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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1942 Volume 60, Number 11 (November 1942) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 60, Number 11 (November 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/233
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Editori MUSICAL I JEWELRY I TUI® LI GIFTS m(D How fo Order FOR "LITTLE" wen Use the numbers in ordering to indicate which style pin is de- blessed be (rod who. THIS CHRISTMASTIDE H E D M O N T H I. Y "Bless all the churches and sired. Give second choice. Where P i; B L l S i letters are given for qualities, PRESSER CO., PHILADELPHIA. I’\. churches. write one after number to indi- ]*V THEODORE in this great trial, giveth us the cate the quality wanted. (*) in- i ADVISORY S I A / dicates that clasp pin has a safety EDITORIAL AND ABRAHAM LINCOLN catch. Special Initials engraved TJilor LYRE PIN • TREBLE CLEF PIN |.y.MES FRANCIS COOKE. on Nos. 15 or 18, 25 cents extra. H OR. Federal tax Editor t 10% on all jewelry. *A— 10K Gold ... Guy McCoy and Priscilla Brou n, Auiilant *B—Sterling Silver William M. Felton, Music EJii But Gold Filled of righteous peace. IN SHIELD *C— George C Krick Dr. Rob Roy Peery only, can restore to us the triumph LYRE Robert Braine Dr. Henry S. Fry years these words of D —Gold Dipped . Peter Hugh Recti VER A SPAN of nearly eighty Karl W. Gehrkens Blanche Lemmon ghastly sacrifice, A brand-new design in Silver Dipped Pietro Deiro peace can lie triumphant until, after our E— Dr. Guy Maier William D. Revel li and re- no musical jewelry novelties. Dr. Nicholas Doury Elizabeth Gest our great president come to us with strange N. Clifford Page fiends who have The lyre and border are Illustrations are Exact 8ise Paul Koepke as those who have supported the human >' Church is being attacked in gold or silver, the back- ' 1 force. For the 1883 BY THEODORE PR * O newed world ca- ground in black, blue, red FOUNDED brought ahout the or green. (State color pref- HARP PINS I never before and in its place a the erence and quality num- WINCED 1 lamity, are stunned with ber in ordering.) monster of pagan tyranny, in- fallacy of trying to consum- *90A—10K Gold $2.00 conceivable cruelty, and bru- *90B—Sterling Silver 50 mate their evil aims with *90C—Gold Killed 50 Ifjovemier, 1942 90D—Gold Dipped 30 (Contents for tality is offered to man. 90E—Silver Dipped 30 force. All religions of all lands No. 11 PRICE 25 CENTS be any Clasp Pin 'Cla® Pin cl»«’£.in VOLUME LX, There should never 15 No. 16 jl(}. 14 No. have sought the inspiration GRAND PIANO question as to the place of The ‘•Winged Harp" and the "Lyre and Wreath" designs WORLD OF MUSIC. 721 in in- Clasp Pin are unite popular with music club, society, and class mem- of music to help them choir folk. Both designs are frequently used in the Church. Its place | )0r 8 and with music 15 and re grand as prizes and as Christmas remembrances. On Nos. EDITORIAL the Divine spirit. These terpreting piano in black and 18 initials will be engraved at a small extra charge. Music of the Church and Chancel is to amplify the service of gold. designs are obtainable in the following qualities: Once, while at St. Peter’s in No. Gold Dipped A—10K Gold $2.00 YOUTH AND MUSIC __ it. 84A— 30c f , God, not to dominate No Silver 50 Blanch < ! mmon <-4 *No. 84B—Gold Filled 50c B—Sterling A New American Symphonist. Rome, we heard an a cappella #C—Gold Filled 75 30 exclaimed in his O—Gold Dipped MUSIC AND CULTURE wonder Pope E—Silver Dipped 30 _ „ , choir singing a Palestrina Duty—Honor—Country Haft < I it. 725 MOTTO BAR PIN No. 12 " Essag on Criticism, “Some to A Background for Opera alter 727 , Mass in one of the chapels. LYRE and WREATH PINS > am Profitable Piano Practice 728 Church repair. Not for the Challenge for Younger Organists Alexander h 729 Ufa A The music was ethereal, tran- Keyboard Mechanics from a Virtuoso’s Standpoint ' Ifarbi 730 %..//' Black doctrine, hut the music there!” How to Improve Orchestral Playing 731 scendent, heavenly. A traveler That was written in an age MUSIC IN THE HOME from the Orient, obviously of Educational Records with New Charm Peter lln ilt Herd 723 The staff, notes and lettering of this no u Morgan when doctrinal discussions . Lind Wireless Masterpieces in Homes Everywhere. . .Alfred 734 a very different creed, was so barpinar.e in hard French black enamel, Nered>th •'adman The Etude Music Lover’s Bookshelf. . B. 735 often displaced the spiritual forming a strong contrast to the metal. Progress with the Boy Choir Laurent* iHixncr 730 impressed that he stood spell- The illustration is actual size. No. 12A—Silver $0.70 MUSIC AND STUDY help that man needs from the No. 12B —Silver, bound. Words without music Gold Plated 70 MOTTO PINS Historical Schools of Singing John U nun 737 No. 12C—Gilding Metal, Gold became Stage Fright Can Be Cured T. hm art 738 could not have affected Church. Churches Dipped .30 him Transferring the Student from the Piano to the Orpin l(oh / <- 739 No. 12D—Gilding Metal, Silver forums for debates, rather Musical Pageantry of the Gridiron Itolc rt ft 740 thus. in not Dipped 30 Again, Georgia, How Music Can Help Win the War William h i: < Hi 741 than sanctuaries for the up- 1 i< . » The Teacher's Round Table • 742 so far from Athens, we heard The Secret of Controlled Relaxation EuQrn* l. 743 AlwaysB Sharp Never building of man's hopes and Natural Sometimes B B Flat Leading Revival Singing Ilomre i r 744 a Negro congregation in a lit- Clasp Pin No. 21 Clasp Pin No. 22 Clasp Pin No. 23 Short-Cuts to Violin Mastery Knur* \ 745
: his belief in power. The Novelty Motto Pins A 10K Gold $1.00 Questions and Answers Kar% H 740 tle church nearby sing Swing Divine B—Silver 35 shown here are great favor- How Analysis Helps Piano Study .../ / 747 C—Silver. Gold Plated .35 The Etude this month has Master Lesson on Chopin’s Prelude in Major Orville 1 Low, ites with pupils. Many Gilding A 748 Sweet Chariot with a E— Metal 15 Technic F—Gilding Metal, Red, of the Month—Technistories for Boys and Girls In styles Nos. 13A, B, D and E, the teachers use them for indi- devoted several of its pages to Green. Blue, or Pri9citlo Brotcn and 1 771 spirituality which opened the staff, clef, notes and vidual prizes or letters are raised, awards. Black Enamel 15 The Bellows Shake r, 781 a miniature of the bas-relief style. In the music of the Church. The Legato < . doors Playing for Guitarists (ivory /. 78ft to a higher life. In Paris ? ncl 13F the background is filled in with hard enamel. LYRE or CROSS IN ENAMELED FIELD MUSIC we heard the incomparable subject is a vast one, and we No. 13A—Silver $0.70 The background of circle in the Classic and Contemporary Selections No. 13B—Silver, Gold Plated 70 Lyre design is red with Across the Footlights choir of do not pretend that this issue No. 13C—Silver, lower Batp’ 749 the Russian Cathedral Enameled in Red, panel in black; in the Cross de- Fiir Elise Beethoven, Op. l. d I Black, Blue or Green.. sign, blue wm bp n 750 70 with lower panel Prelude in A Major. . .Chopin, 7- In, sing in an alien tongue, can more than touch upon a Op. 2N. -Edit* i t No. 13D -Gilding Metal, in white. All No. d On ll, 752 but Gold other parts of Crimson Leaves. Dipped the pins are in gold or silver. It,, her t i 752 No. Also obtainable with * Lo»»to 1 ell the Story there was no mistaking its few important and interest- 13E—Gilding Metal, the word , 754 Silver Choir Dipped “ substituted lor An Old. American Tune Bermcn, ALL HAIL THE POWER I 30 “-Music”. Warh-k 750 No. rheme from Piano C oncerto in reverent message. ing topics. 13F—Gilding Metal. Gold A Minor THE ETUDE NOVEMBER. 1942 : - Music and Culture Orally carried with it no arrange scholarship, expenses. Like most ^cing j iving men has constantly come up Youth and Mmic l Artists Diamond y°U and board problem, perhaps rfs t ththis room against creative worker must Instr face. works can be won; but the starve while he Symphonist “composer may easily is New American young A n h g - - Country W York for a time he Honor been in New Duty After he had A was sponsoring a “i Paul Whiteman his mother, the pr te e SpetSol In .1 — at any school, plus pub- the enunon years of study in hfan X to b? two at West Point winning work. How to use a piano A Story of Music lication of the was free only at impossible where he lived that first problem for Diamond to work Band hours was the Its Great Choir— Its Grand Drgan-Its Famous boy of hair-trigge wearing a turtle OF LAST YEAR the of his school work; a he solved it by neck N MID-SEPTEMBER he was o out but tlvity and mercurial emotions, against the low steam Academy in Rome released a state- Sweater as insulation American into a technical c further Academy cannot unknown reason put eerie hours and by the expe- I ment which said: “Since the woodwork, and nressure of Fellows to covering metal work, drafting, the good graces of the janitor present world conditions send atti- dient of winning under callous, domineering special competition so on. To this day the watchman. A Sinfonietta grew from Rome, It will hold in 1942 a lorce and night Cff. f^fech one supervisor who tried to were copied iij ^Jfaltie $1000 in musical composition. tude of at least to final score; parts and for a cash prize of flunked it, first draft back into this course after he had just before the contest must file application together with him was submitted . , . Candidates the whole to verbal vitriol. uninterrupted compositions, one either for orchestra alone rouses him won for Diamond study two the library of the closed. It one He found his real pleasure in first he had known. or in combination with a solo instrument and years—almost the it, in plays and for two Washington and they have their own Chapel for worship. combination school and, when he could afford artist’s life can COURSE the popular stood in what is now known as the for string quartet or some less usual fictional account of an show EST POINT IS OF pictures. He recalls clinging A General Knox proposed Those of the Jewish faith number about one and competition is concerts and motion progress to fame States Military Acad- Valley. As long ago as 1776, instruments. . . . The then steady and name for the United of chamber that moved early trials, cent, they have their own Rabbi to the sounds of orchestral numbers the pic- a military school for the United States, and Con- one-half per and open to unmarried men under 31 years of age a factual recording of what goes on emy located upon the cliffs above trying days later fortune but W service. This leaves about 2000 Cadets who him, of gress agreed upon a committee to prepare and and who are citizens of the to show as many elevations and turesque Hudson River, not far from the city their exact is more’ likely services in the to recreate of excur- bring in a plan for a military academy. No action ordinarily attend the Protestant United States." as the New York skyline. One major Newburgh, New York. The thousands sonorities in his mind. depressions Cadet Chapel. The Ca- The young man who Diamond’s cherished uninterrupted study sionists, traveling up the He treasured pictures fruit of det Choir now totals won over hundreds of extensive work that required months of time river daily during the of Greta Garbo; hers one hundred sixty-five competitors stopped in a cupboard awaiting look for- all to write—reposes to-day summertime, was the face above voices, which is con- work long enough to miracle of money that will supply it with an ward to seeing the huge others that appealed the sidered by many as the acknowledge receipt for performance, scenery, costumes, a grey stone buildings, to him. And he re- auditorium the prize, to express largest regular church of large ballet corps, soloists, a conductor, an or- which seem to spring members becoming so voices in his appreciation and is a musical setting of hills choir of men’s enthralled the or- chestra and a chorus. It from the forested by all the to send a photograph Tom. It was composed in they had the world. Not chestration of Berlioz’ E. E. Cummings’ ballet as though as requested for the the behest Choir can be accommo- Rakoczy March, while Paris, where Diamond went at of in- grown there like giant publicity which would dated at the chancel. in a terested persons, partly because Leonide Massine, ancient temples. impor- he was playing be given this Russe, was in London The overflow are seated school orchestra, that director of the Ballet and Chief among these is tant event all over the in the rear aisles of the remained sus- could shortly thereafter be contacted in the the Academy Chapel, or, country. Then he went his bow to its untimely shelv- chancel, and when they in air till his French capital; and it came as it is actually called, back to work, furious- pended the same city, approved by the few who the Cadet Chapel, in sing, they come forward David Dia- deak partner’s pass at ing in ly. He is to stand near the altar his shins brought him had read its scenario and heard a piano version which the religious cere- mond and in twenty- years to the line of of its score—but never by an audience. monies of the Protestant rail. It has taken six years of life he had back works followed it in rapid succession students are held regular- to formulate a plan to known other moments duty.. But other “Violin Concerto” which will soon be performed ly and in which the keep this Choir at a like this one, then a A Wonderful Oppor- Szigeti; a “Concerto for String Quar- high standard, when it breaks in fortune, the by Joseph baccalaureate tunity Albert Roussel, whom Diamond well, is considered that the frustration of having tet,” dedicated to services as Orchestra, dedicated Is no opportunity to com- When his young life met in Paris; a Psalm for to are conducted. student body natural- inspired pose, the bite of hun- got straightened out Andre Gide. The latter work was by Dia- Frederick C. ly flowing on like a ger, the discourage- to the point where he mond’s visit to Pere Lachaise Cemetery where he Mayer, an river, with each incom- ment of seeing crea- was enrolled as a stu- was moved by the sight of the graves of Oscar alumnus of the ing class and each "EYES RIGHT!" tive works shelved be- dent of composition at Wilde, Sarah Bernhardt and Henri Barbusse. Its Cincinnati graduatingclass. There- "Forward March With Music" has marked the drills at our famous cause there was no the Eastman School dedication is the result of a talk with Gide in Conservatory of fore Mr. Mayer inau- Military Academy at West Point for a century and a quarter. money to produce of Music, he had his which the noted French author encouraged Dia- Music, is the gurated a voice trial for them, then commis- first opportunity to mond to transmute that evocation into sound. Organist and every new student. Stu- sions or prizes and the hear quantities of Choirmaster. was taken until after the Revolution. General dents enter between the ages of seventeen and music — both old and Advice from Stravinsky upward soaring of West Point Washington felt that West Point had been the twenty-two and their voices are all fresh and opportunities DAVID DIAMOND new. He sat in the hopes as One of the first persons to hear the Psalm was has been a mili- key to the whole military situation in the United virile. When the student is given his test, a record again presented them- school’s auditorium Stravinsky. Diamond was studying with Nadia tary post since States and should be fortified, and he recom- is made of the strength, quality, and range of Plaudits are pleasant but they are also and listened for hour upon hour with an almost selves. Boulanger in Paris, and with her and other pupils very early days. mended the establishment of a military school his voice. For those having the best voices, an ear matters is work. And the chance brittle intensity, and the compositions that he ephemeral. What he paid a visit to the great composer’s home in During the at West Point. His annual message to Congress test is given ; those students are selected who are to work. heard produced a variety of sensations and the rue St. Honore; there, four hands, they played Revolutionary in 1783 made this plea. The Academy was opened able to work their way through a maze of disson- Young Diamond started to compose in school; emotions in him. He remembers weeping over the composition. Stravinsky gave it scrupulous War it was the on July 4, 1802 with only ten Cadets. In 1812, ant intervals, augmented fourths, minor ninths, that is, he and a Polish boy who sat near him passages in Bernard Rogers’ Raising of Lazarus, attention, expressed his interest and then pointed site of a fort, largely through the instrumentality of Daniel D. and so on, so that the very best material be had a mutually agreeable arrangement whereby feeling violent antipathy toward Beethoven’s Photo hy Underwood and may out a part that to him Underwood, Washington, D. seemed unsatisfying. and it was there C. Tompkins, a new impetus was given to the in- selected. From this group a choir-training squad the Polish boy worked his problems and he, Dia- “Sixth,” and going into a veritable transport over Diamond noted immediately that it was a portion that Benedict FREDERICK C. MAYER stitution. Tompkins became mond, composed tunes in exchange. Then he com- the “Eroica.” Governor of New of about one hundred is selected, and its members of the work Organist and Choirmaster of that he, himself, had found weak, Arnold at- York, from 1807 to 1817. He financed posed practically all day while he was enrolled His most indescribable sensation the War of are given simple part music to read, as well as came later in and he felt gratified at the the U. S. M. A. at West Point concurrence of Stra- tempted to be- 1812 and became Vice-President of the United general choral instruction. as a violin student In the Eastman School of this same auditorium, when, for the first time, vinsky’s opinion. He learned from the older and tray the stronghold. This, however, was frustrated States for Music, which proved very unsatisfactory to all he heard one of his two terms, 1817 to 1825. Incidentally, he It should be remembered that the discipline own compositions performed more experienced diagnostician a simple and ef- by the capture of Major John Andre in 1780. is concerned. He still wonders teachers a first The buried in the graveyard of Old Saint-Mark’s- and training at West Point how who — attempt for chamber orchestra. fective are different from way of locating trouble in formally Military Academy itself pride themselves on their analyses pupils’ a was founded in 1802. The in-The-Bouwerie, New York City. that in the of He went on to New York City, obtained a balanced ordinary college or university. The work: Stravinsky tested the respective first settlement of West Point, however, capabilities and on their guidance programs, scholarship at the Dalcroze School, probably student, from the day that he enters until studied im- parts with a stop the watch. The reason the portion dates from 1723. The military post is Rigid Requirements could have put him through the early misery he provization with Paul Boepple, now situated day he is graduated, is and analysis, or- in question seemed put under even more rigid endured in his city unsatisfying was—according upon a thirty-five hundred-acre reservation. In At Point home of Rochester, New York. chestration and composition with Roger Sessions West there are now, approximately, military restriction than he will have when he to this impartial judge that 1779 George He did not like violin practice, and he hated much He also mopped floors at the — it was a bit short. Washington established his head- under war conditions, about 2500 students. Fifteen school, since the Diamond came becomes an officer in the United States Army. back (Continued on Page 780) quarters at West Point in the Moore House, which per cent of these students are Roman Catholic, The Choir has certain rewards and because of 724 "FORWARD MARCH WITH MUSIC” THE ETUDE NOVEMBER. 1942 "FORWARD MARCH WITH MUSIC’ 725 »; Music and Culture I am making out the lesson the etude, while hear drama in seeing silver-screen Sl the teacher will be seeing it), and and Culture Nervous Pupils at such times could har y Music Our course, incidental) , Of’ performance, (where music is, at best, the child’s and oi v keenly to stimulated by the noblest examples for the fact with our own fail to be ora Sill Mton ftpn We can vouch art which is opera. The L Jeon sound of accurately, dramatic plus musical — and pride in be- f rewarded with the pattern these, as well as their Interest pupfis) be building a national music are Teachers must guard against first step in the Choir, students is played tones. audience coming members of INTELLIGENCE who Sly to make use of the vast potential to oin PERSON OF HIGH an intensity of interest upon then, is very glad to accept an invitation does no directing too great which, indeed, it usually emotionally, is now ripe for opera; two annual visits not well adjusted sensitive scholars. One of the Opera which rewards are the of our for its it. Among the happiness asa £e work Background via the radio, in but half part in as good a chance for boys and girls have to A already enjoying it the Choir took A have these year to New York City. Last vdth ettwtions foremost lessons Church and also In person of moderate intelligence of their development, is to glory. the service at St. Thomas' of the earn at this stage declared Dr. Mark Entorf without Columbia University. under control” of their efforts discom- with he service at Economics, not long bear the scrutiny A Conference The Singer's Responsibility have been dedicated to the New York State College of strain of this process must be Many compositions fiture The subtle singer whe The Soul their music Let us now consider the operatic one of the latest of which is the best results in study Choir, to mind two vary- relaxed, if the work Noble, Organist of St. "This remark instantly called bears the direct responsibility of making Triumphant, by T. Tertius- know be attained. Teachers all are to . discrimination has a large of music pupils. life. If the audience needs Thomas’ Church, New York. The Choir ing types interest on the teacher s part, in a JSruno er come to boys and girls, whose A sudden s task is a very high character, of them: the calm, contained bird outside the window, the singer needs it even more ! The singer repertory of music of unwaveringly on the table or a popular. find their places book Distinguished Conductor study the music as a which some members have become very firm fingers the agony of watchfulness over Internationally threefold. First, he must perform m recital ac- will help lessen knowl- Corps, the words of which among the keys, and who broke the trust. He must approach it with the Among these is The tne of the lesson. Once we spell sacred self-consciousness; and the playing realized were written by Herbert Shipman and the music curately and without by asking abruptly, BY STEPHEN WEST edge that the composer’s wishes are to be children, capable of such self-consciousness, SECURED EXPRESSLY FOR THE ETUDE Harling. It was arranged for men’s keen-eared, intensely musical through him. Above his own by W. Franke mentioned your Mother calling you?” A rush to or frustrated! — Mayer. This, far beyond the first “Was that be for the Choir by Frederick C. of attainments fluencies < which need to voices pianistic search through the hall and, finally, vocal technics and Point are always are hampered in their the door, a and the Alma Mater of West type, but who m v “mistake” unhinged a tense secure, of course) self-consciousness and nervousness. very much in demand. efforts by there is always the a scale for the teacher is The very playing of vision of the composer type of child. Certainly, POLITICAL TURMOIL of the world to- staffed with compe- The Pipe Organ an ordeal for this second HE forth in the happiness in music tently trained per- as set he has not so “good a chance for day has had the result of shifting the Point, the organ, which has increased score. In second place At West It is as much is a formers, and which his music lessons as the first type. Painless T center from Europe to America. There of Practice from 2418 to 13,529 pipes during the occupany pos- Making artistic the singer must have of teachers to make that chance greater number of foreign eminent artists here served the Organist and Choirmaster, the duty 1. ol Frederick C. Mayer as rhythm of a of the most av- a complete grasp sible, as it is to instill the proper than ever before; and they have brought stand- needs might almost be called a military organ. The in- histrionic, the psy- are we to do it? find, are being erage citizen; while the or mech- piece into a scholar. But how ards of artistic tradition which, we troduction of electricity into the action, reasoning chological significance believes that calm, logical 2. distinctly American musical life, here, there is but one increase in its size largely a Dr. Entorf carried into a anism, makes an or child GET them to practice? of his role. It is not does not meet the situation of a person ut HOW DO YOU sufficiently developed and aware to make the best permanent and estab- of money and space. The organ was in- matter removed by three of them at it, and to sing arias upset. He says, “Fears are 3. Imagine keeping lished opera house in enough 1911 M. P. Moller, Inc., and was emotionally use of them. stalled In by are girl makes such a he reverse of the process by which they B one a boy, too! My fuss “best use” would the entire land. This and dress the part; three-manual console. The original the To my mind, the form for this played from a put in her acquired; namely by a new association.’ about coming in from play to hour!” America. We shall presents a tragic situ- must become the per- cost $10,000, and the case, $2,000. The organ has be the development of opera in strung 4. Mrs Victorine when a teacher sees a highly As usual after the recital was is gifted sonage he plays, lr been increased, however, by memorial contribu- Therefore, hardly create an American Salzburg; Salzburg ation for young bungling over the piano keys, she may center of an admiring group of half-envious order to convince hi! tions made in the names of many of the dis- child the too deeply bound up with its own traditions to singers in this coun- the moment, not wisely make herself appear, for mothers. Neither European try. American voices audience. Lastly, the tinguished graduates of West Point. The chimes 5. permit transplanting. can that pupil is doing. call them in from a game to prac- were given in memory of Col. William H. Harris, to notice what “Oh, I never methods of opera be transplanted, in their en- and American talent singer must master play your scale while I’m finding that out a little system so that play who had sung in the Choir from 1857 to 1861. “You tice. I’ve worked tirety, because the traditional source of these are in no wise inferior both the musical and new niece I sooke of," she may say, or, “Let me not conflict.” General John A. Johnston made possible the next and music do methods is inherent in the lands of their origin. to those of Europe. the dramatic require- 6. youngsters addition of a new power plant, a new four-manual Her success with her own was so And that, precisely, carries an advantage of its But the wider per- ments of his part tt of tool hers finally console with new concrete expression chambers, notable that the group per- own! America has built up a distinctive musical formance facilities the point of being able list o: Do's and Don’ts and a new relay. Descendants of Major George P. suaded her to make out a life of its own; whatever influences come here available to the young to know when to sub- "In Everything they are: Peters of the Class of 1808, presented the Har- for the rest of them. Here from Europe to-day will not supplant the Amer- European singer have ordinate one to tht monic Trumpet Stop. Professor Colonel Cornelis 7. Do keep the piano in tune alv. ays. The keener Give Thanks' ican pattern, but enrich it. America need only given him far greater other. There are mo- Willcox gave the entire Orchestral Organ with the greater nis musical your child’s ear and ap- decide what form this enrichment is to take; and scope for perfecting ments in every opera twenty-four ranks of pipes as a memorial to his preciation, the more he will h; n- practicing on the time is ripe for such decision. himself. We know that where the musical line wife. The Association of Graduates gave the entire Ohankifyivinfyan/, 1942 an out-of-tune instrument. “practice makes per- dominates the word.* Harmonic Division, containing sixty-two ranks of Don’t make a child do exti practice as dis- The Role of American Music we fect” — and, operat- and the stage play pipes, totalling 3,607 individual speaking pipes. AT THIS THANKSGIVING SEASON It’s psychology. Evei • Ping cipline. bad connected ically are mo- rests The necessary service American music can speaking, Eu- also, there General John J. Pershing, as President of the Americans, despite the grief that with the study of music should be pleasant. rope has centuries the word.* Alumni of West Point, authorized this important rich gratitude for render itself to-day lies no longer along the lines had ments where in many hearts, have Do have a regular time for act ice, as early of quantity but of discrimination. radio of diligent, uninter- and the stage plaj addition. Thus the organ has grown until it is now the blessings that have been bestowed upon The has in the day as possible. Half an 1 ir before school added to the musical life of concert halls, rupted practice. BRUNO WALTER dominate the music the largest church organ in the Western Hemi- us. The staggering tragedy thrust upon the opera We and half an hour at noon are It a. t likely to in- sphere and one of the great organs of the world. beasts in human form houses, and so on, an enormous amount of music must consider this Adequate mastery ol world by predatory terfere with other activities. It is insured for $145,000. will pass in due time, and in the Lord’s own of all sorts. A comparatively short time ago, the lack of similar practice a distinct disadvantage the role implies an ability to discriminate betweer Don’t make one child pr ice while the The Sunday service never exceeds an hour. The way, justice, freedom, and lasting peace will many cities and great sections of the country for American operatic talent. these values, and to make the necessary emphasis rest of the family are having hilarious time. sermon of the Chaplain, the Reverend John B. come again to man. that did not have musical organizations of their There is no reason why America should not It devolves upon the singer to achieve this becauxr Let one practice while the otir wash dishes, Walthour, is usually about fifteen minutes. In the quiet depths of our inmost souls own, did without music. To-day, there is not a make use of this shift in the music center to he is the one to bring the various parts to life: do other household tasks, or stud'. there is now a deep realization of the fact village or hamlet that cannot hear music at any create its own traditions of opera, with the help seldom, however, docs the singer accomplish these Do give the young musician enty of oppor- A Responsive Attitude that all of the agonizing sacrifices cannot \ hour of the day or night. If musical eminence de- of experienced men from European operatic insti- nuancings by himself. Particularly In hLs begin- tunities to perform. Learn the nun. . of his pieces pended upon sheer quantity of tutions. Mr. Mayer, during his long service at the United be in vain. With this comes a sense of grate- supply, we might There can no longer be any doubt that nings, he needs a guiding hand to teach and and frequently ask him to play tain favorites. ful conviction in the joyful knowledge already be in a position to take precedence over America is thoroughly musical, that it “likes” advise States Military Academy, has known the dis- that Sunday him. Vocal advice should come from a voice afternoon family mush - are a great we have not been cursed by being on the Vienna. But quantity is not quality. Indeed, the opera, that its citizens would respond local teacher; tinguished heads of the institution and has found incentive. to dramatic counsels emanate from tht side of greater the them to be most responsive in their attitude the demons who head the crimes of amount of artistic output, the greater opera companies as heartily as they have already stage director; and the building of the perform- Don’t call the child to prn when other toward the value of music in the our enemies. the danger of nebulous discrimination. And responded to local symphonies concert ance Is training of the children are and as a whole the task of the conductor. urging him to c< : • Music is one of the out to play. there, precisely, is students. In addition to all of the military and world’s highest present where our immediate task lies. courses. Simply, the beginning must be made! I It is the conductor’s task. In cooperation with Have it understood with the ne: blessings. It has lessened the bors that cer- In order to build its technical education the student receives, it is strain of the own musical pattern, in order am perfectly convinced that the average citizen the stage director, to represent tain hours of the day are the ’’author" ol understood that hour for millions of fellow Americans. for pi nice and other to make use of the excellent he must, first of all, be a man It material available, would welcome opera that he could see, as well as the work. His vision animates the whole. As ht tasks. If you never make any xe ptions, they and a gentleman, adjusted in life to the higher has inspired the vast bodies of men and America must not only listen to music, will but de- hear over the radio. From the beginning of civili- hears the music and visualizes the characteriza- women in military soon stop calling during work hours. social and cultural obligations of an army officer. service. At this moment velop and exercise discrimination among stand- zation, the Do be most popular art has always been that tions, just so the performance has to come to life specific in i we offer a prayer your pr, . Say, “Your Requests for the “Cadet Prayer,” heard at the of gratefulness for all that ards of performance. of the stage, where scales certainly sound man can actually see himself, It is because of this enormous responsibility thai services, often music has brought to . smoother this morning.” have been received. It is: us This is, of course, also true of opera. The chief his ideals, his heroes, or “What a his myths brought to a living the conductor’s studies are never ending. Tht “O God, our Father, “In everything give thanks: nice light staccato! I ran fairly hear Thou Searcher of men’s for this is the difference between American musical life reality the elves and in which he may share. When fine scenic conductor’s duty is primarily not to hearts, help us to will of God in Christ Jesus ” dancing.” please the draw near to Thee in sin- concerning you that of former Europe is that in Europe operatic effects 8 Don’t and great music are added to the stage audience (although the satisfaction of his cerity and truth. May our religion The First Epistle St. avoid concerts, recitaU and classical hearers be filled of Paul, the interest was stronger while here concert interest picture, the Apostle, radio programs most complete entertainment values is his greatest reward), but to satisfy the with gladness and may our worship of Thee to the Thessalonians if you want your child to think com- V:18 has always been the more developed. The smallest are assembled in one be natural. that you love performance. The public poser! The closer he comes to the original inten- ( Continued on Page 778) good music. Children usually imi- European cities had their own opera houses, which delights in hearing radio opera (without tate their elders in taste. tions of the creator of ( Continued on Page 780 726 "FORWARD MARCH f) WITH MUSIC NOVEMBER. 1942 "FORWARD MARCH THE ETUDE WITH MUSIC’’ 72: — Music and Cultur in the world in which he must be approached reconstructed and brought to life hved- must be Music and Culture Only then can the student through his music. adequate interpretation of Schu- hone to offer an this, he must live mann's work. To achieve with ” realize that Schumann h„mann! He must was and not only that his music *a great intellect; that it was made so was romantic,’ but also by of romantic literature the great florescence in Younger Organists the student reads Challenge for at that time. If that A Germany influenced Practice Schumann was enormously by Jean- Piano E. T. A. Hoffmann, he should Profitable Paul Richter and enthusiasm as well as by a desire be inspired (by lilcCiirtly, to search out the works of ^Alexander A Conference with for self-improvement) and discover foi himself what they those writers Udc. impossible to play Mus. had to say. It is quite the without steeping Kreisleriana, for instance, one’s Edward ent^i of Hoffmanns mad Kapell- self in the spirit those who can Alexander McCurdy, Jr. teas born in Eureka, tions particularly by \ Johannes Kreisler. Every composer must meister, ditties well and must Pianist California, August 18; 1905. He studied piano, play a few Distinguished Ynung American approached, not as an isolated phenomenon, be counterpoint with Wal- find out the hard way. life, the organ, harmony , and but as the reflection of the movements, of the epoch that lace A. Sabin in Berkeley, California; piano the tastes, even the fads bred Not a Bed of Roses BY ROSE HEYLBUT with Edwin Hughes, and organ with Lynn- SECURED EXPRESSLY FOR THE ETUDE him. The student who misses these associations of wood Farnam in Neto York City; and was It is a long, hard road, but all history and tradition can bring from the printed series of graduated from the Curtis Institute of Music who would be successful must tra- score nothing more than a notes. Cer- imply that a piano in Philadelphia, in 1934. He has held various verse it. When I think of the times should be. tainly, this does not student DWARD KILENYI, currently being acclaimed makes practice as valuable as it important organ positions on the West that my teachers have stood by must be a musicologist before he is ready to learn among the most outstanding of our native however, Coast, and since 1927, has been in Philadel- me, figuratively with a stick, en- The First Requisite a simple piece! It does mean, that he E young artists, is in several senses an un- organist and choirmaster to these things his attitude of musical approach phia, where he is deavoring show how approach to practicing con- must attune to usual American. He was born in Philadelphia “The beneficial Presbyterian Church, and head done, I wonder how they (captivating) idea of working his way along of the Second should be music. It is to make music that the some twenty-eight years ago, while his parents cerns itself *with the Organ Department of the Curtis In- ever had patience enough to teach cultivate) as he studies, and building himself a background of were visit the United States. Five plays not to demonstrate (or on a to weeks one — stitute. Sine? 1940, Dr. McCurdy has been I think of the choirs for association and tradition as well as a fund of me. When after his birth, the child taken back to finger dexterity. Therefore, the first requisite of was the Organ Department the West- soloists had to put up finger dexterity. head of #f and who Hungary, where he grew up. He began playing any pianistic work is the understanding of music advice to other minster Choir College, Princeton, Neto Jer- with my accompaniments and the only through a devoted study of tra- “I prefer not to give students, piano at three. At eight, he was accepted as a that comes as an organ is too individual to permit sey. He is much in demand congregations that had to listen pupil by Ernest von Dohnanyi, and at seventeen dition and style. Simply as an example, let us con- since piano study of counsels. On the other hand, I recitalist . Editor’ Note. to them, it is amazing that they made his professional debut in Amsterdam, play- sider the music of Schumann. The student who is long-range am system of work. ever were willing to pay my sal- ing the “Emperor Concerto” under the direction assigned one of the major works of Schumann is happy to outline my own I shall devices I use ary. Much of my bad playing was of Willem Mengelberg. In 1928, be glad If any of the may prove quite unnecessary. Kilenyi was selected to play the serviceable to others; but I spea of them only as I it is a long road, four-hand music of Schubert, my own way of going to work say that hard too with Dohnanyi, at the Schubert othing thrills me more than to have but it caii be travelled in not Discipline the Memory Centenary Festivals. Before re- some young man (or woman) sweep me difficult a way, if begun early turning to his native land, Kilenyi “In learning a new piece, tie rst thing I do is N off my feet by his brilliant playing of the enough. It is important that every built a solid reputation for gen- to memorize it. Memorial) i; a w works Im- organ. I hear a great many in the course of a organist learn from the very be- uine artistry, both through his mediately Is, to my mind, the b possible way to year and it Is always a joy to hear them. When ginning how hymns are played. recitals and his orchestral per- strengthen and develop the m< y to the point a boy or girl under eighteen plays three or four He must learn first to play them formances under such distin- where it is at all times certain M hanical memo- of the great Bach Preludes and Fugues or some on the manuals, without pedals, guished conductors as Karl Muck, rization (the result of playing piece over from other major work from memory, there is reason exactly as they are written; then Sir Thomas Beecham, Sir Henry score so often that the fingers r the notes of not only to be thrilled, but also to have much later, to play the soprano and alto Wood, Paul Paray, Philippe Gau- themselves) is not a healthy -ess. It is not respect for his ability. with the right hand, the tenor bert, and many others. thorough and therefore not Active and There is always a desire, however, just as soon with the left hand and the bass In the following conference, Mr. concentrated memorization is r h .simplified, of as possible, to find out whether or not that is all with the pedals, exactly where the Kilenyi gives thoughtful expres- course, by a knowledge of harm of that he can do. Can he play a hymn? Can he notes are written. Next and forms. he must DR. ALEXANDER McCURDY, Noted American sion to certain of his personal JR.. Or?antel It is precisely the conscious at. of what one plan an accompaniment for a solo? Can he play play the soprano on one manual beliefs about piano study. plays that makes memory seen: i >r the student an anthem or an oratorio chorus accompaniment? with the right hand, the alto and “The value of piano study,” who desires to discipline Is he any kind of musician? Most of them, un- his n. d memory, it tenor with the left hand on another manual and told me that when he took hi* first position h says Mr. Kilenyi, “grows chiefly is an excellent exercise to torn a* some pieces fortunately, are so excited about playing some the bass with the pedals. He must learn to play from two elements was totally at sea because the first thing tha —the intel- away the brilliant from keyboard, dolis i organ solos that they do not care > playing until the soprano with the left hand an octave lower lectual approach he had to do was to play an accompanlmen one brings to the piece is surely and them diy learned. I whether they can play anything but those solos. on one manual, the alto and the tenor with the his work and the way in which something he had never been called upon to d know that many teachers ads te exactly the In the past there have been some organists who right hand on another manual, loco, the one practices. What one practices and for hi* teacher while in school. reverse of my process, advislim i .if the have made a living from playing organ recitals, bass with the pedals. Also he or the length of time one devotes memo- must play the so- I do not know of anything that can ruin rization wait until the piece is u and there are a few now, but they can be counted prano in to practice must take secondary nod order; and the pedals at four foot pitch, while singer more quickly than a poor accompanlmen I can see many virtues in feat hod, too. on the fingers of one hand. playing the alto, place. It is a mistake, I think, to For tenor and bass on the manuals. Some of the accompaniment* that should b my own work, however, I mem <• Every organist must have a position of some Every organist place too much stress on the immediately, should be taught to “fill up" cor- studied early with a student are: He Shall Fee consciously, and analytically. kind, a church or a teaching position. That being rectly hours of practice. When pupils and play the bass an octave lower. When His Flock and Come Unto Him from the "Mcs “My next step is the case, he must be prepared for it. boast to select th- . hnlcally Just because these things are that they practice eight dif- mastered, there Is bound to be slah,” If With All Your Hearts, in ficult and O Rest th passages from the wo:k ,d an organist can play a few very brilliant pieces some variety hours a day, I am tempted to to practice in the hymn playing. One should, Lord, from the "Elijah." and so on. These mu; those, again analyzing is no guarantee that he is able to the : hold a good think that they are really the c&u t heir difficulty of course, study the texts of the hymns and be be done carefully and working in Just the same way that on lazy ones! Why? Because after at exercises to con whatever that church position or teach in a school or college able to apply the above systems with proper would study any organ number a* solo. special problem of a H half that time, practice becomes Photo by DcBdlis may be. The ious student music. So many of the students to-day have registration to fit the texts. So many of us play should learn where to "fill up" and where nc mechanical. Searching EDWARD KILENYI will enjoy devising exercises of the idea that they must play a few pieces and, concen- own. No two hymns in such a stereotyped way as to ruin any- to, where conttnuo pianists should be used and where : tration of thought can be con- have the same diffir k when that is accomplished, they are through and one's or the same desire to sing. Consequently, much congre- should not be used. Simple tinued corrective needs to anthem accompanl not much above three hours . . . which n: ready go out and take any position. One won- at the most, doing himself and his studies a it difficult to gational singing is not as it should be. When a ments also vast disservice if speak in should be studied early. Examples c and such practicing as is done terms of individual ders what they are thinking about. There are after that time he begins simply ex* .. I may say. student has done well with by sitting down at the piano and his hymns, he should these are: He That Shall Endure to the End amounts to little more however, that, while those who ask how I, so young, fror than a mere mechanical mastering the I was «tii; iving. I found was able to get be taught to transcribe notes. The notes, as such, are not simple accompaniments. •'Elijah." How Lovely Are the repetition of notes. Students it beneficial to strengthen the experience that I have had? Messengers froi who satisfy them- Schumann! the : Where did I I find that They are merely notes. Schumann— .rth and fifth many organists do not know the first “St. Paul," Immortal, selves with that are lazy, in that by la in learn how to play Invisible, by Eric H. Thi they spare them- the great spirit and P y & my studies ver >wly, with full hymns? How did I learn to principles of transcribing intellect whose utterance our easy piano accompani- man, and so on. It selves the necessary concentration weight, and with play so many pieces from is amazing what result* ca that alone hypothetical student is sufficient Relax n the memory? How did I ments for the attempting to reflect to keep organ. One young gentleman who be achieved hands completely learn to conduct a when a person has studied thes free ( Contimu choir? I am asked these ques- 728 d on Page 782 ) had graduated from a well known school of music things carefully and ( Continued on Page "FORWARD MARCH WITH MUSIC” 774 NOVEMBER. 1942 THE ETUDE "FORWARD MARCH W Till MUSIC’ 7i ; I — Music and Cultur Music and Culture E HAVE ALL HEARD PIANISTS perform who might have been great artists; but W because of a lack of the right kind of study and practice, and consequently lack of Orchestral Playing technique, they could not express themselves in Mechanics How to Improve what I call quality in instrumental playing and Keyboard musical interpretation. These people are auto- matically relegated to the category of so-called A Conference with unlucky artists. It is unfortunate that there are from so many with talent who bungle their ca- reers, simply because they have never learned be methodical Z^rcinh how to study and practice and J). ELI about it. I believe wasting time in seeking a Standpoint do not in Virtuoso’s Distinguished Musical Director of career, for sooner or later, if you do not work A methodically on every phase from the start, you the National Broadcasting Company will find a gap in your education that will give you much trouble. People speak of quantity in A Conference with piano playing instead of quality, and they will try anything that will give a quick result. The Jhurli SECURED EXPRESSLY FOR THE ETUDE BY MYLES FELLOWES child starts to study music—perhaps he is sent to a mediocre teacher and must practice on a .and Composur Thu Famous Spani !;h Pianist poor piano because his parents, who would not give this same child anything but fresh milk, do N THEORY, good orchestral playing requires ence, when to release their own, individual musi- not feel the necessity of their child’s practicing RY ANNABEL COMFOR degree of sound, solid musician- cal thought, and when to subject it to the direc- EXPRESSLY FOR TIIL ETUDE the highest on a good piano from the start. SECURED action it is only by working I ship. In practice—better, perhaps, in tions of a conductor. And That is the complete in an orchestra a school orchestra at the start Basic of Music it requires something more. — The Grammar indefatigable and maligned composer of that coordination of ear and eye. Through his ear, the that they learn to adjust themselves to the de- Students and professionals have piano studies, you have a pimi: less field for the orchestral musician perceives, measures, and im- mands of group technic. It is of immense benefit said to me, “I like music and I would practicing of piano technic which will achieve proves the degree of cooperation he is able to to play chamber music with unconducted groups. like to play the piano.” The difficulty your goal, that of quality. achieve in playing with the fifty (or more) other Ensemble work of this kind develops cooperative with many of these aspirants is the has become fashionable amm some to decry It members of the orchestra. This cooperation is of playing and sharpens the mind to alertness for fact that in the beginning they want have asked several piano students re- Czerny. I utmost importance. The listener mxist be aware adjustments of tone quality, technic, color, and to play melodies that immediately practice Czerny invariably they cently if they exactly as though it phrasing. But it is not an adequate substitute for sound, and they may even try to of one unified tonal result, will answer, “Oh! I did that a lung time ago”— were produced by a single instrument instead of orchestral work Itself because it offers no dis- play a Chopin nocturne. My opinion dismissed Iron lu-ir repertoires and so they have Be they good or bad, cipline in following accurately the directions of is diametrically opposed by the blending of many. and method they d really a composer from whom learn. to the to this. I say, “I certainly like music no individual “effects” may stand out mar one responsible leader. To-day I practice Czerny tin same as a boxer and I cherish the piano, but how am unity of performance. Toward this end, the or- The growth and development of school orches- practices on his punching ba As he does it I going to attain perfection in these chestral player must be constantly on the alert to tras has been great during the past few years. every day, I practice Czerny tw mir.s every day DR. FRANK BLACK two mediums?” I need two tech- play with his colleagues. But all of the players What can these student groups do to make their of my life. niques, one of music and a piano must subject themselves to the directions of the work still better? First of all, each individual At this point I would like to about a lady technique; but first of all I must conductor. His musical conceptions shape the per- member of the group should strive to make him- chestral repertoire. This Is best accomplish ei who traveled two hundred mile by ear to a mid- study solfeggio. Dozens of times I formance; his wishes guide it. And, just as the self as good as he possibly can on his own instru- under the guidance of u conductor. True, ther western city where I was sc: ded to play a have asked music students who came individual player measures his cooperative blend- ment. Does there still lurk a suspicion that a are albums available that acquaint the studen concert. After the concert she me back stage to me for advice, “Have you studied ing with his ear, he adjusts himself to the wishes group player need not be quite as perfect as a with the most difficult passages in the works o and said, "I enjoyed hearing u play tonight, solfeggio?” They say, “Oh! yes, sol- of the conductor through his eyes. Thus, his ac- soloist? Get rid of the notion. Orchestral work, Wagner. Brahms, and Richard Strauss, but it i but you have no idea what I v. t through this feggio, you mean harmony and coun- tive work consists largely in watching the con- whether amateur or professional, permits of no wiser to go through them with a leader who cax afternoon. I was tired when I . rrived in town, terpoint.” These people think that ductor—his baton, his free hand, his expression, lowering of standard. The demands of technic explain fingerings and stumbling blocks at th they are honest with themselves and I took a hotel room for at :’< moon's rest, and everything—at the same time that he listens and of tone quality in the great symphonic works same time that he points the way to rounded many are trying to be px-ofessionals and some silly person in the room prac- carefully to the sum-total of his colleagues’ work are every bit as exacting as those of the solo well formed musical interpretation*. This ncc< but I feel that they are following a ticed the whole time andTso w!y. like this plus his own share in it. No matter how sound show-piece. As a general thing, the strings alone for an intelligently directed probing of nei -Cli-Cla-Cli-Cla.” school of dilettanteism until they I smiled but I i not spoil her his musical training may be, a player cannot are in danger of falling victim to the Idea of a music brings up another problem. have illusion learned the basic technic and and tell her that it w i i had prac- succeed in orchestral work until he has, to some musical double life, with one set of standards for grammar of music, solfeggio. Stu- ticed Czerny the whole after; as I always degree, mastered this alert coordination of his the soloist and another for the group player. The The Value oi Sight Reading dents must spend time on it and do before a concert. You can d vthing if you senses, which, in the last analysis, is of a matter other orchestral choirs—wind, percussion Instru- As a rule, the student orchestra is so busy pol learn all of the clefs, instead of tak- have control of the fingers, b if you do not mental quickness and general intelligence. ments, ing elementary and so on—are blending Instruments and. ishing up its own repertoire that there is littli an and superficial have this control you will rjevt teh any point by their very nature, useful in group work only. time for anything else. This. I believe, is a pro course and learning only a couple of in piano playing. The Need for Cooperation the clefs. Thus, these players study with orchestral men found mistake. All orchestral drill, whether lx Actually, there is no way of perfecting orches- and begin their work with a purely Here is another question that How to Play Fast—Through Slow Practice orchestral amateur or professional groups, should lnclud< tral playing except by playing in an orchestra. comes to me frequently: “I have point of view. With the strings, the earliest ap- some work In directed sight reading. When Tos IOSE ITURBI To acquire a so-called velvc i r approach Only there sense coordination done a great deal of sight reading, can and coopera- proach may easily be that of the soloist. At all canlnl first turned his attention to radio work the keyboard the same as a . ptor chisels a and much practice with the metro- tive musicianship be developed. Only there can events, the player must speedily overcome the some years ago. he said that the best sight read block of marble, but I chise! r mch through nome, and still I have the player test out his capacities for orchestral temptation of thinking that orchestral no rhythm. What should looking at the piano from a mechanical point of work can ing orchestra he had ever worked with was tha Czerny etudes in order to stri I do?” my fingers. work. There are many excellent performers who be done on When you practice and study solfeggio view only, and I am not concerned with interpre- a slimmer practice foundation. Every of the British Broadcasting Corporation. Aftc The attack on the keyboard mu. with methodically, it automatically gives you sight tation. I will try rounded are not good orchestral musicians because they competent orchestral musician practices to show the student how to gain fingers, many working with the NBC Symphony Orchestra, h reading and the attack must b> .•ar. for quality seem unable to rid themselves of their individ- and rhythm, providing you do not help in technique and muscular control, hours a day, to make himself as nearly perfect revLsed his opinion and said that so that he comes from definite the men of th yourself by taking aid from the piano while will be technically precision each finger. I ualities of musical thought. They play as soloists; as he can to lay by prepared to attempt any kind ; a reserve supply of technical NBC were the best sight readers! There is val practice all of the studies a singing the solfeggio, or help from a teacher who of piano playing that vet;. each note perhaps even as very capable soloists. And in and tonal skill that may be called he desires. receiving on at the next uable lesson to be learned from both his judg approximately two this they are defeating means well but steadily beats the time with a and I make the purpose of orchestral rehearsal. The conductor has no time to spend on an effort to ments. Both the orchestras mentioned are radl pencil. Music and rhythm must come from In Praise of Czerny raise the fingers as as possible. work, which is that of unified blending. the On the clearing up individual blurriness in technic and groups. Because of the very On the finger that nature of radio work inside to the outside, and not from the opposite When you reach the is holding key down, I other hand, there are many first-rate orchestral fingering. All such problems maximum, you can easily use must be solved by these men are constantly preparing direction. relaxed weight from are new pro attain the minimum; so let the ilder to the men who equally successful as soloists—but private practice. us now consider the fingers grams. A concert orchestra rehearses What is but the raised one pro Quality? Prom my point of view quality Czerny School fingers * be not in the same performance! Their success of Velocity” as an example held up in Assuming that our music student Is truly a gram a week of and plays it two or three times l) is clarity in piano playing. At this time, I practicing this each field derives am basic technic in piano playing. way r have cor- from their understanding of student in the best sense In the etudes of rected^ of the word, his next public: when it goes on tour, the position and the of from city to city, i iCantr Page 786 , demands each; they know, from experi- step should be the gradual acquiring of an or- may take no more than 730 "FORWARD MARCH WITH MUSIC two or three program THE ETUDE NOVEMBER, 1942 "FORWARD MARCH WITH MUSIC" 73 , Music in the Home a Choir Music and Culture Nine Brothers Make the Mt. Carmel Church, they Tl ,, v 19 1942 at com- Spross (who Spross, well known Mass by Dr. was at Charm Dr. Charles Gilbert i an entire New once with but • Pontifical Records program Is given live n ^ for the High air, a . day) Educational It. On the who has for the with some- poser and accompanist, the organ Always something new. of Mt. Carmel.” There is a and never again. not touring, in for “Our Lady preparation. This of Ke“hen Mass different must be In photograph of cooperation in the choir, as no thing sends us this remarkable ,„ wonderful spirit opportunity as well as baritone Jamesmes to all the course, gives the men the Anthony 21. fails to give credit others. all LaFalce brothers: one member l^eed working at new things Frank 32, direc Alfonso La Falce, f^eter ^Jduyb the responsibility of Patrick 28, bass; of the singers, came by devotes one first tenor' tenm, The father Indeed. Stokowski regularly Joseph 30, second Terra Nova di Siberi, in the the time. tor; John 14, first tenor; America from of new music. Jo rehearsal a week to the reading Michael 19, baritoi Italy, thirty-seven years ago, Louis 29, second tenor; , of Cozense, used in later con- U. gS. Province of the selections may be has just entered t wife, who had been a choir Some mine 17, bass. (Anthony with him his he regards it as va- choi bringing certs; some may not. Still, young men make up the plays the guitar. All the boys poem. The most bril- Army). These singer The father WILLIAMS: A London Symphony; Cin- of Lenau’s hear the men read unfamiliar Poughkeepsie. AUGHAN uable practice to of Mt. Carmel in here. Every singer is also an instru- of liantly recorded version is the from which stu- Our Lady owi were born cinnati Symphony Orchestra, direction works That Is an excellent drill, group of young men has its instruments are played by the opulence This unusual mentalist. Fourteen Victor set DM-916. Reiner one; its tonal especially can derive advantage. have sung VEugene Goossens. orchestras band. They dent glee club, and its own dance prior to World creates a quality of excitement orchestral tone comes only on group. This symphony, written in 1914, The improving of without outside assistance, in the a tone entire Masses finest English orchestral which is not found here or practice. Each orchestra acquires War I, ranks among the through which 1937 recording of Busch. It cannot over years, through the works of modern times. It is a composition of its own, developed that the men. That repeated hearings. Many have be truthfully said, however, close, cooperative association of grows on one with for a student the streets of Lon- any of the three sets named are a sort of tonal development is difficult striven to find inspiration from promotion or in quite the same definitive reading. One feels that orchestra to achieve, because each don, but none has succeeded best had Reiner had a front rank or- commencement day alters the personnel. The manner as Vaughan Williams. His symphony improve tone is to peace, chestra his would have been. a student group can do to offers a picture of London in times of an individual Grieg: Peer Gynt Suite No. 2, Op. 55; perfect the tonal resources of the insight into the character of its people and the done to a great Indianapolis Symphony Orchestra, players. That, of course, can be way of the world in the English capital during music, which, Fabien Sevitzky. Vic- extent by the playing of chamber ordinary times. Although the composer disavows conducted by work, is an though not a substitute for orchestral a program, one nonetheless is intimated and has tor set M-902. awareness. It can unsurpassed drill in musical become accepted. The eternal tides of life are sug- Since each of the four movements practicing, not for the 1” also be done by intensive gested in the rolling water of the Thames, in the of the “Peer Gynt Suite No. can passage, but for spe- sake of learning a piece or a opening and closing sections of the score, and also be disassociated from the Ibsen such as purity of tone, and so on. For cial values, in the use of the Big Ben theme of Westminster. drama, it has naturally taken pre- brass players practice long notes instance, many The bustle of the streets of London is conveyed in cedence over this suite. Such selec- tuba solely for the lip technic. Trombonists on a the opening movement, the nostalgia of an old tions as Ingrid’s Lament and the spend hours working at long notes, for breath world section of the city in the second, the merri- Return of Peer Gynt, heard here, control. The most helpful practice, of course, is ment of the slums in the third, and the melan- belong primarily to the theater. which selects some special problem to per- that in the finale. Goossens and Schneevoigt have re- goes cholic longing of the indigent fect. No musician ever stands still—either he GRACE MOORE Goossens gives this work a splendid performance, corded this music previously, but forward or backward; and standing still is a Records a New Set of Famous French Songs sensitive, and dramatically fervent. The record- this recording must take precedence species of backward movement. ing, like the performance, is a great advance over over those older sets. Sevitzky’s per- The young student is, of course, eager to go formerly available in the Decca formance is somewhat solid but nonetheless satis- Of the six Brandenburg concertos none is more forward along the road of progress and to leave an earlier one factorily accomplished. cherishable than the fourth. Its imaginative con- his student years behind him as soon as ever he classical catalog. in E-flat, Op. 82; Tschaikowsky: Theme and Variations from Suite No. tent is as great as its emotional appeal. Here we can. Actually, his present position is in many Sibelius: Symphony No. 5 The 3. Op. The first performance, and a good one too, of ways an enviable one! His greatest asset is his Cleveland Orchestra, conducted by Artur Rodzin- 55; Philharmonic-Symphony Orchestra of have a instrumentation. The enthusiasm, his anticipation of the wonderful ski. Columbia set 514. New York, conducted by John Barbirolli. Columbia this work in the original in surprises in store for him when he takes part for The Koussevitzky recording of this work has set 226. flauto d’eco, indicated in the Bach score, was the first time in the projection of the great works long been regarded as one of the best perform- The theme is Russian in character and the reality the treble recorder used here. There is an of music. Those “firsts” are experiences that any ances of a Sibelius symphony on records. There variations maintain the Slavic mood. Since its old world charm to this performance which will of us would give much to live over again. No mat- will be many who will share this writer’s belief inception under the direction of Hans von Biilow appeal to all who like the old instruments. In the ter how often one may have heard a symphony, that Rodzinski has not succeeded in surpassing in 1885, this movement of the “Suite No. 3” has hands of less gifted musicians, the limited tonal it seems an entirely different work when one first Koussevitzky’s interpretation. Yet Rodzinski has been highly popular with many conductors. It is qualities of the recorder might be less conducive sits with the group that performs it, hearing new done a notable job on his own part. His reading of the best part of the suite. Although some contend to enjoyment, but such is not the case here. harmonies unfold, feeling responsibility for the THE LA FALCE BROTHERS' ONE FAMILY CHOIR this work has been called a model one by no less that its melodic content is ingratiating, we have Chopin: Concerto No. I, in E minor. Op. 11; Edward performance close down upon one, discovering never Left to right, Louis, 29; Joseph, 30; James. 25; Anthony, 21; Michael. a Sibelius authority than Olin Downes of The New shared this viewpoint. The work seems to Kilenyi (piano) and the Minneapolis Symjjhony the music at first hand and regardless of what 19; Patrick, 28; John, 14; Carmine, 17; and Frank. 32 (at the organ). York Times. Apparently some liberties with tempi lack variety, and even though it offers exhila- Orchestra, conducted by Dimitri Mitropoulos. has been said about it. From that point on, the and dynamics on his part are not regarded as rating tonal effects, it does not remain one of our Columbia set 515. young musician is on his own, learning the feel remiss in Sibelius. Indeed, there seems to be no favored Tschaikowsky scores. Barbirolli gives this As a recording this set is disappointing; it lacks of the orchestral web and finding out things for tradition as yet in the performance of the Finnish music an appropriately spirited performance, but the tonal liveness and sonority of other issues by himself. composer’s symphonies. Downes contends that one in which there could have been more diversity this orchestra. Although Kilenyi plays with ad- Musicianship All Important Amusing Musical Episodes Rodzinski’s performance has the “requisite of line and color. mirable facility and technique, his interpretation breadth, the unhurried power and the long-lined WSgner: Sicfried—Forest Murmurs; Pittsburgh has little of the savoring of content which is to be It is valuable for him to learn as much as he by Panc/eri/oort inexorable development of the music.” Add to this Symphony Orchestra, direction can about music—not merely about his own part Pant II of Fritz Reiner. found in the earlier and still satisfactorily re- splendid recording and in the score for Saturday’s concert. Let him mas- we recognize another fine Columbia disc 11831-D. corded version of Artur Rubinstein. The young performance of the work on records. The Siegfried forest music makes a tone poem pianist’s restraint excludes dramatic fervor and ter his own instrument, technically and struc- Napoleon was certainly no hero to his valet in had a harp on which she played she had when Strauss: Don Juan, Op. turally as well; let him investigate the physics musical matters. For 20; National Symphony which can be disassociated from the plot of the poetic delicacy, hence his interpretation of the Constant, his valet, in his nothing else to do. But sad to say. she was like Orchestra, conducted by Hans Kindler. Victor set opera. It is a mood picture, the nature of sound, the science of acoustics, anything and memoirs takes occasion to remark that Napoleon many another would-be of which is concerto is lacking in both emotional and imagi- musician : she knew only DM-914. everything that will help to clarify the mysteries had no singing voice, and that the unmistakable. Reiner gives a clean-cut and ex- native diversity. tune he “mu- one tune, which she played over and over. It is a mistaken theory that the Lenau pressive performance. of his life-time job of music-making; for it is a tilated” with the greatest frequency was (of all Tone-deaf poem Beethoven: Quartet in E minor, Op. 59, No. 2; The personalities-in-the-news might which life-time job, and not one that can be locked pieces) the Marseillaise. inspired Strauss to compose this work is a Bach: Brandenburg Concerto No. 4 in G major; String profit from the example set by former President Coolidge String Quartet. Victor set DM-919. away in the desk when the clock points to the Meneval, Napoleon’s secretary, product of nineteenth-century romanticism. To Ensemble from the Curtis Institute: Alfred also had small Taft, who had an unofficial musical “secretary.” Mann Clarity of line and technical competence are end of the business day. One never knows when overstress the sentiment in Strauss’ music is and Anton Winkler regard for the emperor’s musical talent. to (recorders) ; Edith Weiss- He tells Taft, who was unable to distinguish one musical the chief attributes of the Coolidge ensemble. such extra information may be needed at a mo- of Napoleon singing in a voice which misrepresent Strauss as well as Lenau. Here, the Mann (harpsichord), conducted by Ezra was strong, composition from another, was naturally embar- Rachlin. Emotionally its performance is lacking in the ment's notice; even if it is lyrical pages of and never needed, in but false, the emperor evidently making up in the score are romanticized far too Hargail Record Set 105. rassed if the Star-Spangled Banner was played in sentient warmth and dramatic variance of the the business sense, a penetrating knowledge of volume, what he lacked in technique and much and the use of unmarked rubati negates the ability. his presence and he failed to arise at once. To ob- Budapest version (Victor set 340). Hence, to our one’s chosen field builds a firm background. It The emperor’s masculinity of Strauss’ intentions. There is secretary also had something viate this embarrassment, more way of thinking, the latter group’s performance is amazing—and also amusing he had his secretary nobility —to observe the to say about the musical ability of Empress Jos- of purpose in the recent Reiner perform- sit by him and give him a nudge the remains ..nchallenged by this more moderi number of professional ( Continued whenever on Page 783) ephine, Napoleon’s wife. Meneval relates that ance than in this one. Both the earlier Busch and RECORDS she national anthem was played. recording. the Reiner versions show a better understanding Halvorsen : Passacaglia; ( 752 "FORWARD MARCH WITH Continued on Page 792 1 MUSIC’’ THE ETUDE NOVEMBER. 1942 "FORWARD MARCH WITH MUSIC’’ 73: ” . t Music in the Hon Melodies Galore studying master melo- Music in the Home If you are interested in history, dies by the outstanding minds of musical “Symphony you will find a melody mine in Themes,” compiled by Raymond Burrows (Assist- Col- ant Professor of Music Education, Teacher’s The Etude Masterpieces and Bessie Carroll lege, Columbia University) Wireless Redmond (Chairman of the Music Department, Benjamin Franklin High School, New York City) The book should be a very valuable one if it does Bookshelf reference Lover’s no more than provide a quick means of Music Everywhere consideration of the main themes of a for the Homes hear in work which the music lover is about to either in the concert hall, the radio concert or Any book here question that reviewed may through a record. There can be no be secured from MUSIC of performance will be very much THE ETUDE the enjoyment MAGAZINE o( (he recognized so enhanced, if these themes can be price given plus pottoee. that even the tyro can discern the skill with which the master has used his materials. The compilers have in this way made a remark- Xindsai) Wlorgan principal themes from one _A(fred able collection of 1193 hundred works, arranged them alphabetically by composer, with cued in symbols indicating the the man orchestral instruments, first presenting Lj B. MrJill, Cal heard in three pro- network) The quartet will be themes. While this will make a fine addition to valuable collection to her month on the 1. 8 and 15. Beginning or public musical library, it is a. Lan- grams this any private prese other parts, Mme. November 22. the Budapests book papers which from the period of the Civil War to the with the broadcast of “must” for all college and conservatory earlier days among a bundle of old lingered on at interesting factual hlstorii dowska replaced by the Coolidge Quartet, which will turned over when he was moving, he humor- and contains much the Nazis will be shelves. were her home after of .six concerts. 0.” Information. thereafter be heard in a series The “Symphony Themes” ously called it "Symphony No. He was then Paris. Later, she took will broadcast from a studio in Symphony.” No. 0 was "Music Comes to America” France, latter ensemble By: Raymond Burrows and engaged upon the “Ninth escaped from quartets are presented under By: David Ewen New York City. Both Bessie Carroll Redmond first performed twenty-eight years after the com- and to-day she does not auspices of Mrs. Elizabeth Sprague Coolidge. 287 death. Pages: 318 whether her fa- the Pages: poser’s know Quartet are also to be heard on his thanks to Price: $3 00 in- The NBC String Price: $2.50 The writer gratefully expresses mous collection of Crowell Co. Sunday mornings in a half hour recital of cham- Publisher: Simon & Schuster the Oberlaender Trust, In Philadelphia, "without Publisher: Thomas Y. struments and books re- music (8:30 to 9:00—NBC network). This en- assistance this book would not have been mains intact or not. The ber whose which has been playing together for a American musical world semble A Rustic Genius written.” A Token or Christmas years is a group of soloists associated with an artist number of "Anton Bruckner” is enriched famous European con- with the famous NBC Symphony Orchestra. Werner Wolff, son of the Author: Werner Wolff Again the rich human touch of Hendrik W11U of Landowska’s standing, America the NBC Symphony Orchestra, this is cert manager, Hermann Wolff, came to consistent with Speaking Of Pages: 283 Van Loon reaches out to Join with music— and it is of the war and found WANDA LANDOWSKA the month which sees the return of the celebrated as a refugee at the outbreak furnished by Grace Castagnetta. T1 the policy of the Colum- Price: $3.75 music being in the Tennessee Wesleyan Harpsichordist widely loved Arturo Tosco mi as conductor a hospitable sanctuary Dutch-American h World Famous bia Broadcasting Co. that and Publisher: E. P. Dutton & Co., Inc. time, the omnl-talented organization. Beginning with the concert College where he has rendered valuable service. presents to its radio of this torian and geographer (to say nothing of his si it youth, his home was a mecca for November 1, the Maestro* wi present a scries As a child and listeners this distin- of Unusual Approach to Singing as a radio commentator, as a college profess will return for another the musical great of Europe. An concerts designed to of six programs; later he as a lecturer, and os n musician, tells the Chrt XPLORING music (heard Mondays from 3:30 guished soloist in a series of writing biography S- . imw.skt will In taking up the task of a the voice six. In the interim, Leopold be The epigastric triangle is the basis of mas story through an inimitable series of dra to 4:00 P.M., EWT—Columbia network), of exploit her special talents. the heard in a similar series. The Music and Stud; schools Action School still a few such in ex- The Muscular m There are pioneers in tbi Music in the Home s0 States. St. John, The Divine, DEVELOP One of the . PP h? the United “ N VOICE WE Hermin choir school for forty school was Madame York, maintains a mind and muscle.” The !n New mother of the actc who sing at daily services. of the singer Rudersdorff, elected voices, mechanism in Ger to the preference Richard Mansfield, born Choirmasters differ as of owns three groups or systems of for rehearsal. Fre- Schools in 1822, and a resident c or organ developable. many either the piano muscle which are Historical artistic after 1882. To our know] choruses trained to perfection Muscular Action School in Boston The printed recor met almost complete defeat first with edge she left no the piano have point of time aligned S in but they ai presented church with “Get her theories, Choir ^hen their work was the School of Respiration. of Boy advisable to use the organ for strong latent in the writings of her dii With the the organ It is the muscles of breathing Progress James, Bosto of every rehearsal. Much a cap- you can sing. ciple, Mary Ingles at least part and vigorous and Singing be incorporated at rehearsals the of voice teacher who brought out i nella singing should Later another set of muscles, practice of “lean.ng” on the ac- other muscles 1903 a book entitled, “Scientifi so that the vowel formers and may be greatly reduced. came into Tone Production.” Much moi sner companying instrument related to articulation, ll£ oCcaurence remember Dr. Hollis Dann’s ex- read is "Resonance i The writer can well the field of scrutiny and widely York University of selecting par- and Speaking,” by D practice at New ercising. Certain singers in V(J. cle fJruifn Singing various public concerts. In 1932 bu obn Fillebrown, professor £ chorus voices for ticular have sought assiduously Thomas School of Music wor found York University Educa- strengthen by prolonged exer- Harvard University. This It has also been the New to sing a la Henry Aldrich! invited to sing “The Messiah” lips 1911. In 1903 th Laurence Dilsner is a brilliant American can Chorus was the muscles of their was published in no indication of vocal timbre tion cise York. He has an M.A. that little or Methodist Convention at Atlantic City, the pre- June, and July issues c organist, barn in New e ' the in reliance upon May, merely from the sP°^en for partly be determined ™^ singer was accepted t from New York University, is a graduate of soprano Jersey. Before any for “he who can pronounce The Etude contained a series boy has a high, light New cept that studied with Na- Many a husky voice required to present himself the Guilmant School, and the chorus, he was well can sing.” An additional end remarkably lucid and readable papers by Dr. Fillebrown. voice. This is the second part of a at Fontainebleau, where he singing - as a member of a quartet for reali- by ht dia Boulanger burden of with three others in view has been the better singing which have had an in- Not to be outdone French Gov- Where churches can carry the Dann. The accompanist article upon ihe schools of received a diploma. from the before Dr. of “forward rival, Boston, New Yor pay the boys a small auditioning zation of the concept in the past and in the present. Editor s ancient muneration it is advisable to piano, in fluence upon the art ernment . Editor’s Note. play a chord on the turn the appear to brougl This almost insures would singing,” which would quite contemporaneously amount for their services. required sections Note. quartet had to sing any a cap- by much attention forth her Dr. Curtis, laryngologL attendance and gives the boy a be engendered regularity of requested by Dr. Dann. Selected vocalises third set to do it pella as to the lips. As for the and adviser of singers at tb feeling of holding a job and wanting and breathing exercises will prove beneficial to developable, we note The two de Hess boy should start at a small salary of muscles Metropolitan. centuries well. The new a good boy choir. The plan oy CHOIRS HAVE EXISTED for in these latter days attempts k£s, Eduoard and Jean, famoi all over the world. No one seems to know of vocalising descending pas- to improve wit by some individuals mental processes of the relaxationists. in the history of grand opera, collaborated B the practice originated of sages rather than those that contrived exercises ly the or where when range by specially teaching I power and to find the truth about singing Dr. Curtis, and later Jean began unchanged boy soprano voice in chorus. ascend seems to give superior muscles attached di- This movement using the strengthen referred i calculated to from ultimate fountain heads did not originate France. The present school is often However, it is known that Guido d’Arezzo as early results. Slow scales on various larynx. rectly or indirectly to the indica- since M. de Reszk6 taught i in a day or with any one Individual. Its as the "Nice School,” as the eleventh century taught his choir boys the pitches Beginning on fourth the list of the severa Here we have an end to example, Lamperti the city of that name. Another and more gener; all music edu- tions go back a long way. For Latin syllables so well known to line “D” are good. schools which seem to have been physiological of “Natural emission of appellation is the "French School.” and school children: Ufqueant laxis, scientific (about 1875) writes cators consequences of the movement toward vit Evils of Vowel This emission he traces back to natural Briefly, the Resonance School stresses the Resonare fibris, Mira gestorum, Famuli tuorum, we have dated in the voice.” procedure whose beginnings and nasal and head cavities In tl • "Position importance of the Solve polluti, Labia reatum. According to strict Distortion respiration. Edmund J. Mycr in A. D. the year 1741 it: “The tone originating in tl liturgists, women always have been barred from Action in Singing,” published in 1897, has reinforcement of the Too manv . ingers and chor- boy choir is in close by a study of Nature and larynx. The admonition "sing in the mask" la leading divine worship. The uses vocalise on one vowel. The Relaxation School voice is in Nature, and with this ruling. the voice is allowed to develop: it precept peculiar to this movement. adherence The majority of boy choirs of transition away Nature’s laws As we have noted a school Influence upc There are several points of organization and “<' is allowed or Induced to reveal Itself Instead of Because of its almost universal prefer the ound to such from the Old Italian School, so now we note philosophy which on the surface may appear un- being made, compelled or forced.” training methods employed by teachers we mu an extent that resulting second transition and a period of reaction important, but in the experience of the writer are again a records with the Resonance School as the fourt hymns, cann and anthems succeeded the Old We could go extensively into the designate educational away from the schools that indispensable from every musical and like quotations. The word “Nature” and the term mile-stone in our treatment of historical achoc all have tin me vowel color. Italian, and sought to deserve perhaps broader standpoint. frequently appear in the literature of of singing. How often we have heard: extended horizons. The schools of re- “natural" Personality and attitude are important features and more Nature” mean the “Moo sool d h moognifoo be considered voice. Sometimes the “laws of selecting boys for a choir. laxation” and of “Nature” may The Psychological School to be considered in consciousness.” At other times "real” thoo Loot! .a. dead of, "My in our historical narrative. “inner The voice is secondary to the boy himself. A good third mile-stones is intended. Again, “to be natural" is The precept that the mental concept of tone soul doth m nfy the Lord.” first period of transition, the science practice is to permit a regular choir boy to bring Whereas, in the synonymous with "to be automatic." the most Important factor in producing got distort . give no im- to get out an interested “joiner” along to a rehearsal. He is Vowel pupil had to “do something” in order How to be natural? We illustrate very briefly. singers, although highly valued and employed introduced to the choirmaster who welcomes him petus to tin congregation’s his voice, now he had to “do nothing” in order Pupils are told to find the natural method of the Old Italian School, would seem to have four and tells him that he may watch and listen to emotional am! ..pirltual uplift to gain the great benefits accruing from “relaxa- observation of the breathing of a relative obscurity In the greater momentums : breathing by the rehearsal. At the close of the meeting if the from such a million. tion.” Limpness and looseness, overcoming strain new-born Infant. They are told to note the sing- the physiological and mechanical schools alreac boy indicates a willingness to become a member, The llternt :: e for boy choirs and tension, are supposed to leave the body free folk who toll under open air conditions, described. he is invited to attend the next rehearsal ten is unlimited, almost all so- from interference for the entering in of the artis- ing of 1 negroes in the fields who generally with- Renewed emphasis upon this aspect of vol< minutes before the others. At this time the choir- prano part. ran be used. tic urge to sing and to sing beautifully. Most such as their spirituals. training came with the maturity of Wiihel master must skillfully break the ice and win the Attendanc e cords must be certainly this is a philosophy that differs from the out training sing so beautifully (1830-1920*, has been called tl boy’s confidence, and put him completely at his kept and pen: ently filed. A mechanical. Or they are advised to seek the moods of emotion Wundt who emission from the "father of experimental psychology." wl ease. I always have another chorister present at good plan Is to have a boy The documents indicate momentum existent and to permit their unchecked and the “tryout.” The singer then follows the usual body—from the soul through the lips. represents a fifth mile-stone in the present na whose voice ( hanging act at the beginning of the present century. The late LAURENCE DILSNER lines of matching tones with the piano, organ or as librarian T keeps him in Mrs. Robinson-Duff, teacher of Mary Garden, in rative. The tremendous Influence of this Qcrnu voice. If he has difficulty in matching voice, The Resonance School my contact with is choir. Such her excellent and useful “Simple Truths Used by scientist upon American education, exerted I use the older boy. and progress according to the number of years in motivation may bring this boy ick as a tenor Great Singers,” seemed to favor physical relaxa- As we already have stated, the quest for knowl- great part by his disciples, extended into the fle Various tests a high correlation show between the choir. Vocal improvement should also be con- or bass in a few years. In addin ..to the regular tion, and in discussing the action of the tongue edge that might assist the cause of voice culture of voice teaching. Before the year 1900. we fit reading skill and general intelligence. A boy will sidered. Absences, tardiness, and misbehaviour salary, extra bonuses or reward, keep the spirit and jaw, recommended such looseness of those seems to have covered successively every unit of very few books based upon psychological pro be admitted into my choir who can read the words will of course be deducted from the boys’ pay at of competition keen in a group of boys. Per- parts as that of a famous vocalist whom she the human body that might promise contribution. esses. David C. Taylor’s "The Psychology of 8ln of a standard hymn and perfectly match tones. the end of the month. Some churches prefer to fect attendance is given due n ution in the quoted as having advised persons to sing "Like We deal now with practically the last, in point lng” came out in first edition in 1908. Cla The question often arises, “How young will you send their boys to camp for a week in the sum- church bulletin. Such an hon :nata; ists. He and psychologists some rather pointed a or ice are loosely observed and his chords may and is now organist of the Church of the Their views on the issue will be given shortly. a recital is downright fun. The applause, the cream, cauliflower, or his hi face powder Holy Trinity in Philadelphia, Pennsylvania. sound like arpeggios, because the exact- First, let us consider the stolid, uneventful stu- write-ups, the lavish words from admirers and might account for that muflc At any rate, He has appeared as a solo organist in many ness and quickness of speech of the good lessons, he is moderately the boom in his personal pride become a stimulus we're on the track of d it dent. He prepares someth* u doesn't pipes so greater parts of this country and in Europe, often are much limn that of and invariably gives the to increased study. But let us assume our subject immediately t • jolly, fairly dependable designate the , let us be is member of the the piano. Indeed, the organ to many recital did uHth large orchestras. He a teacher little reluctance to put him on a not gain composure — that Mother Nature patient. Finding the trouble w i winy's endro- Pennsyl- pianists is like a searchlight which re- precisely musical faculty of the University of program. He plays on the stage as he pumped, and continued to pump enough adre- clnc glands, like Rome, isn’t in N. JJ but from this it must not be deduced contact of friends, ashamed. Here lies the burning from worry, subversive antlcij nr. of course, the rule of redactto ad at-turdum. and the pupil also are normal. In his case match! Musical Art Society Editor’s Note. The pianist who does not have agile, accurate majority of students And many teachers and parents put it to faulty teaching and hasty| hr miss practice. will soon reform. finger technic will have his deficiencies likewise the normal is a shining example of the Rara Avis. the haystack by such glorious examples of psy- And right thinking can scarcer irtured In an If a pupil can get a detached attitude and learn shown up. The pianist will miss, first of all. his And with judicious care and feeding our normal chology as; “But he's such a big boy,” or lacon- unhappy recovery take place home. Seldom are p< l confidence to listen to himself, his may student remains exactly normal, playing moder- ically, “Little Jane didn’t get scared,” customary tendency to accent. Accent in the or “Mama's the product of domestic squa old time dis- sooner. The subject of registration Is In no sense ately well, eventually attaining a normal educa- ashamed of you!” The piano sense is impossible on the organ. For accent award for haystack burn- cipline in excess (woodshed v a hard and dry matter. At least it should not be , malnutri- tion and supporting his normal family with a ing goes to the ever-just Papa who hastily the organist must depend upon what is known as takes tion, or any of a hundred) or .m-ps we read HE TEACHER OF. ORGAN only rarely has a taught that way. The pupil must learn from the position. in thoroughly normal While many in- Junior home and beats the adrenalin out of him. the agogic accent. The word agogic means a rule about in every edition of the ! •w.spapcr. It’s pupil come to him who wishes to start with teacher the theoretical and acoustical nature of he possesses the imagination of billy- stances a The writer finds that the quickest way to save the of melodic motion. In organ playing these accents safe to say that a goodly of Johnny’s T the study of the instrument, without having the pipes affected by the stops. Then, however, p goat, he never knows the depths of tragic despair ship is to stop the recital, take come under the heading of phrasing. For in- the student back public cacophony can be or comes aesthetic of nor intoxicating avert. own home, had any previous keyboard experience. Two the almost endless problem the exhilaration experienced by, on the stage, and before the audience (which we stance, if the note preceding the note to be leaving his glands and the p< butter out of three times in my career I have had such appli- tone combinations. In which his ears must be we might say, the less fortunate student. The in- hope has caught on to the idea), stand by him, it accented is the termination of a phrase and is altogether. cations, and always it has been necessary to tell educated rather than his fingers. lie will fusion of the normal into the highly imaginative and assure soon him it’s all in fun; once rational he To undertake slightly shortened, the next note beginning the a discourse i tin of students that it is far more economical for them find this a world of Infinite fascination. will talent gives us an artist. The balance is critical as will in all subject He likelihood grin at you, try again, and stage new phrase has the effect of an accent known as fright and ignore the real of to get a knowledge of music and of the keyboard learn how to adapt the various registrations is all of nature’s marvelous chemistry. make good to the delight p end to of Aunt Sophie and to it would be almost to ignoi of the piano. Then it has been Fear is the match that sets our haystack on fire. the possible salvation subject alto- through study my the kinds of combinations of tone color most ap- of his public efforts. This gether. If put out early, it privilege to supervise their piano training. This propriate to the does little damage. If it is method is always justified, effect that he conceives the com- so don’t let the A serious neglected, the young student in !-,. makes their organ work very much simpler for damage might be irreparable. “wasted” time of a few impatient hands of a poser might admire True, modem editions of members of straight thinking, Under average conditions the hands behave, and your attendance worry qualified t< r who intel- me and for them later on. ORGAN organ music are carefully marked with sugges- you. As a teacher your ligently plans his work, (Coni- Unfortunately, it has on Fugc 776* been found that many tions for registration « Continued on Page 778* FORWARD MARCH WITH MUSIC” THE ETUDE NOVEMBER, 1942 FORWARD MARCH WITH MUSIC' 7 « — Music and Study this situa- I have since seen Music and Study repeated numerous times o-day, as never be- tion smaller audiences. fore, music in Amer- by greatest T ica is facing its Song Without Words Not a In this country, challenge. The National Anthem is a where for so many years we Help Music Can a song with- that wars How song, and not have been taught out words; in fact, the words were unnecessary evils, that song; they are more Gridiron could be fought over a make the of the battles than the notes. Musical Pageantry conference table, where important to you and me, the guidance and They belong through cit- great diplo- War to every true American leadership of our Win the izen they are America mats, all parties and nations — represent the things we Robert (fSarrett would return victorious, we they bu Our National ^ again engaged in war— are fighting for. are belongs to the people, the greatest war of all time. Anthem season and orchestras gridirons during the football and the fans Within a few months we have our bands field led by another giant drum SETTING was the big Ohio State stadi- swung down the to expect it as part of the big game peace-loving should serve as accompani- he herald-trumpeters have come changed from a Saturday afternoon major and preceded by two connected with the great to the singing of this um; the time a snappy with fare. The pageantry game nation to that of a ments held aloft shining trumpets draped T in October; the occasion, the annual big who more colorful with each passing year. determined great song. Let us encourage grows fighting people, maize and blue M banners. it. They game between the Big Ten rivals, Ohio State and Also competing to steal the show from the preserve our democratic our audiences to sing When the band reached the to are the acrobatic antics of music, come to realize formed a colorful bands the traditions. Much of the will soon middle of the field it cartwheels to cheerleaders with their and tumbling, for the past two and a what the words can do huge star and from this position which the novel tricks of the cheering sections, the decades had done much arouse their emotions and in the twinkling of an eye it half baton twirling and strutting of good looking girl to the Amer- awaken them to the spirit of shifted into a double star, and in contributing majorettes, the parading of animal mascots must for played a stirring Michigan drum ican way of living, America. skits staged by the students music and comedy garbed the duration of war give way and parti- The types of service to which our school march. the unity failed to show sufficient enthusiasm in grotesque costumes. which will arouse our nation to and varied. In ad- Next, before the eyes of the to music of music mentioned. There units can contribute are many University band of one For many years cipation in the type formed a The Harvard hundred and spirit necessary to victory. usual school functions and com- crowd the musicians definitely a lack of the good old American spirit dition to the specializes on formation, and novel musical have Justly been absorb- is with a great man- pieces aur youth and citizenry concerts already mentioned, we can huge clock in our singing programs. munity presentations. Each fall the band director pre- an anti-war flavor. Our musical diet meetings now be- made pendulum at the base. ing music of attended a choral concert presented include participation In special symphonic arrangement of popular songs the music of nature, Recently, I Breaking into the strains of the sents appropriately consisted of Red Cross. Service Clubs, Parent- and by an exceptionally fine choir of two hundred ing held by the and college airs in medley form which make a trees, the sky, flowers, mountains, Legion. Civilian Grandfather’s Clock song, the the birds, concert was superb—the sing- Teacher Associations. American with the rooters. music, impression- mixed voices. The band was joined in singing by big hit music of the dance, romantic other war-time meetings. ing beautiful—but the choice of selections did Defense Workers and Carnegie Tech Kiltie I :d is one of we had been almost everyone of the 70,000 The the istic music yes, without doubt and the perform- — Include one patriotic or American composi- Xh* singing of patriotic songs most colorful of the Ear’ •: groups, for the “peacc-muslc" diet. But December not fans. Then as the pendulum “raised” on a military music at such occasions can be that tion in the entire program. Is this the time for a ance of note, the bandsmen dress in kiltie pun ms and the sight brought us to a sudden awakening pur- swung with the last 7, 1941 Brahms? Beauti- a powerful influence In developing unity of knees and skh ways excites peace were not full evening of Palestrina, Bach, clock was heard to tick and the of the bare the our philosophies and teachings of which our Appropriate?—Hardly so! Wc are In pose and morale. Another service to attention and inter- •; the fans. One teachings of our pres- ful?—Yes!— a part of the educational contribution, is that of the greatest of all wars. The part music is to play bands can make a valued of its novel and d nve marching ent enemies. We were soon to learn that the youth "M" STANDS FOR "MICHIGAN" dependent upon providing music for the "send offs” of the men specialties is to ton roup of in helping win this war will be letters Also, our The CTronf University of Michigan marching musicians of this nation. being inducted into the armed forces. on the field and en distributes the the music leader* and directed William D. Revelli, Editor of ever be- band by education program of our public musical units can contribute more than contents of a bag of - til at his The music 'lne Etude Band and Orchestra Department. feet. ula. various holi- represents one of the most powerful wea- fore to the programs being held on When the band i.dd the out- While we of America had been teaching our schools the winning of the war. days. It Is at such times that people are most line of the letters i. iy visible from lullabies, cowboy .songs, pons available toward young musicians southern pledge themselves of our armed forces, our navy, army, air conscious of the opportunity to the stands. The p! always carry hillbilly tunes, negro spirituals and while our Music Michigan. Suddenly and dramatically country. Battle to unity and the music on these occasions is ex- colored gas balloon.. pcctive school to the music of the "juke- force, marine, the songs of our six of youth was dancing trumpeters appeared at one end Spirit '76. America tremely effective and of great value. colors to send up at • end of a drum of our enemies consisted Hymn of the Republic, The of the field and solemnly marched to mid- box,” the musical menu of our flag, that is the music roll and often coin: I board letters different entrt—that of war, the Beautiful, music field with bright banners fluttering of an entirely Music Helps the Worker can and will are suspended below •mis. For the marching soldiers, and through those songs our of to-day, and it is this music which from their horns. In the center they A contributions of music to of the greatest • One 1 N. Y. U. game the ba : ally help lead us to victory. ~ , m 7« forms a enemies were preparing their youth for the pres- wheeled about with West Point preci- mrw — y the large practically every community In this country civilian morale has come recently through sion and, back to back, blared forth a violet and far holds aloft a ent conflict. As a result, while we were singing In municipal bands, most unexpected channels; that Is music In In- fanfare which caught the attention of purple colored gas b For the Notre and playing the music of peace, our enemies were wc find excellent school and dustry. Many industrial plants have found that the seventy thousand fans in the Dame game the gr< ays forms the developing through music, a militant attitude, and orchestras and choruses. Let us encourage com- ' outline orches- music Is both practical and beneficial when It is stands. fr /. of a large ! and then runs unified military forces of all their people. munity sings, and present our bands and r yellow strips :o.ss pageants. Nothing used properly. It has been proven that stimulat- Immediately from one entrance of of bUfi it to rep- tras In patriotic programs and patriotic selec- the field pranced and strutted the Ohio resent the strings. A New Musical Program else wc can do will prove more stimulating or ing music, such as marches and best to relieve monotony, fatigue State drum major, a giant of a figure (Cm : on Page 784) We who are responsible for the part music is more effective in building and maintaining civ- tions, Is usually to perform their tasks In in a blue coat with dazz.ing red braid, five charming drum majorettes to play in bringing ultimate victory to the Allies ilian and military morale than such projects and and to inspire workers wearing dark trousers set off by highly FROM WASHINGTON STATE COLLEGE must adjust ourselves to a new musical program. activities. At every school or community concert the proper spirit. It has been found that the type polished boots, the whole costume being We must see that the people of this nation be- the audience should be given an opportunity to choice of selections, timing, volume control, topped by an enormous white shako close to two hands moved around to the come a singing citizenry. Without excluding the sing at least one well known patriotic song. of work being done In plants, age and sex of em- feet in height. time of the day—3:20. A great great music of our pre-war programs, we must Only recently, I witnessed a Municipal Opera ployees greatly affect the general result. Much The one hundred twenty piece band, playing roar of enthusiastic approval emphasize music of a patriotic flavor. We do not performance. Over ten thousand persons were in research and consideration have been devoted tc the Buckeye Battle Cry, followed him onto the from the stands stopped short at present have a sufficient amount of active attendance. It was indeed a great spectacle, a this phase of music's part in industry and from gridiron, in a floating OHIO formation, the when a new sound was heard participation in mass singing. Music, as no other natural amphitheatre—the lights were dimmed, these findings, doubtlessly, will come many func- letters of which were kept in perfect line by the the winding of the clock. This force, can develop unity, morale, spirit and confi- a spot light was focused upon the conductor tions for music In our dally Industrial life. Some fast stepping bandsmen until the entire field had formation next changed into a dence. Our War Department has asked for a sing- the orchestra musicians arose from their scats. of the Industries now using musical program.* been covered. Swiftly the band circled around large M which marched down ing soldiery; it encourages parades, community The conductor faced the orchestra and conducted include Weston Electrical Instrument Corpora- the goalposts and started back up the gridiron, the field enclosed in a square sings, band and orchestra performances. It is the Star-Spangled Banner, with his back to the tion; Westinghousc Lamp Division. Utica. New but this time instead of forming separate letters, which rotated about the letter only through this single York: Drop Forge and Tool Corporation: Carl tor the active participation that our audience. Not a person with the exception bandsmen, like a magic writing hand, spelled and moved along with it, a very people will acquire the sense that this is their of my friend and I entered into the spirit of song. Lamp Corporation; Curtiss-Wright Corporation out Michigan in a script formation, with one letter clever maneuver. war— that they belong to the nation's fighting and numerous other firms. It has been found ir flowing into the next without a break. forces and that the spirit and will to win will all of these plants that music has definitely con- Now it was the turn of the Michigan musicians, Many Colorful Scenes bring final tributed to increased and the battle of the bands had victory. Music is a perfect medium BAND and ORCHESTRA production, improve* begun in earnest. This colorful big game scene for this and it is for Edited by William O. Revelli morale, and It has unified The one hundred thirty piece Michigan band us to accept the challenge. the personnel. is duplicated on hundreds of THE UNIVERSITY Up to the present time our youth and adults have Our school musical Music and Stud Music and Study Table The Teacher’s Round Relaxation chromatic Controlled For right hand minor thirds, The Secret of Monthly Schumann’s fingering (above the notes) Conducted even Exploring Schumann is good—but can be made better by the "sliding thumb" fingering How many Round Tablers are ac- using (be- instrumen- the notes) . His fingering for the left prefaces to utilize their own individual By low quainted with Schumann’s mechanical, broaden the scope or en- hand is exceUent. ART, whether liberal or his piano arrangements of Paganini's tal colors to VERY of the original. I also requirements; and the art “Six Caprices for Violin, Opus 3?” Any hance the effect has its physical of service to artists who of demands for study of Schumann’s style is inadequate hope to be 'flu** E of piano playing is full to n the dread everything new, or are afraid requisites if it does not take into consideration physical application. These physical antiquated rules.” important observations he makes on piano depart from 2^’ thoroughly mastered before the student great genius and Noted Pianist must be texture in these “Caprices.” Coming from such a ^ technic and permitted to enter into its most sacred that’s a hard-to-beat credo, Educator may be His theories of contrapuntal voice color- modest man, and Music presenta- brash adapters, ar- precincts: just as a diplomat seeking a ing and emphasis, his conception of the isn’t it? Other more transcribers, please copy! at court must conform and be thoroughly be chosen in preferenc role played by syncopation, his original rangers and tion study to relax Also, this exercise Is to book for this point is wasted. Therefore matters are Let’s take a leaf from Schumann’s grounded in the conventionalities demanded as remedy for the fault fingerings, and many other key Is struck and to the five -note drill a all those your muscles instantly after the do away with v! ' ,h thoroughly aired in the prefaces, with of respect, and Correspondent* }?**, the occasion. caving in of the lesser finger joints. bar- requested to limit Otters expenditure of strength. backward the spot. bulbous Bach arrangements, those merit are i." »ra stands the save any unnecessary practical exercises prescribed on Hundred a nd Fifty At the foundation of these demands given with an arm or wri: Schubert degen- to One of “total relaxation” as The strong note is one has explored the piano more ber-shop-counterpoint of all knowl- This is the real meaning No principle of touch, the foundation with relaxation fc plug-ugly Johann Strauss playing. fall (which may be done thoroughly or contributed more to its de- eracies, those more easilT^0™fort interpretation. In seeking to it is applied to piano 3 learned edge of technic and to deliver th Therefore, derangements! rather^ allowing the weight of the hand velopment than Schumann. the thirds continuously not very practical. ,y playing build up this sub-structure, the student must Relaxation finger force) and th as a prelude to a study of his style, in But Schumann is also exercising the Practical Exercises for blow instead of using sheer han by too solicitously incorrect thinking. No confusion issue of The Etude, this He says: fcllows an hi- be deterred by naturally catches the key with the flng( the December eparate fingers." Then better understanding of controlled finger precise and must be allowed to exist in To gain a month’s Round Table Page is turned over “I have furnished very exercises in diatonic of inaccurate terms the real finger touch on th eresting series of relaxation, strike a key somewhat strongly with flexed inwards: then consideration of Schumann’s carefully considered fingering for the cases instance, we hear, frequently, much to a brief chromatic thirds-in many his mind. For Is given so softly that it will not t primary nd finger and immediately relax it, but keep the second note comments and exercises from his pref- Caprices, fingering being the “total relaxation” in playing the piano, any concerning apt to bend backwards as when a stroke of fore “Caprices.” foundation of all thorough playing. The key depressed with a minimum amount of aces to the Paganini Schumann presi rib. s many other ex- well knowing that in reality there is no such He begins by reaffirming his reverence student should pay most earnest at- strength. In performing this act, two degrees of is demanded. Ext cellent exercises, some in thirds with thing as playing with total relaxation. composer’s intentions and direc- tention to this all-important point. . . . the easily see how this simple, loud-so: for the A minor (harmonic) chromatic tones Inti-: ixilated, others with strength, loud and soft, are Impressed on One may pur- This is merely an expression freely used in the tions, thus: In one Caprice, No. 6, I have exercise conveys within Itself the very Idc free accompanyiiu; inner parts. A few of pianoforte to convey mind. “Notwithstanding the many difficul- posely fingered only particular notes. technical terminology of the these are given to how how important an alternation of accented of relaxation at the very place It Is needed. Irr really cares to learn freedom in playing: that Is. Passages demanding ties — technical and harmonic — with But if the student the idea of perfect th it is in studying Schumann's style to unaccented notes are not often encountered. mediately after a key Is struck. Concerning which I had to contend in arranging this piece thoroughly, he must fill out control of the muscles to the extent that if one and master every vkrlett of polyphonic tex- a elementary exercbw, Franz Liszt, the greatest t Caprices, I undertook the task all the blank spaces; otherwise, if he Usually the first technical exercise assigned to these og, finger is to move, it must move by itself without the ture, color, under- and emphasis. technicians, has this to say. “Of all exerclst with great pleasure and earnest de- doesn’t make up his mind about movement of pupil Is a five-finger drill consisting of whole the exec , might have any assistance or. accompanying every individual note, a Indeed aU been for slimulatim votion. My aim was to keep the tran- fingering of Schumann never uses 1 1 notes each to be struck with equal force and of which 1 have knowledge Note that lifted bodUy jfom Schumann's piano any other finger. Possibly every teacher has had scriptions as faithful to the original as perfect mastery of the piece will be a 2 3 the pupil strengthening and limbering the fingers, th are a kmd of essence pupil who, when playing nothing said about relaxation. No doubt the same time taking into sheer impossibility.” works. They of his experience with a young possible, at legato third scales. That’s a simple little exercise Is the most effective." fingering in haw .ill the can perform these notes easily os the movements peculiar character Selah, and thrice Mr. Schu- idiom. Here you Schumann- with one hand alone, holds the other hand In consideration the Amen, everybody to follow. How- good rule for sjBepution. the tops, of the fingers are controlled more naturally by This same exercise is treated by Dr. Williai and mechanism of the piano. X have mann! All of us teachers bless you for isms—the bot- rigid suspense or moves it slightly In sympathy ever. better fingering for major and toms. or insides bi t out. the accented the flexor muscles (for bending) than by the ex- Mason in Volume I of his masterly work. “Touc not ventured to change anything in those words. . . . Our students must very member. This is a clear case minor scales in thirds can be devised with the performing Paganini’s directions, however fanciful early learn never to leave the fingering off-beat inner voln -.utli 'as Schumann tensor muscles (for stretching). Yet, In this per- and Technic,** which contains the life-term prlr with combinations of 34 34 345, thus: of uncontrolled muscles. says) "almost St): sharp strange they appear. Although of any passage to chance. . . . Fingering emphasis ciple correct touch. the presents tio and may 12 12 123 formance, if the idea of relaxation is excluded of That early written on particular tjr.e . v. uie the other I have occasionally enlarged a passage must always be clearly down, parts Control through Relaxation (which, unfortunately, Is nearly always the case), and evaluation in the matter of touch is essentia . . . maintain a per hi i>-gnto or made it more suited to piano play- memorized—and strictly adhered to. 2 throughout." Ex. student’s mind centered upon total a large amount of energy Is squandered use- were realities fully recognized by Dr. Mason. 1! ing, this has been done without injury There is no other way. And he odds let- r nil* kind of ac- With the lessly, as the beginner holds the key down with devoted hu first volume to this important aubje< to the original. I simply wanted to en- On the problem of playing smooth centuation can be u, ;ird to dissonances relaxation, his technic develops a looseness, even undiminished pressure. exclusively, thus making Its study Just as Irr able solo players to refute a familiar re- thirds, Schumann says this: “The stu- with particularly g. .) effect. However, a flabbiness, besides Inaccuracy and indecision. portant as scales or arpeggio*. proach—namely, that when they make dent must be careful to play the thirds the player must tiu ;«-< lul care not to However, If he is brought to view the matter in its Nevertheless, there Is a time when this exercise loose knuckles. This arrangements they do not sufficiently exactly together from make the tone wo . o: harsh." true light as freedom tending not toward In- becomes Important and may be used advanta- Wrist and Shoulder Relaxation decision, but toward resiliency and solidity, he geously; that is, when the fingers do not articulate reveals himself in a totally different aspect. His easily In the metacarpel Joints. Even In this case While practicing for the attainment of corr playing becomes imbued with power and decision, It is preferable to use alternate Angers rather plete relaxation with its corresponding reservi with a minimum expenditure of strength. than adjacent ones, as there Is a tendency for tlon of strength in playing, all rigidity and lens* For a practical illustration of the desired touch, adjoining Angers to move conjunctively. ness must be eradicated and the idea of freedoi So In order to gain this technical acquisition of strike a key upon the pianoforte. This may be per- and looseness given predominance; even the ui: formed In a quick manner, lightly or heavily, or In relaxation in a practical manner, an exercise must employed fingers must be held with IhO u:m Not ti pressure whenever called for. Music and Study the con- that tnt opular belief to least benefit from them is value of short-cuts bow in’ trary, the will adjust the grip on the been denied by each ii UST AS PEOPLE OF MANY LANGUAGES in Phas never the most suitable one for pedagogy consists of an audience are united in thought through teachers. All dividual hand. short-cuts, that is, the best, in an ui the beautiful harmony of a great organ or finding The bow is held slanting J most efficient way of playing tl orchestra, so people of many denominations in a easiest and ward direction as when lifted to certain goal. The func- Short-Cuts steadily to th congregation are united in spirit, and reaching a violin. It must be held Singing teacher is largely to guide The: higher planes of spiritual exaltation through the Revival tion of the angle throughout the exercises. Leading series of short- moving melodies, messages, and harmony of the student through a can be divided in two general group could not have found t sacred music. cuts which he Lift the first finger straight controversy the teacher. The The most useless and unnecessary without the help of from the stick as high as possibli and frowned is of the relative merits of the hymn only kind of short-cuts The othi that to put it slow’ly back again. song. Why? Because we need both! those which lead nowhere. the gospel Modelled ver upon, are fingers are next raised and replace are dedicated to God, but the gospel song Jdiomer of violin teachers have Both lif Generations a similar way, one at a time. Aft< the masses. The in makes a more popular appeal to Famous Evaniji'.listir. Leader worked out a number of special stud- may be move and a while, the fingers hymn is for praise, adoration, worship the purpose of gaining ies with more quickly. Naturally, one mu prayer, the gospel song is to bring to the people proficiency in the shortest technical the fingers, : warnings, prom- vary the succession of God’s plan of salvation, with its Each study is dealing possible time. i Violin Mastery that they are not always moved ises, hopes and comforts. with some particular phase of finger- with its own the same order. Each gospel song is written technic, each forming Festival; 250,000 or more ing or bowing still more in always for the individual man or wom- for great Chicagoland at In group two, it is message— Billy Sunday meetings step in the ladder to techni- message experience in the Indiana, for the Willkie notification. another see that the bow Is he. an. Each hearer can readily believe its year, six days Elwood, portant to twenty years, ten months of each together, cal mastery. Thought of in this way, intended personally for him. The singer makes These immense crowds came however quiet at the same angle as when bi is throngs of from ten thousand those of Mazas, Kreutzer warning each week, leading great, spectacular occasion. They studies like that tt a sermon of his song, urging repentance, from two to for just one ginning the exercise, and to sixteen thousand every night, and and Rode take on a new significance. of sin and the judgment, not have continued to come for eight or returned to the gener of the consequences through the day-schools, would fingers are seven different crowds did not have They are steps leading to new musical sympathizing in trouble, offering assurance of ten weeks; they the ap- position used when playing. From ti people and gospel and song. conquests, instead of dry, meaning- God’s care and comfort, urging young peal of the position with all fingers on the stic “exercises.” old people to show the joy of their salvation, and There is this additional value in less then the fourt come, first finger is raised, service of the King. It ir the thought Control of fingers and bow to be happy in the mass singing: of so that the bow Is held betwee of course, as the result of practice, The entire scale of human emotions may be the masses. When they come together and third finge applica- thumb and second touched through the gospel song. Babies are thoughts an d different; long periods of careful, exact their when are then replaced, one i are short-cuts The fingers lulled to sleep with the story of Luther’s Cradle start singin heir thoughts are tion. But even here they a time. The first and third finge Song, men go into battle singing We’re Marching the one channel. that may repay the student out of all directed in The next; then the second ar Republic. to the time spent. A are raised to Zion, and The Battle Hymn of the speaker does not h to spend a lot of all proportion third, and so on, until all posslb Many great spiritual awakenings have been ac- ttentlon few minutes daily of the following time getting tin of his have been tried. Tl companied by gospel song. The songs of the special exercises will add immeasur- combinations audience. should also bo Uftc Wesleys were as foreign to the formal music of Independence of the fourth finger, move it slowly across to the E same finger combinations The thrill of tin vd is great, but ably to the strength and a time. the church of their day as any of our gospel of the bow. string, place it firmly down, and then move it together, as well as one at the greatest ble.s. ti >m tlu* gospel fingers and the power songs of to-day. The critics of our gospel songs The purpose of the left hand studies Is to make back to the D string ngain. The third finger U song comes to tin i.vnlual. Not only For Maximum Benefit have selected the poorest and compared them crowds but h records the fingers able to move with absolute independ- trained similarly. Throughout, there should be no in the and these exe with the greatest of our hymns. We agree that strengthen neither in the tone in the even- In order to reap any benefits from radio we have n illustrations of ence of each other, as well as to interruptions, nor some gospel songs should never have been pub- else*, they should be done regularly over a petit the permanent b from gospel them. ness of the trill. after lished, but there are also some hymns about 5: first string, third of time. Allow three minutes daily, and songs. I had the p: of presenting Study Place finger on E which the same might be said. So we should all Left Hand Finger Exercises finger on string and play on both strings. Now month or two the results may be noticed. Bvei the first gospel >.< ram on radio A unite to and present better gospel songs produce place simultaneously the second finger on the E tuaily the students will be repaid beyond expect, In our country, < kdka, in Pitts- Study 1 : Place all fingers on the A string. With- and hymns. We all appreciate the music of our Several European masters have used devic burgh, only a feu after this sta- out moving the other fingers, lift the fourth fin- string and the fourth finger on the A string, and tlons great choirs, it is that we but more important short-cuts of this type with great sucre* .ng. place it on the string. Then move it to raise them again. This, of course, is the double —or — plan our services so the people will have a part. tion started bm ger and D marvel at the speed with which chi 1 the trill, as will be noticed when the speed is Increased. We often That comes through the congregational singing, Not long ago noting a new the A string, to the E string, and back to A be A daily five minutes spent in this way will add prodigies master the instrument, and we are it and this brings us to the need of good leadership. song by Mr. B. D v over a Pitts- again. Each of the other fingers should in turn this to a special aplitud burgh radio *ta It was called made to go through the same movements, still very much to the strength, independence, and rimed to attribute left talent, or genius. Talent and genius seem una The Need for Leadership Heartaches, a g<> • ur mg peo- without lifting or in any way moving the other control of the hand. to the average students, and it ahou Most folk love to sing. The reason many do not ple to bring theit ws and heart- fingers. All this, of course, is done silently, no tamable Bow Control through Fingor Pressure to to know that psychology try to sing in church is the fear of making a mis- aches to Jesus A ..< dose of the tones are played; the bow Is not used; which Is be comforting them talent in childrrn as almost fifty percei take—a mistake in that formal atmosphere would program a teleph. ill came in; a also the case with the next exercise. A large amount of bow-control depends on the analyse make them ridiculous. The fear of ridicule has woman, between In said: “Please Study 2: Place all the fingers on the A string strength and independence of the individual fin- receptiveness. Oet a child In a “receptive frame i HOMER RODEHEAVER 1 kept many from doing worth while things. tell the singer tl. .< song Heart- again. Now move the fourth finger to the E string, gers on the bow. The fingers holding the bow mind.” and the process of learning is going to A good director, carefully marking the tempo aches saved a We nun suicide to- third finger to the D, second finger to the E, and actually have a greater importance than generally speeded up to an amaxlng extent. And right he and rhythm, relieves us of this fear. Each in- stores, luncheon clubs, shops, and factories. In night. I have been sick and d. raged, no place first finger to the D strings. Prom this position, acknowledged. Their functions are of importance is one of the fundamental short-cuts, which mi dividual’s of idea tempo and rhythm would quite Philadelphia, organized by that master organizer, to turn, all faith and cour ie. Then came one finger Is moved at a time, back and forth to tone- production as well as to all types of bow- mean the difference between success and failui naturally be slightly different. When some one the late H. C. Lincoln, we had more than five the song; it brought menu f mother, her from one string to the other, until all possible ings. The fingers do not automatically adopt these If a student can approach his studies, his le stands before an audience and carefully and thousand members in our choir, singing in three prayers, and the old home, N< I have been pray- combinations of finger changes have been worked functions. They need to be trained. For this pur- sons, and his practice with a receptive, open min clearly marks a tempo, we gain confidence, and different sections, for eleven weeks. The same ing, have thrown the poison nv. and am coming out. pose, the following bow-finger exercises should he will have something, at least, in common wit a new thrill comes to us as we become part of a number in York, only New slightly i smaller in back to mother’s God and v. live for Him." Study 3: For this and the following the bow is prove beneficial to the student. They will give the the unusually talented child. While the talent great crowd singing together. Boston, Chicago, and Pittsburgh. Why would peo- During another radio pro: the girl at the used. Place the first and second fingers on the A bow fingers strength and control, which in return genius seems to have his rrceptlveness by natur Tempo is important. Many directors try to ple put aside other engagements and come faith- string, fourth finger telephone • on the will t called me out of t: mi ! to. and said: D and third finger on prepare the ground for the more advanced this does not mean that It cannot be acquired carry large a crowd along as rapidly as a small fully for eight and ten weeks, night after night? the string. "This is against the rules, be r just had to call E Without moving the other fingers, special bowings, like the varieties of spiccafo and his less fortunate fellow students. The task i choir. large The group requires a slower tempo. They would not come for rehearsals, or for you for this woman.” I piev p the receiver, begin to play a slow trill on the A string (1st and staccato. The hands and fingers will gather the preparing such a state of mind is threefold: The voices of those in the top gallery reach the preaching alone, but for the thrill and exaltation and the 2nd fingers) . Gradually increase woman said, “I am a : -no in my room the speed of the required command of the bow-movement, conse- 1. The student must learn to concentrate. / platform later than those in the front rows; also, that come when the universal language of the with my boy. is trill, being careful, however, not to He dying, pie. . ,g a prayer for sacrifice clar- quently such bowings will seem easier. Although other interests must temporarily be put aside. I the larger crowd is moved by a greater swing of soul is combined with the great message of the him.” Imagine this ity for speed. the scene— : mot Iter, in a question of finger-pressure on the bow must learn to push away all thoughts unrelati the arms, and a slight anticipatory movement Gospel of Christ. may poorly furnished Study 4 Fingers are room. 1 : placed and the trill be debatable, it is before the point of the accent. th< of the one she on the certain that exercises of this to his immediate practicing problems. It Is a got loved ebbing away, no A string is played as above. But now the type will One cannot learn to lead singing from books A Rare Experience friem mfort. no min- fingers develop the ability to apply such idea to rest a minute before practicing; try ister for spiritual on the other strings or lectures, guidance or •• In the midst are to be raised and replaced, relax physically as well as mentally. When pla any more than he can learn how to I have had the rare privilege of directing the of her loneliness, one at a time, and kept heartache, a . moving thus swim or ride a bicycle sorrow, we were up and ing, play only as long as the attention Is tl from books. Only experi- largest crowds ever assembled for on community able to bring down while the trill ence can give you the right “feel” of comfort thro the prayer in a is steadily being played on music. The moment the mind begins to the rhythm singing: 62,000 at the opening of the VIOLIN wandi Atlantic the A string. After a while, a and tempo. I am fortunate to have had very wide City more difficult varia- the moment an unrelated thought rears Its ug auditorium; 85,000 in Soldier’s Field, for the Edited by Robert Broifto Oospel songs, - tion of this study if their • can be tried. When lifting the (Cm on rage 772) head, by all means stop, t Continued on Page 77' 744 "FORWARD MARCH WITH MUSIC" THE ETUDE NOVEMBER. 1942 “FORWARD MARCH WITH MUSK : , — 3 Music and Study difference in style makes follow Just this understand, and therefore or vocalise of the Rach harder to construction from a solfeggio are slower to ascend and appreciation de- The exercise is an fove singer Hence its name. the young student. Then too a S followed by its Music and Study velop in chord of the tonic of Bach’s music is highly in- broken the great deal S chord. Thus we find m style, as compared with descending seventh tellectual in its the tonic triad and example, whose preludes, Solfeggielto these two chords, Music and Chopin for broken-chord co»- Why Mot Simplify Questions nocturnes are often highly Study dominant seventh chord in waltzes’ and Helps Piano its which the the effect they produce. But Analysis three different keys in Notation/ emotional in struction The How out- clear, so pure, so ever- by clearly and base clefs Bach's music is so appears are hung together a Why c»n't the treble motif will have the same beautiful that every musician material Bach gave be written so that e.eh lastingly modulations. With this One of the 8re»t- understanding lined notes on the same lines? come to an of it, by clarity of beginner 1* the must composition characterized blocks to a understood it is us a rat stumbling a Answers it is once usu- clef E comes on and when beauty. fact that In the treble thought and symmetrical clef It comes In a loved. line and In the bass ally clearly show t e that you will compositions of Mozart so on. I think to your question about accents -4,niey- The soace and In reply it, £(L it is the two sonatas that a standardization of your teacher material employed. In his ££ for Service can only say that seems basic would make music a lot easier Information I his themes clefs would Music therefore I advise you to fol- he invariably gave out beginner to read. Such a change A to be right, found that the namely I, gradual reprinting of th * his instructions. the three primary chords, mean the arned low using only library as the new generation 1 cho d on three chords cal simplifica- introduced by a six-four V. In whatever order these under the new system. If the of music is it is properly IV and Is THE STUDY with of the worth while, however, the task By PURPOSE OF chord of the tome they show the influence tion Is would be Conducted an Older Person Still he musical ideas, its root, that is, the are grouped Impossible, and It certainly Can to assimilate directly to the are chosen not house tn learn how bass, and it proceeds form. Many of his themes lucrative source to the publishing Music? thought and fifth in the cadence a the Learn these ideas into Notable had the courage to pioneer how to convey from these pure harmonies. that T or keynote. . . . . directly interested thoughts through tonic , change.—O. W. Q I was very much in the , tn exoress these of which there of the first move- Training,” in diminished seventh chord them is the first theme article. "Practical Ear the The assimi- The among entirely correct in your a™ose» instrument. formed on the major.” The A. You are i'jTt'DE. Is it possible for an abso- of different chords, is best-known “Sonata in C eveiy- Mus. Doc. April hfmasS, best be made are only three ment of the I agree with you in person ever to learn any- matter can inter- position, and lutely tone-deaf fation of musical minor scale. Its major” shows the same simple repiinllng I was a or seventh of the harmonic “Sonata in G thing except the feasibility of jU thing about music? When small of the basic material recognition half will mother the step and a , pure fundamental forms. literature using the child I was told by my that I through vals, each one of which is a arrangement from the entire musical is, the scales and chords sing, that no one in my father's forms, that the chord appear to Many others have made couldn't fundamental the same in whatever position embellishments are found they new system. carry a tune In a basket, and composer has woven remain Where and quite family could around which a particular formation, harmonies. suggestions similar to yours, same way! Being a shy, and appear. Due to this the notes of these simple I would be the S this core 01 back may pivot on will lay bare simplified systems of nota- child, I took this very’much to ideas. Analysis belongs to four illuminat- a number of Professor Emeritus sensitive his each one of these three chords music of Chopin reveals many but no one tried. In music class, at inner structure of a compo- The tion have been worked out; heart and never ^ne and reveal the composition this chord in using learned a thing. I was too pure different scales. In free examples of inventive genius succeeded in persuading the [Iberlin College school, I never will show to what degree ing has ever learn this It also resolution. Its In terrified that someone would sition neither preparation nor to adorn fundamental forms. publishers that a complete change employed in the creation o requires simple ideas music horrible thing about me. All my life I've forms may be or minor. editions of all basic when used, may be major left the basic material of notation Involving new Music Editor, Webster's New sing and dance like other nor- interesting m musical resolution, none of these has he longed to ideas which are seventh is a or even sensi- all life I've "suffered musical the diminished minor. In none, existing music is feasible mal people, and my arrangement. Thus we find that so clear as in the Waltz in E International Dictionary can t carry a tune. technical this case I agree with the in silence” because I content and individuality as well as flexibility apparent. The ble—and in of a lack of chord of great too, has he left the Invention so impossible as Now at thirty-five I still long to make that Elgar, because publishers: the thing is as It is related itself equally on each of key Could I learn to play the piano, forms, in its use. It impinges introduction of eight measures holds the war. music. composition of symphonic the abolishment of of pitch and no sense exercise in the the visual and or would this lack master- the senses, namely, the auditory, the particular kind of adornment which keep me from learning any closely the pattern of a Haydn to of rhythm followed be a dis- Mrs. C. L. symphony. With a the tactile. Chopin chose to use. This is found to parents instrument?— when writing his first Who Pays the Printer? point of school pupils and their piece the accented beat. most important things orchestration and a knowl- Ex. 2 sonant note which falls on operetta is probably the most popular A. One of the sense for rich presenting one of my piano the fine a Q. I am have done for human twelve-part chorus he It is always a half step below the first note of recital soon. Am I. or type of musical activity offered by the that psychologists could produce a pupils in a Junior edge that - supposed to pay of tell them that it is never too a master- Outside this one idea the subject- are the pupil's parents school; but that from the standpoint beings is to approached this task. The result was chord-group. printed programs? I have always to your ques- for the the music educator it is about the most late to learn. So my answer an unusual musical matter shows nothing but simple chords and for class recital, There is no doubt that paid for the programs my still piece educational results—at least tion is that you can probably learn is formed on are used Is first solo pupil barren of musicianship the seventh which with the same progressions that of course, but this my background with an excellent The chord of scales H. training is concerned. the piano well enough so as to with presentation.—Mrs. H. A. so far as musical to play who became "Eng- of the major scale is identical in classic form. The particular invention of using your play- shaped the career of the man the seventh what the The popularity of the operetta is based on derive great satisfaction from relative minor. A. I do not happen to know laureate.” that formed on the second of its a dissonant note to begin a chord-group is a form it is play, and everyone you can still learn to sing land’s musician paying for the printing the fact that a ing. Whether practice is about work imply much diminished triad with a minor seventh. Chopin. He used it in many compo- or, better yet, to take but I would urge you to requisites for analytical It is a peculiar to program given by a single pupil but likes to see a play I am not certain, The of a with scales and chords. but in none so generally as in the Waltz would part in one. But putting on an operetta answered in THE ETUDE try. And I believe you could learn to make than an acquaintance sitions, I should suppose that the expense So question will be more Ex. by the full »*”>' of each of best known the pupil’s par- means a great deal of extra work for the unless accompanied rhythmic movements with your body. If pupil should know not only every tone in E minor. Among his compositions defrayed by i naturally be and address of the inquirer. Only «?><«« A this music teacher, and most operettas have will be published. have access to a teacher of Dalcroze the relationship of where this Invention may ents. If they offer any objection to or pseudonym given, you the different scales, but also to the piano student cost. so little literary and musical value that eurythmics in addition to a teacher of together with minor, the you might assume half the each tone to its keynote or tonic, be found, are the Impromptu in C and work often seems wasted from a pure- the piano I suggest that you ask this teacher particular family of tones. as the dimin- as the Revolutionary its tendency in that This chord, though not so pliant Etude in C minor, known ly educational standpoint. However as a if no such teacher is to help you. But fundamental chords. singular appeal. Grace Notes Come on the fairly difficult for that must at least know the seventh, is found to have a Etude. In all these cases the subject-matter may Do project involving the entire school the compositions are available ask some teacher of music in He ished them really well? It is recognize the triad built on each tone that its function, when as soon as the chord Is recognized. : play fact be assimilated Heat or Before It? operetta has great possibilities, and most age does she the public schools to give you the kind of He should Notwithstanding the to of music educators end up by deciding in better to play an easier piece well than scale, and the kind of a triad each tone harmonies, may appear mod- descending passage of four measures taken Q. I am a subscriber to The Etude and rhythm work that is provided for children of a it is used in passing A Questions and Answers favor of putting on an occasional “musi- do a harder one badly. All hi all it seems either major, minor, aug- origin can have enjoyed your in the grade schools and work up from the scale may carry, est, it is a distinctive theme whose from the introduction of the Waltz in A-flat Department very much. Would you kindly cal advice is that the music that you and your pupil are doing show.” My to me is too that parents tell He should know that question? In this meas- that point. It bad mented or diminished. be traced to this chord. major, by Moszkowski serves as a typical example help me with this teacher search hard and long until he very well, so go right ahead. the silly tilings and I am tones of the scale ninth ure from Schubert’s Serenade, are their children such I, IV and V are the primary chord of the seventh and passage work based on the dominant finds an operetta that has a text of at The dominant of brilliant small notes in the treble played preceding missed the joy of partici- sorry you have and that the triads built on these tones are the a ninth to the dominant chord this chord built on the octave in the bass or are they played least fair quality, and music that he is is formed by adding seventh chord. The notes of Is Dry? pating in music during all this lime. having the root on other the minor with it?—Mrs. H. K. D. not too much ashamed of in case a mu- Bach primary triads. Those of the seventh of either the major or E-flat fall on the first half of each beat. Each Practically all children are musical—at sician should happen to attend the per- Q. How can one distinguish tonal scale tones are secondary triads. following point; adults scales. alternate note is a half step below the lengths, strong beats, and weaker beats least to a certain and most formance. It is important that the chords of the seventh -rL.— in music of J. S. Bach? I am twelve, can learn to do at least something with Ex. 4 chord note. The notes of the chord in descending the they r and quite far advanced in piano, but I do be recognized aurally and visually whenever 99 7 i music. So "get going.” order as played are E-flat, D-flat, B-flat and G. not understand thoroughly the best way How Are Doing? are used. Their origin is found by adding the find the We to study Bach. I understand the relative Using the fingers 4, 2, 3, 1, it is easy to 1 scale tone. There T • Q. I am enclosing a little composition pressures should be exerted on the differ- seventh to the triad of each 5 alternating note. In this and similar passages pupil of how can I tell the differ- Which Is Right? a mine composed, and I would ent beats, but are seven different kinds of chords of the sev- recognition of i like respective beats? To built on. the dominant seventh, a your opinion about it. What do you ence between the me Q. 1. In Chopin's Htinle Op. 25, .Vo. J and enth. The major scale carries only four of these Both of these are chords of great beauty, think of it? She is eleven years old and Bach is unmusical; one has to work hard some editions print the accompaniment the chord will insure its assimilation. The pas- has taken lessons three terms, also ele- for not much melody. With the piano while the harmonic minor scale carries be classed with the essentials. Dam- like two triplets, when there would be a varieties they must product of the mind. There can mentary theory and transposing. She has library such a large one. Is It wise to de- sage becomes a slight accent on E-flat with the thumb in the whole seven, that is, a different kind of sev- rosch has designated the chord of the ninth as them done both ways, which is not enjoyed, A. I have heard quite an imaginative mind as she under- velop taste for that the first measure; other editions divide be no uncertainty when playing it. stands her music better. we well we will never be able chord for each tone of the scale. The domi- chord.” before the bass octave She now plays when know ' enth the “Love but more often the six notes into three twos.” Which is chords provide the material such compositions as Minuet, by Pade- to cover all that which we do like In a which con- Dominant seventh than with it. correct? nant seventh chord which is found on the fifth These are the fundamental forms rewski; Wedding March by Mendelssohn; lifetime?—V. J. in Liszt’s Liebestraum. 2. In Mozart's Boutin in D. first measure. order that for the brilliant cadenza and ltr idol Chorus, Wagner. stitute the basic material of music. In by She knows I always this A. I think I will answer your second played the appoggiatura like With the return to the key of A-flat major in the About Operettas all her major scales and is studying the Ex.r they may be efficaciously used in piano playing, relative and tonic minors. Please tell me question first, since it is the more im- middle part of the piece, the composer began to necessary that all technic including touch, Q. Could you supply me with some In- how you think we are getting along. portant. A good many young people have it is came when he reached presenting operettas for Mrs. L. A. K. acquired prepare the climax which formation about trouble understanding and liking Bach tone and the timing of touch, should be high school groups. I am making a study the dominant chord of the seventh and ninth on A. The composition is good but not ex- at first and I sympathize with you in your through the conscious use of these forms both Critical Analysis of Nine Operettas for of the an "authority” it is and E-flat. The uppermost note is F, the ninth High School Groups. I would appreciate ceptional. Many children of ten or eleven attitude. One trouble is that Bach wrote Now says wrong in practice and in study. Thus the tactile sense should be played like grace notes. G. J. any Information you send.—T. O. T. are able to write such music or would style, is, — chord, in the four-lined octave, or the fourth F — in polyphonic that each voice is exercised and developed. A. I am not sure just what kind of In- be if their teachers encouraged them to (or part) is melodic; whereas most of the A. (I) The accompaniment should be composition above middle C. Virtuoso-like, Liszt dropped to this of both the major and minor scales is the only Solfeggietto, the small well known formation you want so I will make some do creative work. The transposition of music with which you have had experi- played as two triplets. same chord two octaves lower by using a descend- It one best by Karl Philipp Emanuel Bach, is an example of America into other keys is excellent and just single is primary chord of the seventh. is the random remarks, hoping that something ence has a melody and this (2) I am afraid your “authority" ing chromatic passage of broken thirds with often Its position in the what can be done with pure fundamental forms. may be of value to you. In the first place I suggest that you have your pupil learn melody is accompanied by chords so that wrong. The measure is played just as you known and most used. ( Continued on Page 776) took the material and its mode of each hand. These two it should be said that from the stand- to transpose other material also. The there is only one rhythmic pattern to have written it. cadence ending makes clear its importance. Here The composer 74' 7 46 "FORW'ARD MARCH WITH MUSIC” THE ETUDE NOVEMBER, 1942 "FORWARD MARCH WITH MUSIC” 1 i FOOTLIGHTS the we THE careful attention to ACROSS It calls for very and the patter of feel- suggests (he swishing of skirls FEDERE Music and Study composition, theatrical in every nole, RALPH This ingenious marked fingering. Grade 4. rederic CHOPIN (lSlO— 1849) wrote on for each key, and Lesson twenty-four preludes, one Master Opus 28. We often read F all published under the composers that they were written during the coast of stay on the Island of Majorca, off before he left Spain, but many were written major France. , , in . . A ot Prelude Some think that the preludes are the best Chopin’s probably not so. Chopin’s compositions, but this is spontaneous Without question they are the most improvisations jotted of his works—most of them of them down for future use. Rubinstein speaks Schumann, a as “the very pearls of his works”; -A- perfection Lj OruiUt sheaf of moods”; and Liszt, “types of with in a mode created by himself and stamped the high impress of his poetic genius.” major is one of the shortest The Prelude in A The player should think of the sixteen meas- ure is accented. and easiest to play, containing only to take in r t® rather musician is trained l° containing six counts than two-measure eve of the f ohrases as ures; these are divided into eight more trouble follow- on counts one The pianist would have no the accents falling and having exactly the same rhythm. And has m three with phrases, all notation than the accompanist count on. the chords should master like ing this two From the second still not monotonous! Who, but a or the organist following the violinist or singer, the same amount of tone. If the this? o receive about Chopin could do the Schmidt method -should be a slight the pedal clef. Certainly is used there look at the pedaling of this little delayed pedal Let us first be used for teaching ma- the end in order bass pedal notation should diminuendo to piece. The usual pedaling is this: The low to keep a proper balance between tone is caught by the pedal and right hand and the diminish- changed again on the next count the ing low baa me. in order to avoid the blurr in the In this con ition, as in most right hand. The weakness of this chord pier. the melody lies in pedaling is that when the pedal top not' ! the chord; since is depressed on the second beat, the played by the the low bass tone, which should these note mat care should continue sounding, is lost. It is weaker Am that this par- much more effective to use the be taken to not too weak. It delayed-pedal, for, by so doing, ticular bote this fundamental bass can be should 8t;u. out with a little carried through the two measures more tom the rest of the disso- linger that plays with no accompanying chord. Ke. i fin nance. this note t n 'bably more Im- portant sti 'hat you have in Meaning of Delayed Pedaling mind wha t tone you wish, A delayed-pedal is one in which for you wi r get any better certain notes, usually bass tones tone that thinking. You —are held with the fingers until will have muscle control passed, when the dissonance is on these tl. p notes if they is then ped- the clear harmony are allF p! with the same offers an ex- aled. This prelude finger. cellent example of delayed pedal- The fit: of this prelude ing. wrote the fi the piece itself. it appeared in 1838, when Chopin is as sin 1 be The Monastery oi Valdemosa in Majorca as The pedal depression should picture was secured for The Etude through famous "Preludes" while on a visit there. This The only t spot is in held back until the sixteenth- the courtesy of Dr. Guy Maier. Measure el< here the fourth note has been struck, and the finger of tie t hand makes a bass-note held with left hand legato between is decidedly meritorious. jump from E to A; but a the finger until the last moment of time. The terial. It dissonance, such as this in the two notes is not necessary sn as the pedal Is slow tempo of the prelude makes this pedaling less Sometimes a hand, can be shut off, without losing the sustaining both notes. difficult. Do not hop over this sixteenth-note as right this foot; in other words, as you would bass tone, by the use of the half-pedal. In if it were a sore lor Contrast of the pedal The Need when playing a march. From a tonal standpoint case a quick up-and-down action quick This particular measui ' ws another ad- these short notes are no less important than the would be used on the second count. Such a h >ver the pedaling longer melody notes, so do not hurry them too pedal action will shut off high tones but not low vantage the delayed pedal half-pedal here would be rather generally used. If you pedal .> one and change much. Above all, do not let the dotted quarter- ones. A successful note get caught by the pedal; also, listen to see difficult as the right hand notes do not lie high again on count two you shm it the half-notes treble. C-sharp E. delajrii. half- if the low bass tone continues to sound. enough in the and By t dal these Let us note the method of pedal notation here notes are sustained their f ue and a much Accent With Care used. Hans Schmidt, as far back as 1860, sug- better balanced chord Is t! obtained. gested the use of notes and rests for this pur- Some writers would have us believe that in A common rule of expr> . is that a melody, pose. This idea was patented, and an effort made half-pedaling, the pedal is lifted only half way. as it gets higher, grows lou This seems to be the contrary, in order to shut off to have it officially adopted, but with little suc- But on any high a law of nature. This rub : r as it concerns cess. It is the only correct method of pedal nota- note it is necessary that the dampers come in expression in piano playing. u infallible; how- tion we have, although it still is little used except contact with the string. It is the quickness of the ever, it holds good throng'. his piece, not pedal. foot-action that does the trick; in specific works dealing with the By what the pedal must only for the i measure - melody, but al. the two- other method could it be shown that the pedal is not be raised any higher than necessary. phrases. been struck? The time signatuie calls for depressed after a sixteenth-note has three quarter- This prelude is marked and- 'c. a rather con- The argument generally used against the notes to the measure, as in a waltz; however, this tradictory tempo term in hat it means slow, but Schmidt method is that it is too clumsy; yet the does not mean that the first beat of each meas- also to move on; Piu ( Coni :• ed on Page 782 748 "FORWARD MARCH WITH MUSIC” THE ETUDE fur ELISE work possibly in a minor this charming has bagatelle bagateJ^II aBd Edited by I. Philipp wrote few other make the m istake of playing it If his friends. He ^ ^ L. van BEETHOVEN, OpJ73 1 fi 4 too slowly. Grade .3. Poco moto M. M. J- = 56 I NOVEMBER 1943 7 - 750 THE ETUDE = A MAJOR . PRELUDE IN Edited by Orville A. Lindquist „ composifon. IN, Op. Mr. Lind,nisi 0. this FREDERIC CHOI 28, No. 7 See another page in thi. issue for. Master Lesson by Andante M.M. J r too TRIO • nt 1 • 1 • — ,"i * — — • 1 11, 1 .**' * rJ — £=. ~V -i 4 i'* v> < f dulov * e ( NdAe afjjug W b _l I— CRIMSON LEAVES A pretty gavotte which “fits in” just the right piace on a program requiring a tight touch. The passage in B-fJat offers a nice opnortunjl v i ng tone. Grade 3.j. Moderato M.M . J = 132 ’•••' From here go back to the sign acd play to fine; then plav Trio, XOVEMBKR Mi 2 THE STOUT T LOVE TO TELL WILLIAM G. FISCHER hankey Arr. by Clarence Kohlmann Grade 4. — theme from piano concerto in a minor TUNE EDVARD GRIEG AN OLD AMERICAN Arranged by Hugh Arnol i t can pick it out with _ ,, r „ nn if now. their notes one fin are r to nearly every child in the 1 This olii A meriean folk-tune is known are these: '"t* wid^md! perhaps,P sets of words are sung to i Mosf keys of the piano. Many Afferent • on (he black So uth sing these words: ‘‘Peter, Peter, Pumpkin-eater, “Uncle Joe cut off his toe Had a wife and couldn’t keep her. it up to dry; Anc] ), UI1 g Put her in a pumpkin shell d girls began to laugh, T(ie p, 0y S an there he kept her very well.” And . An(j he began to cry.” cf feet while walking. There chicken’s peculiar crossing are due, perhaps, t. the imitation of the In Georgia it „ known „ “Chicken-Walk,” many others What words do you sing to it? Arranged by Grade 24 __ _ _ -r-» x T t~' it Ti T T p r r 1 1 Mischievously m.m. J = U2 -3—3- -• Ejm? J ^rff f "J — r (Left hand. plays notes with stems turned down.) m i 1 # —*- / > - — - J > -f i -19 -i—r r-f= * f f -F- — 1 * -f i -L* =sU 1 j [ N -\ f .. J i ,j j 1 -jd-J J J * 1 a w n * }> c 1 e ~ ” J \ V fcv — u=====My 0 «* 0 - 3 5 1 1 1 1 > 1 1 3 3 _ - > — > .. r r j-j — ~r ^ p& I j. l ?— pp r r j • Right hand over Fine p non legato Copyright 1942 by Theodore Presser Co. 756 British Copyright secured THE ETUDE 4 « , — A ^ALL^,^ „.T*e«> • ,ib«™gwiu zi-J , z VAGABOND : from.the which one might not expect SWoklautrs poem it I- There is a mascul.line vigo, .0 r,,*»W CM swashbuckl g . i - a:. 1 wiJ] not try to introduce a false Wor .Music by great spontaneity:h in which the singer Allegretto con spirito »LILY S 1 RICK LAND and^t fare, Oh, the road is free _is strong And there’s room for all who would - * ¥ •- - - — — * e geese wing a south - er - ly the hills, And the M low on 1. the mists of the au - tumntuinu hangnang sqjj § When miimo-kius m aiiu 2. W lien tne ap - pies i,ur n icu m - AAr A 4 - creec. -F If j n Hi i. * i. . t it -?= i* ~J> pJ -Mp i— Ml f w a mf J) > € j _ —.jLz| 4 f =^J P H-*— (FS=p= — zf— -T- poco 4 poco accel. and 1 Will And glad - ly shoul-der While my hopes run high, then my heart g ' mm beck-ous me, 1 my hur- vest til Do n shines red at flight; When the crisp-ness of air in the eve - ning thrills, And the like wig- warns Jill <1 imr - vest is Lean ' sun: When the or - der - ly corn-shocks in on row I br Pp \>m , m P $ M poco accel. Y iUa: i—— F ‘ - poco rtl r1 accei . Aptr ^ — Theniiieii Ii long to be up and a - way and free From the bonds of the world and its And to mirl n 1 1 a. - train A « it. cohipc nn t.lift amel I. Imp Then I hear all the vag- a- bond call comes on the sweet sm e 1 1 - i n brven And it g , — Y — I accel. b- m- J'J'if 1 ' g 'iA r ss i fill all my heart with the mel - o - dy That I hear on the road once a - gain! f comes from the woods and the dis-tant plain, From the land far be-yond all the seas! ^ m • i Pa tempo cresc. fH" \m area to ^ r yright MCMXLI by Oliver Dit son Company V Internal; nal Coovrieht Retired NOVEMBER 1942 E 1 DEEP RIVER Piai NEGRO SPIRITUAL Arr. for Trombone and Bong arrangement by Page Solo for Trombone (or Baritone) by N. Clifford William Arms Fisher CSf/rcSStVO Lento ^ ^ trombone PIANO ;# 'v *-+ v \vit. 1 ^ - d=£t=i Fpf=] 1 — =H— 1 'r dim. 4 "P itf- rr- Copyright set Copyright MCMXXXV by Oliver Ditson Company International 760 THE ETUDE NOVEMBER 1972 8 toccata FIL|IAE FILIIET an organist ON “O s t incllv to ^and da and n Lynnwood Farnam’s Newjork in £ ^ Sutton Quebec , in lSSSanddied organist who was born at , ^and a majesti J LYNNWOOD FAR United States. The Toccata calls for a very sure technic NAM Maestoso - * #• Copyright 1932 by Theodore Presser Co. 762 Brilish i Allegretto n VIOLIN PIANO ±EEfc.:£^ g» - = - 3 ( p - f= s-" r fs rf T- W /J J A £ is: m £ i ip /r a 75 rrTt i ~ f £ F f ^ mf — 3 f=Tn ^=rt r f vj f w £ £ I2Z Copyright 1938 by Theodore Presser Co. International Copyright secured 764 1HK KTUUS Un« Reference Terflet LRT-BE4-V2 9 -9 * . 2 5 NOVEMBER 1942 767 766 THE ETUDE ^ BLESSINGS FLOW BRIGHT MORNING CALL iM-mr -H-OaVL ^ALL F ROM WHOM> > ^ LOUIS BOURGEOIS PRAISE GOD, BOURGEOIS Arr. by Ada Richter Grade 1. 5, 4 Thomas Ken 1 21 i 2 i To 1 3 4 5 4 3 British Copyright secured Copyright 1937 by Theodore Presser Co. HUNGARIAN DANCE FRANZ LISZT Grade 2. FROM RHAPSODIE, No. 2 Arr. bv Bruce Carleton Vivace m. m. J = ^ l 3 1 2 3 5— 1 A ^4- — i « T~r » i jf l * L/ - 1- r i,f 1 * * u. -/k e = ^4 S***^4 5 2 5 2 Copyright 1938 by Theodore Presser Co. 788 British Copyright secured THE ETUDE 1 2 — . L HOLIDAY-TIME ENTERTAINMENT Month material The Technic of the andChuteft Groups ffo* School cuer Conducted by Q/,v n SANTA’S SURPRISE Price, 75c Ru Gertrude McRae By U children from 5 to 14 , , m which A flne There are 2 parts mas Pparticipate.rt years of age ^p w |th lots to s 5Cenes for Boys and Girls Ior audfence as everything ends up in Technistories entertain» rtain thetile auu penguins and party. Time, i hour. Bskhnos joining" in the l>ij priiciffa J3rown the crosspatch fairies Price, 60c R„ Norwood Dale Application and Music by GUY MA1ER in an effective With JV . holiday spirit “across” +v p melodious, yet music is bright and SSnnelr The C Williams) IC4 A COPY Pe ( Illustrations by LaVay rXcinC ge «r" 5o^e 1m “JOt in Canada t S d and Syland ?ha?ai?ero wlth of course. Mr. Claus. FLATTY THE FLEA Mrs. Santa TEACHERS 3 Tou can encourage parent! U> keep up — dlerourMe SANTA CLAUS’ children'* muilc lessons if you donit them with the coal of mualc. CBNTUBT BPITIOW nickels, piece! at > mlnlaum every night the pennies, —at oolj 1 Sc keep# Hie coat of CHRISTMAS PARTY ony, the organ grinder, So — 4aj —yet. doesn't restrict your (cubing in Le Massena dimes clinked and counted. By C. E. lived with Ditto the Monkey and Kememoer. thla st.ndardlwd DrlM flaterally inferior Edition. If you are Flip Price, 60c talked hi eve-1 by printing sn the Every night Flatty and Ditto would Jirj* T and Flatty the Flea around *11 skeptical regarding this. we yg Jl entertain- your own sake A sparkling, circus. “My mo nickels, and dimes for Ditto Pool and Pnnaant. «K**tur*. J . Cantata for Two-Part Chorus pennies, lift B 1151 Star of N*p*. Kev*tl*. B l Ki of Treble Voices to pick up with his five brown clutch- T roomart I and Romance. It 3 Tv* Go It nr*. By B-2 fPr William Baines Price, 40c ing fingers. 1744 Vaiao Barcarolle. A-2 OffndHt Dickens’ beautiful Christmas story Is the said Flatty Flea, - basis of the text of this effective cantata. “Atta boy!” the The Century Catalo«u* mrtolnn oeorJ.Of® cooapn rootisllne of PI AN 0 ^OLOB—OU 0» and Musically, it is not beyond the capabil- quiet Ditto’s shoulder, and alllnns TRIOS ities of the average Junior high school sitting on TRIOS — VIOLIN and PI ANO — OUOB — nd QUARTETS SAXOPMONC and PIANO — chorus. This cantata may be sung with jumping ambition. “Some- — full of a — I ai a compftnyinK series of tableaux for "And FLIP! -hern I am." I ANDOLIN and 6UITAR and VOCAL. wh.ch2.i S a Stage Manager’s Outde. giving day we’ll join the circus," said the full staging directions, is available. Ask your dealer for Centwry mwrfc. oad If he r*n*t •upply you. send your order direct to m. Owe com- flea. Flatty watched all the fleas kicking plete catalogue wiU b* mailed you KRF.L on reooee THEODORE PRESSER CO. their hind legs, exercising for jump- CENTURY MUSIC PUBLISHING CO. 1712 CHESTNUT ST., PHIIA., PA. •Flatty has never been to school, so ing. Some were bow legged, some 254 Writ 40 SU New VartL N. V. rtlooca forrri tro Vric haH ( Continued on Page 772) NOVEMBER, 1942 "FORWARD MARCH WITH MUSIC" l board and try some silent flips ^asserted a theory with Art-Science'; right hand. Flip up and this way: “Vocal the down tury. Its thinking went or sep starting Extension Conservatory of “autonomies several times with little fU Voice Questions University as it is employed ma Ps Historical Schools Set the mechanism perfect adjustment big the whose and ending with ones. A good STUDY singing and the result for note in °^ flip LARGEST HOME in good singing. We like a dog or cat THE WORLD’S probably correct by is just shaking 0 pupil will be beneficial and sent out n 1925, ff OF MUSIC of Singing line of Theory” its paws, or like shaking marbles CONSERVATORY For example, take the syllable o out 1942 correct. thp AmericaAmerican Academy of great the of your sleeve. 1903 “lah,” which generations whicn Witherspoonw MEMBER OF Singing, to , open the piano and u,ereJ i? DR. NICHOLAS DOUTY vocalization. If of Co- Now try flip, _JnS ( Continued from Page 737) artists have used in the-ter belonged, the use of C to prepared for ping from one another in this the articulation of it is that i P ^ the ordination” and Touch Middle C with then it is sounded, lines °i way: your third methods in these words: “To the silently and broadminded wnerallv the but don’t play it. argued, should be free and member finger tip Now look majority of mentalities it is more tone, it is employed by their of statement the next C higher up. Then Highest Standards quality. at all i n faculty of important to hear voice than to of fine will be answered in THE ETUDE unless accompanied by the full name A distinguished at- author. play Middle C and flip iwNo auesrion Music Instruction sing- The second group of thought, a flash lightly inquirer. Only initials, or pseudonym given, will be published. teachers. scientifically see voice. After all, aru artist from the ac- along the keyboard to the higher ing can be only the ear. Visualizing tempting to get away Conclusion one the lan- Don’t play this new C but just help at certain periods, but in cepted phonetic sounds of description of touch may in attempting this civilization and seeking the it until you spot the next c. the last analysis it is entirely hear- guage of of singing Then historical schools good that might come from involun- narra- play and flip again. Keep on this way Degree ing.” sought to offer a teachers, leading to Diplomas, and utterances, has author has you want to stop. Next might help you temporarily, but cannot cure Extension Courses by noted The psychologists contend that tary and spontaneous would be absent until day try which ne you. of Music. . tive from F do of Bachelor . , grunts, shouts, calls, excla- the C-sharps, G-flats, D's or yoTvtease tell me what I can- at your only through the mind can singers employed disparagement of any any °o' wW 2. At almost twenty, your voice should be a better position by studying praise or 0- the voice. I was fudged can prepare yourself for assortment of great Your teacher ere forcing sufficiently settled for you to take regular You the involuntary processes. mations—in fact, an taken other notes. will assign to or that 1 Method. control movement. He has although I was not aware convenience by the Extension . . those which one given eon lessons from a good singing teacher. earned by that they align closely “animal” sounds or has other flipping exercises to you— try to sing as easily as J for Degree Courses. Credits They maintain where there ‘"’Tfo cing I 3. Just what your voice may become de- entrance requirements except prehistoric the attitude that have no range and 1 No Italians in stressing- might be expected from thirds, sixths, chords, and so on, I Be* too soft I pends. upon your talent, your Industry, the for advancement. with the Old concept or precept sin- but If an, a tenor J using your spare time . of been survival of a tones. Although I you. Check or his progenitor whether - hands together. £a breathy know- amount of time you can give to study, as well sent without obligation to listening, imitation, and the training man or usefu gly and unless J sing loud. I never Catalog and illustrated lessons also must be utility ZZsing O as upon the physical conditions under which ground or the tree. While there there throat, but I fee tight and of the ear. However, they must share the singer. To the Here’s another way to practice inaZsIZn in my you live and work. coupon below. we ness to the intending the diaphragm at times Is the is logical merit in the hypothesis, first {trained around 4. There are many good books which treat with the Muscular Action School narrative the flips: Touch the tone lightly There is often CONSERVATORY, Dept. A-313 student of this because 1 do not retort UNIVERSITY EXTENSION think that some so- careful that of the voice and its culture. None of them can Illinois. concept of control of the muscular would hate to he with your third finger tip, then burning sensation m my throat 1525 E 53rd Street, Chicago, is made that say a stinging, take the place Voce explanations course I have marked practical suggestion forengt of the Viva lessons and full information regarding touch prano, overdoing in practice the imi- ” have anything to do with my Please send me catalog, sample sense of ! this processes through the slowly, “Rest, Look . FLIP When Does of a good teacher. Read William Shakespeare's the preface or introduc- you with an X below. tation of a certain domestic animal go through _-G. MeA. treatise called, ‘‘Plain Words About Singing.” Violin and the kinesthetic sense, or aware- in- say “look,” you must spot the Piano, Teacher's Normal Course U Harmony on singing he note pressure of n -T' ul f Guitar in concert tion of any book tone Is forced when the It can be procured from the publishers of Tub Student’s Course Coiner— "P« ness of muscular action. we know, would be heard for, a A Piano, Cornet Mandolin to an ap- you’re aiming and when you say than the vocal cords can Ktcue. School Mus. Beginner s Advanced her to read with a view breath Is greater Public — Saxophone feline rather feeling in tends or " with play the note resist. Forcing produces three Public School Mus.—Advanced Piano Accordion tentative classification “FLIP,” you you’re on, comfortably Ch<>ral Conducting The Modern Scientific School proximate or a results. Ilow to Cure Throatiness; ‘‘Bel Canto,” ' Advanced Composition Reed Organ voice. four different Singing according and the same instant flip to the thyro-arytenoid Ear Training & Sight B jnjo contents in advance crlco-aryt' nold and Q. 1. I am eighteen years old, soprano, f Dance Band,„ d ArrangingAnsn.ln. the Great War the rise of A third school knows no one period of its 1 The a - History ot Music Since note. Then you say “Rest, slightly and the tone becomes herein pre- new Look, loosen and I have studied two years. Mg voice is . Age schools muscles , experimental science as an influen- of history, for it began far back in to the list of FLIP!” all over again. And so on throaty and / have not been able to correct is likely to find that the to of the larynx shakes tial factor has been the paramount the heyday epochs of the Greeks and sented. He 2 The whole structure this fault. Can you suggest anything that Street No the end. It's great fun to flip flater- occu-s. .State will tend to classify not slightly and a tremolo might helpt , distinguishing feature of the history Hebrews. This school has followed authors Increasingly highest tones become 2. After a recent recital, a voice teacher re- pupils havo you? Do you but under several of ally! Flateral is a made-up word, a 3 The Are you teaching now? If so. how many is all part of an extensive the simple thesis that if beautiful under iust one of voice. It marked that I sang in a "Pet Canto style.” Have you studied Harmony? combination of “flat” and “lateral” and the Interior mus- hold a Teacher's Certificate? development which has permeated speech is prolonged as to the vowels Both the exterior What exactly docs this meant— tl. It. ' tense, making the earn the Degree of Bachelor of Music? which means sidewise. cles of the throat become Would you liko to many departments of human knowl- the result is beautiful song. Because and lacking In txauty. A. 1. That peculiar quality of tone called you will tones thin, strained no Here’s hoping soon become burning sensation throatiness occurs when there Is stiffness edge. Radio, sound pictures, telephony it knows no one limited time and If you have a stinging, flip expert! you are not singing, about tho uvula, the fauces, the Jaw or the geography of space, we do a in the throat, even when —these practical fields of acoustics bounded or mallor- deep parts of the throat. This quality Is the there must be some abnormality give it extended treatment. your throat result of several different causes, notably not only have brought about new not here matlon to produce It. Consult FREEMANTEL will your throat. faulty breathing (either too much or too little departures in social conditions but doctor and have him examine Flatty the Flea vague Idea of breath pressure) or a stiff and heavy vowel train YOUR VOICE The Organic or Coordination School 5 You seem to have a very • l»y a also have affected radically the 1 •ttroiliwl ruttrrrt iivrn Mary of the diaphragm and the oth' r and consonant formation. You should find a the action former pupil of Frederic Krrcmantel. | vaa m school may singing. It might out If either of these errors exists In your thinking of many voice teachers. This last to be treated Lending Revival Singing breathing muscles during imprr&iMvt by her ftne ainffln* I Irarrlled Continued, from Page 771) of voice production and find a remedy. Shakes- York for the prlrt* and ( be well to buy a book upon the anatomy ml lea front Shanghai to New Direct investigations by the present be considered as the newest Mr. Krwmantel. and learn from It how to breathe. peare's book, "Plain Words about Singing", lrga of atudytnf with comprehended, as well {Continued from Page 744) the chest (Mimed) PrucllU Hot* -Hun author (who entered the pursuit of least generally and Nellie Melba's "Method” ml;;ht help you, Willi result* write » » knock-kneed, others toed in, others but you need the advice and help of an ex- FREEMANTEL STUDIO on* uiiilvr IV rear# »I4 alen*4 Mr Meal art partly to avoid further contact as apprehended, movement of his- The Effect of Fume* Upon N.w York, N. V. itosnim. M L LA. >L cwicaao perienced tcucher. Any of these books may 20S Woit 57th St. hum soicg muiwt. with mathematics) have revealed torical thought in the field of sing- toed out. Each knew he jumped the purpose would be accomplished, must the Mucous Membranes years be procured from the publishers of The Btiids, Q. 1. I am a boy almost twenty of relatively widespread reading of ing. This author’s study of the biblio- best jump. be sung with spirit and understand- 2. "Bel Canto" rnljht be translated ' Beau- age with a baritone voice, but hare taken no last to tiful Singing.” It Is that style which demands books on the scientific approach to graphy gives him the present opinion Flatty the Flea was the ing. In our music conference at lessons. I work in a wir> mill where there is beauty of tono. freedom of emission, and fine his hind legs a rubber room whirl, has many unpleasant voice. How much of our music now that a leading pioneer was Herbert jump. FLIP!—away Winona Lake, Indiana, each August, control of the breath. lovely legato, deli- in the air anil fumes A a 1 odors. There is powder comes to us “canned” or amplified Witherspoon, beloved and intelligent flipped flaterally, and he landed the singers there to be "checked cate but clear cut enunciation, and a sensi- PRINTERS come of rubber and other compounds, ineluding tive use cf dynamics are characteristics of and no longer by direct contact! singer as well as philosopher of voice. farthest of the far. lose the effect of their melting tar. The air is not guile healthy. Will up.” Many this manner of singing, sometimes called the powder, dusl and fumes affect my r oleet Most surely the newer emphasis In his “Singing” we read this both When Tony the Organ Grinder saw gospel songs by dragging them; "The Old Italian Method", In contrast to the I chew yum and drink a tot of lea t re. In the prize, Intense, dramatic, over-emotional delivery upon the scientific approach, which historical and prophetic statement: the one hundred dollars cash others by mil in g to interpret and morning when I get up, my voice is soft and fashion at to speak. which seems to be the the moment. “. . nice and it is naturally easy for me must constitute our sixth mile-stone, . . the action of the vocal organs he got all mixed up, and said, “Bravo, phrase the lyric Some are bound At noon my throat seems to tighti'n and at has clarified some of the vocal atmos- is coordinate; that is, they act in Flatto! Bravo, Ditty!” In. la She a Contralto or a Mmmnprano? by the music ead of the words. night it is very difficult for me to speak clearly Engravers phere even as it has placed more relation to, and in a manner de- Ditto was so tickled with tickles he and my voice is weak. I scarcely speak at all Q. I ran sing from A, below Middle C, to rTW The music of tin oratorios and great during my wen-king hours, in order to save my A, first line abnre the treble clef, and ran than one disciple of the older schools pendent upon, each other. They per- only chattered and laughed. classics are spread out and perfectly voice. Am I doing the right thing f If 1 only voralixe one tone higher and lower, f sing Lithographers into a state of quandary. For one form functions for purposes of pitch, Flatty flipped his hind leg, and said, adeice am sure J could make alto ports, and call myself a contralto. The interpreted by the old masters who hail professional / Writs te at skoal s.ytbiaf la ibis lias thing, the low tones are sweet and clear but not strong. terminology of voice, changes in resonance, quality, vol- “I jumped fast and flat, flippy flater- created them In gospel songs the something out of myself. 8. Will the voice change In pitch after nine- I play both violin and piano. Am I contralto SEND FOR ITEMIZED PRICE LIST wherein it concerns science, has been ume, and speech or pronunciation.” ally. It isn’t how high you go, but words are paramount. The music of teen t or mcsiot made more exact. For another, be- In other words, Would six wreks summer school session particularized units how flat and fast. FLIP! —here I am.” the best gospel ongs perfectly in- 3. At what age should one commence sing- 2. a cause of science we have a much of voice in function are complemen- ing lessonsT be long enough to benefit met—It. G. G. So all three with their jumping, terpret the thought in the poem, but 1 Please recommend a book or two for me better understanding of certain phe- tary, supplementary and reciprocal. itching, grinding A. I. As we have pointed out many times In ambition joined the to read . A. because one Jim of music must in- — C. these columns the classification of your voice nomena, such as the vowel and “res- Here is a philosophy of the broadest circus. terpret two or thn-e different stanzas A. The throat and nasal passages of some depends almost If not quite as much, upon onance.” The science of phonetics possible viewpoint. From it may * * « singers are unduly sensitive to dust, powdrr, its quality as Its range. There arc many ex- of the poem, it requires intelligence without question and the acrid fumes of coal or tobacco smoke, cellent contraltos with fine high tones, in has thrown new emanate many reconciliations of the is What a flip? A flip is a swift to dramatize and interpret each contralto must sing as high light burning wood, tar, pitch, rubber, leather or fact the operatic on all that is connotated under antipathies and antagonisms fre- shift of the hand from one part of stanza properly. similar substances. Any or all of these things as B(>. Nevertheless, she does not neglect her the inclusive word “diction.’ quently found to divide certain may produce Irritation In the mucous mem- lowest tones. of the the keyboard to another. To play the We urge read our young people to branes of these passages and even In the vocal Look at the alto parts In "Trovatore”, "Tris- schools herein treated. If you will piano Three Other Schools well, you must become a flip the poems carefully, get the thought cords themselves, which changes the natural tan", "Lohengrin" and "Samson and Deli- permit the author a word of personal expert. All pieces quality of the voice, and makes Its produc- lah." We could not hope to tell you with any are full of flips— fixed in their Blinds and hearts, then Two schools of thought regarding comment, the great need of singing tion difficult and hazardous. This seems to be certainty whether you are contralto or mezzo near flips, far flips, little ones, big singing change the musical phrasing, if nec- what has happened In your case. 'While your without hearing you. Why do you not have Clears the Voice that are historical in char- in the present day is a much more ones. A good pianist never leaps into voice Is clear and natural In the morning, an audition with the most famous singing acter are essary, to make the message clear. now named but not treated intensive stress upon the philosophy after you have Inhaled fumes, and teacher or the best known operatic conductor the air, but like Flatty in the derby This the dust, in extended detail also requires an intelligent ac- so on, all day long, you can scarcely speak at available and ask his opinion because we have of coordinating evaluation. flips or skids his hand lightly all. over the companist A respirator, which Is designed to catch 2. Six weeks is a very short time In which found the related documents meagre. Witherspoon’s “Singing” who will follow. came out keyboard as he shifts with lightning the dust and neutralize the Irritating quality to learn much about singing. However, It Is The first of these One of the most popular songs for of two schools had in 1925. Eight years previous to that speed. the fumes, might help you a little. You better than nothing. If the singing teacher vogue in the early solo, duet or congregational singing is need a thorough examination by a physician knows his business and does not try to crowd part of this cen- publication Dr. Frank E. Miller in Put down the cover of your who should be able to tell you Just what to all the theory and practice of his art Into Its cleansing, stimulating action clears the voice key- ( Continued on Page 778) do. Drinking water weeks, it ought to help you. 772 and chewing gum also three "FORWARD MARCH WITH MUSIC” THE ETUDE NOVEMBER, 1942 "FORWARD MARCH WITH MUSIC" 771 — —- • 1 his service AS EASY organist plays well, he IT’S JUST organ h his preludes, postludes and First, the before plays of- Uuestions by well. Organ and Chuih AS THIS.' accompaniments rehearses fertories th S ^ greater opportunities he ever me s ® the There are for . „ 0Uld know f sh now than ever before, Wi th changes organists it registrational that a day notes,S, the s seems to me does not go and Chancel „ ancj what Music of the Church to fill up a he is going that some one does not write what by to A Definite I suggest someone S. FRY, Mus. Doc. ask that for a and Practical System Answered Ly HENRY (Continued, from Page 723) particular position. They always say which ALL Piano Students Teachers Should Investigate Ex-Dean of the Pennsylvania Chapter of the A. G. O. that they want a good player, but and not just a recitalist; they want representative a Vol. 1—For Beginners . . . Bull his art, but he is also else daringly admitted a sssis.s.rs.™Ine good choirmaster and one who with House, or organists im- op point just can Vol. 2“"For Students its of hundreds of young T makemoke nit ao- v present, with off. I well for Knowledge . . *1.00 down to the oppor- not come play the organ the choir. Fair unless accompanied by the lull Simply plug in fiddle, the huge spiritual topnwOc No questions will be answered in THE ETUDE churches bued with each service. *1.00 pub say AC elec- musical services in preceding also want some one, of course, Vol. 3—'Advanced Students name and address the inquirer. Only initials, or pseudonym given, will be on glorious calling. With such They of the tunities of their that is to be p y express no opinions tric outlet sad synagogues, in all parts of everything again a fine character. Many listed. Naturally, in fairness to all friends and advertisers, we can and fine traditions who has times flip switch for splendid material, the hymn, relative qualities of various instruments. played a very im- service. Every SHEFTE PIANO IMPROVISING as to the con- country, music has Dudley at that we fall short of what we should be. perfectly established by Lowell Mason, ad ever growing role in every anthem, m trolled tempo. portant and Huntington chant, “^ Many organists hold positions just to R. ffp Buck, David Wood, postludes and oSertor church life. preludes, salary and have a good Piano teachers Clarence Eddy, Walter Where have a organ write us fine modern Woodman, final going over should The investment in a all are given a to practice. We special adver- in- others, will be main- each on which have to be for Play in the tempo originally of great Henry Hall, and or a cantata plan. organ in a new church is we do an oratorio more than that or tising composer. ..exactly as he in our American ecclesiastical unt something we shall tended by the in the church tained from October so indicated economic importance afternoon MUSIC II* SO. WAIASH AVI. it to be played and Sunday fail. wished life. Piesbyteria puausHC* inc. a CHICAGO advantage rounded service, the Second a list oj hymn books men’s choir of about ten voices. Please indicate That is the big life. The beautifully on Easter, as in apparently play FORSTER Q. Please send me on the score. On all the fronts of the world— make Even if we the Church. have the number advisable for each part. Can a in the new, ,he pulpit and the choir Philadelphia, it- does suitable Jar a Protestant We in controlling tempo in which the Church in choir sing S. T. B. arrange- sea—young American organ well, we must remember that certain hymnals that I have not tried, but 1 men's from A. electric way ... by the exalted spirit of co- land and on work on Sunday, l modern, the loft work in an deal of like to know more of the pood ments T In the Catholic Church , after the from American homes are faced a great we have to be good musicians, we would our youth reason for the men it pays; noth- old classics. feel that we need more dignity Gloria, the organist usually gives an intoning operation, is often the am sure, however, that 1 with the greatest conflict of history. must have the highest type of char- in our church service. I would appreciate also note to the Priest softly. How can this effect difference between empty pews and happens that we are not ELECTRONOME ever the Otl. > have been ing something a list of good organ numbers and anthems for be produced immediately after Gloria (Trade Mark l«l- U.l. W- organi- Their spiritual needs the prel- acter and be more than full pews. Experienced church for. As important as church services.—A. T. T. Amen —H. P. considered by the country, ready who has a job and again demon- gravely offertories are, just the man playing METRONOME zations have time postludes and A. We suggest that you examine these A. The couplers are used as the names In- ELECTRIC and provision has been made for the organ for an instrument and this. The expenditure of funds the a hymnals: “Praise and Service,” H. Augustine dicate—Swell organ to Great organ and so teacher and strated ..first choice of professional, continual counsel of religious leaders. Smith; “The New Hymnal for American forth. Swell 8ve couples notes on the Swell, for themselves inc for a splendid organ, the best that salary. student in determining are singing the hymns of their Youth,” H. Augustine Smith; “The Hymnal one octave higher; and Swell Sub 8ve couples accuracy of their timing. for the available Many of Wicks Organs know can be procured Buyers for Boys and Girls.” Parker and Richards. notes on the Swell, one octave lower. The Springs run down, iheir tension weakens, forebears, as did the Crusaders of old. metro- money, often has raised the income that their investment is in safe We suggest also that you examine these number for each part of the choirs you men- the tick-lock of the old-fashioned noble aims, their spirit organ numbers: Elegy, Noble; Benedictus, tion will depend on the balance of the voices. church surprisingly. Inspired by and good hands. Every Wicks of a Edmundson; Litania Holenne, Edmundson; We suggest the following basis to be varied is exalted by the power of sacred Or*:aii is a guaranteed product A new generation of excellently with the Boy Choir Canzone Pastorale, Scarmolln; The Cuckoo, somewhat as circumstances dictate. For the dreadful routine of war. Progress a "sound” investment. trained young organists and choir- music in the Arensky-Nevln; Concert Overture, Maitland; mixed choir of fifteen voices—five sopranos, The spiritual eclipse which has Clair de Tune, Karg-Elcrt; Dawn, Jenkins; three altos, three tenors and four basses. For masters is arising in our country. <» writing from Page 736) Eight, Jenkins; At e Maris Stella, Bedell; Fes- the mixed choir of seven voices—three so- S yor service pooronfee sections of the earth (.Continued representatives of these come over vast ORGANS ’Feste Berg, Paulkes; Among the WICKS tival Prelude on Kin pranos) one alto, one tenor and two basses. *12.50 is temporary. We are all waking up Intermezzo, Rogers; Seherzoso, Rogers; Intro- the men’s choir voices- three first PRICE music workers is Mr. Robert Elmore, HIGHLAND — ILLINOIS For of ten knowledge and a very real love for in Store or solution for wall space spection, Frederick Stanley Smith; Minuet tenors, two second tenors, two first basses, See il at yaur Music formerly a pupil of Pietro Yon of St. to the fact that the only specifications. An empty the ambitious choirmaster K-flat, Boccherini; Noel (with Variations), and three second basses. In some rare cases, to us for 6-doy trial affor conflict, after the righteous and wooden children, wrilo Patrick’s Cathedral, New York. For the world plus your beaverboard Bedell; Pastorale on Fairest Lord Jesus, Ed- the men’s choir might sing S.A.T.B. arrange- can be well on the road to success i£ licir LOVERS victory is won and the wickedness of have an improvised mundson; Prelude on Ithosymi dre, Williams; ments. If location of parts Is many years Mr. Elmore was organist molding and you fWm RJ ^ Fine records at bar- changed. This co a fine boy choir. Expert Variations de Concert, Bonnet. Since the list FRED.GRETSCH Mrc totalitarian tyrants is overcome, for all impor- in building gain prices. Bach. Is not an advisable practice, however, and It of the Arch Street Methodist Church the bulletin board ready lettfeaeeu s*etl till * Beethoven. Brahms. Mozart. Wagntr, etc., playable of anthems would be quite large we suggest Is much better to have an arrangement for Mttm el RM«»l is international understanding based your choir. An- imports cost >1.50 to and at present is Organist and Choir- tant notices for on any phonograph. Original your consulting catalogs of such numbers. men’s voices. The soft effect after the Gloria to (ROADWAY, ••00KIYN. NIW rORK American duplicates only 50c and 75c. upon the foundation rock of Chris- local concerts, mu- $2 50 each— You might Investigate these collections; "The can be attained by reducing the organ for master of the Church of the Holy nouncements of v FREE catalogue containing hundreds of Send for Cathedral Choir." PrcBser; "Distinctive An- the modulation to the note to be given the Trinity in Philadelphia. He is repre- tianity—the Sermon on the Mount. current events and the church selections. for sical thems," John Church; "Popular Anthems Priest or. If no modulation Is necessary, by no n«h pu> r * no nah no ruh, Tito r.DAMOPHONF SHOP. DeDt. E sented in this issue by an interesting With this will surely come a need for bulletin should be displayed. A choir General Use." Llchter; "Short and Easy An- a very short Interlude, or the ’’giving” of the more and more musical servants of thems." Morse. note on a softer organ. discussion of a technical phase of bulletin board wisely planned can be SWING PIANO! Horae u> play rral Swing Piano. Send tar free is, the Church, trained in the higher music ap- loam organ playing. He withal, a typical stimulation for genuine (j Wilt you furnish comparative data on It (nr business rjttei a DENISON'S’ Juvenile Sent*. MuncJ Renting* Q. is my underslandiny that modern Slud) Folder. Tl A< HITRSI write needs of their calling. Operettas the organ housed in the New York residence St Kiatall Mall, cause. American organist, finely trained in preciation. Records of attendance I A V ^ MuakaI Comedirt. organ consoles are built to certain measure ChrIhTinmn (TUOtoa. in n«h no n«h no nab. I I DnlltfMfollr *rnu»ln« IfeniMHCe of the late Charles M. Schwab and the organ everywhere. Complete mints suggested by The American Guild of contests and the names of boys who FOB ALL produced Arts Letters, OCCASIONS miuetrel meter*!. Free Catalog. at the Academy of and New Organists. Can you give me these Spedflea tl ',11 have done outstanding work for the Bt. S- DcnUon & Co.. 22S N. We bath De»l 71. Chicago Vorkt—U. L. M. or advise; me where they ran be secured? I am especially interested in the measurements past month should also be allotted A. Por data on the organ housed In the of late Charles M. Schwab, we the prdal board.— V. E. M. PERFECT space on the bulletin board. residence of the for suggest that you communicate with Archer A. We suggest that you ask for the meas- • • i i. - • GIFT A1- In |u Al In lu • id, YOUR PLAYING CHRISTMAS TJris group of compositions will IMPROVE 257 86th Street. New York, who A Challenge for Younger Organists Gibson. West urements from the headquarters of The Send for booklet •hott- excellent guide for begin- PlanUU— Uf was private organist to Mr. 8chwnb. We be- American Guild of Organists. 3405. In- serve as an ing how you may greatly Improve your Room MUSIC slfht- lieve the organ In The Academy of Arts and ternational ning boy choirs: Lead Me, Lord, by technic, accuracy, memorizing. Building. Rockefeller Center. 63d ! reading and playing thru mental Letters was Installed by the Aeolian Skinner Fifth Avenue. New York City. Quirk result*. Practice effort ( Continued from Page 729) Wesley; Jesus, Jewel Of My Faith, by muscular co-ordination. Co., and we suggest that you address them for TEACHERS minimized. Used by famou* pianists, teacher* and TONKabtneta for • 1 • !«• . • A! It wu 1. A I lu in. Information, at 677 Fifth Ave.. New York City. Bach; Thee We Adore, by Dubois- Q. The organ for our churrh Is noie being shot mii.lt are rebuilt and reroierd from a theater organ. that will win Peery; Accept Our Thanks, by Si- gift, Q. Will you phase advise me where I may Since our contract permits us to change at extra appreciation then wishes to apply them himself to em,” the Brahms “Requiem,” and the and give many ex- belius-Hodson; Heavens Are Declar- get a copy of "How to Build a Herd Organ," least one set of pipes, we wish to know if It Is tra year, of prnc- more difficult music. “mean” parts of the “Elijah.” I am by It. F. Matin, and the price 1 J. II. M. desirable to do so. Our rhurrh seats seven ing, by Beethoven-Austin; If With All NOTICES & — tleal service Site- P SPECIAL hundred and has very fine acoustical quality rial drawer-trays child as thankful for as I for • \ ' When I studied as a with that am any- Your Hearts, Yib • yah Vdii Y.»h • yah - yah • yah. A. If the book. "The Reed Organ—Its De- by Mendelssohn-Run- —V. P. N. file .beet mu.it sign and Construction” by H. F. Milne, la Wallace Sabin in San Francisco, al- thing that Mr. Farnam gave me. He kel; Come, Holy Ghost, by Palestrina - handily, keep it ANNOUNCEMENTS ordered, the publishers of The Etude will A. Of course, as you may be nware. the proiociel aga'n.t most every lesson included some kind arranged with the vocal department In- Runkel; The Strife Is O’er, by Vul- endeavor to secure It for you. but on account strument Is duplexed and unified according lo»* dust and dam- age Several line of an accompaniment. They look so to cooperate, and we played for Mr. of present conditions neither price nor de- to the specification you send. You might sub- pius-Runkel; Adcramus Te, Christe, ilylri lor studios easy, as far as notes go, but when Farnam with the singers present. livery can be guaranteed. stitute a brighter Trumpet for the Tuba. or homes. Fine - • NOTICES Ho nan - n > Ho tan . da. SPECIAL 1 by Mozart; Bless The Lord, by Ivan- quality craft .man- inventive things are done to them, Having his advice right on the spot ship Capacities off; Jesu, Joy Of Man’s Desiring, by Q. Secern l members of our church choir or to . All instrument with p.ano accompaniment seventh chord with its 1 For any ished resolu- O unison with p.ano accompaniment ^ked MrAu^meJest Only two different SoIOS Instruments toqethe. in the writer tions. diminished procedu chords are employed teaching work, seventh in Violin Questions Violin Mastery 1 ical measures, one Short-Cuts to (contiguous,^^®^ filling twelve of which as the stu- tjns that to F-sharp minor and of . resolves or a bit k, he one Waiter WeUiel , gtful l00 Continued from Page 745) & w C-sharp minor. The bravura ( such as to pas- a talent end of the ^LurrJ Lj ROBERT BRAINE S‘ “^cultivating sage at the middle the parental of these two ^VUluAicianA the hit drown part is composed chords ^IJoun^ remembering. In memorizing, S* any ^ push away the in- of go into nine consecutive answered in THE ETUDE unless accompanied by the )»// relax, and try to bat- you should fill measures. . will be »«; half of the If which N auestions published. intention is, indeed, ^ the inquirer. Only initials, or pseudonym given, will be Masters In this way only n S a measures and address of compositions by the Creat truding thoughts. emphasized too large COnSe Three consecutive of the Contains 32 of the most celebrated This cannot be and girls fh. composer ond of concentration be tle. ask ioys are found in .opposition a. shown below is a picture of can a habit a num- H stu1y same chords the first On .he fir., peg. of .o.h Furthermore, there are though the outlook was favorable, they could ond Interpretative not... much. you’d part. A a short biographical sk.tch of eoch built up. mem- tty feel, half of the middle composition <:hOOS Is in Los not guarantee anything. However, thanks to exact and rapid how' student, whose home the beautiful in good imw his ber of aids to A vionn clean awaken the love of the young student tor student must develop in C-sharp A appreciate it his good physique, and his life-time of These little classics will do much to 2. The of the Prelude minor by writes thus: “I would te. melodic analysis, singing like Angele rapid progress, and the time Molodio. becoos. of hoving stood the must learn orizing: could recommend a list of living, he made wore .elected for Inclusion in Most.r sense of self-analysis. He will offer no difficul- \,v tf vou They student. strictly the Rachmaninoff 1,n n been trying to soon arrived when they put his beloved vio- the undemanding of the young phrases, repetition with n ? teach ere X have of time and well within himself play and to criticize full of counterpomh T told him he could to hear follow- minds are reading or memorizing if the violin for two years, but lin Into his hands and was often and fingerings, their ties in plav the (Goo'-noh). Bora in Par,, in 1818; died in 1893. H. as an out- same bowing song form fparn to of poor play a few notes, if he promised not to overdo CHARLES GOUNOD his playing as impartially three part progress because an early age. Hi. score, the fugue, bowings, forms are recognized. made no French Opera”. Ho displayed great musical talent at carefully the printed to be fundamental Lave his strength. To his delight the test was satis- called “The Idol of seem self- ing Caprice Faust . He was side listener: It should Paganini beautiful melody and his host known opera .. memory, that new piano sonatas Beethoven all right, but factory. So, we again have Fritz Kreisler, one compositions are noted for the visual or In his has teacher I had was ad- try to coordination of on end “-ThTfirst and spent many years tn London. Hosts of his evident that a student should have days city I can no of the greatest masters of the violin. favorite with the English nobility kinaes- memorized. They the diminished seventh lives in a distant a great memory and the employed „„ he now his burial at Saint Cloud, outside of Parts. his playing all along, and the sound and intricate from him. mirera and musical followers attended improve on strenuous mental varied longer take lessons In fact, memorizing, of chord to express moods and had neglected my Good Position Studies should serve the solo well as sometimes even experienced teachers thetic memory. the ent “The next teacher I O TENDER MOON: The six measure piano introduction work, when insisted on my play- B. F. P. 1. Without hearing you play, and io hewing manner. Note left to haphazard digital £® fancies. In these compositions no training, and — and expression. To be play.d very tepato. a extent to which which once was other to technical far as you have regards tempo style fail to realize the over each scales which were beyond my examining your technic as also in measures five to eight an art scramble beautiful pieces and and diminuendo in third and fourth measures, become would notable and example inme" P ‘ slight crescendo to sleep the accident, has now work. more t d a good foundation from my gone, it would be somewhat difficult for me students go mentally hard physical r had ha principles, which enjoy one day’s chord and its uses in expres- second one attributed to outline the next studies for you to take mc ’ U5iva ruled by scientific of this but the ' GOUNOD put their violins under burne . 5°TAcher Moon moment they another haystack of my own and tried up. The C. H. Hohman studies which you Adagio O, Tender can master with little effort And here is can be found than that in the mat to a natural ability their chins. The student must con- any one physical sion find has been the fault of have been using are widely used, and give youngsters demand to rush me. This. I proper guidance. Growing measures of the “Sonata had. The third one, good results, and if you have mastered them stantly remind himself to think, to if he has the isn t opening poor teacher I've bulging biceps everv fa- next to regards these or exercise. A pair of Later in the is a nrmb-r of a very fairly well, I should advise you in mind what each The student who Pathetique.” Adagio fJan incidentally, keep clearly control, but they quartet, told me that since I only taxe up me study of the third position stud- as substitutes essential to stage are two full mous string supposed to de- any other short-cuts Cantabile, there meas- I should not be so ies by the same author. It is best to study particular study is calming nerves. If Wished to be an amateur, will naturally be dis- do have a way of chord. In the first obtaining correct ntonation. the positions in this order, one-three-five, velop, to be on guard against care- for hard work, up ures of the move- particular in less otherwise, try picking true that I want to play for my and then two-four-six. In shifting, when self-satisfaction, appointed. Far from making you think of the “Moonlight Sonata,” Sow it is lessness, hurry, and it. ment we do not wish to torture playing the scabs, this Is the order In which more, object when unused to own 'pleasure, but I work, short-cuts often demand a heavy five measures of this chord my Instruction books, the lingering is done, although there are ex- to show just how each of the 32 especially the last. muscles are find in neoD’e He also changed The above is reproduced and in intense shake! Why? Those rebelled against it. Up to that time ceptions. This will become clear to the stu- student must approach each both in concentration You passage of ethereal beauty; while much1 as I compositions appear in Master Melodies 3. The to the mo- a the Leopold Auer Graded dent as he takes up studies in the positions. violinist who flabby and unaccustomed j had been using each new technical prob- practice. But the young the third movement, for four and. though. I sup- In addition to the Hohman third position INSTRUMENTATION new study, A few in course of Violin Playing CONTENTS in their proper light, mentary physical demand. other books equally as book, you might study a few of the easiest lem, each new piece of music, with regards them measures the notes of the chord are pose there are many From the Operas Famous Waltxos Bp Cornet Trumpet object seems changing, once one studies In the fifth position, after which the and Peasant.' shortening of a long attempts, and the I do not believe in Walt* from "Poet purpose of remembering it. We as a welcome more for the climax before eood Th*n Youl! Remember Me the piling up the on a satisfactory series of studies. next three positions could be taken up in Von Supp* for the Nature, once con- has started (The Bohemian Girl). Salto Walt*. Brahms road, will be fully repaid lighter. Mother concert violinist, as- regular order. If you master these fairly well, Von Hoiow learn only through remembering reentrance of the first subject. “The next t'aeher, a Ah! So Fair (From Martha). Charming. Watdloulsl intend to (Faust). anod will find that a short- vinced that you seriously page for me to practice for the you will have a good foundation for the next O Tender Moon Go Th* Wild Roe*. Strauss practice, and consequently extra effort. He signed one March (Th* Prophet). what we In his Butterfly Etude, Grieg used Coronation Vais* Blue tie. Drtgo of nails, lesson, and upon arriving at his higher positions. I would advise you to con- of the difficul- around with that keg following Moyoibeer Waltier. Tschatkowsky a memory is an absolute neces- cut is not an evasion cavort have play tinue the study of the first position studies good nothing but unembellished funda- studio the next week, he would me Hunter's Chorus (Der FreichuU). bold frontal at- muscle where you need it, irrelevant to Wohlfahrt, and by Sevcik. which you have Von Weber Sacred Music sity to the music student. Fortu- ties. It is instead a puts some another page which was ( ntlrely by mental forms. Through the wise Dearest Nam# (Rigoletio). Verdi Choral. Haadol more you practicing. So, then I gave previously studied, along with your position quickly and you need had been (II Trovatore). Religioeo. Walktco nately, memory will improve as it is tack to overcome them as and as long as what I Home to Our Mountain* Andante choice of these particular forms to- and would appre- work. 2.—In regard to your playing the mel- Massonot student up! I am at my wit's end Verdi Angelus. efficiently as possible. And it usually will get it. A physically sound Funeral March. Chopin being used; and the main thing is to very much if ycu would advise me ody notes of your wife's piano compositions, gether with their treatment, Grieg ciate it Onward Christian Soldiers. Sullivan the audience Angeles, which has a It be better If you had a good arrange- Drawing Room Music begin everything with the intention succeeds in doing exactly that. may be scared blue, but what to do. I live in Los would produced a fanciful creation. Miscellaneous it will has orchestra. Do orchestral players ment of the compositions (carefully bowed Andantino. Lomoro will not catch on as quickly as symphony Beautiful Dreamer structure teachers? Price does not make so and fingered), but as you play from the piano Hungarian Done*. Brahms Analysis reveals the to in- make good Gavotte. Coeeec Th* Dancing Lesson. Humperdinck I can afford to pay part, and In the first position only, I do not Bainby much dlderence to me. Carr‘»”o« ot Venice. Paqanint Sweet and Low. clude all the forms which have be- sarin*. Gann* to five dollars for a lesson." see where It will do you any especial harm. Tamh.-u.in. Romeo u La C student. around three Schumann our readers have had Love a Serenade. Von Blon Th* Happy Farmer. come known in the preparation for doubt many of Theme Melody from "Concert© No I.* is concerned, No Minuet. Bach Where stage fright hunting for the ideal Tell Tschoikowsky analytical work. The key to the similar experience in Impossible lo Soldier's March. C/eJg no two subjects are identical. The violin teacher. Great violin teachers are born, R. a. C.—It Is Impossible to answer your rhythmical figure of the melodic out- made, and are really very scarce. In Jus- question as to whether a toy of sixteen could Published By music *»««« city. mo. warm, fertile ground for its growth not jcnKins compm and advertisers, THE become a virtuoso violinist, if he practices Stage Fright Can Be Cured line and to the basic material em- tice to its subscribers is ambition. Its annihilation is self- Etude docs not recommend certain teachers three hours dally. I should wont to see the ployed is found in the first two In answer to an- him for talent, and natural confidence. to the exclusion of others. boy, and examine For Authentic VIOLIN Information Read (Continued from Page 738) measures. other question, some orchestral players make adaptability for violin playing. Better go to PARENTS and TEACHERS Any student, sound in mind and not. Is from your home, and VIOLINISTS good teachers while others do Boston, which not far NEW VIOLIN INVENTION makes it easy VIOLINS make first rate violin teacher. After body, with the essential love for great I would advise our correspondent to and consult a for PARENTS to teach their own CHIL- An American Publication Devoted to the prominent violin examination, he will be able to of String Instrument Piayera a list of the best and most a thorough DREN. TEACHERS can now double their Interests music, and a kind understanding lives. Inquire dependable opinion. copy SSe the preparation of which is done in contest where a packed auditorium teachers in the city where she give you a income. Any Adult can easily learn by him- Subscription $2.50 for 12: aingle attitude toward his fellow students prominent teachers concerning the profes- mannerly, congenial home, and several judges were hoping he of self. Endorsed bv World’s Greatest Artists. WILLIAM LEWIS i SON. 207 S. W»b .th Art.. O.iat* a kindly, reputation of these teachers, also, of Maker Gaffino and the world in which he lives, will sional The Dept. E. 2537 N. Bernard St.. Chicago, III. Send far I'nque and Inotruotiae Catalogue at will know little or none at all of the would show up so they could pro- any noted or prominent pupils they have W. T. W. 1.—Joseph Gaffino was an Italian SYSTEM Violin#- -Frrr on request have little trouble on or off the stage. all of these teach- violin settled In Paris. He Is FINNEY VIOLIN KEYBOARD sporadic nuisance here under dis- ceed, our young entry was located in produced. Probably, n'arly maker, who usu- ers give pupils’ recitals to which the public is ally classed among the French makers. He or a hall exhibiting his prowess cussion. He has never been taught back as invited. Make it a point to attend these re- was a pupil of Castagnerl, and while not a will able to check up famous maker, he made some excellent vio- permitted to think in terms of failure. a marble shot, totally unconcerned citals, and you thus be Excellent merchandising opportunities are to be found in Etude advertising columns on their pupils. "By their fruits ye shall lins. His studio was In the Rue des Prouvalres. His teacher stresses only his art, and about the whole thing. When called, know them," is an excellent proverb for the Parlggl, Paris. 2.— I am glad you have made even in festivals or contests the he got up, handed the marbles to his student in choosing a teacher. a scrap book of articles taken from the Violin Department of The Etude. 3. I have not “horse race” aspect is judiciously little sister, and said in a cheerful — How Analysis Kreisler Plnvs Again seen any late quotations on Gaffino violins, Masterpieces of Piano Music subordinate to a faithful honest per- voice (to anything but the comfort H. G. T.—When the news spread through- but Judge they would sell in the neighbor- formance. He moves among his fel- of witnessing contenders) “Well, let’s out the musical world some months ago, that hood of three hundred dollars, If In good has been termed the library of Piano , Fritz Kreisler. the great violinist, had suf- condition. Music in volume. The more than low students as a cog in the great go!” Needless to add, he played re- Helps Piano Study one fered a severe accident, which might result 200 selection* by great composer* con- machine of good music. markably well, and his grade set a in depriving him of his violin, a great wave Can He Be a Virtuoso? tained in it* 536 page*, comprise S3 new peak in the day’s event. Had his of sorrow affected musical people everywhere, J. C.—Prom your letter I should Judge that To introduce his subject, Grieg together with violinist you have made excellent progress If you play Classic, 75 Modern. 38 Light. 25 Sacred A Teacher-Parent Proposition mother (Continued from Page 747) one of hope that the nagged and threatened the used the secondary seventh chord would make a complete recovery and regain the compositions you name reallu well. How- and 29 Operatic Composition*. This vol- A sound honest parental attitude usual maternal procedure, his splendid powers. Musical people every- ever, whether you can become a virtuoso Is ume is truly a source of constant enjoy- “Now make built seventh of the major on the where will rejoice that the latter has hap- another matter, since your lessons were not i MASTERPIECES is the only thing that can supple- us proud,” or “Play good or you get i ment and entertainment to the pianist thirds form a dominant seventh scale carried this pened, and that he will soon his tours. begun until you were fourteen. Before of A. In effect he resume you who delights in good mnsir. ment the conscientious teacher’s no more lessons,” the youngster chord in the third During his convalescence, he frequently spend much time and money on your future OF position. The aid chord to its resolution, the tonic triad, For sale at your favorite music counter or sent asked his physicians how soon he could career. I would suggest that you consult a work. The two factors are indivisable; would have felt unnecessary weight to the execution of the POSTPAID upon receipt of price. Money re- passage will by a gossamer-like chromatic scale grasp his beloved violin 1 and play, if only a first rate violinist, and take a thorough ex- funded if volume does not meet with your ap- isolate one, and the efforts of the on his young efforts. Good, under- few PIflRO be to keep in mind the chromatic and without stopping, passed on to the notes, so that he might know whether he amination for talent and natural ability. No MUSIC proval (NOT SOLD IN CANADA). Illustrated could return other suffer. Self-confidence is usual- standing parents have no substitute. scale, playing major thirds to his concert work. The physi- one can Judge of your talent for the violin folder with contents cheerfully sent upon with the alternating diminished and dominant cians begged ly him to have patience, and al- without hearing you play. request. a thing cultured, grown, instilled, When, during a very talented boy’s . right hand and minor thirds with the seventh chords. The introductory TIC iMMIft LARGEST COtlETtlUN and permanent right think- CS SUNbhilD PIANO MUSIC CONWMNt, >1 MUMIt. PUBLISHING CO.. INC. made by lesson with the distinguished Mr. left hand. When played rapidly there chord offers a rare opportunity to be- MCSft lUVHtMMUCLASSK. 1140 Broadway.New York. N. Y. ing the part of DUN on the teacher, the Auer, Papa, peripatetic Mama, and a is heard the * unmistakable dominant come acquainted with this secondary PIANO TUNING TAUGHT LEARN MODERN SWING PIANO HUUKRllKKUK *4> SAfHJ HHWHURS Enclosed find $ for which send post- parents, and consequently the child. few relatives paid Masterpieces of Piano Music. were prodding the poor seventh chord descending Splendid field for men and women musicians. by Records and Music! by half seventh chord and to note the re- School endorsed Paper Cloth writer by Steinway &. Sons, Baldwin Piano Co.. ( ) ( ) The has a student of twelve youngster with “Ah-Ah, you didn’t steps. w. W. Kimball Easy! Effective! Special action of our sensitivity to this par- Co. and other leading piano mfrs. years, healthy, normal, Write for information Arrangements! Write Name and reared in practice right,” and “Play, it for Pro- The Prelude in C-sharp minor by ticular form of harmony. It will then Dr. William Braid White, Principal happy, wholesome surroundings. Be- fessor Auer like you did for Papa.” Street Rachmaninoff furnishes an example be more School of Pianoforte Technology Flying Fingers System fore he was to appear at the state easily recognized. The boy was a wreck! After his lesson of an extended 5149 AGATITE AVE., CHICAGO Box 22, Everett, Mass. use of the dimin- (Continued on Page 784) Paper Edition 776 "FORWARD MARCH WITH MUSIC” THE ETUDE NOVEMBER. 1942 FORWARD MARCH WITH MUSIC 777 — ; s ^ By * ing on a trapeze. pMJ* Leading Revival arms o exercises with the Country the fert Duty—Honor— in poise, and is drilled Singing body security the War Year! pedals with How Music Can Help Win Album Of the Page 726) over the Outstanding ( Continued from Sp oppor from Page you ever had an ( Continued, 772) and ease. If Lynnw Willis was its watch the late just Published increase our from 1817. and Richard tunity to “Strenghen and or mas ( Continued from Page 741) numbered Marcel Dupre, my the Garden by C Austin Miles. dealing first leader. The Band Farnam, In To admiration for honest noticed that they One hundred and one Pietro Yon, you appreciate it fully you must know and clean thinking, and suffer twenty players. ter to the total of almost no thought Mr. BACH give Miles S. and years later, the Band had a seemed to story it tells. When got the their Drum and J. not our hatred of hypocrisy moved with the can perhaps best serve groups, American Legion In 1841 a Detachment their feet. They inspiration for the .son”, he was „oits to dimish. fifty members. read- nation by their Bugle Corps, church choirs, munici- pretence ever Of couise it is communities and the Music Fifers, Buglers, and grace of a ballerina. ing in his Bible the story of that PRELUDES “Encourage us in our endeavor of Field glance early at school functions. pal bands, school bands, Boy Scouts, TWENTY-FOWR CHORAL organized. The the organist to the .sorrowing performances the level Drummers was first heresy for morning, when woman form the to live above common although some- most of the citizens of a com- all of these and others can Band and the Detachment now com- down at the pedals, came alone to the tomb to show Since For Piano Solo of life. part of her patrons and attend major portion of a very interesting is not be the better are school the harder prise ninety men. The Band times it may love for her Mast. r. munity “Make us to choose school functions, it is community festival. Dance groups, and Arranged By FELIX GUENTHER students. All members popular the various Compiled right instead of the easier wrong, made up of valor. The one most of all songs then learn upon to assume that here is community mass singing, soloists, first chair men) are required The pianist must Cross, only logical and never to be content with a (except is The Old Rugged by George can PRICE $1.00 NET the various com- opportunity for our various school both vocal and instrumental, do whole to double on strings; thus it can the modern organ A mil! ion and a half an half truth when the can Bennard. phono- their part much to substitute for the annual march- pistons which make it pos- organizations to do function as a concert band, a bination records of this song are in music be won. graph the spirit and instrumental festival. If every com- orchestra, and control a group of stops at developing community “Endow us with courage that ing band, a concert sible to homes of America it is called for in flexibility on functions offer ideal munity will foster such a project, it all kinds of ensemble in order to have more These is born of loyalty to all that is provide for once, religious radio pt .mis many times morale. organs units and for is certain that music need not be combinations, including dance bands. registration. In the modern for the music New Compositions noble and worthy, that scorns to in more than any other song. It is one outlets adjustable so that the emphasizing patriotism, concerned as to its contribution to compromise with vice and in- Except for daily rehearsals, mem- these are favorites oft repeated programs needs for of the by our war Of one thing we Brazilian Composer A. receive player can set the stops he defense programs, and for the program. By The Distinguished justice and knows no fear when bers of the U. S. M. Band Spitalny’s "Hour of Charm.” home recital. for the future. are all in accord—This is no time are in jeopardy. no additional training. Applicants a particular service, or foundation of unity truth and right We could fill a t k with stories of I audition, qualify must then appreciate affairs that our patrons for music educators to curtail their FRANCISCO MIGNONE “Guard us against flippancy must report for an The pianist men and women who have been won It is at these usefulness in and most activities. We need more music. and irreverence in the sacred upon at least one instrument, and be that a good part of his in their best spirits to Christ through t : message of The are Piano Solo accompanying the active part in the Present conditions represent a chal- For things of life. Grant us new ties under thirty years of age before they church must be in desirous of taking Old Rugged Cr<>- >. one very strange i of this to our music program, List of friendship and new opportuni- can be enlisted for the band. The in- human voice. A full discussion of events. We should, there- lenge not only are on the National Competition thing is the mrut:w value of program These Compositions in itself. this imagination, to our ties of service. strumentation of the Band is: would make an article be certain that on such occa- but also to our in physical and <- oeclally fore, 1942-4} special song nerv- foresight, because un- for “Kindle hearts in fellow- 1 (1st Sgt.) Nearly every voice requires the type of music ingenuity, and our Drum major Fro: Canton, sions we perform registration ous disability. China, country ship with those of a cheerful 2 Flutes consideration, and the will encourage audience parti- less music can serve this Brasileira No. 2. .50 came the stor;- :rom Miss Alice which Lenda Brasileira No. 1. .50 Lenda edition may be quite mil- during this present crisis can rest countenance, and soften our 1 Piccolo marked in the cipation. There are over twenty we Schaefer, a oi . rv in the modinha 50 is the most mh Ming Brasileira No. 3. .50 Quasi hearts with sympathy for those 1 Eb Clarinet different from that which In our schools; the assured that our program will be sub- Lenda th. Blind, lion students voice or a Sum School for of curing 60 who sorrow and suffer. 16 Bb Clarinets appropriate for a special performance of music that will lift ject to considerable scrutiny in the I Tango Brasileiro a little blind Ch mil of terrific “May find genuine pleasure 2 group of voices. The registration to come. might well take a we Alto Clarinets the spirit of these students to sound days We suitable for spasms. She con In u understand y in clean and wholesome mirth 2 Bass Clarinets which would be entirely ideals and to the impor- page from the books of our athletic the words, but tie .-lody, rhythm, patriotic and feel inherent disgust for all 2 Oboes (Cymbals for parades) accompanying a song sung by a man strengthening our American departments, who have proven so well or harmony of tin on a phono- tance of coarse-minded humour. 1 Horn (Field Drum for might be absurd if heard with a English morale and unity will have a pro- their value as body and morale » Manuscript record pir n > order Recently Discovered “Help us, in our work, and in parades) woman’s voice, and vice versa. graph the dis- Two found Influence not only upon them, builders. The challenge Is here. turbed nervous »:• and brought our play, to keep ourselves phys- 2 Bassoons (Saxophones for I often asked whether organ am also upon their families os well. For Piano Sola peace and quiet the poor, frail but ically strong, mentally awake, and parades) playing injures one’s ability to play Much more can be done with mass Appropriate Program Pieces a t i morally straight, that we may 4 Saxophones (Soprano doubling on the piano. I have a strong feeling little body. It's p illustration at our football and basket- Is I »n n.v singing Since the matter of materials By GIACOMO PUCCINI the better maintain the honor Alto, Alto, Tenor and Baritone) contrary is true. In fact, I of how peucc could be that the games. The school chorus can be brought to Indivi. and even to ball an important one in connection with of the Corps untarnished and 4 Cornets conscientiously feel that it helps pi- Fogllo D’Album (Album Leaf),... Jl used as a nucleus and a* a founda- our various activities, your editor is unsullied, and acquit ourselves 1 Fleugelhom ano playing because of the somewhat this distraught, u< racked, war- tion for the vocal parts. The words taking the liberty of recommending Piccolo Tango (A Little Tango) A like men in our effort to realize 4 Trumpets higher mental drill demanded by the torn world thro th. message of of two or more patriotic songs printed selections which he hopes will the ideals of West Point in doing 5 Horns organ. Everyone heard the great c ft few who aid on the program will serve as an list is not topy our recently inued Piano t hematk • practical. While the your FRF.F of our duty to Thee and to our 1 Euphonium Saint-Saens play the piano on his Yes, we do appi the world's prove W rite for j This to securing audience response. Intended to be exhaustive, it repre- **em IS. publither Country. 2 Baritones American tours praised his playing great music. Out today choirs I Ail the obov. mutic of you# neareit d«ol»* to direct of audience participation can “All of which we ask in the 7 Trombones enthusiastically, and Saint-Saens would always l«l: The Hallelujah form sents a few of the compositions most name of the Great be extended and elaborated to in- appropriate for the occasions men- Friend and 1 String Bass ( Brass for parades) was an organist for many years. The Chorus, Unfold V< the Gloria, Master of clude various types of music, includ- D. MOSIC CORPORATION men.—Amen.” 5 Basses difficulty is that the field of each and others. In tl ram of our tioned above. i EDWARD MARKS The military school songs and songs pertinent music at West Point is 4 Percussion instrument is so great that there is Winona Lake M c mb-rence we ing SELECTIONS TOR BAND Compowr: H City • New York naturally under particular formations, as for an Rrcollrrtlon. o( the War Beyer RCA Bldg.. Radio totally different Additional historical data on the scant time in one lifetime to develop present at least on u io, such as to form America Ooldman supervision than that of the Chapel. U. S. M. A. 1 example—a small band can Band may be found in the both to the circumference of their "Elijah,” drama :! The Mes- Over There OkiW The commander here is Captain “History certain letters such os a V for Vic- Voire ot Freedom SubUnWn-CillUet of West Point” by Captain artistic possibilities. siah,” and we «t > he greatest Francis E. Resta. (This can America WUlUm» i The Band dates Edward C. Boynton. The future of the music masterplfc \\v tory, or an A for America. fine modern or- believe our SELECTIONS FOR HAND AND CHORDS be done between the halves of a gan, in both church and concert, is students will have .it apprecia- Arm* for the Lore at America Berlin unlimited. For tion. basketball game,) While the band is Ood Blew America Berlin a time it suffered and be betc r v to interpret PLAY A DEAGAN MARIMBA standing in such a formation the America. My Own. Cain through the moving pictures by the and dramatize (tiu pel songs if WM. S. HAYNES COMPANY I Am an American Neal mailer . . introduction audience can participate In the mass ieiy to . of a contraption, often they know oratorm w wer. it has The Marine* Hymn,. Fhllllpa Plum or OiitiMCttoN Transferring . from the Piano to the Organ of abnormal loudness, singing of appropriate patriotic A Real American Wllllaraa-Bower al»oy« papula/ . . which been . was the simple :m ( the gospel STERLING SILVER—GOLD PLATINUM should SONGS richly lot >lf yin g theatrical in its aim and often ter- song that has ton tla* music. Our school bands ( hearts of Continued from Page 739) All Out lor America. . . Adanu-Ultc Catalog on regueif rible in its the streets of their Write Dept L effects. The voicing was individuals and m changing the parade through U. 8. Field Artillery March Souaa Zimmerman I Avenue. Bolton. Man. harsh and raucous. This gave lives city at least once a week, and the Auction Aweigh OS Mouochutetti J. C. DIAGAN INC a large and living, tt i attention to but these must, after all, only be sug- fluently. The only way to acquire part of the BAND MARCHES public an unfortunate the Faith of our F Firing SttU. music on such occasions should con- gestions, owing to the individual this The Army Alford familiarity is by actual experi- opinion of the military organ as an artistic Wc love the gr r hymns of the sist of good patriotic National Emblem Bagley characteristics of each instrument. ence. As for exercises, each teacher instrument. However, this day is church, for marches. With the curtailment of Wlnga Over America..... Frey The fine organist we w. . praise, wor- It pays to rood ond patronize ETUDE advertisements. They ore bulletins is distinguished has his own. Probably the best of Tire Stan and Sirlpee Forever Souaa all past, and we are entering a new era ship, transportation facilities, gas ration- — from the inferior organist and adore; b v heart of the Semper Fidelia Souaa of buying opportunities. Always remember "I because of exercises for the pedal are scales and in which tow it in THE ETUDE.” finer instruments are com- great youth ing. tire shortage, and so on, we are Waahlngton Pont Souaa his superior taste and judgment in arpeggios. armi ! to rhythm, This means the scales of ing again to prominence. musical Young or- melody and harm: We can tune certain to face a lessening of em- SELECTIONS FOR OUTDOOR BAND aesthetic matters of this the major and minor keys and the PAGEANTS ganists who are really well trained phasis on interstate and state compe- kind. them in to God ;- plan for this chromatic scale. One thing I always and American Flag Parade who have had the patience to world tition festivals. This will require through . Pronk-Wcngcr-Prcscott The grand bete noir the i .song. of the pianist insist upon is that the pupil must They PIANO TUNING PAYS MUSIC ENGRAVING develop their art carefully and faith- Uncle Bam In Review transferring to the organ is of Will catch step ai. march along, ingenuity on the part of every con- Piano. Band. OrrHntra course never and Octave . hold on to the bench with his fully may look Pronk-Wenger -Prescott Too r» txm U*rr> (ante*. Osr twv uwi We forward to a TfutiRiUt Mkf |U«t Oiotf Is the study of the pedals. Not until bright gathering moment u .nd by ductor. We must not permit these » tafottlM* •peoabre in brndt *«rk: abe c graved Idles the hands while practicing. If power FOR ORCHESTRA AND for Unm Ptifttjr («#«< he does futuie when this sad world SELECTIONS ni4t KltalMM «wr% player is emerges the difficulties to retard or impair our Send your for i so familiar with the pedal this, he is likely to clutch the enlistment of i cd millions CHORDS mil eat mate man- from its present B* I •*****+•!' board that does spiritual eclipse, as from every musical program or our contribution Pledge at Allegiance Bergh A he not have to feel uals when he combines them with land, ail m: the great H»lt R*d »»slty* OTTO C NULSEN emerge it will with the America Bloch T forfllttey fwr for the notes can he help of God Christian to the present situation. Local festi- UWoi ml saaBnM* Mb ft. rate m hope to . play the pedals, National . Hail as though he were hang- Almighty. hem. All Marine* Hymn. , Phillip* Vlplemum irtride) WrtB few Ftww Hm»M. IZ4 Gavarnnwnt Mm. Cincinnati. Ohio If T AWT SCHOOL 7t B A efeitf. H.«» the Power of Jesu \a me ’ vals, uniting the various community America Williams 778 "FORWARD MARCH WITH MUSIC THE ETUDE NOVEMBER 1942 "FORWARD MARCH WITH MUSIC 779 « who - tradlUon. The Teacher’s builds operatic STUD /? * SHALL I GO TO worked directly The PlAIHD Accuhdidiv WHERE the* P Table Symphonist example, explained ° Hound A. New American f heir and ' ® ances to friends pupJJ from Page own, who thus became (Continued 742) Page 724) and handed ( Continued from Mozart tradition the true Near tne Bellows Shake the next generation. it on to example, “Das Rheingold,” for milestone—his First Sym- close of a ROSE OUGH FREDERIC FREEMANTEL York, tried to find work, only marks a Wotau to grasp to New premiere last Wagner directed polite phony. This had its left and VOICE Voice Imtrucfion experience the misery of giants had: Ri.lro Sb.'eiro SomoilofT to the that the Former Assistant to Lazor S. lessons, winter when it was played by sword Author of 24 home study the desolation of the 'ch die U in Hollywood Voice Pradoc* 1*" ° rebuffs and sing, “So gruess ot "The Fundomentol Principals ot - Philharmonic-Symphony then to Reopened Her Voice Studio* Ho- to Sing Them ambitious person who finds New York of theJgo^J% CALIFORNIA Singing"; also "High Tones ond fiercely the home 193 1 8TH AVENUE OAKLAND, Dimitri Mitropoulos. as he looks to — West 52th Street last he was Orchestra under cation As told to ElVera Collins Telephone Glencourt 6115 Studios: 205 himself stalemated. At there is “0 md *»"• 7 S4M his Guggenheim Fel- In the score, New York CHy set to work mak- A renewal of yet it given an apron and this bit of gesture, ’ his First whatever of “cokes lowship followed, then o ing frosted chocolates, lemon to the piaying Symphony,” together with his “String- properly belongs BEEN ASKED to dis- bellows shake, but when the feat has EDNA GUNNAR PETERSON MARGARET HENKE and “to-day’s special” — in other moment, because we E HAVE No. 1,” won the 1942 Prix that particular “Bellows Shake”. been perfected the player should be Concert Pianiit—Artiit Teacher Oratorio 4 Concert Soprano words, he found work back of a soda Quartet documentary evi- cuss the have not through Calif. Italion Sel-Conto Art of Singing" Rome. David Diamond, as we know, our readers are at equal ease playing sitting or stand- 229 So. Horvord Blvd. Lot Angeles. Teocherof the "Old counter. While he was thus engaged de Wagner that Some of defective voice* odiusted over but from Cosima W FE. 2597 Overstrained, bowing dence, Washington, D. C. drugstore, said, spent little time play the accordion with- ing. 410 Riverside Dr.. New York in an upper Broadway so. This is on learning to instead, while his room the Master wished it instructor Edgecombe 4-2 )8t came of the death of Maurice his honors; will assistance of an The second matter of importance news traditions of Bayreuth. It out the board problem is solved, he has of the concerns the the bellows. LAZAR S. SAMOILOFF Ravel. It brought memories to Dia- and true have heard the bellows shake opening of speed. an indication of what and last gone right on working at top serve as They should extended the small- teacher of famous singers mond of the composer as he had the closest on accordion recordings and be Voice ALBERTO JONAS means to be operatic tradition implies— used later he was at He has known what it 1 have never est amount possible to produce a From rudiments to professional engagements seen him. Two days , nf the COm- the radio but Celebrated Spanish Piano Virtuoso and also on Beginners accepted. Special teachers' course* to a diet of doughnuts Teacher ot mony famous pionlsts work on an Elegy. down performance of it. distinct tone. The palm of the left -- witnessed a Dr. Samoiloff will teach all summer ot his Studio*. Tel. Endicott 2-W20 foundations IT WEST (5th ST., N T. C. , coffee; he has seen the catalogue Special rotes for the In the spring of 1938 Diamond’s shake was first hand should rest against the back of Write for — » When the bellows IJ2 Southl(th Street. swept out from under his family duration. On Thursdays in Philadelphia. “ fortunes underwent a decided change; looked upon as a the box so that it may stop the Tel. Victor 1577 or Locust 4<09 Meaningless "Tradition introduced it was Van Ness Ave.. Los Angeles. Cal. during a depression; he knows that 610 So. Not connected -ith any Conservatory, he was awarded a Guggenheim Fel- later came into outward action immediately after of tradition sort of novelty but the future is uncertain—the demands There is another sort lowship for his Psalm and “Violin a means of produc- the tone has sounded. In other words, vicissitudes may That is the universal use as Concerto,” and again he crossed the of war or countless which is worthless. ELIZABETH SIMPSON same rapidly repeated notes distinctly. it Is used as a sort of a brake. Some overtake him. While opportunity is mechanical routine of doing the ing Tochniquo" EDITH SYRENE LISTER Atlantic. Trouble was already settling K»9 constructed that players obtain the best results by Author of "Basic Pianoforto in oc- and without The accordion is so AUTHENTIC VOICE PRODUCTION the year Hitler his he can waste no moment things, thoughtlessly Presto % Teacher of Teachers. Coach of Young Artists. over Europe; during » * York City » 4 > « t of the bellows is practicing with the bottom bellows SOS Carnegie Hall. New pedestal or wearing a because they have been when the action Pupils Prepared lor Concert Work. Clou Courses anschlussed Austria, stepped up per- cupying a reason, solely Collaborator ond Associate Teacher —ith the late W. the reeds strap fastened, so the outward and in Technique. Pionistic Interpretation, Normal matters, It is this reversed the tones from Worten Shaw and Endorsed by Dr. Floyd S. Muckey secution of the Jews, gave worthless laurel crown. The thing that done in that way before. Methods lor Piono Teachers. silenced closing action of the bellows is all Music Studio, Lancaster, Po. upon him, is is responsible played are immediately Wednesday: Troup promises at Munich. It was a period the thing that presses routine “tradition” that just 402 Sutter St., San Francisco; top. is better Thursday: Nf Pressor (Idg.. Philadelphia, Po. Thus far, of operatic although the same keys may be from the There hardly a 2»1 Webster St., (erkeier. Col. of apprehension for everyone. But the urgency of work. for many of the bad points and good the ensuing tones be comparison than that which we fre- Diamond managed to round out a although he has composed a technic—the wide, meaningless ges- depressed and have those just played, they quently use of a ladies folding fan. Private Teachers (Mid-w#*t) year of study. many more works than we tures; the mechanical acting; the identical with (Front) different reeds. The As a beginning exercise we recom- Back in the United States he ex- enumerated here, he has written but drawing out of tones that have no are produced by LaFORGE-BERUMEN STUDIOS bellows Insures mend the playing of the chord of C RAYMOND ALLYN SMITH. Ph.B., A.A.O.O. perienced another depression of job- a prelude to his life history, for he right to be drawn out. Thus, dis- quick reversal of the Voico—Plano repeated with the right hand. Let us assume Dean Frank Lafarge teacher at Lawrence JlhheM since 1(22 lessness followed by the elevation of is a very young man, still in his crimination must again be the test of more distinct and rapid Central Y.M.C.A. College IISS Pork Are., C orner Nik Si,, No- York that the chord is to be repeated four a chance to work undisturbed at twenties. In the remaining and larger performance values. notes than can be produced by the School of Music ?#l. Alwo'*d 9 74 JO Complete course* leading to degrees. Coeduca- fraction of his life it is likely that are neces- of them. The reason times to the measure. The keys Yaddo, the Trask estate at Saratoga Three groups of people actual playing tional. Fully accredited. Day or Evening, lo— tuition. prove to be should be kept depressed and the Springs, New York. In these quiet he wall write what may sary for the building of worthy oper- is that the tones are produced by Kimball Hall. M4 S. Wabash Ave.. Chlcoge, Illinois music’s most dis- reeds bellows reversed four times. The surroundings he wirte a composition one of American atic traditions—the leaders, conduc- the passage of the air on RICHARD McCLANAHAN notes that for him, as for most composers, tinguished autobiographies. tors and stage directors, who envisage through the action of the opening time may then be cut to eighth Up«MMfcHiv« toil AS MATTHAT »*» DR. Mvolt I rtfcoM. (>«rn f perform keys are with eight reversals and later to six- FRANCIS L YORK the work; the singers who and closing of valves when Advance Plano Interpretation and the Theory work to* teenth notes with sixteen reversals requited lor fhe degrees of Mu* loch. On, | Mu 104 Bldg Ywfc it; and the audience-members who depressed. The delay caused by thLs . Nw Off Re- Mas. receive it. The first two bear a re- procedure may occupy only a frac- of the bellows to each measure. DETROIT INSTITUTE OF MUSICAL ART A Background for Opera Detroit, Mich. sponsibility in erecting the artistic tion of a second but It Is Just enough member the rule of having the bel- foundations of opera! This needs to make It take more time than If lows extended the smallest amount EDWARD E. TREUMANN ( Continued, from Page 727) Arti»f«TM«K*# talent, practice, and consciousness of the keys were kept depressed and the possible to produce the tone. The M Private teachers in the larger Cities Will find Concert fc*eomm«A l *4 1 will also fulfill the work’s demands, marked into the score by the com- to build a native and typically Amer- slowly gradually in- >.» m/ -M'* * ... them by the bellows shake has often and the tempo physically and psychologically. It poser himself, and need only to be ican background for opera. We have creased. It must be done absolutely been debated among professional ac- MODI ft N OAMCI ARRANGING may happen, of course, that no one read and followed. In other cases, no passed the time when music Itself ItaMtf* U Ua «((» ( i»» « cordionists. Some have denounced the rhythmical, otherwise the repeated "wwimiM U Mm Mq among the artists available truly such direct indications exist. Then was a novelty; the time is now ripe will like lot con- «•=*** * practice very severely, and yet we notes sound a of *'lll( ladif approximates the composer’s ideal. the conductor and stage director to develop an operatic life, and to do fusion rather than distinct notes. IlMII I. FUCHS have observed that these same ac- 17* L*vt« A Or metre. (, Y. Then it becomes the conductor’s duty must assume the task of searching it with discrimination and will a to cordionists employ the use of the Triplets are often effectively re- DO YOU PLAY THE ACCORDION? to weigh values and decide which of for bits of evidence that can shed serve the best in Elude Advertisers Open itse Deer* le Reel art. bellows shake whenever possible. peated by the use of the bellows shake OUR 1942 CATALOC Mett h »nds *wi Opportunebee the desirable characteristics may unmistakable light not on what is | — but care must be taken that they are CONTAINS TOOO SOLOS most safely be dispensed with, with- “good theater” or what will make an The First Consideration properly accented whether the action AND 1 25 MITMODS AND FOLIOS out offending the integrity of the “effect,” but on what the composer of the bellows be outward or Inward. Sonf Frrr In RreWn .(ahsrrfhnvs Schools—Colleges When beginning to practice the Address Dept. I performance. When such decisions desired. That is no easy task, of Musical Flares bellows shake, the first thing to con- We caution accordionists not to have to be made (and no perform- course, but it can be achieved. There O. PAGANI & BRO. sider is the position of the accordion. become tense when they use the bel- ance is ever completely perfect!), is the score that contains, “between Three Negro 289 Blecckcr St. New Yoffc CONVERSE singers, according to shake. True enough, more ef- COLLEGE Zst musical and psychological accuracy Those who have become negligent lows the lines,” all necessary indications Variety, earned over $100,000 each Is required to manipulate the must he given first and have fallen into the habit of fort consideration. A for those who can read. Sometimes last year. They are Paul Robeson, holding bellows than in regular playing but singer who projects the music and tradition tells of the accordion any old way the composer’s in- Marian Anderson, and Dorothy May- Note how it toil all varieties of the psychological truth of his had better review the rules for the if this is recognized in the beginning Cram to play the KNOX role tentions. In every generation, there nor. minor scale, accei -he fourth fingers, ACCORDIONIN (T MAILT correct of the practice there is no reason may be forgiven if he does not ex- are artists, conductors, critics, teach- * * * compels concentrate by changing the playing position. The straps actly look the part; a singer who ers, who derived their accent In Measure and altering the should be pulled tight enough to hold why the player cannot be just as authority from Fortune Gallo’s San Carlo Opera merely in other of play- ^Pzdtto- looks the part, without being the composer descending scale. . It should be prac- the instrument in a firm position so relaxed as any form himself, or from some- Company has given nine thousand SHENANDOAH able to convince his hearers ticed In all minor lows. that It will ing. The facial expression should be leading to of psy- one who knew at first hand, what performances in not shift about. The be- thirty years, playing (be It. Mon., had t>. Moo. Ed K»te« chological or musical truth, mars the his wishes were. The transmission ginner will find the sitting position watched because there is sometimes reasonable In the heart of to an estimated audience of nineteen of the hennod-mh performance. Schumann's con.: x-nts between some 783) mr w. ftitv* Volley, Dayton, Virginia. such word-of-mouth instructions also million people. somewhat easier for practicing the (Continued, on Page ( Continued on Page 787 t ' 780 "FORWARD MARCH WITH " NOVEMBER, 1942 "FORWARD MARCH WITH MUSIC 781 MUSIC THE ETUDE — _ 1 1 a 4 l Lesson on Chopin’s Master from a Spanish Quick Step entitled because I be- interpretation. That is that SLST5SS Bellows Shake La Florera. The bellows shake should for instance“ST. sonata.’ working musically and m- JJ ht Major Profitable lieve in work on the Prelude in A be used in the first two measures. the very beginning. better service terpretively from do himself * from Page 781) The notes are played as sixteenths He can ( Continued sharp distinctions r rrecord- Page 748) Certainly, certain buying a reflateS (Continued from so there will simply be four bellows reversals Piano Practice practicing and tban must be made between let 6 ^ ing of that work, ““ for each quarter note. The bellows Music Careers Begin for in- Beethoven it like playing a piece. In practice, of other Beer to make look a ber of recordings does not mean a little slower a tendency action in the third and fourth meas- from Page 728) to work mostly piano andante and audiences pre- ( Continued stance, it is better same period- hard work works of the would naturally think, but lot of ures must be so timed that they will pedql of any sort, so that sonatas. an as one accordionists play with without violin and piano fer to watch be in a closed position so that works, the movement should be a little ready to begin voice may be heard and them carefully, that than struggle with their SHERWOUI) every to at on-and listen andante is a ease rather the bellows shake in the fifth tension without degenerating tonal carrying 30 faster. However, very from the pianist’s own will enable h“ that does for style. That for this composition instruments. measure. into the slovenly relaxation be developed. Again, it is ° B fitting heading must be em- powers may the particular stage air release valve enthusiastic study. good. In the matter emo- know is important that, although The We urge accordionists to practice For-nearly half a century Sherwood more harm than possible to play with full the time t because it the bellows must hardly development at frequently when people though, guidance process thoven’s at a slow tempo, it also ployed the bellows shake, for even though has been training young courses lead to certifi- of exercises, tional expression during the written an it is played there among Sherwood Moonlight Sonata’ was occurs here and States from the teacher. these differences have motion. shake they prefer not to use it for repeated from all parts of the United diplomas, and degrees in come of slow practice. But free to work should passages, because a cates. greatest im- will yet leave him other musical notes, they will find that the bellows branches of music. “Scales are of the only with the mechanics wi»W Chopin was never very extravagant for careers in all piano, violin, cello, voice, organ, have to do interpretive toougHt preceding its use may re- They should never be prac- musi- his own mn marks, measure technic developed by its practice will Sherwood-trained musicians composi- portance. of practicing, and not with the of 1802. in his use of expre.- but, That wind instruments, theory, must be scope of the Beethoven that the bellows be fully ex- ticed for speed alone. Scales work. That musical the he is more economical quire be a great help in mastering the are so outstandingly successful is music, conduct- cal plan of one’s practicing is to re- in this piece, In that in- tion, public school the viewpoint of The goal of all at its completion. approached from be built at the start. One usual, marko piano but once tended manipulation of the bellows for all due in large part to the close per- accommodations at plan must meaning of the music. than release valve should ing. Dormitory expressiveness of touch, and the create the stance the air playing. conservatory’s evenness, compare the process to start and again at the be- Accordionists cannot hope to sonal interest of the cost. might at the to bring the bel- moderate gradation. It is quite impos- quickly applied give development dynamic building of a house. The architect’s ginning of the second half. However, be' artistic interpretations of fine artist teachers in the Haydn, or Bee- to a closed position from Write t<»day for free illustrated sible to play Mozart, ready and done before the not mean that this Prelude lows in music until they have mastered the of individual talent. Superb equip- of plan is this does using thoven without a fluent mastery And which to start the measures and catalog. 412 S. Michigan A*e., mechanical structure is begun. should be played on a level; quite bellows to such a point that there ment, professional environment, a knowledge of of Lontrnlled shake. We have always scales. Here, again, that skele- The Secret the bellows Ls encourage Chicago, Illinois. no matter how unfinished the contrary, the amount of tone an even flow of air and they can well-planned curricula intimately bound up with the the use of the air bar style is structure looks during its build- phra -hmild be con- advocated produce all tonal shadings with the his ton Relaxation given to the pianist’s technical approach to faith than the air button as it may National Association of Schools of Music ing, it is nonetheless keeping This composition rather same ease as a singer. Institutional Member of that stantly changing The student must know practice Page 743 ) any playing position work. plans. To ( Continued from applied from with the finished » are be Petro Deiro on per- consists of eighttw phrases, will answer questions Mozart achieved and insisted to gloss changing the position of the a work technically and then of one phrase without about accordion playing. Letters perfect cantabile although the latter are but never should be fect scales and on interpretive patina the wrist, it over with an in the the sum' amount of tone hand. should be addressed to him in care of is said that he placing the fingers played with phrasing. Indeed, it would be equal to erecting the value in MUSIC SCHOOL after, position to play one preo ds u is always Tiie Etude, 1712 Chestnut Street. objected to passages in double notes most advantageous as the skeleton of a house and then stopping Ex. I For- other figures. a little softci r a little louder. Philadelphia, Pennsylvania. L-SHERWOOD might spoil his scale! arpeggios, and either A* written lest they work to draw up the plans! scales, be feeling the v mil phrase Is a tified by such knowledge, the student the arm there must a For instance, often asked about the value In InORTflPARK^COLLEGt his “I am from the than tm first one, the will’ make use of it by bringing to of relaxation extending little louder of phonograph recordings in study. E. Clifford A the : 'Ij.ui the incJenwooJ Mozart playing fluent scale technic, shoulder to the very tips of third phrase soft* second JL i^ckpol chief service is distinctly on Toren. 1 Their 'iter fourth 1 50 th cantabile phrasing, and a willingness fingers. and followed by a the good side; but, again, an unwise HUIIC Director \ f Year Mozart tempo, re- to play Phrase five at the start of CONStRVATOIT 01 to take thirds in If the student will learn phrase. use of them may do incalculab.c IHHtimcl IM*,—IIWIw. • rapidly he may be I • phrase one, gardless of how relaxation conserving the second half, How to Improve Orchestral /» tt'saara. Tfesrausb The harm lies, of course, in with complete Tratea aiujaal. Urn Kim aaatcal carer, a ta harm. turn Im mmmn la biwM emlra off. a ‘fltlw, I able to run them find that the keys the next pin Is the Ibrtr ebuarn teU CluflmUler fafltf, Cimih of the all force, he will but • dbiiatttldwl faculty. B M. copying the musical thought oecupta twldia*.« I'tafto.FtattO. Wbr entire question of technic with a all- bin at that, not Own*. etrllflala amt aitJams im; “The his instrument respond strongest of a r**d art I* M» malt aowala. cmtfcn recording artist’s interpretation. If of Plnyimj la isUe. Malta. «**». Malta, olle, a contrast be- bilk, ibaory, muatc atlutauca i opens an interesting resiliency of action, that his forte. From here n n. end there Is Saip. Ska usnaall. S** ml raaeal the best records are copied as marked bo Fall amssatsr bcyiM g*|, lambs* IB. mechanical even |l< wbal mk, own. «ai«**a»u • is a fine thing, of course, that tech- played so loud Ihu i m gan point Is experiments with writing difficult CONSERVATORY OF MUSIC nical progress been great not plainly heard perfect balance Clruutas I has so studies and exercises for various in- BIBtA. OHIO I labors M S OBERLIN •i ****** hW* Amilaled sllb a »i« rlaar Mbural Aft* Cal'-ufs mnn| but, like all good things, it brings with of parts must b< ) at all times. |f*ta struments. and his colleagues seize lot sad *•» »»ar MMM balm la *tn« Far SMB flWMfl«Bh WMtwikMiWMNIttli* ta»i sit W* a*wWiB • >Wi PfMikl catabssa sr Mtartaa- IB* |Rk hMblh>B 1 (kbdi‘*tal» ilfWflM 14 a*1 ktA loNlffi MM* it the possibility of evil. In this case, Do not put too |n accent on the Sf Irtlil Tear her* IWJ fat r o • • eagerly upon them and use them as flllwl SfklMMR* • JM MMM. , i MfMM ltd t M I It NHStaOBl M-l A II MUR rn*mm*U < M the ‘evil’ lies in the danger of over- half-note chord.' • i.iily if you trarrTs very helpful practice material. And « ****** 9 r«*4 M Mm« u il»» OhMlt* 782 * "FORWARD MARCH WITH MUSIC " THE ETUDE NOVEMBER. 1942 11 "FORWARD MARCH ITH MUSIC 78 J . — many years, and one of California pet for the trie Southern leaders usually rides SEVENTY-SIXTH YEAR ag° ’ cheer him in the air in perfect colored cards Fretted their arms high ctions with gridiron before the Instruments wear spats e given around the game Pageantry of the unison. The players also 8 of a bell. At Musical is, if the mule is not too stub- ' - - which cards —that and carry green handkerchiefs yell leader te tom the born. COLLEGE waved in unison. S2 a mo CHICAGO MUSICAL Gridiron are changed to form Yale mascot, Handsome band were Den, The Dan, Another outstanding Big Ten swinging. As the Legato Playing for Guitarists RUDOiPH GANZ, President ture of a bell bulldog, is one of the most famous Much of its fame is due hehs Placed a (Continued }rom Page 740) is Purdue. each tide, lour Association of Colleges and Secondary Schools; to wung to of all the good luck charms. The first Member of the North Central director Professor Emrick, dim were of Schools of Music. to its dlfferent'paits of ttie owned by Andrew C. JtricL Institutional member of the National Association given the credit m bulldog was Graves whom is generally band f music conferring accredited Bachelor and Master The University of Michigan band rung, with the took him to all the Yale football A Professional school of conceiving the idea of a college The Bells ! who Voice, Violin, 'Cello, Organ, Orches- Hundred, which for the strains of over or under a of Music Degrees with major in Piano, is called the Fighting gridiron. playing games. When the dog died he was CURVED LINE tinued in like manner to the end. Education/ or Composition. band forming a letter on the tral Instruments/ Musicology/ Music the band is a Marys. name points out that include St preserved and mounted and placed group of notes means that In slurred passages the first note FAMOUS ARTIST Tf ACHfRS. Others of his innovations band features Swiss FACULTY OF INTFRNATIONALLY AND NATIONALLY visible evidence of the fighting spirit The Wisconsin in the Trophy notes should be played only is plucked with the right as “marching words,” wave in a glass case Room A these hand a number of deserving students. such stunts ten students Student aid available to expressed in the well known Michigan flag wavers, and and connected manner finger, while the other fanfare, pulling the letters of the Payne Whitney Gymnasium. in a smooth notes are exe- Write now for Free Catalogue musical di- trumpet Big Ten universities march The Victors. The the flags of the quite a few between the tones; or, cuted with the left dropping out one at a time, from mass forma- and There have been Hand- with no break hand by Michigan band is Wil- to great heights rector of the throwing them since the original legato. In the second vol- the fingers on the proper fret and MUSICAL COLLEGE representing an electric bulletin some Dans one. It in a word, CHICAGO evolutions are tion, precision style while liam D. Revelli and its catching them in of them “Guitar Method,” Pascual keeping these fingers firmly R. A. Elmquist, Business Manager board, and the presentation of a selections. is said that one was kid- ume of his on the novel manner. The di- its various planned in a the band plays the rule that to string until STRUT, CHICAGO, ILLINOIS gyrating “P” in which the inside and introduced napped by some Harvard students Roch lays down the last note of the group 64 FAST VAN BURIN rector and his assistants figure out The art of flag waving was outside columns move in opposite di- used on the eve of the Yale game and play legato one should use the slur is played. This rule applies to a group maneuvers on a large table marked from Switzerland, and it is being rections representing an electric the- made to pose for a very humiliating only. Now, while the slurring of notes of two, three or four notes ascending. off with white lines, five yards apart quite a few schools. by showing the proud dog lick- effective in legato passages, For four notes descending it is neces- One hun- atre sign. college picture, is quite JUILLIARD SCHOOL OF MUSK just like a regular gridiron. One of the most colorful The Purdue band introduced lights boots of the statue of John especially so in fast movements, we sary to place the four fingers of the thirty toy figures represent of Iowa bag- ing the dred and units is the University ERNEST HUTCHESON. PrtnJent . . in left during night exhibitions at the Ken- , ..„ , not overlook the fact that hand on the proper frets, pluck the one hundred thirty bandsmen, H mrr pr< Harvard. must piPe ban^ W1 p ‘ p tucky Derby parades. After other 'L ... Harvard students have not been the movements, all notes may be the first note of the group and then and the director can plan intricate Kiltie umforuniforms slow’ the dressed in Gclorfnl formations by bands adopted the same idea only ones to attempt to steal the picked separately with the fingers of slur the others by pulling them off INSTITUTE OF MUSICAL ART designs and letter imported from Sco their big . quickly to Purdue musicians mounted mascot of their arch rival before a the right hand and still be played the string thereby sounding each GEORGE A. WEDGE, Dean shifting the toy men three hundred fifty o drum on a truck and installed an game One year depends on the proper note. As stated before this is various positions on the miniature organized when an big traditional some legato. This most in the cab so bagpipe band was Individual vocal and instrumental instruction. Classes in Theory, Com- intricate switchboard Unlversi: . students the left hand fingers, and it effective in fast movements and re- football field. At Northwestern the returned from Scot- New York pur- use of with R.O.T.C. officer all branches of music education. various designs could be made Fordhan. r un a week before practiced diligently before quires considerable practice. Care position, and director, Glenn C. Barnum, teaches over the Black Watch loined the should be the caps, horns and legs land enthused in instru- the lights on I rdham followers the slur. To bind the should be taken that all notes be Courses leading to diploma and B. S. and M. S. degrees formations by a chart system, and he Edinburgh. the game. The attempting of the players. skirters of also has moving pictures taken of searched in vain :’or their pet. Their tones together it is necessary to drop given their correct time value, that mental, singing, and public school music departments. The University of Illinois has three gridiron maneuvers so that his own, Animal Mascots faces turned a deep crimson on the the left hand Anger on the proper they be played evenly and smoothly Catalog on rtfnail. bands and for the big football games as well as other college bands can various univer- day of the game when the ram turned fret and strike, retaining a firm pres- and the tones brought out distinctly. musicians are The bands of the Room 122, 120 Claremont Avenue, New York profit by finding errors which might over three hundred [with, his prolongs those are noted for their up on the field wool painted sure on the string, which To who have not used the used. The Illinois band features con- sities in Texas not otherwise be apparent. violet— N Y U.’s color. While the string is still slur we make the following practice great pep and color. The bands of a bright the tone. crack of cert music and such instruments as Ohio State has a band and Texas There are mai y h timorous anec- vibrating we drop another Anger on suggestions: Place the first finger on kettle drums and chimes are used. Southern Methodist. Rice, one hundred twenty pieces, and it is musical arrange- dotes concerning the experiences of the next note, keeping this finger F-sharp. second fret, first string; Philadelphia Conservatory Some of the most clever Illinois Christian feature famous for its floating and script one of strike quickly BOSTON UNIVERSITY ments in swing tempo and the S. M. U. college bands, tnd the fun- firmly on the string until wc are and then drop the sec- of Music formations. In 1934 the band became formations have included the Army niest happened at the after-game ready to repeat the same action with ond finger on the third fret; practice 216 South 20th Sited mule, a butterfly for the playing of band is as famous as its football team COLLEGE OF MUSIC the first college all-brass marching Nat took the this Maria Kuivar iHuki S. M. U. band has a mustang celebration when y meas- another finger. For preliminary prac- until the second finger produces • Thorough preparation for career* in instruments were a selection from “Madame Butterfly,” The band. Special made mualc. II Mu*, Diploma Voice. Plane, mascot named Peruna, and once the ure of Penn son cars back. The tice we suggest this procedure: Use a clear tone, without assistance of the or in y brated by to give the band more tonal power. the word “MUSI C” during which Organ. Violin. Cello. Bran. Wood-wind victorious future imirulx were not finger right hand. When this has been ac- OlC A SsM AROtt, J/tti. P. classical selections are played, and an animal had a fine subway ride from alternating first and second and Percussion UoirumuiU. H Mu*. In During the 1936 season, Director Eu- Composition. Church Music. Musicology. mid-town New York to the Polo content with the ipo.-us and the of right hund to pluck the strings complished, start again with the first gene Weigel introduced the flowing outline of the state of Ohio with the II Mm. and M Mu» t:d In f*UbUe Hchool when the band busses failed usual spoils, so one Middle grabbed strike the open D string; then drop finger on the second fret, first string, Mualc. A M. through ClraduaUi School. letters Ohio river flowing to the music of grounds formation in which the of a Chorua. filer Club. Oreheeir*. Band Tor. time. as his victory men to the two-foot the first finger of the left hand on and quickly drop the second finger RIVERDRIVE SCHOOL OF MUSIC ARTS word flow from one into another the Beautiful Ohio. to show up in ulty of distinguished musician* Includ- & The Army-Navy game has always A good percentage of the bands high white shah of Mu- very em- D-sharp, 1st fret; strike and retain on the third fret, and follow with the ing many Boston Symphony Orchestra 84 Hit tasn.t: limit. without a break. Director Weigel con- members and the Stradlvarlu* Hiring barrassed Penn dim-, major. pressure string; play third finger on the fourth fret. Try New Yuma ceived the script idea from watching been one of the outstanding contests now use good looking girls as drum on the E on the Quartet. Cultural opportunities of Bea- cm Inspired by hi turn the other this other frets first ton. Attractive duimilorleo. Catalog. IIUDtRIU G. LOI.HU*. Director various airplane sky-writing stunts. of the season because of the color majorettes to strut, swagger, and second fret without raising the first on on the string Alfred Meyer. Oec settee tea and pageantry twirl in front of the musicians. As a Middies started for the caps of the finger; play F on third fret and then and again on the remaining strings. H. Deea The University of Indiana band is connected with it. SI Blsgden Street Baste* Mass. OdllNOUHNIO FACULTY when Stvdeats star satav at say time. one finest all The drilling of. the cadets and middies result of all this emphasis quite a Penn bandsmen, the musical F-sharp on fourth fret, meanwhile Now proceed as before and add the of the of the marching Par ratal ease sad *— / — addrarr Aaeraaory director .sm: a bands, and it makes a specialty of have ever been one of the highlights few schools of twirling have started had a u but brilliant retaining all the fingers on the string. fourth finger on the fifth fret. Re- fast stepping and quick precision. An of the game, and the sight of their in different parts of the country. One inspiration. He cni tor the playing Descending, lift fingers one after member to strike only the first note of Star-Spi / outstanding feature of its perform- trim uniforms and snappy marching of the most famous is located at Long the Banner and another until we are back to the and then drop the first, second, third COMBS A Revealing New Bash la Twe Pad* iimmiib ppffRittar sends a thrill through Beach, California, when the note- Hand forth the and fourth fingers in rapid nrm# mmi ances is that it marches continuously the heart of and it is run by open string. Continue on the same succes- i^VPARAGON OF RHYTHMIC COUNTING tnt (tiiMftt. T t*fh*f» IfiHilfif » lahRihp la Legato Playing for Guitarists Wireless Masterpieces ies in the keys * fast?” When you prac- learn to play ( Continued from Page 785) motion in the attack in Keyboard Mechanics tice slowly, the always fast; the of the fingers is shorter when you play Everywhere intervals are Homes variation played with the left the attention of a musical audience Music a Dlete From attack remains the same, Buletibe fast but the Long passages of simi- for two hours, was the fact that the Pm alone. Therefore, use about (Continued from Page 734) hand slow or fast. nature can be found in some of banjo was strung with gut and silk Standpoint cent of your practice in lar Virtuoso’s twenty per all, for 1 Spanish compositions. wound strings and was played with daily of velocity at the modern for Pupils at the end of your method± thod of on September 20 Attractive Selections fast tempo the same slowZ a CBS conductor by the fingers similar to the classic to play etude with Page 730) practice, and you will begin has gwen me the of music by Beethoven Banjo Notes Recitals or for Study Use During (Continued from attack, and this performances guitar. The tone quality of such an fast with ease. quality in my P his young colleague, Bernard July of Season to ‘ and by column in the number instrument is much superior to one the Holiday little arm motion answer anad Our In Etude No. 2 a my fingers On September 18, 1927, and in- ing I try to make Herrmann. Etude, devoted to the banjo, with wire strings, and we have yet consequently the separation after your fingers are play- holds no The will help slaves. Technic an orchestra of twenty-two lively fingers and there- when hands my leading to have stirred up some. to hear a player of the plectrum or dependence of the automatically. As a rule is the seems ing to-day, but it musicians, Barlow began his noted this instru- strength of the is terror for me among players of tenor banjo give a complete recital by increased the you play with the arm, the result and mterpie- concerts which interest itself, the spirit series of symphonic country, judg- To prove this, music ment throughout the of unaccompanied banjo music to the muscles muddy and uneven. worry and ponder regular feature of the that most tation over which I have become a numerous letters received satisfaction of a critical audience. I know the question your arm, and rotate from Now put a chain on to practice on network during the period ing SOLO about I feel that it is wrong Columbia wanted to know The tuning PIANO the professionals will ask and hand rapidly. The the writer. Many of the banjo beginning of your arm they should be ap- the Philharmonic-Sym- by practice, “Won’t unevenly pieces, instead, in which happened to the five string with the low string is C G B Sr.ce this kind of piano will always move v/hat has — — —D, Title, Grade, Cat. No., and Composer chain you feel tech off the air. Through the and a hard proached, only when phony is it is rarely Morch (19447) Martin .35 Just Published! this produce stiff fingers the outside, and always in banjo, since at present the short fifth string G correspond- Adeste Fideles. (2) toward give you sev- gained (18483) Borowski 50 absolutely cor- ready. This will years Barlow has national Adoration (4) MELODIES They are nically concert or radio. This banjo ing to the fifth fret of the first string. Crosby. . .25 CHRISTMAS tone?” Yes! the same direction. be abl heard in Around the Xmas Tree (2) (16192) you will of radio’s most able 1 Hither. .25 Arrangements when you have eral advantages: (1) reputation as one Around the Xmat Tree (l /*) (17358) Carols and Songs in Easy rect, and I agree; but clarity can be attained in universal favorite for many This tuning permits much more satis- .40 Perfect musical point was a Arrival of Sonta Clous (3) (2728) Engelmann for Piano—By Ada Richter quantity of piece from a program makers, and also as one of 40 the maximum No. 20 through to play a 1920 when the tenor factory chord combinations, are Bells of Christmas (3) (8755) Karoly that brings the best-loved achieved each hand in Etude the years until about than Here is a collection not wear of the - Chimes at Xmas Eve (3) (6380) young in the fingers, of view; (2) you will the foremost champions Amer Cathedral Christmos melodies within the reoch of tone and independence principle; that is, of rais- introduced into the dance possible on the tenor banjo which is 25 grodot the same banjo was Engelmann along in the first ond second passages dozens .40 pianists only ten or repeating composer. Chimes at Christmas (3’/i) (1 1451 ) Greenwald older can relax and use practicing the piece out ican could yet the arrangement* will satisfy you ing the fingers. As for orchestra. Talented perfoimers tuned in fifths, and for that reason it Johnson .35 ond your mind, spirit, Edward Bowes cele- Christmas Bells (3) (25840) limited ploying attainments. The dent of the effort. The of times; (3) in Recently, Major Wyman .40 pianists of twenty per Alberti bass, which is an accompani- frequently on the concert remains the superior solo instrument Christmas Bells, March (4) (19961) thirty-one well-known Christ- be stale. be heard 25 book confoins a muscu- the piece will not the start of his seventh year Christmas Day (2) (11822) Spauldng with texts for those who fingers are then ready from still remains the and soul, brated mas songs and corols ment, the principle in vaudeville theaters. Out- of the banjo family. If some of the Christmas Eve (2) (17925) Bioko 25 cenr. play the big stage and love to sing them as well. Price, 75 and you can con- should be ready to the Columbia network (Thurs- Eyer 25 lar point of view, same. In the etudes containing scales You over the banjoists of younger players would seriously ex- Christmas Eve (2) (1678) same way standing amongst Christmas Fantasia O’/j) (23105) Mueller. .50 exactly the . EWTi. During trol the tone. still use compositions in days, 9:00 to 9:30 P.M and passages of figuration, I were Gus Mead, Tom amine these facts, there is doubt Christmas Hymn ond Colli (2Vi) (25103) to read a piece the early period no fourth finger is the most dif- as you would be ready the years his amateur program has Pitcher *35 No., ond Composer Price The principle. Title , Grode. Cot. the same must Briggs, Frank Converse. Later came that this instrument would again at- it is the weak- classic, but you it is estimated that Mistletoe (9242) Oreenwold .35 ficult to control, and practicing the Czerny octave of literature, a been on the air Holly ond (2 V>) When Van Eps, Paul Eno, tract a host of students. Night. Peoceful Night (2) (135-0) puts the hand grammar. After this, you aspirants have Vess Ossman, Holy thumb been • est, while the first learn nearly 200,000 * Etude No. 38 (School of Dexterity) and Denton, and Alfred Far- The plectrum banjo, as already CHRISTMAS IN THE COUNTRY Greenwald balance because it does not to learn the interpretation the Major and almost Brooks Huth-a byo, Dolly (With Words) (I) (26*551 out of only the wrist, and bring the are ready auditioned by Six First Crude Piano Solos .25 use still active; as are Bill mentioned, is strung with four wire Stout keyboard in a normal or a Mozart Sonata, or any the land who is By Mabel Madison Watson Monson .50 attack the hand toward the arm, the same as of a piece, 6,000 have appeared on program. Impromptu (5) (23855) masters, Challis. Fred Bacon, strings and tuned in the same man- The Christmos Tree (1) (25386) Walton .30 In o Monger (With Word.) (2)1707 Ml Shet- position. composition of the great have become out- Bowen, Raymond you raise the fingers toward the hand Of these many Comes ond Toys (1) (25387) Walton. . . .30 land .25 and others. In his ner as the original banjo just de- .40 slowly, you in- approach through Frank Bradbury the Merry Men. (1) (25389) th. 1 270101 King When you practice which you must performers in the entertain- Morch of rock .n 8o. 1 3 V* I to strengthen them. standing Srhsimonn 25 finger, Farland was considered the scribed. Played with a plectrum, it Walton 30 Knight l.rtMl (31 (407JI crease the strength of each quality or technical clarity. addition to prime Watton .30 (7SSI8) In practicing Czerny, I use no ment profession. In audi- Ploying in the Snow (1) (25388) The l nod Soldier). Morch I2V)I one in its own weak- of all other exer- greatest artist of them all and his has a powerful, penetrating tone and Snow for Christmas (1) (25384) Walton .30 Borne* you correct each or shading; Czerny is the sum promising young people from .40 pedal, no interpretation tioning Song of Sleep ond Snow (I) (25385) little I In Soidl.tt. Mo/ch |2VSI 1754841 O«or you find out the weakness the student could possibly recitals attracted banjo enthusiasts for that reason has become popular 30 Motitao 50 ness, and and I do not believe in transposing cises that all walks of life, members of the Walton Morch Cotillon |J) (2)858) Ih. Candy Dolls 1)1 178224) *.m>n .40 of your own hand. for all of the technic in piano as Segovia now appeals to guitarists. with a goodly number of professional Motels ol these exercises, as is frequently done practice Major’s staff are now conducting Me.ty Sleigh Soils (21 (258)81 Pret'on .25 students believe in repeti- is included in his writ- years Farland made annual players. The best known of these is On Christmos Morn (With Words) 1)1 (27178) Piano teachers and students. I literature programs at service training For many Christmas Morning (1680) Eymr .35 by many amateur (2) Copolond .25 tion— I believe only in stopping. etudes such as Pischna, concert tours through every state in Eddie Peabody, now Lieutenant Com- Christmas Morning at Home (2) (19090) 50 will explain my reason. The difficult ings. Other centers. Already mon than a dozen O Holy N.ghl (5) |2)(42) Adorn h ot Marlin .... Oyerhaif 40 practice fast and good, but E. the Poinsellto |) Vi I 1282071 Many students Kramer, and Moscheles are (he Union and invariably he played mander Edwin Peabody of Christmas Suite (5 characteristic pieces) (2 ) tonality is C major because the keys camps have put on amateur programs Sonta Clotrs (I) |280i>) Slain Armstrong .75 take the time to clean up their repetitious of Station, Great (16781) (2)441 mile. never being even, and the length, strength, they are more or less to sold out houses. His programs U. S. Naval Training 40 Santa Clout Is Coming (21 and Major Bowes has brought some Coming of Sonta Clous (2) (1681) lye* OtSony artist Santa Clous Is Comma (7Vil (2480)1 v mistakes. They hear a great have a saying in Span- original banjo numbers Lakes, Illinois. From recent reports Dreaming of Santo (2) (9238) Greenwald .35 and separation of the fingers being Czerny. We of the performers to New consisted of Santo Clous Match ()) (14201 Nystskst, 25 of the best Honging the Stockings (2Vi) (9239) Green- play at top speed in concert but do to God, don’t A Height Ida |)l 1150481 Clark 50 uneven, you have to adapt one to the ish, “If you wish to go and classical transcriptions and his one learns that most of the musical wo Id .... .35 York to appenr on his coast-to-coast Tho Sletghrida I2V.I (1)8)81 Alhtord 40 realize how slowly the artist Hobby Horse (2) (25832) Claffhn .25 not other. Therefore I practice the stud- go to the Angels.” marvelous technic and beautiful tone activities at this station have been The Talking Dell |IV*lMI7)58| that -25 program. Holiday Sleigh Ride (2) (26994) Hopkins. . . .25 Songs (Anglo Soft*. Iitonr must practice in order to accom- the direction of this popular Throe Christmos were a delight to his listeners. One under ( On Saturday October 3, Mutual’* Night, lolly Old »• N.theW I | (27188) plish his technical feat before the Ait •irhl— 35 weekly Operetta Programs returned to reason why Farland was able to hold banjolst. public. Many piano teachers have UNDER THE CHRISTMAS TREE Throe little CVisImat P);4J> (I) 12)4451 ...... 25 the airways featurin' the voices of Hammond . . told me that it is one of their great Piano Suite By Mildred Weston Tommy s Now Drum |2V») (24405) BteHo* .30 soprano Marion Clare and the Metro- This little book delights young pianists yet In Toy town Soldiers II wj (2675)* B.ihtmr problems to impress upon their pupils first grade Its eleven little pieces, Tors ond Candies I ? I (9243) Green weld 35 politan baritone Thomas L. Thomas. the of study. the need of slow practice. each with test, ore Hobby Horse, A Doll That Unde# the Christmas Tree (2) (9244) Croon Coes to Sleep. The Tmk/e- Tmkf# Bom, In o w old sr ... tts.MlfflT. .35 finger the Each week at the same time (9:00 to Learn how to give each little White Cradle. The Big Bed Drum. Under fho Mistietoo (2V») (7409) fnftleg M 40 proper attack, and clarity and dex- 10:00 P.M., EWT listeners are to Wooden Soldiers. Tops. Th« little Pop-Gun. Venue Adoremvi (5) (23143) Bernard 50 lighting Wailing for Soma (Will* Words* 1 1 V^) 177307) hear a favorite operetta or opera, Jumping Jock. Candle Time ond terity will result from the attack. The Teacher’s Round Table Twinkle, Twinkle. Chnslmoi Tree. Price, 75 Siam 25 cents. Yuief.de (3) (231481 Witbom, 95 clarity is finally achieved in specially adapted for radio perform- When Yuie'.de Bolls UV*) (13837) A|M**d 40 piano technic, you will play easily ance of an hour’s duration. All dialog (Continued from Page 780' and at any speed. When you have will be streamline so as to em- perfect control of the fingers and phasize the musical portions. As in PIANO—FOUR HANDS \ arm, the result will be piano playing past seasons, Hem Weber conducts Adoration (4) (24373) Borowtk> exercises are priceless. Here are a few: the composition. . . . Moderate study, Arrivol of Sonia Claws (3) (2664) fngelmonn .30 that will sound. It will be like pearls the orchestra, and the chorus work susceptibility “If the execution of the Caprices is to combined with warmth and Chrislmos Eve (2) (9377) Hiller 25 CHRISTMAS CAROLS on a chain and will sparkle like a is under the super : ion of Robert Christmas Festival (3) (1791) IvMickerd' .40 be technically finished, the player should will greatly facilitate progress, maintain Arrangements Coming of Sonio Clous (2) (4763) f rev 40 In Very Cosy fee diamond. Trendler. aim at buoyancy and mellowness of tone, an even balance of forces, and preserve Message of the Bells (2) (25724) Beer 40 P»4no Duet- -By Ado Richter Sleighr.de (15315) Clark 60 Alfred Wallenstein musical director at finish and precision of Individual for art that magic charm which consti- A (3) 12 of the fovorite corols or longed tot Arts Christmos Toy Symphony (Piano 4 hds. port* The Czerny Etudes O'ode pupils to ploy o* dwefm ?h# parts, and at fluency and lightness of the tutes its very soul." Hewitt of Mutual’s New York station WOR. only) (9807-A) .75 ore given for tinging with th# Tommy's Drum ( 2 (25499) t.sher .30 When you are able to control the whole. When he has overcome these New Va I componiment hire, 75 (««h recently returned from vacation and Two Xmas Melodies (31 (16076) Garland 40 external difficulties, Tablers. how can you 2 his imagination will And now. Round Misfletoo ( •/* fngelmonn .30 attack of the fingers, you will also assumed direction of his Sinfonietta on Under tho ) (7615) have free play, enabling him to impart clear the decks for a profitable study of be able to control the amount of f Thursday evening 8 : 00 to 8:30— life, light style? practicing some of weight you want to employ at the and shade to the work, and Schumann's By EWT). Wallenstein'.^ Sinfonietta still PIANO— SIX to perfect still lacking the above exercises fifteen minutes daily HANDS keyboard, for the point of gravity whatever may be remains one of the finest programs In freedom In- of Interpretation." for the next few weeks, and by A Slolghrid* ()) (15424) Clerk .73 Utsdo. tho M-isilotoo fn,.r- is from the shoulders the arm, I (2%) (8843) .7) and of its kind offers on the airways; it In other words, your task is by no tensively studying one of his great works and the result can be the lightest mostly orchestral music of the cham- means finished when you have overcome —the “Scenes from Childhood," the •and most piercing kind of pianism. all the ber music genre. formidable external difficulties. . . "Phantasy Pieces, the “Papillons." "Car- In Etude No. 3 it is all right to talk • * * "That thumping the people downstairs are complain- The internal kernel Is yet to be ex- naval." "Symphonic Studies." “Kreisler- weight, THEODORE PRESSER CO about but the trouble is that ing about, Ma, is Teddy he's — keeping time for me/' tracted ! “In the hearts of those uho learn lana," or any other. you cannot apply it when you are Finally, Everything in Music Publications to perform music there grenvs up a Schumann observes that “It Is Write down for yourself the salient playing at a fast tempo, if you do better to lay aside characteristics of the Schumann style 1712 CHESTNUT STREET. PHILADELPHIA. PA. certain affectionate intimacy which your pieces from time not have the attack. You may ask to time, just selecting passages from tat least ten points) —and then you'll be can never come to the listener.” the question, “How does one ever them for daily practice, until the moment all set to compare yours with mine in - Henderson. arrives to apply the finishing touch to next month's Etude. 786 ''FORWARD MARCH WITH MUSIC THE ETUDE NOVEMBER, 1942 "FORWARD MARCH WITH MUSIC” 07 s • : % . mamm mm mmm HUH wm Summer Study Summer Study Junior Club Outline No. 15 (Prize winner in Class A) in Clast C) (Prize winner to study U a subject I am Study u as Important as at Folk Song and Art Song Summer time Land Summer musicno about, because for me. summer the , lessons during the write Over rttusc 1* e p Flags tlroe History Terms accomplishment time. This any ; * do. you are apt to forget musical *or if you during these war times. Sin summer learned during the winter. accompani- dally true All countries have had their own d. What is meant by why should I not make man3 t makes perfect, and wlth- traveling Is "taboo." L {!w Practice time spent at home, ^oJan yoU know, p Uinmer we have to folk songs for hundreds of years, ment? constructive use of my L Jtitlie W. B in the g otherwise be thoughtlessly Ut P we can prac- < pro- which might 0 aAmerican Juniors have worked said Joe. winner in ( last B) though sometimes an orchestra is the members to tell how they (Prize plenty to eat, the Juniors in many is a gforiou name,” said the first started to “That practice. used. it out, and how they must always keep In I other countries are going hungry. bow does it happen Musicians Pattern that president, “but so 1 know the real a. Name five folk songs and tell from Keyboard Harmony write their patriotic songs, for „tav six instrument*, Therefore at your next Junior-club ave your In winter I advance to that you two boys songs meaning of these word*. what country each one came. was the project. Each member had the orchestra, party, or meeting where “ three of these, playing In Musical Program luncheon or bring it to the same name?” Living In the b. Schubert Is considered one of the write a patriotic song and hand and at entertainment*. there are refreshments, why not sing explained Fred, It late available, folk “We’re a team I have chores to do. making finest composers of art song. Name If no singers are the meeting! country. following "thank-you” words to Gilbert a d Sullivan. Joe leisure time comes. I leave early be played the baby stars, the assignment “just like befo'-e my five of his well known songs. songs and art songs may Each night I hear the lady moon, “Now, go to sleep, my "Who has done morning, making It necessary to have the tune of Bradbury "FORWARD MARCH WITH MUSIC” ” THE ETUDl November. 1942 'FORWARD MARCH WITH MUSIC 789 — ; — masters for In drawing on the classic OF Till WORLD’S BEST Drear December, No- ALBUM OF FAVORITE FIRST POSITION the Felton atener and will readily sustain PORTRAITS Tern ole. of his book, Mr. Kohlmann II ith Ch reputation the contents MUSICIANS. Thumb-nail Rio. Wayward Brook. The PIECES FOR VIOLA AND PIANO-This vol- for its compiler the excellent such KNOWN mber RaimThe most feUcitious selections, Teachers, students, Stars. Under the ume, contents of forty- has made CHRISTMAS MlJSIC-Among the matters graphical Sketch**- and include The In its original form for violin and he always enjoyed. Its Ave Maria by Schubert, are sure •EScs will include as. the beautiful urgently in need of thought now is music lovers in Seneral to wel- Let Me Dream, all by Schu- piano, has long been a great favorite two carefully chosen numbers Adagw most f^den Tree, The Swan by Saint-Saens. the programs and fortbcon:;:. publication, com- Evening by Brahms; among young violin pupils. not only Mr. Felton’s fine arrangements the planning of Christmas come the f'rb Roses at Now, how- Beethoven’s Moonlight torm, of an outstanding Mozart; The also several of Movement from services. The more important the occa- plete in book and Adagio by ever, it is to be available for viola play- of well-known pieces, but 1st Sym- Affnuef Sonata, the Andante from the care that should be which limited in The Etude. folk tune; and the ers as well, and original works. It has been skil- sion, the greater the feature Madonna’s Lullaby, a should prove a source of his own and the Andante from lx for two- phony by Brahms, it. feature, it will remembered, pre- Maria by Franz. great satisfaction to those violists fully registrated throughout used in planning This „ “^miliar Ave who by Tschaikowsky. brief Hammond the 5th Symphony The efficient, well equipped, and de- sented pictures and biographies of a single copy of this book in have difficulty in finding suitable easier manual organ and also for the are orders for Other compositions that will appeal Mail Order Department oiBtaianng musicians and publication are being taken solos for their instrument. The pedal parts have been in- servedly famous the world’s advance of Organ. by the author on silent of all time. abilities of the the Fantasies arranged of the Theodore Presser Co. offers musical personalities The the special cash price of 35 cents, The necessary transposition and editing geniously kept within the themes. now at the favorite Christmas and Easter but effective counsel on your musical comprebensh e undertaking of its have been done by August Molzer, form- average church organist. In short, most copyright restrictions on will tell us your require- -portrait series understanding of the Because of problems. If you kind, this biographical at- erly of the University of Wyoming, now editor’s complete sale you of the numbers included, the ments in a letter, experts will send world-wide attention, eventually of Denver, Colorado. An experienced average organist’s needs has made this some BULL tracted per- be confined to the of material from which to A MONTHLY ever-increasing of famous com. in every sense of of this book will an assortment resulted in an demand childhood days former and teacher of viola, Mr. Molzer is collection a useful one single Vocal Solos, United States and its possessions. A choose. Cantatas, Anthems, in book form. This '' Bach, by L.tti. Ell»- admirably a presentation is 7*1 child qualified to prepare the new the word. for POSERS- collection, which contains Music, Piano Music, and publica- the Bxmpion choice is being pre- copy of the Organ OF INTEREST*' now being done hinder editorship of Coit and Ruth The edition of this book. While Cathedral Echoes and th vxith the ninnn and organ parts, may be tions for various other instruments Tie lx>ok will be issued Bach as the subject The collection publication, a single copy may Mr. Guy McCoy] of Johann Sebastian contains twenty-two ex- pared for combinations are available for examina- delightful the 7 inches! by 9 inches size, cloth second book in a new for per- TO ALL in of the tion. Quantities, when required is sure to be bound, with 20 pictures and biographies for young students ordered on a definite series formance, can be ntatioti will lie progressive teach- to a page. The prev alpha- by all those selections have been annroved [ sales basis after MUSIC LOVERS, some alert for attractive betical and will pnclude 4500 com- who are on the Rand made from the music sent “on approval.” ers FIRST ENSEMBLE ALBUM, *u posers. artists, tea* he: conductors, and interesting music appreciation mate- Too, we are prepared to meet your needs and and Orchestra In.trumenU, Arranged by outstanding personalities past and pres- Like its predecessor, The Child for specific titles chosen from any pub- rial S. Monger —Almost immediately neld of musical book will tell of the H»»ar en- Mozart, this new lisher’s catalog. Give this famous service upon the publication of Theodore Presser deavor. of the great master with pic- a trial today. boyhood Solo Album, which presents illustrate verify Co.’s First The value of tin -to-be-published and music to and It is amazing how many outstanding triple combinations exist, tures easy selections for wind-instrument for program notes, better known Bach pieces and some of them have come down to us through the ages. very book for reference, for Five of the year of study, de- In- Everyone can think of many such combinations such as "faith, players in their first use in musical hist and appreciation solos and one duet) are to be MOVEMENTS FROM THE (four hope, and charity"; “the way. the truth, and the life”: “honesty, lighted young players, their parents and FAVORITE usage in nai ttier musical un- cleverly arranged and slinpli- will find wide classes, and cluded, all the pursuit of happiness ; GREAT SYMPHONIES—Complied by Henry unison singing, it industry, and sobriety”; “life, liberty, and teachers, began to ask for a book of easy gather- rcBdll; c.m be imagined. they arc easy to play yet “love, honor, and Mr. Lev- home, and community dertakings, cxri so that "Justice, honor, and freedom”; “veni. vidi, vici”; order Levine—The avidity with which Ifjovemler 1942 in school, other such Bayings. material for ensemble playing In : this book Is being obey”; "peace, security, and prosperity"; and from assemblies for the spontaneous While the material ine’s earlier compilation, Themes ings or Besides there are such groupings as “art, music, and drama”; "Army. that brothers and sisters, companions Published in the assembled, arranth - iiited. and brought the Great Piano Concertos, was taken joy of singing together. jUBi, Navy, and Marines”; “church, home, and state"; "eating, drinking, schoolmates, might Join in on the this date a -ingle copy may directions will be given for and and format, right up to be Complete night ; up by the public is indicative of the en- familiar song book style and sleeping"; "air. sea, and land”; "morning, noon, and to bargain price of visualizing the story for fun. this new book. will be a notable addition ordered at the R> dramatizing and and so on the list could mount. ... thusiasm which will greet ADVANCE OF PUBLICATION collection oddly Consequently, Dr. Monger, successful . will construc- music have rhythm, melody, and harmony; and justified, for community repertoire. $1.00, postpaid, beliv. be made as recital purposes, including the In we This enthusiasm is entirely the school and of the THEO- teacher and arranger, was asked unusual ni the press. scene based on enough, it was the triple group set-up by the founder Chicago of these collections are considered Mr. Lieurance’s flair for the soon as copies Bpna tion, in miniature, of a teach- both OFFERS DORE PRESSER CO. as prime requisites In service to music to make this book. It includes 19 well- quality in their in the contents of Sing- event In the life of the master. A sug- started these thoughts to be of highly superior will be reflected an ers and other active music workers that chosen number*, such a* Theme from All the books in this list are in Among the num- list of Bach recordings appealing triple combinations. late Theodore Presser imbued the respective categories. of ing Children of the Sun. gested upon The by Dvofak. 1 Finlandia Stbetlu*. Largo publication. The ' I" llloim of Sorted Included. workers his music business with the ideals of service that featured by Thanks to the media of radio, phono- preparation for bers to be included are: By Singing Wa- CHAPEL MUSING to children also will be The m Prices ap- promptness, rxcuracy, and courtesy, and the business policies he Dream of Love by Liszt. Home on the and low Advance Offer Cash the Corn Grind- Compatitionr for th. i' moo Compiled by Issued in oblong shape with graph, sound films, summer festivals, fers; Wi-um; Chant of book will be the choice of three ways for only to orders placed NOW. set up gave users of music publications Range. Dark Eyes. Aloha Of, Country far greater ply Heron Nests: Love Peer? fcvt inch and Sunday regular concert seasons, a ers; Where the Blue Rob Roy — a colorful cover. procuring music—by cash with order, on a charge account payable Delivery ( postpaidY will be made Gardens. Juanita. Skaters' Walts, inspir- general public appreciation of symphonic Song; Ski-bi-bi-la and that enduring school pianist prill rateful for this While editorial and printing details are monthly, or on examination with return privileges. These basic when the books are published. service song* of p* trioturn, and favorite i years of direct moil ing literature has been stimulated and de- favorite. By the Waters of Minnetonka. new collection Of music and will cared for, a single copy of this Ideals and policies throughout nearly 60 Paragraphs describing each pub- being many friends hitherto tier own, ns well to music buyers in all parts of the country have made hymns. veloped. In this day the best works of the lication appear on these pages. Also to be included are several desire a copy for in highly desirable book may be ordered at for the PRESSER CO., and we lake a justinable pride Irt- n.- THEODORE All player* of orchestra »nd band masters are available to all at very little songs by Mr. Lieurance. church Ur. i content* of this Cash price of 30 unpublished as for the special advance In being abD to tell newcomers in leaching and other branches of the ttrumenta are given a chance to par- cost or effort. In keeping with the trend Album of Duets— For Organ and Piano These are: Leaf Bird; Spring Along volume are not dm n. d In any other cents, postpaid, the music profession that among our many valued customers are Kohlmann .40 our serv- will book* containing of the times, Mr. Levine has prepared this Yellowstone; Indian Love Song: and It is collection becan all arc Theodore a great number who first gave us opportunities of proving ticipate. There be Album of Favorite First Position Pieces— ice before the most recent graduates Into the music profession were part* In score form for companion volume to the one containing For Viola and Piano *50 Spring. Presser Co. copyru and most of them four harmony Cathedral Echoes— For Organ Felton .60 born. Clarinet* rare Teyte. Connoisseurs of song in- terpretations will prefer the latter’s for this reason Records a single issue and it is Educational recordings. However, there is much to all who are contemplating that we urge admire in the beauty of tone which a change of address to give us this much Moore brings to Psyche and Si sure to indicate both the old Miss notice. Be Charm des ailes, PITSOW n.,i avaiem although new addresses so that proper check- With New mes vers and accompaniments ing can be assured. Non-delivery of copies the orchestral are can thereby be reduced to a minimum not in keeping with the composer’s and expensive duplication eliminated. 733) CHRISTMAS (Continued from Page intentions. — AN UNFORCETTABLE Folk Songs: Alexander Kipnis • • • "GIFT” ETUDE Russian — Etude for Christ- With Balalaika Orchestra. Vic- TO SECURE Just wait until you see The (bass) ENLIST IN THE CAMPAIGN everywhere will mas 1942! Etude enthusiasts thou- friends and tor set M-917. ETUDE SUBSCRIBERS-To-day it a gift to their William NEW want to make Heifetz (violin) and in defense pupils. Jascha Kipnis sings with a masculine sands of music loving workers • (viola). Victor disc industries are making more money than Primrose beauty of tone and with an earnest- arrangement of the ever before. At last, after many years of Halvorsen’s simplicity which are wholly harpsi- ness and satisfy their desire movement of Handel’s yearning, they can last admirable. The wide public interest in their lives. 7” one of the most for more and better music chord “Suite No. is art in Russian music and at this time CURTAIN For only $2.50 a year, they can secure pieces ever written for its RING UP THE effective this set a timely contribution. visits from The Etude with is a makes 12 monthly combination of instruments. It A Musical Ravua not all of the songs are the inspiration, recreation and instruc- to hear Although Vaa Akin Smith stirring musical experience By Gertruda THE DUKE OF VOLENDAM SOUTH IN SONORA it given to hundreds of In present-day Russia, many of tion that has Those sung two pans or this music played as it is here. A musical revue in look by thousands of music lovers throughout famili r to the people them are from units, this unusual presenta- kook by Loon Dodmun who think that unaccompanied string three Charles O. and Juanita Roas the land. The most appealing to uses parlor ballads, music hall childhood. us tion Music Augustus C. Knight Charles Wakefield enlist in this is not enjoyable are recom- by Music by Etude subscribers can music - The favorites, Negro minstrelsy and Tonal are the oldest ones Mulberry Cadman campaign and make a profit by so doing mended to hear this recording. vaudeville selections introduced be- This clever musical comedy employs and The Ringlet Impressive, how- sparkling with fiesta gala this time when music means so much technical assurance 1840 and 1900. Any unit may two picturesque scenes in Holland, In settings at beauty as well as tween under the ever, are the rev, l u -nary Dubinuska and gaudy military attire, to our Nation. Remember that new performance. be used separately or it may be used Dutch characters, natives of Volen- abound in this and bright sunshine of help to expand the Siberia, prisoner's Lullaby. complete entertainment. The dam, and a party of rich touring cirar skies Etude subscriptions Part 1 and a as one The Evolution of Piano Music— Mexico, the story of this colorful teacher's opportunities and activities. song called Right is a genuinely programme shows the different me- Americans. The plot involves a miss- Marlowe (harp- One told. Three Acts. The (Before 1700) ; Sylvia operetta is for this work and diums through which popular Amer- ing heir, two or three romances, You can secure cash beautiful one, wh the late Chalia- flavor, Co., album ES music, genuinely Mexican in sichord) . Bost Record ican song "caught on.” presenting and a henpecked Burgomaster. The if you are interested, just write to The pin has alreach rd» d. We recom- calls for the following soloists: 2 “K”, Phila- four 12-inch discs. them with the ebstume, action, and music, sparkling in its variety of Etude Music Magazine, Dept. 2, altos, tenors, ) bari- mend that all wh -.dii-iire fine sing- dance of each period. A minimum rhythms, includes solo parts for ) sopranos. 2 J delphia, Pa., asking for details. This is the first of a series of al- is tones and 1 bass. A boys' group twenty performers is required for sopranos, 1 tenor, 4 baritones and trace the ing hear thisE&et of bums which will aim to vocal scoai 1.50 featured in several of the choruses. VOCAL SCO«I. $1.50 the complete production but fifty to $ 2 basses. Time 2 hours. music. The ttacludina Litwrno) practical and enjoyable operetta LEOPOLD STOKOWSKI evolution of keyboard (including Libretio) sevcnty-nvc can be used very nicely. A ATTRACTIVE CHRIST- or adult PREMIUMS MAKE Sachs, on Rental. VOCAL SCORE. $1 50 for Senior High School eminent musicologist, Kurt Manager’s Guide and Orebeilcasioa on Rental. Stage Manager's Guide and OrehesSraSion MAS GIFTS—It is not too early to be Stage (Including Libretto 1 amateurs. Time 2 hours. STOKOWSKI who directed the recordings of L’An- thinking about Christmas. Many Etude LEOPOLD and Oubeiltoltau on Rental. guiding spirit Stage Manager's Guide readers in the past have utilized premium ON AMATEUR ORCHESTRAS thologie Sonore, is the The famous conductor, with his dynamic credits secure merchandise which can behind this venture. Although it will to versatility, finds interest in everything. He lias THE DRESS REHEARSAL been observing the extraordinary results ob- THE RADIO MAID given as gifts at Christmas . . . and be admitted that one will derive here THE FIRE-PRINCE be tained by amateur orchestras and offers many World nf Music sell Etude sub- practical suggestions which all musicians will ky Louis Diehl and it is not hard work to a liberal education in the develop- koak and Music by by David $t •vans welcome. Richards Gaines keak scriptions, thereby securing these credits. Samuel IWt HADOMAID ment of piano music before 1700, we V. M. and C- R. Spaulding Music by Manry Hadlay In spite of a great reduction in the ALEC TEMPLETON TALKS This bright one act operetta for gills cannot agree with Prof. Sachs that The novel and original theme of able to offer ON INTERPRETATION Continued from Page 721) full of fun and frolic. The scene number of articles we are ( is This is a modern musical comedy Pnncc Pngio The brilliant sightless pianist, who has added all of these pieces are excellent music school this operetta concerns select hoarding ' there is still a splendid list is laid in a setting vacation as premiums, so much to the entertainment of the great in a hayseed” with who. after long disfavor at his through concerts over to be enjoyed as one does the other wiili the pnncipal, of merchandise available. Remember that American public and the for young ladies time romances playing an important radio, tells piano students how discrimination father's court, wins high acclaim f«t icacher, a maiden visitor and plays an essential part in all practice. You forms of art he cites. The primary French part. old-fashioned ’'huskin’ -bee” the subscriptions should be new ones in An his before exploits. Having lid the cannot help profiting from this article. i" a retired actress as senior characters. order to receive credit on these premiums appeal of this set is to the teacher ‘PASQl’ALE AM' ot the most is the climax of the proceedings and realm of the Fircdtair, the dev- Girls of the school personate Cinder- No. A RENOWNED VIOLINIST SPEAKS and the student. The only selections famous baritone t<> appear with serves to bring the amusing situa- astatmg monster, he regains the the Prince. Fairy Goslmother, Bronislaw Huberman. Polish-born prodigy, Is ella, tion to a happy ending. Solo dances of tetropoUtll! i: , ili-il King’s affection and. at the same one of the most profound of the highly success- which have a wide appeal, in our etc., and form the choius. The music dik and choius dances ate optional ami Premiums Subscriptions ful violin virtuosi of the day. lie was the pupil (Uddtnlgr on A Jackson time, wins the fund of his chosen of estimation, are on the last is bright and light hearted, tequucs Joachim. Patti engaged him (in 1894) as a co- two discs cite vocal solos for 4 sopranos ami icp- star at was I, a in Naples one. the lovely Rota. The score Food Chopper 1 London, when Huberman only Heights, L. on 2 sopranos, 2 menu sopranos, and twelve years of age. In this Interview he gives —works by Frescobaldi, Fischer and VOCAL ICOt I. $12) three tenors are not difficult. Suit- ai. resents operetta at its best. The Needle Case 1 violin March 21, 1878. .-.iudy ul the I */. houts. Lbtt(u) lovers precious hints from his long ex- three altos. Time about (tmluJmi able for Junior High, Time 45 min- perience. Froberger. The other material has its VOCAL SCORE, work of a distinguished American Kitchen Shears 1 Naples OonnBub r im- his debut In 1U Ortbeilralion on Rental. utes. IlMluUina Libcttio) values for teaching purposes, and to Composer, It boasts delightful solus, Scissor Set (2) 1 A CREAT FRENCH ICONOCLAST “La Travlata"! In : native city. In this Ortbeiiralion on Rental. choruses, and instrumental numhris Leather Book Cover 1 Erik Satie, leader of the famous "Six” end it will be of interest to many 1608 he made hU- ' ith the Metro- (Honegger, Milhaud. Poulenc. Tailleferre. Au- Farts ate provided for 2 sopranos. 1 Correspondence Case 1 ric. and Durey) has had a marked influence to know that the Marks Music Corp. politan Opera Co;; ,il Immediately alto, 1 tenor, and 4 baritones, in ad- upon the music of to-day. His friend, Maurice THE GHOST Gentleman’s Wallet 1 Dumesnil, noted French pianist, author, teach- will shortly publish the contents of became one of tin .n-s <>f that fa- OF dition to several speaking pant Two VOCAL $COtE. $1 50 er, and conductor, gives illuminating facts 1 . , Likattto) Key Case this album. The mous group. Be < : . vend Impor- Fetfurmance. 2 houts. IliHludiag about this master’s career. selections include PEPITA Acts. Time of Coin Teller 1 tant rdtea, - title r HAVE YOU PIANO HANDS? works by Paumann, Trabacci, Fama- lncludi Ale in “Cy- LOLLYPOP RAY OubetleaUon on Rental. Ladies’ French Purse 1 rano de Bergers ; Walter Dninrosch. Music Sidney Silber, famous Leschetizky exponent, by and Charbonnieres, besides the by Augustus C. Knight Cigarette Case 1 kook by Charles O. end JuonitoRees by means of personal - contacts with virtuoso composer already Roak by Philip A, Hutchins Gentleman's Comb and Brush friends and through an exhaustive study ol mentioned. Miss Music by Cbssrles WekeAeld THE COSTUME BOX photographs, tells what ideal M1GIIEL FIH1M ;.-T of the piano hand Marlowe’s the mod- Set 1 should be and shows how ordinary hands can playing is competent and Cadmen The music is very tuneful, with em ballet.” who il Hie Dying Taal by Margaret Knawltan be turned into good piano hands. the Opera Cavalcade iBook) 1 recording satisfactory. The selec- sparkling operetta is gaily rhythmed Swan" for lie .i. This ideally choruses, ami solo Wileaa POSTACE STAMP MEMORIALS the Anna Pav- Butter Dish i Chromium Cover- tions are unfortunately separated by suited to the tastes and talents of numbers that Musis by fanny tnsv Knnwltan TO MUSICIANS lova, died Angus; 22 in New York City. are vocally effective. Glass Container) 2 a ridge which does not high school dramatic societies and Twenty-five years ago the idea permit the The noted chores i. ot the Russian Furthermore, there is ample oppor- This quaint musical play has ptin- of putting the other youthful organisations To be- Bon Bon Dish i Chromium) 2 picture of a great musician upon a postage needle to solo pass freely from one piece Ballet was born In . Petersburg (now tunity for introducing pleasing opal parts for 4 young gills, Bon Bon Basket with Handle stamp would have been considered fantastic gin with, die book is whimsical of Such honors were reserved, as a rule, for his- to another. Leningrad), on Apni 26. ihbo. He was and their can be at latgr a chorus torical political figures or military personages plot, bright of dialogue and affords dance numbers. The book combines (Chromium) 2 of gills as the dices tor wishes. An Robert B. Walls’ article (generously illustrated) A Grace Moore Program of trained In the St iv;,i .burg Imperial upon French Songs an ample fitld for comedy. Further- an absorbing plot, a pretty Set Knives and Forks— dozen musical postage stamps of the world is Mexican old ttunk is found m the ante con- to our mind one of the best Theatre School and < breaking away — (Red indications that and Operatic Arias; Miss Grace Moore mote. the experienced hand and Handled) 2 the world is slowly recognizing the love story, and an unfailing fund taining Graodirtuthet s gowns of part that from all education • the old n., he estab- fluent melody of the composer O’Cedar and culture play in civilization and soprano) accompanied by the Civil days, Mop 2 its programs toward Victor of humor. There are solo parts for Vac ami in these the a better existence. lished his own idea. the ballet among have never hem more in evidence Football 2 Symphony Orchestra, conducted by girls array themselscs The music is than in this light and fanciful musi- 2 sopranos, I alio, 2 tenors, and I ESSENTIALS OF VOCAL ART a group of stad> t- it was for one of exceedingly tuneful American Webster Dictionary. 2 Wilfred Pelletier. Victor set and the dia- Emilio de Gogorza. eminent M-918. these VOCAL SCORE. $1.50 cal score which calls for > soprano, baritone. For High American-born student pci : that he com- School and ami logue is bright New American Cook Book 2 artist ot Cuban descent, (Including ScpAritc SCORE. $1 50 and humorous. Also who has headed the The singer’s admirers will find I merro. 1 alto. 2 tenor and 2 bass VOCAL Vocal Department her posed “The ' of the Curtis Institute of ifcrlii, Swan. He had suc- Libretto) ( Including Libtctto tcur societies. Time 2 hours. appropriate for tuvenilrs. Time 1 Flash Light 2 Music VOCAL SCORE. 7$e for years, is one ot the great figures of at her best on records in this soloists. Time lV4 hours. the set. Her cessful seasons in Paris t Including liksttioi hour. Bullet Camera 3 vocal educational world of our time His and then In Stage discussion of essentials for singing Manager's Guide and Orchestration on Rental. Orebesltasion on Rental. voice students is of the Adieu notre petite table 1919 he to Music Master Porcelain Plates very timely. came N> w York City, where and Gavotte from on December 30. f (set of eight) 7 “Manon,” and of that year, he made The Elude Christmas Music Sec- 11 THE FOUR ACES est doux, il his , Music Master Porcelain Plates est bon from “Herodi- ddbut at the M. ; ditan, in a recital tion has been prepared with the knob by fUewweo Althea Music (single) ade,” are accomplished of mimic dance: writ Ins wife, Vera by Oartruda McRae 1 idea that thousands will want to with tonal Fokina. Followin: this, lie The title of this musical play for rosing people should use this issue to start a subscrip- beauty and sentient warmth. In her had a series attract grown-ups to of most sensation. 1 the performance and the plot will interest them, If you find nothing on this list which tion for the new year, and there- rendition of songs by Paladilhe. >urt esses. He earned Hahn OLIVER COMPANY too; hut there is nothing in plot, music of well DITSON deserved dances that is you wish and prefer to use your credit fore the “gift" quality has been and Duparc. fana ;ts the creator of be- Miss Moore does not yonJ the capabilities of grade school children. in cash, will be allowed stressed. the Ballet Russ,- He was the teacher The staging 60c on each new measure to THEODORE PRESSER CO.. Dl»trlbwtor» up the standards already of may he elaborate, or inexpensive Character costumes repie- subscription. Pavlova. Karsn % inn. Nijinsky. Mordkin. set by sem Ace, King. Queen and Charles Panzera and Maggie and others. Joker of a deck of cards. One 1712 CHESTNUT STREET, PHILADELPHIA. PA. Act. Time >0 minutes. vocal score. »Oc 792 "FORWARD MARCH ” WITH MUSIC THE ETUDE your enjoyment with this famous 3-volume LISTENER'S LIBRARY" Formerly 5 7- NOW ONLY ths ’•V •%* For All 3 Volumes, BIOGRAPHIC^ Complete. Boxed wcnoNAiw O' O DEEMS TAYLOR'S major minor 8,500 entries — lives, dates, accomplishments of every and composer, musician, performer; with key to pronunciation in 16 languages. OPER^ 151 GREAT OPERAS *G plots, casts, musical themes, history. GUIDE by 60 greatest operatic composers — 0438 CONCERT WORKS by 112 immortal composers — meanings, what themes and passages to Everything You Want to Know About Music! listen for, how they came to be written, etc. The Lives and Accomplishments of 8,500 Composers, Musicians; The vvvvvvvwvvvvvvvvvvvvvvvvvvvvvvvvwvvvvvvvvwvvvwvvvvvvvvvvvvvvv Stories of 151 Operas, 438 Symphonic Compositions, and their Composers O YOU LOVE GOOD MUSIC, You will refer to these volumes time modern figures as Sibelius. SCHUBERT—Symphonies No. 8 (the rich 151 OPERAS "Unfinished"), No. 9; Serenade; and want to enjoy it even more and again. They bring the whole Stravinsky, Paul Whiteman. Overture to "Rosamunde" stories casts of char- of music within your grasp. The ; Gershwin, Jerome Kern. etc. SCHUMANN—Symphonies No. 1, fully? First, know the “Men of world 2. ithe "Rhenish"), D acters; first performance; No. No. 3 Music ” Second, know the stories of Read carefully the Table of Contents singers in principal roles; and No. 4; Overture to "Man- fred" great operas—the sublime blending here—even though it can give only a great arias and themes ; and Symphony No. 1; Fin- 438 GREAT SIBELIUS— of the vast amount of musical lives of the composers of 151 landia; Valse Triste: Swan of of music, poetry, and drama. Third, hint Tuonela will find in these operas, including: CONCERT WORKS STRAUSS, Richard—Don Juan, know more about the glorious sym- information you Themeanings, stories, Death and Transfiguration. Till phonic masterpieces. three books. And you may examine Kulensplegel, Ein Heldenleben, obligation and theme developments, what Don Quixote . ,, ... t, them now—without music and instruments to TSCHAI KOVSKY—Symphonies No. 4. How TO Know All 7 nree Without paying a penny in advance! No. 5. and No. 6 (the "Pathe- listen for. lives of the com- tique"); Nutcracker Suite; Marche know more posers of 438 great concert Slave; 1812 Overture; Andante So that you may ___ works, including: Cantabile bl WAGNER—Overtures to Rienzi, Fly- BACH— Saint Matthew Passion; Tanuhauser; Pre- ?2-b£S SENDNOMONEY ing Dutchman. K, Suites No. 2. 3, -I: B Minor Meistersinger, Mass; Brandenburg ludes to Lohengrin, 1 r! Concertos No,^ Tristan and Isolde; Siegfried 1-0: Prelude, Chorale Fugue, EXAMINATION and Idyl 5d“ 5 DAYS' FREE from the “Well-Tempered Clavi- Oberon, Der !Te“ms ?”YLo R-w?r chord" WEBER—Overtures to 8ELLINI —Norma Frelschutz; Invitation to the renowned composer, critic, radio You need not send any payment with the BIZET—Carmen BEETHOVEN—All ft Symphonies, Dance 3- DEBUSSY—Pelleas and Melisande including Erolca, Pastoral, and commentator! coupon. When this handsomely-boxed DELIBES—Lakme Chorale; Leonora, Egmont. Corlo- “Listener’s Library” reaches you. . HUNDREDS more- volumes (For- volume DONIZETTI—Lucia di T.ammormnor bums, Fidelio Overtures and These inexDensive accept it for 5 days’ FREE EXAMINATION. FLOTOW—Martha BERLIOZ-Romeo and Juliet; Dam- merlv $7 00' NOW only $2.95 for QOUNOD—Fausi nation of Faugt; Symphonic* Fan- 438 IN ALL! Return It It you do not wish to keep It. But HUMPERDINCK— Hansel and Gretel tastimu*; Roman Carnival Over- all three) cover virtuallyvirnialK’ every volumes ture tf orl the other hand , these LEONCAVALLO—T’agllacci worK, MASCAGNI—Cavallerla Rusllcnnn BRAHMS— Symphonies No. 1-4; How the Orchestra opera, every symphonic (formerly $7.00) open up to you a new MASSENET-Manon, Thais Variations on a Theme by Haydn; composer. In 1510 interest- world of musical appreciation, understand- MOZART—Marriage of Figaro. Don Academic Festival Overture; is Formed every Hungarian Dances; "Tragic” Ov- ing. pleasure, then send only $1 and Giovanni. Magic Flute Glossary of ing pages ( See partial Table of and NICOLAI—Merry Wives of Windsor erture payments: Slone month BRUCKNER— at left ) these books the balance in two PUCCINI L* Boheme, Tosca, Mad- Symphonies No. 2 , No. Cnvtpnts — 4 Musical Terms postage and ame Butterfly, Manon Leseaut C •Romantic"), No. 7, N-* ° lives; later and 95 cents (plus 20c CHOPIN—Funeral March tpll ytvon of the composers’ RIMSKY-KORSAKOW— Co(| d'Or DEBUSSY— handling charges) one month after that. ROSSINI—William Tell. Barber of Prelude to Af- What fJtheir music 1Sis about' how coupon Seville ternoon of a Faun: Lu You risk nothing by mailing this Mer; Iheria: Tnfee what instru- SA I Samson and Delilah Noc- they wrote it; for me.. Dept, NT-SAENS— turnes now THE grolier society, STRAUSS, Richard—Salome, Rosen- — to listen to N. Y. kaval ler DVORAK "New World" ments, and how eh, 2 West 45th st.. New York, SULLIVAN—Pinafore, Piratesof Symphony (No. 5); Sla- them; the stories be- Penzance, Patience, Tolanthe, The vonic Dances; Carnival Mikado Overture hind the great music. vh aaa mm mi aaai hbb wmm mb mm FRANCK—Symphony In D m DEEMS TAYLOR—The King’s FREE Henchman Minor GRIEG—Peer VERDI —Rigroletto, La Trr.viala, II Cynt Suite Trovatore, Alda, Otello HANDEL- "Largo"; Water WAGNER—Flying Dutchman. Tann- Music; Messiah 5 DAYS’ free examination form hauser. Lohengrin, Tristan and HAYDN—Six Symphonies, Isolde, Die Meisterslnger, Das including the "Surprise" 1 Rheineold, Die Walkure. Sieg- (No. 6), the “Military" Always Cherish * CROU.J SOCIETY. (No. 1 fried. Gotterdammerung, Paraifal 1) JH. LISZT—Preludes; Hungar- ^ y . . . . and 88 more! ian Rhapsody No. 2 1 11 MACDOWELL—Indian Suite ^ Sen l me. for 5 d»ys’ tree examination. the 3-volume. 1510 l .( con* HerVvp^'frnm (rood ’ MAHLER—Symphonies No. can derive irom good page “Listener s Library. attractively boxed. Formerly $7.00. 1. 4. 8 (Shipping weight, ibs.i i win examine 8.500 MEN D ELSSOHN—Sym- music depends on your u for r. im. if I n0 10 11 • 1 »••• return It without obligation. phonies No. 3 (the jamuiariiyfamiliarity Wltnwith itIt. nowHow J... . ! | Otherwise. I will send only 1 1 first "Scotch") and 4 (the payment. 11 one month . COMPOSERS “Italian"); Overtures to beauty you Will I later, and 95 cents (plus much more Me packing. postage and handling | Midsummer Night’s Charges) one month after that, as payment in full. MUSICIANS Dream. *Fingars Cave; find in the Unfinished Sym- I Elijah entries, containing up- phony when you know the- The H.ndy-Di.i Guide t. 8,500 MOZART—Symphonies K, This Handy-Dial to rppp the to-date biographies of world’s 543, 550. and 551 (the Guide poignant story behmd its com- * FI Great Operas and Composers, "Jupiter"): Overtures to Lf past great musical figures, Marriage of Figaro, Don Great Operas and Composers position, and that of unhappy I and present. Giovanni, Magic Flute; Schubert who set it down I How Name Requiem Here’s a new | g Pronouncing dictionary of RACHMANINOFF— Sym- easy way to learn important will cling I I Tacts about great operas and composers. much more grandeur given names and titles ; key phony No. 2: Isle of the Just keep it near your radio or to the majestic opera filling to the pronunciation of 16 Dead phonograph. Flick _ R AVEL — Daplinis and the dial to the names of operas or composers your living room—when you I languages. Chloe; La Valsc; Rhap- you hear mentioned. Instantly sody Espagmol; will appear the uty state List of musical abbrevia- "Mother composer s know its history and legend! I Goose” Sketches nationality, dates of birth and tions. titles, dignities, institu- death, greatest works, an » interesting fact about And how much more appealing a R MS K Y- KORSAKOW- , him the | „ „ tions. Capricclo Espagnole; ; opera's first performance, locate, you can make good music for h Scheherazade Suite; composer, number of acts. leading characters, | 1~ £5£l"L' 4£ I In addition to the classical n t n l, w w Suite from Le Coq d'Or; principal arias! It's children when you can ex- masters, includes also such Bumblebee FREE— if you accept this . mgi ,?i ^rr„a c'n. Flight of the otrer! p ^;. :?.VEoMS:y rao“y ! plain mUSIC tO them from ltS I '»<« privilege applies, of Snirae I human side! hi m M M H H H mm H Pm I >1* ! >>» ISM R»« mous throughout Indiana band several years ago when for its novel card University of Southern California and on tenth, eleventh and twelfth frets ists of the classic period to Introduce it tricks. In these — played in York, stunts New and he gave the rooter who was featured as an acrobatic respectively. Repeat this exercise on in one of his compositions a com- his football program himself never sees the complete to the drum pic- twirler on ice skates, in a colorful ice all the other strings, and be sure to IContinued on Page 787) ture portrait ale. or aa a musical scrap book major with the written notation that at a game and plays his me- show in Radio City, New York. HowlAn.iIvsis remember the importance of keeping illustration after in* sites* on which It the stunts and marching of the band chanical part blindly. He simply appear* has served its purpose Animal mascots form as much of the fingers firmly on the string until 1943 CALENDAR as a calen- raises dar for on* month A bit of M<«r* pit leal gave him one of the greatest thrills before his face a colored card college football color and pageantry Helps rinnn Study it is necessary to lift them for the data with birth and death dales Is given he ever experienced in attending a at the command of the cheer leader, as the bands, for each composer Each calendar of 12 the cheering sections, descending scale. When this is well football supplemented FOR MUSIC LOVERS sheets come* m Its own individual en- game. by directions marked or the drum majors. velope The Army-Navy ( Continued fr Page 776) understood and thoroughly mastered on an instruction sheet. The cards classic This nominally priced calendar make* for example would not seem it is advisable to an excellent holiday time The Drums of Notre Dame used are practice the major remembrance of various colors. Not only complete • The calendar offered for mualc lovers or grt-eting card for mu-u- teachers without the Army mule and and minor scales legato, to The Notre letters and The result of th; kind of study using the this year ought to be particularly popu- send lo their pupils, or for choir direc- Dame band is a very single designs are formed the Navy goat. The first Navy goat will same method. Beginning lar because on each of Its 12 sheeU meas- tor* chorus directors, band leaders, colorful organization, but also depend upon the ability of the with the C ft. and since 1923 motion pictures are made. started his career uring approximately x 8 there Is a orchestra conductors music club presi- back in 1890. when scale, let us play good shied portrait it has grown well apace One of the student together with the amount C on the A string, of a master composer dents. and others to send lo members of of the foot- most striking of the Navy some officers In a quality on their way to the then play open 76