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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1927 Volume 45, Number 03 (March 1927) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 45, Number 03 (March 1927)." , (1927). https://digitalcommons.gardner-webb.edu/etude/743
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. w M _ r»n>ii v»n Hulse ^ ^ How to Play Bach’s Two-Part Inventions— DebUS Geor?e°FeB^yle ^^IdaKinS ChiYdren Love Music - Mathilde Bilbro Twenty George * of Exceptionally Fine Classic and Contemporary Music Piano Collections of Real Merit For the Proficient Player Who Wants the Best
ALBUM OF COMPOSITIONS FRENCH ALBUM CELEBRATED COMPOSITIONS BY S. RACHMANINOFF SELECTED COMPOSITIONS BY FAMOUS COMPOSERS THE compositions of this celebrated Russian 'J'HIS is a superb new volume in the Presser pianist are generally accepted as the acme Collection. Seventeen numbers by foremost UERE we offer one of the finest collections of ot perfection among modern pianoforte arrange¬ French composers are included to make an album advanced piano material ever compib d. This ments, several of them having obtained universal that every discriminating pianist of fair perform- volume is the result of careful selection .with the popularity. Those with the greatest appeal have ing ability should have at hand. The composi- aim to incorporate in one work such o mposi¬ been selected for this album. Any good pianist tiens of the French composers have a charm and tions as will delight every good piani-t Some or advanced piano student will find Rachman- grace that furnish delightful material for con¬ of the greatest composers of piano mu-ir in the moft s compositions worthy of serious study, and cert and recital use, as well as for study or di¬ world are represented in the thirtv-thr. superb TUDE Representatives of International Fame haye version at the keyboard. Anyone wanting a vol¬ compositions which constitute this work, in which E one who masters them is always rewarded by Having something appropriate for concert or ume of good piano music or particularly music many of the most used and most celobtan d con¬ recently travelled tens of thousands of miles in recital playing. ny French composers should get this volume. cert numbers are to be found. search of Musical Treasures for you. Just wait Price 75 cents Price $1.00 Price $1.00 and see these delightful features. Never in its history has an ETUDE subscription been a more profitable and MASTER PIECES BRAHMS ALBUM LISZT CONCERT ALBUM secure musical investment. Difficult Piano Music for Concert Use PIANOFORTE COMPOSITIONS Original Composition* and Transcriptions WR WERE prompted to publish this volume BY FRANZ LISZT $2.00 a Year - 25 Cents a Copy . . °J dlffifu't P>ano compositions by the con- stant demand for a varied selection of pieces by 'pHE well-known Liszt number is rarelv omit- such composers as Beethoven, Schumann, Bach, „ •* iJu0m the av.eraSc concert or pia'n .forte Insure Your Musical Year by Subscribing Today
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Please mention THE ETUDE when addressing advertisers. MARCH 1927 Page 167 Page 166 MARCH 1927 ‘ ^ ETVl)E | THE ETUDE Each Month the Musical World Will Have Placed Before It A Few of the Excellent Compositions by Foremost Composers that are A Teachers Diploma Represented in Theodore Presser Co. Catalog or THOSE INTERESTED IN PIANO COMPOSITIONS WILL BECOME ACQUAINTED WITH MANY INTERESTING WORKS BY WATCHING FOR THIS PAGE ABaehelor s Degree IN MUSIC »> »»t< »t< »>»»'!■ <■ »t- »t< »t< »;< »t< fr* EARN L. J. O. FONTAINE In"\hur Spare Time at Home I W. M. FELTON $ RUDOLF * FRIML
J. OSCAR FONTAINE was born in ’ ' amateur pianist, singer and concertina L player, William M. Felton comes naturally by . Ste. Hyacinthe, Quebec, in 1878, and his love and gift for music. Born in Phila¬ received his musical training largely under The teacher who gives High School credit—the one whose work is recognized by the delphia, in 1887, he studied under leading Octave Pelletier (organist of the Cathedral j teachers in that city. Then for several years he lived in the West, of Montreal) and Dr. Arthur de Guichard, the renowned musi- 1 Department of Education—has the largest class. This is an age of credits. The music and during this period he composed a Chanson du Soir which was1 cologist. A brilliant organist, Mr. Fontaine has held responsible ? awarded first prize in the All-Western competition of 1913. At positions in several Massachusetts churches. In 1918 lie retired present he resides in Philadelphia. from active life, devoting himself entirely to teaching and com¬ student today gets lessons where the credit will count and credits and Degrees are very Mr. Felton has published about two hundred compositions, position. He lives in New Bedford. Massachusetts. many of which have been distinct successes. important factors in the salaries received.
Some of the Piano Compositions by W. M. Appealing Piano Compositions Felton that are Popular with Teachers by L. J. O. Fontaine and Students Everywhere \ LTHOUGH born in Prague, Bohemia (1884), Cat. No. Title 9507 Danse Bizarre . Get An Accredited Course 23274 Mirthful Moments . and educated musically at the Prague Con¬ 8884 Vivacity . 4623 Concert Polonaise . servatory, Rudolf Friml is essentially an American 23379 Bonsoir, Ma Mie! . 5268 Blowing Bubbles . musician. Coming to the United States in 1906, 3613 The Secret . 4644 Second Valse Caprice . 14294 Under the Arbor . 4622 Concert Waltz . on a second tour with the famous Kubelik, he State Departments of Education recognize schools with hign scholastic standing. Our 9650 Viennese Refrain . 3763 April Song . 9682 Love’s Dream, No 3 (F. Liszt) ’ .' decided to remain in this country permanently. 8493 En Condole, Op. 92 . 4661 Twilight in Autumn . Many of his compositions for piano, violin, violon¬ 15096 The Charmer . Diplomas, Degrees and Teachers’ Certificates granted by the authority of the State of Illinois. 4934 Off to the Country . cello, and so forth, have met with enormous suc¬ 14755 In Step . r Guard, March'! cess. In 1912, Mr. Friml became interested in 13358 Evening . 11626 Mazurka Noble . light opera—with the result that his Firefly, 9234 Valse Chevalercsquc Special Certificates Awarded Our Extension Courses Growing in 963 An Autumn Mood Katinka, High Jinks, and more recent produc¬ 7696 Playful Moments Op. 78. No. I tions have given pleasure to hundreds of thou¬ 16297 Valse Brillante, Op. 141 . Graduates to Teach in the Public sands of people. 13035 Magic of Spring . Popularity Each Month 18422 Caucounne . Schools without Examination 457 To a Wood Violet 17149 Prelude Romantique . Earnest, ambitious students are invited to send for our catalog and sample lessons. We send *30 In Quest of Butterflies Eole 930 Joyous Hearts, March : them without any obligation and they show how it is possible to get accredited courses without 935 Dancing in the Clover Brilliant and Melodious Piano 19508 Song of Home ... . Your experience should be the same as other 18460 Ballet Russe .... Compositions by Rudolf Friml teachers. The following letters are from late having to go away from home for an expensive course. 255 Wedding Processi 17178 En Cadence .! 036 A Yesteryear ..., 16684 Danse Lorraine, Op. 155, ; mails: 558 Chansonette We have been offering our courses through The Etude ads since 1908. If you haven’t sent 253 In Slumber "i" 16600 Hongroise, Op. 153, No. 2. 254 In Court Dress 16189 On Land and Sea for literature before, do it now. Check on the coupon below what particular course you wish to 255 The Band Master 15936 Dance of the Amazons. “I have completed three of your courses 985 Country Frolic .. 18739 Marche Mignonne . 15935 Day Dreams see and we will send sample lessons and quote special terms to you. 131 In Joyous Mood . 18742 Fairy Ballet . and am now Director of Music and Dean in a 833 In Pensive Mood 14805 La Charmeuse . 660 A Sunset Memory 18741 Harlequinade . Music College. Your courses are indeed a 18744 Longing .’' ‘ ’‘ The Piano Course is by William H. Sherwood; the Harmony Course by Rosenbecker and boon to teachers and it behooves every pro¬ DANSE BIZARRE Protheroe; History, including Analysis and Appreciation of Music, by Glenn Dillard Gunn; Ad¬ MOON DAWN L. J. O. Fontaine gressive teacher to be prepared.” CONCERT POLONAISE vanced Composition by Herbert J. Wrightson; Ear Training and Sight Singing by F. B. Stiven, Wm. M. Felton 1737 Rudolf Friml Grade 4 Grade 7 Grade 4 Director of Music, University of Illinois; Public School Music by Frances E. Clark; Choral Con¬ “I wish to thank you for your interest and ducting by Daniel Protheroe; Violin by Dr. Heft; Cornet by Weldon; Banjo by Frederick J. Bacon; help in obtaining my state certificate from the Mandolin by Samuel Siegel and Guitar by Wm. F-oden. Board of Education. Soon I wish to .take other work leading to the Degree.” MAIL THE COUPON TODAY! “I have gained many useful, hints for my If you are a teacher of music, take the time to tell us something about yourself. It will aid teaching which are putting money in my us in selecting lessons for you—lessons which will show you how to get better results and save time pocket.” and make more money. Representative Successful Piano S by J. Frank Frysinger UNIVERSITY EXTENSION CONSERVATORY, Dept. D-99 Cat. No Title G “I have completed three courses with you and I am glad to get credit for | J. FRANK FRYSINGER 9614 Mazurque Caracteristiaue 4 four years’ work. I, certainly gained a great deal of knowledge through Langley Avenue and 41st Street, Chicago, Illinois tents 11004 Mazurka Impromptu . 4 *** 4' ■*' '!■ 4' '!■ 4' 'I' * »'I * 4 i|. .|,,p .j.■{, .p ,p ,t, ,t, ,t, ,t, ,t< ^ these courses and I never regret taking them.” Please send me catalog, four sample lessons and full information T FRANK FRYSINGER was born in Hanover i6«n £olonais' MiiVtaiVe.w! s regarding course I have marked with an X below. J. Pennsylvania, in 1878. He studied with Edgar 19168 &ni*^Dewdrops.J “Your course was very valuable to me and it has enabled me to climb □Piano, Course for Students □Violin □History of Music CUHL fCeIly’ ?ich,ard Burmeister, Ralph Kinder ’S ’“id Starry°Sk'ies-Mazurka 3 Wolstenholme, and others, and was for several years right up in positions. You know, of course, how exacting cities are be¬ □Piano, Normal Training □Mandolin □Voice 22633 pa'?dS’ Mazurka Caprice . 4 Course for Teachers □Guitar □Public School Music director d* the H°°d ColIege Conservatory at Frederick 12921 ol the Goblins . 3 coming in engaging Public School Music Instructors. We have great ! e Promenade March . 3 □Cornet, Amateur □Banjo □Harmony opportunities and so much benefit can be derived from Mrs. Clark’s xl\ll v^^Xhu :::::::: ! □Cornet, Professional nOrgan (Reed) □Choral Conducting 18085 £rocfsi?nal March 3 Course.” ' □Ear Training and Sight Singing □Advanced Composition Fry isir Jf||® Mf^f'^rr.^:::: I 12924 Ya se Flettrie, Op. 157 . 3 12923 ®yeMoon1i8ht—Schottische 3 - Age- 12922 Carnival Wa™ ;;;;:;;;;;;:;;;; l University Extension Conservatory Street No.___ Examination Privileges Extended to Teachers THEODORE PRESSER CO —1712-14 Chestnut St., Philadal^;. ^ LANGLEY AVENUE and 41st STREET Catalog, Showing Portion, of Many Piece, Given G I have seen your ad in the ETUDE before and have been a subscriber since, . DEPT. D-99 CHICAGO, ILL. Please mention THE ETUDE when addressing our advertisers. THE MARCH 1927 Page 169 Page 168 MARCH 1927 THE ETUDE
A NEEDED WORK IN A Professional Eight NEGLECTED FIELD Teaching THE ETUDE MUSIC MAGAZINE Saturday Directory Positions 1927 £>uutttu’r §L'aaimi Vacation “Music for Everybody ” POLYPHONIC In Our Excursions PIANO PLAYING Branches June 20 * August 13 nrp i/rn oustavk i.. THE Sherwood Music PART PLAYING-COUNTERPOINT School now has thirty- Master Classes A Faculty of 150 including these Public School four Neighborhood Branches and other Music Contents for March, 1927 BY in Chicago, offering positions no Masttr Class, conducted by Andre Skalski, world-famous A six-weeks course, leading to a combs:: Page THEODORE PRESSER for advanced students and Artist Instructors World of Music . 171 teachers who are qualified Special Public School Music Teacher's Certificate, and pro¬ DUNNING j Editorials .. 173 and wish to study and teach Voice Master Class, conducted at the same time. The rapid jointly by Else Harthan Arendt, viding thorough training in Debussy In History of Piano Literature.. .0. Van Bulse 175 GUICHARD Every pupil should 1., expansion of the Neighbor¬ noted concert and oratorio sing¬ Methods, Sight-Singing, Ear • MUSICOLOGIST, LECTURER, 176 Aw Itos.on ,*ia Setting High Standards.H. Henderson 176 instruction in polypi; hood Branch enrollment er, and Irene Pavloska, Prima Training, Musical Literature, Students confined to . , Conducting, Folk Dancing, His¬ What Music Does to Youth.R. Tliur 176 ‘rises tend- makes necessary the addition Donna, Chicago Civic Opera. A boat ride on ing to develop only n„ ■ ideal dex- of a number of new teachers tory of Music, Form, Analysis, HAWTHORNE Octave Playing.F. A. Williams 176 terlty arc apt to acquh , Violin Master Class, conducted Lake Michigan. uroluntar- to the Faculty, for the 1917- Appreciation, and Harmony. Power of the Dot.p. F. Marks 177 ily defects that leave : by P. Marinus Paulsen, noted LOWERS their playing. The. 2.8 teaching season, begin¬ violin virtuoso, composer and To Estimate Right Tempo .M. M. Lussy 178 be remedied by tlmeh ning in September. These will conductor. MOULTON: Bach’s Two and Three Part Inventions.G. F. Boyle 179 use of studies that I'olyphoale be engaged from the students in character. In n and teachers attending the Giving an Interesting Lesson.A. A. Schwarz 181 branch of piano play bniiortant the pupil 1917 Summer Session. There NEW YORK Getting Down to Business.p. p. Foster 182 receives a training ring from the naual technical r, are, besides, numerous excel¬ PIANO! ' TAi!c,,T Graded Scrap Books .k. 0. Bates 182 prepared for the study lent openings in the thousand Quiet Practice .. Cottar 182 of Bach and Handel andmoreExtension Branches leal composers. Polyp1, of the School, located Viewpoints and Side Lights..m. Bilbro 183 many parts; that Is, 1 RIESBERG^ I par throughout the country. Bugbear Turned to Account.B.L.F. Barnett 184 other Program of Women’s Compositions .C. Bloom 184 Ask for details Sharps and Flats Contest.ff. 0. Bates 184 This volume can be Intro and Application Blank An automo¬ V E 0 N In the career of the pi bile ride Musm and College Students .Boston Transcript 184 between the second u, (no obligation), giving advance -STATE NOKMAX BOHo5L“°"o3il&JSa ° Pmna “ ‘B is not too early. The mu information about your through Haydn’s Opinion of Esterhazy . lg4 Chicago’s Is especially pleasing although previous training, and Sounds from the Flowery Kingdom . . 184 It has been selected m many experience, if any. sources. It all has been Beethoven’s Piano Sonatas .'p.'Carder 185 '•Hp«*clnlly SCHOOL OF MUSIC adapted and arranged 1 VIRGIL: Good Use of Catalogs .C. Hibbard 186 Dusting It Over.F. L. Wiligoose 186 Traming Pupils for Teachers .S. WhiUon-Holmes 186 What Educators 1 i roughout Lessons in the Country .... „T „ t,. . „ ' .A. Owen 186 the Country Think of this Work. Playing for an Audience .. t n „ Low Tuition p, . , , ,, . .s- Carson 186 Public School0 Music Department “Without exception, the best w, ... G. L. Lindsay 187 >f Its kind I have ever - p We v Rates Certificates—Degrees CONVERSE COLLEGESSw The Successful Marching Band Piano Normal -J. B. Crayun 188 — it In Hood College <■ servatory The Summer Session courses lead Teachers’ Round Table . Class COLLEGE ■ C. G. Hamilton 189 $64.00 to $96.00 to Teachers’ Normal Certificates Musical Scrap Book gratulating you on are
FRENCH ALBUM 85 Of Selected Compositions for the Pis By FRENCH COMPOSERS T-tHIS is a superb new volume in the Prc-s. It contains 17 numbers by foremost Frc-ii — . -cry discriminating pi.., FREE FELLOWSHIPS! tty should have at hand. There TO (Two Private Lessons Weekly) to be awarded to the students who imposers, furnishin —tal use, as well i for study or self-sought JS keyboard. Anyi after an open competitive examination, are found to possess the I ic or particularly | greatest gift for playing or singing. isers should get thi ■■sis The “French Album” « design is indicative of t PROFESSIONAL DEBUTS, sser Col- FIVE LITTLE TUNES | ENGAGEMENTS and SITUATIONS three dances )r Five Little Fingers for Left Hand Alone For the Pianoforte for Fou Hands Public debuts are given artist students in Central Theatre, Chi¬ By MILDRED ADAIR pr;ce> 60 cems cago, when they are ready to commence their public careers A E XEf jhe tots whose playing abili- By CYRIL SCOTT Price. $1.2 special bureau established in the College assists artist students interesting original positions left hand alone pieces*! They are not ■ * i°r \wa Performers at one !ano are m obtaining professional engagements. Graduates who have quali- Se.u..°?”?.lef‘jshoand work «°de.™ m sjy'e and they offer real novel- Player, who want to present dirasing “nd m'ercstlnR' on a recital program | in sc“rin8 *it“,ion'wi,w ^ at,thc P'ano. Along with . J^ese ll^le tunes mewnat modern qualities of the har- ists when the imag¬ ’’ :?ere 18 3 freshness and attractive- ing student wiff find U toL*tPl?sing a -.U5* comPosit ions and, when pre¬ sented with careful attention to t-roner in¬ to6 pky sO0ameth?d de“4‘rate an °Smty terpretation, they are most effective and STUDENT DORMITORIES with left hand^fonea^xs^i1 sounding 'lecdediy acceptable to audiences. Teach- older players are not without6 even irk tdnV'i u?i,lze these dances in study Arnstic and comfortable dormitory accommodations for men and women in that good fourtli grade pu- :an undertake "i,h “h —• ESPEJIAU.V INTERESTING TO SCHOOL SUPERVISORS
COMPLETE WINTER CATALOG ON REQUEST N Dozen So„fs
Saxophones Summer Master School Vhh Pianoforta Accompanim CLAY SMITH June 27 to August 6 (Six Weeks) SESSte. | A^OND°sP“2”n‘ £ “ull^Phone..... Price, S SUMMER CATALOG ON REQUEST , melodt)Vlel and’ 5itherfas gLving material so th; Address
* The Beethoven Centenary strict laws be made for its prohibition. One more liberal judge dissented. He said that it was unfair to judge the dance by On the evening of the twenty-sixth of March, 1827, a mere hearsay. None of the priests had ever seen the dance. violent storm descended upon the brilliant city of Vienna. Why not have two dancers come to the consistorfum and let Volleys of hail beat upon the tiled roofs and clouds of snow, the good fathers see how iniquitous it was? This was done, blown by great winds, roared through the streets. and according to a very ancient report “everyone joined in and On a bed in a little room in the Schwarzspaiiierplatz lay the consistorium was turned into a dancing salon.” Thus the colossus of Music—Ludwig van Beethoven, worn with the survived the Fandangoi agonies of approaching death. For two days his throat had If the art of music were to be deprived of that portion been rattling tragically. His faithful friends, Anselm Hxitten- which has been inspired by the dance it would be mutilated brenner and his brother’s wife, waited frightened at the bedside. indeed. Every sensible person is rightly opposed to objection¬ Suddenly the lightning flashed in the skies. A terrific clap able dances. Harmless dances, on the other hand, are the joy- of thunder followed. The dying man awoke and, as in defiance springs of youth. Indeed, if we are to believe Anacreon they of fate, shook his clenched fists at the skies—then passed into may lighten the weight of years: immortality. “But when an old man dances Fifty-six years! A mere second on the chronometer of His locks with age are grey, eternity, but how marvelous were those years. Beethoven’s two But he’s a child in mind.” hundred and fifty-six opus numbers—to which should be added some thirty other works without opus numbers, embrace so Are Music Teachers Neglecting Colossal many collections and orchestral works of large dimensions that Opportunities? it is impossible to measure them numerically. There is of course a very notable variation in the quality of the works. Some rise Sometimes we are downright provoked with the manner to the apex of musical art. Others, while always showing the in which some music teachers neglect opportunities that are so consumate workmanship of the master, are not startling in conspicuous that they actually stumble over them. Most inspiration. Nevertheless, the world has never ceased to wonder music teachers are very alert these days but there are still that Beethoven could crowd so many very great masterpieces enough of the unprogressive class to make this editorial into a scant fifty-six years. desirable. Musicdom has been memorializing the centenary of the In the medical profession if any new and radical improve¬ passing of the master. The Etude Music Magazine, rather ment in methods of diagnosis, such as the X-ray, appears, or than issuing a special number upon this occasion, has been if some new and tested therapeutic means, such as the use of approaching it with numerous notable Beethoven articles for various anti-toxins or, let us say, the Quartz-light, comes to over a year. Among these have been the remarkable series of the front, the doctors flock eagerly to lectures and meetings Analyses of Beethoven Sonatas by Professor Corder of the to learn about the new discoveries and then introduce them at Royal Academy of Music of London. once. Beethoven is by far too great a figure in the art to be On the part of some backward music teachers the appear¬ embraced in one special issue or in a score of issues. Our ance of certain new inventions for reproducing sound, and so readers know that for a quarter of a century we have been pre¬ forth, was stupidly looked upon as an intrusion, a possible senting a wealth of material upon this master of masters. means of losing business, a cause for alarm over the downfall of their professional interests. 1848 - 1925 On with the Dance! As a matter of fact the talking-machine, the player-piano and the radio are glorious opportunities for the expansion of BUCATOR MUSICIAN" EDITOR Probably since the time when the first aborigines com¬ music. We have urged this strongly for years, and we find our PUBLISHER PHILANTHROPIST menced to caper to the beating of drum sticks on a hollow prophecies excellently fulfilled. If the backward teacher would log, the subject of the dance has been a mooted question be¬ only learn to use this marvelous new apparatus in his work, as tween the liberals and the conservatives. would a physician under similar circumstances, he would find The dance, properly, is the .bodily freeing of the spirit of that his progress in the community would be greatly quickened. joy. It may become something very different. Under some In fact, by means of these instruments, musical interest WaldoS. Pratt, Anguished American Musicologist, modern conditions it has been frankly the doorstep to vice. everywhere is being increased by leaps and bounds. What is But, because gluttony is horrible, do we condemn eating? the teacher doing to take advantage of it? In some instances “Just fourteen months ago, on October 28th The dance, like music and acting, has been found of price¬ Pfssed ®wayin Philadelphia ora good less value in hospitals, for mental hygiene in correcting ab¬ nothing at all. The enlightened teacher in the meanwhile is p ’ Theodore Presser, rightly called ‘The ®very^keifofc^^^^e voiced over using these amazing means for disseminating musical education Father of the M. T. N. A/ We may well grieve have been quick to wish us P ?sperity and would normal brain conditions merely by permitting the unfortunate more and more. There never has been a time in the history of Sfav pa'nf Sparued toJ'?in in our celebration we step forward into our secon^ht3ifGodspeedas individual to have a means for expressing emotions, ideas and rSAy'HFl ^ W8u ^ enthusiasm, determina¬ Asa sign of the esteem anThlhaFcenturV- America when it was easier to get large numbers of pupils than tion and wisdom that gave form and vigor to our hold his gracious memory ,n which we desires. foundanon at Delaware, Ohio, on December recognition of many other, lfl S° ln fateful One gentleman, with pasty cheeks and azure nose, who it is now. Many teachers are so busy that they have to look early history who, with him J"fluential in our heatedly denounced the dance to us, would actually have been for assistance. tiontk>n justi,ist7 rhthe idealsS«tead andily general Upheld policy for the that Associa¬ have w afilaCe in Ue choir invuibk yCI PaSSCd on to Other teacher^ of the weak-kneed variety sit calmly by been increasingly regnant through all our recent weaUriseand^ for a intT^ a far better and far finer citizen if he had inclined himself to a joyous bodily expression of his energy. His circulation would and watch their business taken over by others and give as an At the conclusion of these remarks the audience Stood in silent contemplation of the _ have become normal and his outlook upon life would have been excuse, “the havoc wrought by the mechanical musical repro¬ more cheerful, more beneficent. ducer.” What consummate nonsense! The manufacturers of There is a story told about the Fandango, which is very mechanical musical instruments are spending millions of dollars interesting. When this hilarious Andalusian dance was intro¬ every day of the year in advertising. All this is a logical ad¬ duced (circa 1650) the heads of the church opposed it violently. vertising asset for the teacher. The enlightened teachers take The Consistory proposed that the dance be abolished and that advantage of this and prosper thereby. TEE ETUDE MARCH 1927 Page 175
This is your hour of magnificent opportunity, Mr. Teacher, in the field of music. Democratic and amiable as well as force¬ Debussy ihe advertising expenditure of the musical instrument man¬ ful he has not hesitated to step down from the pulpit and ufacturers is money m your pocket, if you will develop a spirit to carry music directly, personally, to the everyday man and His Significance in the History of Piano Literature of cooperating with them and at the same time bring to your woman. . VT , By CAMIL VAN HULSE patrons the great truth that only by the actual study of an The Etude warmly congratulates Mr. Damrosch upon his career and notifies him that, no matter how great his desire instrument is one able to get the peculiar mental training of an unaccountable fact that so little with his fundamental. Examples are ratheT onds—“intentional wrong notes.” Here is priceless value that comes with executing music oneself upon to retire may be, his fellow citizens will have none of it—in objective study has been made of his numerous. The one quoted below is from another principle that can be traced to the an instrument. fact, that we shall look forward for years to the swish of the music; most of the essays written about it “Jardins sous la Pluie:” structure of the pipe organ. It is generally are chiefly subjective and contain little else known that certain organ stops such as Thanks to the talking-machine, the radio and the player- baton we have long since learned to love so well. Ex.3 besides personal impressions and opinions. (vox celestis, vox angelica, undo maris) piano, the world is hearing more music than ever before. That Almost every musician has heard or read instead of being tuned to the diapason are means that everyone is becoming better educated in music in Scrapping the Piano about the “Debussy Procede” which is connected to two rows of pipes one of general. The time is ripe for you to act by utilizing these said to be the use of whole tone scales. which gives a tone slightly above and the marvelous inventions—understanding them. Most of all, take What do you expect of a piano ? Yet it must be admitted that this is by no other slightly below the real tone. This produces a wavery effect, particularly advantage of the enormous publicity they are giving music, and Unlike a violin, a piano has a given life beyond which it means his chief characteristic: were this his only innovation, he would surely (and colorful if used in conjunction with some get your own professional business in line for expansion. must, like every other instrument in which a mechanism is a justly) have been long since forgotten. other stops. part, deteriorate. It will be the object of this article to This is the underlying principle of the “The Seven Last Words” There comes a time when even pianos of the finest possible discuss a few of the main characteristics writing of consecutive, seconds on the piano: instead of writing a tone slightly The tragedy of Gethsemane has always had an appeal to makes are fit only for the museum or the junk pile. of Debussy’s piano music, to establish, so to say, his musical “family tree,” and also above and below the real tone, the piano composers. “The Seven Last Words," as known to the world Many “music-lovers,” and, alas, many professional musi¬ to make his music better understood and composer must take the instrument as it cians, expect entirely too much of a piano. They keep on ising iL7SiC™U,gh the W°rk °f Ha->'dn which was written about consequently more enjoyed by music lovers. comes, that is, tuned in semitones, and , or 1786> had many informal precedents. In Spain Passion instruments long past the time of their normal usefulness We shall try to show how logical and therefore can write the tones only exactly Week services commemorating the crucifixion were frequent. One cannot get fine results from a poor instrument. Bro- sane is the construction of it and thereby a half step above and below the middle tone. Examples of this are to be found Jn Cadiz the Bishop made this service one of the most impres¬ midic as this remark appears, it is a truth that is ignored by do away with the old belief that his music is “weird, full of irregularities, liberties in “Minstrels” and “Feux d’Artifice.” In sive ecclesiastical events of the year. The interior of the great many musicians who should know better. and discordant effects.” “Poissons d’Or,” (without doubt one of the church was shrouded with black hangings. A solitary lamp In the case of the student, a poor piano is one of the worst First let us analyze a few of the most most remarkable piano pieces of the com¬ was the only illumination. The doors were shut at noon. obstacles to progress. The student becomes discouraged, his salient characteristics of his style of writ¬ poser) this device' is used for several lines From the pulpit the Bishop read the last words. After sense of tone values and his sense of pitch deteriorate, and his ing. at a stretch: each phrase he dwelt upon the poignant significance of the whole outlook upon music is liable to almost incurable distortion. Critics with conservative tendencies al¬ ways have had an easy way of disposing of thought and then descended to kneel before the altar in silent If pianos were typewriters in a business establishment* any composer who came and disturbed their Directly derived from the above princi¬ contemplation. During this period it was the custom to have under the careful scrutiny of men trained to get the best results equanimity by his hold innovations: they ple, and in a certain way an extension of beautiful orchestral music performed. Haydn was commis¬ at the risk of losing their jobs, thousands of pianos now doing CLAUDE DEBUSSY simply declared his music to be “manu¬ it, is the repetition of any chord on differ¬ sioned to write this music. Intuitively realizing that this im¬ service m private homes and in music studios would be junked factured wholesale” on some system or ent fundamental notes. Examples of such pressive service would be demanded in other churches, he wrote tomorrow. J A COMPOSER whose pianistic out¬ procedure which was more mathematical “gliding” chords are very numerous and put has the distinction of holding than musical. So has it been often a re¬ produce, especially in pp shade with una recitatives for the bass voice, for the “Words” spoken bv the In all probability the reader of this article has an instru- Bishop. J an absolutely unique position in the proach on Debussy that he builds his corda pedal, the most charming effects. r , ha 18 kept.m tbe home largely out of sentiment. 11 has field of piano literature is Claude Achille music on an arbitrarily manufactured We mention: “Minstrels,” “La Terrace des This work later became known as a Cantata, although it been the family piano for so and so many years. If the ordinary Debussy, “French Musician.” whole tone scale. This reproach is wholly Audiences du Clair de Lune,” “La Cathe- was properly a series of Adagios for strings, with vocal recita- .ppl«„ce. „f ft, ho™ were Uepl on tJhf8.me p:'hcp°”™S We say “unique” for very good reasons: undeserved. Very few of his pieces are drale Engloutie” and “Sarabande.” The tivcs. The work became greatly in demand in various European the exceptions of „b,et, d’art, antique ru P " his music is at the same time classical and entirely built on the whole tone scale: following quotation is from “Et la Lune in fact, only a few exceptional ones can descend sur le Temple qui fut:” cities. At one performance in Vienna a brother of Franz Schu- ultra-modernistic. be pointed out, for instance, “Cloches a !l,°PS fi""i "ilh °l)soIete ituff. With the audiences of big cities, Debussy bert, who was a priest (Father Hermann), delivered the travers les Feuilles,” in which the use of Ex.4 Words.” is indeed classical; very few are the pro¬ of ■SssiS&grssSL olfd grams on which his name is entirely ab¬ this scale seems to verge on the extreme. , “The Seven Last Words”—the Passion of Christ, have It is poor economy added fo JZim "a’0"- sent; the fact that a conservative like Pa¬ Debussy simply made us£ of the whole had many different settings, from Bach to Dubois, but Haydn’s derewski plays him is significant enough; tone scale wherever the results justified or Another so-called innovation of Debussy still remains greatly in demand in church services. -he, P-t the time critics take him for granted; with the pub¬ demanded such use, just as we use the which, to our knowledge, has been very lic he is a matter of fact; some; blase audi¬ major or minor modes according to the seldom mentioned, is the use of unresolved Dubois’ gorgeous musical translation of the “Seven Last ences consider him even “tame”—almost effect desired. appoggiaturas. Here is one of the strongest Words” has in modern times become one of the most demanded antiquated. A conservatory student of Chi¬ Even as the major triad is derived from proofs that Debussy has merely continued book in the literature of ecclesiastical music. Ceremonial Music cago or New York might go to hear a the major scale, and the minor triad from and extended the rules set forth by classi¬ performance of a Scriabine symphony, a the minor scale, so is the augmented fifth This principle is by no means an inven¬ cal masters, instead of breaking them, as triad derived directly from the whole tone A Remarkable Career Stravinsky ballet or a Prokofieff suite in tion of Debussy. On most organs one order to get a “kick” out of it, but he does scale. This explains the liberal use De¬ will find a series of “mutation” or “mix¬ Just before Christmas Mr. Walter Damrosch sent a letter not expect any more “kicks” out of De¬ bussy has made of this chord (type: ture” stops (Quintaton, Cornet, Fourni- to the directors of the New York Symphony Orchestra intimat¬ bussy’s music. He knows his Debussy C-E-Gf). To what splendid advantage he ture, Sesquialtera and so forth) which, if ing that he wanted to take things a little easier; and, rather a part of the scheme of thincHn'th™810'] • C.eremoiVF is not almost as he does his Chopin and Beetho¬ used it is seen in an example from the drawn, will produce not only the played We are becoming a more and nf ^ S0Plllsticated century, Prelude in “Pour le Piano:” than entirely lose his priceless services, they have made him the ven. Far these people Debussy already be¬ note, but its third, fifth, seventh, twelfth, longs to the past. or even several of these simultaneously. Honorary” Conductor of the great organization of which the Cerent ^"e w7„hX T K'™ Ex.l On the other hand, if we move to smaller The main difference between these stops ne has been the director for forty-two years. forbears are apparently passing d fro,n our Anglo-Saxon centers, we notice that Debussy’s music and Debussy’s effect is that the latter uses . Conductors have come and conductors have gone—Seidl still has retained with the public that it almost exclusively in pp passages, where¬ Nikisch, Gericke, Mahler, Pauer, Safonoff, Muck and the long to write his “Water^ushf,,a one> which led Handel flavour of exotism, that lure of the un¬ as mixture stops on the organ should be procession of notable men who have contributed so much to led Meyerbeer to write four MnrT* “ prettJ CUst°m which known, the unexplored. “Queer,” “disso¬ used only in ff passages. ferent royal torchlight procession* fa™beaux for dif- nant,” “discordant,” ultra modern,” “icono¬ These three last mentioned peculiarities the growth of music in the New World, by bringing their clastic” and kindred adjectives are in daily erudition from the old. as been supplanted by the elector *0rchligllt procession in Debussy’s style amply explain and justi¬ use with newspaper reviewers in connec¬ fy the frequent successions of fifths, remarkable but far lesspicturellght Procession —more In Damrosch who, despite his resignation, will by force tion with performances of Debussy’s piano- The final cadence of this same Prelude fourths and other intervals which caused oi his natural energy remain active as long as he is with us Somehow there is very little mor t 7” tbc torches, works; many are the concert-goers in out¬ gives a brilliant and effective illustration conservative and purist musicians to raise lying districts who find it difficult, if not we have a conductor who came to our country so early in life -nte an “Electric Light March?.° “T™ tW to of the difference in colour between the their eye's to heaven in righteous indigna¬ impossible, to “see head or tail to such tion. After all, consecutive fifths, al¬ that his traditions and education are American in a very large diatonic and the whole tone scale. The°TE‘ “1>P™*er March” " WOuld b« «» cacophonic music.” For these people—and Another characteristic often found in though absolutely to be avoided by the sense. He is literally the first of the American conductors of statistics would show that they are by far Debussy is the writing out in full of one student in four-part harmony, chorales and wide renown. «POh the MlifinX^^ ^ng when it do„c„| the more numerous—Debussy still is a or more harmonics together with the fun¬ counterpoint, are not so terrible. Be it Many of the greatest musicians made their initial orches¬ futurist. damental tone. Anyone knows that a remembered that the very first attempts Which, then, is the true standing of this tral American appearances under the baton of Mr. Damrosch musical tone never sounds isolated, but at polyphonizing recorded in history con¬ man’s music? Maybe it is premature to try always drags behind itself a whole “fam¬ sisted simply in accompanying a given The list includes Paderewski, Kreisler, Saint-Saens, Tschaikow- mils' Xt f'S’ th.ercfore’ quite clea/tha^^1 but 0,lt of place. to answer this question conclusively: only sky and others. ily” of harmonic overtones: melody by a parallel series of tones at a eight years have elapsed since Debussy’s distance of a fifth (“quinable”) or fourth. Ex.3 Americans have long since taken Walter Damrosch deep t^fee^a death; and history has shown that it takes Later on that distance was brought to a into their hearts. His accomplishments have been invaluable longer than this to give the “view in third or sixth (“faux-bourdon”). Be it the perspective” which enables us to judge also remembered that, as soon as any two about relative greatness of persons and consecutive tones are produced, Nature events. Still, we believe that it is possible herself makes consecutive fifths through to form a fairly good and just opinion of the first of which are the most pronounced. their harmonics. Debussy’s music, provided a little intelli¬ Debussy, instead of letting these notes Another rather frequent characteristic in CLAUDE DEBUSSY MAKING AN ASSAULT gent study of his works is made. It is sound for themselves, plays them outright Debussy’s music is a succession of sec¬ nv r r A**rr- MiTOTr the etude Page 170 MARCH 1027 THE ETUDE MARCH 1927 Page 177 self), display the same regard for tone and ture, title and spirit of several of h.s has been erroneously maintained. All of suspensions and other apparent liberties accuracy that you would in playing before pieces: Prelude, Sarabandc, Passepied, us know the nature and function of an common in Debussy’s piano style. One a hall crowded with thousands of peopie Menuet as well as Hommage a Rameau. The Power of the Dot in Music appoggiatura. Nobody will find fault with would be surprised to see how, with a little You will find it great fun to imagine 2. Bach whose influence as at once a composer for writing: intelligent study, most anything that ap¬ that you are some great pianist trying to apparent in the polyphonic structure of Ex. 0 pears at first irregular and bold turns out move your audience with the fire of your By EUGENE F. MARKS to be' just a slight amplification of some many passages. performance. Hard tones and slipshod long established principle. Debussy has 3. Chopin who was the first composer to show us the subtle art of blending rhythm will not do. Your “audience” OT, THAT point which has posi¬ Leopold Mozart, while not disapproving Ex.4 Besides such differences in staccato not overthrown any existing rules: he does not like that. Of course, we cannot D marks, the actual duration of notes so has done only what Bach, Beethoven, together distant tonalities almost without tion but no magnitude, that mere of the rubato in performance, thought that all be Hofmanns and Paderewskis, but the chirography of the music should be designated depends, to a large extent, Schumann and Chopin have done in their any transition and with the most fascinat¬ speck whose evaluation according we can raise the standard of our work such as to call for such rendition. We upon the sort of notes the signs affect. A Still, as a matter of fact, when the days—taken the existing rule's and princi¬ ing results. This art has been carried to to the use of the old Dutch word is “good by trying to be. read in his Violin-book, “It would be well half-note with any staccato sign is rela¬ first appoggiaturas were used a few hun¬ ples, somewhat widened their meaning and a very high degree of perfection by De- for nothing,” nevertheless assumes mo¬ This form is now written with the use if this prolongation of the dot were to be tively longer, for instance, than a quarter- dred years ago, there was a great deal of introduced his own original touch in their mentous proportions in the eyes of the of the tie (see b), though it was resus¬ struggling student. Among the Germans made very definite and exact; I, for my note with a similar sign, as can be traced protesting done by the then purists. As application. He has built on the same bTy7,to of whom wc are frequently What Music Does to Youth citated to some extent by the late Johannes it stands as punkt, the French as point, part, have often made it so, and have ex¬ in the following: musicians became used to the appoggiatura solid foundation that was' built upon by reminded by the eminently "pianistic” writ¬ Brahms much “to the bewilderment of in¬ and the Italians as punto (so also with pressed my intention by means of two dots, more and more liberties were introduced: the whole line of glorious classics headed ing. “Feux d’Artifice,” for instance, is By R. Thur experienced performers.” the Spaniards and Portuguese), and in old with a proportional shortening of the Ex. 5 for instance, as in the following: by Johann Sebastian, Palestrina, and the full of runs, chords, indeed whole pas¬ The dot coming after a note upon a line English as pricked note. We find it as¬ next following note.” Even now, at times, . Written __^ Played =>_ Ex.? great Netherlandish Contrapuntalists. sages that fall easily under the fingers. Is music “bad” for adolescents? Here is preferably written in the adjacent space sociated with the virga, jacens and other we meet musicians, especially violinists, This much about the external charac¬ Lastly, considering Debussy’s unusually re¬ is an interesting view of music presented above the line when the next note is higher, musical characters in the neumes (flies’ who indulge in this rubato style of play¬ ft Pf teristics of Debussy’s style: quite a few fined sense' of harmony, see how delicately, by Agnes Savill, M.D., in her book, Music, and in the space below when, the follow¬ ing, an undue license which may well be more might be mentioned, but we leave in the Prelude of the “Suite Bergamasque,” Health and Character: feet) or Roman notation as early as the ing note is lower. Chopin, however, One becomes so engrossed with the idea these to each musician to find out for him¬ “The effect of music upon the normal eighth century. Though little is now dispensed with, as the present notation is seems to have possessed a penchant for of tile power of dots after notes,^ due to self and to enjoy the satisfaction inherent youth of the nation must ! • briefly re¬ known of these neumes signs it was cer¬ sufficiently advanced to declare exactly the writing them in the space above the line their marked effect upon rhythm, that he in this kind of work. viewed. I am bound to admit that careful tainly the case that either before or after intentions of the composer. The triple (see the first phrase in Prelude, Op. 28, .is apt to overlook, or at least disparage, Still, all of the above described charac¬ scrutiny of this question i. necessary on a virga several dots appear and one of dot was introduced by Wolfgang Mozart, No. 21). the characters was termed punctum. the son, who extended his father’s idea the great power of dots in forcing a repe¬ teristics do not make Debussy’s, music. the part of those who are engaged in edu¬ A dot to a limited extent, may be em¬ Several centuries later in the organ tabla- one jot (literally, one dot) further, but tition, not only of a single note or measure, Many second and third rate composers cation. The immature ad i, scent ought ployed to shorten a note without disturb¬ ture we find the dot represented the long¬ its use is rare. However, we find Bee¬ but even of hundreds of measures. The since Debussy have used (and often not to lie disposed to harmful or to over¬ ing its rhythmical evaluation. This is est note (the breve) then in use. It is thoven of the same period largely addicted popular Sonata Patlietique, Op. 13, Bee¬ abused) whole tone scale's, successions of exciting influences. The opponents of a brought about by placing the dot above due no doubt to this use that the dot as¬ to using the double dot, as exemplified thoven, exhibits a repetition of one hun¬ seconds, ninths, unresolved appoggiaturas musical education contend that music or below the head of a note to indicate a sumed its great value as a prolonger of in the first ten measures of his Sonata, Op. dred and twenty measures. and so forth, without obtaining results makes an appeal solely to the emotions, staccato manner of execution. On light note duration. 111. Formerly the repetition of a single note nearly as beautiful as Debussy’s. What is and that already, during adolescence, the bowed instruments such as the violin this the appoggiatura was given the greater Evidently, during its diffusion, the dot In the early eighteenth century, during was effected by setting dots above the it, then, that gives this music the stamp emotions are too inflammable. In later is secured by the bow being allowed to part of the time value, while the resolution lost caste, for it descended from its posi¬ the final transition of the musica mensurata note to indicate that it was to be sub¬ of originality and distinction? years, they maintain, when the emotions drop on the strings and rebound by its came in on the last part of it (A) ; then tion of longest note merely to trail after into our modern notation, Bach, Handel, divided into that many notes. Thus a It is this intangible, undefinable quality have been cooled by contact with discipline own elasticity. There are two varieties of the resolution could be delayed until the. another note whereby decreasing its own and other composers were accustomed to half-note with four dots above it indicates that distinguishes one man from another, and disillusionment, music tn .v well be en¬ this sort of playing: the spiccato (for next chord appeared (B). Composers went value to but one-half of that of the note pre¬ a convention, to be noted by students that it is to be played as four eighth-notes. that make's one man an aristocrat and the rapid passages in equal notes), which is even so far as to make the resolution of couraged, in the hope of ret iving the lost ceding it. However, about a century be¬ studying these composers, by which groups The modern tremolo sign of the violin has other a commoner, even though the former the ordinary staccato and is usually played one appoggiatura become the appoggiatura glow, of youth. This last consideration fore the dot was assigned to this lowly of dotted eighth notes followed by six¬ such markings to show the exact sub¬ for a new chord (C). live in a garret and the latter in a castle. from the middle of the bow with a loose certainly does not err. Moreover, it can¬ position (in the thirteenth century, that teenth notes are to be assumed as quarter division of the large note, and it is pro¬ All this seems quite natural and clear It is “le Genie Individuel”—the “Individual not be denied that in yout.i the emotions wrist, and the saltato, executed with a Genius” which cannot be imitated nor even is) it was appearing as punctus profec- and eighth notes when they occur in com¬ duced by extremely rapid alternation of to us, but in reality it has taken hundreds are more readily called into being. To the longer and higher rebound of the bow defined. It is the man himself. tionis in the circle (O) and semi-circle bination with triplets. In the following: down and up bow. This reiteration of the of years for our ears to get accustomed to and generally employed when several equal usual deduction that these mu ' lie cooled by (G ) to designate major-perfect (three same note is secured on the pianoforte such effects. (Remember the general pro¬ The very source of his inspiration dif¬ notes are taken in one bow. the cultivation of games and die absence beats) and major-imperfect (two beats) Ex.2 through a rapid change of fingers, usually, fered from all others. Instead of senti¬ Written Played On wind instruments the intervening test that went up when Monteverde first from education of all som cs likely to A—3—2—1 or 3—2—1, drawn towards the ments. his music depicts sensations; instead time respectively. In respect to the funda¬ silence between the notes is obtained by used a dominant seventh chord?) Now, if excite the feelings, I repb If suitable mental two and three beats simple rhythm, palm while the entire hand rotates upon we want to go one step further in the use of emotions, impressions. Debussy was too the interposition of the tongue; in the material is not provided for the emotions modern notation has no note-form to re¬ the wrist. However, when several notes of appoggiaturas, what can we do? There reserved to bare us his inner soul even human voice by an impulsive breath im¬ J A-: of youth to work upon, is there not grave present the time-value of three notes of Ti are repeated simultaneously (such as a doe's not seem very much left after C, through the medium of music. He tries mediately checked, very adequately repre¬ danger that fuel will be sought from the next lower denomination, and so the the sixteenth note is sounded with the final chord), the repeating effect is best obtained in Ex. 7. Yet, Debussy has found an only to embody his impressions in sounds ifJS If sented by the repeated, ha, ha, ha; upon T— i — T- sources less worthy than music? An un¬ dot fills this necessity just as it was found note of the triplet, not after it, as it would through a totally relaxed arm and wrist ingenious way, consisting simply in omit¬ and so to make us share in them. Sym¬ the harp or drum by an instant application dergraduate, trying to describe to me the to have this power during the measured be if the figure occurred in more modern with the fingers resting upon the keys; ting the resolution altogether, as in the bolism^ Naturism, Impressionism and of the hand to the vibrating string or li—-1- effect of a Bach Concerto exclaimed: “I music period. music. This falling of the sixteenth note then, with the weight of the hand con¬ following quotation, taken from “Poissons other “isms” have been frequently used in drum-head. Staccato upon the pianoforte can 11 I only know that no one could do with the third note of the triplet was no trolled by the forearm, impart a rapid d’Or:” describing his tendencies. The dot at that time possessed four is effected usually by a stroke (or falling or even think of doing wrong for a fort¬ functions: that of augmentation or addi¬ doubt transmitted from the decadent up and down vibration to the keys. This Nothing gives a more typical insight hand) from the wrist, the hand being d 4 A night after hearing it!’" musica mensurata period, wherein the per¬ produces regularity and symmetry in the into the spirit of his music than a compari¬ tion, alteration, division and diminution. raised immediately after striking. In In a word, dear doctor, music is the fect (three beats) and imperfect (two touch. During the process the hand ap¬ son in terminology of shadings and nuances At present, it is restricted to its original heavy passages, however, the weight from safety-valve for the steam > youth, not beats) time adapted themselves to each pears constantly tremulous like shaking between the Romanticists and Debussy. power of augmentation adding one-half of the elbow may be called into use; for light, the fuel that generates it. other in this manner. Note the following jelly. When a rapid repetition of the Where the former use such directions as g ,_ the note to its duration. Its former power finger passages the staccato is obtained -S-rig extract transcribed from Jusquin des Pres con somtna espressione, con passione, con of division developed into the measure-bar, through quick finger-flexion towards the same note is performed by the voice it (1440-1521) into modern notation: amore, deliqatamente, con effusione lu- The Study of Octave Playing while the power of diminution of the dot palm of the hand. results in the “Caccini’s trill” or vibrato singando, the latter uses such terms as is still preserved to us in the quickened which is an alternate reinforcement and extinction of the note, a kind of staccato. breezy murmuring, far away, veiled and he changes each repeat of the main theme. By Frederick A. Williams alia breve tempo ((£). The note follow¬ The Martellato Stroke hke a transparent mist, all of which appear The repetition of measures is indicated In this subtle play of harmonization he ing a dot is usually unaccented. HEN A shorter or more acute stac¬ m French. Debussy seldom used the con¬ W by two or four dots placed in the spaces of stands quite close to Grieg and Chopin. In order that the pupil may learn to So to-day we find the dot still applied to cato is desired, the effect is indicated ventional Italian terms of expression. the staff, before or after a double-bar, His is not the work of a mere musician Play octaves without stiffness in the wrist notes to represent three of a kind, or, by the dot extending into a short, vertical, An old, worn-out reproach that was termed a repeat, thus: but of a truly great Artist. 6 sbouM be given a course of exercises according to the usual definition, a dot wedge-shaped dash. With the early writers Superficially considered, this passage frequently hurled at him in former years, These notes were not given as triplet- on single tones, thirds and sixths for the placed after a note or rest lengthens its the dot calls for a sforsando rather than looks very revolutionary indeed; but let is: “Debussy’s music has no melody.”’ groups in the original; but notice the Self-Help Questions on Mr. Van Hulse’s development of the wrist and forearm time-value by one-half. For example : I staccato—the martellato of violin playing. Ex. 5 k. us have a close look at it. The grace notes, Truth is, Debussy’s music is full of melody quarter and eighth notes of the soprano a be Article muscles. Place the hand in playing posi¬ s>• Here the strings are struck (or “ham¬ being entirely ornamental, do not have to for those who can find it. Sometimes it appearing against only one quarter note in 1. Mention three Debussy characters- tion over the keyboard. Raise the hand = JJorJJJ, and when a second dot mered”) each tone distinctly, with a sharp, be considered in the harmonic analysis; is surrounded with fertile and flourishing the alto on the first beat, first measure. tics and justify their continuance. trom the wrist as high as it will go with¬ decided stroke made by a series of rapid neither does the run, which is ornamental accompaniment designs; sometimes it is This gives the triplet rhythm, and, from 2. ' What is the origin of the use of suc¬ out strain. Then let it drop with its own jerks from the wrist, the bow at the same Keep in mind that the double-bar may in a piahistic way and which we will sim¬ only “suggested” amidst a wealth of fig¬ follows the first, or a third the second, each there on, proceeds with extreme regularity ply transcribe as a C-Eb-G chord. As for cessive seconds? T'9ht str'king on the third finger. Do time advancing from point to nut. On uration; but always the melodic line is prolongs the time-value of the dot im¬ and smoothness in triplet-rendition with be written anywhere on the staff without the chords on the first and third beats, 3 In what way did Debussy widen the tuts several times very slowly letting the the pianoforte the keys are struck with disturbing the metrical rhythm: also, the there. We dare say that the musician who mediately preceding it by one-half, as, the first and third note of each group scope of appoggiaturas? nger rest on the key a few seconds after a heavy, inelastic peck of the fingers, we notice at once a double appoggiatura in fails to find melody in Debussy will find simultaneously harmonized and sounded dots always appear on the same side of each, C and D being appoggiaturas for Bb touch1)2 Bater on Practice with staccato usually from the wrist, the arm-staccato the double-bar as the division of music work 'b^d^ded^'0 ^er*ods ma^ Debussy’s to the entrance of cadency (middle of the and Eb in the first chord, and F, G for Tther in Bach’s F'™* Prelude J.„ —J J f f, for example. being used when necessary. Martellato ( Well Tempered Clavichord”) nor in second measure). Evidently tjiese old to be repeated. Thus, the first sign (a) Next place the hand in position for the notes are generally semi-staccato and often Eb, Ab in the second chord. Now if, in¬ Chopin’s Etude Op. 25 No. 12. masters emphasized and depended upon the signifies that the portion of music between stead of leaving these' appoggiaturas un¬ bussy’Ta,n?hrCe CmP°SerS iUfluenCed De- i ,aVe and it drop front the wrist as Leopold Mozart (the father of the re¬ have the signs, ==-_ , , sf, or sfc. Of We would divide Debussy’s work in natural feeling for regularity in rhythm, the dotted double-bars is to be repeated; resolved, we write the chords in their netore but striking the octave. Notice the nowned Wolfgang Amadeus Mozart), an two periods, the first embracing his former avoiding any rough uncouthness, rather course, the forte tenuto notes are sustained the second and third figures, that the pre¬ original form, we obtain: difference in the feeling of the wrist excellent musician and author of a treatise compositions in which, together with in¬ than upon chirographic characters, and sometimes by rubato effects beyond their ceding and the following division is to be Setting HighJStandards wW . uhen strikin£ a single key and on the violin, invented the double dot in fluences of Grieg and the Russians, we Bach’s and Handel’s music coming upon actual time value. The mezzo-staccato has performed the second time. No doubt the lklng the octave. In the octave order to meet the rubato playing largely the verge of the declination of this old a slur over the staccato dots and the tones average student thinks that repeats are detect early traces of his later develop¬ By Harry Henderson Potion there will be a certain amount of the custom at that time by violinists in style of smooth regularity in harmony and are nearly run together. In fact, on wind placed indiscriminately, yet we have rules ments ; and. the second, those in which he slow movements. In this case the dotted uni neSSudue *? the exPansion of the hand. rhythm partakes and contains germs of and string instruments, the tones are often founded upon the usage of best composers definitely “finds his own way” and fully We must all have standards in our work ess the wrist muscles have been made note was prolonged slightly and the others asserts his originality. it. So, traditionally, the acuteness of the not detached entirely but are attacked with governing their placement. In the large These standards must be high. The T™’ nexible by the practice of certain prepara¬ were shortened in proportion, for the sake dot exhibited in Ex. 2 must be softened a slight emphasis which is immediately sonata forms we find repeats : Among the general influences which whose sole ambition is to develop £ ' tory exercises. of effect. For example: accordingly. weakened. In piano playing mezzo-stac¬ In First Division (strict) seem chiefly to have contributed towards These exercises must be on a single tone level P 3yer hard'y CVer rises ab°ve that The dot of prolongation after a final cato notes are sustained for nearly their First part of First Movement forming Debussy, we mention : AF .i Aen in thirds> and later in sixths. note in a measure was formerly often entire value with only a slight disconnec¬ In Minuet (Scherzo) Division (strict) A quite commonplace succession of triad 1. The old French clavecinists of whom The student should always strive to over fr>t l,s simPle exercises in octaves may placed in the next measure, quite away tion between them. The tones are elicited Both sections of the First Part and dominant seventh, is it not? The same come indifference and slonniness wtf Z? taken and, as the wrist and forearm Debussy was an ardent admirer and whose from the note, and was sometimes omitted with a firm yet not too heavy marcato, and Both sections of the Trio procedure may likewise explain unresolved influence is apparent mostly in the struc¬ playing, though the audience be small 7con" use es become stronger and more flexible, sisting, perhaps, of but one entirely by placing a note upon the very the touch is especially valuable and useful In D.C. al fine, all repeats are studied m m0‘’e difficult forms may ^ bar-line (a): in the expressive cantabile style. ignored. ™ etude MARCH 1927 Page 179 Page 178 MARCH 1927 THE ETUDE several beats preceding the pause-nnt But dot the principal note and it loses * In Final Division (greater freedom) of the consequential voices was marked (surely this starting point can be as“e large proportion of its value; and m slow Sometimes First Section with the presa sign. tained only through rhythmic feelint^' a Foundation tempo the unaccented note of t e o Bach’s Two and Three Part Inventions as Sometimes Second Section In modem music there are two distinc¬ the first beat secures one pulsation l rhythm is frequently shortened (exag¬ Sometimes both Sections tions^ to be noted in regard to these signs: second, two; third, three; and so on’unn gerated prolongation of the dotted note) See Beethoven Sonatas, Op. 54; Op. 27 Al segno, to the sign; and Dal segno, from the end is reached. But a subdivision o for Polyphonic Playing No. 2; Op. 10, No. 2. by one-half its value while the turn as¬ the sign. Thus, D.C. al segno segue la a beat would no doubt destroy or gravel sumes the form of triplets. Thus, beneath By the Noted Virtuoso, Teacher and Composer When a section is to be repeated four coda is a direction for the performer to the symbol of the turn lies this unusual interfere with such mathematical nrtJ times a two-fold dotted double-bar (: 11 11:) repeat from the beginning down to the GEORGE F. BOYLE power of the dot unrealized in most cases sion. And what about a hold-sign is employed, while diminutive dotted sign and from thence to the coda, while ing a rest or double-bar? So, in the (S even by the performer himself. folding of its manifold beauties simply double-bar (: 11;) minus the staff is a com¬ D.C, dal segno, means to begin repeating analysis, there remains but one deduction- T) THE ’UNFORTUNATE stu¬ Mr. Boyle was born at Sydney, Australia, June 29,1886. His musical Like a lifted brow above an eye stands dent struggling Laocoon-like in the debars himself from one of the greatest mand to a singer to repeat the words en¬ from the place marked by the sign and a pause-gradation depends solely upon cot! studies at first were conducted entirely by his mother. He next studied the hold or pause, the gem-setting of the serpentine coils of a Bach Fugue, joys possible to the true musician. Re¬ closed between two such signs. continue to the word Fine or to a hold dot (that is, from the musician’s and not rect musical taste. with Sidney Moss in Sydney. He has made concert appearances in two membering his efforts to extricate him¬ We also find repeats by the aid of dots over a double-bar. Instead of these words Alas! I came near forgetting the fast¬ several questions are apt to suggest them¬ hundred and fifty towns in Australia. He has played extensively in Europe the lithographer’s standpoint). This, not¬ selves. Why should he be compelled to self from its polyphonic mazes, during in the simile sign of abbreviation ( '/•) the signs alone are sometimes used, thus disappearing double sharp sign, with its as a concert pianist and was the first to play the MacDowell “Celtic Sonata” withstanding its smallness, if set above or undergo such an ordeal? Of what use is which he was quite naturally oblivious to designating both the returning point and four dots in the angles of the letter X below a note or rest, is so powerful that it and to what—if anything—can it be in Berlin. Mr. Boyle is the composer of numerous successful works. Mr. the marvels everywhere surrounding him, the beginning of the repeat. This possesses the power of raising a tone Ex. 6 it causes a suspension or indefinite pro¬ expected to lead? It is the aim of this Ernest Hutcheson has played his pianoforte concerto in New York. Mr. he is not likely to return later, on a pleas¬ As has been said, one of the original a whole step. And there is the old harpsi¬ longation of time value at the performer’s article to answer these questions and to Boyle was formerly professor of pianoforte at Peabody Conservatory of ure trip, to the scene of his painful mis¬ uses of the dot was the power of diminu¬ chord double relish sign with its three or discretion governed according to the suggest certain means of rendering the Music. Baltimore, and at the Curtis Institute of Music of Philadelphia. He adventures. tion. It possesses such a character now rhythm of the composition. Such pauses five dote appearing as a star above the staff We have all had some analogous expe¬ student’s struggles less painful and more is now at the Institute of Musical A in New York City. ensued no doubt from the development of and forcing the following note to weave riences, I suppose, in the realm of liter¬ and, in addition, the power of changing profitable. itself into a rhythmic trill. But enough the rhythm. But these qualities are so the chorale (in which the common folk In the first place, a realization must be ature, by having been made, in school, to which means that a previous musical figure submerged beneath embellishments that rather than trained singers participated) has been said concerning the “good for serve its particular character. This fac¬ this help from Such a supreme authority parse and analyze some great piece of or phrase (a), or a previous measure (b), awakened not only of the importance of, they can scarcely be discerned. The ex¬ and were made at the end of each line of nothing” little dot to show that in music but of the actual necessity for, a complete ulty can be developed only by a thorough with reverence and gratitude. English prose or poetry as a lesson in is repeated. When the sign is written hibition of these powers occurs in the case poetry in order to allow the laggards to at least, it possesses manifold powers. training in polyphonic playing; and, un¬ The student’s struggles with a Bach grammar, with the result that we have upon a bar (c) it signifies that the two mastery of polyphonic playing, if the stu¬ of turns. We well know that in moderate catch up. til it is developed, the student’s playing of fugue, particularly the fugues from the never since been able to lose entirely our preceding measures should be repeated. dent hopes to become anything more than tempo the principal note is dwelt upon It was the custom in Germany to embel¬ a dabbling amateur—using the term in its purely homophonic works or pieces in superb collection of pieces (forty-eight initial conception of it as being an “ex¬ Behold the letters S, X, and Old Eng¬ Self-Help Questions on Mr Marks’ Article sets of preludes and fugues) known as the for about three-quarters of its value be¬ lish such pauses with an instrumental in¬ most flippant and superficial sense. The which there is nothing approaching real ercise.” Its true spirit and beauty con¬ lish $ encompassed with dots in such signs polyphony will remain inadequate for the “Well-Tempered Clavichord,” are simply tinue to elude us. For this reason I fore the turn (in equal notes) is per¬ terlude; and, no doubt, many of the older 1. IVhat use of the dot did Mozarts truth of this assertion is evident when it the result of approaching this mine of wish to advise most earnestly that a very formed. heads of the present generation here in father introduce T is realized that the polyphonic style has simple reason that his ear and mind will be so exclusively concerned with the me¬ musical beauty long before the student’s thorough study be devoted to the "Two as S, • S*, "S* and * America recall that in the absence of suf¬ been the idiom employed by the greatest 2. How did Bach and Handel repre¬ lodic voice that he will be unable to give specialized training in polyphonic playing and Three Part Inventionsr” before at¬ Ex. 7 ficient hymnals in the churches such pauses sent quarter and eighth notes in combina¬ composers of every period in their most These are the old presa signs used in the profound works, or, at any rate, in many sufficient attention to his management of warrants it. “The Two and Three Part tempting the “Well-Tempered Clavichord,” were utilized to have the next line of the tion with triplets f Inventions” were intended by their creator fifteenth century to denote the point of moments of these works. the accompaniment, no matter how simple at least by the serious student who in¬ hymn read aloud by a leader. In modern 3. How is the dot used to shorten a as studies; the “Well-Tempered Clavi¬ entrance for a voice in the enigmatical Before this truth can properly be it may be. tends to make the study, and practice of usage a hold over a note demands the notet To compel a repeat’ chord” was not. Using the pieces in the ranomc extravaganza of the Flemish grasped it will be necessary to give a The works of Johann Sebastian Bach, music his lifework. exercise of the highest musical feeling, latter work simply as exercises in poly¬ School. Canons are now written out in 4. What was originally the use of the simple, non-technical definition of the word are generally chosen, for a good and suf¬ A short preface by Bach himself de¬ as the pause is not made abruptly, but full, but in the medieval period only the pause in hymn singing f “polyphonic.” Using the terms in a prac¬ ficient reason, as the stepping stones to phonic playing is a desecration of one of scribing the purpose of the “Inventions” must be anticipated by a gradual slacken¬ the noblest of musical masterpieces and antecedent was written and the entrance 5. What repeats occur regularly in the tical and general sense—from the per¬ proficiency in contrapuntal playing. This reads, freely translated, thus: “A distinct ing in tempo. An old rule stands that for is on a par with considering the Emperor large sonata formt former’s and not the theorist’s stand¬ amazing man not only brought the poly¬ method by which admirers of the Clavi¬ Concerto of Beethoven as an exercise in point—we can accept the adjectives “poly¬ phonic style to complete perfection but chord may learn to play cleanly in two arpeggio playing, or the Liszt B minor parts and then to manage three parts well; phonic” and “contrapuntal” as being synon¬ also had the generosity to write for the Sonata as an octave study. also how to invent and develop good ideas, ymous, used in contradistinction to “homo- student, in the intervals between the com¬ obtain a singing style of playing and phonic” or “monophonic.” Homophony is position of gigantic masterpieces, a num¬ “Stinting” the Fugues a style of composition in which a single gain a strong foretaste of the art of How to Estimate the Right Tempo ber of studies designed to enable him to E WHO takes up the “Well-Tem¬ melody is supported by an accompaniment; composition.” reach a real command of polyphonic play¬ pered Clavichord” while still unpre¬ It is well to understand the words The problem of finding out the right tempo is by no polyphony is a style in which two or more pressive elements—i.e„ in irregularities of key, mode ing The serious student will surely accept pared musically and technically for an un- “Part” and “Invention” as being synon¬ means always settled by the metronomic markings. melodies are heard in combination. In the (if such a phrase be permitted), which fails to grasp ymous with “Voice” and “Composition” Sometimes, even in the case of Beethoven, who was a metre, rhythm and harmony. These elements are in¬ strictest and most academic sense, true or embrace the rhythmical scope of the piece. (or Creation), so that the “Two Part contemporary of the inventor of the metronome, the compatible with a quick tempo. It is difficult even for polyphony is present only when the var¬ the most practiced ear to follow a quick piece when By such considerations every performer will be able Inventions” are simply “Compositions for markings are obviously in error. M. Mathis Lussy the ious melodic voices heard simultaneously it is written in several real parts, or when the har¬ to discover from the structure of a piece what its normal Two Voices.” These are fifteen in num¬ famous Swiss writer upon musicology, has put into very tempo ought to be. are of approximately equal importance. ber, in the following keys: C major, C definite words his Valuable ideas upon the subject. mony is complicated by dissonances, suspensions, antici¬ But, in a more modern and practical Li determining the tempo of a movement, we must minor, D major, D minor, E flat major, It is of the utmost importance to know how to pations, unexpected modulations, etc. The ear soon sense, this is not necessarily true. A becomes exhausted with the effort, and incapable of therefore examine the number of notes contained in E major, E minor, F major, F minor, estimate the true tempo of a piece from its structure, each measure and beat, the number of notes the accom¬ homophoiiic composition in which the ac¬ either distinguishing or understanding the music. For companiment—or any of the accompanying G major, G minor, A major, A minor, and the question is, by what signs can this be dis¬ paniment has for each of the melody-notes, and the most covered? Everyone knows that in order to get a general parts—assumes considerable individual im¬ B flat major and B minor. The reason ?nCLa T ’• therei°re’ a-sl0W temp0 is necessary prominent metrical figure. We must sec if the notes m order to give sufficient time for the ear to recog- portance from a melodic standpoint, while for the exclusion of the keys contain¬ ldef \ picture as a whole, the broader its outlines, nize and follow each of these divers elements in turn lollow each other with regularity or irregularity, in con¬ and the fewer and simpler its details, at so much the the principal melodic voice is still being ing a greater number of sharps and flats greater distance should we view it, whilst on' the other ? On the other hand, as a fresco or sketch in broad and secutive or interrupted steps, ascending or descending heard, approaches, at that point, a poly¬ need not concern us here as it would en¬ fiand the more complicated, numerous, and confused salient outlines must be seen at a sufficient distance for motion, thirds or sixths; if there are such unusual fea- phonic style. If this definition is com¬ tail a lengthy and technical description the eye to grasp the whole, so a composition which is are its lines, so much the nearer ought we to be to it. ures of notation as chromatic intervals or very wide prehended it will become evident that even of “equal temperament” or a method (the clearly and broadly defined, and not confused by details t is an effect of the laws of perspective that the s ips, reiterated notes, higher or lower auxiliary notes those composers who are generally regard¬ method now employed) of tuning the and accessories, must be played in a quick tempo, so objects scattered over a large canvas converge the and triplets. ed as being exclusively homophonic resort piano. Suffice it to say that in the “Well- that the isolated elements may be brought nearer to1 further we withdraw from it, whilst, on the con¬ AH these elements denote a slow tempo. If the metri- quite frequently to polyphony, even if only Tempered Clavichord” (which actually gether and into connection, otherwise the ear will trv in means the “Evenly Tuned Clavichord”) trary, the nearer we approach the more we are able cat structure be clear and the metrical figures simple for a phrase here and there. This is be¬ vain to catch the general idea of the scattered elements to distinguish the details which at a distance seemed cause the employment of polyphony—of Bach has included pieces in every major and the plan and unity of the whole work. Composition,’ til,n J°rm’ ‘he tCmp0 must be fifiick, so as to draw the confused. It is the same with music. As the point of accompaniments which have a distinct and minor key. of this sort resemble those optical toys in which a figure tinif,ere mu°teS togetl)er and give them coherence and view for a picture must be so much the nearer the melodic physiognomy of their own— wav Ir. e rhythms must be examined in the same Horizontal Hearing more complicated and full of detail it is, so the tempo results in a richness of texture which is Sotadon!”61143 °n y aSSUmeS iU PerfeCt Shape by raP’d persistf.,^6 'f }bey are regular or irregular, varied or for a piece of music should be all the slower the the worthiest setting for the most sig¬ THE PRINCIPAL thing to be remem¬ The public does not generally care about Adagios- more condensed it is in form, the more rich in ex¬ with h 1 ” they contain occasional long notes mixed nificant and noble of musical ideas. bered in approaching these “Inven¬ this arises from a sort of shortsightedness of Soar weak beat T'' they bcgi" the strong or the tions,” or any pieces of similarly poly¬ ’ on the strong or weak part of the beat. Merging Melodic Streams phonic style, is that they must be regarded horizontally rather than vertically. It is T T MUST be understood that the various simple and natural to feel them this way * parts (two or more) heard simulta¬ when there are only two voices, and the neously need hot be fashioned from the matter is consequently uncomplicated by Music’s Power as Seen by Many Minds same melodic material, although in certain any sensation of chordal relations. The types of composition, such as the fugue, ear has no very strong impression of deal¬ Music is a kind of inarticulate, unfathomable speech, they must be; also that, as long as the ments in wind pressure the two may balance like ing with definite harmonic effects unless which leads us to the edge of Hu infinite, and lets us composition contains more than one me¬ for a moment gaze into that!—Carlyle. orr/tMfi-or, making rich possibilities for the modern com three or more notes are heard simulta¬ poser.—Marcel Dupre. m com' With eBrahmJ'n'SrheS With Bce*hoven or with Bach, or lodic stream at a time, the presence of neously; and it must be remembered that a purely subsidiary accompaniment does these pieces are written for two voices "The famous violin studies of Kreutzer are so impor¬ not necessarily rob it of its polyphonic only, neither of which is supposed to be U I inn I sitouia Have no other want if I could ah character. tant that they deserve the appellation which is sometimes capable of producing more than a single be filled with music. Life seems to go on mtZt given to them as the ‘Bible of the serious violin student’” A great deal of specialized training and note at a time. while I am listening to if.—George Eliot. —Joseph Joachim. «<<< ••• <>•■ r,1 practice are required for a mastery of In two of the “Inventions” (the first h students generally M “ “object much neglected polyphonic playing, and the training must ally.—Maria Carreras. and the eighth) Bach has employed a be not only physical, but also mental and . , “ u oest maintained by an undent chord with the final note simply in order Another new possibility of the modern American aural. In other words, it is necessary to mg knowledge of it. If you like music in anlt? u to give a more sonorous close. The two organ is in the union of the organ and orchestra, using cultivate the faculty of thinking and hear¬ and sensuous way you are only like a cat ba kiw* Pader™ski, Caruso, Kreisler and voices must be felt and heard as two the organ not necessarily as a solo instrument primarily ing more than one melodic stream at a the warmth of the sun without regard to the TJ 9 into their art are pUl t,te™selves body and s°u separate and independent melodic streams, but rather as a second orchestra. With modern develops time and of still being sufficiently con¬ satisfaction.”—Sir Dan Godfrey S0WCe a glimpse of i,nmZd'rF themselves and their
DEPARTMENT OF BANDS AND ORCHESTRAS The Successful Marching Band (The first of a series of two articles) By J. BEACH CRAGUN, A.B., MUS.B. The Approaching Outdoor Season a ragged appearance during a short four left front models, and helicons with the thick felt pad under that part of the tub- . measures rest; for some will place their bell over the left shoulder, facing straight mg resting directly on the left shoulder, HE WINTER concert season Hose and our instruments under the arm as prescribed, upward or flaring to the front. Players and often shift the weight over the head T soon coming to college,„ , municipal,cipdi, iirticiiiiiifraternal anuand whiIe others wiI1 carry. them. in, front. of of the heavier helicons USUally bulld 3 t0 th? nght shoulder between P‘eces. service bands will soon be looking forward the body ready to begin the playing up when the key is depressed, assuming the wrist muscles act with well-oiled ease; to the preparation for Decoration Day, agam- All positions recommended by the • this position relative to the hand and arm: in the latter they do not act at all. I ad¬ Commencement Day, Fourth of July and ?uthcVn the illustrations are to be taken vise the loose wrist action rather than the luu/y vwn -n ...... ,.....-*....1 With convention occasions, when the band will ]mmc, t(:ly on *he aPPearance of a rest _it they have had only the scale of merely limber wrist action, whenever there C major in parallel and contrary mo¬ is a choice between them. be called on again to appear as a march- Pe,rlod of aKy ensth' \n otber w.ords; tion. Although they both learn ing rather than a concert organization. wh^cr not playing take the assigned quickly and play well, I feel that KX- U t/S= /S. - The same correspondent asks about a With this in mind, it is very much in keep- position at once. perhaps something has been omitted. child of eight who has been taking lessons As I am inexperienced, I would like ing that we consider one or two things 6' A” i^truments should be so earned your advice as to whether what they In the arm-weight touch, just the oppo¬ for a few months and who is very slow, es¬ which may have dropped from our mind “ t0 be effectlve from the standpoint of have had is sufficient and what to site occurs, since the wrist tends to fall, pecially in playing with both hands at the proceed with further. G. B. during the winter concert months and showmanship You must sell your band thus: when the time is even an which will be again of primary impor- tou tbe crowd- ^member. All positions, Do not be afraid to put her back to the march happily away, will For scales, I should continue first with incentive to counting. tance to the band when it anoears on the therefore, to be_ ideal, should be not only those beginning on white keys, in the fol¬ very beginning, if necessary, since she has (3) The-necessary repetition street. This article and the o e to follow PracticaI> but also appealing to the eye. lowing order: G, D, F, A, E, B major, evidently been pushed too rapidly. Why that is always required, if pieces a Our illustrations, we believe, meet these ’ Hi easily and well, is irksome to will deal with some of these. then A, E, B, D minor. Supplement these not try John M. Williams’ First Year at —. An automobile may prove a Of course, a band leader and his organ- reQUIwments. sugar-coating for the practice pill. scales by five-finger exercises and by exer¬ In the early nineteenth century it was the Piano with her? The simplest exer¬ ization must be primarily musicians. At 7’ ,Ther Posltlon. chosen 1sbould conform Pretend that the pupil is driving his cises on the tonic chord of each key, as its the custom to raise the fingers very high, cises at the beginning could be gone over car in bad roads and is stuck in a the same time, he must sell his wares, and *? tbe service. regulations,_ _whether rapidly in order not to miss any essential ditch. At the first mistake the engine scale is studied, such as the following: in order to produce a more powerful tone. goes dead. We must back up and the band must win itself a place in the *be band be a servlcf or a clvlhan one- Nowadays, however, this result is accom¬ point. start again. Perhaps we’ll have to community. This not even a good play- Here, again, we comply, get some boards to place under the plished rather by the other touches, as de¬ I suggest that you use at the same time ing band can do when it marches in an wheels before we can get past the scribed above. the Comprehensive Writing Book by Anna bump in the road. The knotty meas¬ ill ordered fashion. It is entirely legiti¬ The Trombone Heuermann Hamilton. If the child has a ure must be studied out separately; we must back up and start again. At mate, then, for the conductor to see to it fn the ; of the trombone, a slight Types of Staccato short lesson in this book each week it may every mistake the car stops and we that his band presents those elements of sacrifice is madeT the interest of “show- stimulate her interest and make the notes have to back up to the last double Apropos of the foregoing letter, we may bar. When the piece can be played showmanship” which are always of im- manship,” for an easier position might be consider the question here asked: mean more to her. dthout a mistake, there is portance' before the public, but much more suggested. However, in view of the the wheel, and w_ - t of Will you please tell me how to Three Helpful Hints the _and _off_ up the_ road t the here than with the winter concert band. American custom of putting this instru- know when to play finger, wrist and _t piece. Two of the chief elements of show- ment in the front rank, it is of special forearm staccato? Just what is the I am glad to publish the following letter Limited time at the lesson hour difference between them, for example, from a teacher who modestly withholds prevents the playing of the game manship in the band on the street are importance that the “picture” be given due in Fred. A. Williams’ Wrist and Fore¬ ■ through at that period : but most pu¬ found in the way in which they carry their consideration. We have seen trombones arm Studies1 Mrs. T. F. W. her full name but who evidently is unusu¬ pils find the practice hours at home As to studies, I suggest your continuing instruments and in the order in which they carried in every conceivable fashion. Car- ally clever at inventing devices to attract less tiresome when keeping some such with Engelmann’s Students’ Selected Pri¬ The modern pianist performs staccato game in mind. Mrs. B. B. af® arranged. These are specific problems, ried on the horizontal, under the left arm. the younger pupils. Perhaps this may stim¬ mary Studies, Book II, or with Gurlitt’s of all kinds simply by relaxing the pres¬ With them these two articles will deal. ulate other Round Table members to send they do not present the flashing front to School of Velocity for Beginners, Op. 141. sure on the key the exact instant that the Careless Pupils similar fruits of their experience. the spectator ahead as the band marches I f you wish to cultivate your pupils’ mu¬ tone is heard, thus allowing the key to re¬ (1) What shall I do for a nin On Holding Instruments, Marching 01 down the street or across., the parade turn immediately to its normal position. old pupil who has studied for i year sical sense, devote five or ten minutes of I am sending you three hints which and a half, but who does not know Standing at Attention ground. This position, too, is a dangerous Melophone, Saxophones and French Horn This method, accordingly, does not involve I have found very helpful in my own each lesson-period to ear-training. Play teaching experience. her notes and is not able t i read THERE IS LITTLE in service regula- - ,, 1 the, countermarch., ... Carried . - L» intervals or short melodic figures derived jerking the hand back from the wrist, as 1. In presenting scales to begin¬ "H1 be TIUment ab0Ut the baritone and bass, will be held was formerly customary. ners, tell them to teach their fingers (2) I have a pupil whose parents tions covering the proper holding of , ft ba, ’ s'VU"g ,7°.wn „ ,ely at the slde> these instruments. The positions as illus- ■ i -rt. t. from their lesson materials and have them to march up and down the keyboard give her no encouragement at all to instruments while marching or standing at the yal?e of the P'fure 15 ]°st> and the trated are the natural and logical Qnes similarly. These two larger ones will be name the notes which you have played and Hence, the kind of staccato depends on in regular order, like soldiers drill¬ study. But she has a “will” and in¬ attention. Each band leader is more or hiusic is apt to fall unnoticed from the and will be found practical as well The carr’ed more nearly upright, hanging by the species of touch employed (see preced¬ ing, each one in its place. And here sists on taking piano lessons. She eventually write them in their notebooks. are the orders from the general! comes early for her lessons and is ap¬ less left to work out his own ideas in this ^ saxophones shown are the alto saxophone ‘he strap in each case, ins. id of being In this way you will induce them to think ing question and answer). The finger stac¬ Scale of C (written in the child’s parently very anxious to play. But cato, for instance, results from using the only occasionally does this nine-year- direc}T\ ?he. aUthor> a.fter Jong and 11 ZZ!”LT * d b ln Eb and the s°Prano in Bb., All others, carried under the arm. as well as to execute music. old bring a piece correctly prepared, careful study of service and civilian bands, finger touch and relaxing the finger imme¬ and then those passages which do not suggests the following principles as a diately. Both the wrist and the forearm appeal to her are neglected entirely. (3) What studies would you suggest practical basis from which the matter Will you kindly explain the differ¬ staccato are varieties of the hand touch; for a brilliant eight-year-old who has seems to have worked out in the great ent kinds of touch : that is, touch by only the first is performed by throwing Scale of G: finished Presser’s Beginner’s Book majority of cases: weight of arm, weight of forearm and Bight: 123123412312345 —r* s“-r studying Little Banon, by finger stroke? When should each the hand up loosely from the wrist, while GABCDEFGABCDEFG 1. The instruments should be so carried be used ? In the finger stroke, should in the forearm staccato the fingers remain Left. 543213214321321 the fingers be raised high from the on the keys while the wrist jumps up. The as to keep in sight the following or any keys before striking?—Mrs. J. E. T. A small beginner will read the let¬ other easily movable, therefore losable, finger staccato is available especially for ters and fingerings thus given, when Both of the first two pupils evidently the scaie book is a jumble of notes, lack system in their practice. Hence, I parts: mouthpiece, lyre and music. I am accustomed to distinguish four dif¬ light individual notes, the wrist staccato hard for him to comprehend. 2. All instruments should be so carried ferent fundamental species of touch, as for rapid octaves or chords, and the fore¬ 2. Teaching accuracy to first and advise you to spend a considerable part second grade pupils, especially the of the lesson period showing them how to as to provide a maximum of ease to the follows: arm staccato for firmer passages. younger ones, requires considerable musician. No illustration to follow fails 1. The Unger touch, accomplished by fin¬ stimulation of interest. The teacher practice properly. Sit at the piano, and The Hand Touch Again may quickly sketch in the instruction actually practice a few measures of the to observe this very practical consideration. gers alone, with level forearm and loose book at the end of each line of the 3. All instruments should be so held as wrist. This touch is used only for very pupil’s lesson a funny man, so : piece which you are assigning them, ex¬ to protect any easily breakable part. This light work. The fingers should be raised Miss C McM. asks for further informa¬ plaining each step of the performance. A refers mostly to clarinets and saxophones. only slightly, if at all. tion about the hand touch, as explained in successful teacher once told me that he Many bands carry their clarinets under the 2. The hand touch, for brilliant and rapid the August Round Table. She says: occasionally gathered his pupils together left arm, in horizontal position, mouth¬ and set about learning a new piece while work. Accomplished by throwing the hand What I do not understand is the piece pointing straight ahead. Should the from the wrist. (See Round Table for fact that if a person throws his hand they watched how he did it. man ahead stop quickly and unexpectedly, upon the keys, all fingers depress Of course, such instruction implies that August, 1926.) them at once instead of each one in this position is apt to result in a broken 3. The arm-weight touch, accomplished turn. Also, as to the wrist jumping you have a well-considered practice plan reed. The same result could easily occur by dropping the forearm at each stroke. up—isn’t that practically the same to suggest to them, in which single meas¬ movement as the action of a hinge ? ih the execution of the countermarch. This is used in alternation with the hand- ures are studied, first, with each hand by The positions shown in the illustrations touch, and is especially adapted to sus- When the hand is thrown loosely at the itself, and then with the hands' together. to follow meet the requirements of reed keys, one should hold the finger or fingers work willingly that their music may As for number 3, Lemoine’s 50 Juvenile safety. show many smiling faces. For the 4. The full-arm touch, in which the arm that are to strike more firmly than the pupil carelesr i time,— a-- reminder Studies, Op. 37, ought to be useful, since 4. All instruments should be so carried and hand are held firmly throughout until others. These latter may even be held up like this: they are melodious and written for small as to enable the player to shift them to after the stroke, and the force comes from high enough so that they either will not hands. Clementi’s Sonatines ought also to playing position on short notice. This, too, the shoulder muscles. This is available come into contact with the keys at all or fit her case. is provided for. for extra-powerful effects, or for the play¬ will touch so lightly that they will not de¬ 5. All instruments should be so carried ing of sustained melodies. By means of press them. that the same position can be used equally this touch, the player obtains a very per¬ Certainly, in throwing the hand up, the "Bach was the musician of the future. well during a four measure rest or a fect command of the key-depression. wrist acts as a hinge, but there is no active who will smile He has scarcely been explored. Forbid¬ rest period of two or three blocks be¬ Baritone and B T, . , . _ The piccoI°, Flute, Clarinet, Bassoon and Oboe The four touches may be tested by their muscular effort in the wrist since the hand ding to the general public? Why should tween pieces. Clarinet sections carrying i hese are built in so many models as The carrying of the clarinet has alreadv effect on the wrist. In the first and fourth is merely tossed up by the upward fling of he be? The freshness and invention of his the. instrument in a horizontal position,. — - make difficult a detailed account. Up- been discussed. The position shown the easiest to be devised, but it » species, the wrist remains practically level the forearm. music will never be exhausted; and we, described under 3 above, will often present right basses are built in both right and on shown here a safe one. During the march it is per- with the top of the hand and forearm. In Distinguished carefully between a limber today, have much to learn from him.”— (Continued on page 235) the hand touch, the wrist tends to spring wrist and a loose wrist. In the former, Emil Oberhoffer. Page 190 MARCH 1927 THE ETUDE
YOUR WINTER OVERCOAT, BRAHMSIANA THE etude A. D. 1223 Here are some sentences taken at ran Modern and atmospheric, but A BRETON LULLABY dom from Jeffrey Pulver’s new book 01 with an expressive melody. Grade 5. “Largesse” was the Queen of medieval BERCEUSE “Brahms Andante cantabile virtues, according to Marian P. Whitney, The Musical Scrap Book “Once Brahms had made up his mind who contributes a chapter on this subject Anything and Everything, as Long as it is Instructive to visit Vienna he did not waste much time to the Vassar Medieval Studies. Poets and in making his preparations ... To his minstrels in those days lived almost ex¬ and Interesting father he gave the parting advice to seek clusively on the chance-charity of the refuge in his score of Saul in times of great. This seems incredible in the present Conducted by A. S. GARBETT difficulty, for there would be found a real age of musical unions and concert-agencies source of comfort in days of trouble yielding a 60-40 split. But, consider the When Johann Jakob referred to the work following: in question, he found it inter-leaved with “Rigord, in his Latin life of Philip bank-notes.” Augustus, 1223, tells us that it is the cus¬ “Brahms’ life at Baden (a summer re¬ tom of minstrels and singers to come to MOZART AND HIS FATHER sort) was generally very quiet, for he con¬ the court of kings and princes to gain by an intimitate glimpse; of the Mozar An intimitate glimpse; of the Mozart brimful of cheerful affection and of templated finishing several works that he their flatteries gold, silver, horses and family life is given by Rupert Hughes ii family life is given by Rupert Hughes in sprightly interest in her own love affairs. had in hand. Long walks in the country clothing; and in order to please their pa- ‘“‘TheTu- LoveT— AffairsAa■:— ofr Great'' Musicians”1 r His relations with his mother and father continued to be his favorite recreation, and trons they do not hesitate to make up n which the Mozart father and son appear were full, not only of filial piety, but of on more than one occasion he confessed to stories about those princes, and to trumpet in a tender light. that far better proof of real affection, a having received inspiration and ideas for forth their small deeds of courtesy, their “The elder Mozart made, a life-workout playful humor, jokes and witticisms. his compositions while in the woods or on of the career of his children, though he “Mozart's mother died in Paris when her the hills.” “He. himself. has: often---— -seen certain- }vas a gifted musician and a shrewd and son and she were alone there together. princes give.to such players at the first intelligent man on his own account. He He wrote the news of her death to a “He was sometimes attracted to the Baden-Baden, and especially when the asking garments carefully chosen and was in no sense one of your child-beating friend of his father’s and bade him tell the wrought with flowers, for which they had brutes who make an easy livelihood by father only that she was seriously ill but Carlsruhe Opera House artists played there; but as a rule he preferred the open whLT yn°V y “f °/ S,1r and ft,rm”8 them children into slaves. He be- would probably recover, and gradually to air, and the waltzes of Johann Strauss A :°rn V 6W dayS' ICVed f‘hat, hlS s0n,was capable of bei"g PrePare him for the worst. This letter he Philip Augustus, on the contrary, di- one of the world’s greatest musicians, wrote at two o’clock in the mornine* the always found him an interested listener, when performed in the restaurant-gardens tTthe nmt T h ^ Shr’d ^ Ten Td ^ ^ % fplendid and Permanent same night he wrote his father a long of the spa," to the Poor, for which Rigord praises him demonstration of his theory. Through all letter full of news, incidentally saying that heartdy, though the minstrels of the day ms vicarious ambition he kept his son’s his mother was verv ill but that he Brahms’ "Second Symphony in D” made an instant appeal .... So great was the applause and so prolonged the calls for the composer that the third movement had to be repeated. But Brahms could not be enticed down from the gallery-seat which he occupied, sitting among the students of the academies, music-loving artisans, and s such humble but sincere patrons of his robes and throw them to the minstrels.’ ” Come to think of it, the prima donna THE “SYMPHONY OF THE KETTLE" expects at least one bouquet of flowers Camtttv Sitot.CiSvc , ■ . “Association with good music and the every time she sings in public, even ifThe life oT^hty-s'S^years3 ’yef he^was^a murmurs' ifs slow crescendo so full of texts of high ideals will do more to bring manager has to pay for it out of her own sickly baby. His father died of consumn- SUrp.nsf a"d tbe aPPearance of a micro- out the ‘God-like’ in each individual than earningS' tion shortly after he was born, and the puny S°e) °f W'lich any thought or activity man has to date - little infant was expected to go the same i - u -F 6 “nttl the water had conceived.”—Joseph Regneas. OPERA AT ITS NOISIEST ^ay‘ ^(ith a wisdom in advance of their th'^ P°lnt' • times, the doctors prescribed fresh air From the same unimpeachable source, Eighteenth century opera in Italy was and life in the country, and by the time gather that he was learning to read, SCHUMANN AND LISZT “a noisy**»»v business,.judginguuouicaa,.juuging from a carefully he was two years old he was healthy J,Whenvnen ononly y two years and six months -:i_jcompiled descriptionj-r of it given by _Ro- »-u.enough to be takeni-. .back ■ to ~Paris. • He.J old■ hee was placed in frontfront of a small Liszt was a showy pianist in his earlier rnaine Rolland in his “Musical Tour showed signs of musical genius from the plano> that lnstead of striking the keyboard years, but later days brought discretion. Through the Land of the Past.” first. j? a haPhazard manner, as many children It was following an unsuccessful concert “The performance begins,” says Rolland, “He has related himself how at the age y. 3t ^ age’ be
International Copyright secured f«ge 194 MARCH 19Z7 the etude MARCH 1927 POLONAISE MILITAIRE A brilliant exhibition duet. SECONDO J.FRANK FRYSINGER,Op.2lS
2
Copyright 1927 by Theodore Presser Co
British Copyright secured MARCH 1927 Page 197 Page 196 THE PTULE THE ETUDE MARCH 1927 PRIMO SECONDO
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■^v* •?" -3* (ifeHfegfl-ffa &&& p## \ ™ ~ I 1 Jri U-l U^= a Lj : /^—- - ff- > rnj~ 5 jgg*5- MARCH 1927 Page 199 Page 198 MARCH 1927 THE ETUDE thsetjjde A LITTLE FLOWER VALSE RICHARD J. PITCHER The left hand sings in the baritone register. Grade 21.
Copyright 1927 by Theodore Presser Co. International Copyright secured Copyright 1927 by Theodore Presser Co. British Copyright seenured MARCH 1927 Page 201 THE ETUDE THE ETTJDE Page 200 MARCS 1927 marc. A valuable semi-classic; beautifully constructed. Pi A PRTPPTO but romantic in content. Grade 3. vyxxi ALJ-vyWAV/ MAX MEYER-OLBERSLEBEN Op. 115, No. 2 Allegretto M. m.J. =54 5 5
LITTLE HANDS Little Hands, Little Hands, Loud and soft, fast and slow, £l"“le,iIB,6r,de Guide the fingers oer the key* You must learn to go. 0RA HART WEDDLE Andante m. m. ^ = 96 . __5 — 5 Jj - 1 2^- T—^1 . aX -A-j '3 -» v 4— j ‘ ~ ■
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Copyright 1986 by Theodore Presser Co. British Copyright secured
International Copyright secured MARCH 1927 Page 203 . the ETUDE
CHOOSE YOUR PIANOLAS THE ARTISTS DO
dozens of other great pianists of “It is truly marvelous with what past and present generations. suppleness the Baldwin responds to every intention of the artist and You will share the enthusiasm of permits him to realize every effect, discriminating musicians the world dynamic or technical, every nuance over when you visit any Baldwin of expression, even the most deli¬ dealer and play the Baldwin your¬ cate. I am truly happy that I have self.
chosen the Baldwin. ” BALDWIN Uprights, $850 and A SVQQESTION In this high esteem, the enduring up; Grands, $1400 and up; Repro¬ purity and resonance of Baldwin Choose YOUR Piano as the artists ducing Models, $1850 and up. tone is held alike by Gieseking, do. The book, “How Artists Choose Convenient payments if desired. Bachaus, dePachmann, Carreras and Their Pianos," will helpyou inselect-- ing the instrument for your home. We will gladly send you a copy free.
Copyright 1926 by Theodore Presser Co. THE BALDWIN PIANO COMPANY, CINCINNATI, OHIO British Copyright secured Please mention THE ETUDE when addressing our advertisers. MARCH 1927. Page 205 Page 20U MARCH 1927 THE etude iBE etude A New Musical Invention That Has Thrilled the World QTie
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“Fidelio”—Ha! Welch Ein Au- genblick! (Ha! It Is Not Too Late) . . . “Fidelio”—Hat Mann Nicht Auch Gold Belnben (If INCE the first demonstration of You Have No Gold)—sung by fill an auditorium. The Panatrope brings you the Michael Bohnen. baritone. Met¬ ropolitan Opera Company. 15115 the Brunswick Panatrope in piano, the violin, or the symphony orchestra in a Aeolian Hall, New York City, a way that will be a revelation. Every kind of music . ‘‘Samson et Dalila” little more than a year ago, this on this superb instrument has a realism that will Lend Me Thy Might) — remarkable instrument has been Sigrid Onegin, contrail satisfy the most critical. ropolitan Opera Compan exhibited in schools, colleges and before public gatherings the The Brunswick Panatrope may be obtained either “Bed and Black” (Aim; country over. More than four million persons have alone or in combination, in one cabinet, with the now listened to it—and marveled! Radiola Super-heterodyne. The Panatrope alone rs in Hawaii” . . . serves as the loud speaker for your present radio Brunswick Panatrope with rs in Spain”—The The Panatrope’s reproduction of music is entirely s assisted by other with astounding results. These instruments operate Radiola, Model 148- C. De irtists. 20049 electrical. Thus it is new in principle; entirely dif¬ Luxe Panatrope combined entirely from the light socket-no batteries —no with 8-tube Radiola Super¬ ferent from anything the world has known. The outside wires. heterodyne. The supreme entire musical scale is reproduced, something never achievement in Musical mphony Orchestra. 50089 Reproduction or Radio. w e urge you at your first opportunity to heal before accomplished. By another invention, Bruns¬ “Gypsy Love Song” . . . “Bed¬ ouin Love Song”—sung by Rich¬ wick’s “Light-Ray” electrical recording, the com¬ the Brunswick Panatrope. Learn of this marvelous ard Bonelli, baritone, Chicago Civic Opera Company. 10264 plete range of musical sound is recorded. Thus the invention which is having such a profound influence upon the music life of the country. Any Brunswick “I’se Gwine Back to Dixie” . . . Panatrope playing these records offers music in its Brunswick Panatrope Model “Little Old Log Cabin in the dealer will gladly demonstrate the Panatrope for P-13. A De Luxe type^-of true value ... the high notes and the low ... every ton, soprano, Metropolitan Op¬ beautiful design. This instru¬ era Company and Male Trio. tone exactly as created by the artist! you. * rom his great library of records, select the ment may be used as well as the 10246 loud speaker for your present classre or popular numbers you like most to hear. Brunswick Records by the The Brunswick Panatrope is an instrument for radio with astounding results. ■■Light-Ray” electrical method He will gladly play them without obligation If play on all phonographs with the home and studio. Yet graduated stages of astounding brilliancy and you would like to arrange a Panatrope concert beauty, but best of all on the amplification permit volume if desired sufficient to Brunswick Panatrope. New before a club, school, or other organization, write J. records out every Thursday.
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THE BRUNSWICK-BALKE-COLLENDER CO., General Offices: 623-633 South Wabash Avenue, CHICAGO BRANCH OFFICES IN THE PRINCIPAL CITIES OF UNITED STATES AND CANADA Page 206 MARCH 1927 THE MARCH 1927 Page 207 THE ETUDE A FAIRY TALE cedric w. lemont INSTRUMENT M. Excellent New Music From a new set entitled Nimble Fingers. A study in rhythmic alternation of the hands. Grade . A List of Recent Publications in Sheet Music and Octavo Form for PIANO - VOICE - VIOLIN - ORGAN Studio Grand ANY OF THESE PUBLICATIONS MAY BE HAD FOR EXAMINATION
In ordering it is only necessary to mention “Presser Publication” and to give Catalog Number. PIANO SOLOS PIPE ORGAN Cal. No. Cat. No. ALBENIZ, I. 23497 Seguidillas, Op. 232, No. 5. HOPKINS, H. P. BACKER-GRONDAHL, AGATHE 23476 Summer Twilight. 23519 Summer Song, Op. 45, No. 3. HOSMER, E. S. 23502 Postlude in D Minor SCHULER, GEORGE S. QUATRE MORCEAUX 23539 Military Postlude. Four Pieces for the Piano By GEORGES BERNARD Grade 3'A VOCAL 23464 N’Interroge Pas (Ask Me Not).3 23465 Heure de Charme (Charming Hour) .2 Songs and Ballads 23466 Trouble Eat Mon Coeur (Heart’a Yearning).4' BAINES, WILLIAM 23467 Pourraia Je Oublier (Could I Forgel?) .4' 4 I Heard a Fairy Piper (E g,opt. a) .. BUZZI-PECC1A, A. 4 Forsaken (b-E flat) Eng. and It. 1 BERWALD, W. 3 Return ol Love, The id-E) Eag. and It. 23434 Dance of Ike Medicine Man. BLANCO, C. COVERLEY, ROBERT 23477 Patter Without Chatter, Study a la Jazz 2 Land of My Heart's Desire E flat-g). EWING, MONTAGUE LIEURANCE, THURLOW 23431 Silver Dreama. 5 Among the Pines (E-F sharp, opt. a) , 23432 Zephyrette. S Last Sundown, The (b D . "i"' GREY, FRANK H. | Neenahfd flat-g flat i. Flute or Violin Obbl.! .1 23499 Pensee Poetique. 1 Purple Prnet td-E, opt. I sharp).. HAMER, GEORGE F. > Sprmg Son^oHhe Crow d-F sharp). Flute l Romancil i Owl Hoots ona Teepee Pole, The (E-g opi. a) J HAMMOND, FANNY REED r Remembrance (E flat-F' .J LIEURANCE, THURLOW POTTER, ERNEST FELIX To a Ghoat Flower (Samaweeno) .. I Wish, The (F-g). .1 Me DONALD, HARL REED, PERRY Darkies Dream, The. I Remember (c-g). MEYER-OLBERSLEBEN, MAX I Remember (b flat-Fl Album Leaf, Op. 115, No. 3. WOOLER, ALFRED » Be Still (F-F opt. g),, cJJrtedo.1.. NOELCK, AUGUST Voices of the Birds, Valse Improm POTTER, HARRISON Scherzetto. ANTHEMS SEELING, HANS Song of the Reeds, Op. 11, No. 3 Mixed Voices WRIGHT, N. LOUISE AMBROSE, PAUL Makes Your Friends 20681 When We Came Back to Love. CALVER, F. LESLIE 20686 There Came Unto Me One of fbe Angeli_ PIANO DUETS SPOHR, L. Eager to See You blancoT " 20670 Prais" ' •" Awful Name, from “The Last i Patter without Chatter, Study a la Jazz 5 LIETH, LEONORE ** ce of the Toys, Op. 41, No. 1.2 w /TAHE marvelous sweet tone of the PART SONGS VIOLIN AND PIANO Wurlitzer Studio Grand invites Treble Voices ARNOLD, MAURICE the full use of your musical ability in 23503 Serenade Andalusienne. 3 BAINES, WILLIAM WuRUIzER BLISS, PAUL ! ’Tis May Upon the Mountain (Two-F PIANOS the entertainment of your friends. l Forest Echoes Arr. Louise Pultz. . . l Uttle Black Sambo (Two-Part).... UPRIGHTS It is always a cheery welcome making BORNSCHEIN, FRANZ C. $295 to $475 Men’s Voices PLAYERS them eager to see you again. FORMAN, MRS. R. R. Just Bido a Woe. $445 to $650 NAUMANN, ARNOLD INTERPRETIVE Small and exquisitely proportioned, Lullaby, Arc. Arthur Hartmann _ CEST, ELIZABETH $545 to $2,700 this wonderful little instrument har¬ RETTING, BURYL 20657 I’m Not Weary Yet (Negro Spiritual). . 20583 {C0HLMAI?N- CLARENCE $625 to $2,500 monizes perfectly with the interiors of GRANDS $850 to $5,000 the modern apartment, bungalow, or THEODORE PRESSER CO. "«•* REPRODUCING small home. 1712-1714 CHESTNUT STREET Establi^ed 1883 $675 to $5,500 PHILADELPHIA, PA. The price is so low that you cannot afford to be without the lasting pleasure it will surely bring to you. Collections Every Organist Should Know
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THEODORE PRESSER CO. PH,LADELPHIA, British Copyright secured Copyright 1926 by Theodore Presser Co. Copyright transferred 1925 to Theo.Presser Co- International Copyright secured Copyright 1924 by Walter Rolfe MARCH mi Page 211 Page 210 MARCH 1927 the etude the etude A waltz ill Spanish style. .A eertain LA NINITA Edited by H.A.Lang S0NG HANS SEELING.0p.U,lM freedom of pace is demanded. Grade A standard recital piece by a composer of sterling merit. To be playedin the singing style. Grade SPANISH DANCE WALLACE A. JOHNSON,Op. 160 Larglietto ~ " Vivace m.m. J* = 144
5 Q —— 3 >>---
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Copyright 1926 by Theodore Presser Co. C) Indicating a little pause. British Copyright secured
Page 214 MARCH 1927 THE etude MARCH 1927 Page 215 THE (Sw. - Full zttjee PIERROT, PIERRETTE ^ *;"| Prepare j Gt. - Full POSTLUDE POMPOSO ' Ped- ~ Coup, to Gt. k Sw. Allegretto grazioso M. M. J = a A vigorous closing piece, based upon a characteristic descending pedal passage. GEORGE S. SCHULEr Moderato maestoso m.m.J=72 a. tempo 1. Pier - rot, dT- fy - ing Fate, Went out U> seek a mate; With found to his sur-prise, Pie- rette with love-lit eyes, Who
heart so light,And mind a-right, He look’d for his Pier - rette. He stroll’d quite blithe-ful - ly, Thoughtwhat a joy twould soon con - fess’d,With shy - ness bless’d, She look’d for her Pier - rot. _ Theystroll’d to - gfcth - er, he made love to her
be To love and ‘fussj The two of us, Pier- rot, Pier-rette. she said, “mar-ry me, So onewe’ll be, Pier-rette, Pier - rot
- I J 1
i» f £ f 1 | broad j. A* J—
., pa tempo V nt. rT\ $enza nt.
on shewenther way, Dis- pel-ling all dis - may. No more wejll-_“fussr_ _the__ two^of^ us’ Pier" rot’ Pier-rette.”
Copyright 1926 by Theodore Presser Co.
British Copyright secured THU ETUDE MARCH 1927 Rage 217
Moderato M.M. J = 108
Copyright 1926 by Theodore Presser Co. British Copyright secured Copyright 1927 by Theodore Preseer Co. British Copyright secured MARCH 1927 Page 219 the etude Page 218 MARCH 1927 mrT„ MAUDE HALL LYMAN* LOVELY NIGHT ***** Educational Study Notes on Music in this Etude By EDGAR ALDEN BARRELL
Breton Lullaby (Berceuse), by G. A Little Flower, by Richard Pitcher.
A“zsta Be„ Da„„. Hms Wag„„.
Gondoliera, by Leon Jessel. «S^%“4S“iSS ■'gpilSTs&£ a?" ’ riSrslsI
I..__The Squirrels, by E. R. I
a=£ IP” itiSS” ” iHP ■■KPIili mm :, No. 1, in C, by L. van
2: MARCH 1927 Page 221 Page 220 MARCH 1927 ETVB, THE etude Without resonance the loud voice is HESE ARE allied subjects and chords for volume which is compatible with ment promotes the forced, unnatural con¬ T a carrying voice; and any vocal tone If1101 have been written about to such an dition of the vocal organ during voice ing the attribute of loudness as jts the most favorable segmentation for qual¬ extent, and over such a long period ity. The combination of air waves thus production which leads to systematic artifi¬ of time, that they would almost seem to languishing- feature is generally lackin • true vocal power. g *# started must be the most favorable for the cial voice production and is tantamount to be actually shop-worn—the interest wan¬ The Singer’s Etude pursuing the downward path. ing because, forsooth, there is nothing new application of resonance. Vocal Quality The natural law for voice production is On the other hand, if the singer will to say about either subject. However, Edited for March lay aside all the noxious poisons embodied the one law with which every singer should notwithstanding the array of words which uality of voice depends in the category of vocal advice which by Q be familiar. It consists in the non-inter¬ have been written, we find that with the the number and intensity of the vih deals with local control, he will, if he has constant evolution of thought, together W. WARREN SHAW tions of all the partial tones (which ^ ference with the action of the vocal chords, musical talent, automatically choose the with the realization that in many instances stitute each tone) as related to each off,011' which are found to be hindered in their path of natural, healthy vocal development, the thoughts about these subjects have It is the Ambition of THE ETUDE to Make This Voice Department Quality is different in every voice, as a ^ normal action by the simultaneous action whether he knows it or not. been, to say the least, misleading, there “A Vocalist’s Magazine Complete in Itself” eral characteristic, depending upon the f*' of the false chords. (These lie just above is still Something of importance to say. ticular structure of each individual vo^i 1 the true vocal chords), and the full use of Singing With Purpose Regarding voice production in particular, organ. resonance is found to be hindered chiefly CONSTRUCTIVELY he must do some¬ there is no unanimity of opinion concern¬ The cause of varying qualities in earl, by the stiffening and raising "of the soft thing regularly and consistently, to ing various facts which have a very im¬ voice is found in the concept character of palate. make progress; and that something is to portant bearing upon the matter. This Problems in the Science of Voice Production and the the tone desired. We mean by this th The form of the resonator is the chief sing his exercises or his songs with the in¬ does not refer so much to the inevitable influence which is under the will-power, tent and purpose of delivering a direct mes¬ Art of Singing characteristic qualities . .f a phrase or ' differences of opinion which are bound in determining quality. The application of sage as he would in speech. This is the men¬ to exist as to general modes of expression, number of phrases, which are determined breath to the chords is entirely unnecessary tal attitude which he must first adopt. The and which have to do with interpretation fact, the assumption has been that breath and students, in their consideration of the by preference; that is, assuming that the as a voluntary action of the breath mech¬ singer is advised to sing as though he were and good taste in the treatment of a phrase must be controlled—and here is where the subject of Voice and voice production, vocal mechanism is comparatively free anism from the conscious mind. The as¬ saying something without doubt and dis¬ or a song in its entirety, but rather to the greatest misunderstanding of breath func- First of all, voice is air waves not breath. from interference due t<> rigidity or stiff¬ sumption that it is necessary is the basis trust of the vocal mechanism. It will corn- differences of opinion arising from lack tioning has taken, we might say, almost Air-waves travel at the rate of about seven ness of the parts. The subconscious and for a benighted dogma which has been in normal manner as nature of very definite knowledge and understand¬ unusual root in the minds of the student hundred and fifty miles an hour, about the conscious mind are both involved as of body—all from faulty terminology, saying seven and a half times as fast as a good understanding and expression. the minds of singers and teachers ever intended, ng within the range which ing about the physical facts involved, since scientific voice culture has been con¬ what is not meant and vice versa which, of sized hurricane and without making any Good quality is the must important thing causes no nconvenience or strain, and which should be known by all singers and sidered, and this, despite the fact that there teachers alike. course, has had its birth in guess work and commotion. If breath were to travel that to cultivate; and the -indent does well gradually the i will unfold like a is no scientific ground for any such as¬ plausible assumption bf undemonstrated rapidly the choir at one end of a church to listen attentively to the sounds of his flower when the roots are well watered and facts, or verisimilitude. would blow but the other end of the edifice, sumption. sunlight reaches the plant. The ability Founded on Science own voice while singing. By concentration Brass sometimes looks like gold—again, including the minister and the whole con- and attention to general effect he cultivates Practical Singing to sing higher and lower notes and medium T T IS generally conceded that art which verisimilitude. When and where shall we gregation, if they happened to sing at them, the habit of choice or discrimination in the LAYING ASIDE the physical aspect of notes will gradually develop. A rests upon a foundation of exact science ever come to rest in this apparently in- All kinds of terrific disasters are easily various kinds of tone which are always the voice, as such, we will consider for In the growth of the singer all problems is more secure. terminable and increasing agitation? conceivable as following the moderate use available. a moment the practical side of singing as must be made by the application of the In conformity with this theory, a great of the voice even in mezza-voce, if it were experienced by the student in his first will power; not to the functioning of the many systems of voice culture have been 1 he Open Mind an actUal fact that voice is breath, and Choosing the Way attempt to sing. The success of the under¬ physical parts involved, but to the immedi¬ exploited, tried out and, incidentally, have r | 'HE ANSWER can be found in just especially were the breath vitalized. taking depends upon the musical talent of ate task at hand. For instance, pronounce TP HE SKILLED SINGER is a good failed in producing desirable results. The J- one way—recognition of demonstrated So much for erroneous conception—the the would be singer. your words correctly, and sing as you reason for this is that’ the right science deal like a skilled chauffeur or bicycle HENIOT LEVY facts which are relevant to the subject, resplt of false and misleading terminology, Given a certain amount of musical talent would speak. Let this apply to every pitch was not selected upon which to rest the and the conscientious application of truth Remember that voice is involuntary not rider, he must steer and balance all the and a voice which is naturally free from required. Be careful to form your vowels art. Perhaps it is better to say that any “Renowned Chopin Player” so far as known by teachers. The willful voluntary in its nature. The voice is pro¬ time. True, he may be at sea for a time too much interference, as already ex¬ correctly and remember that all sustaining one science is not sufficient in itself to closing of the mind and understanding to duced by a vibration of the vocal chords in the choosing of qualities in so far as plained, a mediocre success may be at¬ of tones means the sustaining of what constitute a reliable foundation for the they may be under his control; but he THE feeling for the poetry of a nocturne is the reception of knowledge and the per- which operate as do the strings taf an tained in a comparatively short time. are now known as vowels. art of singing, and that singing is largely sistent application of symbolized falsities instrument and not as a reed, a disk, or must always remember that any possible Under favorable conditions a certain Fill the lungs comfortably with air at translated byHeniotLevy into a tone picture. psychological. on the part of teachers are responsible an air blade; that is, the vocal chords readjustments are made with purpose and amount of accomplishment as a singer will the beginning of every phrase, and do it Physiological voice culture has been for much of the unhealthy clinging to vibrate as a whole, producing fundamental intent in the control of the voice itself and always result in the singing of the gener¬ by generally expanding to breathe. Don’t For his concerts, studio, or when composing, tried many times and found wanting. absurd fanciful chimeras which are daily tones, and in segments, producing over¬ not in the direct control of the vibrator, ally known simple exercises with which breath to expand. Do it without suction. Broadly speaking, we may say that Mr. Levy uses exclusively the Kimball Piano. held up for inspection and adoption. tones. Both fundamental tone and ovcr- or the ribs, or the breath. These should Relax when breath is taken, and stay re¬ Anatomy, Physiology, Physics, and espe¬ the student quickly becomes familiar. It is Teachers, and students as well, should tone are reinforced by resonance in the function involuntarily. laxed when singing. I foresee that this His appreciation of the instrument is summed cially Acoustics, all are concerned; but not until certain definite problems appear, know the physical facts pertaining to voice resonators—and these do not include the The able teacher is the one who can advice is going to puzzle some of you. the question of the proper consideration of that the singer is brought face to face with up with the brevity of conviction: “After many production. Knowledge of these facts chest or the bones of the body. The sense diagnose the mental and physical causes You may be quickly reassured, however, the exact sciences has been the thing that the obvious necessity of doing something may be easily acquired and need never of such vibrations is explained by con- which are influencing each individual stu¬ when you come to consider that the true years of constant use, I find it a realization of has bred so much uncertainty and con¬ which seems to be unusual, in order to be a matter of conjecture. duction but does not affect resonance dent and can advise concerning desirable voice comes from spontaneous expression fusion in the minds of most investigators. accomplish desired results. Interpretation, including flights of fancy, quality and the means of producing it. all the essentials which satisfy the artist.” It has been said truly that too much at¬ The voice does not seem to respond to and that the real vocal mechanism is in fact all individual conception of the Resonance With attentive consideration of practical tention to the scientific consideration of Certain requirements without the expendi¬ involuntary. Never lose sight of this fact. proper or appropriate presentation of the r, FCDWA vn? . , results, the student quickly learns the how ture of considerable effort—accompanied When I advise you to stay relaxed, you voice production makes mechanical singers. tone picture, can never be standardized. RfWf0Ut doubt Mechanical singers generally do their work and' wherefore of the proposition and by uncomfortable sensations. This gener¬ must understand that the energy required KIMBALL PIANOS This must necessarily remain individual, structure of voir F aCt°r -m ^ super' #00 much this way or that way, and nature adopts the simplest mean.- of correction as ally occurs on very high notes or very to bring about the proper tension of the are made in many styles—grands, large and small, repro¬ Likewise, it is as to the essential quality £™?he™7rhn ^ ^ ^ befitting the chosen general quality as well low notes, and sometimes on certain vocal mechanism for powerful as well as never gets a chance to exert her benign and the varying qualitiesualities of the voirevoice it- !?!! a ™®*! Ch°rds) :.and "° specula ducing grands, uprights, and players. There is a Kimball influence. as the particular quality of any single tone. medium notes. All such experiences lead beautiful singing is in no wise a matter of self; for, rightly produced, every voice to the authenticity of this fact in exactly suited to your home. Catalogs and our nearest Remember that all improvement in vocal the singer, sometimes aided and abetted attention to the mechanism or the breath. differs from every other voice, all of which lated e y°“r f°U®.ht “nceming voice. Iso¬ dealer’s address sent on request. Insufficient Knowledge quality comes from the management of the by the advice and urging of the teacher, It may seem paradoxical, but it is never¬ may be classified like blonds and brunettes, mechanical ifrvI t TS produced by a voice itself and not from the management to do something with the breath or the theless true that the more you try to npHE OUTSTANDING error in the but exactly alike-never. • me«amcal larynx introduced by surgeons, or by any other means, cannot be seriously of the breath, breathing muscles, or the mechanism, or with the muscular force of control the breath the less breath control W. W. KIMBALL COMPANY calculations of the physiological larynx. Physical Observations considered as having any great bearing on various kinds which are available. you will have. Forget all about breath (Established 1857) votaries is their failure to recognize or control and you will have it, because the to understand the true nature of voice. If Department KE, 306 South Wabash Avenue, CHICAGO, U. S. A. QN THE OTHER HAND ,h< ph„M 4 Toe,e'„„, StelTS To Do or Not to Do breath is controlled by the central of the they had known and recognized the fact tone; and the necesssary conservation of that voice production,. as such, is involun¬ T/’OLUME, OR INTENSITY, from th THE DIFFICULTY is there and must physical standpoint, depends upon th in some way be overcome. Here lies the breath is as naturally involuntary as tary and not voluntary, many trials and photography of voice at Colombia Uni- point of rbythmkleZ, i ,h™b>’ m amplitude of vibration of the vocal chords the parting of the ways. One must either do the action of the mechanism. Your dia¬ Sheet Music Special tribulations of singers would have been versity, by Prof. W, H.llock and by lenience. ” Pm“*1 phragm descends and ascends under cer¬ Clip this ad and mail it along with $1.00 and we avoided. or the resultant height of the air-wave something with the mechanism or the Floyd Muckey, may be kriown by all. The Resonance is not sympathetic *• D. A. CLIPPINGER will send you 10 piano or 10 violin and piano solos plus the reinforcement of resonance. Phys physical parts involved or one must not. tain conditions; but if it should suddenly by the world’s best composers. This is an excel¬ This is the first thing to realize and become known that the diaphragm ascends VOICE SPECIALIST lent offer for piano and violin teachers. Do it acoustics of the voice in its physical aspect That requires two oT more ST ical coordination may be depended upon# An experience of thirty odd years as a forever afterwards to keep in mind—voice may also be known from duly accredited Resonance is the reflection of viw * -S' when you take' your breath and descends to-day as we have a limited supply. is involuntary and not voluntary. It fol¬ register as desired, always within natura singer and vocal teacher would indicate Summer Term for Singers and satisfactory research work on the part the resonator; and, in the human^v"i when you let it go, it need not trouble you. JOHN T. ROY CO. lows as a corollary, or natural consequence, of scientists. limitations and healthy conditions. that one must not, if he would reach the Five Weeks, Beginning June 27th 307 Appleton St. Holyoke, Mass. it adds about three hundred per cenTto’ Pursue the same policy of letting it do that you can do absblutely nothing with The following facts then should be a Everything that is scientific or measur heights. The reason is that, inasmuch as the carrying power. Loudness of voice what it does naturally, whatever that is. the mechanism by direct application of part of the understanding of all teachers able in the physical phase of voice pro the nature of the voice is involuntary, not necessarily mean true vocal power will power or force. The psychological duction may be summed up as follows it follows that to do anything with the A Summary Systematic Voice Training ^ . . . .$1.25 factor is the governing influence to which vocal mechanism of a forceful or compel¬ Pianologues Voice is air-waves not breath. Voice is * O SUM UP, the doctrines of the singer the mechanism responds. ling nature is more or less disastrous and T The Head Voice and Other Problems $1.25 stringed instrument as proven under obscr should be to cultivate the ear to differ¬ always subversive alike of effects desired Important to Every Singer especially recommend the following as musical readings vation and analysis. It reacts to tfl| entiate the tones and to make all corrections and of natural healthy development. Collective Voice Training .... $1.00 The Voice a Medium causes of vibrations as to fundamental ant from the understanding of direct expres¬ In the throat itself are two distinct sets HE REAL VALUE of scientific overtones as does any stringed instrument sion, to choose what is good to be heard Address T of muscles, diametrically opposed to each (Inspirational) knowledge concerning the voice as in¬ (Overtones are produced by the vibratior and what is easy and comfortable to do. all Hall, Chicago, III. other in their normal action. The set fluencing consistent expression of ideas °‘ the segments of the chords which taW Energizing the mind to speak or sing of muscles that are used for swallowing through this medium has, however, never Place simultaneously with the vibration 0 effectively energizes the material substance, is the one which usually intrudes itself into NEW COURSE of SINGING been properly recognized. There has been the swing of the chords in their full length the vocal mechanism will do its part as a the domain of voice production, interfering by CORRESPONDENCE too much “hit or miss” following the guess Producing the fundamental tone.) more or less obtrusively with the normal duck swims. Including Voice Culture, Sight Singing and Mu¬ works of what is good in vocal training. In the classification of facts, we hff The good Lord didn’t ordain that we sical Knowledge, A thorough, practical course. c form- action of the true vocal mechanism. This In full sh For instance, voice has been frequently to consider pitch, volume, and should swallow at the same instant that Also Harmony CorrespondenceCourse In the relationship of these facts we ha' interference results inevitably from the Small monthly payments. Send for Prospectus. Large catalogue of ent defined as breath, vitalized breath, and so THE BEARD AT THE OPERA we make a tone. If you think otherwise, State distinctly which course you desire. also to consider that the length, weight attempt to compel the mechanism of breath, T. S. DENISON & CO. on. Following the colossal blunder as to try it. ALFRED WOOLER, MUS. DOC. Dramatic Publishers and tension of the vocal chords must « or breathing muscles, to work under the Suite a . 171 Cleveland Avenue , Buffalo, N. Y. (Continued on page 237) 623 S. WABASH AYE., DEPT. 73 CHICAGO such as to give the widest swing of 1 direct fiat of will. This mode of manage- When you write to c ir advertisers always mention THE ETUDE. It identifies y touch t. K the higher Ideals of art and life. MARCH 1927 Page 223 Page 222 MARCH 1U27 THE etude THE ETIJ Musical Pointers SUMMER MASTER SCHOOL for Six Weeks, From June 27 to August 6, 1927 Musical Parents Conducted by MARGARET IVHEELER ROSS
Josef LHEVINNE Only questions of general interest zuill be answered in this department. WORLD RENOWNED PIANO VIRTUOSO. REPERTORY-TEACHER’S CLASSES. AUDITOR CLASSES Address all inquiries to Educational Servite Department (Parents' Department), The Etude Music Magazine. Write questions on a separate sheet of paper bearing the full name and address of the sender, af which only the initials will be published. Oscar God Bless Mother and the Music Teacher SAENGER Somewhere I read of a little girl who, sional musician, who has never taught but INTERNATIONAU^^amouS MASTER OF THE voice, opera classes. after playing a selection on the, piano, was who wishes to start teaching piano to her itALHtRS CLASSES. REPERTORY CLASSES asked if she had taken music lessons very own seven-year-old boy? long. A. There is always danger in straining She promptly replied, “It seems a long and stiffening the muscles of hands and W/\o knom the thousands HENIOT LEVY time to me and daddy and the neighbors, fingers in a very young child, unless the but not very long to mother and my teacher is trained in the beginning funda¬ Classes Piani8t and Instructor. Repertory-TeacHer’i JACQUES GORDON teacher.” Thus “out of the mouths of mentals. This strain might permanently time (hubkj hands max) mill! phony Oyche"trIirtU°4° ^ C°ncert Mttster Chicago Sym- babes’’ we get the picture of the divine injure the touch and tone of the child. patience of mother and the music teacher. Therefore I would not advise you to start SILVIO SCIONTI It is these two who can work and pray the child yourself, unless you are specially VERY child has an inborn love for music which should Repertory-Teacher’s HERBERT BUTLER over the child and wait for big results, qualified in the beginning technic. If you E Eminent Teacher of the Violin. catching all the time the small manifesta¬ will address the publication department of be. developed. Not to develop it is neglect! tions of progress. It is they who can con¬ Theodore Presser Company, they will send KARLETON HACKETT tinually be the voice that encourages the you a list of good books for the beginning Even if your children learn to play only the simple, old Distinguished Vocal Instructor and Critic ReDe weary plodder along the difficult musical I eacher s Classes. p WILHELM MIDDELSCHULTE child. Music charts and music games add One of the World’s Greatest Organists. highway, they who inspire the lagging one to the pleasure and take away some, of the melodies, which all of us love, their musical training will to press forward in the face of tedious drudgery of the beginning period. not be in vain. For the ability to play and to appreciate E. WARREN K. HOWE technicalities and slow accomplishments. Eminent Teacher of Voice. JOHN KENDEL Can we not visualize the story behind Q. What method is considered the best good piano music will help them to find more happiness Noted Authority on Public School Music. this little girl’s reply? A common enough to use for beginners in piano? —to have a foller enjoyment of life in the years to come. scene in the educational scheme of the A. Leschetizky has said, “There is but *»*.. Feature. iuet^O^C°NE ™NDRED AR™T INSTRUCTORS present time: the child sitting down before one method of piano playing—to play the piano day after day, limping over the beautifully.” ' No experienced teacher ad¬ Why not start their musical training now with the pur¬ middle section of the keyboard in an effort —ass?- £smsrb’ ■— heres obstinately to a so-called method in chase of a Brambach Baby Grand? to master the fundamentals of the science piano teaching in the beginning period. 1 ij .i *-; ®uuuner courses of music and the beginning technic of the The trained teacher will give the particular The Brambach is an unusually fine instrument of grace¬ instrument; the monotony, the endless re¬ thing each individual child.requires at the SUPERIOR DORM,TORY ACCOMMODATIONS petition of the same sounds boring the proper time, and this ability to adapt ones ful lines and foil tonal quality. And it is priced within RATES OF TUITION MODERATE neighbor s to distraction and making them “methods” to the special requirements of wonder if it is going on forever; then for the child is where the trained and experi¬ your means. See it—hear it—play it. Only then can you the child, the drudgery and daily grind of enced teacher will have an advantage over appreciate its striking beauty and richness of tone. Summer Courses in executing the same _ movements over and the immature, and inexperienced instructor. over again in, precisely the same way; the PUBLIC SCHOOL MUSIC SCHOOL OF mechanical accuracy required and the small Q. Do you consider a good local teacher Send coupon below for the interesting booklet, “Genius O. E. ROBINSON, Director WALTON PYRE THEATRE ORGAN PLAYING scope of action allowed him, impatient as advisable for a beginner, or do you think Deserts the Attic,” and for a paper pattern showing the Post-graduate and regular Courses lead- SC“°0L 0F expression he is to be scrambling over the keyboard. it is more advisable to “start right” and mg to diploma and degree—Bachelor of These make the progress of time seem exact space requirements of this beautiful Baby Grand. FRANK VAN DUSEN, A.A.G.O., Director and dramatic ART send a seven-year-old child to a conserva¬ fndICETr^ding °° in Sigh Schoo slow indeed! and Elementary methods.™ Harmony, An- tory for his first lessons? That is, would Direction of MR. WALTON PYRE And there is father, cynical about the S ”atl(on’ Band Instruments, Orchestra Intensive Courses for beginners, ad- a few expensive lessons from a high grade Oonductmg and all other’ branches vanced students, and professionals. Spe- child's talent and the economic value of conservatory professor give him a better bend for Special Circular music study, wondering when, if ever,, the ™Lttt“£0n,to Theatre Repertoire- Wmotema1VeandUDe“reesCOinrSie„ leading t0 start than would the instruction of a good EASY TO OWN ONE .fEASS PIAN0 METHODS for public schools Classic—Popular—and Jazz. Screen >n Expression *Aetint’ Q?C Udlng classes child is going to play something with young graduate of that conservatory? "H'^Charles J. Haake Course of six weeks. Write for circular. Diction, Pantomime8’ S,tage Technique, Because of enormous pro¬ Booklet. antomime, etc. Send for “some sort of a tune to it.” Later he could take advanced lessons at duction the Brambach But mother and the music teacher—this the conservatory. Baby Grand is moderate in heaven-inspired span! In them united we price—within the means find the faith that moves mountains and A. The. temperament of the child and of all. Ask your dealer to FREE works miracles; the courage that dares local musical conditions should determine show you this fine instru¬ cpuni ADCLTine 5 the impossible and makes a virtuoso out your course in choosing between private or ment and to tell you how oLnULARSHIPS 0™r Saenger will award two scholarships of two^rTvate•essons per week and two for rene of seeming mediocrity; the patience that institutional training for the boy. If he easily you may own one. Wlre or wri‘e for application and particulars ™te IeSS0ns weekly and five scholaS^- C'??s Iessons' is timid, lonesome, companionless, then the ps *n his Opera Class. can strive and struggle unwearied day after day through long, slow, years of associations in the conservatory where Summer Session Booklet Mailed Free Upon Application meager accomplishment, awaiting the ful¬ other children are studying and congre¬ fillment of their hopes and ambitions. gating would be decidedly favorable. On Truly theirs is a divine optimism. God the other hand, if he is very talented and wants to work at music enough to “go it BRAMBACH bless mother and the music teacher! alone,” he would probably advance faster Mrs. C. P. C., Massachusetts. in a private studio, especially with a BABY GRAND Q. Do you advise beginning piano study teacher experienced in beginning work. $675 pM AMER|CANCONSERVATORY when a child is seven years old? If not, By all means, if you decide upon beginning how soon should he begin? with the conservatory training, select the _. .ive paper pattern and the inter- best teacher on the faculty who accepts Established 1823 ing booklet,"Genius Deserts the Attic.” A. If the child is normal, physically and beginning pupils. You will save money OF MUSIC mentally, seven years is not too young, 572 KIMBALL HALL in the end. JOHN J. HATTSTAEDT, President especially for a boy. You will find this question fully cov¬ CHICAGO, ILLINOIS Q. Can you suggest a brief list of text¬ ered in Chapter IV in the book, “A Musi¬ books or any helps for a parent, a profes¬ cal Message for Mothers,” by the writer. Please mention THE ETUDE when addressing our advertisers. Page SU MARCH 1027 THE 0E ETUDE MARCH 1927 Page 22.5 Department of Public School Music (Continued from page 187) /COLUMBIA “-sr his or her own initiative will do well to to place each player in a position so that SUMMER follow this practice; but a campaign should his line of vision may take in music and be organized to secure the cooperation of the director at one and the same time. The U SCHOOLOF 1U[1 [QTr, the school authorities and parents in order to principal player of each section should be TWENTY-SIXTH YEAR |f j | % J provide instruments for the orchestra and in the chair nearest the director. The MASTER to offer lessons to talented pupils, in order brass and percussion instruments should that the missing parts may be supplied, be in the back-ground and not too prom¬ ts a rule it is unwise to give the first inent at any time, sarts entirely to the better players. The _ SCHOOL PROFESSIONAL fir or solo parts are melodic and more Balance and Tun‘"g L ily Played. The player who wishes to HP HE GREATEST MISTAKE school June 27 to August 6 (Six Weeks) play “first” must be capable of “doubling” orchestra leaders make is in the over- SUMMER SCHOOL on some other instrument or part for at balancing of parts. It is much finer to least half of the school semester. Other- have a limited number of players of fair wise the best players will consent to play ablhty and keep a proper balance of PROF. LEOPOLD AUER Five Weeks June 27 to July 30 only solo or first parts and the important Parts- Eight first and six second violins MASTER VIOLIN INSTRUCTOR OF THE WORLD middle and lower parts will be missing. wlU carry four violas, four ’cellos, two The pianists should be willing to take their string basses, flute, two clarinets, two PERCY GRAINGER Many Special Features for turn in playing substitute parts for flute, horns> two cornets, trombone, drums and WORLD RENOWNED PIANIST oboe clarinet, bassoon and bass-viol on Plan°- If the number of instruments is to the Teachers of Music the piano and harmonium, as well as act- be increased the string parts should be fil¬ ALEXANDER RAAB ing as accompanist. The capable violin- creased and oboe and bassoon added, EMINENT HUNGARIAN PIANIST ists should act as seconds and thirds and A first orchestra, should be selected on Premier Aristocrat Small Grand Model INTERPRETATION FOR ARTIST STUDENTS possibly learn alto-horn and bass-viol. this basis and the elementary players A class of wind instrument players fornied Int0 a second orchestra. Wind 5 feet, 3 inches long. Price* $725, f. o. b. New York. EDWARD COLLINS should be organized. An elementary band instruments that are difficult or impossible RENOWNED AMERICAN PIANIST INTENSIVE COURSE FOR SUPERVISORS class acts as a good feeder for the or- of tuning should not be used, as nothing THE year 1926 further emphasized the national popularity PIANO, THEORY, VOICE, VIOLIN chestra I-air results are obtained much compensates for bad intonation. The piano of this dominant instrument. Many studios, conserva¬ MOISSAYE BOGUSLAWSKI more quickly with beginners on wind in- ^ tuned to international pitch tories, teachers and students chose it because of its quality NOTED RUSSIAN PIANIST NORMAL TRAINING struments than on string instruments. The Tbat is, A -435 The instruments should band plays fewer parts, the instruments take pitch from the piano, the strings from with price combination. HERBERT WITHERSPOON PUBLIC SCHOOL MUSIC are more resonant and the rhythm is easily ,'A aad the clarinets, cornet and trom- Premier Proved Performance counts—year after year! DISTINGUISHED SINGER AND TEACHER felt. The great need today is for elemen- bone from B-flat. The string bass Carefully inspect this instrument at your Dealer—before tary classes of wind instruments, that is, should bq tuned from the piano, PASQUALE AMATO clarinet, flute, cornet, alto-horn, trombone, Use of the Orchestra selecting any piano. FAMOUS SINGER OF METROPOLITAN OPERA Send for Summer School Booklet baritone and bass horns. npHE ORCHESTRA should have regu- Send for attractive, convincing Premier literature today. Seating A lar rehearsals each day, if possible. RICHARD HAGEMAN COLUMBIA SCHOOL of MUSIC THE SCHOOL ORCHESTRA for The general plan should call for sectional PREMIER GRAND PIANO CORPORATION many reasons cannot be seated in tra- rehearsals for string and wind instru- Box E 509 South Wabash Avenue ditional fashion, as the floor space allowed ments. is usually wide and shallow, similar to orchestra to CHARLES M. COURBOIN CHICAGO FAMOUS BELGIAN-AMERICAN ORGANIST the arrangement of the orchestra in the accompany t average theatre- The leader should not player shoulc LEON SAMETINI play, but direct with the baton and, of playing. Occasional outside engagements RENOWNED VIOLINIST course, should have her back to the audi- should be obtained, provided that these do ence in order that undue attention shall not interfere with the studies of the pupils, COSMOPOLITAN g>tarrrtt S>rhxtol not be diverted to herself or her facial The orchestra should be the “hobby” of (f W. OTTO MIESSNER SCHOOL MUSIC & DRAMATIC NOTABLE AUTHORITY ON PUBLIC SCHOOL MUSIC CONSERVATORY of expression. The first and second violins the leader and the leadership should not At Last! What Every Music DR. CARVER WILLIAMS-Preeident should lie on her left and right hinds, be undertaken if the work is unduly Ir¬ SUMMER SCHOOL June 27-July 30 MUSIC respectively. The violas, or third violins, densome. It should not prove so if the should be seated toward’ the center inside teacher selects simple music of inter- CHARLESCEI.ERR ATFn H. THF ATDCDEMOREST adcimiot Eminent faculty of 60 Artists. Normal training for Franklin Stead, Direi Teacher Needs CELEBRATED THEATRE ORGANIST Teachers. Students’ Orchestra. Concerts Lectures Renown™ , of the seconds, and the ’cellos or substitute esting melodic content and plans the work Diplomas and Dkcrees conferred- and Regular Faculty of more than 125 Artist Teachers Diplomas. Degrees and Teachera’ Certificates. instruments ori the left inside of the first on a progressive program basis. The Departmcnts-Pia"0, Voice, Violin, Musical Teachers’ Certificate.s Theory. Composition, Violoncello, Orches- Courses in Piano, Voice, Violin. Or™, Theory, violins. The piano may be placed at the development of school orchestras and SrLiucA^' Pub“C 8011001 Music, fcr&rrDrRCm!!Sctsnds^ extreme left with the bass viol alongside, bands offers educators an opportunity to AI. ,, . US1C‘ SP'cial Dept, for Children. If room permits, the piano may be placed enrich the school and community life " ^vantages and Scholarshipj AH athletics. Horseback riding. Fir proof build¬ HOHNER FREE FELLOWSHIPS rtano and Violin Prizes ings with ample grounds. ■.Two beautiful dormi- behind the ’cellos and violas. The bass- and to include cultural opportunities that For particulars address-Edwin L. Stephen, Mgr. viol and piano should be close together, will have a wholesome effect on American The wood-wind should be on the right life and culture. Box®” 16*0FloTrAKimhC!? H°if-WUS’C “Trutone” behind the violas and the brass and tym- Part four: outline of a combined course pani or drums on the extreme left. in music history, appreciation and harmony TEACHERS’ CERTIFICATES and DEGREES The traditional symphony seating plan to be used with “The Standard History may be used for seating an orchestra on of Music,” a supplementary list of records, PITCH-PIPES oenvGR the stage. The main point in seating is and “Harmony Book for Beginners. ’ GOLLGGG OF flHJSIG 1 N.U/I Week Subject Chapter , Topic VaGe The only instru¬ ERG LRRG6SG ID GR6 IU6SG 13 History 13 John Sebastian Bach...... /W4 SCHOOLS 13 Appreciation 13 D Major Suite, My Heart Ever Faithful, and others.. . 6-7 ment of its kind An Endowed, Non-Profit. Public Institution MUSIC 13 Harmony 10 Harmonizing Basses, in Root Position. 3/-JS which gives scien¬ Degrees and Diplomas northwestern 14 History 14 Georg Friedrich Handel...... ••••. STUDENT DORMITORIES Excellent Faculty and Educational university tifically accurate Year 1926-1927 14 Appreciation 13 Hallelujah Chorus, Sound an Alarm, and others. 7 14 Harmony 11 Harmonizing a Melody (scale)...... oy-4U pitch 15 History 15 Haydn and the Development of the Sonata . 83-8« MILLIKIN conservatory of music 15 Appreciation 15 The Heavens Are Telling, Symphony m E-flat. 7 Off, DECATUR, ILLINOIS Friction spring'- sliding 15 Harmony 11 Harmonizing a Melody. mouthpiece with indicator Write tor Catalogue E tor full information 16 History 16 Mozart and His Work.•••. showing position of each EDWIN JOHN STRINGHAM. Mus. B.. P. D„ Dean 16 Appreciation 16 Minuet in G, La Ci darem la Mano.. tone on the instrument 10th Ave. and Grant St.. Denver. M™.i5ray."3x,v3;"KSr*s.lii5.K 16 Harmony 12 Harmonizing Melodies—Motion of Bass.. ■r/ Bulletin sent fret upon request and relative position on CHICAGO 1 a the staff. For musicians, ■ ST~ CLARE MINTURN. Director. Repertoire Class singers and vocal teachers, No. P3 Vocat—Full Chromatic the “TRUTONE” is indispensable. With a Hohner Pitch-Pipe, there can be no singing “off-key.” The “Trutone” MUSICAL friend and his mother come a Detroit Conservatory of Musu Oh, that old piece! The pupils are is your guide to true pitch. There are models for all needs, i. e., vocal, he is presented with a bouquet Francis L. York. M.A.. Pre*. _— legion who are unable to play when asked. violin, tenor banjo, guitar, cello, ukulele, etc. The “Trutone” Pitch- L. York, M.A., Pres. 'Elizabeth Johnson, Vice-P When the Repertoire Class 'I’ve forgotten my old piece and I haven’t Pipe is durable, unique and invaluable wherever music is being taught. Finest Conservatory in the West™ cital, the audience calls for a . Send for illustrated supplement. finished my new piece,” are their favorite COLLEGE Offers toear^ r E"ter 3t Tin,. ” desired from each pupil’s list of ten. He 60 EAST VAN BUREN ST. and educational p^ndpIe^’lD^im^ °POn the best modern excuses. Start a repertoire class consisting responds instantly with the name of the (College Building) ChlCagO, III. If your Music Dealer cannot supply you write: 'onservatory Pledged to the Highest 'fly of pupils who can always play ten composer, the key signature ai boarding accommodations. y hec adva>«ages. Desirable 1 'eces. On admission a member gets a sign. The audience is likely to be struck Catalogue Free Upon Application ’Har from his teacher and a musical dumb with astonishment, but, when it re¬ M. HOHNER, Inc., D»7 114 E. 16th St, N. Y. C. Address JAMES H. BELL, Secretary, Box 7. 5035 Woodward Are., Detroit, Mich. adge. He gives a recital lesson with the covers, it is sure to rise up and sing the b identifies you a top of the piano up. His best young teacher’s praise. h with the higher ideals of a Please mention THE ETUDE when addressing our advertisers. Page 226 MARCH 1927 the etude 0E ETUDE MARCH 1927 Page 227
FAMOUS public speaker once said tion: numbers of the character of the i definite and unchanging seat form of service is liturgical you will be A Hollins “Overture in (J major” he sits ii that lie had found that there are "C the rehearsal room and in the choir of able to choose your services and anthems one in C minor; “Finlandia," Sibeliu^ two ways of constructing a success¬ lhe church; his locker and robe are num- long in advance and begin rehearsals on % “Concert Overture,” Maitland; “pae ,i I ful lecture: one, to build it up, point by hr IS; his box, folder, hymnal, copy of them in ample time to assure their thorough point, with ever-increasing interest and Matthews; “Allegro from Symphony V?’» L oratorio and of any of the more in¬ preparation; if non-liturgical, you may be intensity to a final climax; the other, to The Organist’s Etude Widor; “Allegro con Brio,” De Boe I-. WEAVER volved anthems employing several parts fortunate enough to know the subjects of build it up to a climax somewhere after “Allegro Maestoso” from the Elgar*^’ are all stamped with his number—IS. If the middle, towards the close, and then to Edited for March by the Parker sonatas; Overture to certain series of sermons in advance, so GRAND PIANOS he severs his connection with the choir this that, at rehearsals, your choir-members can finish in a vein quieter, less intense, Clarence Dickinson and Helen A. Dickinson Meistersinger," Wagner; are in this style system simplifies greatly the entrance of a familiarize themselves with suitable an¬ touched with grace, perhaps with humor or (Port II to Follow) new member or of a temporary supply, It is the Ambition of THE ETUDE to make this Organ Department thems long beforehand and thus leave free with tenderness, and to end with a certain since all the stranger needs to know is that rhetorical brilliance. a goodly margin of time for any sudden “An Organist’s Etude Complete in Itself” he is “IS," and that he inherits the posi¬ This man spoke constantly to great demands. In any case, you can keep the tion and the entire equipment of Num¬ crowds of people, and with unfailing suc¬ Saving Time at Choir Rehearsal boxes supplied with an interesting collec¬ cess. Now it seems to me that the recital¬ ber 1S- , u , • No organist-choirmaster ever has time This system of boxes—or envelopes—in tion of anthems relating to all sorts of ist must meet the same requirements as the enough for all he wants to do at rehearsals which to keep music for rehearsals in uni¬ varied themes and give them sufficient public speaker; so it has been interesting The Building of an Organ Recital Program and the And this is true no matter how many re¬ fied form will also help to solve the problem preparation that they may be finished on to look into the psychology governing the hearsals he has a week; for the fact of thorough preparedness for whatever may short notice any time a sermon-subject is structure of his lectures, addresses and Psychology Which Should Govern It of having more rehearsals presupposes come, which is the indispensable of finished announced which any of them might help sermons, and to deduce psychological more work to be done. His greatest prob¬ make more appealing or impressive. principles upon which the successful organ and expressive choir singing. If your lem, therefore, is how to save time. recital program is built. The .word “built” is used advisedly; for a program should The Church Recital of the program in order best to accomplish , 11 1S. a mistake to have too long re- be a structure and not merely a succession SHORT RECITALS before o after a our purpose.oumose. hearsals; the voices get tired and refuse to Organ Interludes of numbers strung together hit and miss. churchc' service may follow this plan The opening piece is a prelude, respond, and attention is either only half The effectiveness of a church service How shall we determine which_ of__ the_ less, if conditions are favorable, troductory number; its function ; the concentrated throughout or flags toward may be greatly heightened by the playing two methods to employ making any If it is a morning service which begins same as that of the overture the end. But since they must be, of neces- _Krill in - - “ of one or two short organ interludes. For given program? The determining factor brilliantly, a Sonata, or part of one, may or the preliminary i theatre; sdy’'°f fair ^gth-say, an hour’and a half Vary the Interludes ) dispose lf ther,e 15 110 ‘Permission it is important example, the interruption in the progres¬ is the length of the program. The plan be found to fit exactly the occasion, work- namely to quiet the audience and to dispose , . . —w*,.—« Interludes will, of course, vary in char¬ of working up steadily with ever-increas- inS UP' from a broad and serious first t!lem physically, mentally and emotionally . mak^ a practice ot bee mning right o sion of the service which is usually occa¬ acter, with the place they fill. If one is ing intensity to a final supreme climax can movement, through a quieter middle sec- for the program to follow. It should time and stopping right on time as well, so sioned by seating the late-comers may be instance, and therefore early in the ser¬ be employed—except under exceptional con- tlon> to a Finale which will suit the bril- therefore be of a fair length, not so short mat everybody knows just what to count on. bridged over and even made to seem an vice, it should, be fairly joyous in char¬ ditions—only in the building of short pro- bant opening of the service. Occasionally, that it will fail of its purpose as a pre- "f. . mrector must not ignore physical con- integral and attractive part of the service acter, though always sustained. Indeed grams. The mental and emotional strain however, the final movement is of too gay paratory measure, yet not so long that d'b°lls: scat‘n3 should i arranged so itself instead of an embarrassing wait. In any Interlude in a service should be sus¬ It is quality—hid¬ is too great for the average audience to a character, its rhythms too dance-like or the people who are not established to their . * ad calt sce him without undue strain, a church in which the form of service in¬ tained in the character of its music, and den and showing maintain for long; the listeners will tire too conspicuously fugal for the immediate satisfaction will be held too long in dis- bghting should be good and ventilation that accounts for -/ o the connoisseur of Music whose ear cludes a Responsive Reading this inter¬ care should be taken to have it rather before the climax is reached. prelude to a service. Something big and comfort. It should make no great de¬ fresh. When attention begins to wander its supremacy. can detect the many variations in ruption usually occurs just before it. If meditative or contemplative in spirit, and brilliant, yet noble, dignified and rather mands either intellectually or emotionally; and attitudes become a bit lackadaisical in the minister wil! announce the number of used during the seating of late-comers, for tone quality ... we suggest just listening The Length Element serene in character will be more fitting. the audience is not yet ready to respond to a rehearsal of fair length and of reason¬ the Reading, the congregation may find not worldly in tone. to the Weaver. To the lay music lover who IF YOU STOP to think of it this Somelimes the' opening movement of a 3Uch- It should-have a certain festive air, .ably , varied, . and interesting quality, it will f—x Hg,- ' ten, that the the place comfortably and all late-comers An Interlude useeb later in the service, ment of the length of the composition is we“ 'm place here instead of the ^ k mUSt not be to° t™al °r empty, be f°und’ el«ht , hesitates to trust his own judgment... we Fr ^of^fength Mkthef composition final ■ 17such ^ be seated during such an Interlude, about especially if it follows a prayer, should be determinesines the character of much of the °orsuchr SU£h a number may be uspdused asa ’ fS * .““f havf; enough real musical content a,r bas been used UP- suggest writing for definite proof of quality. eight measures in length. even quieter and more devotional in char- musicTr,„c,v ;itself.(„K ti,.The shorter.a—_, numbers may ,be I°r instance, Bubeck’s “Meditation” or his to stimulate the interest of the audience . T,he gTcat ti :-consumcr of rehearsal "Fantasia;” Beobide’s “Fantasia;” Rei- to the degree of enlisting its attention and IS the passing o...and collecting of music. Or it may be desirable to introduce such In either case, you will be convinced. carried with ever-mounting interest, com¬ There is another kind of Interlude an mann’s “How Brightly Shines;” Cole's setting it in an attitude of anticipation of ^ some rehearsals enough time is spent an Interlude if a prayer would otherwise plexity and intensity through to a gorgeous organist is sometimes called upon to play. “Fantasie Symphonique;” or “Song of what is to follow. in these processes to rehearse several be followed immediately by the “announce¬ Weaver Piano Co., Inc., York, P; climax; the longer forms, as the oratorio, Gratitude;” Huber’s “Fantasia;” Bach’s The organist’s business in his first mini- llum')ers' The simplest and most satis- Typical of it is the Interlude of a few for instance, usually reach the highest ments” made from the pulpit. It makes measures after the conclusion of the offer¬ ‘Fantasia in G Minor ” or some of the ber 's to separate his audience from the factory plan is to have linen-covered boxes an artistic transition from the devotional point of emotional intensity some time be- broader Choral Preludes. ~ Right here i i, the worries, the problems and hur- made w‘tb, as only opening, flap tops tory, while the plates are being carried fore the close. Thus, in the “Messiah” the may be said that the numbers m thi. to what seems to savor rather ^of the busi¬ up the aisle. Here the organist should en¬ they have brought with them from which °Pen back t0 a depth of about ness of the organization. drama works up chief glory in the article are mentioned from memory, and outside, and to induct them happily ’into quarter of the length of the box si deavor to use the theme of the offertory, “Hallelujah Chorus, harmonized and always in sustained style ut it does not end reference is made purely by way of illus- tbe new atmosphere. A man cannot be the singers can see the headings of the How Many Interludes Guilmant Organ School there. It would s as if, after the tration, to try to give a more concrete idea taken after a day full of business prob- mus
Cincinnati (fonserhatorft °f|tlnsic Organ and Choir Questions Answered By HENRY S. FRY SCHOOL FOR A COMPLETE SCHOOL OF MUSIC ormer President of the National Association of Organists, Dean of the Pennsylvania Affiliated with the University Chapter of the A. G. 0. Pianoforte—Voice Culture—Violin—Organ—All THE TRAINING OF Public School Music (accredited)—Opera- Catalogue mill be sent i Ideal Dormitories on the Campus i BERTHA BAUR, President and Director THEATRE ORGANISTS Burnet C. Tuthill, General Manager gftp Qlffolaniijnstituti? The West’s Greatest Marvels June 27 to August 6 (Six Weeks) ufQitfiir are reached by Union Pacific Offers Complete Courses for Colorado, where the West is nearest, over 50 peaks Students of all Grades more than two miles high; Yellowstone, where Four-year course leads to teacher's certifi¬ cate or-diploma. Direction: CHARLES H. DEMOREST and HENRY FRANCIS Two orchestras afford opportunity for ensemble training. PARKS, Famous Theatre Organists Special courses for teachers and pro¬ Puget Sound, Mt. Rainier, Mt. Hood, Alaska. fessionals. The Student Residence is open throughout the California, San Francisco, Los Angeles, Catalina, Students have lessons and practice before the Screens pro¬ Send for catalogue outlining courses and fees vided by the College in its studios. New two, three and four Mrs. Franklyn B. Sanders, Director manual Wurlitzer and Moeller theatre organs for lessons 2827 Euclid Avenue, Cleveland, Ohio Grand Canyon, the new enchanting won and practice, owned and operated by the College. A vacation that will thrill you—charm you. > all the West via Union SCHEDULE OF LESSONS VALPARAISO 1st week lessons—Preparatory for Screen playing —If UNIVERSITY- Send for Free Travel Books 2nd week lessons—Playing of weekly News feature 3rd week lessons—Short feature film and jazz VALPARAISO, INDIANA Tell us whichhich rregion you are intereste will promptlyptly nmail book and complete 4th week lessons—Short feature film, comedy and jazz SCHOOL OF MUSIC **Better Than Ever” 5th week lessons—Long feature film and comedy , Offers courses in Piano, Voice, Violin, Theory, and Public School Music. Students may attend the ’ NekT&dt L 6th week lessons—Long feature film, comedy, cartoon, scenic Music School and also take the regular work at the and effects; and playing of song slides. SPRING TERM STARTS MARCH 28TH Controlled by Lutheran University Association since Sept, 1925. Open to all. For special Bulletin Improvisation, modulation, arranging orchestral works for address office of the President, Dept. K. UNION PACIFIC OVERLAND ROUTE organ, harmonizing from violin and melody parts; dramatiz¬ VALPARAISO UNIVERSITY Valparaiso, Indiana ing the picture musically; taking cues and playing from cue lists and playing with orchestra are all given attention in the DANA’S MUSICAL I N S TI T U T E START A TUNING BUSINESS [OM.V»yiLV?H course. Various styles of playing jazz, ballads, intermezzos, WARREN, OHIO characteristic numbers, etc., will be thoroly covered. The Only University of Music in the World All branches taught on the daily lesson plan Special Music Supervisors Course 1111118 FREE FELLOWSHIPS Catalogue on application to LYNN B. DANA, Pres. Desk E. H5H? Mr. Demorest and Mr. Parks have each consented to award ORGANISTS OFFERING for Free Fellowships of two lessons weekly, each of thirty min¬ FOR PUPIL AND TEACHER CHURCH, RECITAL and utes, to the students who, after an open Competitive examin¬ WIN N’S MOTION PICTURE PLAYING ation, are found to possess the greatest gift for playing organ. (FOR PIANO) PRESTON WARE OREM Free Fellowship application blank on request. How to Play Popular Music. [TT[1 m A4£fissr' FALL SESSION OPENS SEPTEMBER 12 COMPLETE SUMMER* OR WINTER CATALOG ON REQUEST d Booklet, Addres WINTER TERM NOW OPEN FOR ORGAN STUDY MISS ADDA EDDY « W. Sandusky Ave., Bellefontaine, E=jSfr:w_ STUDENT DORMITORIES department of Theatre Organ Playing' The “Do Your Christmas . Prices reasonable. Francis T. York, M. A., Director ° Shopping Early” Warning FACULTY COMPOSED OF DETROIT"? LEADING THEATRE ORGANISTS Postp^on RecriprrrPrfcrTSc'each ,olume- PRICE $1.50 mfstfchanginfto Orf^1 C°UrSe fOT Winn School of Popular Music THEODORE PRESSER CO. ''scree^duSderSsSr^”ed-t'SSOnS bef°re 1712-1714 CHESTNUT ST., PHILA. PA. CHICAGO PLAN NOW FOR 44 W. 34th St. New York oandfor ^ndu'ates.'^silnHcs'are For Detailed Information Address SPECIAL SUMMER STUDY AND DON’T OVERLOOK THE DETROIT coS™Y ETUDE AS A MEDIUM TO MUSICAL James H. Bell, Secy. ANNOUNCE YOUR COURSES 5035 Woodward Ave., Detroit, Mi
COLLEGE ARE YOU SAVING FOR FUTURE STUDV at ^„T OR COLLEGE OF MUSIC? You c,n h„„ (2MSS) Chicago, Ill. out all nearby homeswhere there are music lovers audit ' X to The Etude. Write the circulation department as to 1 .zed Etude agent and earn money securing subscript
P hl*H"‘r ideals of ;,r( J MARCH 1927 Page 281 Page 280 MARCH 1927 0E ETUDE
Memorizing and sight reading are two without any concentration whatever 0ft Self-Study of the Violin of the most important branches of violin thinking of something else all the ti6” education, and violin students often write they are playing. Here is where the value By Edith Lynwood Winn to the Etude for help in attaining success of memorizing comes in; it leads to intense in them. A violin student writes: concentration. The Violinist’s Etude Is it possible to teach oneself the violin? To acquire knowledge and skill and then 1. Memorizing. What would be a suc¬ In violin compositions the bowing must cessful process for acquiring skill in this This question has been asked many times to lose them by indifference or sheer lazi¬ =cW
TlSswur*. 1 jeSSSr- and author. " Accompanying, Organ and Harp Haraon^and Coumefpoint. AND MANY OTHERS Wanted Free and Partial Free Scholarships Open for Competition in these Courses Baldwin Piano Used Our Entire Faculty will Remain in New York City and Teach all Summer. PIANISTS! m Musicianship THE ART OF Trinity Principle Virgil Conservatory Jazz Piano Playing MUSIC SUPERVISORS By ART SHKFTE ~ Pedagogy INTENSIVE SUMMER COURSE MAKE SIMMER SCHOOL COUNT sight /not ::p°-re--i;: Write for Particulars SINGING ) not ,i"te7als., Address: JULIA WEIL, Sec’y, 139 W. 72nd STREET, NEW YORK CITY A happy, profitable combination. A ADIO ARTISTS 1 not Numbers Summer of special study at outstanding Special Correspondence School for Music Supervisors plus attrac¬ Courses for Teachers tive recreational activities, social affairs, ssss Send for Catalog etc. Credit toward graduation given for Constructive Music Book Price J1.25 Summer School work. Dormitories. Gym. Address TWO NEW COURSES Theatre. Chorus. Orchestra. In heart of EFFA ELLIS PERFIELD famous Finger Lakes Region. Write for 121 Madison Avenue (30th Street) !W York City Phone - Ashland 5551 INSTITUTE OF MUSICAL ART new NEA booklet. 6 weeks course June ". FRANK DAMROSCH, Director 27 to August 6. 120 Claremont Avenue New York, N. Y. ,co- SiSr-" k CRITICAL AND PEDAGOGIC COURSE ITHACA INSTITUTION ;hefte publishing co. (Notinc.) GRANBERRY for Teachers and Advanced Pianists under CARL FRIEDBERG PIANO SCHOOL NORMAL COURSE FOR TEACHERS OF PUBLIC SCHOOL MUSIC , s tatfsaja-aw!.... 149 East 61st St., New York, N. Y. Methods of interrelating all theoretic subjects and correlating them 301 DeWitt Park with the study of piano, violin, voice, etc. ITHACA, N. Y. For PIANISTS, ACCOMPANISTS and TUITION FEES VERY MODERATE. CATALOGUE UPON REQUEST, ADDRESS DEPT. U TEACHERS ALBERT EDMUND BROWN, Dean MUSICAL DEVELOPMENT THROUGH SIGHT-TOUCH and HEARING. Booklet JTHACA CONSERVATORY VIRGIL SCHOOL OF MUSIC “ MUSIC Founded by the late A. K. VIRGIL (Originator of the Virgil Method. Inventor of the Virgil Practice Clavier) Special Courses c Band and Orchestra3 For all particulars address; THE.A K.VIRGIL CLAVIER CO., or INSTRUMENTS Phone Sus h ^ 10485 V1RGIL, Director SqUC anna other ADDRESS 510 avenue TromboneD TubaQ Mention any —College of Fine Arti BAND - ORCHESTRA Syracuse University AMERICAN INSTITUTE AND PICTURE Director of the Vocal Art OF APPLIED MUSIC A HELPFUL SERVICE Club of New York and the ORGAN MUSIC MUSIC, ART, ARCHITECTURE M. E. Church Chorus of TO ETUDE READERS 900 STUDENTS « INSTRUCTORS Hempstead, L. I. Weekly Metropolitan College of Music Four-year Courses in Lecture-Recitals given. Piano, Voice, Organ, Violin, Com¬ For auditions and other infer- position, Public School Music Charles Tamme mation address Secretary, Buyers of Band Orches¬ tra Music will find our stock leading to tha Bachelor’s degree HJWv y of Classical, Standard and SCHOOL FOR SINGING THE CHARLES TAMME J Popular Selections most FOR 2 FULL ORCHESTRATIONS Summer Session July 5th to August 12th SCHOOL FOR SINGING nprehensive, enabling us to render prompt. Moon Mist, Reverie.. V. N. Scholes Unexcelled advantages for the study of music. 2231 Broadway, New York City Pianoforte Department Spuds,Novelty March L.B.O’Connor Telephone Trafalgar 3614 Normal Training Course for Teachers Junior Department in Piano, Moving Picture Organists need not de¬ ,t. by Hildreth. Parts for all re< spair of finding suitable material for their ognizedgnized orchestral insts. inc. saxc Violin and ’Cello phones; fully" ' cutcued—effective fc large or small c JULES FALK SUMMER MASTER CLASS teur and School Orchestras wi YOU WILL j_ “VIOLIN STUDY at by our experienced clerks in s< The Mission of ipervisors Conference The Distinguished ATLANTIC CITY, NEW JERSEY material which they require. Or. V. L, F. Rebmann Ethel McIntosh, Managing Director The Band of the Future .. Joseph E. Maddy June 1st to September 15th What the Movie Audien ee Fisher and Wright VIOLINIST r Lower Grades 212 W. 59th St., New York City Also Church and Concert Engagements FIELD DRUM, CYMBALS, CORNET AND BUGLE Literature by and lor Photoplay Organists.. Ml Castillo SEASON 1927-28 NOW BOOKING Mes Fal/co^rt gffcU^fthL Y. Sight Reading as Applied lo Tenor Banjo Dance Music CARNEGIE HALL, NEW YORK So much for the carrying of instru- ment into a marching band as shown, with THEODORE PRESSER CO. School Orchestras and Bands—Pictures and Facts ments marching or standing at attention, the following points in mind: Popular Talks on Composition.WeiJt out first writing our service department. 1712-1714 Chestnut St., Philadelphia, Pa. Gwin a band, playing even moderately It is to represent a marching band. In THEODORE PRE88ER CO., Philadelphia, Pa* YOUR LIBRARY well neat uniforms, smart erectness and the marching band as distinguished from CONWAY ' uniform carrying of instruments accord- the concert band, for instance we have STUDIES AND PIECES (For the Piano) to. to the foregoing practical suggestions, suggested no player of the third trom- and the appeal to the blood is-*“ wbone part.**“* We have the cymbal detached from the bass drum and given a separate of Musical Literature and Theoretical Worka." D. 3y A. M. VIRGIL Highly satisfactory to both resisted. Director of the VIRGIL CONSERVATORY pupU8t^ener''’*-J:- 1 player (perhaps an oboe player). We have THEODORE PRESSER CO. Catalogs on Request. 1712-1714 Chestnut St. Philadelphia, Pa. Address: VIRGIL PIANO SCHOOL sacrificed the second and third clarii D9 W. 72nd Street, N. Y. C. _ When you write t< r advertisers always mention THE ETUDE. It identifies you as one in T--- l on page 237) you as one in touch with the higher ideals of at 2054W. LAKE ST CHICAGO. ILL MARCH 1927 Page Page 236 MARCH 1927 THE T0 ETUDE The Successful Marching Band (Continued from page 235) SUMMY’S CORNER Of equal importance with the uniform them or lag behind. The author prefers, holding of instruments is the matter of as a more nearly “fool proof” proposi- TONE PICTURES For the Beginner Graded Material for the Piano w.th Word^ ^ their grouping on the march. I have tion, to have the solo cornets blow their seen many a good band go to pieces be- melody as nearly as possible directly in By BUEANn^ Sdffik an answer'to the need for a colle’ction of well balanced material cause the bass drummer, at the extreme the ears of the percussion section! rear could not hear the melody of the With the bass drummer and cymbal fOT Presents dSro staffs as one continuous staff of eleven lines, as it was originally, comets, placed well to the front of the players located as they are, too, they are the notes being introduced by their relative position touttL band. The ideal arrangement may never more directly under the “eye” of the Veritable inspiration has gone into the writing of this tact Ihe carcfurpw he the same for two bands, but it must be band leader, who can easily turn and sion of difficulties, the continuity of artistic Seeling in he E special the problem that is stated with each little piece the general a» rftMM s thegrttf one that will be practical and that will direct them into pushing ahead a drag- appeal to the child by the verses and unique illustrations—all combine to call forth weU appeal to the eye. ging tempo, or into pulling back a rush- merited praise from earnest teachers and to establish its permanent usefulness. This section we write with fear and ing one. And, remember, exact tempo IN A GARDEN trembling- No two situations will be or proper cadence is just as elusive as it Four Short Pieces for Piano Price> SOc found identical. No two conductors will is important. By SARAH COLEMAN BRA^ON ^ ^ “ entirely agree as to this matter. In no There is still another reason for this ^ two communities will there be found sim- position nearer the band leader. Accents More interesting material for the early grades. ■•pansies “Forget- ^-No^ ilar instrumental combinations. Some con- are the “making” of the thrill and punch “Poppies”—“Johnny-Jump-Ups”. Invested with dainty and characte stic chann h y ductors want more brass emphasizing the in march music. The bass drummer, to- serve to cultivate musical taste and stimulate interpretation The work is nice y ,solid effects of the wind band. Others gether with the cymbal player, can do more, divided between the hands. The pieces are also published separately. For grades one try to dupl ate the symphony orchestra in in the way of proper accent observation, effects and tone quality, than any other fifteen men in the band THE QUEER LITTLE HOUSE OF LINES AND spACES ^ lightness By ELIZABETH BLACKBURN MARTIN * * * .... Ideas and i .is: the successful conductor put together. Yes, we know those are A decidedly attractive note spelling book for the young chil ■ must have om. And there is more than strong words, but think it over. The band JOHN M. WILLIAMS go around the average city leader here can easily turn and direct the will conduct NORMAL CLASSES f< one way t< proper bringing out of accents, CLAYTON F. SUMMY CO., Publishers PHILADELPHIA, PA., June 27 to July 8 PITTSBURGH. PA.. Julv 25 to Alien Bust 23 to Sept. 3 block! NEW YORK CITY, July 11 to July 22 CHICAGO, ILL. BOSTON, MASS., Sept. 5 to « Many pri r to have the bass drum and _ , . 429 South Wabash Avenue Chicago, II . Each class will be of two weeks’ duration. Classes limited in all cities. MonthlyMonth payments of tuition fee may be arranged if desired. Booklet <1 the cymbal- n the rear of the band, with In Conclusion (Send for our Complete Catalog) _ . the ,n detail sent free upon request. Apply JOHN M. WILLIAMS,Tiro P.r, O.^ Bo: n„() Trinity Station, New York City. the cornets veil to the front. It is the In conclusion, the author ventures to the author that the amateur predict that the suggestions of these lie Loving Friends about THE ETUDE askthem togije you the privileg. band so arranged is apt to “go to pieces,” articles, carefully carried out, will go far Lr.s.“*12criPtions- .^i/ochesmut Street Philadelphia, Pa. DUNNING SYSTEM for Beginners for the n' >i >y bass drummer, unable to toward winning your public to your : ETUDE COMBS hear the melody, is apt to crowd ahead of marching band. The Demand for Dunning Teachers Cannot be Supplied—Why? An Unexcelled NORMAL CLASSES AS FOLLOWS: MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th St., New York City. Mrs. Zella E. Andrews, Leonard Bldg., Spokane, Wash. Conservatory o/Music School Problems in the Science of Voice Production -“ ‘-“,J “’’‘'adison St Tiffin, Ohio, Arnold Schooldo! of Music.Mm Jan. 15lh, New York City, 16 E. II ’ ~ Allie Edward B;_■ |.ICofiege^ Ave., Ft Worth, Texas—3 months Class begins February; Summer Classe PHILADELPHIA (Continued from page 221) England’s Most Demanded Sacred Song June 1; Ft. Worth, July 10, San Antonio, Te-„. aths Class begins February; Summer Classes, 5 weeks, FOR MUSICAL TALENT Etizette Reed Barlow, Cor. Central Ave., 1st St., Winter Hi Fla.; Elizette Reed Barlow School of Music, FORTY-SECOND YEAR The hen that hatches a duck’s egg is and finds his natural element is the one ".> Held Tampa, Fla., June; Asheville, N. C., July. appalled at the temerity of the young duck- who discards fallacious doctrines o£ bpeat itherine Gertrude Bird, 658 Collingwood Avenue, Detroit. Mich. During the past winter no less than six young is at the present time Grace A. Bryant, 201 10th Ave. N., Twin Falls, Idaho. pupils of the Piano and Violin Departments or ling in going into the first water it can control and vo.ee placmg m any partmula Mrs. Jean Warren Carrick, 160 East 68th St., Portland, Oregon-Normal Classes. A SCHOOL OF The Curtis Institute of Music, Philadelphia, Pa., find, she i ml.ably prophesies disaster, the spot (for voice is never placed), support Dora A- Chase, Carnegie Hall, New York City; Pouch Gallery, 345 Clinton Ave., Brooklyn, N. Y. Beulah Crowell, 201 Wellslon Bldg., 1506 Hodamont Ave., St. Louis, Mo. Teachers’ Classes in I UNPARALLELED FACILITIES appeared with the Philadelphia Orchestra in a immediate destruction of the young idiot, of the tone by breath, coveringMhe , July, August; Chicago, June, July. tb., March, series of subscription concerts. “When I Survey Adda C. Eddy, 136 W. Sandusky Ave., Bel ine, Ohio; Saval and shriek her warning in fowl language, and all thz rest oi s«ch dlchim ^ III., Cincinnati, Ohio. a., March 15th; Jacks. lville, Miami, Fla., Chicago A School for the Ambitious Amateur Nothing could better illustrate the exceptional But the duck, notwithstanding, goes mer- daily handed out to , j d jt Beatrice S. Eikel, Ki Id-Key College, Sherman, Texas. rily on, voicing in its freedom to do as these do not lead to complete vocal destruc The Wondrous and the Professional Musician. Instruc¬ opportunities afforded by this institution to young LaHoUywoodFICalif°!,d’ 1344 N‘ Spauldin8 A,e” Holbwoo<1 Stadio; Hollywood Woman’s Club, 7078 Hollywood Blv men and women who have the requisite talent for it ^pleases. however disconcerting to the tion, at least they fo«doom s,ngers to Ida Gardner,17 East 6th Street, Tulsa, Okla. tion in all branches, including English, Gladys Marsalis Glenn 1605 Tyler St., Amarillo, Tex., June 10th, Amarillo; July 15th, Albuquerque, N. M. Psychology, Modern Languages, Peda¬ a successful career as vocalist, instrumentalist, supposed i■■.rent. infinite and unnecessary trouble and an Cross99 Florence Elizabeth Grade Lansing Conservatory ol Music, Lansing, Mich. Normal Class, January IS, 1927. composer, or*teacher of music. The sin ;er who advances most rapidly ever present handicap to success. Harriet Bacon MacDonald -c3434 Detroit Avenue, Cleveland, Ohio; Dallas, Texas, June; Fayetteville, Arkansas, Jul gogy, Normal Training, and Approved Gre.nhner CMI.a. I.ewisburg. W. Va , Auguat; Cleveland, Ohio, Sept. and Accredited Courses in Public School Endowed as a non-commercial school of musical to Dell Marden, By , 61 N. 16th St., Portland, Oregon. Music. Degrees Conferred. instruction. The Curtis Institute of Music ha3 Mrs. We T’ I9,2,LCi?sses—?pril a d August, Ch'cago, in., 10834 Prospect Ai ’ ~ “ College of ^ Arts, 4409 Cast an Ave.; July, Wichita, Kans., 3212 E Douglas attracted to its faculty many of the greatest artists Lawrence Hope Robin Ogden, . " - ass, June 5 week class. SIX SPACIOUS BUILDINGS >. Land Get__ ■■ and master musicians of today. Ellie Irving Prince, 4106 Forest Hill , and Ada, Okla. DORMITORIES FOR WOMEN Price 50 Cents St. Paul’s Cathedral, London . Ryan, 1070 Madison Ave., New York City. Individual instruction from these distinguished Isabel M.‘ “Tone, 626— "S. Catalii...„„„" " St., Los Angeles, Calif. men and women is, for the most part, unavailable even a small tribe, be it ever so crude tntts Music Clubs. Mrs. H. R. Watkins, 124 East 11th St., Oklahoma City, Okla. A really remarkable composition of high inspirational value, great effectiveness Send for Illustrated Year Book in any other way. Yet, since the aim of The Curtis INFORMATION AND BOOKLET UPON REQUEST and medium difficulty. . ,. « Institute is to discover and develop not only Every choir singer and choir leader in America will discover in this song a potential stars for the concert and operatic stage, Gilbert Raynolds Combs, Director real find.” Offices, Dormitories, and Studios but teachers of highest quality, the tuition fees are Broad and Reed Streets moderate and financial exemption is granted to those of exceptional-talent who cannot pay. TEMPLE UNIVERSITY Complete information on request 50K or me istumui’""-' , Voice, Violin, and Dramatic I. Scholes. One hundred and UlustTatid. ssnfsrPublished by A. S. Barnes and les»Jy ApXTWork * School of Music _ THE CURTIS INSTITUTE ninety-rour patten. Bound In boards, ana 1521 LOCUST ST. PHILADELPHIA, PA. published by the Oxford University Press, C°.“method oMnformal gVmimstoby which SPECIAL SUMMER COURSES OF MUSIC American Branch. Price, $1-50. * Thaddeus Rich, Mus.Doc., Dean . Percy Scholes is the well-known Englisn engaged ii^Uiscinating play. «anm s?ngs with Consisting ot two weeks Course of Public School 6n Rotenhousb Square, Philadelphia, Pennsylvania critic and pedngog whose books and wnose Music Orchestration; four weeks Public School HIGHEST STANDARDS of MUSICAL INSTRUCTION lectures (he has been extension-lecturer a simple Pto»„acThCr4SLhashou?drnprove Music Methods; six weeks Piano Normal Methods. The various Departments of The Curtis Institute of Music Teachers’ Certificates, Diplomas, Degrees are under the personal direction and supervision of the follow* the universities of Oxford, London, and Man¬ viJy htlpful bothit home and in the school- Dormitories for Women WILLIS J. CUNNINGHAM ing members of its faculty: chester) have brought him renown. Mr Our Summer Circular will help you. Write today. I,0e"leegIel CeI,OOI'r,irlItATIOl'‘ RK(>ai!ED «»P* in Ihe Scholes visited the United States in 191o and Piano Marcella Sembrich, Voice; Josef Hofmann, Piano; Carl Flescb, the early months of the present year. ^Bymnsol Put Full information from ,he El™> - *• Violin; Louis Bailly, Viola; Felix Salmond, V.olancel!o; Carlos t To quote from the “blurb:” "This book con JOHN L. GRUBER, Manager JOSEPH D. DeNARDO Any Instrument orVoice may be taken without Other Branches oalzedo. Harp; Leopold Stokowski, Orchestra; Reginald O. tains notes upon the music of fifty records r’hld bv1'Oxford University Press, American eat Broadway, Louisville, Kentucky Harmony, Composition si,rF.HumInSITJ^CiofSHED FACULTY- Morris, Composition, Theory, etc. from Schubert to composers of the ines”" J Branch, yat$l.|Oper™lume. Stuaent’s OrcW lEI , VOICE DEI'AUTJIKST. day. It is a companion volume to I Ac 394 teacher, enrolled in Summer Normal Claa.e. of 1926 ™ °’ 1ND Boole of the Gramophone Record, which trea ASHEVILLE, NORTH CAROLINA pri°cipally by members 01 of the music from Byrd to Beethoven^JW. i STpitfmcE*CrrAtS~0FI’0ET,I1,ITT F0B “ai’HESTiui, Wholes alms at imparting technical iwledge Mttoo. in ”flection of hymns suitable for IS T,ra0EY HKTORY AM) APPRECIATION OF without being obscure, difficult,leun, v, ■ ■ -U In student: meeting and^ ™^er“c0epaularT?n _ H „„ __t he has succeeded Atlanta Conservatory of Music Mr. and Mrs. Crosby Adams PnP,7a Mny a( Any Tune During the Year. —for his selection of records anil his en er Rr S-nyoUT DORMITORIES Zeckwer-Hahn taming and careful analyses are nicely educa¬ The book Mil doubtless fill a long-felt need. TWENTY-FOURTH Branch Schools Write for Catalog tional. Some of the records, however, are nor 1 niladelphia Musical Academy obtainable in this country, a fact which seen) mstonr of Opera. By Arthur Bison. Cloth lages Equal to Those Found Anywhere. ANNUAL SUMMER [CLASS Ask for 0ur Circular of 57 Years continued success in training musicians rather detrimental to the widespread use or Hi8torv J ages. well indexed and Illus- FOR TEACHERS OF PIANO EDUCATIONAL MUSIC BOOKS Highest Standards of Musical Instruction the text by Americans. . .._. trated ’ Published by L. C. Page & Company a Published for Low Voice (Range b-flat to D), Medium Voice (Range i-flatto F), High Voice (Range e-flat to g) TerxtSRnn°& Colleges including Mr. Scholes’ preface Is interesting _ though July 13th to the 28th, 1927 text Books, 4Referencec^e,nies ?"'Worksi and Collections For year book, address ^The^recimtly'tuoreased interest in opera and MONTREAT, NORTH CAROLINA prolix; and the paragraphs on criticism im Let us send it to you “on sale” with a package of beautiful and appropriate THEODORE PRESSER CO. Charlton Lewis Murphy, Managing Director pressed us especially. its^development makesjhe appearance of this 1712-1714 Chestnut St. Philadelnhi. n. 1617 Spruce Street revisedbs editionYsl-'„ nf n work which nrst was yuu- church music we have recently issued. Just send us your full name and address. Dances of Our Pioneers. By All American rights to “When I Survey the Wondrous Cross are controlled CONSERVATORY OF MUSIC ESTABLISHED 1857 Ryan and Robert T. Benford. Cloth bound, OF SHENANDOAH COLLEGE 102 pages in the bi-volumes; illustrated BlSSaSS exclusively by Six weeks from June 20. 3 Company a In the heart of The Shenandoah Valley, near Washing- Published by A. S. Barnes ’ ton. Full Courses in all branches of Music. Pupils this $3.00 per copy. THEODORE PRESSER CO. year from fifteen States. Rates most reasonable. Large tfdm Daily theory and normal , — unique collection of the simple country most rSlvd“blThe reader is introduced not only 1 tKM classes for music teachers. dances which added gaiety to the lives ot ou instIuc^nrks of the masters, but also to the School Orchestra and Band, Piano Tuning and Pipe H PEABODY ““T to the works or m have induced the dlffer- 1712-1714 Chestnut Street - - Philadelphia, Pa. Organ. Ask for Catalogue W HAROLD RANDOLPH, Director pioneer forefathers, their dames and lads ana cnvwonmentB^wmcn h hav(i produce;1 the vn- SHENANDOAH COLLEGE :: DAYTON, VIRGINIA Pittsburgh Musical Institute, Inc. lassies, simple piano arrangements oftne One of the oldest and most noted Music Schools in Anrerim music accompanying each dance are torn ■ 131-133 Bellefield Avenue while in a separate booklet very carefully Please mention T E ETUDE when addressing our adve PITTSBURGH, PA. illustrated directions are given for the figures of each dance. 0E etude MARCH 1927 Page 289 Page 288 MARCH 1921 thb etude Educational Study Notes Bach’s Two and Three Part Inventions as a Foundation Continued Jroi >f stor ^before you finally decide on The Musical Digest The Choir Master of Polyphonic Playing : with that PIERRE V. R. KEY, Editor Each Month Under This Heading We Shall Give a List of Anthems, (Continued from page 180) Coda ^f*this dance, employing pest materfaC i Please observe, in the ninth measure from the end, the effectiveness of the altered Super- Solos and Voluntaries Appropriate for Morning and Evening instead of horizontally) a proper perform- must be accented, especially when accom- eSS.fh”re is none like Beethoven, no, not one. tome Seventh chord (B-Flat, D-Flat, F-Plat, A-Flat). Toward the end of the famous Pilgrims' ance of the passage will result in a sue- panied by more rapidly-moving counter¬ MAGAZINE NUMBERS Services Throughout the Year. Canoeing Waltz, by Walter Rolfe. Chorus from Tannhauser” Richard Wagner intro- cession of thirds and seconds heard alter- points. The extent to which the momen- The First Week in Each Month A—;1 • : irate difficulty, opposite nately: tarily subordinate voices should be subdued will also depend to some extent on their Pierrot, Pierrette, by Hans S. Linne. 12 Times a Year—A Beautiful Book :s named may be 1 i for examination. Ou are always reason: character. The more interesting they R ffc ’as3*o'6*act*'rel'atkm between6 canoe^n One day Mr. Hans Linne, famous as a con¬ are in their melodic or rhythmic make-up ductor of light opera and musical plays, was call¬ Wp0WMt1p?ay the right-hand part a bit louder ing ^on a distinguished friend in ^ California. SUNDAY MORNING, May 1 the less they should be allowed to fade Distinguished Contributors PRELUDE y SUNDAY EVENING, May IS into the background. ^Fr'the was. if you like to have Words to ac- the mantlepiece two porcelain figures—Pierrot PRELUDE and Pierrette, that famous amorous pair whom ANTS" .Godard-Kraft . . This discussion of tonal values has so everyone knows and in whose likeness people Smartly Written Articles ANTHEM .Kinier I strongly advise, in all passages containing far been concerned exclusively with the often attend masquerade balls. They were most (a) Eternal Gates Lift Up Their excellent porcelains, and as Mr. Linne gazed (a) The Lord Is My Shepherd• „• „ . Y°ices to ,be PIa^ in oni hand- that question of balance between 'the voices Special Art Features ... ,Heads .Chaffin George B. Nevxn they be played first with two -hands, vary- h t t r ti • V_L.- « ., at them the idea canie to him to write a song (b) Hark, Hark My Soul! about these lovers. And that is the “story” back (b) Softly Now the bight of Day mg the tonal balance as described above, of tll^ matter, a polyphonic piece'needs Original Cover Designs in Colors F. A. Clarke In this *song strive to express the various SOLO SOLO StultS af.d then ln °ne hand, endeavoring to du- just as much tonal variet hori 6d moods ^ of coyness, .Jove» ^isdain; make the pic- Adoration .Borowski Still, Still with Thee..Ward-Stephens Pllcat® exactI-v effect; an especially setase (diminuendos, crescendos and so countenance to the changing text. The Minor episode should, of course, Be taken All the High Lights of the Month in Neivs POSTLUD(EVi0linand 0rgan) POSTLUDE ^77^ tSl ^SfXdt0inPrthCe' Postlude in A.Galbraith more slowly and expressively. Lead. Kindly Light.... Dykes-Lemare right hand of the last four measures in ^W o/^gSi«Zas ^ A PERFECT COMBINATION SUNDAY EVENING, May 1 SUNDAY MORNING Mav 22 6 0Urt.b _’u'entwn'n D imnor-. When t;ona| agency just as do the Chopin Noc- PRELUDE PRELUDEMUKNING> May 22 these preliminary methods of practice have Hmics or Mendelssohn Snugs WUhZt P,0RIGHT*'(?UT. This is one of the very best songs by this Second, Third and Fourth Weeks ANraEll'' Christiani WfeS* Chorus.Wagner-Orem been gone over suffiaently, the piece may Words_ A common failing in this re¬ favorite composer. Moreover, it discloses his be practiced with both hands together, i real gift for poetry-writing. The text of I Heard THE NEW EDITIONS (a) Jesu, Word of God Incar- spect is explained by an illuminating ques- La Ninita by Wallace A. Johnson. ‘ s complete form. a Fairy Piper allows an infinite chance for ex¬ (b) Hear My Prayer.Guilmant 1 put to me not long ago by a student : Picture to oursef the Spanish setting, the pression; get the mood, first of all, and then 16 Pages Delightfully Compact (b) Twenty-fourth Psalm_Forman r problem now confronts us—the sunlight, the mtilla, the olive skin wondrously seek to put into^your singing that lightness and DUET * “Howxauw is it possible to do anything but „ff bv a ■. 1 rose held fast bclween rows of SOLO God That Madest Earth and difficulty of preserving the continuity of make Q All the News in Concise Form Praise to God, Immortal e general crescendo throughout a pearls. Mr. ohnson has indeed caught the start ujj from the page and transmute themselves Heaven .Rathbun ‘he second voice when it is divided between - rhythm and beauty of Spain^into his^music; and Digests of Leading Critiques Praise ....Lerman "(Soprano and Tenor) the hands. i thU Bach Fugue, since at every appearance of mtRoU theC1lettergr f^th^word “trill.” This will Sound Editorials (Baritone solo) j th -f ^ difficulty thg theme it must be ]ouder than the Qther make it much more definite. „ as early as the second measure in the first measure 25 the stamp of a dainty foot is This song certainly requires a very fteuble Foreign Current Events voices?” It never occurred to the young voice; especially for the semi-coloratura effects Specialized Departments “Invention.” The second voice enters on the ma""that a sufficient dirninu The tonali'ies in this piece represent a waver¬ on the syllable “Ah.” The words “Not yet” __-te of this^measure, the °P ‘ * ing between the keys of D Minor and F Major. SUNDAY MORNING, May 8 SraMVBVENlNaPRELUDE M„y 22 first four notes‘ being played by the left th th «- ■*?.•««»]H ,, • secret* whicShnheS,win no^discloscT “he" is PRELUDE reentrance in Song of the Reeds, by Hans Seeling. ',gM°rd in Roslindale, Massachusetts. anVhI°m.Dvorak A^wdight Devotion .iW ^2*** heard, « (a) We Praise Thee, O God (Te rieces8dhavebleoftmtabeai Pmentioncd these Deum) .Clough-Leighter
It begins with the very rudiments of Music for Commencement First and book and it will prove very satisfactory be demanded in school, home or commu- The World of MllSIC music, musical notation, and devotes con¬ Third Position Album, in kindergarten work. It is now ready for nity singing. This collection will contain (Continued from page 171) The selection of appropriate musical tin and Piano Press 80 advance subscribers may soon more than two hundred numbers and most cnATY1H +n tak- siderable space to the cultivation of sight¬ numbers for the commencement program singing and the proper use of the physio¬ Violin ana riano expect to receive their copies. of these are now engraved and ready for Uf. seems, be tak is an important task in which teachers When violin students have mastered the The special introductory price in ad- the printer. It is only necessary to put j£jFjption Serts fi being given this winter logical equipment utilized by a singer. everywhere are now engaged. A judicious This beginner's voice book will have nu¬ first position thoroughly and begin to vance of publication is 25 cents per copy, the final touches upon the book and then , ,the Leningrad Philharmonic, according to choice of attractive material will have practice what is known as the “shift,” they postpaid/ it will be ready. We feel that this is a late ^^wilte^Otto lie”* merous illustrations of the parts of the much to do with the success of this event human body upon which singers are de¬ are then seeking more worlds to conquer. p t NTedrft Sniri tunic work of which we can we be Prouf , Erich Kleiber and Fritz Stledry are guest con¬ the climax of the scholastic year. Year fining into the Third Position’ opens up INegro Spirituals The specjai introductory price in ad- ,luctors. pendent that will prove most illuminating after year the Theodore Presser Co. re¬ to voice students. anew field and enlarges the possibilities By Clarence Cameron White vance of publication only 10 cents per si.OOO of the National Fed- ceives numerous requests from colieges for interesting violin solo presentations. For the compilation and arrangement of copy, postpaid, presents an excellent op- erat9)*jj 0f Music Clubs, given by the C. C. In advance of publication orders may be and schools for assistance in compiling placed to secure a copy of this book when There are many delightful pieces that do a book of Negro Spirituals, no one is bet- portunity for obtaining a most comp re- Birchard Company in the name of Carolyn commencement programs and in order to not require the student to go out of the ter qualified than Mr. Clarence Cameron hensive collection of songs at a very Beebe, for**;Sty,01"bag been it appears by sending 60 cents with the render the best possible service to their advance of publication order. First and Third Positions. Our catalog of White, who is one of the foremost com- reasonable price. awarded- - to■ Ernest- ---- —Bloch. ■ -—' *-— --- -- patrons, they have issued a folder listing violin sheet music is particularly rich in posers of his race. Mr. White has selected .. ^ first time that Mr. Bloch has won such hon- suitable numbers for this gala occasion ...... his Suite for Viola and Piano having won Easter Music pieces of this nature and we have as- forty spirituals for this book and these New Organ Collection the’ Coolidge_ ... prize. , 1919. which will be sent gratis upon request, and sembled in this new volume only the best include all the old favorites and traditional In our series of albums printed from Music occupies a most prominent place cheerfully offer the assistance of their in the celebration of this great church and most successful ones. These are numbers which everyone should have, to- special large-plates, there is, so far, only Pl.al)Z Leliar, composer of “The Merry “Selection Department,” a group of spe¬ chiefly by popular contemporary writers, gether with some well authenticated num- one volume devoted to organ music, 2 he Widow,” Is reported to he about to feast and many excellent musical composi¬ cially trained workers, who will make up in a community that has not given classes tions have found their inspiration in the The special introductory price in ad- bers hitherto unpublished. All’the songs Standard Organist. This is a book of its central flgnre. Lehar now spends NEW WORKS in the past has lost real opportunities. for patrons requesting such service, special vance of' publication”• ” is 50 cents per copy,-“*• are for solo voice with piano accompani- sixty-four pages contaming forty-three most of his time in retirement in the little scriptural texts describing the Resurrec¬ selections of piano, voice, or chorus num¬ It is surprising what a very simple mat¬ postpaid. ment. The piano accompaniments, with- pieces. It has proven a great success. The Austrian village of Ischl near Salzburg, Advance of Publication Offers tion. Organists and choirmasters are now bers. These selections will be sent for ter it is to get special classes of summer busily engaged in preparing their Easter out being difficult, are genuine works of 1Veai Organ Collection now in preparation Aneuste oevaert, the Flem- music students under way and teachers examination with the privilege of return¬ Violin Method for Beginners art, beautifully harmonized and serving will be similar in size and scope, to tbe compo8er, p, to have a monument at Brus- March, 1927 programs. Some choirs will present can¬ ing any or all if found unsuitable, the experimenting with them for the first time tatas, and it is surprising the number of By Ann Hathaway to enhance the beauty of the vocal parts. Standard Organist and we have had a Bclg> t0 be bulu by order of the Belgium Royai patrons’ only obligation being the small special introductory price in ad- wealth of material from which to make Commission It is to be tfgrantte and saud- Allium of Study Pieces in Thirds and will be more than delighted with the revenue such works that are available for use by amount incurred for postage. This is by This violin instruction book is being of publication is 75 celts per copy, the selection. This will be a good all- stone and to be erected before Sixths .3 that may thus be secured and the pres¬ choirs of moderate ability; others plan added to our catalog, not because it is - Beginner’s Method for the Saxophone.4 tige that comes from having shown such far the quickest and most satisfactory around book, adapted for every occasion. Beginner’s Voice Book—Proschowsky.6 special Easter anthems and not a few merely good, but because it is an outstand- l 0StPalcl- initiative and activity in successfully con¬ method of making a selection, as proven The pieces are by standard and contem- Oriental Music, with its curious inter- Book of Part Songs for Boys With Chang¬ choirs will combine with the Sunday School by the fact that year after year the same ing offering to aid the teacher of violin Album of Study Pieces ing Voices . 3 ducting summer music classes. class in presenting a service of songs and porary writers and most of them lie in Brehm’s First Steps for Young Piano Some teachers are sufficiently gifted to patrons write in for this .service. Be as beginners in obtaining very satisfactory jn Thirds and Sixths the intermediate grades. Students, church been invented by P. Psachos, professor of Beginners .2 scriptural readings. For all of these the t Octtingen, Germany. he able to do personal missionary work explicit as possible in outlining your needs, results with these beginners; however, it Fifty Easy Melodious Studies for the Theodore Presser Co. has provided most stating whether instrumental or vocal, solo ■--.- - embles an o, Pianoforte—Op. 7—Biehl.3i with parents ’round about them, but those abundantly, having not only the num¬ f octaves con- First Garland of Flowers—Violin and who are not gifted with the ability to gain or ensemble numbers are wanted, whether Piano—Weiss . .31 bers in their own comprehensive cata¬ , , , [ . ,, will be continued during the current new collection. . success through personal approaches can the choruses are to be in two, three or hooks and -Indies that the Rather might mQnth «D blfe_ tes» pla° an important The special introductory price in ad- r like it is ndt Forty Negro Spirituals—White.7. log, but the best numbers of all publishers, four parts, etc., and you will be surprised Fundamental Studies in Violoncello Tech! achieve the most satisfactory results with from which to draw in making selections utihze are, having given a good founda- technic, but prac- vance of publication is only 35 cents per nic—Schwartz . ,4i the use of letters holding forth the ad¬ and delighted with the results you can e has been the H. M. S. Pinafore—Sullivan.51 that will cheerfully be sent for their patrons’ obtain through this handy method of select¬ K £ S book^ shows 'the ‘icingthese in th/ordinary technical exe, copy, postpaid. Master Vocal Exercises—Connell.4i vantages of a musical, education and approval. Single copies may be had for ex¬ Melodious Study Album for Young Play¬ knowledge, and the opportunities that are ing music for the commencement program. a clean-thinking, progressively- Secular Two-Part ers—Sartorio.31 amination and in ordering these “On Selec¬ to be offered in the special summer classes tion” items patrons are requested to give, as imnded and exceedingly practical expert- ln study pieces introducing these technical Song Collection .ri = — Miss Polly’s Patch Work Quilt—Operetta that are to be held. —Stults .4f nearly as possible, their exact needs, men¬ Miss Polly’s Patchwork enCCd teHChCr"- . devices in a manner both practical and Pa“_songs are COming more and more ““tee Xefexamples^sgte^h New Collection of Favorite Songs and A first letter need only give a promise tioning the number of members in the musical, practice becomes a pleasure. I his jn^Q generai demand. Singing in the century sacred music were not lost, Choruses for All Occasions.1< of such classes, then another later letter Quilt—Operetta New First and Third Position Album— choir, their experience, ability, etc. This is the latest volume in the series of Study scboois> throughout the country, is on the Violin and Piano.6( can announce the dates upon which the information will greatly aid the clerks in Music by R. M. Stults Pieces for Special Purposes, albums of increase. After the rudiments of sight- A*’"*® thepimpSsafof New Organ Collection.3S classes will be held and the terms of en¬ making an intelligent selection and enable Very First Pieces Played Secular Two-Part Song Collection.2( The authors of this new work, now an¬ piano pieces devoted to various technical sjng;ng have been mastered, the best and Mrs bEllTe Marks, of Johannesburg^ And, by rollment. them to give more satisfactory service. A On the Keyboard problems. most useful practice is to be found in the way, this enterprising city of the far south Seven Octave Studies—Kullak.4C Just as business houses frequently find nounced for the first time, have planned Twenty-four Caprices—Violin—Bode.4E folder giving specially selected lists of it as especially adapted for amateur, By N. Louise Wright The special introductory price in ad- tw0_part Work. Naturally for this purpose supports concerts by the best European artists. Twenty-four Melodious and Progressive three, four and five letters are necessary anthems, solos, cantatas, services, and pipe -of publication is 30 cents per copy, the yoice parts must not be of extended COMPETITIONS Studies—Gurlitt .SC to achieve success in certain undertakings, church or junior organizations as it may Miss N . Louise Wright, who is herself Very First Pieces Played on the Keyboard organ numbers will be sent gratis to all be produced either by young people or by a busy and successful teacher, particularly postpaid. compass. Our new book of Secular Two- A pH/e of ^-,,0 is offered by the National so the teacher should be ready to send a who request it. —Wright .25 grown-ups. It may be staged acceptably with \.,g students, is very enthusiastic New Collection of Favorite Part Songs has been compiled with a view Association of Organists for the best compo¬ Violin Method for Beginners—Hathaway. .40 third letter, if necessary, to the list of te these requisites. Moreover, in the selec- sition for the organ, by composers resident in parents or prospective pupils, reminding in lecture-rooms or community halls as about he- new book. She has succeeded g . and Choruses for rr - _’ enno-ht for the United States or Canada. The competition them that the classes are being formed, Beginner’s Method dancing is not one of the requisites. There inn making these little piano pieces exceed-exceeu- ‘fV,---- M _ tion 01of xnethe nunnumbers, uers, wewc have sougnt ror-y* closeg May 15, 1927, and full particulars may Planning Summer Classes are fifteen short speaking and singing intrlv ,t'( active for young pupils and has All LfCCaSlons* , beauty of melody and general musicianiy be had by addressing the National Association that the date is rapidly approaching and or the Saxophone Dresented material ‘which may he taken In the compilation of a collection ot this mies# This will prove one of the best of Organists, Wanamaker Auditorium, New That Bring You Prestige that immediate enrollment should be made There many cheap inefficient works upon parts, together with a mixed chorus in this if the study opportunities offered are to the market purporting to be methods by clever little operetta. The libretto is by ITS "after but^ very few Us of the kind ever published. ^ _ and Added Earnings Lida Larrimore Turner, who has col¬ include and what to omit. We have exer- The special introductory price A Felli- ■ steal Com be utilized. which the saxophone may be learned lesson, y the American Acade The time will soon be along when laborated so successfully with Mr. Stults . in giving a pupil'■ something ciseacised'great great, cavecare in our selection ---however, vance- otof puDpublicationi is 20 cents per tion is offered Summer classes are excellent opportu¬ quickly, but now that the saxophone is . n . F 1 _on/1 Vinvp cc Rome ; and the 1 itiou for tl ' parents and students will be planning nities to create a wider interest in music established as one of the most useful of in a number of other operettas. This oper¬ with April_W ' fufl stipend a-— . their vacations to be enjoyed after the etta is particularly amusing and enter¬ _ thousand dollars per year, -and full par¬ study. The greater the interest the teacher wind instruments and is utilized by con¬ n tune, or popular favorite that might (Continued on page 242) ticulars may he had by addressing Roscoe regular school season closes. This means is instrumental in awakening, the greater ductors as a regular member of the band taining, although it is easier to produce nection with any method or instruction hyi Guernsey. Secretary, American Academy in that the enterprising music teacher cannot will be that teacher’s success. and orchestra, there is need for a sub¬ than the other works of these writers. The Rome, 101 Park Avenue, New York City. begin too soon to lay plans for the an¬ music .is in Mr. Stults’ best vein, always stantial instruction book that saxophone Christmas Joy at the Home of The Etude Music Magazine nouncement of special summer classes in instructors can use with success in in¬ melodious and yet within the range of Beginner’s Voice Book opera in two acts, with small orchestra and music study. troducing beginners to the saxophone and ability of untrained voices. without chorus, is offered by the Conserva' Students and parents or anyone else By Frantz Proschowsky developing them in playing ability upon it. The special introductory price in ad¬ T has long been the custom Giuseppe Verdi c' *- *-* “ I side-light on tl” * having an interest in sending anyone to If one individual was.to go to this emi¬ “The Beginner’s Method, for the Saxo¬ vance of publication is 45 cents per copy, of the Theodore Presser your class or being actually a prospect, nent voice expert, who has been the vocal phone,” that we are preparing will be postpaid. Co. 1o celebrate Christmas should know of the weeks during which the advisor of Galli-Curci, Schipa and many clear in its rudimentary material and in the old-fashioned way in its class will be held before deciding upon other leading artists, and offer to pay at starting right from the beginning will pro¬ is offered by the Infantry Journal. Full par¬ Master Vocal Exercises own establishment. Owing to ticulars may be had by addressing the Infan- dates that will take them away on vacation. his regular tuition rates for the time he gress logically. the development of the business, | try Journal, Washington, D. C. The mere reminder that announcements would spend in gathering together all of Mr. fl. Benne Henton, recognized as By Horatio Connell however, we have outgrown the 1 of classes should be prepared in good the requisite materials that he would sug¬ one of the foremost exponents, is super¬ A Prize of IjtlOOO is offered by C. C. Birch¬ Mr. Connell, one of our foremost voice facilities of any room large ard, of Boston, for the best original cantata time is also a reminder that other prepara¬ gest a voice teacher use for developing in vising the preparation and arrangement teachers, has been using these exercises tion must be made for these classes. enough to hold the force of ap¬ suitable for choral presentation ; and a sim¬ a real beginner sufficient vocal proficiency of this saxophone book, so that saxophone for many years in his own teaching. In proximately four hundred em¬ ilar sum is offered by the National Federation Teachers who have conducted such and musical ability to lay a strong founda¬ teachers here receive best advice with re¬ his work he has tried out many exercises of Music Clubs for a Symphonic Poem. Both classes successfully in past summers know ployees. these competitions are under the auspices of tion for vocal success, it would be found gard to instruction of saxophone beginners. and has retained onlv those which in his that a most successful course of study can Therefore, during the past the Chautauqua Assembly of New York, and that the total bill would be of such an Prior to this work being placed upon judgment are absolutely essential. He particulars may be had from H. Augustine be outlined around such a book as “The two years, our Christmas cele¬ Smith, Boston University, Boston, Massachu- enormous size as to take one’s breath away. the market, orders are being accepted for will use this new book in his classes at the bration has been held in the Standard History of Music,” by Cooke, for And then the cost of getting it into book delivery when the work is ready, at the low a musical history class, the “Harmony Curtis Institute, Philadelphia. Mr. Con-. beautiful Byzantine edifice of form to use in giving instruction to pupils advance of publication price of 40 cents a himself, a very polished singer In A Prize of One T Book for Beginners,” for a beginner's har¬ copy, postpaid. the First Baptist Church, the ■would be enough to discourage any one addition to being a remarkablv successful offered by the Nations mony class, or “Theory and Composition individual teacher from attempting to use nearest auditorium to our busi- _female _____singer ._* __ the most 0 of Music” by Orem for the more advanced voice trainer. This book is now on the standing quality, to be determined in the . the wonderful material recommended. Book of Part Songs for press and copies will soon be ready. ’-*■ of 1927, conduc ‘ ' ' v the" National Fed¬ The business closed at 2.30 on eration of Music Clubs. Particulars from Mr. This is where the Theodore Presser Co., Boys With Changing Voices The special introductory price in ad- Of course, for regular piano classes, as educational music publishers, steps in Christmas Eve and the em¬ E. H. Wilcox, National Contest Chaii such excellent instruction books as “Be¬ For years it has been the demand of vance of publication is 40 cents per copy, ployees marched in double file Iowa City, Iowa. and assumes the expense of producing the music supervisors that suitable material be postpaid. ginner’s Book,” by Theodore Presser, material that Mr. Proschowsky has writ¬ carrying garlands of Christmas “First Year at the Piano,” by John M. produced for part songs for boys witli greens and were preceded by ten, arranged and compiled so that voice changing voices. Here is something to Williams, “Book for Older Beginners,” by a brass quartet playing Adeste Theodore Presser Co. Christmas Services teachers and students may have sensible, satisfy the demands of those who want Fifty Easy Melodious Studies John M. Williams, or Mathews’ “Standard practical and logically arranged material suitaMe numbers for use in High Schools, ,s may be hai Graded Course of Studies,” will serve ex¬ for first voice study at a very nominal for the Pianoforte ceedingly well. Boys’ Clubs or Camps. There are. five By A. Biehl, Op. 7 On arriving at the church, “National Capitol Official Song” numbers in this volume (Gipsy Song, Song . “ Preston Ware Orem, participated in sing- Several of the Trustees and Directors cont« ■st is to he held under the auspices of Then, for violin instruction there is the Incidentally, as is the usual rule with Biehl s Op. 7 is probably one of the very which was filled with a large __ of the Presser Foundation attended and the Ni itional Federation of Music Clubs. It is excellent class instruction book called “En¬ of the Road, Swing-Along-Alo. Evening congregation ot friends and neighbors, tne Christmas carols, great educators preparing works that vir¬ best of the standard second grade study tlle the entire occasion was one which can only nTN semble Method,” by Oscar J. Lehrer. Song, Nonsense Song) and they fit an ex¬ services were opened by an Invocation by speakers for tt ill particulars may be had from Miss tually amount to contributions to the field cellent variety of usages, furnishing mate¬ books. While the exercises are intended be described by the adjective unforgettable. Bcntri ce R. Goodwin, Contest Chairman. 5 Teachers desiring suggestions upon in which they are interested, this work chiefly to promote good mechanism, they the Rev. Ivan Murray Rose. There was a famous American no . The services were broadcast over Station West Lenox Street, Chevy Chase, Maryland. works covering other particular branches rial for either unison two, three or four- lias become a labor of love and the guthor part singing. are not at all dry, each one is short and large orchestra selected from the Civic Mr 0wen Wister, who is also a musician, WIP, Gimbel Brothers, Philadelphia, and A j may correspond with us for such informa¬ •rize of One Thousand Dollars is has devoted considerable time to making to the point. When well played, these •Tunior Orchestra, conducted by Albert N. ^ Honorable Roland Morns, former Am- were non-denominational. offeree l by the National Federation of Music tion. These numbers are exactly as the title it a work that satisfactorily takes the be¬ of the book indicates, not only suitable in studies have a very good effect." Our new Hoxie. These boys have been under the bassador to Japan; and Lt. Com. John The Christmas festivities were conducted Clubs, for a new setting, by an American com- The community that has no teacher who ginner into the technic and art of singing edition of this work will be added to the ...... ,_, ... the Beautiful.” music and vocal range, but also satisfying tutelage of foremost violin teachers i Philip Sousa, U. S. N. R. F., w uyby Jamesucs Francis Cooke, President of thea..*, by Katharine Lee Bates, which has been has been active and progressive enough in just as other meritorious works for years / resser Collection and it has been pre- Philadelphia, including Leopold Auer, to making a stirring address, presser Foundation and President of the the past to have presented special sum¬ as to text for the young school fellows adopted ns the official hymn of this organiza¬ have been introducing beginners into the to sing. pared in our usual careful manner. Carl Flesch, Otto Meyer (Seveik’s Amen- ' conducted the orchestra in two num- Theodore Presser Company, known to n..r tion. The offer will be open but a few months : mer music study opportunities has missed technic and art of piano and other instru¬ lhe special introductory price in ad¬ and compositions or letters for more detailed something “worth while,” and the teacher Advance of publication cash price, 30 can representative) and others. including his own famous march, readers for twenty years as Editor information should be sent to Mrs. Edgar mental departments in the field of music. cents for one copy only, postpaid. vance of publication is 30 cents per copy, Stillman Kelley, Oxford, Ohio. postpaid. A splendid choral group from the Theo- Q\ory» The Etuue. Advertisement dore Presser Co., under the direction oj Advertisement THE ET THE ETUDE MARCH 1927 Page 243 H. M. S. Pinafore Brehm’s First Steps for Comic Opera Young Piano Beginners By Gilbert and Sullivan Every practical teacher realizes the In playing through the score of H. M. 8. value of having a variety of material for Pina fore, we were impressed by the won¬ piano beginners, especially when two derful vitality and freshness of the 1 students in the same family just as interesting today e first neighborhood begin to study at the s heard it. The real art v ___ _ B. old and a good melody always persists. Many of our patrons, no doubt, wonder Although Pinafore is still upon the pro- why we announce the publication of this fessional stage more or less, it is one of work when our catalog already contains the best works that we know of suitable such successful books as Presser’s Begin- for production by organizations of capable net’s Book, Presser's First Steps, Williams’ amateurs. The libretto, by W. S. Gilbert, First Year at the Piano, Mathews’ Stand- JUNIORr is just as good as Sullivan’s music. ar,l Graded Course, IJarle’s Modern The special introductory price in ad- Graded Course and Neely’s Modern Piano of publication is 50 cents per copy. Method postpaid. This natural inquiry is answered by the ETUDE first sentence in this article, but in addi¬ Mr. Abraham D. Hill h Seven Octave Studies—School tion to this book’s use for that purpose the music business 20 yea started with the .1. E. Ditson Com of Octave Playing—Part 2 we fully expect many teachers to use it pany, Philadelphia, i - By Theo. Kullak regularly, as it is a most meritorious work 1901. When this sto i discontin- , ,, , , whosewnose worthworm hasnas broughtDrougnt forthfort so many -and has developed rap- ued busiuess in 1912, 1 idly into a clerk with un excellent CONDUCTED BY ET_.IZABE.TH A.GEST another retail music st hvV b °St POpular *how-v” Pieces requests for its publication since we oo- 'ledge of our stock ami has n ' teachers as a recital number for tained it with the Brehm Bros, catalog “ food judgment in fulfilling d«; n the year 1919 that the I,' f"Cefd pup,ls 1S. F'rorp, Flower to Flower, that we have been obliged to accede to the the duties placed” 1770—Beethoven—1827 The Coveted Book March Anniversaries Theodor^_HP Allen E. Miller. in securing his services a _ Studio ‘ TuT ■“ thlS b°°!i: °/ ex(;eUent demand. It is a book that will appeal B-orn in a little village called Bonn in Anniversaries of the following musi¬ of the special experience he had he nn nctn„ ,kk *S a ^cognized authority especially to the teacher who believes in By Edna J. Roberts Germany, in 1770. cians are celebrated this month (March). was placed in onr organ, violin a ’ his m of6 * *m§. and tbe?.e studies are keeping the student working in the treble Stock Rooms. This Is a depart incut miscellaneous string and wind : E-ven in early childhood showed his great Perhaps some of you can honor their days by Htcr dnl °lf Han -ln? eontribution to the clef exclusively for a while after beginning that carries the complete edit huts The little boy’s legs dangled over the into which the elder brother had copied of Theodore I’l-esser Co. book pub- talent, and playing some of their compositions at your Even those whose “rd the instrument The forth- piano study. ‘xhe advance of publication edge of the high bench, his. fingers, slender many fine compositions. The book was al¬ the Instruments fc r which puhliea- E-very day his desire to be a great musi¬ March club meetings. You might also tions can be supplied b„ and white, pressed down the keys of the ways kept on the highest shelf of the book¬ cash price is 25—* liveries are made from this stock cian became stronger. look up some interesting details from their partment would be surprised tc _ most excellent one and teachers and ad- . . _ _ , to the Mail Order Department re¬ great organ, and a clear, sweet tone, sounded case and the younger musician had been the volume of music sent out from plenishing the stock from which T-hat is how he passed his early life. biographies. You will notice that two of it, as well as the great number of I vanced students should take advantage of Advance Of Publication through the arches of the dim cathedral told that the music in it was too difficult orders are filled. H-ow he grew up to be one of the greatest the world’s greatest composers are in this publications from the catalogs c " this opportunity to secure copies while the Offer Withdrawn foAfter ts®rving in this department and echoed among the great images on all for him to play. How the little fellow had all publishers carried in stock. O-f the world’s composers you all know. list, Bach and Beethoven and as this Mr. Hill is in charge of this d( work is offered at the special low advance For some months we have been giving sides. He played softly and slowly at longed to study the beautiful scores so that to the Mall Order Department V-ery sad was his later life, for he had month marks the one hundredth anniver¬ partment and in his excellent supei of publication price, 40 cents, postpaid. readers of the Etude an opportunity to file (Presser Book Division) where be¬ first, as if in doubt, but soon the music be¬ he might play them as well as his brother 1 vision of it checks all orders fille to work sary of Beethoven’s death, special pro¬ by the assisting clerks in the dt- , fore his four years iu this depart¬ came fast and merry like the whir of his “I will learn to be as good an organist as TweMy-fom Melodics ment had been served, he was de¬ E-ven against great odds, the worst of grams and events are being held all over partment, this being a policy of the pended upon to chock orders that grandfather’s mill wheel. Many a day he my brother, if I can only use his books,” Theodore Presser Co., in order tc ' and Progressive Studies unique and interesting little book provid- had been tilled by other clerks. which was his the world in his honor. had listened to its swish and rumble and thought the lad. for the Pianoforte ing exercises and instructions for acquiring In 192.5 .his experience was broad-, N-ever-to-be-cured deafness. Could you March third, Maurice Ravel was born Among some of the novel and I ened through undertaking duties in heard the music in its motion, and now he He worked every night for many months interesting things found in the 1 By C. Gurlitt Op 131 independence and control of the fingers have done what he did? in France, 1875. stocks for which Mr. Ilill is re¬ the department that handles the was trying to imitate on the great organ to copy the contents of the precious hook, standard and classical collect ions March eighth, Hector Berlioz died in sponsible are the miniature scores issued by the leading foreign and just what the water wheel had said to him. stopping only when his eyes could no longer of symphonies, overtures, concertos Paris in 1869. string quartets, quintets, etc. This American publishers as “libraries ” 1685—Bach—1750 Suddenly the merry tune came to an end bear the strain. The work was finished be¬ “editions” and “collections." He is March tenth, Pablo de Sarasate was unequalled stock of miniature scores still connected with this department and in its place a sound of childish laughter. fore his brother discovered what had been of orchestral and ohamher music is Srfavorable response and many experi- rsr*""gu,ar pr‘“ t0 B-ack in the seventeenth century Bach was bom in Spain, 1844. indicative of the many unusual and also looks up prices or quota¬ born. It was the little organist laughing aloud at done and took the book away from him; classifications of music publications enced teachers are taking advantage „ , tions for customers inquiring as to March eighteenth, Nikolas Andreje- tefna8 few various publics tions. A-nd once he walked all night to hear his own good fortune. Climbing up on the but the strain on the little boy’s eyesight carried in stock in keeping with our of the extraordinarily low advance of Beware of vitch Rimsky-Korsakoff was born in efforts to have “Everything in publication cash price, 30 cents, to Fraud Agents someone play the organ. bench he had reached for a large book that was to affect him in later years. This little Music Publications” on hand for self a dependable member of our Russia, 1844. Order Depnrtriicnt, ever ready to C-an you wonder that he grew up to be our patrons. order copies for future use. Experi- Repeated warnings to pay no money to March eighteenth, Enrico Caruso was do his utmost to give real 'service such a great composer? V b ibValUe Studi.f soliciting subscriptions f” eYudk to our patrons. born in Naples, 1874. H-e was a hard worker and died blind n \ ,wnteli’ Wbile Muslc Magazine seem to have had little March twenty-first, John Sebastian supplying valuable technical work, does effect as we are in daily receint of and worn out in 17S0. X “eSthCt n,e mel°.f1C .s,}d? ^ composes plaints from music lov^,rs allP oveJ. Bach was born in Eisenach, Germany, Fundamental Studies in n av ‘ k W‘i I® dehg’teC' t0 country that they have paid for a year’ 1685. plaj. Our new edition of this work is be- subscription to Etude and have received What’s in a Name Violoncello Technic March twenty-sixth, Ludwig von Bee¬ thoven died in Vienna, 1827. By G. F. Schwartz Uperi°r no copies- Men and women with hard Nearly all music students, and certainly pumication m all respects. luck stories, not personally known to you, Progressive Teachers and all all of the good ones, spend more or less March twenty-sixth, Claud Debussy The writer of this work reveals a Earnest Students of the Piano time, energy and enjoyment on Bach’s died in Paris, 1918. prehensive knowledge of his instrument Will be Helped by and,. actingr on the presumption that the Eel*OUng^!?“8 ?PlayersK, Album Beware of boys “working their way fugues, especially those in the “Well Tem¬ pered Clavichord.” These are really mas¬ beginning student on the ’cello is more By A. Sartorio through college—trying to get votes SCIENCE IN MODERN Beethoven matured than the average beginner on We have in our catalog a long series enouSh for a scholarship.” This is almost terful compositions, and no doubt your other instruments such as the piano and of studies by Arnoldo Sartorio. All of mvariably a swindle. Look out for the PIANOFORTE PLAYING teacher has often explained to you just violin, he presents in logical sequence the these have proven very successful as thev ‘ex-service men” who have never been what a fugue is and how it is put together, BACH'S MANUSCRIPT By Leonora Sill Ashton by MRS. NOAH BRANDT olidaZnnfi HP"n7 eSbf0r , acquirin^ a are acceptable to both teachers and stu- a.f,os* the ^ater- We cannot be respon- and also what the “Well Tempered Clavi¬ a foundation of technical proficiency, dents. Most of them, however, are in the slbIe for cash Pald to swindlers. Our rep- _>ok Sets Forth Principles chord” is and what the name means. Do was on the organ and clasped it tenderly, in hoy was no other than John Sebastian “Master of all the musicians,” that Ma A useful set of exercises is included to- intermediate grades. Mr. Sartorio’s new resentatives carry the official Etude Music ke Beauty of Tone, Grace < " you remember all these things ? his arms. Another peal of laughter Bach, who spent his last years in darkness "Maker of mightiest song;’’ Uovemi ■nt anil Infallible Teehn •iTUl iirections for use of the book set of studies are rather easier than anv Magazine and Tlieodore Presser Co. re- PossibI, ‘ to Piano Players of hi Bach wrote some of these fugues for his sounded and the lad slipped down from the because of the lack of light when copying These are the titles we give him, wdh the standard cello studies of the of the above mentioned and are intended ceipt book- SiSn no contracts of any Average Talent own children; and he never realized at all bench and went scampering out of the from the coveted book. It was a sad end¬ These to Beethoven belong. great masters of the instrument. This to be taken up directly by second grade kind unless y°u first «ad them. oaken doorway. At last he had found the cher making a thorough and careful that he was writing one of the greatest ing to a life filled with melody; but the ^e self heln B?^VeteSpeCia1^ 'Ialuable to students. The practice of these studies book and at that moment was the happiest beautiful compositions in the book were Wondrous the sound of his music. the self-help student, particularly one who will tend to promotenromote both technic and mu-™„- ,Expiration Date is wili realize ^thalTTt works of all time. And on the title page boy in the village. loved by the great master to the end of his Fine and appealing his strains. e knowledge of violin playing. sicianship and they will prove very agree- Shown On the Wrapper of the collection this is what he put— The advance of publication cash price S, VXn® ™ S**a proper method of procedure which is the full title of the volume which It was dark and still in the house as he life. Fullness of power he brings us this book is 40 cents a copy, postpaid. makes aspirations attainable in half the 3 The° snedal introductorv nricc in ad- Opposite _vour name and address on the required when study is unsystem we know as “The Well Tampered Clavi- crept up the stairs; and he could scarcely Like to the ocean’s far mains. only avenue seems to be hours of>f drudgery, refrain from laughing aloud all the way First Garland of Flowers postpaid publiCatl°n is 30 CentS per C°W’ MZL"EWyjuhwfflZd the date on wMch wvm is fully con—ipetenA to his room. As he opened the door and Breadth of the plains he resembles. 1 1 ' your paid-for subscription expires. If “The well-timed Keyboard, or, Preludes Favorite Melodies in ixploit the important stepped into the’low-raftered room, a silver Depth of the night and the stars, _:_ y°ur wraPPer shows the date March, ’27 6 scientific principles i and Fugues in all the tones and semi-tones, the First Position for Violin Twenty-Four Caprices it indicates that your last paid-for copy 3 Playing, having dei alike with the major third, or Ut, Re, Mi, ray of moonlight fell across the dingy car¬ Joy of the summer and sunlight. The time came when Bach played before By Julius Weiss, Op. 38 tor Violin Solo was mailed at that time. Read the card pet and rested on the book in his hand. The Terror of sorrow’s grim bars. and with the minor third, or Re, Mi, Fa. the King. He was received with great The First Garland of Flowers long has By P. Rode in the uPPer left hand corner of the World pale moonbeam was the only light in the For the use of young musicians who are kindness by Frederick the Great who ap¬ been the standby of many violin teachers The Twenty-four Caprices for Violin ■ M“sic page of Etude. This is eager to learn, and also as a pastime for room, for there was neither lamp nor Like a great architect building m giving young pupils melodious pieces to Solo, by P. Rode, which will soon be readv ™Portant and exP,ains discontinuances, candle. So by this faint light he opened preciated more than any other the genius Wrote he the harmonies high. Science in Modern Pianoforte those who are already skSled in this study, of John Sebastian Bach. The King often play „„„„m the early, — stages®r“ of violinv!olin playing, for publication, will be one of the most Pemcrnber> the price of the Etude is 't only were these important p set out and made by Johann Sebastian the book and began to copy the contents. Placing each chord in the structure year, two years, $3.50. A two- at time of study, but they 1; This little boy lived with his brother exclaimed, “Only one Bach, only one Nearer to God and the sky. bmm n ?,l’vSln“ner "» always 'Pr-V “m- valuable addit!ons ^ have ever made to year remittance permits a substantial sav¬ Bach, Capellmeister to the Grand Duke blt‘° * P*r T P‘eoe .lust as soon as he the Presser Collection. This fine work is who was the church organist. This brother Bach!” ing in these days when the prices of com¬ SIfundIS“ldr1°Pi^ a of Anhalt-Cothen, and director of his lla !f.:.t0bpak t ifS oa.the strings; used after the Kreutzer Studies and, in was his musical instructor, but he never But the great master he heard not and this book is just the thing for that fact, is considered.. ... modities advance almost every week. chamber-music. Anno 1722.” There fact’ js, considered one of the three indis- allowed the lad to touch the coveted book Dear Junior Etude : One of his melodies rare. purpose. There is a piano part so that pensable works of advanced violin technic I have never written to you before because the little student is further delighted with viz; Kreutzer, Rode and Fiorillo. This ’',eeClS and Bulbs Supplementing cle Club Corner I felt so downhearted when I thought how Heard not a note or a tremor an accompaniment to these little pieces, new edition will be edited by Mr. Otto For Your Garden Dear Junior Etude : long It would take a letter to reach you. We Sounding upon the still air. implish perfection in the di Dear Junior Etude : It is just a year since we organized our have been taking the Etude two years and erent branches of piano playing-. We have formed a music club and we are ;lub, called the “Junior Musical Club.” We like the Junior page very much. I am learn¬ to have a business meeting the last Friday meet once a month. I will name a few of our ing piano and violin and hope some day to Know you what people have whispered Leading Teachers and Concert of every month and a recital and pleasure requirements. Each member must have had learn the organ. I have only a few friends Artists Highly Endorse These Principles meeting the second Friday of the month. ■at least two years’ work on some instrument. out here and they are not very fond of music. Telling the story so sad? sss s Price, $1.00 We meet at each other’s houses In alphabet¬ Alphabetically, three members must take part I do not live in a pretty country where I That it was God’s noblest planning mgm&si mmmfi ical order. oil the program each month. We study com¬ could roam about as I liked. I hope some Our club name is “Mnsical Recital Club.” posers, musical terms and other things to make day to go to a country where people love Making this weary world glad. Collectionri-js,.-,! 1! ssjssa ™ . , . . . . . gseflort ln securing■ S=T subscriptions,-i va for Etude THEODORE PRESSER CO. Our colors are blue and gold. us better musicians. With our light lunch, we music. Few people here know anything about Music Publishers anil Dealers We pay ten cents per mouth dues. If have a real good time and feel we arc learning music except jazz. I have often played in 1712-1714 Chestnut Sf„ Phila.. Pa. others are interested we will send in another more about music. We like the Etude portrait public at our ^school concerts. When the great hearing was deadened price is 35 cents a copy, postpaid. account later. Closed to all rankling of days; postpaid. source of pleasure to you for all time. From your friend. y Fraser (Age 12), Helen Sandberg (age 11), So that his ears might be listening Advertisement Oklahoma. Clearly to heaven’s true lays. Page 2U MARCH 1927 THE ETUDE
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Junior Etude Contest Hidden Composers Puzzle In the Spring a Young Man’s Fancy THE ETUDE The Junior Etude will award three Martha Freeman (Age 13) pretty prizes each month for the best and d a composer hidden in each sen- neatest original stories or essays and an¬ Lightly Turns to Thoughts of— swers to puzzles. 1. One vine i the vineyard lasted Subject for story or essay this month— longer and bore n >re fruit. It Will be interesting to our readers to know that many not over one' hundred and fifty words. Any 2, Never dive in > deep water unless you of the foremost musicians of Europe have read The Etude “Technical Exercises.” Must contain not FLOWERS-SHRUBS-SEEDS FOR THE GARDEN ! over one hundred and fifty words. Any 3. Babe Ruth made himself famous by for years and have been among our warmest Etude enthusiasts. boy or girl under fifteen years of age his home runs. Select Your Favorites from the Splendid Collections may compete whether a subscriber or not. 4. When filling out the questionnaire use All contributions must bear name, age the same form as on the other side. Shown Below and Pay for Them With Moszkowski, Scharwenka, Pu¬ and address of sender written plainly, and 5. Put the peas and lamb chop in the ccini, Sir Charles Villiers must be received at the Junior Etude oven to warm immediately. Stanford and others were par¬ Office, 1712 Chestnut St., Philadelphia, Pa., 6. Why what on earth is the matter with NEW ETUDE MUSIC MAGAZINE SUBSCRIPTIONS before the tenth of March. Names of your hand, Ellen? ticularly interested. prize winners and their contributions will 7. I never knew what a hard job a be published in the issue for June. chase was until I tried yesterday. Put your name and age on upper left Edouardo Poldini, the celebrated THREE MAGNIFICENT CANNAS hand corner of paper, and address on . composer of “The Dancing Doll,” upper right hand corner of paper. If your Puzzle Corner Given for One New Subscription “Marche Mignonne,” and many contribution takes more than one piece of Answer to December puzzle: 1. B-onn The Canna collection we offer is composed of the most improved varie¬ world famous works, sends the paper do this on each piece. Do not use typewriters. 2. A-R-ithmetic ties and the most gorgeous, brilliant and beautiful you ever saw. following unsolicited letter of ap¬ Competitors who do not comply with 3. Tr-A-viata KING HUMBERT—This is the grandest Canna ever offered. The large heart- preciation of the new spirit of ALL of the above conditions will not be 4. Bac-H shaped leaves are purple-madder-brown over bronze. Plants grow 5 feet tall and are crowned with immense heads of Orchid-like scarlet flowers The Etude. considered. - 5. Alha-M-bra measuring from 6 to 8 inches across. 6. Orche-S-tra SHENANDOAH—A magnificent Canna bearing gorgeous large trusses of Composer—Brahms. beautiful pink flowers. The foliage is exceptionally fine being rich ruby tropical plant-
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THE ETUDE MUSIC MAGAZINE ETUDE MUSIC MAGAZINE THEODORE PRESSER CO., Publishers co. Philadelphia, Pa. PHILADELPHIA, PA. Jlglits -ssgr P-J- mm. THE PIANO
To The PIANO Teachers of AMERICA!-
The National Piano Manufacturers’ Association has recently embarked upon an educational program de¬ signed to bring about a keener appreciation of the piano as an institution in the American home. The success of this undeniably sound and ambitious movement is necessarily based upon the utmost co¬ operation of all those allied with the piano industry. It is felt that no greater means to this end can be brought to bear other than the assistance and influ¬ ence of the Piano Teachers of America. The benefits to be derived from this movement are many, its purposes both altruistic and selfish. But the benefit which will ultimately affect the piano teachers is the increase in the number of American children studying the piano. The National Piano Manufacturers’ Association has formulated its plans after an exhaustive study of the needs of the industry. Realizing that it requires the active support and co-operation of the American Piano Teacher this appeal is being made to you to assist in this movement to widen the scope of the piano. If you wish to know more about our plans we would be glad to have you write us for further detailed in¬ formation.
NATIONAL PIANO MANUFACTURERS’ ASSOCIATION
247 Park Ave., New York, N. Y.
V