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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1-1928 Volume 46, Number 07 (July 1928) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 46, Number 07 (July 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/758
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PRICE 25 CENTS $2.00 A YEAR “3 ssjjshs « ET V D E maVaV.h > jkur&ATd- js§?sar g. Song Composers Whose Compositions Have Been Favored By Thousands of Concert and Church Singers lisSs .~'. This page with Songs brought to attention and the portraits and short biographical sketches of each composer will serve to give a better acquaintance with these celebrated contemporary writers whose beautiful songs are frequently used by voice teacn , concert artists and non-professional singers in our foremost musical centers.
The range of each song is indicated with small and capital letters. The first letter is the lowest note in the song and the GEIBEL second letter is the highest note. A small letter tells that the note is below or above the staff and the CAPITAL letter THE WORLD OF FRCUSIC tells that it is on a line or in a space within the staff. k heim in 1855. At the age of st he was brought to the United States and IN CANTERBURY SQUARE received his education at the Penna. Inst, for Blind, he having lost his eyesight in early infancy. He studied piano, voice and organ composition with Dr. Wood in Philadelphia. Since 1885 he has become Adam Geii famous as the blind organist of the Stetson Mission and also conductor of the Stetson chorus. After entering the field of composition he organized his own Music Company of which he is president. Many of his composi¬ tions are universally known and his anthems, sacred can¬ tatas and gospel songs are used extensively throughout the English speaking world, as 'are also numerous piano com¬ positions, organ pieces, secular and sacred songs and choral numbers written by him.
HOUR No. 15378 By Adam Geibel Price, 35 cents
AN IRISH LOVE SONG
BRIGGS
in composers whose worW'feive been universally accepted and exten¬ sively used on programs, especially; $>£ a DREAM DAYS OF LONG AGO devotional nature. "Her sacred composi¬ tions have probably gained more fame No. 14912 By Walter Rolfe Price, 45 cents than those of a secular nature, although all of her works hold a popular appeal that has gained for them certain distinc- . One of the best known of her song compositions is sacred number KClose to Thee.” In fact this sacred l is so popular with church soloists as to deserve classification as ie of the best known of all s: Catalog No. 8094 Close to Thee. 7270 Close to Thee. 13099 Heart's Desire. 6983 Irish Love Song, An.. 7218 Love Eternal. 13092 (O) Mary, Goand Call l 1 (Recitation). .. 7000 Rem—.erw Me...- er Song.
SMusic ‘Dealers and Publishers 1712-1714 CHESTNUT STREET THEODORE PRESSER CO. PHILADELPHIA, PA. JULY 1928 Page 499 THE ETUDE THE ETUDE
EE HI
ggggir Ajjrcsi rnmrnm" CitJ.--' " ~ "ISH'S jjgf tiS oT« Siln m dAYBELLINE CO., CJHICAGO CROWN Lavender Smelling Salts At home, at the the eneVeeu7oo8Strtdo: TEE ETUDE JULY 1928 Page 501 Page 500 JULY 192S TEE ETUDE FASCINATING PIECESnT^^ro FORi.-nn THE atttctPMUSICAL AT HOMEWOMF. =l<^f A sprightly “running” -- t”e”‘ BIRDS, BEES AND BUTTERFLIES RUDOLPH (%n You TdcIU « 1. What are the three principal chords of a key? 2. Who was Palestrina? 3. What is a rest? 4. Who wrote the “Magic Flute?” 5. What and when was the first oratorio published in America. 6. What is the meaning of Allegro grazioso? 7. What is an Arpeggio? , , 8. Who wrote a popular Indian song, “By the Waters ot GANZ Minnetonka?” FAMOUS PIANIST, TEACHER, 9. In what year did Schubert die? 10. In what opera by Verdi is a “Miserere” one of the most COMPOSER AND CONDUCTOR popular numbers ? AT THE TURN TO PAGE 560 AND CHECK UP YOUR ANSWERS,
lifter “and ywwUltawTne" wL°yo!^ CHICAGO frirod” Tekchers can make a scrap book of them for the benefit of early pup.ls or others who s.t by the Hymn ‘Playing Helpful By Hugo Bornn MUSICAL About the time we begin to leave the points in general musicianship are gained comparatively safe and easy running of —a knowledge of the four voices and an second grade, with its occasional sharp or idea of voice lines, phrasing according b flat, for the devious and at times bewilder¬ the words, the necessity for strict tempo ing path of third grade, with pieces in and experience in a variety of rhythms. COLLEGE three, four and five sharps or flats, we find The familiar and most beloved hymn- the pupil a ready and grateful candidate are first studied. Then others with an eye for a course in hymn playing. to key signatures, new rhythms and othei There being at this stage no technical interesting points. Interest is maintained FALL TERM OPENS SEPTEMBER 10 difficulties in this music for the pupil, the every step of the way and the usually pain mind can be wholly concentrated upon the ful process of getting accustomed to so key. With a minimum of lahorious effort, called hard keys is made easy and pleasant therefore, the pupil becomes acquainted In addition, an important and frequent 1 FREE FELLOWSHIPS with and at home in hitherto strange called-upon branch of the young musician' signatures. Incidentally, many essential education is cultivated. Mr. Ganz has consented to award the following Free Fellow¬ ships for the season beginning September 10, 1928, to students who, after an open competitive examination, are found to possess Atlanta Conservatory of Music the greatest gift for playing. Contest first week of September. Mr. and Mrs. Crosby Adams TWENTY-FIFTH Application blank on request. ANNUAL SUMMER CLASS es Equal to Those Found Anywhere. One Private lesson weekly of 60 minutes each for entire FOR TEACHERS OF PIANO year. August 1st to the 16th, 1928 Peachtree and Broad Streets, Atlanta, Georgia Two Repertoire — Interpretation — Teachers’ Class MONTREAT,NORTH CAROLINA weekly of two hours each for entire year. One Bach Piano Class weekly of one hour each for entire year. LOUISVILLE CONSERVATORY OF MUSIC One Chamber Music and Two-Piano Playing Class INCORPORATED weekly of two hours each for entire year. (MEMBER OF THE NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC) Five partial Fellowships of one private lesson weekly of MUSIC — ART DEcSS^sred DRAMATIC ART 30 minutes each to five students for entire year. F. A. COWLES, Director Addres,, 726 South Brook Street Louiwille, Ky. J. L. GRUBER, President Five Partial Fellowships of two Repertoire—Interpreta¬ tion—Teachers’ Class Weekly to five students, of two hours each, for entire year. Peabody Conservatory STUDENT DORMITORIES BALTIMORE, MD. Artistic and sumptuous dormitory accommodations for OTTO ORTMANN, Director men and women in college building. Piano furnished with each room. Prices reasonable. Recognized as the leading endowed musical conservatory of the country
Complete Catalog on Request Summer Session- JAug.“eg2 k 45t‘hh European and American Masters including: Address: CARL D. KINSEY, Manager C. VAIN HULol tYN 60 East Van Buren St. i3iST«!te' CHICAGO, ILL. Tuition $20 to $35, according to study HERBERT WITHERSPOON, Prejidi Pledged to the Higher LEON SAMETINI, Vice-President Practice Pianos and Organs Available Artistic Standards RUDOLPH GANZ, Vice-President Established 1SS7 Circulars Mailed FREDERICK R. HUBER, Manage A”™gements for classes now being made Other Music Sections in this issue on pages 525, 533, 561. n touch with the higher Idea JULY 1928 Page 503 the etude THE ETUDE
Page 502 JULY 1928 WATER SPRITE CAPRICE A fascinating study in double “crush notes.” frank h. grey Allegretto giocoso m. m. J=108
CHARLES HUERTER In modern dance styles Grade 8
3 1 Copyright 1927 by Theodore Presser Co. British Copyright secured WITH CLANGING CYMBALS ORIENTAL MARCH
A jaunty and characteristic march rhythm. Good practice in thumbs.Grade 3 RICHARD KRENTZLIN, Op. 125, No. 4
tea 1*| fji Fii pleggiero 1 * ^ 'MIS 3 --1 y=
Copyright 1928 by Theodore Presser Co. International Copyright secured JULY 1928 Page 505 THE ETUDE THE ETUDE
Page 504 JULY 1928 Valuable finger drill, in the guise of an fairy elves PAUL DU VAL attractive drawing-room piece. Grade 3. 'Musical Education, in the Home
Conducted by
Margaret Wheeler Ross
No questions will be and address of the m
'Music in This month .we present two letters of the basis of all musical education. To unusual interest that should be helpful quote Mr. Farnsworth, ‘If babies were stim¬ and thought-stirring to the mothers of ulated as much to make music as they are Kimball Piano, Sheraton Design The Etude family. We hope that other to speak, to notice the difference between do mothers who have worked out and proved and sol as they are between papa and manta, experiments with their tiny tots will get in there is no doubt but that the pleasure of When a Family “Qrows Up with touch with Mrs. La Zazzera, as she re¬ the people of the next generation would be quests. In a subsequent letter she writes increased many fold.” that she is already giving rhythm and pitch Eleanor Turner La Zazzera. lessons to her seven-months old daughter The KIMBALL” Every day she gives her exercises in The Six Months’ Old Pupil rhythm to little tunes and sings middle C to her several times. The child recognizes FINALLY comes this letter from a MUSIC is forming a more definite part of the edin it now. Mrs. La Zazzera’s letter follows. mother and teacher already interested ' “Your article on the proper age to begin in the musical education of her babe of cation of children, and is more attractive today formal music lessons with a child interested six months. Happily the experiments and than ever before. More attention is being given by im me greatly. As a pianistrthe wife of a cel¬ suggestions found in the letter of Mrs. La list and the daughter of an orchestra con¬ Zazzera should be helpful to her. stitutions of learning to music as a mental training. ductor, I am thinking a great deal about “I wonder if you can advise what would the future musical education of my son be the psychological effect on a baby be¬ It is more necessary, therefore, that a family should grow who has attained the ripe old age of two tween six months, and one year old of up with music. And a Kimball piano, recognized for its years and eleven months. I do not wish hearing music constantly? My boy is six him to be a prodigy but I do wish him to months of age. I teach nearly every even¬ outstanding tonal excellence, has been an inspiration to have a broad musical background, fine ing while he sits in his carriage, seemingly many thousands. From one generation to another, the rhythmic sense and a discriminating ear happy and interested. I play quite frequent¬ before he even attempts to study an in¬ ly through the day and he always enjoys Kimball has won and held favor, until, today, there are strument. it. He is sensitive to sound though not more pianos of this name than any other. “You may be interested in what I have nervous. Soon he will want to bang on the accomplished with him so far. I am sure piano himself. Should I let him bang There is a preference, at present, for the smaller instru' any mother can do the same by dint of until he is old enough to be taught? If I patient perseverance. He can name any do that, won’t he dislike being trained? ment—either grand or upright. The illustration shown By keeping him away from the keyboard tone struck on the piano whether in the is a graceful example of a small grand, only 4 feet 5 treble or bass; he can distinguish all the until I can train him as I do my other common major and minor chords in their pupils will he not be more interested? I inches long. It is of Sheraton influence, and there are original position and is beginning on the shall give him table drill and let him imi¬ other styles and sizes—an instrument for every home. inversions; he can tell the tonality of pieces tate raising his fingers as soon as he can he hears and trace the most prominent sit by himsef. Naturally I think he has modulations besides classing them as be¬ talent—at least I hope so. And I want Catalogs on request. If you are not conveniently ing in double or triple rhythm. to start right. near to a Kimball dealer, we can supply you direct. “I encourage his singing as much as pos¬ “ Mrs. H. L., of Flint, Michigan.” sible, leave him alone at the keyboard to Since psychology is the science of hu¬ let him experiment and keep a manuscript man personality and behavior, it will be w. W. KIMBALL COMPANY note-book to write down any original mo¬ advisable to study the child’s personality (Established 1857) tive he may sing or play. To date the gem as it develops and then decide whether it Department KE, 306 South Wabash Avenue, CHICAGO, U. S. A. of the collection is the following: will be better to allow it to “bang” or to “suppress the desire.” You will notice Mrs. La Zazzera leaves her less-than-three- year-old “alone at the keyboard to let him “He and I are listening all the time to experiment,” and carefully treasures the Send for our everything with any element of music in it. results in a note-book. Thematic Catalog of Easy Piano Pieces, Grades lto3. Contains Excerpts of over 200 While the child is developing, the ideas We find the pitch of the automobile horn, attractive compositions that will be of value to the piano teacher in early grade work. the rumble of the trolley, the squeak of a presented in the letter of Mrs. La Zazzera chair and trace the rhythm of the train's might be used to profit. It is entirely Theodore Presser Co., 1712H4 Chestnut Street, Phila., Pa. puffing. Besides this every day has its half- probably that if this child hears only good hour free for Mario’s music-play. It is music, melodiously played, and is drilled always a game for both of us and we find early on single tones, followed by simple loads of fun in it. It is not always easy tunes of a quiet, melodic type, so much for me to make the time, with a tiny baby musicianship may be developed in it that sister and countless other tasks needing my it will have no desire to “bang.” attention, but I manage some way or other. The writer knows a little lass of less than My reward comes in the happiness on his four who has been allowed to “play the eager little face as he proudly informs me piano” ever since she could sit on the piano the Riensi Overture, as played in Mr. bench. She has never “banged.” She puts Damrosch’s Radio concert, ends in D major, her tiny hands on the keys, in a caressing or when he dances up and down with joy style, imitating the movements of her on recognizing the familiar strains of mother, and gently presses them down, Haydn’s ‘Surprise Symphony.’ producing pleasant tones, even if the mel¬ “I should like to hear from other ody and harmony are lacking. She sings mothers and teachers on the subject of many songs and does not smother her lit¬ teaching very young children, for this is tle voice with her piano accompaniments. the etude editorials What VYtakes a Fine Fiano mean not the musical scale but the designer’s arrangement of NE of the very remarkable things about the piano is that O the strings in relation to the sounding board and the frame ot the instrument has been changed so little since its keep- the piano so that the most beautiful results are obtained. tion. Unlike the automobile there are no yearly modek The It would be possible to make a piano that would resemble outside case has gone through various metamorphoses. Cristo- in every way an instrument of the finest kind, and yet that fori, no doubt, would be startled at the modern grand piano, , piano could be made of material, in the sounding board, in the but the changes, taking them all in all, have been very gradual. frame and in the action, that would not stand up for more The improvements of long established firms have been intro¬ than a month or two under the pounding of an ordinary pupil. duced so gradually and have been absorbed so steadily Therefore the great thing in purchasing a piano is to give care¬ that, to the general public to-day, a piano is a piano. Intelli¬ ful attention and con¬ gent and cultured sideration to its sta¬ people, familiar with bility, the case, the in¬ the leading music tegrity and the repu¬ YOU can secure that coveted Diploma or Degree right in j'our o*n llo5 following letters journals, are, of tation of the maker, established teachers and musicians have done by taking our Extension Courses. 1 he following course, better in¬ as well as to the re¬ formed. They know, liability of the dealer are but a few of many thousands of similar ones in our tiles: for instance, that the selling the instru¬ sostenuto pedal was ment. After this the invented by an Amer¬ main thing is to as¬ ican, Dr. Henry Han- sure one’s self of fine THE PROOF OF THE PUDDING! chett. They know of workmanship, not on such radical changes the furniture side of Given Certificate without Examination . . as the curved key- State License Granted ... , • Thanks for prompt delivery of Diploma, of which i am very prou ■ J the piano, but in the The State Department of Education, after receiving list of my credits wlucli received a letter from the State Board of Education to the effect that board of Emanuel interior of the instru- you sent, gave me a certificate to teach bands in the Schools of Wisconsin. eligible to a'State Certificate without examination. Thanks to your course, Moor and the Janko Guy E. Welton, Twin Bluffs, Wisconsin. engiuie lo a O C Mary a Sturm, Minneapolis, Minnesota. ;; ment. keyboard and, per¬ As far as the tone haps, of some other of the piano goes, that Passed State Exam—Became Accredited Teacher Increased Size of His Class , I have successfully passed the State Board Exanu nation and am now an ac¬ This will acknowledge my Harmony Diploma. At the commencement of n innovations that have is very largely a mat¬ credited teacher in the State of Oregon. I owe this to your Normal Piano studies with you I was a Violin teacher with plenty of time on my hands. Mv never become suffi¬ ter of taste. We have Course, for I tried to pass the examination before, but was not proficient m trie class has grown to three times that size. I command an increased fee and have ciently popular to de¬ answers and failed. Then I saw your ad in The Etude and determined to try heard recently a re¬ mand their inclusion this course. It has been successful and I am very grateful. a waiting list. Samuel Griffiths, New Bedford, Mass. port that one of the Lulu E. Diesel, Seaside, Oregon. by all manufacturers. finest pianos ever cre¬ Received Certificate for Elementary Grades . , ,, . .. N otwithstanding ated had a tendency Gives Her Pupils High School Credits .... , The record which you have sent of my credit in Public School Music with all this, there are, of Thank you for the Diploma in Harmony. Let me say that during the tune I to become in a short you was verv gratefully received. I am very proud to tell you that through these course, notable varia¬ time, metallic in its was taking your Course. I took three examinations, offered here bythe Minne¬ credits I have received from the State Department a Certificate to teach in the sota Music Teachers’ Association, in Piano, History of Music and Harmony. tions and mutations in Elementary Grades. tone. This report was I passed all three and received a certificate. This means that pupils of mine Leila H. Fahey, Stanberry, Missouri. quality, design and I entirely an error. A can pass and get high school credits for work done with me. This is but one workmanship in of the results of taking your course in Harmony. piano cannot become Mrs. Alpha H. Lienfiard, 1937 Aldrich Ave., S. Minneapolis, Minn. It Is Different Now pianos, which at this f metallic in tone until For the past 28 years I have written marches and other compositions. I liev time distinguish the have been played by the best professional musicians and I have had the pleas¬ the tips of the felt Increases Her Class from 40 to 63 Pupils. ure of hearing them over the radio, but with that uncertain feeling—"I wonder finer pianos from the hammers are worn I find that the satisfied pupil is the best advertisement I have. 1 am giving what a first-class arranger thinks of the arrangement.” Now I can arrange a indifferent makes. Un¬ better service to my pupils and that always brings a financial increase. The down or hardened by melody that will stand criticism. Your Harmony and Composition Course has fortunately these fact that I have taken the Sherwood Normal Course after all my years ot experi¬ exhaustive wear. In given me that thorough training I needed. I recommend yours as an outstand¬ ence, tells better than anything else my opinion of your Extension Courses for characteristics do not the case of the piano ing school of music. always become evi¬ an established ^her-^ H pETTERS0NE) 28 So. Wellington St., Dundas, Ontario. Charles Fremling, Band and Orchestra Director, Buhl, Minn. considered the very dent until revealed by finest felts were used, These teachers and musicians are but a few of the thousands who endorse and recommend our courses. The training and increased musical knowledge they use and age. In other and the report was a have received from the University Extension Conservatory has meant higher standing in their profession, greater efficiency, and increased earning power. Your words, the piano that pure libel upon the in- at the beginning experience should be the ^ame. classes and greater financial gain—resolve today that you will achieve these worthy ambitions. For 25 years this great sch< Vhe Great Secret SINCE the beginning of time man has been struggling to tell in all success. Emerson, with his uncanny prescience defines his fellow man the secret of success. The result is that it thus: Vhe Evolution of PianO'Playing and Virtuosity there are probably as many secrets of success as there are, or ^Concentration is the secret of success in politics, in war, have been, men of achievement. in trade—in short, in all the management of human affairs ” Every man has his own infallible formula; and the mere If Emerson had been a music teacher (and what a wonder- By I. Philipp collection of all of them would make a volume like the tele¬ ful music teacher a man of his glorious ideals would have phone directory. made!), he might have added: This article is the first of a series of momentous discussions of the subject, by this world renowned pedagog composer and pianist, which, All this is natural because the great problem of youth is: “Concentration is the secret of success in study, in prac- will appear exclusively in “The Etude Music Magazine." Every ensuing issue, containing these articles, will be of immense value to all “How can I take what I have and make the most of it?’’ affairs1’’ ^ ^ performance’ ln composition and in all musical our readers. Musicians have asked us this question time and again, and How can I concentrate? You will not need to ask this were freed from the ornaments and re¬ we have repeatedly endeavored to help them with their problems. and had a strong influence on the musi¬ instruments. Chambonnieres and his two N ORDER to understand and trace the duced to the simple melodic line, they With most students, about to start upon a professional career, question if your interest in what you are doing is unceasingly I cians of the sixteenth and seventeenth pupils, Anglebert and Le Begue, were bril¬ development of piano-playing and would lose none of their beauty. we have advised them first of all to be sure that they really mcandescent. We are proud of that definition of incand ^nt centuries. liant virtuosi in their day. —at a white heat for every note pianistic virtuosity, it is necessary to As has been said above, the use of or¬ have something so worth while that the public will want it, go back to the days of the predecessors French, Italian and German composers of the sixteenth and seventeenth centuries Couperin “The Great” naments was due to the lack of sonority before wasting their money in publicity and chancing the heart¬ of the piano—the clavichord, the spinet, treated their clavecins like organs. The BUT THE most famous name of all in in the clavecin tone. The composers tried the virginal, the clavecin. This order of breaking humiliation of failure. this period of the glory of the clavecin to prolong the effect of the single tone by the instruments can be only approximately handling of these first claviers was so In general, there is one trait which is a predominating factor * “ndT,Cl“iy„Sd P"Cti“ n°"- “<* “"V ^ rough, that the whole fist was sometimes is that of Francois Couperin, called “the means of ornaments, with the result that correct; for the origin of them and the used in playing, and the Germans have Great,” to be distinguished from other they ended in making ornaments a habit. dates of their invention are not known members of his family. His book, “The Sharps and Flats precisely. Moreover, they were perfected kept the expression, “organ blows” (orgel They developed thus almost a style in schlagen). Most of the published pieces Art of Playing on the Clavecin,” is still, step by step. ornaments. ARE sharps harder to play than flats? of the period have the inscription, “for or¬ to this day, a work valuable to consult In this latter fact, indeed, lies the first Frangois Couperin* advised the conscien¬ Thousands of pianists ask this question. gan or clavicembalo.” The lively composi¬ for its advice on the position of the body, pian;h*T.the cause of the progress in the art of vir¬ tious execution of the embellishments in Probably there will never be a time when all musicians are which succeed in America Your 1 v ,Eur°Pe and those tions of these masters consist of dance the pose of the hands on the key-board, tuosity. The works of English, French, fingering by changing fingers, ‘and tjid agreed upon the subject. This much, however, is accepted by through an immense number of foreign1 mbfrV&one movements—Minuets, Rigadoons, Gavottes, ■ ’Cdfiperin, Complete Works (Durand). Da- Italian or German composers before the method of producing a beautiful tone- common consent—the keys with five black piano keys seem to of The Etude’s expansion noliev [n U b Cl?nS’ as a part Gigues, Bourres. quid, 8*Angli*lfert, D’Andreiu Loeillet, works fit the hand better than others. For this reason we frequently year 1700 give an exact idea of the virtuos¬ Frescobaldi, the two Pasquinis and Du¬ quality by a close pressure of the keys. (Durand). Rameau, Complete Works (Dp- obtainable. It was astonishing to note ^ beSt music The works of Couperin contain a pro: rand). German Harpsichordists, Graun, Muf- hear that the hardest scale of all to play perfectly is the scale ity of that period. The compositions of rante were masters of rare genius. But fat. Pachelbel, Fischer, Matheson, Selected tion of works written in sharp keys contrast ^if pr°P°r' the English writers for the virginal present fusion of the ornaments that were neces¬ works, edited by Walter Niemann (Peters). of C. the French clavecin-players, from Cham- ponding number of publication? issued inSSica h * C°rreS' scales and arpeggios for brilliant effects, sary at that period, in order to make the Harpsichordists (Clavecinists), 4 Vols., editor, bonnieres to Couperin (1668) ; the Italian Pauer (Breitkopf). Purcell and the English while the slow pieces are in Madrigal Domenico Scarlatti (1685); and Handel illusion of sustaining the tone. But never¬ Virginal Players, editor. Fuller Maitland. style. The personal art of the English and Bach (1685), the two great Germans; theless they are distinguished by nobility Italian Clavecinists; Scarlatti, Complete and grace of style and for great wealth of Works, editor, I.ongo (Ricordi). Works of virginal players—Gibbons, Bird, Bull and these give evidence of the immense ad¬ Rossi, Pasqnini, Frescobaldi, editor, Boghen Purcell, the greatest among them, was vance made in virtuosity within a short imagination. In some of these pieces the (Ricordi), Galuppi. Zipoli (Ricordi). Etudes musical foundation is so noble that, if they tiries des grands maitres (Leduc-Paris). based on the popular songs and dances time—thanks to the improvements in the TEE ETUDE JULY 1928 Page 511 Page 510 JULY 1928 The appearance of Clementi, from the TEE ETUDE his compositions, lest they be robbed of expression he wished. The splendor of Bach, however, uneasy and date of hjs first sojourn in Paris, produced their true character. In his method he his improvisations (of which the Chroma- lived unhappily. Mozart (1756- a great sensation and had, furthermore a laid down the principles of rendering em- lie Fatitasie is an example) invariably Haydn (1732-1809) an Qf great influence on the Parisian artists bellishments—whether, according to certain roused his audience to enthusiasm. ' 1791) were enthusias ic more uni¬ Clementi was an indefatigable worker. He Why ‘Do I Study Music? rules, they should be long or short, has- If was Bach who first used the thumb Emanuel Bach. Haydn, o in gave lessons for fifteen hours a day at very tened or retarded, modified according to the for playing. He passed the thumb under versa! and significant gemu , .’- high prices. His concert tours were espe¬ style of movement or the expression of the other fingers. He also made frequent his Sonatas, shorter pieces, ana p ^ cially lucrative, because he avoided, with the composition which they adorned. use of substitution in fingering-so neces- in the Variations m F Minor,mas F vigorous care, all personal expenses, ate By An Old Music Teacher The composers for the clavecin showed sary for legato effects. of grace, of much charming nnesse very little, economized on lodging and fire. various tendencies in their works; but they Beside Bach stands, naturally, George pression, of wit, of elegance, He carried his avarice so far that he used saic metronome has for them all the all had one and the same object in view— Frederick Handel (1685-1759). His But it was under Mozart pe‘‘1 , forth, with a view to becoming conductors. in some remote and backward communities, • to go to his friends’ houses to write his let¬ housands of pupils rarely stop weird attraction of the fortune-teller’s to create a better tone, one which should “Pieces,” Suites and Fugues had in him a pianistic virtuosity of t is per T owing to the more serious appreciation of ters and save the expense of stationery. Further instances are of a young pro¬ crystal ball, and, when they can play some be susceptible of modification under their grandiose interpreter. His style was to its highest flights. All his c°n“®p ‘ to think why they are studying music as an art, the changed views as to With the exception of Paganini, no artist fessional violinist who wishes to improve of the little pieces in Schumann’s “Kinder- fingers, responding to their musical idea, broad, without affectation; his technic was raries are unanimous m their admiration music notwithstanding the fact that education, especially girls’ education, and has shown such cupidity. His contempo¬ his piano-playing sufficiently to be able scenen,” or, failing of that, some primo They have always inspired the makers of commanding. His compositions for the of the playing of this great genius, tie at the very first lessons the pupil and the to play accompaniments for his pupils. the advent of the player-piano the sound- raries united in enthusiastic admiration of part (on five notes) of a duet with their the instruments to seek greater perfection; harpsichord, like those of Scarlatti, con- has described his own playing thus. me teacher should come to an understanding All these are sensible enough, but some¬ reproducing machine and the radio as a his playing. An exquisite feeling for teacher, they experience a thrill such as and they often even indicated what im- tain more of virtuosity than sentiment, pianist,” he says, “should play with a quiet upon this point. That is, the pupil should times the propositions are a bit quixotic— means of home entertainment. A slight rhythm, precision of attack, infallible ac¬ Peary may be supposed to have had when provements could be made. Contemporary to or just following these hand, with natural lightness, and a technic know where he is going and why he is as when one man, the possessor of an ex¬ smattering of piano-playing is no longer of curacy, full sonority, noble and simple ren¬ he reached the North Pole, or, if that is named composers were the almost as, if so well developed that the passages ow going there. Music lessons are given to cellent voice and good ear but with no much social value as “an elegant accom¬ dering, natural style—all these qualities too strong a comparison, such as the West¬ Rameau and Scarlatti not quite equally, famous Haydn and like oil.” (Elsewhere he has said they many pupils as medicine is given to them, technical musical training, having organ¬ were his. ' Clementi is the creator of the plishment.” ern “butter-and-egg man” when he hit the TEANPHILLIPE RAMEAU was a more Mozart, as well as Carl Philipp Emanuel should flow “like wine and oil") Every- with some such injunction as, “Here, swal¬ ized a male quartet made up of singers of Piano School. In his “Gradus ad Par- Another group is composed of those who high spots on Broadway. brilliant but less expressive writer than Bach and Wilhelm Friedemann Bach. thing must be played with taste and ex- his own sort, desires lessons for the group, nassum” he discovered a new world. It is low this 1 It is good for you.” wish to be able to play in an orchestra or Couperin. His compositions are full of In 1707 Cristofori of Florence con- pression. “Three things are necessary for It goes without saying that the pupil the tuition fees to be contingent on their Spiritual Escape an imperishable monument. His Sonatas band, or to sing in a choir or a choral character and sparkling rhythmic vivacity; structed four pianofortes. In 1716 Marius a performer: mind, heart and fingers, future earnings as a quartet. N SOME cases music study seems to contain remarkable pages, but it seems who has a definite idea of what he will society. These should by no means be I and they had a very strong influence on sent several models to the Academic de In his concertos, those marvelous works gain by studying music will be much more Among non-professional pupils, other confused with those who desire music as furnish a sort of spiritual escape from his contemporaries. France. In 1721 Schroeter built some; of art, perfect in form, new in style, strange to us today that Beethoven pre¬ interested in his work. Let us state first than those children who come merely be¬ an “elegant accomplishment” in order to uncongenial environment—not merely the Of Rameau the following works should an(I in 1726 Silbermann had Sebastian abounding in divine ideas if not in tech- ferred them to those of Mozart de¬ of all some of the reasons which pupils cause they are sent, the majority do it shine in society. To be sure the social or environment of place, associates or circum¬ be studied: Les Niais dc Sologne, La Bach to try two of his. Bach played a nical inventiveness, in his admirable so- menti’s most important sonatas are Nos. 1 ordinarily give for their decision to “take from the pure play-instinct—because they gregarious instinct is there, but in a laud¬ stances, but even that of time or era. Gavotte Variie, Les Cyclopes, Les Tour- pianofprte for Frederick the Great, much natas of a never-flagging inspiration,- 6, 16, 19, 30, 31, 57, 63 and <>4 (Didone lessons,” and then, at the end of this ar¬ like it or think they are going to like it. able form tending to the advancement of What poet was it who complained, “I have billons, La Poule, L’Egyptienne. later, in 1747. models of sprightly grace and of elegant Abbandonata). No. 61 was played to Em¬ ticle, recount many of the reasons which They love the keys of a piano or the bow been born too late into a world too old!" . Domenico Scarlatti was the true virtuoso , writing, in his noble fantasies—every- peror Joseph, with Mozart pr- sent. the art of music. would be given to the pupils for practicing and strings of a violin or the feel of their A very striking instance of this is the case of the clavecin. It was he who was most Enlargement of Possibilities where he remains incontestably the master The extraordinary effects produced by from one to four hours a day. own voices in their throats just as a hunter of the girl of sixteen, of rather moderate inspired by the peculiar qualities of the in- , T™ 17,Q . .. . of music. Gounod said: “Beethoven is Clementi brought him pupils from all di¬ The Hobby Riders 1. (A school girl of sixteen.) “For loves a gun or the tennis player his musical attainments, who came to the strument for which he wrote. These ^ ^Pian°' the greatest; Mozart is the One." rections. He became the moil illustrious HERE REMAIN now only one or A pleasure. I like to take music lessons and racket. T writer for piano-lessons. She brought qualities were, according to Couperin him! t VlftU“!ty professor of his period. There was a two exceptional groups to be spoken I think it will be fun to be able to play for Although musical tone, not the mere with her her twelve-year-old sister, and, sharp distinction between the school of of. The first is the “musicologists”—those ixstiss*'*“4 of playing soft andJST® loud (pianoforte) **» Compositions my friends. I want to do everything that mechanism by which tone is produced, is when the time came to pay her tuition fee, Mozart and that of Clementi. : was par¬ the real material of the art, it is a curious who pursue the art of music as a branch directed the young girl (who carried the dred compositions by Scarlatti:" How ^>1, opened the way for many ticularly evident in the instruments. Cle¬ has pleasure in it” of learning but without purpose or expec¬ for four hands. Hjs Variations 2. (A boy of about eighteen.) “I’d like fact that those who in the early stages of purse) to attend to the matter—quite with menti used an English piano, of which the tation of acquiring practical skill as execu¬ in G are nothing less than a masterpiece. But to get to play a little rag-time for dancing. study show a keen appreciation of beautiful the air of a grande dame speaking to her l masterpiece of the rarest tone was rich and full, the lummers fell tants or composers. These often do certain style of playing gradually changed. the hour of the Piano had arrived; music Then I’d be asked out to a lot of places tone, for itself, often disappoint one by private secretary. That, as I afterward originality. These pieces are nearly all from a greater height, and the mecha¬ work of great value to the world. In¬ Philipp Emanuel Bach (1714-1788), the was increasing throughout the world. The where I don’t get any invitations now.” backwardness in acquiring a sense of learned, was actually her innocent little lively in character. They extend nism permitted easier executii n f octaves, dividuals of this class are so rare that few n , second son pf Sebastian, wrote most of his plams‘s had outstripped the piano; and the 3. (A boy of twelve, violin.) “I. play rhythm, phrasing and other necessary make-believe, intended to add to the eclat full compass of the instrument, thirds and sixths, and a clc.u and exact of them come within the experience of a • f ? compositions for the piano. His contem- manufacturers had to seek a means to the violin pretty well already and my elements of good performance. of the occasion. his favorite devices rendering of chords. 'Mozart, however, music-teacher in any ordinary environ- crossing of hands. poraries M: us that his performance was tra,ls!ate the thoughts expressed by the father says perhaps I could get to be a Another large group of prospective When, in the course of her lessons, she But this device he was forced to relinquish used the Viennese pianos, with t in tone of every respect. It was dis- vlrtU0SI who were possessed with the idea violin teacher sometime. Some of them pupils is composed of those who have some met with some of Schubert’s shorter i his old age, because extreme stoutness There is, however, a by no means small tinguished by its charm and finesse from of unde/ ‘h<* hands an instru- short duration. They had, nev- • theless, a make lots of money, and my father thinks social ambition in view which might be pieces, she acquired an admiration for that etarded and hinderedd hish.s movements. HisH.s school of pIaying which existed ment more perfect, more sonorous, with very light action, and the 111 delicate furthered by means of musical skill. One group of a quite different sort who have ’ later compositions it would be a good business because I composer which was almost an obsession. e less difficult of exe- pressure of the finger would induce a might suppose that the definiteness of their often been a strange perplexity to music- cution. even at this* period—that of the virtuosi, ™ore en(*urance. In 1778 Sebastian Erard could settle in one place and live there.” She wished to know all about Schubert of brilliant and rapid execution. founded his piano factory. In 1796 he built tone. objective would have served as a good in¬ teachers, from a failure to visualize their The name of Johann Sebastian Bach is (Note:—His father was an army officer, and to study as many of his pieces as she In Philipp Emanuel Bach’s book on bls long pianos, an enlarged form of The piano of.-Clemcnti was thus favor¬ centive, but most such pupils proved super¬ peculiar temperament and habit of mind. a dominating one in the art of music. subject to frequent changes of location, could. The girl was an anachronism. In able to powerful playing and broad canta- This group is composed mainly of adults Marpurg, in his “History of Counter¬ “The True Method of Playing the Piano” harPslchord- These pianos had only five which' were an inconvenience to his house¬ ficial and lacking in patience. From the this age of flappers and jazz, where could bile. Mozart’s piano was suil> ! to rapid (though occasionally some young person, point,” says that in Bach urdteffThe (17,35 he insisted that one must play and one-half octaves, but soon the key- hold.) teacher’s point of view it might be said that an incurable romanticist like herself find -• wUV, singing tone. “Music is made,” he hoards were extended to six octaves. light playing, to fine lines, seal and ar- a belated romanticist of these matter-of- talents of several great n.JI Hi ««u- . - t hP 4. (A pleasant-faced and gentle girl of it is better to have no “object” at all rather congenial society? Shortly after this stage - - 1 he famous organist, Balbatre, said fact days, will be found in it) who enjoy plete works of Bach, as ediied bv Busoni T°te’ touching the heart, and not p * “~ peggios—difficulties on which • technic eighteen.) “All I want is to be able to than this. of the story her family moved away and is based. the very act of “taking music lessons,” as with the collaboration of Mugellini (Breit- for .creating noise and perpetual ar- on a ^phyed play for my grandfather some of the old she with them. The years passed by. A being an ex- kopf), and “The jWell Tempered Clavi- pef’gl0S' comer this hnnr (By Judge Tod B. Galloway “Sing, O Goddess Muse, from whence first arose so fierce a strife Another of the interesting human historical DISCUSSIONS BY THE WELL KNOWN COMPOSER OF “Gypsy'TrAil,” “Alone Upon the Housetops,” AND OTHER POPULAR COMPOSITIONS. CHRISTOPH WILLIBALD GLUCK NICOLA PICCINNI and at other famous musical matinees his neys over Europe, he had studied the lan¬ T WOULD NOT be fair to ask the ’ The Parisians Quarrel I music won great favor and applause. guages, literature and esthetics of the vari¬ “Goddess Muse” to sing about the TURNING ASIDE from Rameau, and Just prior to this time another great mu¬ ous countries, and, rude and rough as he fierce strifes in general of musicians, yet unable to produce operas of merit was, he frequented intellectual society for they are legion. It is unfortunate, but sician, a German, appeared in Paris, also of • their own, the Parisians quarrelled whenever possible. He finally settled in true, that musicians as a group are not a by invitation, a man destined to produce a amongst themselves over the relative de¬ Vienna where he became a Court favorite, peaceful lot. Whether it lies in that much revolution in dramatic music that has serts of the French and Italian Schools, abused condition, temperament—unusual affected all such compositions since his composing for princes who sang his com¬ and'particularly in 17S2 when an opera by -sensitiveness or sensibility—the fact re¬ positions; and he was the singing teacher mains that through all history musicians Pergolesi was contrasted with Mondon- From Mozart to Berlioz and Wagner, all for the Grandduchess Marie Antoinette be¬ have quarrelled. We are told that David ville’s “Les Titans,” a very mediocre pro¬ composers have recognized that Gluck was fore she was married—a circumstance was “a cunning player on the harp” and duction. Then for fifteen years the trouble the master who taught them the art of which proved of inestimable value when that, while “he played with his hand as he smoldered. Meanwhile the Royal Academy lyric declamation and of subordinating later he produced his operas in Paris. In did day by day” before Saul to keep the of Music from the falling off of patronage song and rhythm to dramatic expression. Vienna he brought out “Orfeo” (later re¬ latter in good humor, “Saul cast his spear; was overwhelmed with financial difficulties He had not come to Paris to revive Italian written and. presented in Paris as “Orfeo for he said, ‘I will smite David even to the that menaced the directors with ruin. opera but to present an opera of his own, ed Euridice”), “Alceste” and “Paride ed ! wall.’ ” Whether the King was displeased Long since, the former frequenters of written to a French libretto, it was true, Elena.” with David’s execution on the instrument the stately Salle of the Royal Academy, had but with music which for the first time Although he was a Court favorite, the or whether it was professional jealously, grown weary of Lulli’s oft-repeated operas was to be called German. public, as publics will, so criticized his we are not enlightened; but it is a fact and, as we have seen, had turned a deaf Christoph Willibald Ritter von Gluck— work that, conscious of his own power, he for he was a chevalier by creation of the that musicians in all times have been prone ear to the more recent ones of Rameau. determined to shake the dust of Vienna Emperor of Austria—was at the time of his to disagreements. Something must be done to revive the fast- from his feet. advent into Paris sixty years old. From Doubtless there is a well-defined Freud¬ waning prestige of grand opera. the age of twelve, when he had his first les¬ ian explanation and exposition of this phe¬ Accordingly, about twelve months before sons on the violin, harpsichord and organ, nomenon ; but that is not germane to this the death of Louis XV, the Neapolitan am¬ Condescending to Royalty article which purposes to tell the story of a he had worked with tireless zeal in music. bassador suggested to that monarch that he quarrel between two musicians, or, more His early life was one of hardship—a con¬ AT THIS TIME he had in that city an invite some worthy Italian musician to correctly, between their partisans, in which stant struggle with poverty—and despite enthusiastic ally and supporter in an ill-starred queen figures as an interest¬ Paris to provide the Royal Academy with assistance, from wealthy patrons his manner an attache of the French Embassy who per¬ ing personage. Italian music to French libretti. This of life was troubled and precarious until suaded Gluck to use Racine’s tragedy of suggestion met the. approval of Madame the age of thirty-five when he married a “Iphigenie en Aulide” as a libretto. The The Blooming of Music du Barry, the reigning favorite; and that, rich woman. His fundamental training in opera was rehearsed but not produced in of course, settled the matter. Forthwith THE LAST PHASE of the Renais¬ harmony and composition had been Italian; Vienna, as his earnest friend desired him sance was the flowering of music, a the representative of France at the Nea¬ and it is interesting to note in the develop¬ to produce it in Paris and exerted his in¬ blossoming which extended over all politan Court, M. de Britenie, was com¬ ment of his, musical genius how the sterner fluence to have the composer consent. To strain of German tendency grew stronger Europe. Evidences of this were in the missioned to negotiate such an arrange¬ this end his patron, the Emperor Joseph II, strains of Luther, in the great development ment, and the proposal was made.to Pic- and stronger until the two national elements wrote to his sister, Marie Antoinette, blended in the wonderful operas founded on of folk-songs in Germany, in the chorals cinni. As a yearly salary munificent for strongly recommending her old singing and psalms of Geneva under Calvin, in those times was offered, he accepted; and Greek themes which were his life’s tri¬ teacher to her favor and protection. From the spirit of sweetness and facility in Italy, within a few months, with his wife and umphs. Paris, the directors of the Royal Academy i and in the rich beginnings of English song family he bade adieu to sunny Italian skies of Music at the urgent request of the for the less glowing ones of Franee. Niccola at the Court of Henry VIII and Eliza¬ Gluc\ and Musical Glasses Comte de Mercy, supported by the Dauphi- beth. When we come to the Eighteenth Piccinni, at this time forty-five years old, EFORE HIS marriage he wandered ness, sent proposals to Gluck for the pro¬ Century we find that the best genius of was the most popular composer in Italy. B over Europe without a settled post or duction of his opera. In his overweening music was in Italy and Germany. In the In 1760 he had produced at Rome perhaps occupation. After he had written fourteen vanity he put them aside, so to speak, and latter the great streams of harmony, the most popular opera buffa that ever operas, when he was thirty-five he went to appeared to condescend to the wishes of aroused by the spirit of the Reformation, existed: “La Cecchina, ossia la buona Denmark where he gave a concert as a vir¬ royalty; so that, although invited to Paris were beginning to flow in Bach and Han¬ figliuola.” Its vogue, not only in Italy but also through all Europe, was extraordinary. tuoso on the harmonica. Horace Walpole in 1772, he did not actually set out on his del ; while in Italy musical expression cul- journey until the autumn of 1774. ’ minated in the creation of musical tragedy. It was not only enthusiastically performed in his letters tells us of his doing the same thing in London, when he performed on In the meantime, however, Gluck fully France at the same time was perhaps in great and small theaters but even in those of marionnettes. Inns, shops, villas, twenty-six drinking glasses tuned by spring appreciated the value of publicity. He more productive in the arts of painting, wrote flattering letters to Rousseau and the sculpture and masterpieces of French wines, coiffures—in' fact all things pos- water and accompanied by an orchestra. The new instrument was advertised as ;his own Encyclopedists whose favor and influence tragedy. Still, Rameau founded Frenph sjble—were named-for La Cecchina. His Frederic Francois Chopin invention oh which anything'might be played he desired and had published in the Her Cure dramatic art in music and was for a time next dfedra, “Ltllimpiade,” was also a tri- which could be performed on a violin or de France the following: “He had in view regarded as the greatest dramatic musician umph. Although the story had been set by harpsichord. “In'this way,” The Daily Ad¬ the establishing of a system for abolishing, From a recent fainting by the well \nown French master, Ludovic AllM w , ih Europe; yet, great as he was, his tri-' Pergolesi, Jommelli and other well-known vertiser o-f London (1746) tells us, “it was the ridiculous distinctions of national umph was short-lived and his work was composers, Piccinni’s triumphed over all. hoped to please both musical amateurs and music, by providing music of a character the portraits of Chopin are very highly idealized and show small concehfn T\ ^ discredited ten years before his death. His industry was prodigious. In one curious people.” His indifferent reception suited to all nations. He hoped to succeed Despite the opposition and neglect of Ra¬ year he composed three serious and three in England, however, was mortifying to his in this scheme, with the aid of the cele¬ and mental stress which characterized his later years. They portra P 1 U the sPiritual meau’s music, we are indebted to him for comic operas. vanity but good in its effect, as it compelled brated M. Rousseau of Geneva whom he valuable changes in the theory of music. This then was the man who had been him to study himself and his gifts as he proposed to consult on the subject. The Chopin, instead of the strong emotional and intellectual dynamismofZ gnluo’ He had real invention and originality of brought to Paris to revive the waning in¬ had not done before and to modify seri¬ study of his works on music,” continues composition; and, by his enrichment and terest in Italian opera. Modest and retiring by nature, he did not attempt to assert him¬ ously his style. Gluck, “convinced him of the sublimity and uses in orchestration, he may be termed an accuracy of that great man’s taste and ancestor of the modern orchestra. He self with pretentious display but quietly He then went to Paris where he heard and set himself’to compose his new opera. He studied Rameau’s operas; and .he came to knowledge.” The composer certainly wrote opened the way for Haydn and Mozart. that with his tongue in his cheek. With the waning of Rameau’s popularity, was introduced to Madame du Barry by the conclusion, as he said, that Italian opera While the letter in the Mercure may have French opera declined. the Italian Ambassador; and in her circle was but a concert. Profiting by his jour¬ THE ETUDE JULY 1928 Page 519 Page 518 JULY 1928 . . ^ we are residing amongst the most D .. THE ETUDE caused the mirth of some, it undoubtedly tion, for the prevailing fashion of head- de Clermont, who ..j am going and generous-natured people in gL; tc raised public curiosity concerning the writer, dresses—a yard and a half high—made "My friend, sai ’ can },eat Should they think it right to reject m01*' such a proceeding disastrous and destruc- to sing an air to you a musician, yet be assured that they "Maying Arpeggios Interesting A Flattering Reception live. . time I will argue as, do me no personal harm but will resw 4 rroDriTMciv ,. , In August, 1774, Gluck produced in Paris, Gluck and' Piccinm. ine ., ... me as a man and a foreigner.” Wct A his “Orphee et Euridice.” This is probably parted. He distrusted his ear but said that There is a story to the effect that GlucU ^ Chevaher Gluck, Knight of the Order (he } J know„ tQ modern aud£nces in ?his ear Was so delicate it could not stand also began work on an opera on the sam By Leslie Fairchild of the Golden Star, arrived in Paris, America of all his operas, not only in tj,e uncouth music of ‘Iphigenie. this time he was sixty years old, arrogant, theme, “Roland,” but as soon as lie learned itage presentations but also in concert jn tbe meantime poor Piccinni, quiet and insolent, brusque in manner and fully c that Piccinni was composing on that suh Hold down the middle C with the thumb The great aria, I Have Lost My „eaceable, a stranger to intrigue and keep- F YOU WILL glance at a map of Here are a few general principles that it scious of his musical talents. He was ii ject angrily tore up all that he had writ' I 1.. 5th finger strikes C. 1 throughout entire exercise. for all 1 I , 11 __woei Viavinehaving ten, exclaiming, “There! I ieave (h‘ northern Italy a group of about two will repay the student to keep in mind: 2.. 4th finger strikes f. I_2 mediately honored by his old pupil, Marie. Ew^tt‘ 13 a. onera in§ aloof fr0m a“ “t Ro- 3.. 5th finger comes up—I Ex. 7 Antoinette, and given a flattering reception amb,tlouj C°n [altOS'f ben * S great trouble in producing h.s opera ground free to the Italian and his Frendi hundred and twenty tiny islands will be 1st—Theorist should be held slightly higher ™ 4.. 2nd finger strikes G. |_3 land,” which he was writing for the di- collaborator!” There is absolutely no con¬ found lying in a lagoon off the Adriatic ‘ a ' ‘ 1 1 . 1 », 1 1 . | | into the intimate circle of the Dauphiness. W3S produced the part of 0rpheUS’ whlch . 5.. 4th finger comes up— written for a contralto, was sung by a ^ Royal Academy. They had firmation for this unlikely tale; it undoubt¬ :ed by placini Gluck’s pathway to the production of his tenor On these islands rises the city of imb. This si, 6. .Thumb strikes C. ¥ JJJJ 'i 'J 1 first opera was, however, by no means .’ . .. JPIPHl.__ edly was one of the many inventions grow! Venice in all its magnificent splendor, hand l 5 keys, must 1 7.. 2nd finger comes up. smooth and even. He had hardly begun Cq“a ° e ™e’ p- • . the famous paladin Roland. Marmontel, ing out of the fierce dispute. Gluck at city where golden domes and marble pal¬ 8.. Entire hand pivots Each finger should on the thumb to his troubles with a refractory chorus and .r^as be^Mkated was a literary man of much merit, had pre- this time was wholly absorbed in the com¬ aces reflect themselves in “liquid pave¬ that the next finger which is the right, bringing position of his various operas from the ment” and where every fresh breeze the 2nd and 4th ists wtn Kinf llurxvmU ^ ™des‘ a«d unassuming on his part. But pared a libretto which was entirely satis- to play is directly over the ( Et hand fingers directly Inrl ’ tlle followers of the Italian school seized factory. Unfortunately the difficulty was classics. forms strange fantastic images in the This. method is especially - t speak a Another story current at that time was tive keys, E, G. _ Of course, the whole Court ^.opportunity to make him and his music to comprehend it as he did - , |T rippled water over which gondolas glide 4th_When carrying the hand over the thumb This exercise might also be played and fear, died. Of course, the whole Court even more preposterous. It was said that 9. .4 th finger strikes E. their stand- chromatically, thus, c, e, c, g—c, f, c, g— was plunged into deep mourning and all , when Piccinni was rein arsing “Roland," like great black swans. ‘U^hafd) ^otlcftha"*' 10. .Thumb comes up. This half submerged jewel of the thumb rolls over on the face of the nail. 11.. Thumb moves to the c, f sharp, c, g—c, g, c, g—c, g sharp, public amusements were suspended. ar , ' , rer being unaccustomed to c inducting and un¬ Adriatic was the birthplace of a young jn studying some of these basic princi- right and shadows It was not, therefore, until April, 1774, and familiar with the Frendi language, the C. — c, g, and so forth. that “Iphigenie en Aulide” appeared on the cry\ Tbe Venetian musician named Domenico Al- pjes ;t ;s advisable to take the tempo at Left hand fingering: 1st time 3, 3; 2nd orchestra was in the utmost confusion 12. .2nd finger stril stage of Paris, and then not without trials [er0Ci^ and berti who gained some recognition as a about the speed of a slow motion picture, Gluck, hastening to he present, 13. .4th finger comes up and tribulations for the composer. The intensity of rushed 14.. Thumb strikes C. into the orchestra, three. idc his wig and singer and harpsichordist, and later, as a you bave probably seen such pictures in chorus, accustomed to the old style of men feeling which 15.. 2nd finger comes u coat, seized the baton and led with such composer, had several operas and many weekly news reels, such as horse races, and women in files on opposite side of the was aroused 16.. 2nd finger strikes tremendous energy that everything ran sonatas to his credit. However, his present runners, pole vaulters, base ball games and 17.. Thumb comes up. stage, revolted when Gluck tried to give by .the op_ day recognition is not due to his ability swimmers, slowed up to such an extent them life and vitality; the orchestra was Pos'ng par- smoothly and confusion disappeared. The 18. .4th finger strikes E as a composer but to the fact that he in- tbat one could very easily analyze the 19.. 2nd finger com perfectly lawless; while Sophie Arnould, ties 1 s be_ most vital point against the truth of the troduced a certain type of arpeggio as an various movements that would Ordinarily 20.. Thumb goes under the reigning prima donna of Paris, as I phi- yond bebeE story is that Gluck \va- i Vienna during ■ to the left. accompaniment to a melody. be too quick for the human eye to con- ginie, rebelled at the overwhelming accom- As tbe (lueen the rehearsals for "Roland"! 21.. Thumb strikes C. ' paniments to her voice, which no longer wrote t0 her Whether the GluckLtv feared the over¬ Historians, however, are somewhat in ceive. Only through such slow and care- 22.. 4th finger comes up. retained its original sweetness and power brother, Jos- powering number of the I’iccinnists on the doubt as to whether Alberti was the in- fuj analytical practice will you be able to 23. . Entire hand pivots on the thumb to opening night of “Roland,” or whether ventor of this arpeggio figure; but we do grasp the deep underlying principles that Left hand and refused to follow the master’s direc- cpb Peo' the left, bringing Hold down middle C, with the thumb, tions. P.'e take curiosity to hear Piccinni’-, music silenced know that he made practical use of it in are involved in playing brilliant, flowing descending, the 2nd and 4th throughout the exercise. “Very well,” said the exasperated Gluck; s ‘d e s and opposition, the overture was played to a his sonatas and have credible knowledge arpeggio passages. “I am here to produce my opera. If you ‘luarrel as “ crowded and appreciative audience and was that he was one of the first to break away Below will be found a “slow motion” or tive keys, E, G. Ex. 9 sing, nothing could be better. If not—very sot”f great rapturously received. from the contrapuntal form of accompani- analytical example from which may be 24.. 2nd finger strikes G. |_j 25.. Thumb comes up. —I well, I go to the Queen and will say it is r e 11 g 1 0 u s ment which was used exclusively up to observed very accurately the exact motions is ili impossible to produce my opera and I take questIoa ™as 26. . 4th finger strikes ] Roland, the Victorious that time. that are required to play a simple arpeggio 27.. 2nd finger comes u P.J- my carriage and return to Vienna.” In- at *take’ All this happened about two hundred based on the major chord of C. Note that 28.. 5th finger strikes C. i__13 deed, it was only the emphatic word of Whenpeo- A S THE OPERA proceeded it was evi- years ago; but it created an epoch in the jn the first analytical example of the right 29.. 4th finger comes up—I Do not hesitate to invent similar e Marie Antoinette that made the production me^’ ’n” 11 dent that the French knight, “Roland,” cises of your own. They will, no doubt, oughly seized development of pianoforte music, and many hand approximately twenty-seven distinct w mat we naye Iolulcu a of the opera possible. stead of the the meaning had nothing to fear from the Greek maiden v that we have formed a clear con- be as efficient as the above and will at the brilliant instrumental passages in modern finger movements are required and that cc\. through these analytical studies, Finally the great night came. Aside from amenltICS °f of a passage “Iphigdnie;” and Piccinni was accorded a same time suit your own personal require¬ music owe their origin to this simple kind the second example has been reduced to ^ what our finders are supposed ' ’ ' the hopes and expectations of Gluck’s ad- cvcryday hfe Marmontiel brilliant success due to his p rsevcranceand ments. I would also suggest that the stu¬ of arpeggio which still bears the name of thirteen combined movements. mirers and the ill-concealed animosity and an d decor* slowly d e - genius. At the close of tin |>orformance he the playing of arpeggios, we can proceed dent study the preparatory exercises that forebodings of the followers of the Italian 0 u s hehav- claimed i t was carried in triumph I y his friends to the “Alberti Bass.” Ex.2 to the various preparatory exercises that given in Alberto Jonas’ “Pianoscript School, the event was important as it '?*’ tb<;ques- his anxious and now deli, .ted family. Here is an example: will enable us to gain a considerable Bock.” marked the first public appearance of don’ A r e amount of efficiency in this particular cinni listened The success of "Roland" gave the fol¬ Stretching Exercises Marie Antoinette as Queen. She had been you a ^ u. lowers of Piccinni great rejoicing, and branch of technic. for the ac- re stretching exercises thoughtless and frivolous as Dauphiness; >st or a^Pic- THE HERMIT Italian music liccame all the rage. This, The first requisite is a flexible thumb; A RPEGGIOS ; cents and However, if prelim- how would she comport herself as Queen? cinmst?the BY THE EMINENT GERMAN PAINTER, i. BOCKLIN noted them however, did not detract from Gluck’s Inalytical nalytical and this flexibility may be acquired by -LA in themselves The King also had made a point to be pres- answer siven down w • * •* greatness, although when the latter re¬ Example "ixample practicing the technical exercises that fol- inary exercises are indulged in, before at- ent, thinking, no doubt, of the long drive .determined their social relations, his COUNTS MOVEMENTS COCNTa ’ow. tempting to play the regular form of wi iuv uiivc ,, ... inuoiv,aimusical purphrases. Marmontel turned to Paris with the score of “Ar- Once the idea of the broken chord had Versailles and wishing himself , efe cntlclsm s<5on passed into abuse and lates that Piccinni’s Thumb strikes C.. Ex. 1. Play all scales with 1st and 2nd broken chords, you will find that much of 3 sensitive mide,” which he modestly said was a “sub¬ been introduced, it did not take composers, back at his carpenter bench' orr tinkering at vilification.VIlllhcation. Old friends became enemies, and true that when the inorningVwork 2nd finger strikes E. ngers. the reaching for keys, that makes one’s lime opera,” the quarrel threatened to break such as Haydn, Mozart and Mendelssohn, comes up. clock repairing, which were his favorite and eVen family ties were ruptured in the was ended and Piccinni opened his niann U arpeggios sound so “bumpy,” will be re- out with all its former bitterness and tur¬ long to recognize the possibilities of de¬ 3d finger strikes G.— occupations. intensity of the quarrel. Needless to say, to play over the music that he had written «'la)8 iaia i» duced to a minimum. In a preceding bulence. Piccinni, however, uenerously de¬ veloping this little invention to enrich their 2nd finger comes up. When, however, the grand chorus pamphlets, squibs, poems and diatribes it rarely happened that a sin de note needed i%-4-_ | t 1 0 J-| * * — article will be found many valuable clared himself to lie one of Gluck’s most own compositions. Thumb passes un¬ “Chantons, celebrons notre reine,” first without number flooded - Paris. People correction. Think of the "difficulty and der tbe hand. &4 ♦•?'*'*'» *' * * > stretching exercises (especially the one enthusiastic admirers, though the latter re¬ There is perhaps nothing more beautiful burst upon the audience, instantly the hurled insults at each other even in the discouragement of composing under such Thumb strikes C. " using the handkerchief wedge) that will to the ear than rippling arpeggios; and whole assemblage turned toward the royal theater. During a performance of Gluck’s conditions! fused to recognize the merits of his rival. 3rd finger comes up. Ex. 2. Play all scales with 1st, 2nd and ass;st greatiy |n mastering the difficulties The directors of the Royal Academy, the pianist who has mastered them can hand pivots box and with spontaneous enthusiasm “Alceste,” at the end of the second act .This method of composition was hiehlv 3d fingers. that are encountered in arpeggio playing. probably with the idea of still further make them as scintillating as the spangles aJ®en(a£g -{ p to saluted the beautiful young queen in the Mile. Lavasseur was interrupted when she ridiculed by the Gluckists who confidentlv the right, bringing Ex.4 on a dancer’s skirt. From a practical the 2nd and 3rd words of the chorus. Everybody on the was singing 11 me dechire et m’armchcr le ProPhesied a failure; but, on the other stimulating public interest and keeping the ft i a 3 i a a » ^ »_Practice standpoint, no other form of technical fingers directly stage, principals and chorus joining with coeur (He tortures me and tears my heart band, although Piccinni had not then he coffers of the opera management full, re¬ over their respec¬ , - -I* “ * ~ ■ I-*- ~ J N ORDER THAT you may go through work pays the student such high dividends. tive keys, E, G. the audience in bowing to the queen, sang out). Someone cried out, “Alas, Made- c6me a Court favorite he was quested Gluck and Piccinni each to write the arpeggios twice a week, I would an opera on the theme of “Iphigenie en 2nd finger strikes E. I_5 the chorus with an energy that delighted moiselle, you are tearing out my ears.” by a Powerful following of courtiers ,t 1st—A greater command of the keyboard is Thumb comes up. —1 Ex. 3. Play all scales with 1st, 2nd, 3d suggest that they be scheduled according ™ composer ^ and gratified the queen. “Ah, Monsieur,” shouted a neighbor, “what connolsseurs. Tauridc,” with the promise that no favors 2nd—/Pbetter understanding of chords de- 3d finger strikes G.—I_^ and- 4th- - fingers.- to the following routine. PjOor Marie Antoinette! H°w little in a good thing if they could give you new At time Gluck had returns * should be shown either contestant. This 2nd finger comes up—I 1st day, play C, D flat, D, E flat. Ex. 5 that hour of triumph could she realize promise was broken, for while the book 3rd—The ° hand is stretched and made more 5th finger strikes C.—I ? 2nd day, play E, F, F sharp and G. be,,“' ’i,h “» * P«.ion« flexible. that in a few brief years this same Pari- R ■ ; iw<- was lieing rewritten for Piccinni they per¬ 4th—Sight reading is facilitated. 3d finger comes up'—I 3rd day, play A flat, A, B flat, B. sian populace who were acclaiming her that TXTHR.V thc J , , of <5000 francs mitted Gluck’s opera to lie produced first Sth—Fingering is improved. 3d finger strikes G.~|_g 6th—Accuracy in playing intervals grows. 4th day, begin again with C. night would exultingly drag her to the 1 HE n°tices of the operas of sented a much lareer , b repre¬ (May, 1779) and it met with a brilliant 7th—Playing is made more brilliant. 5th finger comes up. _l In practicing arpeggios it is advisable guillotine, clamoring for her blood. the two rlvals wouId be posted, vile to-day) and a ^naran. cT than !t does success. Two years later Piccinni pro¬ 2nd finger strikes E.~’Ij_g The Hanon studies (Nos. 32, 33, 34, 35, to start with the left hand and play the jests and lampoons would be written under- for every new on y.°. the same amount duced his “Iphigenie en Tauride” and, al¬ Any student should be able to play ar¬ 3d finger comes up—l Thumb strikes C. 36, 37), also, will be found of value in arpeggio through several times until that When Ladies Fainted with Care neatb tbeDm; T!’e (fluckists said of duce in Paris a Wh‘Ch he shouId Pr« though after Gluck’s success it had little peggios at least at the speed of six hun¬ emm s Roland, when produced: “The 2nd finger comes up. ljmbering the thumbs. hand begins to feel fatigued; then change chance, it was well received, even though dred notes a minute; and, as he advances, Entire hand pivots Ex. 4. This exercise is not especially - to- the right- hand; and finally play- A FTER THE Product'on °f the opera, author of the poem lives in the rue des When Obera-Cm^r, the second performance was almost ruined the speed should be increased to about on the thumb to 1 and particularly after its second per- Mauvais-Paroles (Bad Words), and the A Jf E\NWhtt r- 8 WUS Hazard(>us one thousand notes per minute. Surely all the left bringing melodious but it is most effective in pre- both hands together watching carefully for formance, the enthusiasm of the general composer of the music in the rue des Petits iVl ^ p. . tbe musical fray went by the intoxicated condition of the prima paring the hand for arpeggio playing. any possible weakness that may occur i donna playing the role of Iphigenie; which this should be worthy of the consideration rectly over G. No¬ public reached almost to frenzy. Soldiers Chants (Little Songs).” The Piccinnists re- his “Rola^H” w"”' prePared to produce of the serious-minded musician. The road 1 tice how the thumb Right hand fingering: 1st '' 3^ 3; 2nd either hand. gave the brilliant Sophie Arnould the op¬ rolls over on the Slow practice is most essential to gain had to be placed at the entrances to restrain plied, “M. Gluck, the composer of Tphige- Gluckists 1lad been wamed that the is by no means macadamized, and all faint portunity for her celebrated bon mot ‘Cest face of the nail. . a feeling of the correct key distance. those who were determined tolopress press inm where nie,’ ‘Orph4e’‘Orphee’ and ‘Alceste,’ lives in... the,__ rue producedH A bT al'°W h'S W_°rI< t0^ ^ hearted students are advised "to turn back all the space vi Iphigenie en Champagne.” 23. .3d finger strikes G.~' Use a metronome to build up speed. s occupied. Men stamped, du Grand Huleur (Great Howler).”'’ Of ovwtuLreYnY*CabaI WaS a" ready to hiss the at this paragraph. 24. .Thumb comes UP. When Gluck returned permanently t° 11 : Lower it a notch or two a day until you waved their plumed hats and shouted, course, as is always the case,-people with ing heard' S prevent the singers from be Before one actually starts to play ar¬ 25. .Thumb moves to the Vienna in 1780, it was not easy for the can play at the rate of 1000 notes per “Vive Gluck!” while women threw gloves, no idea of music took sides blindly. One family at’th ti rmed Were the composer’s peggios, some important principles are to left and shadows partisans to continue the feud with inten¬ C. minute. fans and lace handkerchiefs on the stage, of them, Chevalier de Chastelleux, who to induce . tS’ that theY endeavored be considered and also some very useful sity, with one of the principals absent 26. .2nd finger strikes E.—i_12 Alberto Jonas, in his Master School of Others sobbed, sighed and fainted. The said that Gluck was a barbarian, one day performance V*37 3Way from the first preparatory exercises especially designed to Moreover, Piccinni produced his opera, 27. .3d finger comes up._l Modem Piano Playing and Virtuosity, latter, however, was indulged in with cau- undertook to dispute with the Marquise and daughters . nni„ calmed his wjfe overcome some of the chief difficulties en¬ 28..Thumb strikes C. —| Dldon,” first before the Court at Fon- gives a most unique method of practicing rS Saymg’ “bear in mind that countered in playing arpeggio passages. 29. .2nd finger comes up—1 (Continucd on Page 553) the ETUDE JULY 1928 Page 521 Page 520 JULY 1928 THE ETUDE Andante Spianato, Op. 22. arpeggios, to gain “pearliness” of touch. Ballade in A-flat major. The following will give you an idea of [ <(3he Musical Home Sonata In C minor, 'Reading 'Gable I department of the method. Press down with the left tondo In C major. hand d, f, a, b—the fingers lying flat on Anything and Everything, as long as it is the keys and the wrist low. You will D'Albrbt. Dobnanyi notice that the keys forming the C major Concerto In E major. Instructive and Interesting 'Bands and Orchestras triad are accessible to play glissando or Diemeu.. . He Chant du Nautonier. with the fingers. The idea is to produce Debussy. .Arabesque, No. 1. Conducted by Foote A May Song. (Conducted Monthly Py with the fingers (finger action) the same Impromptu, In G minor. will fail if he has not the advantage of an pearly quality of tone as obtained with the Godard. .. Au Clair de Lune. A. S. Garbett HE TIME-WORN and erroneous experienced teacher to guide him. The Da- The Swallows. T Victor J. Grabel glissando. Heller. .. • La Truite. belief that the drummer plays a Da, Ma-Ma roll is executed starting first minor role in the orchestra was FAMOUS BAND TRAINER AND CONDUCTOR with two beats with the left hand, then two effectively shattered recently by Samuel beats with the right. Alternating thus from hand to hand the speed is gradually Right hand. Chotzinoff, music critic of the New York Wagner on cRgssini World, when he wrote the following glow¬ increased until the roll is attained. Never 1st, glissando. ing tribute to the tympanist of the New more than two beats are made with each York Philharmonic Orchestra: “James hand and these are very even. It is the before all don’t forget to get yourselves Rossini once said of Wagner: “He gives evenness that makes the round roll. The 2nd, strive to produce liberally applauded for risky runs and Huneker once wrote a story in which a us some fine moments and some bad quar¬ fact that only two beats are made accounts the same effect melodic entrechats.' W ho so -lad to take tympani player figured as a hero. I have Tohe Importance of the ters of an hour.” In an essay on “Opera for flexibility in crescendos, diminuendos, with finger action. him at his word as the singers? forgotten just what happened to this and the Nature of Music,” Wagner had fortissimos and extreme pianissimos. “To the instrumental! is. erstwhile drummer in the tale, but I remember that this, among other things to say of he labored under a curious hallucination It is this control which gives the rudi¬ trained to accompany pathetic snatches of Rossini: . , Percussion Section mental drummer the correct foundation. song as intelligently as possible in a smooth that he was the most important person in “The whole world hurrahed Rossini for the orchestra and that his set of drums Drummers with such training will stand out ensemble, he said, ‘Take it easy. Only be¬ his melodies—Rossini who so admirably enunciated the life force of great composi¬ especially in the Tannhauser Overture, fore all don’t forget to get yourselves By William F. Ludwig knew how to make the employment of tions, especially of Beethoven’s Fifth brass arrangement, with 49 measures steady those melodies a special art. All organiz¬ sufficiently clapped for vour individual Symphony.’ . on his drum so magnificent that the final and, mind you, when the word drums is roll in the close of double forte. In the ing of form he left upon one side; the skill wherever I give y ou each his oppor¬ “The character was drawn touchingly blow seemed to roll back the heavens, used it means the basic elements of the last four measures the drummer is expected simplest, barrenest and most transparent tunity.’ Who more lavish of their thanks entire percussion section, tympani included. Following are a few ways in which ar¬ by the author, for in those remote days through whose serene immensity the re¬ to make a crescendo. If he is a rudimental that came to hand he filled with all the than the instrumentalists: The American School of Rudimental peggios may be practiced. They will lend tympani players were the men who stood leased soul was wafted to the pure sound drummer he will know how to spare him¬ logical contents it had ever needed—with “To the opera-librettist, who had erst¬ Drumming is that correct school. This is Legend up at the back of the stage and supplied of muted trumpets.” self by letting the sticks rebound to the variety and interest to your practice peri¬ Walk! narcotizing Melody. Entirely unconcerned while sweated blood beneath the self-willed noise when the music demanded a stirring This same orchestra appeared at Or¬ not a certain method; it is a development proper height, making a comparatively ods, instead of monotonous repetition of Mefisto ... for Form, just because he left it altogether orderings of the dramatic composer, he Spinning-g SSong.from the "Fly- hullabaloo. I thought of this fanatical chestra Hall, Chicago, last February. of fundamentals called “Rudiments” that open roll, double forte, and will still have the same form. —„ Dutchman,” Wagner. undisturbed, he turned his whole genius said, ’Friend, you may put your nightcap rhythm dispenser yesterday as I sat listen¬ There were four men in the percussion, were first used in England and further de¬ sufficient strength to make a crescendo in ) Major triads A . . The Two Larks. to the invention of the most amusing on. I have really no more use for you.’ '• • in A minor. ing to Strauss’s ‘Death and Transfigura¬ section. One played cymbals only, and veloped in America years ago. There are the last measures to a fortissimo. By so ) Minor triads ind their inversions...... ,,,,ring. hocus-pocus for execution within these Who so obliged for such release from sour, ) Dominant 7ths faaa tion’ at the Philharmonic concert in Car¬ those in but one number. This was the twenty-six standard rudiments. Some of doing he will stimulate the entire band to j) Diminished 7ths)7. . Mendelssohn . Variations Serieuses. forms. thankless toil as the opera-poet?” Prelude in E minor. negie Hall, and wondered what kind of a tone poem, “Les Preludes,” of Liszt. In the drum instructors are now based on greater efforts in making the final closing ) Employ various acre] Song Without Words, No. 4G. . “To the singers erstwhile forced to study Nevertheless, whatever Ro-sini may have ) Variety of rhythms. story Huneker would have fashioned the finale of this number about eight these twenty-six rudiments and methods of climax. ) Contrary motion. Serenata e Allegro Giojoso. the dramatic expression of a wearisome said of Wagner or Wagner of Rossini, Etude, Op. 104. No. 1. around Mr. Toscanini’s tympani player, for crashes for cymbals had been interpolated. that kind are considered correct. Every conductor will insist upon a cres¬ ) Crossed hands, for independence. „ Concerto in D Minor. and nothing-saying text, he said, ‘Do what¬ “The Rarber of Seville” and “Tristan and ) Various touches. Rubinstein. .. Etude in C major. this young man was actually doing what These were so effective that one of There have, however, especially during cendo at the finale of that overture and ) Degrees of dynamics, mf, fff, pp. ever you please with the words; only, Isolde" still endure! the fictitious hero imagined he was doing. Chicago’s leading music critics allotted a the past fifteen to twenty years, appeared a will naturally turn to the percussion sec¬ “He was, of course, only doing Mr. full paragraph to the effective work of the number of home-made systems, so-called tion for it. They are the leaders in shading Etude in C major “short cuts,” “quick”' ways to learn to play of that kind. If the crescendo is correctly These charming arpeggios, given below Toscanini's bidding, like the rest of his cymbal player—nearly the same amount of and specialties on certain types of playing. executed from the percussion section the in part, are to be played in at least three colleagues; but, carrying out his orders as space as was awarded the eminent con¬ Police! Police! It is quite natural that in this progressive band will naturally follow and the leader octaves and through all of the keys. After Concerto in D major. beautifully as he did, I was made aware ductor. ..Etude Melodique. for the first time that drum playing was age we should look for short cuts or better will know that the drummer is correctly going through those given below, start "Telegraph orders from the Minister affirmative, “politely requested him to ..Concerto in A-fiat major. an art and that this Philharmonic drum¬ Why a Cymbalist Crashed into means of doing certain things, but when schooled. another set beginning on D, then a set be¬ of the Household to His Majesty the dress, pack his belongings, and follow him mer held a goodly portion of the fate of Recognition this method is applied to music, it becomes If, on the other hand, the drummer has ginning on E, and so on; or they may ad¬ Czar: To all chiefs of police in Finland: to the railroad station. rather dangerous. We must be very care¬ Strauss’s tone poem in his padded ham¬ HAT FACT brought about consider¬ disregarded the Rudimental Roll for the vance in chromatic order. hunt up at once and find His Majesty’s “Davidoff had no idea what it was all T ful not to lose sight of the fundamental SELF-TEST QUESTIONS ON MR. mers. It was not difficult to appraise this able discussion among the musicians so-called “press” roll or “buzz” roll, which soloist, Charles Davidoff, and return him about, but, being a loyal subject of his principles, and that is just exactly what FAIRCHILD’S ARTICLE young man’s contribution, for ‘Death and of the city. One prominent conductor is effected by rapidly alternating the stick immediately per special train to Peter- Czarinian Majesty he calmly these new home-made methods have done. and by using considerable pressure, the roll Transfiguration’ is a musical, story based wanted to know just why it so happened 1. Who invented the “Alberti Bass," liof.’ ” paid his hotel bill and followed his guide. The result is that a drummer makes cer¬ unequivocally upon a poetic program. that the cymbal player was so effective and will then sound buzzy and, of course, quite and about when was it invented? At the railroad station the chief of police tain, quick head-way, but only up to a Knowing the program it was easy enough by what means he had excelled over others close. It will even sound like a good roll, 2. Which composers made especially Auer’s “My Long Life in Music.” ai ushered him into a waiting-room for first- limited point. Beyond this point it is to fit the music to it step by step. who had come to Chicago with various but with only a limited degree of force. If effective use of it and its derivatives? gives a hint of what a ’cellist might hai class passengers, and took leave, putting almost impossible for him to proceed. He large orchestras. The writer hailed this such a drummer enters into a 49 measure 3. How are arpeggios rated as to expected in once royal Russia. Auer tel him in charge of a gendarme with orders will never really become a finished per¬ l.h. At the Sign of the Tympanist inquiry with great delight, for at last it roll, with a crescendo at the end of it, he beauty to the ear and for value in technical us that Rubinstein burst into laughti cussionist no matter what instruments he not to leave him alone for a -ingle minute. seemed conductors were willing to probe will fail because he depends upon pressing achievements? when Davidoff, “very pale and perturbed U'-plTE ORCHESTRA first speaks in may be called upon to play in that section. More and more astonished. Davidoff never¬ into the mysteries of the percussion sec¬ to get more volume, and mere pressing will 4. What are some of the benefits de¬ was brought to the Palace and told h theless resigned himself and took a nap A hushed tones of a dying man, but He will, of course, pick up routine as he choke the tone. While exerting himself rived from slow practice? story. He was making a concert toi the young tympanist struck a furious blow tion. . from which he was roused toward nine In large orchestras, of course, the im¬ goes along; he will be able to read the more he will produce less. The harder he and was at Viborg when “asleep in h on his drum, as if the dying man had sud¬ music and make his entrance in the proper 5. Outline some exercises valuable in o’clock by the chief of police who told him portance of the tympanist is well known works (or presses) the less volume will he room at the hotel he was awakened at fh denly started up out of his desperate place and at the proper time, also with the developing flexibility of the thumb. that a special train would be ready to take and he is indeed considered a first-chair obtain. For motion alone will not bring o’clock in the morning by a knocking at tl him to St. Petersburg within half an lethargy into the full consciousness of his proper degree of the proper results. He is not a rudimental door.” impending doom. The entire orchestra , But i force; but only the hour.” he is sometimes drummer. “Stic\” to Harmony Two persons entered, we learned tl Thus Davidoff was hauled half way takes up his wild despair, but when this correctly schooled porter of the hotel and the Viborg poll is spent he sinks back upon his pillow looked upon as the across Russia under guard for a reason percussionist can By Oscar Deis chief, “holding a lantern in his hands fifth wheel on the The “Modernistic” Manner he never knew until Rubinstein himself ex¬ until the hard, dry blows of the drummer, play in a way that is The officer asked the ’cellist if he we like repeated shocks of pain, proclaim that wagon. outstanding and will HIS EXPLAINS only one of the Ru¬ Harmony study should keep pace with plained. The Czar wanted him to p’ay at T I Diminished I Charles Davidoff, and, receiving a tim the struggle is on again. The drum beats Just a few cymbal diments. Recently it was my privilege the other studies. It should never lag a state function. be noticed by critics, diminish in an almost mathematical de¬ beats seem quite sim¬ to hear a school band contest. One of the behind. Yet is there any branch of music as was the case in crescendo, but their quality is the same. ple, but the experi¬ bands played exceptionally well. But when study that is more neglected? Is there this instance. Like one drowning, the stricken man is ence of the player a Sousa march was picked the two snare any branch that is more necessary? Let ~ j. j. ue rn i vouchsafed a fleeting review of his past that is in back of the The Rudimental drummers in the band played jazz for a us not deceive ourselves. Either we qual¬ y Mendelssohn life and beholds again his youth, with its few beats is a differ¬ Roll “fare-you-well” as if they were in a five- ify as musicians or we do not. ent matter. To play Poetry is not comfnonly found in this buoyancy and strength; but again and AKE. FOR ex¬ piece jazz band—not in unison but each as How can we know what note to em¬ “Let a man write as he will, cymbals correctly T department but when the poet happens to again the horrid drum recalls him to the ample, the snare he pleased. This was entirely contrary to phasize in a suspension if we do not Critics snarl and bite; and get the best ef¬ be Mendelssohn lt is time to make an dreadful present, until the death agony is drum, which is the the general rhythm of the composition, a know what a suspension Is, what the chord Therefore let him please himself fect out of them re¬ After you have thoroughly mastered the exception. I„ “Children in Music,” a little upon him and the blows of the tympanist basic instrument of march in 6-8 time. tones are and what notes are foreign? quires a correctly various ways of playing the arpeggios as book by Louis C. Elson, we are told that Then he’ll be all right.” become velvety and soothing as the com¬ the percussionist, no This march contained a drum solo. When We must know intervals to ascertain tl]e schooled drummer. given in the preceding paragraphs I would an opera Camacho’s Wedding” which passionate vapors of dissolution gather matter what he takes it was reached they of course played in purity of their intonation. We must be. Mendelssohn wrote m his youth failed to When that is men¬ unison but each gave his own version of advise the student to choose arpeggio pas¬ able to tell a major from a minor and a Mendelssohn wrote that when he was about him and the lowest tones of the up later on. The sages directly from pieces which he is prac¬ please the cr.tics. Mendelssohn retaliated orchestra sound the profound interval be¬ tioned, the question the passage. Upon being asked afterwards third from a fifth. Learning the art of sore.” There probably never was a com¬ first and principal ticing. Following is a list of compositions verses• ^ CntlC1Sm6 with the following tween death and transfiguration. of, “Well, what is rudiment is the Long why they did not play the Sousa Drum keeping time and playing in perfect har¬ poser whom critics felt safer in praising, the correct drum part as it was written they answered that containing interesting arpeggio passages. “Hearing the Philharmonic’s tympanist Roll, sometimes re¬ mony with others is impossible if we have and many of them fairly worshipped him. school?” comes up. their style of playing was modern whereas Teachers will find this list especially val¬ “If the composition’s long yesterday was like keeping one’s ear to the ferred to as the Da- not made an earnest study of the science A perfectly fair the present-day marches are written in an uable in choosing such material for their Mendelssohn was over-rated in his da>> heart of Strauss’s hero. Each blow, each Da, Ma-Ma. That, of music. Shall we know definitely what Then their yawns they’re stifling- question and one old-fashioned style. To he sure they were students. we are doing or merely guess? If you try to make it short, and has been under-rated since. Perhaps tap and each roll on his drums had its of course, will seem Beethoven ... .Sonata in A major, Op. 2, No. which the present school boys and both were remarkably Then they call it ‘trifling.’’ if the critics had dealt a little more sharply special significance. But at the end of the quite difficult and is The foundation of musicianship lies in article attempts to bright for their years. But, probably not Brahms. the knowledge of our subject. We are with him he might have done better. piece, at the very moment when the glory the hardest of all the CHoriN. “H the work is plain and clear answer. having the advantages of rudimental in¬ Etude, Op. 25, No. 5. thorough musicians only to the extent that Or perhaps they might have frightened of immortality is blazoned forth from rudiments. The stu¬ then its childish stuff; There is only one structions, they had learned by Observing Etude, Op. 25, No. 12. we know and understand the theory of him from composing altogether. Aftef triumphant fiddles and brasses, the impas¬ dent will soon look Etude, Op. 10, No. 8. H it should be more complex, sioned drummer paved the way for the correct way of learn¬ (Continued on Page 553) Etude, Op. 10, No. 12. all, he didn’t write any more operas aftcr A CARICATURE OF LISZT CONDUCTING for short cuts and Then they call it tough. shattering vision by accumulating a frenzy ing to play drums “Camacho’s Wedding!” JULY 1928 Page 528 THE etude i5he Teachers’ Round Table DEPARTMENT I: (Conducted by Prof. Clarence G. Hamilton, M. A. TECHNICAL PROBLEMS PER' PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE THEORY, HISTORY, ETC-, ALL LONG TO THE “QUESTIONS AND ANSWERS DEPART' “Listen to that!” After imposing this WHAT IS a musician? able to tell just why I used i Is he a person primarily interested stilted, formal instruction on many groups still considerably curved, in playing posi¬ measures, while in others * of children without any good effect, and, However, this is about all I have in preaching the gospel of relaxed What We Mean by ‘Music tion oh the keyboard and then raise and ^leaned from any Instruction book or jaw, tongue and lips, facile fingers or arm without doubt, much evil effect, we have lower the wrist as far as possible, keeping music magazine. finally awakened to the fact that the prin¬ I have now a class of pupils in the weiglit ? the fingers firm. first three grades. I never allow In modern editions, there is, fortunately, Is he a person wholly absorbed in dates ciples of modern education must be ap¬ A Question of Interpretation Now, starting with level wrist, let him them to use the pedals until they a tendency to insert accurate pedal mark¬ „Appreciation are playing two-and-a-half or third- and facts concerning music ? plied to music teaching if we expect that drive down each finger in turn with a grade pieces. There nresoincwho ings. With these markings as aids, and with instruction to function. Surely music, the language of the emo¬ school,a aPcompositiou called “S<*er- sharp staccato. The finger should be kept have not as much natural ability as the principles in mind that are formulated By Mabelle Glenn well curved, and with each stroke the wrist tile others and who would get no¬ tions, is not the exclusive possession of We are reminded of an incident in the to" was the trial piece. Nearly all where if merely told to listen, with¬ above, you should be prepared for most of (DIRECTOR OF MUSIC, KANSAS CITY, MISSOURI) of the chords in this picce were should jump up about an inch (hand the ordinary uses of the pedals. As with technicians and historians but belongs to all home of a friend where a small child had marked PVP, and every one of the out some rules to go by. What AND touch). This staccato effect may then be would you suggest?—M. L. M. every other item of interpretation, how¬ those who have grown to feel the inward entered school under a teacher of the old contestants played 'lo'in f. . type. After the first day of school, the should they .interpret them thus? I applied to all kinds of exercises, such as ever, your own artistic sense must be the satisfaction which comes with sensitiveness think it ruined the piece, in an Let us first consider the right, or dam¬ Margaret Lowry mother asked the child what lie had learned. other instance, broken chords, were the following: final arbiter in exceptional cases. to beauty in music. Children with their per pedal to which you especially refer. (EDUCATIONAL DIRECTOR WITH THE KANSAS CITY SYMPHONY ORCHESTRA The child said he had learned nothing, but, given that were to he played in the For the use of the pedal in the earlier wealth of imagination and spontaneity are regular tempo, which was marked Your teacher was wise in advising re¬ ASSOCIATION). when the mother insisted, the child an¬ slow and majestic; ,» grades, I suggest' Pedal Book by J. M. potential musicians though they may never with them, be¬ 1 l \ ; \ \ straint in its use, since the effect of a perience. Too often the object of the factor in school as a psychological pick- swered, “Well, we don’t do anything! We piece may otherwise be totally ruined. Blose. be authorities on dates and will seldom de¬ slowly teacher seems to be to make the child “ex- axe.” just sit in perdition all day." A child learns ll they Someone has said, "The pedal is a good velop more than a limited technical facility. piate for the original sin of being born in It is impossible to create the proper at- by doing and not by “sitting,” and he can servant but a bad master”—an aphorism The nature of a child is closer to the honesty T didn't think that a player rauiu Importance of Fingering ignorance,” and to this end she begins to mosphere unless the presentation and ma- not get from music any mm. than he gives which is proved by the pedal’s frequent and simplicity of Bach and the inspiration “inform and instruct.” The most that the teriai are perfectly suited to the needs of to it of his energy and enthusiasm. misuse. , , I have a very talented pupil who of Schubert than is the nature of a man teacher can do is to create the proper at- the child at each particular stage of his While much quiet attention is desired, the contest! How was that^ p One difficulty arises from the fact that ia nine years old and just a begin¬ who has buried his vision in a pile of dusty ner. She is Impatient in reading mosphere and to lead the child to sense the development. There is no place in the this should .be developed through music compositions of different epochs and com¬ her music and pays no attention books. We are not decrying scholarship if spirit of music. The necessity of proper plan of modern education for “pouring in” which communicates a quiet mood. In the A performer has no real right to change Anything of a running nature, such as posers demand quite different kinds of whatsoever to her fingering, because 11 it goes hand in hand with a love for music she has such a sharp ear and plays atmosphere is illustrated by the story told information, and with little children such primary grades, why should a child sit the expression which is definitely marked velocity .Studies, may be practiced with treatment. Through the time of Bach and many familiar tunes without ever itself, but facts, after all, play but a small by Dr. Winship. “In midwinter, 1925, New “forcible feeding” is inexcusable. quietly and listen to a soldiers' march or a by the composer any more than he has the this touch, until the pupil obtains full con¬ Handel, for instance, the claviers had no having seen the music. part in creating joy and love of music. Would you advise such a pupil not York City had three heavy snow storms In music, information is of almost no fairies' dance when he longs to be a soldier rio-ht to alter melodies, chords or rhythms, trol over the finger action. Let such prac¬ pedals at all in the modern sense; and up to play by ear at all, or allow her Beautiful music presented, not through the in quick succession and there was no at- importance to the young child. He has or a fairy himself? It is easy for the if he does so, he is misinterpreting the tice, moreover, be conducted at first with to the year 18C0, the pedal was used but to go on playing at random and then letter but the spirit, may make of the child tempt made to keep any but the much- within himself an unlimited store of teacher to he a policeman, getting perfect piece. Many virtuoso performers, however, the separate hands, so that the pupil’s en¬ slightly. With Beethoven and the follow¬ pupil i. rould a musician in the larger sense of the word. used side streets clear, so that when the beauty, and music offers him possibly the order and seeming attention, but the ex¬ sometimes arbitrarily alter the prescribed tire attention may be focused on the con¬ ing romanticists, the pedal gradually grew uracy in fingerii The wide-spread effort to bring music storm ceased the ice was packed so hard simplest and greatest opportunity for ex- perienced teacher knows that it is impos¬ fortes and pianos, as well as other items, dition of his fingers and wrist. in importance, so that the works of such and children together goes at present under tbat it had to be cleaned up with pick-axes pression. For that reason music should not sible for a little child to give real atten¬ in the attempt to produce more telling When it seems safe for him to speed up masters as Schumann and Chopin cannot the name of “music appreciation,” a phrase by day laborers, requiring three weeks and have a formal wall built around it to shut tion when the music is a thing which does effects. I have heard reputable pianists, for properly be rendered without it. or to play legato, let him advance by easy “As the twig is bent, so is the tree in¬ which is being fluently flung from lips with costing $3,500,000. If New York could out the little child from spontaneous re- not pertain to himself. instance, play the third part of Chopin’s Bearing these facts in mind, you are stages, going only as fast as he can easily clined.” Whatever wrong habits this little thought for the real meaning of the have had the atmosphere we had a little sponse. Funeral March (which is a repetition of prepared to carry out the following sug¬ proceed, while preserving the same firm¬ young pupil cultivates now will stick to her term. Much excellent work is being done later in Louisiana the ice would have dis- In the beginning of our teaching of lis the first part) by beginning very loud and gestions: Opportunities for Participation ness Of finger and looseness of wrist. in the future and will be overcome only but many honest efforts are going astray appeared in a few hours at slight cost, tening all of us have been guilty “of seat- gradually softening the tone to a final 1. The pedal should be released when¬ A LL EDUCATIONAL experts agree by the greatest difficulty. through lack of understanding. There is a magic power in the atmosphere ing children in straight rows with folded pianissimo—exactly contrary to Chopin’s ever there is a change of harmony. that the primary child i- interested in Four factors lie at the foundation of Tagore has said, “We rob the child of in learning and living and that is as vital a hands and saying, “Listen to this!” and directions. Materials for Various Pupils 2. The pedal should also be released activity alone, and lie learns primarily piano playing: notes, rhythm, technic and his earth to teach him geography, of lan¬ But it is not wise or commendable for whenever two or more melody notes would through activity. A little child is not in¬ fingering. Of these, the first two are guage to teach him grammar.” So, in young pianists to take such liberties, and otherwise clash or be lacking in clearness. terested in the appearance or sound of an reeouimeuu vui a ' music, children, hungry for bread, are too it seems unfortunate for one who does so studied the violin for about five But observe that the pedal may be em¬ the most obvious; but without the correct instrument unless he is going to have a years and now wishes to devotel Her often given the stones of chronological to win a contest, such as you describe. The ployed more freely when such notes are motions of arm, hand and fingers, touch facts and dates. A boy who was just chance to play it. The appeal of a song habit of gradually playing faster and ti*2? I°bave 'difficulty wlth^nnother in the higher register, say, above c3 and tone are completely at sea, and with¬ awakening to the charm of music and was is the fact that he is to sing it. It is his faster, too, is a common fault among ama¬ out logical fingering, surety in handling a « rather 'stow.1'' What method or hooks Ex.l seeking it to the extent of giving up pic¬ own and he does not need to hear a trained teurs. There is' shown a lack of proper piece of music is equally impossible. Let adult sing it from a' sound-reproducing girl3 of fourteen has studied ture shows in order to buy the record of attention to rhythm when it is thus twisted for five years. Stic has had nothing us therefore regard all four of these fac¬ record. Schubert’s Unfinished Symphony, entered askew. Such misinterpretation of a com¬ but ten volumes of KOhler and knows tors as of equal importance in the child’s Because in the primary grades a child ex¬ nothing of scales, sonatinas, poly¬ a junior high school class with great en¬ position, while it may occasionally “catch phonic music or theory. What would musical education, since if any one of them thusiasm. On the first day each pupil in presses himself without self-consciousness, the crowd,” tends to lead the performer you advise?—A. N. X. 3. Except in very quick tempo, the pedal is neglected her playing will become in¬ it is the one and only time to train him accurate and therefore unsatisfactory. the class was required to write ISO G clef into dangerous and upsetting habits. All these pupils would be benefited by should always be depressed directly after rhythmically. Rhythm cannot be explained; Teach her to read the fingering just as signs; on the second, each child had to com¬ studying the Mathews’ Graded Course of the note or chord is sounded, which it is to plete ISO F clef signs, and on the third day it must be felt. The feeling for rhythm can she reads notes, time or expression marks Studies (ten books)' in which the various sustain. This precaution prevents catch¬ the lesson was given over to the history of be developed only through bodily response. Floppy Fingers and have her work slowly enough so that types of music are treated in natural order. ing the previous note and thus hearing it the staff. At the close of the third day, the Any teacher of experience knows that if a all such marks receive due attention. If Each pupil should of course, start with the in a chord to which it does not belong. As one remark of this very musical boy was, child deficient in rhythm reaches the fourth she habitually disregards the fingering cises !'to° strengthen the first joints particular book which represents her stage an exercise for this purpose, the following “You bet if I ever get out of this music grade without having had opportunity to of the fingers, especially^of have her read the finger numbers out loud of advancement. Since you do not specify is recommended: class, I’ll never get into another!” develop rhythmically he will never be able when practicing and also mark them over her of pupils who have had no atten¬ just what this stage is, you will have to Recently we attended a music apprecia¬ to enjoy thoroughly the rhythmic appeal tion whatever paid to their hand po¬ with a pencil. sition. and, as a result, play on the judge for yourself where she belongs. tion demonstration lesson given before a of music. In assigning a new piece or portion of As to pupil No. 2, it is much better for group of music pedagogues. The subject Too many teachers think that beating If there a piece see that the fingering is notated to s for this her to read slowly and accurately than to of the lesson was “The Polonaise.” We time with one finger constitutes rhythmic the best advantage. If changes are desir¬ scamper over the notes hit-or-miss. Try discovered this when two pupils read training. But unless the child becomes one able, to secure better hand positions or to playing duets with her—a practice which lengthy papers couched in the language of with the music in its pulse and swing, he adapt the fingering to the individual pupil, ought to increase her alertness for the Grove’s Dictionary. In these papers the has not sensed rhythm. It is scarcely pos- make these revisions before she starts to origin of the polonaise, the meaning of the Although the notes in the above exercise sibte to spend too much time in properly One of the chief technical problems in practice the new piece. Also, where pas¬ name and the rhythm were discussed at are all played by the same finger, they are directed rhythmic training in the lower piano playing is how to correlate a loose made legato by depressing the pedal on the sages are unfingered, either insert the fin¬ length. But alas, the recitation period was grades. wrist with firm fingers. If the wrist is Use of the Pedals second beat of each measure and releasing gering yourself, or, better still, get her to over before the class had time to hear a Now some primary teacher may be sav- decide upon it and write it in. single strain of a polonaise 1 perfectly relaxed, the fingers tend to relax [ would like si it exactly as the next note is sounded. ^ ‘My third-grade children can name also, so that they flop around on the keys f the Now for the soft pedal. Observe that, The ability to “play by ear” is undoubt¬ all the instruments of a symphony orches¬ as you describe. On the other hand, if piano. Since the pv™. - in the grand piano, this pedal not only soft¬ edly indicative of musical talent; but un¬ Experience First mutant a part in playing. I have tra, and they enjoy naming them.” Our the fingers are held with the proper firm¬ often wondered why there is so very ens the tone but also gives it a different, less this talent is properly directed and re¬ ' I ' HESE TWO stories would be amusing answer is, “What connection has the nam- ness, the wrist tends to be correspondingly little, if any, mention made of it in more ethereal quality. Hence the pedal strained it may lead into a quagmire of , ■* if they were not true and if they did mg of instruments with the young child s stiff. teacher, _ who ' should be used discriminatingly and only errors. I have had pupils come to me so imagination and love 0f rhythmic motion?” borough ii... . /erything else, said. “I encrusted with careless habits that their not represent one very widespread tendency First and foremost, however, should would advise using the pedal too lit- when a contrast of tonal color is desirable. in the teaching of so-called “music appre¬ Naming instruments at this time is not a come the loose wrist. Have the pupil relax Since vou It would be unwise to use it at every pia- prospects of becoming a really competent musical experience and resembles the “pain¬ pianist were hopeless. Let your pupil, ciation.” “Music appreciation” is the ex¬ his hand from the wrist, so that the vou will learn to use it correctly by missimo mark. Conversely, it may occa¬ fully acquired and easily forgotten tricks of therefore, restrain her natural impulses perience of the beautiful to be gained only MABELLE GLENN hand hangs down in free air. While doing 'careful listening." sionally be used throughout an entire sec¬ by contact with beautiful music. Informa¬ a trained animal.” “We never can make so, let him pull the fingers gradually in¬ rerhaps this was well enough in while practicing, until she has learned to Newly Elected President of the Music Supervisors' , my own case, for she knew that I tion which contains p or even mf effects, tion should come as a by-product of ex- anything our own except that which is ward, taking care that no stiffness arises would apply, what she said yet 1 direct them into the proper channels. Conference of the United States. Rational as well as in the softest passages. truly related t0 us.” in the wrist. Now let him place the fingers, was not satisfied. I wanted to be L (Continued on Page 547) JULY 1928 Page 525 TSP ETUDE CLASSIC, MODERN AND CONTEMPORARY MASTER WORKS Page 52h JULY 1928 A c.Misunderstood Sign next following chord is about to sound, Haydn and Prince Esterhazy that is, when the hand is at the point of By Ben Venuto attacking it. ”,h ”vt TA a Sa«°copic Pupils who have been taught the “elas. By Mary M. Pleasants A higb-class drawing-room number. A study in the T A DA A TVTH 4. When playing in the upper part of tic staccato” touch (in itself a good thing" The social position that musicians held the piano the pedal may be more freely singing tone, witkrippling accompaniment. Grade 4. Lxl DENIS DUPRE in earlier days is summed up clearly in and specially useful to give brilliance to used than when playing in the lower part, k*v. the unbearable “Music and Morals," by H. R. Haweis, VlS. 'th/U forcible staccato passages) often, get a Andante m.m. 4=83 as the mingling of the high tones, even habit of holding down the damper ljedal when he speaks of Joseph Haydn’s en¬ when playing scales, is not disagreeable false idea of the meaning of the little while practicing scales. The surprising staccato-dots, when used in connection with gagement as “Capellmeister” in Prince to the ear. Esterhazy’s court: 5. When the pedal is indicated to be feature of this procedure is that.theLfP phrasing signs. The writer recently had a pear to be extremely happy while doing “In 1759, at the age of twenty-eight, held when bass tones are intermingled, it pupil who seemed bent on accepting the so. Nothing but lack of ear-training can Haydn composed his first symphony and is evident that the composer aimed at pro¬ following phrase explain this tendency. thus struck the second key-note of his ducing noise instead of music. Pieces with Ex. 1 originality. . . . Soon after his first sym-, Andante phony he had the good fortune to attract the attention of a man whose family has since become intimately associated with |lj 1M O~B0 musical genius in Germany: this was old in this manner. Prince Esterhazy. Ex. 3 “ ‘What! you don’t mean to say that little blackamoor’ (alluding to Haydn’s brown complexion and small stature) ‘com¬ posed that symphony?’ “‘Surely, prince!’ replied the director whereas its true rendering is (approxi¬ Friedburg, beckoning to Joseph Haydn, mately) who advanced toward the -orchestra. “ ‘Little. Moor,’ says the old gentleman, Ex. 3 ‘you shall enter my service. I am Prince Esterhazy. What’s your name?’ “‘Haydn.’ “‘Ah! I’ve heard of you. Get along, and After simple explanation had proved dress yourself like a Capellmeister. Clap unavailing, I was silent a moment and on a new coat, and mind your • wig is then asked her suddenly to pronounce her curled. You’re too short; you shall havp first name. red heels; but they shall be high, that “Mary,” said she. your stature may correspond with your “Do you ever pronoumv it Ma-RY?” I “We may not approve of the old prince’s asked. tone, but in those days musicians were not She replied somewhat indignantly in the the confidential advisors of kings. . . .'but , negative. only ‘poor devils,’ like Haydn.’’ "Well,” said I, “these little phrases are accented just like ycur own name.” The hint proved sufficient. Pedal Pointers There are, of course, certain cases in By Charles Knetzger which the closing note ■ i a phrase may proptrly be played with an elastic staccato The principal use of the damper pedal is to prolong tones after the fingers have touch, exactly like certain ones among the been removed from the keys. Without exercises in the first l>o<>k of Mason’s it much of our music would sound choppy Touch and Technic; hut they are some¬ and disconnected. Low bass tones can, by what rare, occurring only when the final means of the pedal, be kept sounding until note of the slur falls on an accented beat they blend with the chord to which they of the measure and tin passage is of a belong. strongly accentuated character, as, for in¬ The pedal is also useful in blending tones stance of different pitch by reinforcing harmonics or overtones. Without it many beaut'iful, melodies could not be effectively rendered, for, while the fingers were executing em¬ bellishments, trills, arpeggios and the like, the melody tones would cease to sing. Even where the end of a slur falls on an Although the pedal, when rightly man¬ accented beat, if the music is of a smooth aged, is one of the greatest aids to the and flowing character, elastic staccato performer, its indiscreet use constitutes would be wholly out of place, as for in¬ one of the worst defects of amateur play¬ stance in this example ing. If the student will bear in mind a few simple rules he will soon cease to tor¬ Ex. 5 ment his audience with atrocious pedaling. 1. Never hold down the pedal between chords based on different degrees of the scale: from the Andante of Mozart’s “G minor Symphony.” Packing Tour ^Musical 75run\ By Alice Horan McEneny BARRIE’S IMMORTAL “PETER PAN,” A DELIGHTFUL MUSICAL ELF WHICH IS A GREAT Suppose you would strike together, g, Your hour of practice is like a trunk. c, e, f: FAVORITE WITH CHILDREN IN A LONDON PARK The value of it depends upon the articles Ex. 2 packed therein. Many students fill these trunks with laziness, carelessness and in" attention—leaving themselves without go°“ things stored up to benefit and enrich Hand Watching and Its Qure future days. Others, more provident, pack What an unbearable discord they would By Gladys M. Stein away each day effort, accuracy and con¬ produce! Yet this is exactly what the centration, knowing that the time will come careless player does when he holds the Hand-watching while playing is the in this way the punil's vision of ,p , when the contents of the trunk will amply pedal between two simple chords as the fault of many young pupils. To cure board is "entirely obstmcS ut has reward them with artistic and materia C and the F chords of Ex. 1. this it is a good idea to cut a slit m the to find the right keys by feeling along the success. 2. The foot takes the pedal a little after center of a large newspaper and slip the keyboard and learn to measure “ the fingers have taken the chord. In this pupil’s head through the hole. One end without looking at his hands ThP “i? way harmonics are added to the original of the paper is pushed under the music proves to be great fun for thP ^<7°^ "My heart which is full to overflowing Copyright MCMXXYI by A. Hammond * Co. chord. rack of the piano and the other left to soon cures him of” the bin/ ^-nd has often been solaced and refreshed by Other Music Sections in this issue on pages 501, 533, 5bl 3. The foot releases the pedal when, the hang down the back of the pupil. Placed habit. and-watchmg music, when sick and weary.”—^artiN Luther. u JULY 1928 ’ Page 527 THE ETUDjj> the ETUDE Page 526 JULY 1928 A famous Prelude. The right hiind SLUMBEK SONG BERCEUSE sings beneath the left hand. Grade 5 STEPHEN HELLER, Op. 81, No. 15 WHiteH hv T.PHTLTPP THE ETUde JULY 1928 Page 529 Copyright MCMXVII by Keith, Prowse & Co; Ltd. JULY 1928 Page 531 TEE ETUDE tse ETUDE Oriental music, wonderfully idealized. HYMN TO THE SUN Transcribed by W. P. MERO FR0M THE OPERA “THE GOLDEN COCKEREL” Moderato m. m. J= 108 N. RIMSKY-KORSAKOW *^T~ K Copyright 1926 by Theodore Presser Co. JULY 1928 Page 533 Page 532 JULY 1928 TSS ETUDE fgE ETUDE In classic vein, displaying the composer’s ARABESQUE OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES predilection for the organ style. Grade 3 PAUL WACHS Quasi allegretto m.m. J = ios JESUS LOVER OP MY SOUL CHAS. WESLEY SACRED DUET FOR SOPRANO AND ALTO GEO. N. ROCKWELL ModeratoM.M.J t While the near-er wa - ters roll, While the teni Pest slr_ is high!- Leave, ah! leave me not- a- lone, Still sup - port— and com _ fort me— Copyright 1919 by, E. Weiller Other Music Sections in this issue on pages, 501, 525, Copyright MDCCCICYII by George N. Rockwell JULY 1928 Page 535 Page 534 JULY 1928 the ETUDE ? etude poco rit. ceive, my 11 . . , shad - ow The shad-ow of Thy wing^ wing, The s°ul —?- re ' ceive my soul at last. FREDERICK H. MARTENS roseby" the way JOHN OPENSHAW Moderato Tiln"f W® f*e Part-ed by riv - er and sea, Though your bright sun-light is star-light to me, * “t 01 the dis-tance, the thou-sands of miles? Star-light or sun-light, if love-light just smiles, Love with its mag- ic our hearts al- ways draws Clos - er to - geth- er, my dear-est, be - cause.- The Joy’s ten-der mo-ment has nev - er a - pause, Though we are part-ed, my dear- est, be - cause: path that I fol - low, where - ev - er I roam, Be - side it there blos-soms Copyright 1928 by Theodore Presser Co. British Copyright secured * From The, Rose /^published by Thomas B. Mosher S"'' British Copyright secured CoPyright 1928 by Theodore Presser Co. JULY i928 Page 537 Page 536 JULY 1928 tee STTjm tee ETUDE THE CAMEL TRAIN THE CAMEL TRAIN A very characteristic number; easy, buteffective. PRIMO WILLIAM BAINES SECONDO Tempo di Marcia m.m. J=ios Tempo di Marcia m.m. J = ios WILLIAM BAINES 5 '^ir Increase in tone gradually Copyright 1928 by Theodore Preseer Co. ^ From here go back to Trici, and play to Fine otTrio; then go back to jjj, back to Trio, and play to Fine of Trio; then go back to g, and play to Fir,a. From here-go and play toy'll. Bjritigll secured JULY 1928 Page 539 THp STUD# Page 538 JULY 1928 tub etude A sterling Postlnde or Processional. !( SSwell:weJ J: Full to Gt. FESTIVAL MARCH Registration GEORGE WM. ARMSTRONG Ped. 16'& 8'to Sw.,Gt.& Ch. Maestoso m.m. J=96 Manual Pedal 0~££== * Hh j4T , H """ , r4? -v- 3 * Sw. TT1I flt^ f iff l j -H_Frrj •Gt.'fuir r . »r f f ■frjg-Lg —V- ~— Off Gt.to Ped. Off Sw. & Gt.to Ped. Reduce Ped.to ntf 16'A 8' Copyright 1927 by Theodore Presser Co. British Copyright secured Reduce Sw. to Trumpet &8' Diap- British Copyright secured Copyright 1925 by Theodore Presser Co. JULY 1928 Page 541 THE etude Educational Study J\[otes on Music in ^5his Etude By Edgar Alden Barrell keep them so—being careful, of course, to avoid Birds, Bees and Butterflies, by Frank L. any stiffness or tension. . , , , Eyer. This number, rightly taught and played, This title involves what is known as “allitera¬ should clean up any difficulties the pupil may tion ” That word sounds terrifying, perhaps. have regarding slurs and their proper execution. A slight retard should be made in- measures Invitation to Tiano Teachers If you are coming to New York this summer, either to study or just to “sight-see,” a cordial welcome awaits you at the new Aeolian Hall ——mm School for Music Research. tiStt.S'Sss: As a progressive teacher of piano you are natur¬ ally interested in the latest developments in r Sprites, by Frank H. Grey. .AttortS ■fc.t sr«r&s e will be sent on r work of the School. AEOLIAN HALL SCHOOL far MUSIC RESEARCH Aeolian Hall 689 Fifth Avenue .... New York City SHEFTE RAPID COURSE In Modern Piano Playing A RAPID SYSTEM for those who wish to play filpms POPULAR MUSIC in the shortest possible time and also for fonning j;3ir.ss*£K"si an excellent foundation for those who wish to pursue the CLASSICS. Shefte Rapid Course-Vol. 2-Price |1.00 in U. S. A. Over the Garden Wall, by shefte saSas^SSSsL!"u-s-A- an ~ FORSTER MUSIC PUBLISHER, Inc. 318 SOUTH WABASH AVENUE. CHICAGO, ILL. JULY 1928 Page 5^8, Page 5^2 JULY 1928 WE etude the etude Consonants Should be Sung—7N[ot touched By Wilbur A. Skiles [EDW.B. MARKS CO. “Consonants should be made by re¬ acquisition is mastered, but, should one taining the breath or the voice behind some attempt to sing with an unbalanced larynx, . Publishers of more than 10,000 compositions, including world-famous Edited for July by ts of the mouth, the lips held firmly the result is fatal to the breathing organ- 1 pieces of every description, offer below selected lists of some of the best- together for an instant, and finally ex¬ known piano and vocal (teaching and concert) selections published by them. « , Eminent Specialists ploding through the obstructing parts. TH REE VOWEL sounds in the Eng¬ be sustained in its own distinctive color The tongue increases the volume and FAMOUS “HALF HOUR” FOLIOS Give Me Thy Heart Lov, ,—„ lish language, at, least, are not ion* and outline, if started right, but not a Consonantal explosions are not made far¬ quality of tones on the immediate con¬ f the World’s Best Composers for the Pia land) (C) .DeKoven IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMENT :h Volume Net, $1.00 Vol. low Worm (F, Eb, C).Lincke ducive to artistic resonance in song, “AH-oo.” Rather as “(uh)-OW-d6" ther back in the mouth than the back lme sonantal articulation, or it can detract oroe to You Ireland (Bb, C, E).. Hewitt the broad AH, the flat A and the “bright” “A VOCALIST’S MAGAZINE, COMPLETE IN ITSELF.” the soft palate, where the tongue meets Am the Way (C, Ed).Strickland * > “How” would give “h(uh)-OW-(66)” from the power of the combustion which I Had a Thousand Livei to B. As normally produced, when untrained, (Hood). “Howl” would be "huh-Oty. the palate in making ‘K’ or ‘G’ (hard).’* takes place behind some parts of the Modern Classic Rep. Vol. 1 Live (Ab, C, Eb, F)...Cohnan they interfere with a perfect vowel blend. (66)1.” “Vow” would give There are many definitions relative to You Were the Op’ning Rose "vith-OWf. mouth, thereby affording a moderate dis¬ (C, B, Eb).Hewitt However, these sounds not only can be (66)” Hood. It will be noted that do, as in the formation of consonants, but this is tinction throughout enunciation. When Kaddlsh of My Ancestry (G).Cherniavsky blended with each other but can also be “hood,” can be used as a vanish c the most logical explanation we have seen. LiT Gal (C, E).Johnson 1 sustained these joints of speech are made merely by Lift Every Voice and Sing (Bb). .Johnson made to blend with the other vowel sounds. i reasonable time without injury to the It is taken from the book, “English Dic¬ (Negro National Anthem) the touch of the tongue, instead of being Chopin. Vol. 1 Attempting to master the diphthong vowels, iwel sound or substance. tion for Singers and Speakers,” by Louis Schumann. __ Shawl of Blue, (Eb. F).Hewitt formed and expressed by the strength (not. My Little Nest of Heavenly before obtaining a blend or cohesion of Arthur Russell . Grieg, Vol. 1 . Blue (C) (Frasquita Serenade) .. . Lehar tone on the vowel sounds, is merely a waste T5he ‘Diphthong Vowels The English U Next, let us try to discover the duties effort) of the tongue muscles, they are not luerida (Bb Minor. C Minor).Doda of both time and effort. The easiest and produced to any audible extent, but only lobin on the Apple Tree (Eb, F)..Hewitt TJ ERE WE have the unimportant sound of the tongue. lose and the Breeze (E).DeKoven in fact the only effective way of mastering From an anatomical standpoint, we con¬ as a slight outline of the normal sounds of Slowly Sinks the Weary Sun By Luzern Huey 11 occurring before instead of after the Chopin, Vol. 2 . (Two Keys) .Levenson the diphthongs is first to master resonant ceive the tongue muscularly related to the the consonants. The vocalist imagines Godard . ’Twas the Rose (G).DeKoven ,u„c, jjRJHJL sustain Vhe Diphthong Vowels Selected List of BEST CHORUS NUMBERS that should be sustained practically through- and placement, while UH and I blend per- aaSSSS diphthong. I„ formine O 5n re*^T*ded *aj h , ® SJ*:C0™es a handlca!’ IIlstfad ot a (Continued from page 542) (for Male Quartette) out the length of the note or notes even fectlv TW is nn kTI.T P shonM Z , lortmng O no 00 sound help. This “raw" or untrained AH, espe- Each Net, 15c * 25c « ..Tellier grantiug that it begins with EH and ends I sound can be sustained, as w^have^ven *" cially as produced in thc back mouth with “(66) w-AU-(uz).” Even UH as the (D” Wtt. the ABiwdJi “ with vanieliinnr a~ a.u. _<• * & c a raised soft palate, low back tongue and Silhouettes . with the vanishing —which them in the preceding examples. sustained sound or “substance” for this (at), or sa . . _ , her(j “ Shades of Night . *Frankliil grant. The Diphthong OW “open throat,” is the very antithesis of the Sleeping Beauty’s .Rhode Take the word “my” as an example— word would be more appropriate than AH. dined to intru e ^ Slowly Sinks the V *Dowr e Husl ’ Bee (With For instance, if we prolong the word m(uh)-I-(ih).” THE DIPHTHONG OW, is not quite refined, resonant, properly focussed AH The word “why” is easily mistreated as as “shee-EH pherd’ nstead of sh EH (Russian Lullaby ) (Comi Sustain the I, using Softly Unawares . (Male) “hay” then add and sustain A, there is no which constant practice in vowel building “(hoo) AH-(e),” instead of “(hoo) perd.” Or '" . should, a sh“-°°d’ (Mixed) perceptible sound of EH, nor of “e”; but alone can develop. The symbol “AH" -I-(ih)" (first syllable as i» "hood”). **Glow Woi (Male) — £SL*» **Glow Woi (Mixed) if we prolong “hay,” then add and sustain "my” on the AH^basis Ind Methe'hck t'on^f ih°” Wh‘Cn apP6ars to be ^dfstor- there|ore- represents two quite distinct When sung in slow tempo it is also per- In terming be near "Glow Woi (Female Voices) BH, even with the vanishing “e1,” we In of pure enunciation, as in “mAH-(ee) ” in- this d,nhiLPUrC S0Und In formi"g SOU"ds,one of which is a correctly formed, (Am rican Sketch) . .Myddleton ._ ..Old Church Choir an entirely different sound combination ... il Persia (Persii *If I Had a Thousand Lives to L stead' of* “m(uh)-I-(ih)” The same prin- « « should l blended singing tone, while the > (Alaskan__e)... Lov Reeves In the Little Red Schoolhouse which the pure A sound would scarcely be • t-iKe 1. OW is a sound that can ther ls an exaggerated, misplaced speech _ _iday (Negro).Lincke perceptible. With EH dominating, the Down South (American - Ring (Mixed) sound. Take, as an example, the word Sketch) .Myddleton ind Sing (Negro Na- S) word “fade” would be given as “f EH- yonder.” This word does not carry the Hanako (Japanese) .Aletter .1 Anthem) (Male)Male) ! (ee) d.” Almost “fed” or “feed." The Hobomoko (East Indian).Reeves ind Sing (Mixed) broad, flat sound of AH, but rather the Kwang Hsu (Chinese).Lmcke and Sing (Female proper sound to sustain would be “fhay-aid.” Learn Singing by Singing rounded sound of AH as in “on,” which, as be formed without moving the tip of the La Guapa (Spanish).Buisson without a break in the sustained tone if artistically produced, inclines more to the ct-e t* i T-... tongue from the lower front teeth. Another La Likette (French).Daris Little Alabama Coon By George Chadwick Stock The False Diphthong ]ies in “dropping” the jaw for AH Lincke’s Barn Dance.Lincke Oh Didn’t It Rain on the same note as “phayed” or “phaid,” sound of UH. This is the correct produc¬ Mystic Beauty (Veil Dance).Finck *Oid Flag Never Touched the ( which would incline the dominant sound tion on all AH sounds. Yonder would give THE QUICKEST, most satisfactory ™*tT/twat) » M in "shall,” after form- Nuvida (African) .Claypooie to I instead of EH, thus making it more Every human being is method of mastering both vowels and ( „ H should not be “dropped” On the Bosphorus (Turkish).Lincke Flag Nevei Touched the possession of adjustment of the vocal ih yuh-AH-on-dcr." Parade of the Wooden Soldiers.Jessel Mixed) i voice, and, given a :hongs is through sustained speech M1- - . J . or a (at\ as effective as a resonant singing tone. The ' Forming the diphthong with 66 as diphthongs Reuben (Rustic Fox-Trot).Claypooie the Break, talent for singing, is justified ii ■ ’ March (Chinese).. the Wooder Englishman would incline strongly .to nr ^wordword rendition on the,h. singing purnc,pUn, — — , .. ,-u Dark id Dee ing it. the short or initial sound is by manT under both free voice action and on tones this action tends to till Roll On “phaid,” making it border on “phide.” change both i the > your chin ■but'Z diffi™lt. But we find this sound at Pitch. The word “shall” is sometimes back mouth, thus tending The best way, to learn to sing- is to ladderSKSstsS;' must be there :. but tb' When the Harvest Moon is Shining on the sing; and the way to sing is to use tone. given by introducing E as a sustained tone quality and focus, River Thc omen I You can work away at silent lip,- tongue, - '»'»» ^ ■» i tn the first syllable, making the word “shee FAMOUS CONCERT SONGS When the Sunset Turns the Ocean Blue Each 40c Net to Gold ahk” This is often done because e is easier Erratum_in the May issue of The By the Druids’ Altar (Bb, C, D)..Davson Welcome as the Flowers in sustain than the a sound (as in “at ) through a misunderstanding, the May i, supposed to represent the sound of / "/nW&’X’ST- I" *“ m B“"' • for complete catalogue of Chorus Numbers) (eye). The component elements forming perfect management of the’ voice and j“ ?tS °f ,X)sitions and actions hi?/ “f “d »H appear to be mappropnate or wo d /0rmSt/ebodyOftherrd- article' “Omlfne of Study for Singers,” Note.—Cratis catalogues of all, ■ories of our compositions arc sccurable. Wc arc the publishers of this sound are rather pronounced in char- breathing is concerned unlJf? VZ t „ 1 u"le«.the voice is used in connect’ . ’ p0-6’8?1 to the sol>nd required. Instead “(Sh) ^™imes_ erroneously^given^as ^ to Frederick H. Haywood, in- 'the type of music 'in which you are chiefly interested.' acter. If we would become a master of enun- in connection with all’such exercising ' * pract,Ice’ you will never^su "^'i E sbou'd be 66, as in “wood.” I”" Predominating. Um! frW AH- stead of to James Woodside, its real author. ciation, the sound of AH plus the vanishing It js tone, of every color kind ’ and gammg Perfect tone production and °,f AH il should be AU (close)- EDWARD B. MARKS MUSIC CO. Ea«hod 223-225 W. 46th St., N. Y. C e which is supposed to give the sound of description that causes'correct'action and CouriefToumat & Voke'~^ Haven mo^sintable^Thus.^r ^"‘we “We can do without fire in the house for half of the year, but we must have music the year round.”—Sidney Lanier. (Continued, on page ?43) Please mention THE ETUDE when addressing our advertisers JULY 1928 Page 5^5 Page.SU JULY 1928 THE zmt (Congregational Singing By Mary W. Blanchford The average organist does not consider always sing heartily and with obvious en- the congregational singing as a matter of joyment if the choir is treated as Par 0 T5he ORGANIST’S ETUDE major importance. The result, however, it and the organist leads with the tun is that in many churches one is led to feel volume of the organ whenever the con- Edited for July by looted Specialists fSt.lajam«. Uttle Chu that, so long as those in the chancel at- gregation takes the service, playing over Around the Comer and St. George s. tend to the musical part of the service, the hymns with a quicker tempo _ an T HAS BEEN SAID that “Order is nored or carelessly passed by. It These things are significant and wo I IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT the congregation does not very much mat- usual and seeing to it that the singing is Heaven’s first law,” and certainly we some simple little device, use(i ;n a committee beyond any doubt ter, except as an audierice. The organist not allowed at any time to drag, continually see about us most beauti¬ ty of ways, but always with the “AN ORGANIST’S ETUDE, COMPLETE IN ITSELF” provides an artistic background for the There is always an objection ° ful illustrations of this truth. Yet in what ent. There is no aimless wandering Z well-trained choir, and a beautiful service from the choir, of course, but if e c 01 exquisitely varied forms do w< idea is used to say, to suggest, or C AUSTIN ORGAN CO.l 165 Woodland St. Hartford, Conn. results. But the congregation does not once understood that the music o fest. A leaf is a leqf—it has its pattern— to give rise to new thoughts J sing church should not be confined to the chan- yet who has seen two leaves the same? minating and flowering out of the orLL, From the standpoint of the congregation, cel, the hymn singing would be much im- Have two clouds or two sunsets even been What an interest this possesses' \ye { j identical ? Nature seems to delight in sym¬ this is all wrong, especially when it comes proved. The members of a c oir u metry of outline and beauty of form, but GUILMANT to the hymns and simple chants which they tunately place too much importance upon can sing, provided there is some encour- their voices, forgetting that, m singing a she has innumerable fancies in the way Form and Fancy Study closely the following for their George Devereux she displays her wonderful work. spontaneous simplicity: ORGAN SCHOOL agement. I have had proof of this over hymn, they should be subordinate to the In the realm of the tonal art, some sort Henry Hamilton and over again. The congregation will organ. By C. Ex.3 dr. william c. carl says of the Kilgen:. of form was early felt to be a necessity to Director give coherence to even the most fanciful beauty does lie hidden there, he, too, may and we all are familiar with the theme “Now that our task of getting the best instru¬ Students Aided in Securing Positions ment we could purchase for St. Pranas and impassioned out-pourings of the com- discover some of it for himself. In fact, —almost as simple—which Beethoven uses Form and Fancy Xavier (College) Church has been realized, posers brain. Possibly Beethoven exem- improvisation can be made a subject for jn his “Fifth Symphony.” How many 1 say, unreservedly, that we have the finest (Continued from page 544) instrument in the country, and invite anyone who would like to hear and play it to come to New Prospectus Ready After this reverse the parts St. Louis, where 1, personally, will acquaint aasrfA'is 17 E. Eleventh Street New York them with ou " ” An improvisation by a master player ta Form and invested it with feeling and a canvass, as it were' of the musical ma- r , , .W”PPf ttle Potentiam> The magnificent Kilgen Organ m St. Francis fancy to a greater extent than his two il- terial at his command,'and study out all , bfut^fs* Nature always gives a feeling of beginning, Xavier’s comprises the Grand Organ in the lustrious predecessors-Haydn and Mozart, the ways in which it can be used he will d“ her develoPments at first seed, growth, enlargement of ideas and beauty Choir Gallery at the rear and Sanctuary Or¬ It would be unfair, however, to deny these be almost certain to discover from time Every note of music is embryonic beauty, with a satisfactory termination, ORGOBLO gan behind the Main Altar, with separate two masters some of the romantic vein to time, how to make these things sound awaiting the touch, if not always of a As an introduction to the study of un¬ Consoles, both Organs playable from either Console. Prelates, pastors, scientists and the also We see abundant evidence of it in beautiful. Itit certainly appears“’straneeappears strange master hand’ at least of a thoughtful and Provisation, the organist should have world’sleading musicians have acclaimed this Haydn s symphonies, although the thematic that, while in everyeverv other departmentrfenr.rtn.ent ofef discerning mind. No one would dream of modulation and transposition at his finger- famous instrument an artistic masterpiece. development is not so free as with Mozart, musical study unremitting practice is an considering or describing the dictionary as ends; he should be th.■ yh]y at home in GEO. KILGEN&SON,Inc. Much of Handel’s suggestive, and acknowledged necessity, many here sup- literature; and yet the germs of all liter- playing simple harmoni..,! phrases, or en- , 4032N.Union Blvd.,St.Louis,Mo. even picturesque. The old classicistseWcVWo «—v ■» pose that “inspiration” is the only require- ary Vexpression are contained therein. Each tire melodies, with suitable accompani- Special Orgoblo Junior fm Pipe Organ Builders for aSS years not lacking when it came to ton -paint- ment. One might * well.11 on.,say tlwthat nilall a„ WOrd lg; but these words re- ments, in any key. At i t, material such ing, and their skill in presenting performer needs is > be inspired—nothing 'quire their context to express ideas or to as the following might I,, chosen and car- Either of the two counterpoints may he often in advance of their day. THE SPENCER TURBINE COMPANY else matters. convey thought of any kind. And it is ried without a break through the entire Org.ii Power Department used as a pedal passage. By means of We all know something of the singer wdl known that Master minds in literature cycle of keys Hartford Connect.cn bringing a little of one’s inventive powers Great Improvisers who depends on “inspiration" but will n say a great deal in a few words, and into play, this example can be used—al¬ Therefore it is_ no cause_____ for v_l- study—also of the organist whose extern- frequently in very- simple- words,-. too.- Ex. 4 TINDALE tered, of course—as a means to modulate Organ? der that the ai of improvisation was P°rancous performances are along the I?m“nber reading a sermon in which not Music Filing Cabinet into other keys. For instance: CHOICE OF THE MASTERS often...... remarkably n...onifested in the play- Same lines. But it is the thorough player sir|gle word of more than one syllable oc- jfekCcr zzis 1*^3 Needed by every Musician. ing of these composers, when the brain to whom the ways and means of musical ; Ex. 6 was teeming with ideas. Bach, Handel, expression are an open book that inspira- lf the organist will bear this in mind, As the contrapuntal style is essentially Mozart, Beethoven and Mendelssohn are tlori. can readily work and find a fitting , carefully examine the instances in the one of the organ’s means of expression, reputed to have been particularly adept Medium. Otherwise, attempts of this kind ‘jlassics and also some things of a later the player should cultivate, as far as pos¬ at this fascinating branch of their art. A are to° often the same sequence of worn- ^e’ wlcrc beautiful results have been Sand for list of sible, the habit of conceiving things in few today can do wonderful things in this out progressions—progressions good in achMved> be will discover that in a great most popular style this way. Through perseverance in this, way; and no one will deny that a clever themselves, but repeated so often, and n“mber of cases the composer makes use TINDALE CABINET CO. one will find that though original melody and beautiful improvisation has a charm without any context that they fail to con- °* something which others would have ig- (Continued on page 545) all its own, totally different from a piece vince °r even to interest the hearer. Sud- will suggest itself very rarely, or not at studied and prepared. The dement of den transitions and remote modulations all, yet the powers of inventiveness will be surprise is here present to such a degree have their place—and a very important Accent WTlpn Sinpll CRnv stimulated to a very great extent. In fact that an intense interest is begotten—not place—but taken simply by themselves, and OWcU DOX is Fixed Open VELAZCO ORGAN STUDIOS Little motives, strains, and phrases llthe will JHjP...-.not infrequently “hit upon” things only in the hearer but also in the execu- used as a “stock-in-trade,” they become New York’s Finest Theatre Organ School. Direction should be invented and systematically car- thaj. will surprise him. The counterpoints tant himself. In fact, at such' times the Merely the refuge of the careless or lazy. By Henry Hackett mount-Publi.i ! ried through all the keys. he adds will sometimes develop into themes player occasionally “surpasses himself,” The player- - . 's, as it were,—> trying--j —o to jjicdculpresent , If. r. esour--J:e °f theme uigcuuscorganist is marks of expression ■ do some more Manual Theatre Later, attempts may be made at adding q{ real merit Before a great while has 1 comes nearest not only to casting a something in a finished form—a plant of j”at accenting a chord when the swell modern counterpoints to a selected theme—-possibly elapsed jt wilj he possible to do this kind writers, yet skilled performers 1658 Broadway New York spell over his audience but also to hypno- gorgeous colors, and resplendent in sensu- ,x 1S °Pen> or when the foot ' realize this and play with more variety of : well known 1melody. A figure ot ^ with less apparent premeditation ^___ tiring himself. °us beauty, which never “grew up” prop- °,thcrwise occupied and unable to get Semi-Weekly Sailings between touch than is indicated by the printed copy. —to the listener it will appear to be done Chicago, Detroit, Cleveland and Buffalo Of course, no one is expected or asked eldy- He is depending on ear-tickling . swed Pedal. This is frequentlv The following short extract is an ex- ». Ex- genuity; possibly quite without any thought whatever. But that a sightpeeing cruise^eLuxe of First Prize—A Musical Tour of Europe Second Prize—A Grand Piano Value $1255.00 Plus $200 Cash Spending Money See Details Below List Price $1000.00 See Note at Bottom of Page Third Prize—A $250 Phonograph Fourth Prize—A $250 Radio—Make Selected by Winner See Details Below Fifth Prize— 50.00 in Cash Sixth Prize— 50.00 in Cash $ $ Seventh Prize—$50.00 in Cash Eighth Prize—$50.00 in Cash T)his (Contest is Open to ETUDE Friends Everywhere „]^p (Cost Involved " Premiums for Ml (Contestants The . conditions ^ of tte^Mntest a Here is What the Great Music Lover’s Pilgrimage to Europe will Mean to the Prize Winner -READ THESE TM Sr^eBer^l^tl^L.1 ILLING DETAILS- This is no ordinary tour but a specially organized Julv 9- T° Do' these prizes are all bonafide and musical journey to great Shrines, under the direction concer in WILL BE AWARDED TO THE WINNERS of the well-known teacher and musician whose articles J“'y |0- Morning^ UNDER THE FOLLOWING CONDITIONS: have been familiar to Etude readers for years d°ral “ arillo The Grand Prize of a European Musical Tour (as de¬ Night at Bi scribed below) will be awarded to the individual who DR. LEROY B. CAMPBELL REGISTER NOW! secures the largest number of ETUDE new annual sub¬ scriptions at the regular rate of $2.00 per year. The Dr. Campbell has made thirteen trips to Europe 'nE&r&sz isfrsss and has taken over eight “Musical Tours.” He has a July 12- The castled Rhine to Bing. ing^intr'oductimis^hTdmission^to^face^of °Lterestj ]uly ,3 d-A nooni^limpw of Fra The following will give the reader a good idea of July IS. Visit Weimar for the sake of the Liszt hoc ftft&wiKttrwstt % a =*2* —»»— -" THE ETUDE tfS.tS."'StSSJ NOT INCLUDED IN THE PRIZE SMffSP-^s MUSIC MAGAZINE TEMPLE TOURS, INCORPORATED THEODORE PRESSER CO. of Boston, Mass. ..^ ^ otnuman.. This company has for years managed tours ™e shall^it^pUcerassot.aied with these 1712-1714 CHESTN PA. stsfa % •* «"■* -.. "w- - * responsibility „ indicted in the following: Mr J>. & -JJ-j-g S£ EWJSSiSrst°: cabin S. S.m“CeltL,”^°20,000 tX WILL YOU REALIZE HOW THIS GREAT THE DREAMS OF A LIFETIME ? PRIZE OFFER CAME ABOUT gPlaCteheanch£ SEE THE ART TREASURES OF THE LOUVRE During 1927 Mr. James Francis Cooke, Editor of The Etude Music Magazine made an extensive trip in Europe which is now being recounted in our columns in ‘he series of articles, “Momentous Visits to European LOOK UPON THE CASTLED RHINE Musical Shrines.” He was impressed with the very great ENTER THE HOME OF BEETHOVEN WALK THE STREETS OF VIENNA RIDE IN A VENETIAN GONDOLA All* VISIT THE PITTO GALLERY IN FLORENCE SSSa HE DRAL E MUSIC AT ST- PETER’S CATHE- GAZE ON THE MAJESTIC ALPS ^REJOICE IN PARIS, THE CITY OF LIGHT A wXe anarn Prize contest JULY 1928 Page 551 THE ETUDE the ETUDE Page 550 JULY 1928 TEACH The Viola LIEBLING the Buescher By Patrick J. Chambers wins new laurels with the The VIOLINIST’S ETUDE = Saxophone A STUDY of the viola (or “tenor Being somewhat larger in size than the violin”) will be found of consider¬ violin, it is therefore a more difficult in¬ able value to the professional or strument to handle. The C-string espe¬ Edited by advanced amateur violinist. cially, being very thick, requires greater KIMBALL Tuned a fifth lower and somewhat larger muscular strength in the fingers. Further¬ Robert Braine in size than the violin, the viola has a most more, the fingerboard being slightly longer Public School Orchestras beautiful tone—full, rich and sonorous. than on the violin, the fingering is a little SUBSCRIBER writes: “To what A IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT Compared to the violin, it might almost be more “expanded.” pitch should my violin be tuned? OMMENTING on the suggestions C described as “more masculine” in voice. On When tuning it to different pianos I “A VIOLINIST’S MAGAZINE, COMPLETE IN ITSELF. for instrumental instruction in the When a child who should be using a half the C-string the viola approaches very have found that the pitch varies greatly. public schools, in the December " or three-quarter size violin attempts _ to 1927, issue of the Violinist’s Etude, Mrs! closely the deep richness of the tone of the handle a full-sized one, he feels instinc¬ For instance, A was the same pitch on one ’cello. piano as was B on another. It makes it Isabele Taliaferro Spiller, instrumental in¬ tively at once that he has something which The violinist will find it greatly to his difficult to get the right intonation when structor in the public schools of New York is “too big” for him. This is the same advantage to devote a small amount Of his the violin is tuned so differently from the impression which the violin player has City, sends a number of suggestions which daily practice to the handling of this su¬ pitch to which one is accustomed.” when he first takes up the viola. But the she has found helpful. She writes: perbly toned instrument, the viola, Music As far as possible the violin should be So size of the viola offers no hindrance after “For such instruction, a teacher who is for this instrument is written in the C one or two months’ practice. tuned exactly to international pitch and (Correct ‘Pitch experienced in violin class work, or at least kept so. This should be done, first, for Buescher. Patented . clef (known as the “alto clef”). In the After practicing a half hour or one hour one who is willing to learn, should be Sways positive. Perfect scale accuracy, tasiesira the effect on the violin itself, and, second, „ »v because of exclusive improvements. You can higher register of its A-string it also reads on the viola, the violin feels very “easy to many times the progress of the student not When Fiddlers Really “Tuned Up in the treble (or G) clef. for its effect on the player. A violin which selected. A teacher with some experience auickly master the Buescher then teach it. handle.” so gifted. Pupils of very poor musical WENTY OR thirty years ago a great 9 Increase your Income. Young people everywhere is being constantly changed to various T in public school teaching will also naturally want to play. Any instrument on 6 days trial—easy The fingering and bowing of the viola Some authorities contend that practice talent are continually practicing single notes many of the bands and orchestras in payments to suit. Write for complete information pitches will not stay in tune nearly so well do better. and the manner of holding it are the same on the viola is injurious to pure intonation or whole passages incorrectly because they the United States played at high pitch, as and Saxophone Book. ^ »6’) as one which is' kept at the same pitch at “Before beginning the work, the teacher as for the violin. The only additional in violin playing. But done in moderation, do not have the right tones in their minds. Buescher Band Instrument Co. the wind instruments were tuned to the must find out several things—first, whether mental exertion therefore necessary to the say, an hour or so daily, practice on the all times. For this reason great violin teachers always so-called “concert pitch” which is about a 2500 Buescher Block_Elkhart, Ind. International pitch (43S double vibrations the aim is to establish a violin class, a violinist who wishes to add the viola to viola will be found very helpful to the vio¬ advise their pupils to join solfeggio classes half tone higher than international. In his practice is the knowledge of the C clef. a second for the'tone A) is so-called be¬ string ensemble or an orchestra; second, linist before he begins actual violin prac¬ in singing, because this cultivates the fac¬ those days the violinists and players of HAKKERT” cause it was the one adopted by the Vienna This is a matter of very little time and tice. ulty Of relative pitch and teaches them whether the Board of Education plans to Congress in November, 1887. This pitch the other stringed instruments certainly patience. The viola is tuned in 5ths thus: Besides being splendid “gymnastic” ex¬ sight singing. The violin student who furnish the instruments or have the pupils is the one universally adopted in France had their troubles in keeping their strings ercise for the fingers and bow arm, a does not know how a.given passage should buy them at their own expense; third, how ^G C in 1859. Previous to the Vienna Congress, up to this pitch, and there was a constant methodical study of the viola will give the AT his recent appearances sound is simply groping about. many of the children in the school can "HimM'" Gut and "JOACHIM" Wound Strings held for choosing a standard pitch, there breakage of strings. At the present time violinist an insight into the inner harmonies JA with the Boston Symphony Keeping the violin pt correct pitch at all already play and whether it is better to Violin A, "Hakkert" 30o; Violin B, “Hakkert" 3So AD TV had been endless confusion, due to the the use of international (low) pitch is of orchestral compositions. It will prove times cultivates the. faculty of absolute , Violin D, "Joachim" (alnminnm) 75c Orchestra and in New York, great variety of pitches in use. Interna¬ almost universal, although we occasionally allow all children who want to to join the k Violin G, "Joachim" (pore silver) 51.00 to be an extra “asset” as well as an addi¬ pitch, because the various tones of the mu¬ •'Cello A, “Hakkert" $1.00; 'Cello D, "Hakkert" $1.25 and its fingerings, the semitones and whole George Liebling, internationally tional pitch is at present the standard pitch find these high pitched wind instruments, classes or just the talented ones. tion to one’s knowledge and technic. sical scale, being heard always at their cor¬ ' 'Cello G, "Joachim" $1,20; 'Cello 0, “Joachim" $1.60 tones, are made the same as on the violin. not only of Europe but of the whole especially in the country and the smaller “In violin classes already started I have “BaKKERT'^ Out Stripgs (made^Ia^Rotttrdam) Mave^been famous pianist-composer, won rect pitch, become fixed in the mind. world. cities. There are still thousands of old- found it best to go on with the material both audiences and critics. The As regards its effect on the player, it is fashioned, high-pitched cabinet organs, on hand. In beginning classes I have used When Rations Agree "WAtSm"’SStrInssll,|Ir*e«ir0dwo'whirling and are now Hearing With the Mind tonal beauty and delicacy of his important that the student should always scattered over the country. ‘Begin With Pieces,’ by Reigger (published greatly improved in quality. Each string Guaranteed to give The change from high to low pitch in hear the music he is playing at the proper THE VIOLIN student should at all by Schirmer) with piano accompaniment. Send at once for temporary circular (pending issue of By H. E. S. instrument was especially pitch. For instance, when he is playing on times keep his violin tuned to “inter¬ the orchestras of the United States took This material is used by Mr. Church, head booklet) or better yet order a set of these Artists' strings stressed by critics as eloquent national”-pitch (known as “low pitch”) as years to accomplish, owing largely to the Nor is the musician, especially if he be a violin tuned half a tone too low, he is of the instrumental department, Teacher's NOTE—Teachers and professionals enclose professional The violin is the most difficult-of in¬ for the pianist’s message: really playing the music transposed half a this is the standard pitch used now the fact that the players of clarinets, comets College, Columbia University. It begins struments simply because it has that prob¬ a violinist, exempted from this necessity tone lower. For instance, a piece or exer¬ world over by leading artists in all their and other wind instruments felt that they with open string material and progresses lem to solve which only ear-minded peo¬ of living his part. He! must feel dancing “Liszt Concerto completely re-ani- could not afford to throw away or sell for Importers jT'K‘ ^EV^,S * S?SVloll G d and trickling within his mind scales, tunes cise written in the key of G is being played concerts.' He'should buy an “A” interna¬ gradually. ple can solve. The pianist strikes a key, mated... Playing rung so true. The tional-pitch tuning fork for the purpose. a very small sum their old wind instru¬ and rhythms. He must be able to sit in the key of G flat (six flats). If the vio¬ “Universal Teacher for Bands and Or¬ but a violinist has no such definite goal. solophraseswere expressively sung, Such a fork will last a lifetime and is much ments and buy- new ones with the correct quietly and “play” through mentally his lin is tuned half a tone too high the student chestras” is also good. This is by Maddy He must seek to approximate the ideal the rhythms tingled, the colors spar¬ better than the little pitch pipes sold for tun¬ pitch. Both high and low-pitched wind latest piece with every tone correct and is really playing the composition in the key and Giddings and is excellent for home ing the violin, as the latter are apt to get out instruments can still be bought, though tone which he holds in his mind. every fingering true. To be able to do kled.”— Warren Storey Smith, Boston of A flat (four flats). use, as the children learn to play tunes of order and get “off pitch.” If there is some of the wind instrument firms make ?'*?, X'mi“&Metki'E To do this he must first be able to hold this he should practice on simple exer¬ Post. immediately. pared" pure diver G. Satie- this mental image. An actor, if he is a Absolute and Relative Pitch a piano in the house which is kept at inter¬ only the low pitch. In time it is likely that cises (which he has heard his teacher “Got full value of his tones and national- pitch at all times, the student “high pitch” will disappear altogether. “Outlining a violin course is difficult, as ONLY ONeTsET AT THIsVRicE* ' good one, is always at odd moments going play through) by first rehearsing them deftly built up his climaxes.”— S REGARDS pitch, there are two “FIDDLESTRINGS” fre A could get his “A” from it. The difficulty there are so many things to be considered, over his lines or putting himself in the forms of talent which the player may Before the general use of “low pitch” in 154 E. 85th S ih silence until the proper intonations are C. M. D., Boston Herald. with tuning to the average piano is that it orchestras, the orchestral violinist was “in such as individual differences, age, size, NEW YORK place of some character in a play. He imbedded in his mind. Then let him play or may not possess!—one, that of “relative” time for practice and for lessons, talented “The most prominentcharm was the is so seldom In tune; and people are very hot water” all the time, since the steel E often does not speak a word or make a them—oh, so slowly!— with every note pitch and the other, that of “absolute” pitch. beauty of tone.”—W. J. Henderson, remiss about compelling the tuner to put string and the E tuner had not come into children, children backward on other sub¬ gesture, but a voice within him neverthe¬ just as his imagination represents it. The student who possesses the talent of HARMONY BY MAIL New York Sun. it exactly at international pitch. Some¬ general use, and the gut or silk E strings jects but bright in music, and so forth. less runs through the parts line by line “Perfect intonation,” like fancy, is bred, “relative” pitch is able to calculate the "An important point to consider is A practical and thorough course of 40 lessons. times, in the case of a very old piano in most generally used were constantly break¬ Small monthly payments. while he visualizes suitable motions. neither in the ten fingers nor on a square “Liebling plays Chopin. Applauded sound of any note in a composition after whether a violin class alone is to be or¬ which the pins and strings are in very bad ing. Now that we have low pitch and the Send for Prospectus and Rates. Mss. corrected. Likewise a painter is constantly seeing, inch of fingerboard, but in the head. So for his delicacy of execution.”— he has already heard a note or chord played ganized or a string ensemble to include Music composed, send poem for estimate. shape, it is impossible to get the strings use of the steel E string is practically uni¬ on the street, in the face of a passer-by or let the student direct his mind to sincere New York Times. on an instrument or sung. This talent is violins, violas, cellos and basses. This can ALFRED WOOLER, Mus. Doc. up to “international” ■ and have them stay versal, it is extremely rare to see a string Suite A. 171 Cleveland Ave., Buffalo, N. Y. in some tree or cloud duster, material for effort and his fingers will follow willingly comparatively common. Any one who can be done in class. If the symphony or¬ Mr. Liebling plays the Kimball piano break in a public orchestral concert. a picture! he is to paint. enough. sing at sight possesses it. chestra is the*aim, then all the instrumental exclusively on all his concert tours The gift of “absolute” pitch is rare. The classes should be formed at the same time, possession of it enables an individual to Faust School of Tuning W. W. KIMBALL COMPANY if possible, especially if the instruments are have the sounds of the musical scale fixed Forte on the Cello (Established 1857) to be bought by the Board of Education. in his mind at all times without having to An Old French Violin Shop Kimball Hall, 306 S. Wabash Ave. If the town is small, and private violin hear them played on an instrument. Bv Caroline V. Wood CHICAGO, U. S. A. teachers take up class work, cooperation For instance, if such a person is asked to AnrviN interestingiiN ijifK&oi.iwu picturepiciuie uiof anaii “Ateliersiiener several violins, harps,—-- cellos,- a pipe organ, It is impossible to get a good brilliant fault be overcome. The student must try hum C or A or G sharp or any sound of de Luthier’’ (workshop of a stringed in- a hurdy-gurdy, and several wind instru¬ with the schools is secured. “Instruction in the schools, where every forte on the cello without moving the bow to overcome it, however, if he wishes to get the musical scale, when he first gets up in ments. These ateliers were favorite meet¬ child may have the privilege of playing an close to the bridge. Conversely, when the the most from his instrument. the morning and has not heard any instru¬ ing places for violinists and musicians ' instrument, means not only larger oppor¬ tone is to be diminished, the bow should be A cellist trying to play from pp to ff, ment for several hours, he will be able to who stepped in to talk about instruments keeping his bow directly over or near the give it at the correct pitch. He can keep tunities for the children but also far wider moved toward the fingerboard. Many cello and to discuss the musical happenings of fingerboard all the while, is like a pianist his violin tuned to the correct pitch with¬ scope for the private teacher, because all PIANO JAZZ students apparently do not know this fact the day. They were the clearing houses playing the upper part of a piano duet with out bothering to tune it to a tuning fork or talented children are advised by the music or else choose to disregard it. of musical gossip, and, if the atelier was a fellow student who manipulates the pedal pitch pipe, or, if he drops in at a concert, teachers in the schools to take private in¬ The habit of playing the cello with the that of one of the master violin makers, and insists on continually holding down the can tell the key in which the orchestra or struction when they can afford it. It also bow over the lower end of the fingerboard HUGU5T GEMUNDER Si 50NS una corde (soft) pedal. In either case a solo performers are playing or name any there was no surer place to meet the gives the private teacher the opportunity to is one which is easily formed but hardly Violins, Old and New °«ter255OT°wo!a?“dA p, good, firm forte tone is inconceivable. note which is being sung or played. Ab¬ great violinists of the day. do class work.” broken. Only by conscious effort can the For All Kinds of Players solute pitch seems to be a more or less The master luthier found it a great Our Catalogues are Free and will sai natural talent or “gift,” although it can advantage to discuss his own violins, and be cultivated to some extent. Some noted THE LUTHIER'S SHOP violins generally, with the great masters written note played solidly.”—John Dunn, .‘‘In double-stopping, the preliminary re¬ LkA.fiHilfHE "In the use of natural harmonics, that is, musicians do not possess it, while, strange of violin playing of the day, and many No selling oi^canvret?UChin^Dltea>Sh Me° °r^vom_ in The Strad. minder must be given that the bow rest 'sh working outfit and employment Write lose which are produced by placing the to say, others'of indifferent musical abili¬ strument maker). Here we see many a- valuable suggestions and improvements with equal weight on the two strings; DiverS^Ch^10S• Dept. D-3. •iger as lightly as possible on certain ties in other directions have it to the struments scattered around the shop or m resulted from these conversations in the for, without this precaution, no clear play ites the finger must touch--fust the correct START A TUNING BUSINESS highest degree of perfection. the benches, in the making. There ; re ateliers. ot. ’ The correct spot is, in reality; about ing of two-part music on the violin can re¬ Since the violin student who has the gift quarter of a tone higher than where the sult. The pressure of the bow, in double- Sample Book of Practice- of absolute pitch or even relative pitch "romoting Piano Pieces” ritten note would be stopped solidly (the ability to hold the scale in one s mind, stopping, particularly when several pairs essed down. This will become evident to “ya&M°rtye'eighL of once the key-note is given) knows at a “Experiment will soon prove that neither a very fast nor a 1 are to be played legato, must be very anoNurabers. Sentfu11 gratis upon request e student if he press down any one of the .hinvj'rt He unit find that he is glance how any note or passage in the music pace will produce a big tone, but that a medium-paced bow will PromltZth* nicely controlled, for the slightest excess theoijore presser CO. Mack Institute, Crafton Sta., EM-12, Pittsburgh, Pa. mz-nu1 <14 -St., Philadelphia, Pa. he is playing should sound, he will make widest amplitude and the biggest tone.”-]. Hullah Brown. will produce a scratch.” . Jeffrey Pulver, in The Strad. THE etude JULY 1928 Page 558 Band and Orchestra Department VIOLIH QUESTIONS ANSWERED Thee Latest Music By Robert Braine Publications SSS SS SUflooH | PIANO SOLOS & U ._«sFRA^IS .40 d^Danse.. 1/ .60 Tone Saxophone G)usicSchool i „ ,«s I4 3 3 FOUNDED 1895 BY WM. H. SHERWOOD A Queen and a Quarrel About ^Musicians Thirty-fourth year of (Continued from page SIS) TRAINING and PLACING Concert Artists and Accompanists Teachers of Music, Dramatic Art and Dancing Theater and Church Organists 19 S^eN'EPnK ... 4 t » iHf'’PA*U’’’ a. 3 Orchestra & g PIANO duets Band Cond- | uctors & Players | 13 ChU rAa'voPAueL 4 B -50 PIPE ORGAN TIMMINGS, WILLIAM T. Sent upon receipt of price less 25% or all S for $1.00 VIOLIN AND PIANO ^ COOKE-HARTMANN ^ 1207 JStreet^* Calif. SONGS ! Curriculi:—Piano, Voice, Violin, Church and Concert Organ, Theater Organ, Public ■ School Music, Band Conducting, ’Cello, Wind Instruments, Theory, Composition, ?uESSSeAMS:.. 1 Accompanying, Conducting, Dramatic Art, Dancing, Languages. Faculty of 150. ■ | Two-, three- and four-year courses in Public School Music; Department headed by ’ KM,-. > Charles Espenshade and Lillian Lucas, who hold eminent positions in the Chicago 1 Public Schools. Two-, three- and four-year courses in Band Conducting under | Victor Jean Grabel, distinguished conductor. Special course in the Class Method of I Teaching Piano. Certificates, Diplomas and Degrees awarded; City, State and U. S. ■ Government credits. Frequent opportunities to appear before audiences; talented | players and singers may appear as soloists with Sherwood Symphony Orchestra. ' Supervised practice teaching for students preparing to teach. Organ students practice > on four-manual organs; screen practice'provided for theater organ students. Dormi- I tory. Reasonable tuition rates. ’ FINANCIAL AID i to prepare „ .. t work, but whose :ntirely sufficient for their plans, the School 1 provide teaching . positions in its thirty-four Chicago Neighborhood Branches. The moneyi thus 1 earned helps to defray the expenses of their studies. Appli s for this form of financial aid are given special training courses to fit them for ttheir duties as teachers. i Ask for APPLICATION BLANK. Students may register at any time. Your request for a catalog will be welcomed. lAention -phase of musical profession in which you are most interested. e_Address ARTHUR WILDMAN, Corresponding Secretary SHERWOOD MUSIC SCHOOL FINE ARTS BUILDING - 410 South Michigan Avenue Theodore presser co CHICAGO, ILLINOIS )Oir^oc^oc>fJc>fJ>c^>i)cv4vS(Df*)cvfd>(r^06>f Departmejrita Piano, Voice, Violin. Musical Michigan State Normal College Conservatory of Music uardo Sacerdote, Charles La t. 9, Yps Berge, Elaine De Sellem, John T. Read. Dramatic Art, Public Re Violin-Jacques Gordon, Her- ing-John McMahill, Detroit Conservdtoryf Music /COLUMBIA -=•“ a= bert Butler,^ Adolf Weidig, Louise K. Willhour. MUSIC 5 FULLY ACCREDITED COURSES LEADING TO CERTIFICATES, DIPLOMAS AND DEGREES Free Advantages by authority of the State of Illinois A School for One of the finest conservatories in the West, with a reputation for musical instruction not only comparable but on a par with The Mature Musician The Public School Te schools on the European Continent, the Detroit Conservatory of The Young Artist The Ambitious Amat Music offers to earnest students ideal facilities for outstanding accomplishments in the Musical World. The Teacher of Music The Talented Child Fall Term Opens September 10,1928 Unrivaled Free Adva American Conservatory of Music Columbia School of Music Box E, 509 South Wabash Avenue, Chicago, W- THE ETUDE JULY 1928 • Page 557 Page 556 JULY 1928 NEW YORK SCHOOL OF MUSIC AND ARTS X ^ T T A W Ideal location at Central Park entrance Ralfe Leech Stemer, Director 26th YEAR 26 West 86th Stre foccintials also Beginners and Advan SIX WEEKS SUMMER COURSES for Teachers and to teacheiTor private lessons) wh ich Starting May 15 pupils may enter any day Rates: $250 anda $30 lectures, c , CELEBRATED FACULTY INCLUDING Frank Stewart Adams Leila Yale Motion Picture Organ her of Public School Ralfe Leech Sterner ^ Eddy ®5-^”ni8t T^Ick^/Sut. Organist of Capitol Thei ic in our New York Arthur Friedheim City Schools. Frederick Riesberg Tlr'eat‘Li.»°interpr'^rwho d'urin; nz Helen Carmichael Robertson will play work, of all the great maatci Distinguished pianist Liszt, Xaver Scharwenka and Lari Kem Drawing, Painting and Interior Decoration. . AND MANY OTHERS Alexander Pero 1 Remain in New York City and Teach all Summer. INSTITUTE OF MUSICAL ART COMBS CONSERVATORY Practice Hour Fluffy’s ‘Piano ? ? ? Ask Another ? ? ? PHILADELPHIA of the 1. What is the difference between the forty-fourthtmDTV_FOURTH YEARyear By Marion Benson Matthews JUILLIARD SCHOOL OF MUSIC By Bertha Rhea Martin violin and the viola? Member of National Association of Schools of Music How shall my lingers play today? 2. Who wrote “Carmen?” 120 Claremont Ave. New York City “Fluffy 1 Come now, you have ten min¬ When Mrs. Pussy Cat went out for cat¬ Shall they he firm and strong, 3. Who is considered to be America’s A School of Individual Instruction for the Beginner, Obedient to the printed page, utes to practice your scales at the piano nip tea parties, her friends said, “Your FRANK DAMROSCH, Dean earliest composer? Ambitious Amateur, and the Professional before Master Tom starts to school.” boy, Tiger, is an artist on his violin.” Alert and never wrong? 4. How may one tone differ from Mrs. Pussy Cat, fat and sleek, stood mew¬ Mrs. Pussy Cat knew Fluffy had as A school for serious students. All branches. Moderate tuition fees. No Entrance Requirements except for Certificate. Diploma and Degree Courses another ? ing these words at the foot of the stairs. good a brain as Tiger. Fluffy was lazy SPECIAL ANNOUNCEMENT . TT • >lin. rwonOrgan, n.^Degrees inferred.conferred. DailvDaily reportsrL,„, .. keen th«,„c .yu-Lu Or shall they stumble dozen the keys. 5. If a certain scale has five sharps, and " personally informed of your progress—Daily Supe Fluffy, her young daughter, stood be¬ and wouldn’t work her brain or her fingers. All talented advanced violin students will come under the personal Theory and Public School Music, Confused and uncontrolled, the fifth note of that scale is the third Teacher’s Training Courses inclua fore her large gilt framed mirror in her Fluffy, after lunch each day, went up¬ observation and instruction of i And fill the air with frightful sounds note of another scale, how many sharps Pupil’s Symphony Orchestras offer eiceptional rose-colored bedroom upstairs. She was stairs to try new colored ribbons about her iches taught from eleme ivilege ol Front errors manifold? PROF. LEOPOLD AUER Band Ins tying a pretty pink satin ribbon about her neck; and then she would look into her has the other scale? 6. Who wrote the “Choral Symphony?” soft white neck. The large pink bow did mirror at the lovely pictures she saw Dormitories for Women 7. When was Haydn born? {The Only Conservatory in the Stale with Dormitories Jor Women) not please her as she gracefully turned her there. Today it was a pink bow. Yester¬ 8. What are the letters of the second lovely white head from side to side. She day it was blue. Tomorrow it would be position of the triad of C sharp minor? thought a smaller bow &ould look better. VIRGIL SCHOOL OF MUSIC ^"pracdceS Dmly'Classes In Technic “Yes, mama; but I can’t do anything in Mrs. Pussy Cat stopped and scratched 9. What is an oratorio ? 10. From what is this taken? Founded by the late A. K. VIRGIL Six Spacious Buildings, Faculty of 95 ten minutes. I shall only get started on her troubled head with her black paw. (Originator of the Virgil Method, Inventor of the Virgil Practice Clavier) Accommodations Jot 2500 Students my scales when I shall have to quit. “How can I teach Fluffy to use her ten _ . 1 For Teachers, Players and Earnest minutes at noon and her thirty minutes Studentsof All Grades School of Inspiration, Enthusiasm, Loyalty and Success Please, mama, let me wait. I will prac¬ j,i;, r f r |f r r'f *r r Special Courses rJ V... Book Free tice a big half hour after school,” pleaded before school in the morning for prac¬ For all particulars address: THE A. K. VIRGIL CLAVIER CO., or Fluffy. tice ! She always wants to leave her music MRS. A. K. VIRGIL, Director GILBERT RAYNOLDS COMBS, Director ' Fluffy went on tying and re-tying her until after school. Too often it is never (Answers on page 579) Phone Trafalgar 91499449 ^ QTHER ADDRESS 411 WESTNEW END YORK AVENUE pink satin ribbon bow. The last bow was done.” not as pretty as the first one; but the Mrs. Pussy Cat hurried on with her school bell rang and she had to run. dishes. It was her musical club afternoon. Sallie and TBillie Zeckwer-Hahn I’ll neither let them loiter nor - She was to play a piano solo. At five -COLLEGE OF FINE ARTS— Will play zvith heedless haste; Mrs. Pussy Cat turned and walked sadly By Marion Benson Matthews Philadelphia Musical Academy o’clock, and at home from the club, she They shall not make my practice hour back to the kitchen. She began picking up GRANBERRY Syracuse University drove her shiny coupe into the garage. As I know two little maidens An hour of dreadful waste. the saucers where her two kittens, Fluffy Harold L. Butler, Dean Syracuse, N. Y. Highest Standards of Musical Instruction and Tiger, had lapped their noon-day meal. she anxiously closed the heavy garage Who practice’ every day. PIANO SCHOOL doors, wondering if Fluffy was at her One plays with thoughtful care—and one 149 East 61stSt., New York, N. Y. Tiger was a good lad and caused his MUSIC, ART, ARCHITECTURE mother no worry, Each noon, after his practice, she caught her pretty round tail In quite a different way! 900 Students Four-year Courses in 42 Instructors Immortal Zfttusic milk and cream lunch, he licked his tiny between the doors. She jerked it out and For PIANISTS, The first is Sallie Smooth-tone brown paws and wiped his smiling mouth. painfully mewed. Piano, Voice, Organ, Violin, Composition, By Kathlyn Huebsch Whose playing charms us all, ACCOMPANISTS and TEACHERS Then he crawled into the soft arm-chair Fluffy was not at the piano. The music Public School Music Her fingers o’er the key-board Sight-Touch-Hearing-System Send for booklet. (Age 13) in front of the south dining-room window, was on the rack just as Mrs. Pussy Cat leading to the Bachelor’s Degree So lightly rise and fall. lir.Granberry will continue to direct the University of Georgia When satisfaction and contentment pre¬ for five winks of sleep. had left it when she practiced last evening. Summer School of Mnsic, Jnne 25th to tngnst 4th, Athens, Ga. “How can I train that child?” cried Mrs. Unexcelled advantages for the study of music. Special students may enter at any vail, little does one consider the value of When he awakened he stretched his The second music student Pussy Cat to the four walls, as she stood time. Dormitory with 41 practice pianos reserved for women the things he enjoys. Music, one of the back, took his violin from its case, tuned Is little Tillie Thump. music students. Five pipe organs. in the middle of the floor. After a few most noteworthy of these, has irresistible it, tightened up his bow, and practiced for Her fingers always play like this: minutes she patted quickly to the drawer in influences on almost every mortal. Mere ten minutes before he started off to Master “BUMPY, BUMPY, BUMP!” her desk. She took out a key ring and, words cannot attempt to describe the Tom’s school. .Teachers’ Normal Session, July 5 to 28, 1928 The Courtright \ beauty of the supernatural power of music. When Mrs. Pussy Cat, in her pretty blue choosing a small one, she locked the piano. How do YOU play—with silv’ry sounds s Sintdnsr. Pine Arts and Photoplay. Developing In TRINITY PRINCIPLE pedagogy, System of Musical t It has the ability to convert remorse in¬ bonnet and white gloves, visited the school, She turned back her pretty green rugs. Or with a horrid “bump”?— FlrRSTnLSNto‘,’*Cl“,,',BEGI™Eat0 Kindergarten ” CONWAY to joy, and fascinates the hearer with its Master Tom said to her, “Your boy, Tiger, She slipped into the downstairs large hall Like little Sallie Smooth-tone, ‘teVndaH' Instruction; closet. First she came out with Father SirMr Ilian Courtright Card, 116 Prolesslonal Bands. an-Conducting and Band astounding powers. In fact, it is safe is a splendid student. I wish we had more Or little Tillie Thump ? rvals.” MODULATION COURSE — d H.hear.al. under Dean (Continued on next page) ., SS'vtSii - Orchestra Large Band, to say that one’s spirits cannot remain like him.” irmltortes. Gymnasinn, iraKii®”"*' fixed while music fills the atmosphere. Music, at present, is a very popular de¬ Foreign Letter Box light; therefore it is quite essential that everyone know something about it. Edu¬ Dear J unior Etude : This is the first time I have written to i INTERNATIONA! musical and edu. cation along this line is not difficult to in I ERi’IA 11U1NAL CATIONAL AGENCY The Von Unschuld University of Music, Inc. obtain; f°r jn our public schools the art you, but I want to ask you if you could MRS. BABCOCK help me to get in communication with Higher Musical ?dgealion!“24?h yeT of singing and other attributes of music Virgil QFFERS Teaching Positions, Col- taught by Artists of wide reputation. Courses leading are being taught much to the advantage Lillie Schek, New York. I have a little to Degrees. Piano, Teachers Training Course, Con« ( v‘f leges. Conservatories, Schools. of the student. Many fortunate children plan In my head, and if it proves a suc¬ Also Church and Concert Engagements Conservatory Viennese Pianist, Pei are also given private lessons in piano, cess I shall tell you about it. I am taking von Unschuld. Mus my A. T. C. L. this year. My one desire CARNEGIE HALL, NEW YORK 1638-1650 Colu ibiaRd.,’ Washington, D. C~ .violin and other instruments. A. M. VIRGIL, Director Along with other things, the extension is to compose music and write musical ot music has been considerable. With plays. Famous for the distinctive play¬ e introduction of the radio it is possible From your friend, ing of students and their public The American Institute of Applied Musi< t0 have music at all times. For this rea- Jose Kane, s°n I consider it fitting that we should 49 Market St., Great results with advanced Metropolitan College of Music Jtow all that is possible about music. Boksburg, East players through our perfect use of 212 West Fifty-ninth Street, New York City s Chittenden, Du 0 make my theme more emphatic, I shall Transvaal, South Africa. the "TEK". Siren’,reCa11 °r relate the myth of the SUMMER SESSION BEGINS JULY SECOND A, B, C, D, E, Many years ago in the time of Ulysses Starts a minor scale on A. Piano, Theory, formal Training Courses incident occurred which was long to I have not learned it all, just yet, Catalogue on Request Ethel McIntosh> MarWging Direct remembered. During one of his many THE BRASS BAND But I know it starts that way. (Continued on next page) With the higher ideals of art JULY 102S rarjc 559 the etude Junior Etude Contest CHICAGO vr TICE As usual the Junior Etude July and August—extra practicing, mend- r °ests are omitted in July and August, ing torn music, reading history of music, t?NT fore the results of the April contest and listening to the music of the great out- Fluffy’s Pidno 11*1ppea'r in September instead of July, of-doors. So keep busy—do not waste a Little Biographies for Qlub Meetings g t there are lots of other things to do in bit of the precious summer. MUSICAL (Continued from page 557) No. 9—Weber Pussy Cat’s golf bag. Next she brought “O, Mother Pussy-Cat, where has c Answers to Ask Another even, influenced Wagner in this respect, Some famous composers are well known out Tiger’s tennis racket and the big black piano gone. 6. Beethoven though Wagner lived many years later. fur robe which was always stored in the It seemed of no use here, with 1 The viola is a trifle larger than the to juniors by their music as well as by 7. Haydn was born in 1732. His writings were also free and flowing, always mousing or bowing,” answered her violin and tuned one-fifth lower. 63rd Year COLLEGE their njunes; but Weber (pronounce Vay- 8. E, g sharp, c sharp. and he carried out some ideas originated mother. 2 Bizet wrote the opera Carmen. behr) is perhaps better known by name Quickly back to the’ piano she went. 9. An oratorio is a large composition by Gluck (whom you remember in Little “O, Mother Pussy Cat, we can’t live 3 Francis Hopkinson, who died in 1791, than by his music. This is generally the She pulled the treble end . toward the hall. for solo, chorus and orchestra produced case when the composer wrote mostly Biography No. 6). without a piano 1” is considered America’s earliest composer. Then arching her pretty back she pushed without scenery, action or costumes, and operas and large works which juniors do Like Handel, he went to~ London to “You will have to live without one until 4. One tone may differ from another in HERBERT WITHERSPOON, President with all her might at the bass end. Presto on a sacred text. not have many opportunities to hear. conduct some of his own operas; and he learn to practice at regular duration, intensity and color. the piano stood at the back of the closet tjme 10. Gavotte in g minor by Bach. LEON SAMETINI, Vice-President Carl Maria von Weber was a composer became ill while there and died. whose writings are mostly in the operatic His best known operas are “Der Frei- with the closet door locked. Fluffy threw her loving white paws Then she put the little brass kettle on RUDOLPH GANZ, Vice-President field. He lived at the same time as Beetho¬ schiitz,” (founded on a German hunting about her mother’s soft black and white Hidden Music Words and Composers ven (and knew him), having been born legend that in exchange for his soul the to boil for a cup of hot catnip tea. After neck, and mewed, "Mother dear, I promise this she sat down in the armchair before jf y0U wjU get it back. It in 1786, and died in 1826. He married a hunter will receive magic bullets that will By Helen Oliphant Bates cousin of Mozart; one of his brothers had always hit the mark); “Oberon” (founded the dining room window i without it.” been a pupil of Haydn; and he himself on a fairy tale about a magic horn); and Fluffy, pure white, with shining eyes, ‘Ouch there, dear; don’t touch my sor 1, You must not be a minute late. 10. Elmar chose to be last. FALL TERM OPENS SEPTEMBER 10 studied composition under Haydn’s bro¬ “Euryanthe” (founded on a tale of medie¬ rushed in. Maltese, Calico and Blackie, tail, mewed her mother. Then softly, i; 2*. There are no teaspoons on the 11. Mr. Jones has a son at Albany. 12. There were about ten or twelve ther, Michael Haydn, in whose choir he val romance and chivalry of the thirteenth her playmates, were with her. Together bluffy’s ear by the side m' the pink satin table. sang as a boy; so his musical contacts century). Besides these he wrote many they mewed, “We have had such fun. We. bow, she said, "I think it will be back by 3. You have a pretty hand, Elsie. at the party. were many. When a young man, he ac¬ things for piano, orchestra, voice, and have all been mousing over to Calico's seven-thirty in the morning.” 4. I hope Randolf will come to see 13. Halt, or I’ll shoot! More than 125 teachers of world-wide reputation. Private cidentally swallowed some poison, which, especially choruses for male voices, which, father’s elevator.” After that terrible experience Fluffy 14. Herbert won the medal. me tonight. lessons only or courses leading to Teachers’ Certificates, while it did not hurt him much, ruined his on account of their patriotic words, roused Fluffy went to the living room crying, never neglected her practicing again. 5. Her hair is dark brown. the youth of Germany to great enthusiasm. 6. You’ll find a chop in the cupboard. Answers to Hidden Musical Words Graduation and Degrees in Piano, Voice, Violin, Cello, Some of his smaller things that you can 7. I hope Dale will win. 1. Beam; 2. Note; 3. Handel; 4. Opera; Church Organ, Movie Organ, Theory, Public School play at your meetings are: A "Musical Autograph 8. Mac, do well, and your reward will 5. Air; 6. Chopin; 7. Pedal; 8. MacDowell; Walts from “Oberon” (arranged by 9. Forte; 10. March; 11. Sonata; 12. Music, Dramatic Art and Expression, Toe, Ballet, Inter¬ By Clara A. Fitts come. Green wald). 9. Please come to my house for tea. Tenor; 13. Alto; 14. Theme. Melody from “Oberon1’ (arranged for A good music teacher time took pretative and Classical Dancing, School of Opera, all left hand). To write in an autograph book; Orchestral Instruments, Chautauqua, Lyceum, Concert Dcr Freischiits Fantasia (arranged for And the pupil who read it six hands by Krug). Laughed light and said it and Languages. Hunters’ Chorus from “Der Freischiitz” Was worth a good “try.” Have a look! (arranged for four hands). Invitation to the Dance—Piano solo (also arranged for four hands by Sar- torio). Dear Junior Etude: chestra practice and ear tests and usually Album Leaf—Piano solo. I have not seen any letters from this part end up with singing. of the country, mi thought I would write. From your friend, I live on a farm, about twenty-five miles Alice Anna Rossa (Age 13), Ohio. Questions on Little from Denver. Had not my mother been 85 Biographies able to help me with my music, I never would have been as far on as I am. I have Dear Junior Etude: Weber wrote his first opera when he 1. In what field of writing did Weber taken lessons off and on for the past ten I have studied music for five years. I was only fourteen. He continued writing excel ? years. Some day I hope to go to a con¬ play the violin in our junior symphony or¬ FREE operas for many years, and then added 2. With what famous musician was he servatory and then to college. chestra and clarinet in our high school conducting to his activities. He was very contemporary ? I i have not much of an idea what grade band, and am pianist for the eighth grade much interested in German legends and 3. How old was he when he wrote his of music 1 am in, but I learned Liszt’s orchestra. fairy tales, and several of his best operas first opera? Sixth Hungarian Rhapsody from memory From your friend, in three weeks, and Chopin’s Polonaise, Op. Marie Daniels FELLOWSHIPS are built upon such subjects. In this 4. What type of literature interested respect he was considered very different him? 40,iNo. 1, from memory in five days. I Iowa. (Two Private Lessons Weekly) to be awarded to students who after from other opera writers of the time, as 5. Name some of his famous operas. Immortal Music have done some Duvernoy, some Sonatas N B Marie forgot to give her age. but such subjects had not been used as opera 6. Give dates of his birth and death. and some Czerny. Don’t you think I am an open competitive examination, are found to possess the greatest (Continued from page 557) she certainly keeps herself busy playing librettos before, and he was looked upon 7. What other German composer died in doing quite well? three instruments in the orchestras. Lan gift for playing or singing. as very romantic and imaginative. He London ? came m contact with the among the savages. But despite these ob- From your friend, any other Junior reader show such a rec¬ Alice Hill (Age 14), ord as that? woman, whose song was so'beautifd th!t ma"y Cl‘ng' and alway,® wi'1 *" Colorado. the sailors who liftened were so carried au T* daSSical mUsic °f T f bv away by the beauty of it, that they forgot f the °PeraSl 0rat°r,°f] : bow Chalk STUDENT DORMITORIES Dear Junior Etude: the dangerous rocks and were shipwrecked famous C01«Posers are admired and loveo theater orga. Artistic and comfortable dormitory accommodations for men and women in I live about four and a half miles from and I was Wad t at someone of my To prevent this Ulysses put cotton in the hy 3,1 who understand them: and’ 1 dare own acre wished to do xni». college building. Piano furnished with each room. Prices reasonable. Toledo. This is not far, but the car fare is ing at a theater in my hoi) ears of his men so they would be deaf Say’ they wil1 live forever- ..... Make reservations now. Dear Junior Etude: Tiiere to the song of the siren. His plan proved Thackeray said, “Music is irresistible. expensive and so are music lessons from . successful. Although this story is a myth, ’ts charities are countless: it stirs the fee*" good teachers. So I cannot afford them just We have organized a Junior Music Club times \ now. My mother has taught me nearly all a playing th it is an excellent illustration of the power 'ng of love, peace and friendship as n° COMPLETE CATALOG ON REQUEST which we call the G Clef Club. We have done, I know about music, and I have had a few saxophone for’ „,^<>Pa half years. fourteen members, none over twelve years of music Time, the cause of many other mortal agent can.” changes, has caused a quite undesirable It is not necessary to verify this state- other lessons besides. I play fourth grade Cve° not had any instruction on my hori of age. This is the first music club our music. I practice whenever I get time, but SSt have had some on the piano. Prefer-6 it” thA ““if j .Although many ment- f°r everyone who has listened to From vour friend, town has ever had, and if there are any I do not get home from school until after Madge Edmond (Age I4)^g more we hope to make ours the best. D“n ^ very "different )aZZ Tsk is a KOod rausic has had sufficient proof- five-thirty, so I have very little time. The Address From your friend, to whict Etude has helped me a great deal. CARL D. KINSEY, Manager Liu.ian Collins, President, Letter Box List o weeks, on Friday, after From your friend, 60 E. Van Buren St. Chicago Illinois. school. Jean Gassaway (Age 14), Letters have been received from the f< We n playing, and yve play Ohio. Dear Junior Etude: . .. „et An International Conservatory every meeting and OaUmge McDonal^Agatha Cha^ Our club consists of ten members r We appoint the tW° S' We lotto Wheeler,^Yina Mllharewick, Pledged to the Highest Artistic Standards ne. This We study about am one of the oldest and am T -1 fP he program and two to entertain, Dear Junior Etude: ntn«. Patterson, Edward Boettner, lie” ” . 1 wo years ago my piano teacher organ- Evelyn iatreso , Brooks, Mari studying Cooke's_ “'picture irW: end at every dent. We meet once a week in fT give a public meeting S°°n £VPl}“ Ao„lore William Brooks, J Established 1867 of Music." ' a written test, >«d a music club and divided it into two lt003' The.odore._t _ R],H, Bllia ave one hour of study and a musical Tour friend, School Auditorium. We begin with n ^ SUreJ‘ wiU k‘ 3 great succeSS‘ i. and one hour of games and re¬ Olga Bookeb (Age 12). business meeting, then a program and are Fror? your friend’ ,. grades, the Junior and the Senior. We Maine. then entertained by two girls. At every MILI,RE,, WlU> ( Afebam3' raeet on Saturday and the Seniors on Monday evenings. We have rhythm or- Please mention THE ETUDE when addressing our advertisers the ETUDE JULY 1928 Page 561 Page 560 JULY 1928 tee etude DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS * •F EDUCATIONAL STUDY 'NOTES ON MUSIC (ChmrmaHtrr’s datthr IN the junior etude FOR THE MONTH OF SEPTEMBER, 1928 By Edgar Alden Barrell Dat | MORNING SERVICE EVENING SERVICE Grasshoppers, bp A. Louis Scarmolm a re ^ wo^di fferei! tC ki nds * of rests. ^Do Py„rJ’ &!** _ Schersando what; their names are and how long is the value PRELUDE PRELUDE \l Grasshoppers are certainiy ° eaL : Organ: Prelude Allegro.Schuler Organ; Prelude^ iii^ . .. .Pachulski jSSSl yerV humorous things, always j WalfcJ ’Round Mp Garden, bp Maru Piano: Romance .. .Schumann.Harthan m .. *» s E C o it’, te.? “ N D God’s Love.....s.....o....Jackson Now the Day >sO»^..Wooler POSTLUDE POSTLUDE &::|3u Ft^DEMi^V"COO,“ Op. 28, No. 6.Chopin ; tt r $ JA“e ^™MS • Cummings N T H More Love to Theeso....Day Rejoice anduBeG,dT..a...E.)F. Marks J POSTLUDE 1 f inti™ T::, ? E Z | s T Acquaint Now Thyself With God Riker \ H ?S:: Ss2&£;ch^S as'saur S-.1B1KKSS! { PRELUDE F ?T ass.y : N T (a> L°orfd'ELs£™™S"OWerSShcppard Y $ ! j H Dear Lord a„TSJ°ML...Berwald I POSTLUDE 5 POSTLUDE „ fc1 A&k ^h^onkiS .« UeV(VicHn; ■ wiih • Organ *0V ' Pian^ T H I R (a) O Jesus, Thou^rf Stand- lT (b) IninHeaVenly' LoCe' Abiding: Xamp 5 (Organ) The song .Jordan ^ POSTLUDE Anyone interested * * c, ALBUM OF TRANSCRIPTIONS FOR THE PIPE ORGAN 928 the etude fEE ETUDE JULY 1928 Page 563 AS I WALKED ’ROUND MY GARDEN As I walked ’round my garden AMONG THE WIGWAMS , , , . , „ To see how the plants were growing " ”” ” 7 *' " ’ ' I.pu.Ileda ™ei°ut now and then MARY GAIL CLARK And gave the beans a hoeing. AKJi Copyright 1926 by Theodore Presser Co. British Copyright secured British Copyright secured Copyright 1927 by Theodore Presser Co. tbe ETUDE JULY 1928 Page 565 Page 564 JULY 1928 THE ETUDE ‘Master 'Discs ROSBLLA (Continued from page 514) SPECIAL NOTICES FLOWER SONG been recorded. This is as it should soprano. The death scene is an artistic AND In a captivating Mazurka rhythm. Grade 2 h' as the composer is the conductor. The achievement: Zenatello makes it most real- H. D. HEWITT ob’ulent voice of the tenor gives a truly re- istic. “One last kiss’’ sings Otello, and ANNOUNCEMENTS Allegretto m.m. J_ii6 Sable quality to the familiar S.cihana. then gasps in the throes of death. The . “Volga Boat Song, and In questa theme of this last phrase is taken from the obscura,” Beethoven; sung by end of the Love duet. Chaliapin- Victor (No. 6822). Straining, nulling and heaving, the Volga boatmen Further Recommendations Afar in the distance we hear them; ^ ““ gradually they approach. They pass 'T HE ETUDE wishes to recommend the * L and slowly their voices fade. Chalia- 1 followinS records to be heard by their u? 311 nf this suit is an un- readers> as sPace does not permit analyses, fcngettable one. The Beethoven song, “In , Jes*d°V*. ManJ Desiring; and Gigue this obscure tomb,” scarcely needs in ^rom Sth French Suite, Bach; played by 3--»- troduction; Chaliapin sings it nthe broad" Myra Hess' Colui«bia (No. M 2063). Quartet in C minor, Satz Quartet, Schu¬ 1 , 9- theatrical manner. j.. bert; played byuy Thej. tic juuuuuliLondon oiString Quar- “Otello,” \erdi, Love Duet, Fmale of tet Columbia (No. D 67408). #jj^i mim Act 1' sung by Hina Spani and Giovanni I-ohengrin Prelude, Wagner; played by m Zenatello. Victor (No. 6714). The vet¬ N Stokowski and Philadelphia Symphony. Fine 1 eran actor-singc r, Zenatello, has been right¬ Victor (No. 6791). ,4-J J - fully called the greatest Otello since Ta- A Vuchella, Tosti and Nina, Pergolesi; i i magno. Many readers will recall him as sung by Tito Schipa. Victor (No. 1317). *f~ the famous Italian dramatic tenor before Morning Greeting, Schubert; and Good - Caruso. The Love Duet is splendidly pro- Night, Schubert; played by Leopold Go- lj 5 ^ 1 jected by this fine artist and a young Italian dowsky (No. 50133). + -4 8 T3he Doorstep of Harmony (Continued from page 515) p the type used in scale-studies, the notes Ithaca Conservatory rf f marked*are passing notes; those marked ** are appoggiaturas, that is, auxiliary notes which displace the chord - note on of Music Even scale passage can be referred to the accented part of a count. W. Grant Egbert, Musical Director the notes of the chord C-E-G. In the fol¬ This discussion does not exhaust the lowing : possibilities of the chord of C-E-G but is Ex 14 ... , M * * surely sufficient to show the student how a knowledge of chords and chord-building PIANO. Leon Sampaix, Director helps toward an understanding of the Pupil of Diener, Leschetizky, Master Pianist and Pedagogue musical material used in compositions NORMAL PIANO METHODS. Louise Tewksbury, Director - * ****** .-„ from the earlv grades to the most ad- * vanced. ORGAN. Hathway, Director VIOLIN. W. Grant Egbert, Director Pupil of Sevcik, Joachim MILLIKIN CONSERVATORY OF MUSIC School of Mus DECATUR, ILLINOIS VIOLIN-CELLO. Dr. Wallingford Riegger Dffers thoro truining in music. Courses leading tc N.U/I Pupil of Hecking m lusic Degree, Diplo • *•-.-** SCHOOL°f~ VOICE. Bert Rogers Lyons, Director s and Mus Pupil of Bouhy, Paris, Shakespeare, London; Witherspoon Bulletin sent free upon request MUSIC S V. ST. CLARE MINTURN, Dire THEORY and COMPOSITION. Dr. Wallingford Reigger, Director Only American winner of Coolidge prize in Composition Other Educational Announcements Large student Symphony Orchestra. Choral and Operatic work may be found on Pages 500, 5+6,' 552. 554. 555. CONSERVATORY OF MUSIC Certificates — Diplomas — Degrees 556. 559 and 565 of this issue. OF SHENANDOAH COLLEGE In the heart of The Shenandoah Valley, near Washing- Splendid Equipment—12 buildings. Practice Theatre Organ. Sumptuous Dormitories— ton Full Courses in all branches of Music. Pupi s this Sorority and Fraternity buildings. Unusual advantages in Concert Work—Normal work. year from fifteen States Rates most reesonable. Large School Orchestra and Band. P.ano Tunmg and Pipe Early reservations advisable. Fall Term begins September 20, 1928. Lr awrence Organ. M /or Catalogue ConserveatOTy of Music SHENANDOAH COLLEGE :: DAYTON, VIRGINIA Full details. Catalogue on request. Address The Registrar, 1 DeWitt Park, Ithaca, N. Y. oApplelon, Wisconsin A Department of Lawrence College Piano, Voice, Violin, Cello, Organ, Band Instruments, Public School Music, SCHMITZ Public School Art, Dramatic Art. Orchestral and Choral Training, Summer Master Class Music Festival, Artist Recitals. REFUND SCHOLARSHIP OFFERED July 3rd to August 14th, 1928 1170 Sherman Street, Denver, Colo. In Conjunction with THE RINQUEST SCHOOL OF MUSIC THE LAMONT SCHOOL OF MUSIC Address, BOGUE-LABERGE, 130 WEST 42nd STREET, NEW YORK Mason & Hamlin Pianos ,tion THE ETUDE. It identifies e in touch with the higher Ideals When yon write to onr etude Page - THE ETUDE JULY 1928 Page 567 Piano Voluntaries Tunes for Little Folks The Shefherd World of VYCusic T„ addition to playing the piano as an 'uanirnent to the singing at church . For the Pianoforte Musical Play for Children (Continued from page 497) rvkes Sunday School classes and lodge By M' L- Piston By Mathilde Bilbro WILLEM VAN HOOGSTRATEN, the Dutch ^ Publisher’s Monthly Lett meetings, the player frequently has occa- in »*t llttIe .b00k "Present, a composer Here is an operetta for children which onductor, has been appointed to a chair in the epartment of music of the University of Oregon, ' n to use the piano as a solo instrument , new guise. Mrs. M. L. Preston is is a decided novelty. Although in three 'here he will have charge of a student symphony A Bulletin of Interest for All Music Lovers " r ^ ^ a hv the introduction of an appropriate .Jr. c”Iefly through her admirable acts, it is rather brief and easy of produe- arl|iintary lend much to the effectiveness , , me PR-ces for second and third grade tion throughout. The plot is based on two 'f the exercises. The most economical and In n "ew book she has d‘- of Aisop’s Fables. There is abundant op- A MASS by Carl Maria von Weber, written convenient way to have material of this ° p eJ. ent melodic invention to portunity to introduce dancing and this 'hen he was sixteen, while his father was manager •ind is in bonk form where one obtains , . extraction of very short numbers may be made a real feature of the work. f a theatrical company at Salzburg, in 1802, has 16 ‘J. 1-n the nrst. grade. These are ar- The music is melodious throughout and in ad its “world premiere" at the Salzburg Cathe- large and varied selection at a reason¬ ral, under the direction of Josef Messner. Weber able price. This book will contain a gen- angert in progressive order and published Miss Bilbro’s best vein. This writer knows imself thought the manuscript was lost m a hre; us assortment of numbers suitable for a ogether in one delightful volume, a exactly what to do to interest and to de¬ nd there is a mystery as to how it came to be in. devotional services, including preludes, volume which may be used to supplement light children. Early Orders for Fall INVESTING OUR PRICELESS SURPLUS Summer Reading and Dostludes, interludes and offertories se¬ any instruction book or to become a part The special introductory price in ad- lected from the best material in our large ot any course. . vance of publication is 35 cents per copy, Music Supplies Ihe special introductory price in ad- postpaid, NE of the richest blessings of this glorious age is our priceless sur¬ Self-Study catalog and none of the pieces will go be¬ THE HUMBLE HARMONICA si Going to start teaching again when the O vance of publication is 35 cents per copy, plus of time. Of course, we have to pour over historical records to It is very beneficial to the mind and yond the medium grade in point of dif¬ school year opens in September? Or per¬ appreciate it. The fourteen-hour labor day dwindled to twelve, ten, ficulty. While the work is in preparation postpaid. Part Songs for Soprano, haps it’s to be one’s first teaching season! body to enjoy the change from the busy eight, and promises some day, according to the wizard of Detroit, to go to fall, winter and spring months to sum¬ copies may be ordered at the special ad¬ In either case, preparation is the main five hours. This being the case (and St. Henry swears it will come true) vance of publication cash price. 50 cents, Eclectic Piano Studies Alto and Bass Voices shipped 21,000,000 “mouth organs” to America, essential. Being able to teach and having mer’s opportunities for relaxation and re¬ 5,000,000 to England and 3,000,000 to India. what under the sun are we going to do with the other nineteen perfectly creation. It would be folly for anyone postpaid. Compiled by Louis G. Heinze • ?art SOngS l°T ^prano, alto and bass a lot of pupils in sight are things to be good hours? Check off eight for slumber, two for nourishment, one for rpi • ‘ N h voices are much m demand in school work. taken for granted, but the ordinary every¬ to suggest that utilizing some of the extra On Our Street Stud C0mP,latl0n °f, standard short These trios, however, are arranged in a adornment, one for exercise, one for transit and with our present eight-hour time available in summer for relaxation is day requisites for prospective pupils must day nearly every one has three surplus hours to invest. How these hours Twelve Plano Pieces for Beginners will - ,1 va,r.lou? 'veM-known masters certain manner because it is essential that get advance attention if one’s work is to a waste, but it is a matter of wisdom, for "' T ,be, Ksty. tl'c fotter part Qf August, the boys, especially the larger boys, be are invested often determines the success or the failure of a career, the one to take advantage of some of sum¬ By A r .ene K. Bixby start up without a hitch. These requisites happiness of a lifetime. Certainly, the time investments which bring us innP tl- ° • ^ f,aU teaching sea- given the melody to carry while the two are mainly music for study and recrea¬ mer’s spare moments for something of real This is an exc ■ptionally interesting set ‘ f e i l a S third volume of a series upper voic s fill in with simple harmonies, the greatest dividends are those which lead to the betterment of the mind value to all of life’s future. of beginners’ pie es. They are musical 11- tion, studies, instruction books, writing and the exaltation of the soul. studles’ t^e. fitst volume of or accompanying melodic figures. Some who made the Chicago, The ambitious music student, the pro¬ lustrations of chi racteristic scenes. Each ,ls nown as the Piano Beginner, the of our best octavo numbers have been in- rid famous.” This or- books, theoretical works and many other honors, if for no bet- items of lesser importance sure to be It is because the study of music does these things in such remarkable gressive music teacher and ihe sincere piece is based up m some technical feature p, na voiTe as the Progressing Piano corporated into this book. A number of ganization deserves needed either at the beginning or shortly manner that it becomes a matter of great importance to the state and to lover of music will find great enjoyment in addition. Tin practice of such pieces r layer ihe new book* for those who them are in their original forms written championed opera in a languagi thereafter. the individual. It is the duty of every teacher to act in this investment and much profit resulting from the utili¬ as these is real fi m, vet both technical and are just about entering Third Grade work, for the purpose, while others have been So many teachers delay ordering sup¬ relationship to parents and to clients much as the banker guides the invest¬ zation of undemanded summer hours for musical advantn ' will ensue. 1 lie two preceding volumes have been used especially arranged. All have been tried plies until actually needed that because ments of his depositors. The services of the musician as a musical advisor the reading of books upon music. oductc with great success by many teachers. and tested and all are interesting, both of the massing of so many orders at one should be of priceless importance to all of his clients. The Theodore Presser Co. puts out a ihe special introductory price in ad- musically and melodically. None are at all AN INDIAN .BAND f time there are usually some unavoidable Far be it from us to hold the unenviable position of a killjoy; we be¬ catalog entitled “Descriptive Catalog of postpaid. vance of pubheatmn is 35 cents per copy, difficult to sing. postpaid. msedmentird^Peoft,0Redmer delays in September. No delays of this lieve enthusiastically in wholesome amusement. Life today, without smart Musical Literature,” which may be had The special introductory price in ad¬ kind occur in August when we reserve a and clever entertainment of a high order, would be a kind of machine-made free upon request, and in it there will he Soldiers of Christ vance of publication is 30 cents per copy, morgue. On the other hand it is possible to fritter our surplus leisure time postpaid. special force to handle Early Orders, found a wealth of suggestions such as iin Cantata Concert Orchestra Folio guaranteeing delivery on or before the away with silly periodicals, stupid pictures, objectionable plays, scandal- the “Standard History of Music,” bv 1IIL1P Gbeely The average amateur orchestra is al¬ date designated by the teacher. All or¬ hot newspapers and at the end of a few years find our minds and our souls Cooke, or Baltzell’s “History of Music,” most always confronted with the expense Advance of Publication THE E. W. BEATTY PRIZE OF ONE miserably bankrupt. THOUSAND DOLLARS, for the best orchestral ders of this kind in our hands not later for those who wish to specialize in musi¬ Here is a fine Cantata for general use, item in securing new and attractive mu- Offers Withdrawn composition based on French-Canadian melodies, than August 1st are sure of prompt fill¬ cal history reading; “Harmony Book for brilliant and rat icr militant in character, and to overcome this many has been awarded to Arthur Cleland Lloyd,' We i withdrawing this month the ing, shipping and delivery. Moreover, on Beginners,” by Orem and the same writer’s introducing in it finale Onward, Christian such '‘Early Orders” we prepay all trans¬ Soldiers. This ( antata may have a place l°J'° W ',ere fr°r;‘ ten t0 flfJcen Album of Cross Hand Pieces for the Theorize3?! °fiveShundreda,donare,r’ fo?' s string “Theory and Composition of Music,” for numbers frequently can be procured at p;ano> which is iced at 75 cents. xhis quartet went to George Bowles, of Winnipeg, born portation charges with but half the amount those who wish to acquire knowledge that crvice, since it is not as the price usually paid dor two or three is a volume of Wresting piano pieces, in Quebec. Ernest McMillan, of Toronto, won added to the customer’s bill. This plan has lengthy as many others and it might even the prize of two hundred and fifty dollars for an makes for real musicianship; “Life Stories H! fnU7haSed seParately- We know that beginning in about the third grade and been a boon to thousands of teachers for Advance of Publication Offers—July, 1928 of Great Composers,” by Streatfield; “Se¬ be substituted f ir the regular anthem at many years past and right now is the best tins m large measure accounts for the progressTng gradually, offering attractive mt offered^ fo crets of the Success of Great Musicians,” any ordinary sc vice. The composer, Mr. success of Pressed Popular Orchestra material for the perfection of cross-hand between Alfred R. White time to take advantage of it for this year. on These Forthcoming Publications will be found under These Notes. Philip Greel’y, i- Vorks are in the course of Preparation and Ordered Copies will be by Pirani; “Music Masters, Old and New,” a very experienced writer Book and Senior Orchestra Book, both of piayjng Just mention “Early Order” when you who has speciali cd in chorus work. This write. delivered when ready by Cooke, and other works for those who winch have enjoyed large sales We Bare also withdrawing the advance would prefer to read up on the lives of number will con e out during the summer Ihe new Concert Orchestra Folio like offer on Preparat Exedises in Double set Orchestra Folio—Parts, Each...1 the famous creators of music. And then, in ample time fi r fall rehearsal, e. Same—Piano Accompaniment.3 its predecessors, just mentioned, will con- Stoppinff> bf D. Sevcik, Op. 9. These Studies in Musicianship for general reading, there arc such excel¬ The special i itroductory price in ad- tain outstanding compositions selected standard studies are weU known to many Select Studies tor the Pianoforte by ertino, No. 1—Violin—Seitz.3 vance of publieu ion is 20 cents per copy. ertino, No. 2—Violin—Seitz.3. lent books as “Musical Progress,” by J°m 0UJ7‘tBtogfiand especially arranged. violin teachers and this new edition in Fifteen of those performed have been si Stephen Heller Finck; “Great Men and Famous Musi¬ postpaid. Many of these will be copyright numbers the Presser Collection, priced at 75 cents, languages, while four were sung in thr< In Four Books 'tic Piano Studies—Heinze.3 vhich can appear only —Italian, English and German. Hat n Musicianship cians on Music,” by Cooke; 'Music and which can annear nnlv „n this book. The is superbly edited and produced. Any Cio-Cio-San in “Madame Butterfly” r Edited by Isidor Philipp , Each. Morals,” by Haweis; “Descriptive Anal¬ Little Study Pieces in the chance of obtaining duplicatesites is therefore violin teacher win make n0 mistake in ob- three hundred times, she probably holds t eliminated. The education of today does not con¬ r Mix: yses of Piano Works,” by Perry, etc. Classic Forms taining this new edition. sist entirely of rules and practice exer- j It was Benjamin Franklin wiio so well The instrumentation will be the same; By Fanny Reed Hammond cises, but aims to develop the musical Christ—Sacred Cantata— put the thought that the best and safest there will be parts for obbligato violins, Look Out for Frauds The engraving of this new work is r for saxophones and the clarinet and cor- „ , . . MORTZ ROSENTHAL has been befon sense in the student along with the neces- i investment is the knowledge that one puts from our public for fifty-six years, having made his sary foundation technical work. Heller into his head. nearly completed mid the book as a pianist in 1872. be ready for the press. This work will •je£ - >« '»® «*• <- ™f, imposed was one of the first to see this and his E Same—De Luxe Edition ... . 10.00 Tunes for Little Fol; Why not take steps now to secure a few by so-called magazine subscription studies are much in demand with modem worth while musical books, so that they prove a very good introduction to a study of the Classics anil to Polyphonic pieces s any average High School organization fgents, both men and women. Everyone teachers. Of course, in the case of a pro¬ will be convenient for picking up when¬ ... ,• . . P , . .r , lsis cautioned againstasainst payingpavimr moneymonev to COMPETITIONS Of rather easy character. Each number will be able to play them, but they will be lific writer like Heller, all of his works ever opportunity for reading presents strangers. Sign no contracts unless you THE PRIZE OF ONE THOUSAND DOL¬ Heart Songs stantial form to merit its use as a gift >s in one of the classic forms and is accom¬ suitable for use as program numbers or LARS, offered by Alfred Seligsberg, through the are not of equal value. M. Philipp, the itself? carefully read them. Take no strangei ’ m ... There are many books issued in the or kindly gesture to some friend, relative panied by a description of the form. The any occasion where high-class music is de¬ Society of the Friends of Music, for a sacred or foremost living pupil of the master, in or acquaintance. The price is $1.25 a copy. secular cantata suitable for use^by that^organ|za- compiling-,-„ this.es, r—■— hasu— selected only—' - c,ieap form containing a fair number of pieces are all tuneful and easy to play. .s\rcdOCC^‘adersnshould takc advantage of woritor anythfog^ If you are willing to those studies which will produce the best old favorite songs, but despite the excel- The Second Year at the Piano Ihe special introductory price in ad¬ ... _ Particulars may 1 the opportunity to obt£" ‘'^’eS fg unknown, bJ prepared to stand a loss. If Richard Copley, 10 East 43rd Stre , New Yorl results, arranging them in progressive or- ^ence these books for large groups of Immanuel By John M. Williams vance of publication is 35 cents per copy, the low advance of publication price, IS ^ soiic'tor j,roPes to be a swindler, we der and carefully editing them for use by scl'ool or community singers, they do not , postpaid. 1 13 Naturally, if one has a First Year at cents or ea P > cannot be responsible for so-called “ex- the average student. Not only has he in- have the completeness of selection nor Christmas Cantata the Piano and makes a success with it, a piano accompanim . , service men,” “college boys working for A PRIZE OF ONE HUNDRED DOLLARS chided the best of the studies from the Pern>anency of form as found in the very By Norwood Dale Second Year at the Piano is to be ac¬ A Night in Palestine plete instrumentation sent upon request. scholarships u and * thousand and one is offered by Swift and Company for the best well-known Op. 45, 4(i and 47, but he also interesting volume entitled “Heart Songs.” The many organists and choir directors cepted. At last we are able to announce rs XT^r 1 o other slick stories told by smooth'crooks. has brought to light some hitherto prac- , The Theodore Presser Co. usually has By Jacob Weinberg accompanimon, of Sir Walter VScott’’s' “Harp of who may be looking for a new Christmas that Mr. Williams has completed The, Sec¬ Concertinos Nos. 1 and 2 If you wish to give a subscription to an the North, Farewell.” The competition closes ond Year, and this is now ready for the Ihe plan for the publication of this Violin and Piano agent who is a stranger to you and fear September 15. Further information may be had pera is entirely upon a subscription basis, ings.' In advance of publication* these *° its popularity with those who wishlo Workf now^nnouMed^for thTflrstVme engraver. The material used in this book By F Seitz that you might be imposed on, take his from D. A. Clippiuger, 617-618 Kimball Build- books may be ordered at the special price, have about the home a good collection of a very careful examination It is fart is of exceptional character. It is all prac¬ he opera is a beautiful work, sure to 60 cents each; $2.40 for the four volumes. old and old >?ve songs, to- right V the Christmas season and Jfor tically new; old and worn-out numbers •reate a sensation upon its presentation These „o Concer.mi. by F. Seite h.ve Si getlier with the best patriotic songs- of the any special musical service n , ., , are not included. The work proceeds } any renowned opera company. But, the solicitor Sedl. lor the order. Stories to Sing To States.world and particularly of the United ChristmasLnristmas storysto^fo in a perfectlynerf fi logical, .td,ls way, the along logical lines and carries the student a publisher could not lie ex¬ pected to put the work in print under the of Los Angeles, for An Easy, Effective and Interestin right on up to Third Grade work. 'u'h'S'the cZSrto' SPECIAL SUMMER ShORtTeRM y°be ha°dr S°Mre.' Method of Developing the Sense The special introductory price in ad¬ rdinary publishing arrangements. kwood Avenue, Los Sonata, etc. After the violin pupil has TRIAL SUBSCRIPTION OFFER of Pitch in Young Children iZZtaSistt z&SSg&te vance of publication is 50 centss per copy.ci „JCau7 it; is an art work that deserves postpaid. p _®r'rion. in Print, the Theodore been studying awhile and has had a num¬ Three Etudes for 35 Cents By Gladys Taylor ber of routine pieces, it becomes neces¬ to iff1" j is .w*U*ng to lend its support To introduce The Etude Music Maga¬ The title of this little work tells what around 394 numbers and the book is such work and tastefnfs L £*s*?nt,al chorus basis Pr°aaction, upon the subscription sary to take up the larger works, and the it is expected to do, but it fails to tell in a she that it can be placed on the library f°,Ur Playtime Book great step between the former and latter zine to those music lovers not familiar The with our publication we offer the June, i.ntnius 47 Full-Page Excerpts of Piaim attractive----- n.er the subject is shelf, along with one’s favorite literature quate furnishing snienrlvi S entlre*y “do- By Mildred Adair composer, who shows s gifts. can be more readily taken with the aid worked out. The book is made up 'of two hooks. Xfoes and withS„eeP • , SUPport to H,<‘ utilizes of such material as is found in the two July and August issues for the small sum Pieces ill Grades from 1 to 5. selected This little work starts off in such an easy Jewish f'",, varioils parts of the opera, from the very best recent publications little musical stories in which the class We do not hesitate to say that excellent The special intrTw, S° °- Work’ Concertinos by F. Seitz. The Concer- of 35 cents. Everyone interested'in music manner that it might almost be used as a joins. While telling these two stories, 'valuf‘ >s secured in this book and it is pub- vance o/nubheatinn it an ^ P,nce ln ad~ cntiretvfdk ,SOnfrs and th<' °Ppra in its tinn i\o l in D Op. 15, is "chiefly in has here an opportunity to become ac- A Post Card Brings a Free Copy The Rainbow Cat and Ding Dong, the hshed in a sufficiently attractive and sub- postpaid P n is 30 cents per copy, nrst instruction book. It starts out at rir^L'1::^ 1UI,th a Portrayal of the ODORE Presser Co. Philadelphia. Pa. children are introduced naturally and Middle C and works along by single de¬ Jewish d lde;l,lsts to re-establish the characteristically to the different degre grees in either direction. The numbers are A fnldat'°" ?n its '"’"’c land. TJTM ST S-tftZhSl of pitch. Thewmembers of the class leai.. not studies, however, they are little pieces. Win b der g'ving full details of this opera Changes of Address the intervals really without knowing that All are very tuneful and have rhythmic ing L sf.nt “Pan request. Those subscrib- These works will be edited with the same sic during the vacation period by sending Those who desire The Etude sent to they are doing it. “'Tis the good reader that makes the good bookr !"terest. Each piece, is accompanied by a natnes n . Erst edition will have their Jare th^t has been shown in other recent each of them the copies at their summer summer addresses will kindly notify us The special introductory price in ad¬ little pen drawing, which adds much to the their support ^ & pape acknowledginS th„ Pres) Premium Workers—Attention The following is a selected list of etc. You will be delighted with it and rewards given for obtaining new Errm: only one new subscription makes it yours Music Magazine subscriptions. Very lit- Bon Bon M*h-French gray finish.' gold tie effort will secure anyone or all of lined, a dainty dish for the finest confec- Let Us Send YOU These Worthwhile Things these verv desirable articles of merchan- tions; ' .... “STANDARD” I l>y Fan things for vacation, for summer needs, for the home—at no cost to you! The Pre-eminent and Distinguishing Mark of the Great Advance in Piano¬ forte Instruction in America is the Just Secure New Subscriptions for The ETUDE MUSIC MAGAZINE (NOT YOUR OWN) t0Too'thbrulhn 'll older_a fine celluloid t^jf****-^ ^oking^ into STANDARD GRADED COURSE Earn these valuable articles in your spare time! No HAMMERED BRASS JARDINIERE previous experience is necessary. You’ll be surprised THE “STANDARD GRADED COURSE OF STUDIES FOR THE PIANOFORTE” W.^ ORIGINALLY COM¬ how easily and quickly you can obtain a number of and C'ean; °nly °"e * ** delight- PILED BY W. S. B. MATHEWS AND THEODORE PRESSER AND SINCE CONTINUALLY REVISED subscriptions. Start today! AND KEPT UP-TO-DATE BY EMINENT STAFFS s sSS'.:I-=Sfc OF FAMOUS PIANISTS AND EDUCATORS. EVERSHARP PENCIL The Word “Standard” is Synonymous with “Sterling.” No other pianoforte study course in the history of WAHL FOUNTAIN PEN the world has ever approached the “Standard Graded Course” in the immensity of its sales over a great num¬ ber of years. Like the “Encyclopedia Britannica” it is kept abreast of As gltts or tor your own use, xnese genu tain pens are most acceptable awards. They the time, maintaining its supremacy as the “Standard” of Eversharp Pencils and with reasonable c Only THREE NEW SUBSCRIPTIONS. is thoroughly and polishes at the same Etude of the music profession and remaining “always the best. ” ; only two new subscriptions script! Only indisputable results in innumerable cases could pro¬ duce such a record. ee, suitable for fruit, cake, pretzels, gift. THE "STANDARD GRADED COURSE" HAS PLAYING CARDS WITH CASE BEEN WEIGHED IN THE ARTISTIC SCALES GENUINE EASTMAN CAMERA OF TIME AND FOUND UNSURPASSED FOR PRACTICAL PURPOSES: Published in Ten Grades (10 Vols.) Price $1.00 Each Grade A MUSICAL COMEDY Any or all Volumes may be had for Examination by teachers Published by Presented by a THEODORE PRESSER CO. CAST •PHILADELPHIA* Bj THEODORE PRESSER CO. jgi 1711 C- Mid-Summer Magazine Bargains! de° Order PNOW?10ney h*™8 PMCeS ^ y°Ur fl‘ nay be new or renewal, may cm tn rlifWnt add rS tan iMrf NS PARING KNIFE DUNNING SYSTEM “,lmrC,«Sl esu M