bad tone is when the bridge to writing exercises for this purpose. stage here in America. I am in the six¬ but he should not despite teaching, for of learning to bow with a quiet back i account of the shrinking of second position, the first finger will fall many of the great ones of the earth is too high, thus causing the strings-to The Germans have a genius for edu¬ ties, and I have never been better able arm when the upper half only of the the gut, thus causing a buzzing sound, on the first D above the staff. You have devoted much of their strength to lie too far from the fingerboard, making cational work along technical lines, in to do solo-concert work than now. My bow is used from the middle to the possibly have not noticed that Schrad¬ that branch of the musical art. Joachim ieck gives two fingerings for this scale, it impossible to press the strings down every science and art. Their technical powers are ripened, and my musical point, and on the A and E strings. If taught much at the Royal High School A NEW IDEA. the figures of the one being placed firmly. I do not know any n e fre- schools are among the best in the judgment matured, and yet I was in the student tries to bow on the D and world. In Germany the same remark¬ far greater demand as a soloist in my in Berlin; Wilhelmj settled down to The ideas and theories of Goby above and the other below the notes, quent cause of bad tone than this. G strings while holding a book under able thoroughness which they address extreme youth than now. It is some¬ teaching in London, after many tours Eberhardt, the well-known European The upper figures give the fingering Then you may play with a stiff wrist, his arm, the proper curve of the wrist to the mastery of every art has been what different in Europe. The Nestors as a world soloist; Cesar Thomson, a composer ’of violin music, and violin when the scale is begun in the second which will spoil the tone when playing applied to the science of teaching the of the profession are heard there much consummate artist in violin playing, will be lost and the whole hand and pedagogue, are attracting great atten- position, and the lower when it is be- Q1, any str;ng instrument, or you may arm will be out of position. In the violin, and as a result it has been re¬ oftener. You remember that Joachim combines teaching with concert play¬ tion in Europe, and have produced gun in the first position. not understand how to attack the tone. duced to almost an exact science. was in greater demand and at higher ing; Spohr, the immortal violinist and same way if the arm is held close to MUSICAL The result is seen in the enormous fees after he had passed the age of composer, left a large number of pu¬ the side while bowing on the D and G, ticT Wmritinfinre the" Yfrad “mS F. D. A.-A literal translation of the As ^ 1!ve near. Cleveland, Ohio, why increase in the number of good violin¬ sixty than ever before.” pils; Ysaye takes great interest in the normal angles of the hand and Chaffee^a* pupil 'of E^rhaS’fomerly label in your violin would be: “From not fake^ yourthere and POST CARDS ists. At the present day we have in teaching; Henri Marteau has settled curve of the wrist, necessary for the of New York City, but now of Berlin, the Musical Instrument and String Es- have a good double bass player ex the world hundreds, if not thousands, A DISAPPOINTED MAN. down to teaching in Berlin, as the pres¬ proper flexibility, cannot possibly be savs of the new method- tablishment of George and August amine it and see what the trouble is? of solo violinists, any one of whom ent head of the violin department of The life of another violinist, a man retained. When bowing on the G string “The whole subject of technic, as Klemm, in Neukirchen, at Adorf in At the same time you could arrange to might, if he had lived in the time of the Royal High School of Music. The of European reputation, and of remark¬ the elbow should assume a position a Eberhardt conceives it, may be divided Saxony.” Whether the violin was made take a lesson or two on the holding of Great Masters - 1 Paganini, have achieved great fame and early violinists of Italy all had disci¬ into three branches, the first of which by the Klemms or not, the label does the bow, the proper way to bow, and Modern Masters Great Pianists, Series A U able attainments, whom I know, is em¬ considerable distance from the body, as Opera Composers - • Great Pianists, “ B 12 a fortune as a traveling violin virtuoso. ples, on whose progress they greatly is relaxation. Before any other work is not indicate. The chances are they to produce the tone, etc. This would bittered by the fact that he is obliged prided themselves. can readily be seen if the student will Russian Composers - Great Violinists - ( Students in the conservatories of to¬ to spend all his time teaching in a col¬ begun, the muscles of both hands and were simply dealers. cost you only a small sum, and would Northern Europe Com- Celebrated Violinists ( day master great concertos as a matter but watch a first-rate violinist. If the ~ vned Violinists ( lege of music in one of the larger Amer¬ The violin student, studying for the —c ,-e brought into a completely re- . . be worth more to you than a whole student is practicing with a book under French Composers - of course, which would have given ican cities, with an occasional short profession, should also “cast an anchor bated condition by means of special C. S. P.—Your letter breathes a note volume-of description, Opera Singers, Series them great fame in the early days of his arm and he raises the arm to exe¬ concert tour in the vicinity. He feels to the windward,” by not only learning exercises. This loose or relaxed state of enthusiasm such as conquers all violin playing. The great advance in R. C. C.—If your violin is a genuine Master Violinii that his abilities should entitle him to the art of violin playing thoroughly in cute a stroke on the G string, the book of the muscles is retained even while difficulties, but it would not be deal¬ the art of violin teaching has made copy of an Amati by Johan Baptiste a leading position on the concert stage its various branches, solo playing will fall to the ground. playing the most taxing passages, and ing frankly with you not to tell you good violinists as “the sands on the string quartet orchestral work, etc Schweitzer; of Budapest, and is in good of Europe and America, and he feels In short, if pupils will remember that gives an astounding amount of free- that it would be nothing short o a HISTORICAL POST CARDS seashore,” so numerous have they be¬ condition, it ought to be a good instru- bitterly jealous of the few who hold but he should learn all he possibly can in applying this method of learning to dom and ease of movement to the fin- miracle were you to achieve the ar- LISZT—SIX CARDS—The set, 15 CENTS. come. It has become so that the large about teaching as well, for the proba- _ ment and possess considerable value. such positions. He counts as nothing bow, that they must use only the upper gers, as well as to the right arm. Then tistic rank of a violinist like Kubelik, WAGNER-TWELVE CARDS-The set, 3' cities of Europe and America, and the fact that he receives a good salary, r the Occasionally violin students beginning Schweitzer was one of the best Hun- many of the smaller ones, have many or nffivT thal he wiU have to teach, part of the bow and only bow on the comes the application of strength, has a pleasant home, and lives in a his lifj orchestra at some time in A and E strings while holding the “ of the proper” muscles, as late in life as twenty achieve con- gar,an makers, and made fine copies of local violinists who have surmounted city where there is great musical ac¬ his hfe. It would also be well if he book, some benefit will result, but, if Understanding thfe anatomy of the arm siderable success (see the account of Stradivanus and Amati. It.rs impos- the difficulties of the leading concertos tivity, of which he is a great part. learned something of other branches as approximate idea and solo pieces in violin literature. they try to bow on all the strings, they andhand E^rhardt knows exactly Robert Poliak in the March Etude sible to give — - —- If he would only believe it, his life is how to apply the right set of muldes ViolinVepartment), but such cases are of. the value of the violin without see- on each card. 35 CENTS p probably far happier than that of nine- will infallibly acquire a “catspaw” posi¬ . , " fVp,y . vg , r Pt-ar+ir'allv without exceotion all mg it. Schweitzer’s varnish is very THE REQUIREMENTS OF A SOLOIST. tenths of the traveling artists, who are tion of the hand and wrist, which will without hindering the movement o . violinists have begun to study good, hut is not considered the equal of OPERATIC POST CARDS fingers by needless muscular exert,on fhe best Cremona makers. 2. The Reproductions of photographs of the Wagner So it has come to pass that the soloist forced to wander continually around, require much practice and patience to Operas as presented in Germany. Lohengrin who would succeed as a concert violin¬ jag1* E"°np' without a home or fixed habitation. eradicate later on. theTpart pit ' i * ^ P^f^s violin solos from ,(4), Meistersingers (6), Parsifal (10),Tristan ist must have something more than a and Isolde (3), Tannhauser(9), theRing(28) Fritz Kreisler, in a recent interview, every possible way the work of the impossible to advise you definitely as time to time. You can get good folios Various Operas printed in colors. Aida, technical equipment. He must possess said: I have been fortunate in my ca¬ ” ’ "utterfly, Falstaff, Iris, To finge^sl mfuimS but as the muscu- to what you might accomplish without Modern Opera. Rienzi-Hollander ..Ta striking individuality, great tempera¬ reer as a concert violinist, but there SSZ iSVTS?-- PAGANINI’S BOW. lar exertion is lessened, the greater be- a personal interview. Your best course Theo Presser, 1712 Chestnut street ment and a poetic nature. Such na¬ are many other violinists of the finest S’ecteedc!Ss"25c' A recent cablegram from Florence, tures are rare in any age. The violin attainments who are practically un¬ aZoad .tocaHon'T™1- H,?n* haioKni|>li.v for Wifui'n-n. in' ltd«ca played interest and admiration.—Lancet. Forms. “Blank Program Forms,” and diligence will be a j'oy to the teresting and instructive pieces. Some ceded the piano. Hi, piece, wet. racked *£»* l“"*- “ teacher. especially gotten up to sell in small quantities for small recitals, of the selections have whole melodies E CHEAT FRENCH COMPOSER, J. B. LULLY, Curiosity on the part'of the teacher in the left hand with a simpler accom¬ suchy as grace“ knotes,”“n turns" and trills, and In old Cologne, ,he« tradi. Sl’n&.'A'S S“'kK|“ r", and yet have a neat, attractive appear¬ S A KITCHEN HELPER IN HIS BOYHOOD. tions cling, receives the magic sword from a hand mv will also be a valuable asset in his THE ORIGIN OF THE METRO¬ panying figure in the right. Others his style was-widely imitated by other ance. The increased sale of these terlously rising from the lake.J work. He should be curious to dis¬ NOME. have constantly recurring figures in composers who followed him. His pieces forms during the past season leads us cover the pupil’s temperament, habits the bass which the pupil will work out We have learned something of a won- were grouped in sets or “orders,” and Johann Nepomuk Maelzel, who was to believe that they must be as repre¬ of thought, the things that interest the with interest. Still others present derfid interest in music in Italy. (See this arrangement led to what later became born at Ratisbon in 1772, is generally sented. pupil in his daily sports, associations other forms more or less ingenious and “Special Italian Number” of The Etude, known as the “suite.” A “suite” is a given the credit for inventing tbe met¬ We have two different forms of and home fife. In fine, teacher and interesting. January, 1910.) Now we shall study collection of short pieces, usually dances, ronome. In fact so firmly established these Program Blanks, both printed in pupil should be a curious pair and Altogether the work is a happy something of the works of some of the to be played one after the other, and is his claim to the invention that two colors on heavy paper, sizes earnestly dig for the nuggets of knowl- substitute for the purely technical noted French composers who lived about arranged that the contrast. between the the abbreviation M.M., for Maelzel 5)4 inches by 6)4 inches. The front in music study. studies written expressly for the left the same time. pieces adds to the beauty of the group. Metronome has come down to this or title page of one reads as follows: hand. We venture to assert that this vas one of the forerunners date. Maelzel was a music teacher "Concert given by -,” and the For centuries the city of Paris had been The “su<( book will be one of our most popular whose strong leaning toward mechan¬ other reads: “Recital by the Pupils of the center of learning, architecture and of tbe “sonata>”. ’ about which we shall THE TROUBLESOME DOT. albums. It will contain many pieces. learn much later. ics led him to make the most ingenious painting for men of wealth and leisure. Every music student knows that the The two inner pages are blank, The introductory price on this useful After Lully and Couperin, the most and complicated musical instruments The University of Paris was far-famed, dot ^over a note “cuts the note in to be filled in with the recital num¬ volume is enly 20 cents, postpaid, if and .he „dc„ of .he conn,,,, garden,ESSF* half ’ or makes it staccato, and that designed to be played by mechanical bers; these may be either written in cash accompanies the order. means. His first instrument was so K:k,"g, loon, XV RAMEAU He ™tom5 the dot after the note'adds one-half ink, printed or mimeographed. The and Louis XVI, had spent money in the Dijon (France) in 1683, just two years °f the time value of the note to the successful that it sold for 3,000 florins. price of these is but 50 cents per hun¬ Summer School The advertising col- freest possible manner. This attracted before the birth of the famous German note, but few know why the dot is used About 1812 he made public his im¬ dred, postpaid. A sample of both can Advertisements. umns of The Etude art workers from all countries, and musicians, Bach and Handel of whom in musical notation. Perhaps you have provement upon a •musical chrono¬ be had free for the asking, but remem¬ offer an opportunity a™°Tng tbem JEAN BAPTISTE we are to hear so much later. Rameau had an idea that it was used for ab¬ meter, invented by Stoekel, which was ber, we simply furnish the Program of presenting to the entire musical LULLY (Loot'-Ice) (sometimes spelled was known as a “prodigy”—that is, he breviation. This may have been the so successful that he managed to se¬ Blanks, and do not do any of the other public of United States and Canada, Lulli), who it is said was born of noble showed his musical talent at a very early reason why it was used originally, but cure the endorsements of Beethoven printing. promptly and thoroughly, anything in parents in Florence, Italy, in 1633. As a age- At seven he played the clavier (one nowadays we are not so sparing of and others. A few years later Maelzel which such a clientage would be in¬ child he was taught the violin and the of tbe forerunners of the piano). His pen and paper and we would write out met a Dutch mechanic named Winkel Easy Engelmann Album. This very terested. lute, and played so remarkably that he early tralm'ng was excellent, and at the the dot value by means of tying the in Amsterdam and from him got the desirable At the present moment every school necessary notes to the dot were it not volume is now ready, and the special was taken to Paris by a French nobleman, age °f eighteen he became famous as an idea of a new kind of inverted pendu¬ and every teacher who expects to con¬ for the fact that if we use notes and offer is herewith withdrawn. We shall the Duke of Guise. At first he was given orSanist and was sent to Italy for further lum. Adding various improvements to tinue their teaching during the sum¬ a tie it becomes much harder for the be pleased, however, to send the work a position as a kitchen boy for we are study’ be r-1us'c of Italy, however, did this, he termed it the Maelzel Met¬ mer months, and particularly those who eye to grasp than when we use the dot. to all who may be interested. The expect to have a summer school course still writing of the time when musicians “f1*? !° bim and be returned to ronome, and commenced manufactur¬ The dot has been in use ever since work will undoubtedly prove very pop¬ at some seashore, country or mountain were considered menials or servants , ’ .p aylng f°r a bme as violinist in ing the instrumertts in Paris, 1816. carl reinecke AND i about 1300. The double dot was in¬ ular, equaling, if riot surpassing,' the resort, should let that fact be known Lully’s talent was so great that he was °pera ?°®paTny- and later be- SCENE prom his opera. (This illustration ii vented by Leopold Mozart, father of The basic idea of the invention was, “Album of Favorite Compositions,” by to everybody interested ' through our promoted to the band of King Louis umphs bowevef were •mPa.riZ'T*** Mozart, and it is said that the famous however, that of Winkel. Maelzel the same composer. It contains some columns. X!V, and later became leader of the band to his death, in’1764. Here he produced son even went so far as to use a lived in America for some years' and of the very best of Mr. Engelmanri’s from the Lady of the Lake.) ^ *- —- ,e mystic sword “Ercalihur” triple dot upon one occasion. died while aboard an American ship. easy pieces. THE ETUDE 351 350 THE ETUDE places us in a position to do full jus. Be Sure Your Hardly a day -over about all the passages ordinarily The special advance price during the MUSIC TEACHERS WANTED—Vocal Music on Sale The “On Sale Plan” tice to the varied needs of those who and Instrumental—for high class school and summer a great many decisions as to Letters Are Signed. passes that we do encountered by the left hand. They current month will be only 20 cents, next season are arranged and settled. for Summer. is not discontinued in not receive one. wish to arrange good and effective pro¬ college fall openings. Enroll early. Oldest, the summer; on the grams. !re extremely well written and of real postpaid, if cash accompanies the order. largest agency South. Sheridan Teachers Our advertising rates for copy of an or more orders, as well as remittances, Agency, Greenwood, S. C. contrary, we send out nearly as many Now is the time to select the music musical interest. They ZLr^Z educational nature are very low. Our without the name of the writer appear- $500 Prize Offer and have the performers or singers cleverly put together. Teachers or “Dollars in Music.” The old-fashioned circulation, as mentioned above, is very packages then, but they are generally ing anywhere in the letter. Whenever smaller than those sent in the fall. All preparing for the event. We are al¬ students desiring to give special atten¬ By G. C. Bender. idea that the large, and we would appreciate an op¬ the name of the city or town in which teachers whose work continues through tion to left-hand work would find in portunity of explaining anything de¬ such letters were mailed is mentioned ways glad to make up assortments of teacher must be a the summer months ought to have an these studies the best possible medium. kind of curiosity, with long hair, soiled sired on this subject by private corre¬ in the letter or is shown by postmark part songs, piano ensemble music or “On Sale” assortment from us. We They lie in grades 3 to 5, inclusive linen and unbusiness-like methods, has MnsicalCompositions spondence. on the envelope, we always try and are other appropriate works and send same 5 Director of College < are prepared to make up selections in * on approval. The special introductory price dur- long since been exploded. Competition _ rtist, Music her*-*■ New Vocal We have in course able sometimes to identify the writer any grades of difficulty, including Early ordering will work toward the inz the current month will be 20 cents, to-day demands a knowledge of the dress C. W. F„_ Album. of preparation sev¬ studies, exercises, etc., and send the by comparing the handwriting with THE TRINITV MUSIC STAND stands TO stimulate a greater interest in eral 50-cent vocal previous orders, but quite often the best results. business conditions which govern the alone in a class by itself. The Trinity Music music on sale, subject to the return of successful pursuit of the chosen occu¬ Stand is unique and fills the requirements of musical composition and to de¬ albums; the first, which is now upon writers also leave off their address as velop the opportunities for gaining the unused portion at the close of the Reed Organ On the third page of the pation. If you are not “up-to-date” in discriminating people. The graceful and ar¬ special offer, will be a volume contain¬ season. We invite correspondence well as name, and, besides, the postmark Music and cover of this issue is a Pronouncing Dictionary A compact tistic appearance of the Trinity, when set the widest possible publicity for the this particular you will surely suffer. up for use, satisfies the eye. The Trinity composer the publisher of this journal ing both sacred and secular selections, from teachers on this subject; ask for on the envelope is often blurred or too Books. selected list of reed of Musical Terms. but complete complete, having all three embodied in one: “Dollars in Music” is an effort to collect Music Stand, Music Stand Case and Music herewith announces an and devoted almost entirely to those a circular describing the “On Sale indistinct to decipher, and, of course, organ music, studies and By H. N. Redman. and compre¬ for medium voice. The songs will be full information about the things which Folio. Illustrated folder shows you convinc¬ Plan.” All inquiries are promptly and in such instances there is nothing we instruction books. This list is made hensive dic¬ ingly why the Trinity is acknowledged as of the highest character, suitable for can do but wait until complaint is a teacher should know in order to get the best and only complete music stand in cheerfully answered. up exclusively of music, etc., intended tionary; one of the best of its kind. teaching, recital and church use. The made, which is most unsatisfactory to the largest profit from the invest¬ the world. Hope Music Stand Co., Dept., C. Etude Prize Contest strictly for the reed organ and is not At the beginning there are rules given M;isl],'lining si., Providence. It. l._ _ contents will be made up of the very Standard Compositions. The signal both patrons and ourselves. Much dis- ment of teaching time. There will a mere list of piano pieces that might for the pronunciation of all the VICTOR talking mac iiim: im.vxo best songs on our catalogue. Our Volume 7, Grade 7. success that surely be several ideas in this work RECORDS are rapidly becoming features of for Piano Compositions be used on the organ; they are ar¬ catalogue, during the last five years, has attended French, German and Italian terms. In which will repay you for purchasing it. the collections of progressive teachers who ranged and edited with special regard addition all the terms given in the body employ this modern means of affording their Five hundred dollars will be divided has had added to it some of the best the publication of each preceding vol¬ writer would see to it that his letters If you do not know why your competi¬ pupils an opportunity to hear great pianists’ for the needs of organ students, and of the book are very carefully indicated among the successful composers in selling and most popular songs of this ume of “Standard Compositions” as¬ are always properly dated and signed. tor succeeds when you fail, you may interpretations right in the teacher's studio. the following manner: the list embraces the best and most in a phonetic manner. There is an ap¬ Wilhelm Backhaus, who has astonished all character published. The plates will sures us that a similar interest will be We cannot urge you too strongly to be able to find the secret in this book. Europe by his marvelous technical ability widely used works of their kind. Our pendix to the book giving the pro¬ Class One—For the best Concert be of extra size, which will mean that taken in the seventh volume now being observe these details. Always name The special advance price is SO cents, but who has never been to America, may now Piece for piano solo we offer a for a retail price of 50 cents we offer patrons scarcely need to be told of nunciation of the names of the chief be heard on the Victor anywhere. His two prepared and which we hope to have your address and sign your letters. if cash accompanies the order. latest records are the famous Etudes of prize of between thirty-five and forty songs. ready for delivery at an early date. Landon’s “Reed Organ Method” or his composers and artists; also a list of Chopin—Op. 25, No. 1 and No. 6. Each rec¬ $100 “School of Reed Organ Playing;” these musical abbreviations. The book is of ord is a lesson In Itself. Voice teachers will Every vocalist should order at least This new volume will contain a careful Musical Games and Teachers and The Young Folks’ One of the chief one at the advance offer price, 20 works are in use the world over, the a size that might be conveniently car¬ be glad to learn that many of the best num¬ Class Two-For the best piano selection of piano compositions in the Puzzles. By Daniel club leaders all Standard History purposes of this bers from Faust are now obtainable in rec¬ cents; if charged, postage will be ad- “Method” alone having reached a sale ried in the pocket. It nevertheless con¬ ords by Geraldine Farrar and Marcel Journet. piece in semi-classical (modem or seventh grade, each chosen because of Bloomfield. over the coun¬ of Music. practical text¬ romantic) form we offer a prize of that is enormous. One sometimes tains all necessary information. There The Uiccardo Martin and Leo Slezak records some special value for teaching pur¬ try book, composed of are also especially fine. Full particulars re¬ wonders at the number of reed organ are 140 pages in all. It will be sub¬ garding the Victor and the marvelous Victor $100 Tone Pictures for This volume, poses, whether used as directly supple¬ their wits’ ends to get forms of amuse¬ forty “story-lessons,” written by James mental to “Mathews’ Standard Course. students, but, as a matter of fact, they stantially bound. records which have revolutionized the art Four Hands. Low’s Op. 191, is ments for their little entertainments Francis Cooke, editor of The Etude, is may be obtained bv sending a postal request Class Three—For the two best seem to be on the increase. The special introductory price dur¬ to the Victor Talking Machine Company, By Jos. Low. a very decided ad¬ Grade VII,” or in connection with any which they have found so profitable to place the means for teaching musical salon or parlor pieces for piano we other course of pianoforte study. The “On Sale Plan” may be taken ing the current month will be 30 cents, Camden, N. J._ vance on his fa¬ commercially and pedagogically. Mr. history in the hands of the private MR. LOUIS ARTHUR RUSSELL is offer two prizes, as follows: Volumes that really . cover this advantage of in obtaining a usable as¬ postpaid, if cash accompanies the order. mous work entitled “Teacher and Bloomfield has done the searching for teacher as well as the teacher in the already, planning his Summer School schedule, Pupil.” This work is planned along ground are scarce indeed, the average you. He has selected the best games sortment of reed organ music, subject and has begun booking students. This Sum¬ First Prize, - $60.00 conservat 'iy. Every thorough teacher mer normal work is devoted to the instruc¬ similar lines, but it is far superior in collection of the kind being made up to the return of the unsold portion at Melody and Technic, The foregoing Second Prize, 40.00 and puzzles that have been in print nowadays knows that the failure to ex¬ tion of teachers and professional students musical content and melodic interest with more regard for bulk than for the end of the season; this offer in¬ Op. 872. is the title in the Russell Modern Processes of Music for many years, and to these he has hibit a knowledge of the main facts of Class Four—For the best three and in harmonic treatment. There are actual usefulness. • Each volume of added much interesting original ma¬ cludes methods, studies, pieces and col¬ By A. Sartorio. adopted for this Study. The courses include the study of musical history, upon the part of her Fundamental Voice Culture and Singing in all piano pieces in dance form (waltz, thirty pieces, all told, arranged in pro¬ “Standard Compositions” is really rep¬ terial. This makes a most valuable lections in book form. new work, which its phases: Pianoforte Technic and Interpre¬ pupils is a reflection upon the thor¬ march, tarantelle, mazurka, polka, gressive order, covering all the usual resentative of the best that is available book for the teacher’s book-shelf. It we have previously announced as tation. and class work in Eve and Ear Train¬ etc.) we offer the f ollowing prizes: Platinotype We have just received oughness of her teaching. The diffi¬ ing, Sight Reading, Musical Analysis, Har¬ keys, major and minor, and embodying as teaching and recreation material in will save you many hours of worry “Melodic Studies.” The work is now mony, etc., with a special course in Orchestral Photographs, from Europe a con¬ culty has been to teach the pupil these First Prize, - $50.00 a great diversity of rhythm. The pieces the grades represented, and we are con¬ and fussing. There are games enough about on the press, but we will con¬ and Choral conducting. During the past few facts in the shortest possible time, months over thirty music schools and private Second Prize, 30.00 are chiefly in characteristic vein, each fident that the host of admirers of the for years to come. It will pay you to signment of Platino¬ tinue the special offer during the cur¬ studios have adopted the Russell Methods of compatible with thoroughness, and in Third Prize, - 20.00 being appropriately named. The primo. earlier volumes will not be disap¬ invest in a copy, for nothing appeals type Cards, in a large size, of the rent month only, after which it will be teaching, and teaching centers are now es¬ following subjects: Auber, Bach, Bee- the most entertaining manner. This tablished in nearly every State of the Union or pupil’s part, is throughout in the pointed in the forthcoming one. so much to the child nature as play positively withdrawn. This is an exceed¬ and Canada._ Class Five—For the best four easy five-finger positions. The secondo part “Standard Compositions, Volume VII, itself. If “all work and no play makes t h o v e n, Berlioz, Brahms, Chopin, ingly, valuable set of all-around studies; book gives these facts, yet it reads like MR. ALVAH GLOVER SALMON, the teaching pieces in any style, for pi¬ is of moderate difficulty and might be Grade VII,” is offered in advance of Jack a dull boy,” a teacher should cer¬ Dvorak, Franz, Gluck, Gounod, Grieg. studies which may be used for a vari¬ an attractive story. The work is so sim¬ well-known pianist and authority on Russian ano, we offer the following prizes: played by more advanced pupils. Our publication at 20 cents the copy, post¬ Handel, Haydn, Joachim, Koschat, ple that it appeals to the child’s mind, but music, gave an interesting lecture recital at tainly be on the outlook for this little ety of purposes and which will be sure the New Century Club. Philadelphia, recently. First Prize, - $40.00 new edition has been very carefully re¬ paid, if cash is sent with the order. work, designed to brighten the pupil Liszt, Lortzing, Mascagni, Mendels¬ to please the pupils. They may be it may nevertheless be used equally well An extensive tour has been arranged for Mr. by adults studying musical history for the Salmon, and beginning next October he will Second Prize, 30.00 vised and fingered by the well-known by providing the requisite play. Fif¬ sohn, Meyerbeer, Mozart, Nikisch, taken up by good second-grade stu¬ fill a number of engagements in the Middle Recital Album This timely volume Third Prize, - 20.00 American composer, Mr. Jas. H. teen cents a copy—if you order now Paderewski, Rubinstein, Saint-Saens, dents, and will carry a pupil well into first time. Owing to careful revisions, West and his tour may extend to the Pacific for the Piano, made up of brilliant Coast._ Fourth Prize, 10.00 and get the benefit of the special “ad¬ Schubert, Schumann, Smetana, Tschai- the third grade. By increasing the rate the work has been slightly delayed. The special advance price during the and moderately diffi¬ kowsky, Verdi, Wagner and Ysaye. Consequently our readers still have an YOUNG LADY, graduate of incorporated vance of publication” rate. of speed at which they are played, they school, desires position as Teacher of Voice, current month will be 20 cents, post¬ cult pieces by well-known composers, - CONDITIONS - These cards are 9 inches x 12 inches will make splendid preparatory veloc¬ opportunity to secure the work at the Piano and Theory. Lock Box tt *— paid, if cash accompanies the order. both old and new. The collection will Musical Gift Album. This volume is in size, and are of a superior grade ity studies. special “Advance of Publication” price Competitors must comply with be especially suited for two kinds qf On Sale Returns Although a little By H. Necke. the popular Ger¬ and finish, tl\e same as our famous of 40 cents. the following conditions: recitalists: The well-advanced pupil The special price during the current and Settlement, early to mention di¬ man composer’s Platinotype Post Cards, which have Sulllns. Fowler, Kar.s._ The contest is open to all com¬ who has lots of “concert” work to do; month will be 20 cents, postpaid, if posers of every nationality. rections with regard Op. 7. It is a collection of easy pieces been received with great favor over all cash accompanies the order. WANTED—Man and wife, teachers, piano, the teacher who plays considerably, the country. These pictures can be organ, voice, European training, to organize The contest will close October to “On Sale” music, there are always in the various dance forms especially or purchase school of music in small city. 1st, 1910. some who desire to make their returns but hasn’t the time to “work up” the suited for young players and well either framed or mounted on glass, 12 Tone Pieces. This is a set of very Church position as organist, chorister desired. ,T. D„ Care of Etude. All entries must be addressed before full directions are received with more difficult works. Each piece has adapted for small hands. These pieces with passepartout, making an at¬ By Oscar Bolck. pleasing and charac¬ been selected from a vast number, any Special Notices VOICE PRODUCTION. — Miss Grace to “ The Etude Musical Prize Con¬ the June 1st statements, and for their will not appear separately in sheet tractive addition to any studio or teristic pieces pub¬ of which might grace the most pre¬ RATES—Pro ssional Want Notices five Foote, five years in Paris. Studio open dur¬ test, ”1712 Chestnut Street, Phila¬ benefit we mention the following: Re¬ music form, and the volume will be music room. The price is 50 cents lished, complete, in one volume. They ing the summer. Carnegie Hall, New York, tentious program. delphia, Pa., U. S. A. turns and settlement are expected dur¬ published complete only. Students will each, postpaid. A complete catalogue may be taken up by pupils of the early The book will grade from about 4 to All manuscripts must have the ing June and July for all “On Sale” enjoy this volume, and it will serve to of Musical Pictures and Post Cards second grade, and are so arranged that following line written at the top 7- It will be large and beautifully packages sent out during the past sea- lighten the labor of the teacher. will be sent free upon application. the pupil can go right through the book of the first page: ‘ ‘ For the Etude bound and printed. The introductory ticallv, 215 W. 34th S The special introductory price of in progressive manner. The pieces are Musical Prize Contest.” price for the current month will be 30 Summer Season. In May we send out YOU CAN BECOME great in music by Returns should be sent to us by the this volume will be 20 cents, postpaid, of unusual musical interest, and they BAND MEN, ATTENTION! This will The real name of the composer cents, postpaid, if cash accompanies the New Music. our last regular in¬ interest you. We have eight splendid courses going to New Orleans Conservatory of Music. cheapest way—either by mail, in four- if cash accompanies the order. will aid materially in inculcating style 1420 Prytania St., New Orleans, La._ must not be mentioned upon the order. stallment of novel¬ of professional studies for the military band manuscript. Choose a fictitious pound packages; by express, at printed and musicianship. These pieces will instruments and need you to sell them. Home SALE—Virgil Clavier, almost n ties “On Sale,” and unless instructed to study—results guaranteed. If you wish to $25.00 cash. Leo C. Bryant. Wichita, Kana. name and write the same upon matter rates, two ounces for one cent, New Gradus We will continue on Musical Some of our subscribers the contrary no more packages of this not be published separately in sheet better your condition investigate this at once. WANTED-—Place in or near Chicago t your manuscript. Then write the or by regular express. Packages that ad Parnassum. special offer during Pictures. have written to us with Experience unnecessary. International Con¬ kind will go out until the next teach¬ music form, but can be obtained only in real name and full address upon a have been sent out at printed matter By IsidorPhilipp, the current month regard to our supplements, the volume. servatory of Music, Dept. B, Marina Bldg., rates are privileged to come back the ing season; but patrons who wish these St. Louis, Mo,_ slip of paper and enclose it in an the first volume of and of late with regard to our covers, envelope. Seal the envelope, same way. In making returns from novelty packages continued during the The special price during this month A COMPETENT TEACHER WANTED this new work. “Hands Together” is with the idea of framing them and write only the fictitious name on summer months will be accommodated will be 15 cents, postpaid. in every city and town to introduce the wants candidates for September positions.’ Canada or Mexico, unless the package the title of this volume, and it will be using them for studio decoration For Russell Methods of Music Study—Voice, Voice, Piano, Directors’ Music, Violin, the outside of the envelope, which is very large, it is best to return in upon request, and those whose work Pianoforte and Choral Class Work. These the first of the series to be issued. The general information we would say that works are bringing results everywhere. WANTED — Experienced, accomplished must be sent with the manuscript. four-pound packages by mail. Don’t Z "fje on hand a stock of almost all continues through the summer will find lady pianist or accompanist desires position Involved contrapuntal treatment chief idea of this work is to assemble Reference, etc., required. Address Head¬ playing at a hotel or fashionable summer re¬ forget to put your name and address on together, in a single volume, all the the past supplements and a few of the it advantageous to receive the novelties By Carl W. Grimm, layed in the fi quarters, The Normal Institute of Music, sort. Box 130, Penns Station. Pa. of themes and pedantic efforts the outside of every package returned. Carnegie Hail, New York, should be avoided. studies bearing upon one particular “On Sale” for that period. There will preparation This is very important and necessary VIZ' *Wlth rg3rd to the ,atter- we be no special obligation to keep the Piano compositions only will be point in technic. In preparing “Hands • , yCt had enouffh demand to this game, we have decided to contir Kindergarten Music Method in order to identify the packages when together, some of the finest studies music; a teacher is at liberty to use as considered in this competition. Do WWV,thein .17,thout the reading. it on special offer during the curri not send songs, organ pieces, violin received by us and to avoid delay in in existence have been assembled. M. Whether we will do this or not in the much or as little as may answer the CORRESPOHDENCE COURSE giving credit. month only. After this it will be pc pieces or orchestral works. Philipp has been most painstaking in needs of pupils, and the rest is to be tively withdrawn, as the game will tl Finally—about returns—let us say TherundfePendS-Up0n future demand returned for credit. No restriction is placed upon the his editing and selection. Very shortly I he uniform price of all of the above be ready for distribution. It shoi FOR TEACHERS length of the compositions. that, unless there is some special rea¬ we shall issue the next volume of the is 10 cents each. son or purpose in view, it would be ad¬ Studies for the Left This is a set of prove one of the best of Mr. Grimi CHURCH ORGAN PEDAL attachments No composition which has been series, which will be devoted to “Left- Hand Alone. fourteen studies musical games. He has displayed to upright Pianos without Roller Board. L. published shall be eligible for a visable to wait until the June 1st state¬ Hand Technic.” Commencement T h e commencement H. Knoliin, Syracuse. N, Y.___ 454 W. Bringhurst St. By Birkedal-Barford. exclusively for real talent in this particular line. Fri prize. ment is received, when complete di¬ The special introductory price during season always accents THE TAUSIG HAND EXPANDER, an rections will be given for our patrons’ the left hand. an educational standpoint this game aid to pianists with small or stiff hands. One The compositions winning prizes the current month will be 20 cents, Each study is an exemplification of dollar postpaid. Essex Publishing Co., 853 andolin to become the property of “The use in making their returns. very useful in teaching the interv Carnegie Hail, New York._ M postpaid, if cash accompanies the order! Etude ” and to be published in the for Sr”cdra'Sr„r'oS some special left-hand difficulty of ana in teaching chord building. 1 long experience in meeting this demand VEON’S KINDERGARTEN PIANO e°p7 of TteCadenza (Established 1894), a monthly usual sheet form. our technical requisite. These studies game may be played just like the or METHOD. Fascinating material for any nary game «f casino. system. Introductory rate. 25 cents. Veon aWntelr ° Piano School, Beaver Falls, Pa. W ALTER JACOBS, Publisher, 16! Tremont St., BOSTON Please mention THE ETUDE when addressing 01 353 352 THE ETUDE THE ETUDE PROFESSIONAL DIRECTORY ARTISTS AND TEACHERS THEORY AND NORMAL COURSES Victrola BECKER ZMfe BISBEE burrowes Tone cullis. DUNNING FLETCHER _ I That’s where the Victrola DAY :.’IRnaS is pre-eminent. KERN^S^^SS You might be able to build ; denison:::: ::.. KINDERGARTEN —:vBB at outwardly would resemble a DEVINE,LENA DORIAN STORERgsiSgacSgS II SiKaXtSS by patents. But there is no co| ellen INSTRUCTION BY MAIL_ GILBERTE:“r'r!M^ butler .'. WMt HAIGHT E1.~Ai^iSr 69 IRELAND’M shepard:::::: kroeger:::::;h~:i SCHOOLS AND COLLEGES No, the Victrola tone can’t be equaled ! Even though the eye could take in every MONZEL M' -.w: American iigiiggi detail of . MOULTON ::"■■■ - ■‘"S BARTEL °~ NICHOLS BEETHOVEN“ violins, which gives to the Victrola petersilea : CALHOUN SwT te^ssssa carl % v dealer" ^AdThira^lay ‘Vh^g*£rtTri7:C ponER^L^rsj! SALMON CHANDLER “5^?Er sssmssm IMUpraS DETROIf : r ^ Durham Sr < -.: ^==e=SJ!M^^vic«ri.xvI$200 Mahogany, $200. Circassian walnut, $250

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

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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 funr ® =«?!. iSsF^8 ’ just demand that ■ truction be placed i SEND FOR BOOKLET e and are admittin 359 THE ETU P E THE ETUDE HOW MEREDITH :

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

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