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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

8-1-1915 Volume 33, Number 08 (August 1915) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 33, Number 08 (August 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/616

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PRICE 15

WHEN YOUR METRONOME STARTS TICKING IN SEPTEMBER!

Will you have everything ready to commence a successful season ? Will you have all your music in hand, rehearsed, arranged when the first pupil starts in so that you can give all your atten¬ tion to teaching? Or will you find yourself ordering “this and that” at the last moment? Hurried? Flustered? Irritated? Inefficient? The big dry goods merchant selects his season s stock six months or a year ahead. Why put off the music teacher s most important transaction of the year to the very last moment. Thousands of progressive teachers have let the Theo. Presser Co. solve the music buying question for them. As far before the opening of the season as possible, they send a note which reads something like this:

pSII§=S§ -foCLCCd/ zC /TyxsvyJt/ d/ ' ^ ' yj /vW SED WORKS IN Jut/ ylfTViAdUuJj PIANO COLLECTIONS PIANO COLLECTIONS—ConiI C.ntil

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Then the teacher gets a liberal selection of excellent works “On Sale.” “On Sale” means that the Theo. Presser Co. permits the teacher to retain this music right in her home to sell to pupils. At the end of the season the unsold music is returned and the used music paid for. Could anything be simpler? The teacher has plenty of the best music right on hand when it is needed, saving time, trouble and expense. More than ■Jack Sprat could eat no fat this—all music purchased now, in advance of the season, may be charged to next season’s account. _ His wife could eat no lean Wfe deliver the selection without fail on the date you set and the trans¬ portation is so arranged that delivery charges are reduced to a minimum.

It will pay you to find out about the Theo. Presser Co. all-com¬ ut _ _ was suck a treat prehensive stock of domestic and imported musical supplies. key licked the platter clean Large discounts, liberal terms, courteous treatment, notable promptness—a “Mail Order” system unsurpassed by any other.

Order to-day and you will be richly rewarded “When Your Metronome Starts Ticking in September!” ferrfT Painted by Loyd L. LaDriere for Cream of Wheat Co. Copyright 1915 by Cream of Wheat Co, THEO. PRESSER CO. MUSIC PUBLISHERS AND GENERAL MAIL ORDER SUPPLY HOUSE FOR SHEET MUSIC AND MUSIC BOOKS 12 Chestnut St., P 1712-1714 CHESTNUT STREET, PHILADELPHIA, PA. THE ETUDE 5S1 the etude 550

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Sub¬ and 12 Hands—Complete Catalog of Vocal Music Paper and Books, Record Tablets, s scription price, $1.50 a year. and Instrumental Music—Thematic Catalogs Music Filing Cabinets, Music Stands, || PRESSER ANNEX Jewelry for Music Lovers, Etc. s IflillllllllllllllllB THEO. PRESSER COMPANY “ON SALE” PLAN THE PROGRESSIVE MUSIC T Of all the many successful plans to help the busy professional musician evolved by the Theo. Presser Company, none has been so highly appreciated as the “On Sale” plan. needs the Theo. Presser Co. Our chief aim in the present, as it has always been in the GENEROUS SUPPLY: You secure an ample selection of the best obtainable pieces RETURNED MUSIC: Regular selections for the teaching season, and new Music past, is the publication and prompt supply of every possible need in musical education. “On Sale” should be returned together but once during the year: special “On Sale" In every grade, from the most elementary stage to advanced virtuosity, we are equipped for your needs, taken from our immense stocks by experts. for all demands: primers, methods, instructors, text-books, theory books, histories, NO OBLIGATION: You give no guarantee as to the probable sale of the pieces, selections for particular purposes, within thirty days. aesthetic works, etc., sheet music {including teaching, recital and exhibition pieces, paying only for what you use and return the remainder to us. SETTLEMENTS: Settlements are to be made at least once a year (preferably in classic and modern), exercises, studies and technical works of all kinds. All our editions CONVENIENCE: A stock on hand at all times to select from for every purpose. June or July). Manilla wrappers to keep it in good condition. are prepared with the utmost care in editing and version and printing: paper and binding NEW MUSIC AND NOVELTIES ON SALE are the very best possible. DISCOUNTS: We give you the same large discounts as though the music was pur¬ Wei chased outright. Send your order, no preliminary correspondence is necessary. From November to May we shall be glad to send every month a small selection of Our stock includes, in addition to our own publications, all that is best and available, difficult! SATISFACTION: Supply us with comprehensive information so that our experts about ten pieces of new music or novelties, under the same conditions as our regular “On whether produced in America or Europe, We offer teachers and schools of music standard may be guided in picking out just the right kind of music. Name a few pieces or studies. Sale" plan. This includes new and useful compositions for piano, voice, octavo, organ throughout the United States and Canada, and in fact wherever the English language We I Satisfaction is guaranteed. and violin. Mention which branches you are interested in. is spoken, the most satisfactory terms and most liberal discounts. USED WORKS IN MUSIC EDUCATION A SELECTED LIST PIANO COLLECTIONS PIANO COLLECTIONS—Continued PIANO COLLECTIONS—FOUR HANDS-Con. MUSICAL THEORY, REFERENCE BOOKS, ALDEN, RUTH. Wh«t They Do in Woodortown.. MATHEWS Standard Compos Vol. 1, Grade I NEUMANN, F. Sixteen Four-Hand Piano Pieces. GENERAL MUSICAL LITERATURE to Vol. VH. Grade VII. . $ 50 An original musical work in grades II and HI 5 75 BACH, J. S. Album oi Fivorito Piece,. OPERATIC FOUR HAND ALBUM. 50 BEETHOVEN. Selection. Iron. Piano Work.. Each volume wto be— used with ,,,„the ,comv. responding volume of BALTZELL, W. J. History of Music. ! Mathews Standard Graded Course or Studies ond all SARTORIO, A. Instructive Four Hand Album. BENDER.G.C. Bueines.MamialforMusicTeachore other graded courses. 20 Melodious duets for Teacher and Pupil.. 50 BOWMAN. E. M. Maater Leaaona in Pianoforte BUGBEE-DAVIS, L. A. 1 MENDELSSOHN. Song. Without Word. (Com- » Pleasant Hours, Eight Instructive Four Hand Playing. A Series: “Letters from a Musi¬ hood Times. Vocal or le. Pieces, Op. 1042. 1 00 cian to Hi. Nephew” by this leading Ameri- CHAM1NADE, C. Album. MODERN DANCE ALBUM. TWO PIANISTS. 1 00 CHOPIN, F. ' - • MODERN DRAWING-ROOM PIECES... TWO STUDENTS. 1 00 CLARKE, H. A. Harr A Text*Book ' Lighter Compositions MODERN SONATINAS. WOOD, D. D. Musical Zoo. Melodious duets for Complete Nocturi . MOZART, W. A. - - - teacher and pupil. Words. 75 “ Counterpoint, Strict and Free . “ Selected Worko (1. Phillip). YOUNG DUET PLAYERS (Harthan). 50 “ Pronouncing Dictionary. “ School of Velocity, Op. 299. CLEMENTI, M. Sonatina, lor Pl.oo. PARLOR and SCHOOL MARCHES.'. " School ol Velocity, Op. 299. 4 books, i PIANO PLAYER S REPERTOIRE OF POPULAR VOCAL METHODS AND STUDIES “ Student’. Pocket Dictionary. “ 6 Octave Studies, Op. 553. CRAMM, H. M. Now Tunes and Rhimes I PIECES. COOKE, J. F. Standard Hiatory of Music. “ First Pianoforte Instructor, Op. 599. Little Piauista.. POPULAR HOME ALBUM. MARCHESI, S. 20 Elementary and Progressive 40 Story lessons in Music Lore. A first hisla “ Preliminary School oi Dosterity, Op. 61 DUTTON, THEODORA. The First Progress... POPULAR PARLOR ALBUM. Vocalises for Medium Voice, Op. 15. 1 00 dents of all ages. “ Art of Finger Development, Op. 740 . stand! EASY DANCE ALBUM. POPULAR RECITAL REPERTOIRE. MYER, EDMUND J. Vocal Instructor COOKE, J. F. Groat Piamsta on the Ar “ Op. 740, 6 books, each. ENGELMANN, H. 24 Pieces for Small Haoda ROWE, DANIEL. Tone Stories lor Boys and Girls 1 (K Pianoforte Playing. CZERNY-UEBL1NG. Selected Studies. ' Album of EtiyPiec. PETRIE, H. W. Ton Vocal Studio.: M.I.dio Personal confers salonanuunr 'album,album, dvoi.vol. I.i. I, to promote style, flexibility and “ Album ol Favorite Pieeea. Hia bail drawing SCHOOL AND HOME MARCHES. With text.. . 1 00 room pieces, including “M.lody ol Love”.. SCHUMANN, R. Selected Works. FIRST DANCE ALBUM. “ Albums lor the Young, Op. 68. DUVERNOY, J. B. F-cole du Mecanisme, Op. 120 FIRST PARLOR PIECES. “ Scenes from Childhood, Op. 15. HEPLER, E. A. Studies iu Time and Rh “ Ecole Primaire. Op. 176. FIRST RECITAL PIECES. SMITH,HANNAH. RhymingTunesforLitlePlayers iring the average pupil’s weaknesr GURL1TT, C. School of Velocity, Op. 141. FIRST SONATINAS. SONATA ALBUM, Vol. I, 15 Sonata, by Haydn, PAUER, Musical Forms. BEGINNER'S METHOD. The most moderni pro) FIRST PIECES IN THE CLASSICS... M... R„„.L_ Methodical Sight Singing, Through the Keys. PERRY. _riptivo Anolyaes ol Piano Worl HANON.C.L. Virtuoso Pianist. Complet. 1 ‘ Methodical Sight Singing, Progressive Muxi- " Stories of Sti_ __.... . ___ BEYER,e.F.,!1Eleame»l'«,y>slhool°of Piano Playing HELLER,^ STEPHEN. Thirty Selected Studies, CURLITT. Album_ cianship. PROUT, E. A Treatise on Instrumentatio FIRST STEPS IN PIANO STUDY. The first nine “ Album of Selected Compositions (Mathews).. (Abridged edition), Kohler. • Introductory Lessons in Voice Culture. REDMAN, H. N. Pronouncing Dictic months of instruction. 1 ©at no ■fat HANDEL ALBUM (Pro.aor). SPAULDING, GEORGE L. ! Musical Terms. HUDSON, H. B. A B C el Piano Music, To pre¬ ^Metodtous Stl HAYDN, J. Sonetea, Vol. 1. two part Exon RIEMANN, Dr. HUGO. Dictionary of M cede any piano method. “ 30 Progressive S Masters. Introducing It “ 25 Studies, Op. 4 '• Sonatas, Vol. II. and Rhyme lasa-Work.... Musician.. KOHLER, LOUIS. Practical Piano Method, Op. HUDSON. Muoieal Poems lor Children. Develop, help in 1 -.itary Exe--- SKINNER, O. R. Fir.t Year in Theory. 249, Vols. I and II, each. HERZ, H. Scales and Exercises. no loan ing rhythm, stylo, eipression, with words. . ' Youthful Di -- Op. 92, Soprano. STAINER AND BARRETT. Dictionary of Musical LANDON, C. W. Method tor Piano. Board bind- KLEINE PISCHNA. “ Musical Picture Book. Largo notes, oblong well known children's melodies with words.. “ Op. 93, Mexxn-Soprano. KOHLER, L. First Studies, Op. 50. form- Choraetor titles.. “ On. 94, Alto. STAINER, Dr.' j.' Guide to Beginners in Compost) “ Foundation Materials [or Piano. The best “ 12 Little Studies, Op. 157. KROGMANN, C. W. Five-Note Recraelions. Ten VACCAI, N. Practical Italian Vocal Method. work ol this well known educator. 1 “ 12 Preparatory Lessons, Op. 151. WHELPTON, G. Vocal Studies (or Soprano and RALSTON MARION. Musi ” ’ - ■ TREBLE CLEF ALBUM. STREATFIELDi Life Stories of Great Comp “ Very Easiest Exercises, Op. 190. such a treat LEEFSON, M. Modern sonetmaa. VERY FIRST PIECES, THE... TAPPER. First Studies in Music Biography “ Small School ol Velocity. Op. 242. 1 LEFT HAND RECREATION ALBUM. YOUNG VIRTUOSO, THE ... ‘ Student’. Manual of SI * Education ot the Music Teacher...... ■ KUNZ, K. M. Two Hundred Short Two-Pert L1CHNER, H. Sonatinas. Ops. 4, 49, 66. WODELL, F. W. Choir and Chorus Conducti, LISZT, F. Album. L'tor clean “ Consolations and Love Dreams. PIANO COLLECTIONS-FOUR HANDS VOCAL COLLECTIONS LITTLE HOME PLAYER. Piano or Organ... CHILDHOOD DAYS (Horthon). Instructive Duets BUGBEE-DAVIS', L.T Mnaical Thoughts VIOLIN IESSER, T MacDOUGALL. Studioa in M.lody-Playing, Equal d AIQ0VMnUtH' Practical Method lor the Yen, “ First Study ol Carefully prepared material lor Junior pupils CONCERT DUETS. CHURCH AND HOME! Sacred Senii, High V, BERTINI, H. 25 DIABELLl. 28 Melodiom -Songs, Lew Voice. FRANKLIN,": A." O^raVic Sel«ii'„nV.’.'. “ 25 Studies for Pianoforte, Op. 100. ROGERS, J. H . MacDOWELL, EDWARD. 6 Poem, alter Hein.' i DUET HOUR... GALLOWAY, TOD B. Friendship Songs. 1 Selected Claat_ BIEHL, A. Elements of Piano Playing, Op. 30. ... MASTER PIECES. The 21 beat composition. Irom “ Seven Memory Songs. 1 BILBRO, MATHILDE. General Study Book.... “ DoubicT i the greatest masters. ■ ■ ,. HOHMANN, C. H. Practical Violin School, Ger BUGBEE-DAVIS, L. A. First Grade Studies. Easy, MATHEWS. Standard Fir.t and Second Grade NEIDLINGER, WM. H. Little Folk.’ Song Book * original, melodious study pieces. SARTORIO, A Piece... ctropn nunc p— -n u.:... “ S.—Aoot.'e.Ih"''"^"' BURGMULLER, F. 25 Studies, Op. 100. Copyright 1915 by Cream of Wheat Co, Standard Third and Fourth Crada Places “ 12 Brilliant and Melodious Studies, Op. 105.. Standard Filth and Sloth Grade Pis KAYSBlinLEd,fck7 ^ Pr°—1'< “ 18 Etudes de Genre, Characteristic Etudes, STANDARD VIOLINIST Op. 109. STUDENT’S POPULAR ALBUM . TOURS, B. Complete Instructor for Violin. THEO. PRESSER 712 Chestnut St, PHILADELPHIA, PA iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii : 553 THE ETUDE 552 THE ETUDE DIRECTORY OF SUMMER SCHOOLS DIRECTORY OF SUMMER SCHOOLS

COLUMBIA SCHOOL OF MUSIC Music teaches most e: NORTHWESTERN 15th Year CLARE OSBORNE REED, Director A 8upi anS1 voice" violin, theory^ tohuc schoolmusic: Music-Education Dana’s Musical Institute UNIVERSITY leading to graduation and degree Specral^Tram^Courses for Teachers m Week, EVANSTON - CHICAGO M Session hegrns Bqx WABASH AVE., CHICAGO, ILL. 30th The University School of Music offers courses CALVIN B. CADY in Piano, Organ, Violin, Voice and Theory of WARREN, OHIO Music leading to academic degrees. Also courses in Public School Music, and Piano and Voice Pedagogy. Literary studies in the College of A Summer Course at the Chicago Musical Liberal Arts or Evanston Academy included with- During his sabbatical season of 1915-16, THE DAILY LESSON SCHOOL maintained?0 Refined soclaf enviromnentand beau- Walter Spry Music School College Mr. Cady will be open for tifuL situation on the wooded shores of Lake FINE ARTS BUILDING, CHICAGO DR. F. ZIEGFELD, President Founded 1867 jpORTY-SEVENTH year. All instruments Lecture and The professional String Quartet, the student if. ^reMuchUcan°be accomplished in.l short time Foremost School of Music and A and voice taught. Lessons daily and under our corps of eminent teachers. Among the gr^giiMu^dggt teachers available for summer work will be: Dramatic Art in America Normal Course Engagements private. Fine dormitories for pupils. Build¬ Hugo Kortschak, Violin, totaling over 2,000 voices offer unparalleled prac¬ James Whittaker, Piano, 80 Teachers in all Departments on the Pacific Coast, ings for practice (new). Pure water, beauti¬ tical advantages. Cedric Wilmot Lament, Piano, Roy David Brown, Piano, 50th SEASON Opens September 13 with headquarters and temporary address Florence Parrish Ray, Piano, Complete Catalogue on Request Portland, Oregon, 715 Everett Street. ful city and healthy. Not a death in forty- Sandor S. Radanovits, Voice. Carl D. Kinsey, Mgr., 633 S. Michigan Ave. seven years. Superior faculty. Every state Peter Christian Lutkin, Dean June 28th to July 31st tial Scholars p Applica Evanston, Illinois Write for Circular No. 1 Accepted U il Septeir and country in North America patronizes the school. Fine recital hall with an orchestral THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS CENTRAL WESLEYAN COLLEGE AND CONSERVATORY concert and soloists every Wednesday night. MARY WOOD CHASE, DIRECTOR—Author of “Natural Laws in Piano Technic.” 7 building., gymnasium, fine campus, healthful climate. Senior College, art, domestic science, elocution, business school, academy Incorporated and confers through state NINTH SEASON OPENS SEPTEMBER 13, 1915 Complete Courses in all branches of music and dramatic art. Coaching students for Conservatory of Music under direction of J. C. Eisenberg, authority the degrees of Associate, Fellow, concert stage. Special Normal Course for Teachers. graduate of Royal Conservatory, Leipsic, Germany maintains highest standards. Piano, For Year Book address the Secretary. voice, violin. New Grand and Upright pianos. Fall term Sept. 7. Catalog free. Send Master and Doctor. 630 FINE ARTS BUILDING ------CHICAGO now! Address: Director C. W. C., Warrenton, Missouri. ENSEMBLE CLASSES DAILY SUMMER SCHOOL Chorus 10 A. M. Military Band 1 P. M. STUDY THE WESTERN CONSERVATORY Centralizing Effa Ellis Perfield School of Orchestra 5 P. M. in Dana Hall Teaching System and how to blend Keyboard NORMAL COLLEGE OF MUSIC Harmony with Melody Building. Prepare with a Normal Teacher and finish with College (under same*management) devoted exclusively to the training of Teachers in Piano, Voice, Public Music PUPILS MAY ENTER AT ANY TIME EFFA ELLIS PERFIELD, The Originator School Music, Theory and Composition. LEARN HOW TO TEACH STATE CHARTER. STRONG FACULTY. THIRTY-FIRST YEAR Diplomas, Certificates and Degrees conferred by State Authority. Superior boarding facilities. Send for 64-page catalogue, blue boob, and historical sketch to JVM. H. DANA, R. A. M., President „ ,, . E. H. SCOTT, Pres. Centralizing School of Acting I Send One Dollar lor cop; of Constructive Send for Catalog MALLERS BUILDING, CHICAGO to be used by pupils for home work des Edward Dvorak, Director to be used for promotional credits. d Teacher Fall Term begins Monday, September 13th, 1915 Special Low Rates for Beginners j_ BEETHOVEN CONSERVATORY lSend for handsome Catalogue to the W accredited by Board of Education of Chicago BROS. EPSTEIN f Suite950-955 McClurgBldg.,218S.Wabash,Chicago,III. One of the oldest and best Music Schools in the United States N. W. Cor. Taylor and Olive Sts., St. Louis, Mo. As “A Tree is Known by its Fruit ” SCHOOL OF MUSIC So is a school known by its products, and a certificate or a diploma from The College MINNEAPOLIS SCHOOL OF MUSIC, ORATORY AND DRAMATIC ART VALPARAISO UNIVERSITY VALPARAISO, - INDIANA. of Music of Cincinnati is a recognized password in the professional world. The best 42-44 EIGHTH ST., S. MINNEAPOLIS, MINN. ty School of Musi io,Voice»Violin, Organ, Th eory and^Public School Music. facilities offered for public appearances. A wholesome artistic atmosphere makes life o The Recognued^Leading bistitutioU'Of^the Northwest ^SCHOOL OPEN ALL THE YEAR ^ ^ ^ ___IEC LOWEST and study in this school fascinating. A special booklet. Tuition, 335.50 per quarter of twelve weeks. Board with Furnished Room, ?26 to 328 per qua italogue will be mailed free. Address Henry B. Brown, President, or Oliver P. Kinsey, Vice-Pi “In the Footsteps of Our Students” Year Course 42ND YEAR—STUDENTS ACCEPTED AT ANY TIME. contains the names of a few of the professional people who were educated in and at¬ tribute their success to the training they received in Teach music in the Public Schools. The pay is good and the work pleasant. We offer a complete and thorough course COSMOPOLITAN SCHOOL OF Chicago College of Music in Public School Music that may be finished in one year. We “Galloway, Organ, AMERICAN MUSIC AND DRAMATIC ART barter,Voice. 54th year, (Inc.) The College of Music of Cincinnati also teach Drawing, Home Economics, Physical Training, >r and Junior Colie' jp. ami College of Music. ESTHER HARRIS, President. Mrs. W. S. Bracken, President imer School in Students may enter at any time. CONSERVATORY An Ideal School of Music and Dramatic Art Manual Training, Industrial Arts, Penmanship. Strong lal Session, Sept. For free catalog: address CHICAGO COLLEGE OF MUSIC Under the patronage of a Board of Trustees, composed of fifteen of Cincinnati’s leading faculty, beautiful location, unsurpassed equipment. Also two-year i UNIVERSITY Dept. 23, 304 South Wabash Ave., Chicago, III. xmusic business men and philanthropic patrons of art. Conducted for the development of course. Catalogue sent free. Assisted by eminent faculty of 50 artists. latent talent—not commercial. Entire income devoted to the maintenance of a faculty Offers to prospective students courses of of artist teachers, the giving of concerts and the establishment of scholarships. For detailed information study based upon the best modern educa¬ Additional Features—Chorus, Orchestra and School of Opera, address tional principles. Diplomas and degrees CLARA BAUR, Foi School of Speech arts and Acting. Dormitory for Ladies Thomas Normal THE SECRETARY conferred. Many free advantages. Send/or catalog and booklets of individual teachers. Address, Faculty of International Reputation 3029 West Grand Boulevard Students May Enter at Any Time All Departments Open Throughout the Summe Elm St. opp. Washington Park The College of Music of Cincinnati CINCINNATI, OHIO Detroit, Mlcb. For particulars address Secretary, Box Elocution—MUSIC—Language Training School 44 Auditorium Bldg., Chicago, Ill. Also Special Summer Course in PUBLIC SCHOOL MUSK NORTHWESTERN OHIO SCHOOL MUSICIANS DOUBLE INCOME MR. & MRS. CROSBY ADAMS Location and surrounding? ideal for Summer study DETROIT INSTITUTE UNIVERSITY SCHOOL Annual Summer Classes for Piano Teachers Catalogue at Learn Piano Tuning at the Original School for the Study of Teaching Material will be held in MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. A paying profession, not overcrowded and an ideal OF MUSIC PIANO TUNING ALBERT A. STANLEY, A.M., Director CHICAGO, ILL., Aug. 5-18, 1915 OF MUSICAL ART recognized throughout the United States. PWrite FOR FALL SCHOOL ANNOUNCEMENTS Ann Arbor, Michigan D. O. BETZ, Director POLK’S PIANO TRADE SCHOOL, Valparaiso, Ind. MONTREAT, NORTH CAROLINA THE ALL IMPORTANT ISSUE OF THE ETUDE Offers courses in Piano, Voice, Violin, Advanced courses are offered in all branches of WILL BE THE SEPTEMBER NUMBER Organ, .Public School Music, Diction, Music under a faculty of artist teachers. Dramatic Art, Languages, etc. Diplomas “A GATHERING PLACE FOR a.nf j?e8fees‘ Located in finest residen¬ tial district. Excellent dormitory. OTTO SCHOOL OF SINGING ADVANCED STUDENTS” MICHIconservatory ofAmusicLLEGE Address Secretary for catalog N. E. Cor. Ninth and Main Sts., Dubuque, Iowa Fall Semester begins October 4 IDetroit Conservatory of Music Only School in Eastern Iowa Devoted Exclusively to the Art of Singing “Ann Arbor—An ideal city for si Elementary, Graduate and Postgraduate Courses. Diplomas Granted MICHIGAN Francis L. York 1‘ma0^"81017 in the ^f,8^42nd Year I Detroit, Michigan, Special Summer Session of Ten Weeks, opens June 7th. ses in singing, gano, organ, violin and theory. f Courst supervisors and teachers and r\a?Am - ’• 1V1* *• rres.. e®* Fall Term Opens September 9th I Fall Term opens September 1, 1915 "ehr81 Mur-es ? pi«no- Voice,e, Violin, Organ,OrganrTheoFy7Pubtir Theory, Public I of the Union. UTotal living AW.U.01V,, etc. Acaaen 67-69 Davenport St., Box 22 Recital Hall seating 300. Fully equipped stage for actingcting and opera.opr School chool Music, etc. Academic Department.Denartmpnt SondSend -tfor™. Catalog_ or Illustrate. JAMES H. BELL. SECRETARY.SFPPPTAdv IQ!3 Woodward Ave. Flease mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. THE ETUDE 555 554 THE ETUDE

NEW YORK NEW YORK DIRECTORY OF SUMMER SCHOOLS 1 southeTTI directory OF SUMMER SCHOOLS I

WHAT ONE OF THE GREATEST AUTHORITIES SAYS OF THE r—i THE VIRGIL (New England Jgk| PIANO SCHOOL C0„ 42 WEST 76th ST., NEW VOkK VON ENDE SCHOOL OF MUSIC Conservatory .Manufacturers “A school for artists and OF NEW YORK The Virgil “Tek” °--*2=“*OF ms I 1 HJ H The Bergman Clavier teachers as well as studen ts chartered by the Board of Regents of the University of the State of New York MUSIC J.S. BOSTON, MASS. 1 1 The Bergman 2 and 4 Octave of all ages.” The Largest and Best Equipped School of Music ■ II instruments for travelers Located In the music center of America. It affords pupils the environment and atmosphere ^so 1 The Bergman Child’s Pedal A Master Faculty equipmmatZanTth^Resid'enc^Buildingoffrr^xceptfonalfaciiities'fcn'^stuIents. MASTERFUL ADVANTAGES AFFORDED EXPLANATORY CATALOG Such as never before has been assembled under Complete Curriculum. Courses in every branch of Music, applied and theoretical, including Opera. one roof includes: 0 SIGISMOND STOJOWSKI, Eminent Polish Pianist, A Complete Orchestra offers advanced pupils in voice, piano, organ and violin experience in rehearsals VIRGIL PIANO CONSERVATORY composer and pedagog. and public appearances with orchestral accompaniment. Dramatic Department. Practical training in acting Famous for Instruction in Technic, Pedalling, Interpre¬ ALBERTO JONAS, Renowned Spanish Pianist and RALPH L. FLANDERS, General Manager. tation, Theory and Harmony Playing. teacher of the famous Pepito Arriola. ESTABLISHED 1857 Special Courses for Teachers. ANTON WITEK, Famous Violin Virtuoso and Concert- Summer Normal Course begins June 22d, 1915 master Boston Symphony Orchestra. i'yf /flflDr A DAIYV CONSERVATORY ARTHUR HARTMANN, Eminent Violin soloist and rllADUD 1 BALTIMORE, MD. FOR INFORMATION WRITE pedagog of international fame. 42 West 76th street, new York HAROLD RANDOLPH, Director MRS. A. M. VIRGIL, Director ALBERT ROSS PARSONS, Teacher of many of Amer¬ /Wm/(Vk-j? /■< /I't “its endowment enables it to offer exceptional advantages in music culture in all grades and branches ica’s successful pianists and teachers. — . ADRIENNE REMENYI, Distinguished teacher of BRENAU IDEAL SUMMER FOR THE AMBITIOUS MUSIC TEACHER NormalCi MSEBATOlff singing. COLLEGE-CONSERVATORY JOSEF STRANSKY HANS VAN DEN BURG, Eminent Dutch pianist, composer and pedagog. GAINESVILLE, GA. rs DUNNING SYSTEM Conductor New York Philharmonic This institution—a depart- M FALL SESSION, SEPT. 14th. IMPROVED MUSIC STUDY FOR BEGINNERS NORMAL CLASSES FOR TEACHERS Orchestra HERWEGH von ENDE, Distinguished teacher of tototntprth the* artist^and f violinists. Standard college course, and in addi¬ $D?see dunn i ng {iugulf4?hfehurgo’ °regon tion, special courses in music, oratory, Address, 11 West 36th St., New York, N. Y. art and domestic science. Location, or Orchestral Instruments. Fall Term begins September 13th foot-hills Blue Ridge mountains. Mild RECTOR BEVITT { &”«San Dingo Theory of Muslc^ etc. A jjf Fall Term begins September 13th but invigorating climate; varied and Address, 3914 3rd St., San Diego, California VON 44 West 85th Street, NEW YORK interesting student life. Beautiful illus¬ Forillustrated cata^ogand □ For Catalogue Address Secretary— ENDE SCHOOL OF MUSIC trated catalogue on request. CHONTRELLE ARMSTRONG August 3rd, Aehevilla, N. C. I JAMES E AMENT, ■ BRENAU, Box 97, Gainesville, Ga. Address, 100 Carnegie Hall, New York, N. Y. 1 Ph. D^LL. D.^ Principal, ■ Crane Normal Institute of Music OF THE CITY OF CRANBERRY PIANO SCHOOL Training School for Supervisors of Music NEW YORK BOTH SEXES INSTITUTE OF MUSICAL ART Frank Damrosch, Director N ENDOWED SCHOOL OF MUSIC Teachers’ Training Courses School Of Music cSJSMS&le I form, music-history, chorus-conducting methods, BURROWES COURSE 0FSTudyc practice-teaching. Graduates hold important posi¬ The opportunities of the Institute are intended only for students of natural ability FAELTEN SYSTEM. Booklet Offers a broad variety of musical courses, --e-rrr'T' tions in colleges, city and normal schools. .with an earnest purpose to do serious work, and no others will be accepted. For catalogue Kindergarten and Primary—Correspondence or Personal Instruction including Pianoforte, Violin, and other yr ’ p- - ■ POTSDAM, NEW YORK apd full information address SECRETARY, 120 Claremont Avenue, New York. CARNEGIE HALL - Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method stringed instruments. Band and Orches- /nSfisMbe tra, with weekl^concerts, Pipe Organ, aEu?deSLcti^ihLirer,hon KATHARINE BURROWES tion and Physical Culture, Arts D. 502 CARNEGIE HALE, NEW YORK CITY, or Crafts. Rates: $200 to $275 per year. Wllttlialifflj'iSy No Extras. 39th year begins Sept. 16th. NEW YORK SCHOOL THE NEW VIRGIL Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. Students from 20 states. Address Box 110 OF MUSIC AND ARTS JSk PRACTICE CLAVIER VON UNSCHULD UNIVERSITY Southern University of Music Atlanta Conservatory of Music LIEDERHEIM SCHOOL OF Central Park West, cor. 95th St., New York City G^s3 Far superior in its latest construction to any OF MUSIC 353 Peachtree Street, ATLANTA, GEORGIA Faculty of Artist-Recitalists. All departments VOCAL MUSIC — RALFE LEECH STERNER, Director ^ other instrument for teaching and practice. 1320-22 F Street^ N. W. WASHINGTON, D. C. complete. School Orchestra and Chorus. Public FITS FOR SINGING AND TEACHING We are now in our beautiful new A Real Home for Music Students. New GESAED-THIKEB, KURT MUELLER, Directors School Music. Oratory. I*anguages. Ideal location and plan for the musical girl. 7th season. October to June. buildings, overlooking Central Park York’s modern, up-to-date Music School VIRGIL SCHOOL OF MUSIC SUMMER SCHOOL FALL SESSION BEGINS September 6th, 1915 Individual Training and Cure. Special Summer Courses of six and ten weeks, for Amateurs, personal instruction of Mme^Nfarle^von CtosehuhL Dormitory attached with prices within reach of Specialty: Public School Music Atlanta Conservatory of Music lug and Speaking Volco In Boston studio. Teachers and Professionals, from May 1st to September 15th SUMMER SESSION begins Monday, June 28th every student. Send for free catalogue. Fall Term opens September I Peachtree and Broad Streets, - Atlanta, Georgia All Branches of Music and the Arts taught from the beginning to the highest artistic finish by a faculty AITBTTRNlrALE^^MABB^^^k^io^MUe.^'from^Bciton composed of A. "I 7 Enrollment Saturday, June 26th America’s Most Eminent Teachers Dormitories in School Buildings and Proper Chaperonage „ VIRGIL For prospectus address Secretary STUDY MUSIC C0URTRIGHT SYSTEM OF MUSICAL KINDERGARTEN OPEN THE ENTIRE YEAR PUPILS MAY ENTER ANY DAY K. V Executive Office, 567 Third Ave., New York City SPECIAL SUMMER SESSIONS Hahn Music School TERMS, including Tuition, Board, Practicing, etc., on application. Send for Booklet. IN AMERICA Chas. D. Hahn, Director BUT FIRST STUDY THE SAN FRANCISCO EXPOSITION and NORTH CAROLINA The School for your Daughter ADVERTISEMENTS Write for further particulars Our catalogue telle why The IN THIS SECTION MRS. BABCOCK NEW YORK INSTITUTE OF MUSIC MRS. LILLIAN COURTRIGHT CARD H6 EDNA AVE., BRIDGEPORT, CONN. 3919-s Junius Street, Dallas, Tex. 560 WEST END AVENUE (Corner 87th Street) QFFERS Teaching Positions, Col¬ National Conservatory ALL BRANCHES TAUGHT BY EMINENT PROFESSORS ’ Training School for Piano Teachers leges, Conservatories, Schools. of Music of America STUDY HARMONY Also Church and Concert Engagements Boarding Accommodations for Students in Building Learn Harmony and Composition FAUST SCHOOL 2E TUNING and Public Performance. in 1885 and Chartered in 1891 and COMPOSITION £ VICTOR KUZDO .. wmtf eni> t-atai nr •• BESSIE CLAY Shepard School of Music, Orange, N. J. CARNEGIE HALL, NEW YORK Director •• WRITE FOR CATALOG .. Principal. Piano, Player-Piano, Pipe Organ & Reed Organ Courses by MAIL with Wooier, F Pil"HTCE<:her3’ ?°U[Se ‘I'SJF Mail-prepared by gives all instruction mid corrccts'lll Musicians! Make those Teachers! Increase F^nk H. Shepard, AuthOT of Harmony Simplified”, lessons. Number llmito.l. wasted hours become a your income, become a “Key”, “Graded Lessons in Harmony”, etc. Even Wilcox School of Composition source of profit. pianoforte tuner The American Instituted Applied Music '! Sold far FRgK rear Book qivtna /Ml InfarmetUm LESSONS BY MAIL . (METROPOLITAN COLLEGE OK MUSIC)USIC) Box E. 225 Fifth Ave., New York City, N. Y. OHverC. Faust,Principal ,27 Gainaboro St.,Boston .Mass. We close August 1, re-open September 1 ALFRED WOOLER, Mus.Doc. Dates of Examination and Enrollment A. AGNES SHEPARD, Arti.t Teacher. 322 W. Utica St., Buffalo, N. Y. Publi'c School Music. N. Y. Method 212 West 59th Street New York City Harmony : Counterpoint : Theory September 21st to September 30th, inclusive Complete courses in Voice, Organ, Piano, Stringed Instruments, Public Other subjects c. Theoretical d Histoi The Thirty-first Scholastic Year Opens October 30th Season-September 28, 1915. Send for circulars and catalogue For further information address the Sectet SEPTEMBER! THE ETUDE JOHN B. CALVERT, D.D., Pres. KATE S. CHITTENDEN, Dean 126 W. 79th Street - New York n THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing our advertiser*. 556 THE ETUDE

r Emerson'Tfie PLAYER - PIANO ENABLES EVERYBODY TO RENDER ARTISTICALLY THE BEST MUSLC OF EVEKFKIND AUGUST, 1915 VOL. XXXIII No. 8 What the Great War Will Mean to Music in America An Editorial By John Luther Long Author of Madame Butterfly Yes, It’s a Steinway Mr. Long was invited to participate in the notable continuous symposium upon “Music a Human Necessity in Modern Life: Not a Needless Accomplishment,” now running in THE ETUDE. He has, however, by personal preference chosen to write upon the above subject and the result is a most excellent discussion of a very timely topic. The editor of THE ETUDE gladly welcomes so distinguished an American author to this paper ISN’T there supreme satisfactions in being able to say that of the piano in your home? for this issue. Mr. Long’s comments upon this great turning point in civilization deserve your most serious attention. Would you have th feeling about any other piano? “It’s a Stemway. _.._' 1. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You I think there is no doubt that, after the present European war, letters follows every great war in the countries between which it is will never even think of changing this piano for any go by the EMERSON PLAY©-PIANO STYLE H s “It’s a the home of the arts will gradually center in America. waged. DEALERS IN PRINCIPAL CITIES AND TOWNS The artistic countries of Europe will have—indeed, now have!— Moreover, the eight countries nowr at war, and the three or four WRITE FOR CATALOG destroyed or crippled the young, who might naturally be looked to more which are likely to go to war, will have all and more than they can possibly attend to in repairing their material resources and Catalog upon request and mention of this magazine. for progression in art, and will have left behind but cripples and EMERSON PIANO COMPANY providing for the payment of the frightful sums now being spent elderly men, their poor and troubled women. From these the next for murder and munitions to accomplish it. STEINWAY & SONS, STEINWAY HALL BOSTON • • ESTABLISHED • • 1849 • MASS generation must be born! Can any one doubt that it will be far From such soil, such environment, they who may still be left 107-109 EAST FOURTEENTH STREET, NEW YORK below the standard of the one now being destroyed? to practice the artistic professions will hide their faces and depart. There never was, there never will be again, a war so utterly And where shall they go from these vast, sliell-ridden graveyards without “glory.” It has been simply a tour of destruction without if not to America? For here shall be peace, plenty and friendliness. result. History will glorify not a thing in it. And we shall have our own art and artists, as we have had them There have been wars of high patriotism, where a sublime THE OLDEST COLLEGE FOR WOMEN for many years. But our people will “discover” them now, that principle has been fought for, where a people have protected their Europe will have ceased, in very shame, its loud-voiced boast of IN THE WORLD firesides against odds at enormous sacrifices, where they have culture. defended their frontiers, their wives and children against brutal And will America assimilate its opportunities? Undoubtedly.' invaders. Some inspiration from such wars has passed into history and Everything is here and ready. And this is especially true of music. story and has found its way into art. But, in this wanton butchery, We are equipped. Composers are here, librettists are here, themes WESLEYAN if we leave out unfortunate Belgium and Poland, there is neither are here, atmosphere and color are here, and the musicians and patriotism nor principle, only sordid ambition, horror and “fearful¬ orchestras to interpret them—all are here! Besides, we are hampered ness.” One is glad when one has scanned rapidly the headlines of his by no traditions as to form in art. We shall produce something new— COLLEGE-CONSERVATORY newspaper and has passed to something else. There is no inspiration as we have always done with what we have undertaken. There will in it—only horror. I believe that literature and art will not only MASTER SCHOOL OF THE SOUTH FOR THE be freshness and virility in our art. There will be the joy of youth let it alone but will fly high of it and its consequences. It is for the ARTS OF MUSIC, PAINTING AND EXPRESSION and life lived at high altitudes. There will be that thing in our “yellow” press and the “correspondents.” music which Europeans find in our atmosphere—.something brilliant “THE BERLIN OF THE SOUTH” Art does not flourish where the people are bound to the soil and and stimulating. the shop, and where the mere maintenance of life is the occupation. Do these things seem a bit wild? Wait and see. We Americans UNEXCELLED FOR ITS ATMOSPHERE, DISTINCTION CULTURE There must be leisure for contemplation, the cultivation of atmo¬ have always taken hold in this way. I am glad of that. I hope we IDEALS, MUSICAL ADVANTAGES, THE MOST DELIGHTFUL CLIMATE sphere, the wooing of inspiration, and then for the creative part of IN THE UNITED STATES—AND always will. We “go at it.” Not always with discretion, but with tlie artist’s imaginings. Well, Europe is a shambles now, and will that which, somehow, lands! AN EMINENT FACULTY OF SPECIALISTS be a vast burying place at the end. Before the artist will be always We must, we will, acquire the habit of making art here, instead INCLUDING JOSEPH MAERZ,' JAMES ROBERT GILLETTE ruined cities, broken fortifications, the mounds of the dead, mourning of buying it ready made from Europe. Indeed, we must, we will, REGINALD BILLIN, LOTTA CARLETON GREENUP wives and mothers, old men, and ever the cripples. With these acquire the habit of sending the art we have made to the countries AND MANY OTHERS before him, within him, without—everywhere—what will the artist which have been making it for us. “Made in America” will presently FOUR YEAR COURSES LEADING TO BACHELOR’S DEGREE think of? War! And no one will listen when he writes or sings. be a better trade-mark than “made in Europe” even for those of us ALSO SPECIAL COURSES IN ALL DEPARTMENTS Already we have grown sick to death of this carnival of blood and who have held that anything from Europe was better than anything destruction. Even respectable newspapers have relegated it to their from America, simply because it was from Europe. You will see FOR CATALOGUE, ADDRESS PRES. C. R. JENKINS, OR SECRETARY inner pages. America, presently, achieve “power” in art as it has achieved power Notwithstanding the mad theories of some European commen¬ in more material things. And music, the most facile, the most widely WESLEYAN COLLEGE-CONSERVATORY tators, history is emphatic in teaching that poverty in art and disoersed of all the arts, will feel the impulse first! MACON, GA. C. R. JENKINS, D.D., President JOSEPH MAERZ, Director

when addressing advertisers. THE ETUDE 559 558 the etude

less, the card is valuable in order that those who have decrease, while the amount of finger control will grow. Doing Away with the Useless in made your acquaintance may realize that you are m the Piano Playing After a week or so has passed we are ready for such exercises as the following: musical profession, and that they may be conveniently reminded of your address. This is of more importance By HazeljVictoria Goodwin

Away off, near Ghazipur, India, where the rose Personal Acquaintance the Chief Asset damascena is grown, one of the industries is that of Appearance in concerts and recitals is excellent as a extracting essential oils or attars. Two hundred thou¬ means of advertising. So is good work done in ones sand roses yield but the value of one rupee (about position as organist, choir singer, orchestral player, or Music Teaching and Common Sense thirty-four cents) in the pure essence. The main value the like, but the most effective of all, is personal of the rose constitutes but an infinitesimal portion of acquaintance, or the recommendation of friends and By PERLEE V. JERVIS the flower. The fine odor is contained in tiny globules Like all such exercises, this example is but the root called “odor buds,” on tips of microscopic hairs that patrons. , . of a more or less extensive system of many exercises. (Superior even to this, is the recommendation of feather the surface of the petals. All the rest of the First of all, let the scale step between each finger be¬ blossom Is worthless in this respect. It is cast aside successful pupils, but- this implies long residence and come a chromatic half-step. In this form of the exer¬ when the separation is complete. work in one location, and we are at present discussing cise, the hand progresses up or down the keyboard, The process of obtaining attar from roses is analog¬ only the matter of making a start.) first in half-steps; and secondly, in whole steps. ous to that of obliterating the useless in piano playing One should seek the acquaintance and friendship of A second variation upon the exercise retains the so as to acquire an efficient piano technic. Useless whatever musical amateurs there may be, who appear scale-step between the first and second finger, chang¬ muscular contractions creep in unnoticed. They are as to be active and enthusiastic for the art. The friend¬ ing the remaining scale-steps to half-steps. A third plentiful as weeds in an untended garden, and as per¬ ship of musicians whose specialty is other than one’s variation retains the scale-step between the second and own, and who thus do not come into direct competition, sistent. And there are myriads of them so tiny that of this fact and without stopping to ascertain how much third fingers; a fourth, between the third and fourth, is often of very great value, and should not be neglected. Music pupils may be divided into three classes: teacher who administers it. Such a teacher will frankly it takes the most careful scrutiny to detect them. In technical development is possible, many teachers start and so forth. It is perfectly proper for a new-comer to call and say, “I have no method—only to make people play”— order to discover most of them, we must, as it were, (a) Those who study for the profession. upon a technical course that is likely to be as successful Other variations alternate whole with half-steps; introduce himself courteously to such. If a piano which is, after all, the thing for which' most people magnify the hand. Its image must be thrown upon (b) Those who study through love of music, for the as the effort to extract sunshine from cucumbers. steps-and-a-half with half-steps; steps-and-a-half with teacher can secure the co-operation of a vocal teacher, study the piano. the screen^, of the mind greatly enlarged that every pleasure they hope to obtain from it, and Now the average pupil, owing to our high pressure whole steps; two whole steps with each of the others; a violinist, or a ’cellist, in the giving of recitals, it minute movement on the part of even the smallest (c) Those who study because their parents oblige The Need for Technic educational system, finds it difficult to practice an hour and then follow almost endless arrangements of half, will be to mutual advantage. section of the finger may stand out boldly; that, there¬ them to. a day—with very many, thirty to forty-five minutes is whole and greater steps. Now a word regarding technic is indispensable to the fore, every movement may be directed with precision Many teachers—particularly if they exploit a the maximum. If we fill most of that time with In the first exercise the hand did not progress up¬ Avoid Frequent Change of Location pianist. He needs all he can possibly get—and then and economy. For illustration let us take a scale run. “method”—treat all these classes in exactly the same technical study, when is he to study music? It is often wards or downwards. There each finger played the When all is said and done, the starting in a new some. Great technic depends upon something beside If one is a novice there will be such superfluous mo¬ manner. Beginning with five-finger exercises, the pupil said that one cannot do anything with a pupil who same key throughout. city, though often of ultimate advantage, cannot fail hours of practice. There must be a properly, pro¬ tions as the straightening out of the fingers when in is led through scales, arpeggios, etc., to Czerny, can give but thirty minutes daily to piano study. The Here each finger plays the same key but once, so to be expensive and in some measure a risk. It is portioned, loosely knit, and flexible hand that is rarely dementi, or Cramer etudes, varied with Bach Inven¬ fact remains, however, that thousands of pupils are raised position, undue rotation of the hand, or undi¬ there is one more necessary finger movement—that usually best, when possible, to remain for many years found in the average pupil. To this must be added a tions. This is known as a “course in music" although taking lessons who cannot practice more, and we have rected lunges of the elbow and arm. sidewise movement which takes the finger-tip from a in the same place, and to that end, one should do the musical temperament—which is also somewhat rare. it is hard to $ay just why, as no real music appears in got to do something with them. It is a condition, not position above one key to a position above another. best' and most conscientious work with each and every it at all. For a professional student this course may he a theory, that confronts us. How shall we meet it? Well Directed Movements And here may be inserted a regulation. As soon as pupil, avoid as far as may be, all misunderstandings and Let us find out the necessary or directed movements. the finger has released its key it must be prepared quarrels, and year after year endeavor to extend his well enough, but why should it be forced upon the average pupil who longs for music? The thousands of Meeting a Condition Then we shall start to clear away the undirected, use¬ above the key it is to strike next. The hand adjusts field of patronage by all legitimate means. less ones. Place the fingers of the right hand over the itself to suit. pianistic wrecks that strew the land bear eloquent testi¬ A wide awake teacher in Indiana, in a letter to the keys C, D, E, F and G. Be sure that the fingers hang Some persons there are who have experienced the mony to the fact that such a course is not fruitful in writer, puts the whole matter in this common sense way. perfectly free from the knuckle joints. They are none thrill of discovery—discovery of lands, discovery of results. It is not an exaggeration to say that a large “I am wondering if, like myself, you became very much Are Teachers Careless in Details ? percentage of the pupils who study the piano are un¬ too relaxed when they feel the throbbing of the pulse. laws, discovery of power. The latter is in store for dissatisfied with what you could do with the average Teachers are always preaching the necessity for able to play even a simple piece musically. Many of Now see to the . distance between each finger tip and you—a sudden consciousness of ability; a new sense pupil who could only practice an hour, or even less, carefulness to their pupils and yet it sometimes seems them cannot play pieces at all, for the simple reason that its key, for as it requires a different combination of of readiness, eagerness and power. When it comes in a day. This is the problem that has nearly driven as though they might be very much more careful in they do not get them. Their' teachers are too busy muscles to strike from a position a quarter of an inch (for come it will, whether two months or one month me to distraction at times. I begrudge so much time their own acuteness in observing little things. Ears above the key than from an eighth of an inch or a or a week later) you shall judge whether, for the few “developing a technic” to bother much about music. spent on technic, for there is so much more to music open, eyes open, mind alert, the careful teacher photo¬ half inch, we must, first of all, decide upon the height minutes daily spent in the concentrated application Before this technic is developed the pupil who is than mechanical dexterity; although the -- method graphs details accurately. This becomes habitual and from which we wish the fingers to strike. As it is above prescribed, it has not paid a hundred fold.. hungering for music either marries, dies, or gives up certainly can give that if one has the time for it. pleasurable. However, many do not do this as is desirable to minimize expenditure of time, let us decide in disgust. To paraphrase Ecclesiastes: “Of the making “Few pupils are ever going very far in their musical shown by the manner in which certain pieces arc upon the smallest, distance the finger can maintain How to Get Established in a New Town of many methods there is no end, and much study of study, and I feel that it is a teacher’s duty to do all above its key without actually touching it (“Why not ordered in large music stores. The following amusing them is weariness of the flesh.” that is possible, in the short time given one, to open up let it touch?” To give the finger self-reliance; to titles are authentic and typical. The first column gives the entire field of music in such a way that the student Many Methods make it necessary that the finger support its own By Edwin H. Pierce the name as ordered and the second the right name: will be able to go on intelligently by himself afterwards, weight the better to acquire perfect control.) We are Piece Ordered. Right Name. If vire examine the various methods, we find that they and will have a real interest in the best literature of safe, then, in adopting the smallest distance that the There comes a time in nearly every music teacher’s Sioux Boys all consist of a collection of finger exercises, scales, the piano. The problem is what to eliminate—what are experience when he considers the matter of trying his Sous Bots average person is capable of estimating without the Boxed Claver arpeggios, chord and octave forms, all of which have the essentials.” fortune in a new field. In a matter of so much im¬ Bach’s Clavichord use of instruments, namely, an eighth of an inch. Now Indianna In the Arena been known to pianists since the world began. As all This is the problem that confronts the teacher to-day. with the hand in a position that allows of this arrange¬ portance, there are many things to be thought of—the good teachers agree upon the fundamental principles How shall we" solve it? Only the teacher who has the Barbara Savil Barber of Seville ment, we find out readily the one move necessary to social and financial conditions of the proposed location, of piano playing, methods differ only in their treatment Weak Moon Widmung courage to break away from tradition can successfully produce the tone, and the one other move needed to the amount of competition, the prevalent interest in In a Garden Enoch Arden of these stock forms. In many cases this treatment is answer the question. From time immemorial the prac¬ release it. music (or the lack of the same), the price of lessons. purely applied mechanics—for the development of Human Rest Humoresque tice of scales, arpeggios, octaves, chords, etudes, etc., Let us start to play the little exercise C, D, E, F, G, In general, competition of other teachers is not nearly muscle the gymnasium is to be preferred. One famous has been considered obligatory if one would play the F, E, D, C, D, E, F, etc. Allowing each finger to assume so formidable an obstacle as public indifference toward method, Dr. Mason’s Touch and Technic, gives musical piano well. Is it necessary? If so, what percentage of the art of music, for until the competition has become its proper distance above the middle of its proper key, considerations the first place, which is as it should be. the pupils who go through this course are able to play excessive beyond all reason, every energetic and capa¬ Easy Scale Memorizing strike the thumb ■ with an unhampered downstroke. A fourteen-inch gun is a magnificent machine, but at all, either well or badly? The experience of the ble teacher will, in a large measure, create his own field If the following scheme is carried out any one that What happens but that the, second, third, fourth and its effectiveness depends entirely upon the man behind writer may throw some light upon this question. For fifth fly upward uniformly. Readjust them and strike of patronage. is familiar with the piano keyboard can learn all the Mr. Jervis scales in a comparatively short time it. Just as truly, the value of any method is determined more than twenty years, he has taught in some of the with the second. But asain we are all awry. This Locating a Studio by the teacher behind it. A good method in the hands Most important of all, there must be great brain power, leading metropolitan schools for girls. During this time the thumb has probably moved uneasily to the Just as in every city, some one locality will seem iedthus?ieCe °f PaPCr WHte °Ut t,1C SC3,e to he stud’ of a poor teacher will work harm, while a fine teacher quickness of mental action, and instantaneous muscular time he has had hundreds of pupils, who have come left, while the third is viewing its key from an entire to be specially thick with doctors, another with the will get great results without the use of any method response thereto. The average pupil never possesses from every state in the Union. Out of all these pupils quarter of an inch or more above it, and as we per¬ automobile trade, another with theaters, etc., so there at all. A cut and dried method is of value chiefly to he cannot remember ten who could play a piece through, suade these back to position the fourth takes the op¬ this combination of essentials, while many pupils are will often be found some street or block in which the man who does not know enough to" teach without it. lacking in every one of them. These pupils have either with or without the music, when they came t« portunity of stretching out to witness the regulation music teachers are numerous. If our new-comer is a jig the fifth has just finished. In Chicago packing houses it is said that a pig technical limitations beyond which no amount of work him. Many, if no't all, of these pupils had spent from person already high up in his procession, and able to enters a machine at one end and comes out a sausage will ever carry them. A very conservative estimate will one to three years on traditional technical work, yet compare favorably in every way with the best of those at the other. Every pig is accorded the same treatment, Nerve Discipline place fifty .per cent, of the pupils of the average teacher strange to say, they had no technic, neither could they already on the ground, he will find it' an advantage, and the result never varies. The chief danger of a T,™LrePreSenti the C major sca1e of two octaves. in thip class. These pupils never expect to be pro¬ play music. Of the few that could play at all, some Such, then, are the movements that cause the trou¬ usually, to secure a location right in the midst of the The letters are the notes (keys). The figures at the method lies in the fact that the adherents are some¬ had been practically self-taught, others had been taught ble, and having discovered their presence, we proceed fessionals. They are studying either because they like strongest competition. On the other hand, if he is a times- prone to start a pupil at one end, and until he by their mothers, while a few had been pupils of some to eliminate them or to begin to do so, for after some bottomT^b thf °f the riRln han<1- a‘ the music , orbecause their parents oblige them to study. person of respectable, but' possibly less brilliant, attain¬ reaches the other there is no release hut death or a obscure but excellent country teacher. None of them minutes; spent in thus trying (the number of minutes Sen ! t Cft, hafnd, . The ™nor scale is then Now these pupils want music, not technic. Regardless ments, well-fitted to be a reliable “family music written out in similar fashion. change of teacher. had had any so-called technical training, yet they could depends upon the individual) one feels irritated, or teacher,” then he may find it of more advantage to The fine teacher, realizing that tio two pupils are play pieces fairly well. nervously agitated. Extending this rigid watchfulness settle in some other quarter of the city, and develop an [There can be no doubt that there are teachers who sac¬ over the fingers involves the taxing seeing to it that s 1 2 alike, studies their character, temperament, and indi¬ rifice the musical interest of the child to technic, and there independent local patronage. viduality, and develops each pupil along lines that One Way their tips deviate in no way from their position a frac¬ are others who go to foolish extremes in avoiding technic. harmonize with his mental and musical endowment. Properly speaking, technic is only useful as a means to tion of an inch above the keys they are to strike, and Limited Value of Advertising an end. No one can hope td become a musician of note Now all this may not prove anything, but many years In doing this, he selects from any method whatever will by spending, all his time upon technical exercises. Yet ago it caused the writer to sit up and take notice, and all the while taking care that there creeps in no condi¬ A small card in the local papers, worded in a modest -— *— teachers who would go so far as to say that tion but a relaxed one, has been taxing. For an un¬ best help the pupil at the time—hence it goes without incidentally to do some hard thinking. As, a result of and dignified manner, is an almost indispensable aid at scSeT Drnmot Practice eJery day is desirable because technica. exercises might be abandoned with profit. "Tech¬ scales promote6 correct fingering saying, that the teacher of breadth and thorough edu¬ nical exercises are short cuts to general technical proficiency. this thinking, he reached the conclusion that as the developed sense, a kind of consciousness in the finger the start, but one should not' expect too much from it. They pr.ride mechanical drill of immense value to those cation must be familiar with all methods. average student is not training for the concert stage, it nerve-ends, has been started toward its development. It is very seldom that any desirable pupils are secured whose nanas are lacking in their response to the will. Mr. But we shall find that, by devoting a few minutes each (velocity). SCakS deVdOP qUickneSS of fi"Ser action It will be apparent, then, that the “best method” is a .Tervis is quite right in maintaining that the pupil who is would be sound common sense to cut out this unneces¬ merely through advertising, and this is still true, even unable to play a single piece after a long period of study day to this discipline, the amount of exhaustion will composite, the success of which depends entirely upon sary “course,” and let him study music, developing the if one goes to great expense in the matter. Neverthe¬ J. ^ SCal6S Strengthen and equalize the fingers.- is often the victim of too much technic and too little music. the inspirational power of the educated and cultured —Editor of The Etole.] needed technic by means of exercise forms constructed THE ETUDE 561 560 THE ETUDE

from passages in the piece tnat is studied. As there Musical Tendencies which Must be Observe I -- is nothing so like a thing as the thing itself, so there is no etude or technical form that will overcome the By Thomas Tapper Mllllll'lllllllllM difficulties in a passage as quickly as practice on the H passage itself. This presupposes that the teacher under¬ stands the vital principles of technic and applies them does not distinguish differences where the ear im¬ 1 s to the piece in hand. In order to solve an arithmetical pression is not fixed. Reads slowly at sight. In All music teachers become convinced even after writing notes is inexact in the effort to locate them problem, we are not obliged to recite the multiplication limited experience that for every pupil there is an E :ople Who Are Nervous on a line or space. Hence not at all eye minded. ip: Remedies for Musical Pe table every day, we simply apply its principles. In a like easiest way both for the acquirement of knowledge and In music theory work takes in suggestions by oral ew Secured Expressly for The ETUDE manner we may solve a technical problem by applying for the expression of power. This way is rarely the . = Part Second of a Very Valuable Intervi instruction, but gets little or no help in attempting to to it the principles of technic. These may be learned same for any two pupils. Given identical opportunities, r ] = with the Noted Spanis h Pianist and Teacher read the same from books. This boy would fail in a as quickly from a piece as from an etude. As there are methods and directions equally gifted pupils become written examination whereas he could pass a more SENOR ALBEF (TO JONAS many short cuts in arithmetic, so there are many in amazingly different as sums total. What seemed § severe test and pass it well if it were given him orally. technic if one but knows them. equality in the beginning is found to be like apparently Case No. 2. A young man of 23. Earns his living identical apple blossoms; yet we know one will produce Developing a Love for Good Literature by doing stenographic work (typewriting), plays the iiiiiiiiiiiiii'iiMrmiiiiiiiiiiiiiiiiiiiiiiiiTriiTTnigl a russet and the other a yellow fruit. . violin as a pastime and is preparing in some lines of Hi = ... When we try to develop in our children a love for Manifestly to teach music to the individual’s best 1 IT? U civil service work. His facility in operating a type 1 l) ^ llllllllHlilHlImilllllllll Q^x-yr--—- good literature, we do not begin with Browning, Dante, advantage, we should be able to perceive what kind of machine is considerable; that is, he writes rapidly and Carlyle, Homer, or Shakespeare. We take Kingsley’s fruit is latent within the blossom and above all we generally correctly. But a typewritten page as it comes Water Babies, Alice in Wonderland; Hawthorne’s should not try to make the russet apple blossom yield from his hands is seldom satisfactory to his client. Wonder Book; Eugene Field or Stevenson—something a red fruit. What we must do- is to seek ways for the It is invariably dirty and its appearance is not attractive things that have to be done daily: letter writing, tele¬ that the child mind can grasp and enjoy. The love for production of the most perfect fruit each after its kind. for he has no gift of alignment or spacing, and his Right Living for Music Workers phone calls, visits, etc., etc. If you find yourself con¬ reading once developed and wisely guided, grows by This article offers a few suggestions not in the Practical Technical Advice on Nervousness use of caps is original. But he can tell by the click of fronted with a number of things to do, do not fret, what it feeds upon, and with maturity comes a deep slightest degree empirical, but as stimulating positive “Viewed from the practical, that is the physiological “We are living in an age when there is a colossal the machine where it is out of order. His sense of but just take hold of the very first at hand and dispose love for and appreciation of the masterpieces of liter¬ study and inquiry on the part of teachers which shall or technical standpoint, the nervousness of the pianist appeal for higher and higher efficiency. The so-called pitch in violin playing is good, but his interpretation of of it calmly and with care. ature. The music student, whether young or old, whose reveal facts of real value. One day we may be able to occurs mostly in the changes of the hand position at efficiency expert places first of all good bodily health. music sounds just about as his typewritten page looks. 10. Get joy out of your work. taste is to he educated and in whom a love for music establish some fundamentals of music education that the keyboard. The more skips there are in a com¬ Like the mighty armies that are now struggling in is to be developed, is too frequently given “classical He is the least eye minded person of any } have seen. will allow us to build our house upon a rock and not position, the greater is his fear of missing notes. He Europe the fight in our daily life becomes more and music” which, however great in itself, makes no appeal I asked him how he was getting along with his civil The Habit of Nerve Control upon the shifting sands of one method for all. has therefore to learn by painstaking exercise to con¬ more severe. Standards of musicianship constantly to him. Why not begin with music that gives him real service test and he said, “I'll never make it.” And of “I am of the opinion that by practice one can develop Let it be understood that the aim is to discover the trol himself more and more carefully when changes ascend so that one simply must' possess good nerves pleasure, music that he can appreciate and understand? course he will not, because he is not in the slightest habits of nerve control that are in themselves remedial. strong individual characteristics; to work with them as of position occur. On the other hand ‘too much care to keep ‘in the swim.’' Here are a few of the essen¬ There are hundreds of such pieces that are melodically degree eye minded; but oral instruction or an oral For years many musicians have retained that absurd positive factors, likewise to discover weaknesses and to will kill a cat’ and lie must acquire the necessary aban¬ tials which in my opinion lead to good nerves. and harmonically beautiful, as well as perfect in form," test would, no doubt, pass him. idea that' fighting and fussing and blustering was tem¬ strengthen them to whatever extent is possible. don and confidence in himself and attain the desired 1. Good healthy, simple food cooked without un¬ even though not written by Bach, Beethoven or Brahms. Case No. 4. Man of 30. Loves music, owns a violin perament and they have actually cultivated it. No accuracy without seeming concerned about it. necessary strong spices, eaten at leisure amid congenial With these as a starting point, he can gradually be and is very fond of trying to play the piano. A good all wonder they are nervous. Unless they first of all II round athlete; that is, motor minded. Can row a boat, “How closely nervousness is connected with fear surroundings and with an untroubled mind, not swal¬ led up through Mendelssohn, Schumann, and Chopin, cultivate the habit of repose they will continue to be We do not store up actual thoughts. What we do is use carpenters’ tools, steer an automobile and play ball. must be evident to anyone who has observed closely. lowed down in haste, with the mind worried by the to the giants of music, as his taste matures. This nervous for the rest of their lives. They seem to to increase our thought tendency. .Thought tendency Hence hand minded as a whole. But he uses his fingers Every soldier who goes into battle for the first time is care of the day. Food, of course, is assimilated in would seem to be common sense; and, as it would develop a kind of artificial eagerness to get things is probably the one single ..process (hat characterizes awkardly. Hence while hand minded, he is not finger afraid. If he manages to stick to his post while the the stomach but when one realizes how much the mind arouse intensity of interest, which is vital to successful, (the mind in) each of us. It is: the individualizing done before they can possibly be done. If you are minded. Sings fairly well (a motor activity). Has bullets whiz past his head it is because disobedience or affects the circulation of the blood and the adminis¬ study, it would be sound psychology. process. in a train, remember that you will not get to your never learned to read notes and he is not eye minded. retreat would bring him death with equal certainty. It tration of the gastric juices in the stomach, one per¬ These ideas are the crystallization of twenty years The mind finds its major functioning tendency along Case No. S. Boy of 18. No music talent. His play¬ ceives how important the right mental condition dur¬ destination until the train gets there. As a well known experience, during which time they have been thoroughly is only after repeated experiences that the soldier learns one or more main lines of operation. If the music ing gives actual offense, for he intrudes wrong notes ing meals really is. German author has said, ‘Don’t travel with youn train, tried out. The results have been uniformly happy and teacher will make a careful study of his pupils he will to keep cool while danger surrounds him on all sides. without any distress to himself. Rece’ves oral instruc¬ 2. Abstinence from strong stimulants. If you have your auto, or the street-car; let them carry you.’ Do successful in three directions: find that they'may be classified in many practical ways In the same manner it takes repeated experiences for tion with the greatest difficulty. His greatest joy in any doubt upon this subject, get almost any book on not strive mentally or nervously to push the car for¬ as to what we shall call "mindedness.” the performer on the concert stage to master the cour¬ First: A more musical technic and musical playing music seems to be to write it on music paper. This he nerves and you will find that the evidence is uncom¬ ward with every turn of the wheel. This impatience of a higher order have been attained than that which For example, one is found to be distinctly of the age which makes him oblivious of the audience. does in the most elaborate and florid manner, so that promisingly against the abuse of alcohol, or in fact is the juggernaut which grinds down more nervous formerly followed the adherence to traditional methods. tendency to receive impressions-/.through the ear. He “Do not minimize that matter of courage. Were I a page coming from his hand is a work of art, but the any drug destined to affect the nerves. An exception systems than almost anything else excepting drugs. Sit is ear minded. music of which the page consists is as riotous in mean¬ to epitomize every conceivable requisite of good nerve Second: The intensity of interest they developed in might in some cases be made of well brewed beer or down at the keyboard with the spirit of impatience in Another is most strongly ’ impressed by outer ing as a futurist’s program to a conservative critic. control, whether intellectual, physical or moral I would the pupil solved the problem of how to induce him to good wine, partaken of in moderation. your mind and everything you play will be marked phenomena through the eyes. He. is eye minded. Decidedly hand minded, but should not study music. choose that word courage as embodying them all. It practice. 3. Good moral habits. It' need hardly be emphasized by nervous flurry. Here then are two ways of ’ receiving impressions Would make, an excellent music engraver or sign takes courage at all times to make the nerves subserv¬ Third: Pupils always had pieces that could be well that immorality of any sort will in time undermine “Do you realize that nerves may be disciplined into (that is thoughts pressing in)-. Conversely here is a painter. He will have to receive all directions for ient to the will, courage to regulate one’s life habits, played for their friends. The consequent satisfaction the strongest nervous system. It is the surest, quickest, behavior almost as naughty children are disciplined? pupil whose best effort results/when (he entire muscu¬ business in writing as he does not receive impressions courage to be oneself when in the presence of others, of parents resulted in a larger class and higher tuition deadliest, enemy of good nerves. If you set out to do something and forget what it was lar and nervous systems are willed into activity. He quickly or accurately by ear. He would be a failure as courage to entertain one’s own artistic convictions— fees for the writer. 4. Plenty of work, physical and mental, done with that you wanted to do before you have accomplished it. is motor minded. A second finds the hand to be his a telephone operator. courage, courage, COURAGE. joy. if you drop or fumble everything you take hold of, if best trunk line for despatching his commands and in¬ These few cases indicate tendencies, some positive, 5. Exercise in the open air, not occasionally but every you do not seem to be able to ‘hit a right note’ when tentions. He is hand minded. Here arq' two of many some negative. I hope in a succeeding article to present Sensible Remedies for Nervousness day. Deep breathing, when in the open air, done every possible orders of expression (that/is-ffiefughts pressing a few others and from them to deduce a few practical playing, remember the trouble is not in your hands or Interesting Musical Facts “Let us consider for a few moments some of the day. out). principles for the training of our pupils that mav make arms, but in your head, in your metal poise. The Liszt did not hear his Todtentans until fifty-one sensible things which may be done to remedy some 6. In so far as possible, consistently early hours of A few concrete examples are. presented here for the work for them easier and conditions more secure. median, radial, ulnar and musculospiral nerves control years after it was written. Wagner waited fifteen years states of nervous trouble. Of- course no one must retirement. purpose of suggesting to title'music teacher to become Such principles should enable us to discover ways and the muscles of fingers, hands and arms. But the suppose that there could be anything written in an 7. Sensible regulation of the day’s work. Don’t to hear Lohengrin. thoroughly acquainted with the*, pupil to the end that means for strengthening the minor faculties and fully- nucleus of all these nerves is situated in the cortex, article of this kind that would supply the assistance practice four hours one day and one-half an hour the Berlioz informs us that Gluck was the first in France the thought tendency may be used to litis greatest ad¬ developing the major. They will shed some light upon in the head, whence are issued the orders that set which only • a trained physician can give in advanced next. If nerves are not helped by pose they are helped to employ (once only) the bass drum (without cym¬ vantage. The desirable end is._thiat.he shall be taught in such questions as sight reading, music memory as an these nerves in motion. Quiet your mental self, gain such manner that Impressions Cnter along his best line cases of nervous breakdown. However, I am certain by poise. Think a little—is this the wise thing or is bals) in the final chorus of Iphigenia in Aulide; the audible impression or as a mental picture of the printed command of it and watch the immediate change in the of communication and that his expressions go out over that there are a number of simple things which may be it a foolish thing? Your intellect was given you to cymbals (without bass drum) ; and the triangle and page. They should further explain “playing by ear” greater quiet and certainty of your motions. At one similar lines. controlled and which will unquestionably help the musi¬ guide you. Don’t rush from a hurried lunch to a tambourin, in the first act of Iphigenia in Tauride. In and many similar and familiar operations. The obser¬ time I was exceedingly nervous and this in fact was cian, teacher, and student if a little patience and per¬ game of lawn tennis or a moving picture show. See his Alceste, Gluck also called for the first time for the Case No. 1. Boy age 17, unusually gifted as pianist. vation has often been made that a talented pianist what set me to work studying the condition. I went to sistence is employed to pursue these cures. low C of the bass trombone. Technic fluent and permanently established. Has ab¬ seldom reads well at sight. This means that the that intervals of repose come between your intervals a noted Berlin specialist and he enjoined me to hold “First of all the nervous musicians should remember Raff was the teacher and enthusiastic admirer of solute pjtch. Hand and ear minded. Disinclined to pupil is ear minded and hand (finger) minded to a far of energy. Attend to this for a few months and you out my hand with the palm downward. Of course as we have previously said that nervousness is often E. A. MacDowell. Mr. Rupert Hughes tells us that do gymnastic work. In no sense motor minded. greater degree that he is eye minded. It becomes, then, will surely note a difference in your nervous condition. there was a nervous trembling so characteristic and so largely a matter of pose and self consciousness. Like Raff used to lock his gifted American pupil in a (That is of the whole body). In writing notes on a question of individual training to augment the eve- 8. Freedom from worry. Get rid of the idea or the annoying. ‘Now,’ he said, ‘hold the hand in front music paper constantly writes c# for db. The eye the child who cries only when some one is around, room for hours until he had solved “the most ap¬ mindedness—that is, if such a thing can be done habit of worrying, else all remedies for nerve better¬ of the body, the arm not at full length but slightly many people have nerves which are for exhibition pur¬ palling musical problems.” Later, Raff introduced his ment will fail. Musicians, perhaps through too much bent, with the fingers not quite stretched out straight. poses solely. Their manifestations of nervousness are confinement and long sedentary labor, are prone to proligi to Liszt, who became an enthusiastic admirer Now continue gazing at your fingers and soothe by really nothing more than appeals for sympathy. What worry about things of very little real consequence. of MacDowell’s compositions and procured him the thought until the relaxed hand ceases to tremble.’ The is this but a mental angle, a wrong way of looking Here again is the magnification of self. Just jot down honor of performing his first piano suite before the Practice Cautions for Zealous Students thought indeed seemed to soothe the nerves and after at things? Get out of it. Fight it. Be sincere and somewhere the fact that you and all of your petty Allgemcine Dcutscher Musik Vercin, which accorded a little time spent in gazing the condition was much genuine and you will realize that the world is not going him a warm reception. troubles will be out of the way only a very few years bettered. After this he had me turn the palm down¬ By Alexander Lambert to' stand or fall because of the manner in which you hence. This is a world of trouble or a world of joy When Manuel Garcia, the elder, left New York ward and repeat the exercise. The simple turn of the play a certain piece. When a man looks for sympathy pretty much as you choose to look at it. I do not mean for Mexico in 1826, he discovered on arriving at hand resulted in producing the trembling again but what he needs most of the time is a good kick. Those with this to advocate callousness or indifference to the his destination that the music of the operas he was As soon as you feel the least tired, stop and rest. with the treatment of fixing the eyes and concentrating who deserve sympathy get it without begging for it. real issues of life. Whdt I mean is that most of our to produce had all been lost, whereupon he wrote out Finger cramps, sprained wrists,' etc., are often the re¬ the attention upon the hand I soon found that it be¬ “It would be a splendid thing if some of the nervous worry is misplaced. As for real causes for grief, all the parts of Mozart’s Don Giovanni from memory. sult of carelessness. It suffices to practice a few min¬ Ittce isi r;a sign ::r that syyou' Asare soonnot practicing« properly came quite calm. I practiced this exercise several music teachers, or rather those who think they are these will be dealt with according to our greater or The “Passion” is properly the recitation of the story utes with a tired wrist to incapacitate you from using times each day for many weeks with the result that nervous, should read Moliere’s delightful satirical lesser strength of mind and of purpose and to the of the sufferings and death of Christ as recited during your arm for weeks. looPsreawrCist.Wlth 35 StrCngth 33 you can with my nerve control was so much improved that my hand comedy Le Malade. Imaginaire. The imaginary sick stoutness and faith of our heart. No advice can be stopped shaking and trembling entirely. Since then un¬ the Holy Week in the Roman Church. At first only Learn from the beginning to listen to yourself. This Always sit straight, with the shoulders thrown w man simply does not want to be cured and it is not three priests chanted the service, but in the sixteenth given here. Shakespeare has said it: “Everyone can nerves have become exceedingly strong and quite sub¬ is too often overlooked. Listen to yourself as though difficult to see how the tired teacher could take some master a grief but he that has it.” century we find harmonized versions which paved the servient to my will. This is a form of cure with which you were listening to another. You will thus avoid very slight nervous disturbance and nurse it' into a 9. Method and calm deliberation as to the distribu¬ very few people are familiar and I consider it extremely way for the great St. Matthew Passion of Bach. many faults. genuine case of neurasthenia. having^ast” redVyour° pfece^echnicall^^H655*011 be^° tion of your work and the disposing of the many valuable. It is especially useful for pianists. 563 THE ETUDE THE ETUDE 562 A Friendly Letter from the Music Muse “An equally ingenious test of nervousness is to pro¬ cure a small vial like the old fashioned homeopathic pill bottle and put a little mercury or quicksilver in Suitable for Reading at Music Clubs of Little Folks the bottom. Mercury can be secured at any good drug store. Clasp the vial with the tips of all five fingers I was surprised• a whenwVipn isheshe na„named the tonesised 9tmand whenrests and hold it with the top up. If you are m * fate of Dear Little Music-lovers:— in the beginning phrase, and morels ^r^ ^ ^ ^ poor nerve control the mercury will dance in the live- Here I am back again from my yearly tour of mspec- she went to the b ac „ ^ aiOU(j an(j then !£t fashion. If your nerves are fair y well under con¬ tion; it has impressed me, at the lessons to which i trol the mercury will be calm on the surface. It s have been invited that the teacher and not the pupn exVremely unusual ever to see the mercury absolutdy is doing the work. If you could only see them as £ = wS I do, sitting there, strained and eager, pointing^ here 7 ««.»-1 calm even in the cases of people with very steady had not heard of it. ^ teacher approach and there, correcting this and that, counting aloud and beating time while they call attention to this dot and lh',ing » instrument the A Very Vital Need that rest. Where are you when they say, bee, here “There is unquestionably a need for more considera¬ is a crescendo, and don't forget the Vitard; and you tion of the subject of nerves upon the part of American must place your third linger- on C?” musicians. If I have given any advice in the forego¬ "Oh!” you say, "I am taking my music lesson. W ell, ing which may prove advantageous to my American you are not, not at all, so far as I can see, for she, 'hat she did not sit over Mabel with an uplifted pen¬ musical friends it will give me great pleasure to know your teacher, is not only giving it but taking rt as well cil pointing and humming and strumming on the it. My attention has recently been called to a quota¬ —dear me—did it ever occur to you that she is work¬ ujper end .of the piano. To me that would be most tion from an article by Dr. Smith Ely Jelhffe, Editor ing twice as hard as you are? This1 was so very, very amusing that I made an confusing and no doubt many P*PlK*£d ‘‘Whfare of the Journal of Nervous and Mental Dxseases which elaborate note of it in my diary. “America. Majority One thing teacher ’smUed" and emphasizes my point. It reads, 'Let it be remembered of teachers give and take the lesson. Pupils strike did noTanswer until Mabel had rolled up her music by the older generations and taught to the younger, A then she told me that she had some pupils that training and economizing of nerve force are vitally RICHMOND P. HOBSON I k During the last week of my stay I visited a studio whogcould neot play unless they were working their important to health and efficiency and that ^ great where the teacher was doing things differently, so it feet up and down as one pumps a reed organ and workers achieve their ends by that very quality of appeared to my companion; but to me it was an old caAllllllllli if> Mr. Bok’s Contribution Appeared in April, Mr. Carnegie’s Contribution in May, nervous energy, which if dissipated degenerates into story, for I know all the highways and byways of 0thehrSdWdho0wnCOUandns°o £* “So I Dr. Hall’s in June, and Mr. Johnson’s in July nervousness.’ ” • toneland. little6 by stopping the lungs of the pedals. I have It has impressed me in my journeyings from country the young ladies place both feet flatly on the floor to country that American children fall easily into the as a part of their piano etiquette. I could only laugh ijlliiaSlK habit of having others work for them. Mamma shields Saint-Saens on Gounod’s Faust long and heartily at this ruse. them, papa excuses them, auntie says “poor little I spent a very agreeable day in that studio. Four¬ A Letter from Dr. Russell H. Conwell Faust! culminating point in the work of its composer. dears” and uncle remarks, “that there is plenty of time teen pupils passed in and out as I sat there and watched Dr. Conwell is one of the most remarkable clergymen that this land of famous ministers has produced. for music” and teacher works to amuse, entertain and The characteristics of the music are too well known The piano was closed more than half the time; instead the pastor of the Baptist Temple, of Philadelphia, as the founder and chief supporter of Temple to need discussion, but perhaps some memories of its enthuse them. Now this particular teacher to whom of rushing to the stool the pupils sat at the table near University, and as a lecturer, Dr. Conwell is known from coast to coast. His first appearance and subsequent brilliant career are not I refer was letting the little music-lover do all the the window. Many of you think that a piano lesson lecture “Acres of Diamonds” has been given over five thousand times. without interest. . . . Then, after three weeks of work. ,, . is not a piano lesson unless you strike the keys; re- Lack of Care in Reading Music as it can be used in the healing of mental supplementary work came the unforgetable premiere member that key hitting is not always piano playing. otwithstanding the fact that One thing in particular interested me because I am N As you are probably aware, the success of the work I noticed another thing about this studio; it bore a music came into the world at the and physical disease and can be made a so much annoyed by it—especially here in your beloved certain air, and each lesson proceeded as though it were was at first doubtful. Not so, however, with the inter¬ creation and has been one of the highest power in awakening patriotism and devel¬ America-and that is lack of care in reading music. an affair of state. There was very little sugar-coated preter of the principal role, whose seductive voice, dic¬ You have no idea what tortures I suffer when you technic, very little “you must not” and a great deal and best modes of expression and is a con¬ oping a love for the good and the true tion «and personality conquered all resistance. lhe play over rests, forget dots and play tied notes. Then of “you can.” I noticed, too, that the pupils appeared stant inspiration for the uplift of the best which will affect every phase of human work was railed against in the lobbies. “It will not it is, my dear little friends, that I have to restrain my self-reliant and capable. The lessons did not seem to that is in mankind, it seems to have re¬ labor and human aspiration. It is some¬ be played fifteen times,” announced two leading pub¬ anger, otherwise you would be swept out of the studio be practice-periods but real periods of learning. If lishers with a shrug of the shoulders-both ardent in a storm of rage. Nothing is so unforgivable as you will count back in your mind I wonder how many ceived very little of accurate, scientific thing which the poorest and richest alike miserable reading. When you stumble and bungle along THOMAS A. EDISON champions of the Italian school. “There is no melody lessons of yours have been nothing more than practice need. It is something of which there seems I often say, “This child would not come here with study. I feel that you are introducing a in it” declared the sceptics—“only souvenirs reassem¬ dirty hands and face, why then does she come with periods. _ , new era in the civilization of mankind in to be a plenty; but of which the great bled by a musical scholar.” It was tiresome, it was “Think straight and you will play straight. lake dirty sloppy reading?”. You say I am severe—but your advocacy of a forward movement in majority are deprived; and its management long, it was cold. The Garden Scene ought to be cut I will not talk longer of myself—only this: There that for a motto. I do hope I have not fallen into the blunder of out as it retarded the action. ... Oh that Garden is no middle road that leads to me, either you know American music. The importance of music too often falls into the hands of the igno¬ preaching, but the lack of straight thinking is so very in the formation of character and in the rant or incompetent and fails to do the good of Marguerite, who can do it justice? noticeable among you; please remember that great So the teacher sat there and had Mabel fell her all artists take infinite pains with the simplest problem. encouragement of good works is acknowl¬ which it should accomplish, she knew about her piece. They were near the win¬ Gounod’s Triumph Why not try to dp the simple things well? dow quite a distance from the piano, which was closed, edged by all, but it has been regarded t The practical uses of music in all forms Ten years afterwards, the work definitely accepted, Do not make your music anything less than ‘an and not a sound was to be heard but their voices. “And solely as an art and treated as if it was not of Christian civilization deserve the un¬ acclaimed abroad, entered triumphantly at the Opera. affair of state.” There is nothing more beautiful or jnow, Mabel, what is the key signature?” asked the possible to make it a science. divided attention of some of the greatest Would you believe that even yet it had to conquer teacher quietly. “What is the time signature? and more worth while. Yours faithfully, some resistance? Many believed that the work was does this piece begin on a strong beat or a weak It is my hope that your eloquent appeal ) minds as a great factor in human develop- The Music Muse. too intimate for the great auditorium in the rue Le one?” Mabel appeared alert and eager to answer and to the music world may receive the atten¬ 1 ment. It is both a science and an art. Peletier; others hoped, if the truth must be told, tion of some great scientific men or women \ It is a practical necessity and a blessed that it would be overwhelmed, that the instrumen¬ tation of Gounod would not “hold” by the side of who will get down to the fundamentals of luxury. All interested in the production of Meverbeer’s. The contrary was the case; the sweet- Must the Teacher Also be a Fine Pianist? musical composition and give “a reason for a higher and better civilization will be grate¬ toned orchestra filled the hall without covering the the faith that is in them;” for music is far ful to you for your efforts in that behalf. voices, and the instrumentation of Meyerbeer seems more than a luxury or pastime, inasmuch Yours fraternally, a little strident in comparison. The success of the By E. R. Kroeger evening was the ballet. This ballet, a masterpiece of its kind, Gounod almost failed to write. Some months During the first three years of a child’s practice, a not only because of their knowledge but because they before the production of Faust at the Opera, he sent could interpret. Other teachers possibly would in¬ to me an ambassador in the person of our mutual teacher does not need to “play brilliantly.” The main things necessary are common sense, good judgment, form the student just as well as they in regard to friend the painter, Emmanuel Jadin, charged with a the manner of performance. But these men could show intelligent preparation of the strength and weakness of delicate mission. When about to enter upon the work just what they wanted. An advanced pupil who goes he was seized with scruples. He was then plunged the child’s nature, a dominating but not domineering per¬ sonality, combined with a certain amount of exper¬ abroad for study does not hunt up a teacher who is deep in religious sentiments which did not permit him only a pedagog. He goes to such a man as Leschetizky, to undertake a work so essentially profane; he desired ience and a musical nature. Occasionally it .is. advis¬ able to show the pupil how to do things. But it is most Moskowski or Sgambati, because he knows these au¬ me to visit him and discuss the undertaking of the thorities can play the compositions to be studied with essential to correct faults, to point out the path in work. My embarrassment may easily be imagined! I consummate mastery over every detail of technic and which to go, and to infuse in the pupil ambition and found the master devoutly occupied in a game of cards style. It is the same with the leading teachers of with an abbe. I placed myself entirely at his disposal, a desire to obtain good results. The farther the pupil America. They are, as a rule, fine pianists. They are the at the same time objecting that introducing the work advances, the more he needs the teacher to show him heads of our principal conservatories and music schools, of another composer into - what was essentially his how to obtain the desired effect. Consequently for an or they have large private classes of high-grade stu¬ own would not produce a good effect. If I accepted advanced pupil a teacher who is a good pianist is really dents. If they were not artists, they would not occupy the task he offered me, it would be on the express con¬ necessary. Points in touch, shading, technical fluency, the positions they hold, nor would they have so many dition that he should be free at any time to substitute expression, etc., must be shown if the pupil is to reach gifted pupils. The skilled performer minus pedagogical his own music for mine. I never wrote a note, and artistic results. Liszt,- Billow, Leschetizky, Kullak, experience is apt to be better suited for teaching the never heard any more about it.—Specially selected and Barth, Diemer, Philipp, Joseffy, Baermann, MacDowell, advanced pupil, while “the experienced teacher who translated from “Portraits et Souvenirs’’ by Camille Sherwood, Liebling and others have been reckoned as does not pretend to play brilliantly” is unquestionably Saint-Saf.ns. being the foremost piano teachers of modern times, better suited for teaching pupils in the early grades. | DR. G. STANLEY HALL J 565 THE ETUDE 564 THE ETUDE

Why Memorizing Is Always Desirable were, to keep the line straight. But such dependence upon habit is always bound, sooner or later, to result in disaster. By Robert W. Wilkes Playing in Public Even when the piece can be well played at home First in a Series of Three Articles Designed to Show by dint of the innumerable repetitions—in public a cer¬ How Anyone Can Memorize tain amount of nervousness, even in the most phleg¬ matic person, is inevitable. The nervousness causes There has been a tendency of late to minimize the importance and advantage of playing music from mem¬ the muscles to move more or less spasmodically and Studying Tone Values in Piano Playing ory. Certain writers have advocated a return to the the passages which ran so smoothly at home often be¬ come a mere jumble of sounds in public, even if there old method—still indeed, very prevalent among most By Constantin von Sternberg amateurs and many professionals—of disregarding is not a complete breakdown. How often one hears the memory work altogether aijd of therefore always play¬ pathetic excuse, “And I played it so well at home, too. ing from the printed page; the reason usually given In this connection, I might ask, "Why is it. that so The human ear, however, is so constituted that it can¬ Painters and musicians are frequently helping each op. 9, No. 2. Let us now see what should be done is that it takes too much time to memorize and that the many players have to go back to the beginning of a not perceive the minute diminishing of each tone in piece when they get ‘stuck?’ If they really know the other out with their terminologies. Painters speak of and what, alas, only too often is done. time spent in such drudgery (?) could be better spent this row, especially not if the player possesses some notes, why don’t they go on after playing one or two “tone half-tone, of a color keynote, of the rhythm of The little phrase looks like this: in extending the repertoire. Although it is an incon¬ skill in the use of the pedal. The crescendo on the wrong notes and at least play the next notes correctly ? lines,’of symphonies in yellow or some other color, of testable fact that many players expend considerable time piano belongs to the “artistic deceptions” of the pian¬ They have to go back to the beginning or the begin¬ on what they think is memorizing, trut memorizing is color values" and so forth; while musicians return the ist, which are as legitimate in piano playing as per¬ ning of each division of the piece because the only notes really the quickest and most satisfactory method of compliment by connecting definite musical ideas with spective and foreshortening are in painting and draw¬ they have really memorized are the notes in the first such terms as “shading figuration, melodic curves, tone- learning any piece that presents even moderately diffi¬ ing. measure or in the first measure of each part. The color, and tone-values’’—with which latter this discus¬ cult technical aspects to the player. The only pieces Now, if a long tone represents the emphasized rest of the notes they practically play like a machine, sion is to deal. While all things in nature are akin, which it is not preferable to learn by memory are those syllable in a polysyllabic word, the unemphasized leaving almost everything to habit. it is, no doubt, the close relation between the two which can practically be played at sight; in other words, and yet, it is orjly when an artist plays it (which he syllables must adjust themselves to the first one so as Of course, there are a few, a very few, careful tal¬ sister arts that may have led to this friendly inter¬ the great majority of pieces are preferably learned by does too seldom) that we hear it thus. The festive to follow precisely in that degree of force to which ented players who memorize, let us say, about one note change of terms. But this lending and borrowing heart. amateur and the majority of students play it as if the first one has sunk by the time the sequel was due. in three or four. Such performers are naturally much remains but an ineffectual makeshift for the teacher How Habit Works to Help Us less dependent upon habit and are less likely to play they had to breathe between au and tumn, also between Applying this to the word “autumn” selected for our of either branch unless the student, beside his normal There are probably few who realize the great force wrong notes or to break down. However, there is approach and es. This rendition, _ expressed in illustration and visualizing the relative strength of intelligence, can bring to bear upon these terms a which habit exerts upon each and every one of us. It bound to be a great deal of uncertainty about this notation, makes the phrase look like this: the first two notes of our selected Chopin phrase, it natural predisposition—an intuition aided by imagina¬ I has been estimated that over 99 per cent, of our daily playing, due to depending too much upon habit. would present itself like this: actions, thoughts and volitions are the expressions of tion—to grasp the meaning which they are to convey. ; habits which have probably been gradually developing A Memory Test The student of the art of painting who hears his ; for years and years—many of which, in fact, having Many performers who play without the music think teacher speak of “tone” and who connects it in his mind with the idea oi sound, is hopeless, of course; had their beginning in our childhood days. Habit is that they really memorize every note when such is not as hopeless as a music student would be if he attached formed by continually doing the same thing in the same the case. One sure test is as follows: Take some dif¬ to “shading” a visual meaning. This intuitive under¬ way, and at each repetition the habit becomes stronger. ficult passage which has to be played with the right The Passing of a Great Pianist* standing—an integer, no doubt, of the mystery of for which it would be difficult to find—even metrically It will be readily seen, therefore, that the practicing hand, and try to play it from memory with the left Rafael Joseffy spent twenty-seven years of his talent—must be taken for granted to the reader of —fitting words. of a piece of music speedily develops a habit; the habit hand; or, vice versa. The result will often be unpleas¬ life in Europe and thirty-six in America. So long has these lines if this discussion of tone values is not to The thinking student would need no more than a indeed begins as soon as we have played the first note, antly surprising; we are really astounded at the num¬ been his residence in this country and so great has been fail completely of its purpose. comparing of the two foregoing versions and the sug¬ because the second time we try to play the piece or ber of notes we don’t know. The supreme test would be to sit down and write the notes away from the his influence upon the art of pianoforte playing in the gestion which lies in the term tone values to recognize any part of it, we naturally tend to play it as we played piano. United States that with his passing on June 25th, the Tone Values Not Note Values the nature of his errors and the means to correct it. it at first'. It will also be found that after pieces have been musicians of this country felt that they had lost one Unfortunately such thinking students, such as need To help us to realize the great force of habit, it will Tone values must, first of all, not be confounded learned principally by habit, constant practice is required of their most valued brothers in art. only a hint to set them searching for their errors and be sufficient to recall the painful efforts we had, as with note values. These are indicated by specific signs, to “keep them in shape.” And the time for such practice Joseffy was afflicted with what his friends conceded how to correct them, are but a small minority. The children, to write our names. What work it was! Yet such as whole, half, quarter, eighth notes, etc., and is often not at the disposal of busy teachers and they to be a serious mental condition and a bad nervous majority expect a recipe! One that says something (The dotted lines represent the eighths-beats of the with what wonderful ease and rapidity can we dash off dots, while tone values cannot be indicated in script are forced to practically give up an extensive repertoire breakdown about a year or so ago. Mr. James Hune- like : the first note 5 ounces, the second about 8 and our signature now. It is not even necessary to think or print. If it were possible to do so it would reduce measure.) after having taken years to acquire it. ker, who knew the pianist as intimately as any Ameri¬ so on. Even if it were possible to contrive such a of. the different letters; we simply desire to write our the art of piano playing to the technic of the type¬ And what must be said of the average amateur who can music-worker, despaired of his life. In fact it was receipt, it would not lead to an artistic, but to an arti¬ name and the muscles automatically respond. In some¬ writer. Tone values, like the modulations of an should be especially considered as he comprises the great whispered about that Joseffy was no more. Since then ficial result. If they wish to play the phrase with what the same fashion can a piece of music be learned, elocutionist’s voice, depend in a measure upon indi¬ while the entire opening phrase would offer an aspect majority of music students? he recovered so that he was able to attend to all of his human expression they will have to do some thinking, although, as we shall see later, it is not advisable to Must it not seem a great waste of time and money vidual conception and must, so to speak, be “read be¬ to the “hearing eye,” like this: regular professional duties better than he had been able but it may facilitate that laborious process if their learn it in that manner. In this method of practice— to many a fond parent to find out that after having tween the lines." To elucidate one important phase of to do so for years. He attributed his recovery jo attention be called to the nature of and this is the method generally followed—the piece is given John or Mary a good musical education lasting this somewhat elusive matter is the purpose of this Christian Science. Shortly before his death he was discussion. Tone value refers to the vibratory in¬ the tone peculiar to the piano. * G slowly, very slowly, played over first; each note and several years that, in a very short while after lessons attacked with ptomaine poisoning, from the effects of tensity of tone and it concerns not any single tone A tone on the piano, as long as W finger-mark has to be observed and the progress is have been discontinued, their child is totally unable to which he was unable to rally. His vast number of but the relations between the various tones of a the strings keep vibrating, translated painfully slow. Very gradually, by dint of many repe¬ play any of the nice pieces that have been learned often friends and pupils were terribly shocked, as they had melody; relations akin to, if not—as I think—identical into the visual, would look like an titions, the piece can be played faster. at great pains, and that generally the sole extent of hoped that his life might be prolonged for many years with, the various syllables of a spoken sentence. Just overgrown diminuendo sign. It is important to observe that the piece cannot be their child’s musical ability is to strum out the latest of useful work. what is meant by this kinship or sameness may be played faster because the notes are read appreciably popular song and dance. Is there no way in which pieces can be quickly and Rafael Joseffy was born at Hunfalu, Hungary, July illustrated by two monosyllables like “in” and “to;” faster, but because the playing of some of the notes surely learned by memory, a method by means of which 3, 1852. He studied in Budapesth with Brauer, the when using them separately as by saying “he came in has become automatic; the habits formed by the many one may play practically as well in public as in the teacher of Stephen Heller. In 1866 he went to Leipsic, to say good-bye” we do not differentiate the tone nearly repetitions have become strong enough for a few of seclusion of the home, which will enable busy teachers where his teachers were Moscheles and Wenzel. In as much as we do when, combining them, we say “he the notes to be played without actually reading them. and performers, and also the average amateur, to pre¬ 1S68 he became a pupil of Tausig in Berlin, remaining came into a fortune;” because in the latter case there As the piece is practiced more and more, additional serve a repertoire of different pieces without a con¬ with him for two years. Later he spent two summers enters the matter of accent or emphasis. Used separ¬ notes are played by habit and consequently fewer notes stant drudgery of practice? The next article in the with Liszt at Weimar. ately each syllable stands for itself, so to speak, while have to be read. When the piece has been finally series will answer this question. He made his debut in Berlin in 1872 and was im¬ in combination one of them is emphasized and the learned it will be found that in the difficult parts only other is not. mediately recognized as a master pianist of great A crescendo upon one tone is not one note in a half-dozen or more notes is actually read, brilliance. He came to the United States in 1879 and This illustration borrowed from speech, is not ab¬ given to the piano, but a crescendo the remainder of the notes being played from habit. The crescendo—marked here with xl. x2, x3—can be since then has made his home in New York in the solutely precise—comparationis claudum sunt—but it during a succession of tones, if they are not too long. From the Professor’s Standpoint suffices to exemplify that the tonal relations between made very convincing by the skillful handling (or winter and at Tarrytown on the Hudson in the summer. w6uld, visualized, not look like a crescendo sign: Another Objection to Playing from Notes The professors, when Wagner’s music is played to the two syllables have changed although they were, in shall we say “footling”?) of the pedal. It remains His style was broad and comprehensive, yet his play¬ There is also another objection to playing from the them, exclaim at once, “What is this? Is it aria or both cases and in the same order, parts of a single nevertheless a deception, strictly speaking; but then, ing had a certain incisiveness which those who heard printed music: the eyes have to be continually shifted recitative? Is there no cabaletta to it—not even a full him will never forget. sentence. If we take, instead of two, a half-dozen the occasions are very frequent for the pianist to be a from the printed page to the keyboard; that is, we close? Why was that discord not prepared; and why syllables in a sentence we shall find that they form In his earlier years he produced some very attractive tonal illusionist. And it seems like a piece of justice does he not resolve it correctly? How dare he indulge read the next note or notes and then have to look at the compositions for the pianoforte. Later in life he virtu¬ themselves into groups and that the speaking voice on the part of the spirit of the divine art that all those in those scandalous and illicit transitions into a key keyboard so that .the finger or fingers may play the ally retired from the concert platform and devoted his undergoes a number of changes in each group. Pre¬ instruments which have no need of such illusionizing that has’not one note in common with the key he has correct keys. We then look up for the next notes, attention to teaching. He was abnormally retiring in cisely the same should occur in the playing of a melody. are unable to render an entire piece of music by them¬ just left? Listen to those false relations! What' does then down for the corresponding keys and so on till his disposition. The late Henry Wolfsohn told the For, the intervals and the rhythm of a melody engage selves, singly—leaving aside the organ, which is an¬ he want with six drums and eight horns when Mozart the end of the piece. This objection, of course, does present writer that he had offered Joseffy huge sums only the intellect (and in dancing and marching the other story altogether—while the only instrument not apply so forcibly to the music which does not re¬ worked miracles with two of each? The man is no motoric nerves) of the auditor; but if the melody is capable to present a polyphonous musical work in¬ musician.” The layman neither knows nor cares about for concert tours but that the pianist found concert life It 'would look more like this: quire frequent changes of hand position as the fingers to effect him more deeply; if it is to make a psychic telligibly all by itself, must often resort to artistic de¬ any of these things. If Wagner were to turn aside 30 severe uP°n hls nerves that he could not be b-ought in such music can often stretch from one key to the appeal, it must suggest speech; i.

stage are the least excruciating of any instrument) but, Start Right, to Avoid Waste in Music Study oh, later on . ask Olga Samaroff or Josef Hofmann! By Mrs. D. W. Moore In conclusion just a word as to the accompaniment. It must, of course, rest upon a much lower dynamic nuite what a senior recital should have been Every¬ level than the melody. It may, on this lower level, I am twenty-four years old. I have been taking thing on my program was of a temperamental nature, slightly participate in the changes of tone Values made piano lessons for fourteen years. I have worked hard £ almost no technical ,„fhc„,,,es. by the melody, but on the whole it must serve as a soft and conscientiously. To-day I feel that my musical My parents did not want me away from home, so 1 John Field and the Centennial of the Nocturne colored harmonic rug upon which the melody, like a education has been almost a total failure. My knowl¬ decided that after a summers rest I would try ,o get languid oriental dancer, enacts its swaying motions. edge has come too late, but there are thousands of a class of young students at home. But that summer Something About the First Nocturnes and the Interesting Irish Composer who people who are beginning the study of music who may I studied the theoretical side of music and b>' fal1 be benefited by what I have learned through bitter Invented the Form I knew that I was not fit to teach. I knew nothing experience. of those mere rudiments of music, considered Strengthening Weak Fingers I got my piano and took my first music lesson on so unimportant. I had no idea how to teach a child By W. H. Grattan Flood my tenth birthday. I don’t believe a child ever was who was just beginning the study of piano music. much more enthusiastic or eager to learn. My parents Twentieth century readers may be interested to see the By B. H. Wike The musical magazines that I subscribed for were full ru’niTOR’s Note.—The following article Is part of an arrangement of a characteristic old Irish air, Go and were not musical. There was not much money to melody of this hornpipe, which remained popular till of allusions to things about which I knew nothing. in/imatf picture of Field presented In The London Musical Shake Yourself (subsequently published by Clementi & spare, and they reasoned that while I was so young Opinion and Music Trade Review. 1 After two years at home, I went back to the same Co., London), the theme of which is herewith given: early Victorian days: The only way to strengthen the weak fingers is to it was useless to hire an expensive teacher to train school for a year’s post-graduate work. It was a Inasmuch as the year 1914 was the centenary of the use them, and use them logically. Quit substituting me in the rudiments of music. So my first enthusiasm young violin teacher who had just entered the faculty nocturne (invented by an Irish composer, John Field), other fingers for the weak ones, for this in time creates was dulled by a young inexperienced teacher who took little interest in her work. I was of a very imaginative, who opened my eyes. She and several others of the it may be of interest to give a short biography of that a self-imposed inertness which becomes harder and newer teachers were fighting the allied forces of the harder to remove. There is much to favor the method sympathetic nature and early learned to put a great remarkable virtuoso, especially as no English memoir deal of expression and feeling into my playing. I was older teachers who were in power and who were is as yet accessible.. There are monographs in French, of memorizing a few simple technical studies for care¬ blissfully content in their blind ignorance that the ful practice at the piano so that the actions of these allowed to slide through with almost no technical Italian, German and Russian, while the latest memoir instruction whatever. I depended on the “loud” pedal profession of piano teaching had advanced a great deal is also in German, and was presented as ,a thesis for weak fingers may be constantly watched until the since they had studied many years before. trouble is so far overcome that no serious handicap for covering up my mistakes. The only thing that the degree of Doctor of Philosophy in the University of I do not want to go into the methods of modem may be felt later. Slow trills in various touches and kept my playing from being harsh and “bangy” was Leipzig by Heinrich Dessauer in 1911. Let me at once piano teaching. After all my years of study, I do not high finger action are beneficial. The presence of the little musical instinct I had. say that all the existing notices of Field—even Des- feel myself to be capable. I was never taught to relax weakness is found through the unevenness of rhythm, I was fifteen when I changed music teachers. My sauer’s book and the notice in the new edition of Grove’s —one of the things they now teach mere babies to do Two other arrangements were made by Field, but and this must be watched. new teacher was as strict as my old one had been Dictionary—contain no hint of his early triumphs in his On February 7, 1799, at a performance for the benefit before they will let them play a note. When I asked Field’s efforts in the regions of composition and his A common weakness exists in the passage of the easy. The first thing she told me was that I had no native city of Dublin as a prodigy pianist. Recent re¬ of Pinto the younger at the King’s Theatre in the Hay- technical foundation to work on. She kept me work¬ my professor about it, he told me that he had been search has unearthed much new material which, as here nascent powers as a pianist were lost to Dublin in the market, “Master Field played his own concerto for the thumb under the third and fourth fingers, and the spring of 1793, when his father—owing to the impover¬ ing on technical studies only, studies that were, but taught to play with the shoulders stiff, the arms held summarized, will prove useful to the future biographer grand forte piano.” rhythm generally gives way to a gap. In many cases ished condition of the Dublin Theatre Royal—accepted should not have been, too hard for me. I was so closely to the body and that if I did not like his of Field. It may be well to note that Field was kept for several the thumb is to blame for this. For this reason, partly, an orchestral engagement at Bath. Two months later perfect scale playing is very rare except after years discouraged I almost refused to practice. After three methods, I could go to someone else. The one thing he John Field—the son of Robert Field, of Golden Lane, years by Clementi as a hack for “showing” his pianos, the elder Field was offered a post in the Haymarket of arduous toil. We all know how much the mind months I went back to my old teacher and to my old did teach me, how to raise my fingers high, is not Dublin—was born on July 26, 1782, and was baptized and one can well imagine the drudgery experienced by Theatre Orchestra, and in October of the same year can control the accumulation of blood in a certain easy way of deciding for myself what I wanted to considered by modern teachers nearly so necessary at St. Werburgh’s Church on September 30; of the such a rising genius, compelled to strum away daily the Field household was transferred to London. part, and in a similar way the muscles can receive ' play and how to practice. as formerly. The construction of the old-fashioned same year. His father had “conformed” to the Prot¬ for the delectation of would-be purchasers of piano¬ Almost immediately his father apprenticed the boy stimulus through thinking constantly and hopefully. When I was nineteen I graduated from High School piano was such that one almost had to strike estant Church, owing to the fierce penal laws against fortes. Notwithstanding this, Clementi was very proud to Muzio Clementi, who at once recognized Field’s It takes time to overcome habits, but the time should and I was sent to a small school in the middle west the note to obtain a tone. But with our new, Catholics, and had set up a fashionable academy as of his pupil, who not only practiced the pianoforte genius. The fact of Field pere giving a fee of a hun¬ be employed with one purpose in view—to overcome that boasted of a good music school in connection. almost perfect instruments one lets the fingers sink professor of the violin. He was also ripieno violin in assiduously, but also studied the violin with G. F. Pinto, dred guineas to Clementi for the apprenticeship of his the defect. This does not for one instant take into I was to try to graduate in music in two years and into the keys, and the much talked of singing lone is the orchestra of the Theatre Royal, Crow (Street, and who composed a sonata “ascribed to his friend John son represents a heavy sacrifice, and is distinctly to the consideration what is known as “pure conceit” which to take what work I could in languages and literature. the result. I know how it is obtained in theory, but was one of the original subscribers to the Charitable Field.” credit of Robert Field. As early as 1794 Clementi an¬ is so often a hindrance to success, nor does it mean I don’t believe any one ever went to a music school fourteen years of hard work would have to be un¬ Musical Society in 1787. The Fields were certainly a On February 20, 1801, Field played at one of the that every day your practice periods must be drawn much more badly prepared. I had never had a lesson learned before I could obtain it in practice. musical family, as the grandfather of the inventor of nounced the young Irish lad as his pupil, and we find Oratorio Concerts at Covent Garden Theatre, and Field performing a sonata of Clementi at Barthele- out to several hours’ duration. These weak fingers in harmony or musical history. I had never played in While I was taking post-graduate work another girl the nocturne was organist in one of the city churches. created quite a furore by the performance of his own mon’s concert. The fiction of the age was still kept will no doubt in time become automatic in action public and as far as technic went, I knew almost came back to study who had graduated in my class. concerto, the melody of the rondo being especially ad¬ up, and the advertisements described Master Field as and so at last remove a great barrier in many an nothing. There were tears in her eyes as she told me how A Busy Childhood mired. He also played a rondo founded on the song, aspirant’s progress. A great many masters have had If I had been sent to a good conservatory, I might discouraged she was. She had to do something to earn At the age of eight years John Field was a good “ten years of age.” “Since then I’m doomed,” which he had composed still have been saved. • The professor I signed under Mr. Arthur F. Hill, F.S.A., has an autograph manu¬ this same question to consider, but they took the her living. She had spent the best years of her life pianist, his studies having been supervised in true before leaving Dublin in 1792, as previously alluded to. was recommended to me as the best in the school. matter in hand and brought about the results they studying music, yet she told me herself that she was Solomon-like fashion by his father and grandfather, script of a musical fragment composed by Field in 1794. The firm of Clementi & Co. wrote to fTeyei, of He told me himself that he was a graduate of one of were seeking. "Omnia vincit labor" (work overcomes utterly ignorant of first essentials of a musical edu¬ and neither of them spared the rod. Indeed, it is His first published composition was Del Caro’s Horn¬ Paris, on December 9, 1801, that they had ready for the best conservatories in the country and that he cation. pipe, with Variations, printed by Broderip in 1797. all things). alleged that he ran. away from home, in 1790 in order publication “some very valued manuscripts of Clementi, had studied abroad. I found out afterward that his Reasonable exercise is always beneficial for weak The school from which I graduated three years ago to avoid the thrashings, but this lacks confirmation. graduation had been twenty-four years before and 1 Dussek, Viotti, Cramer and Field,” and the name of fingers, but all should beware of using such means is still putting out the same type of students. The One thing is certain, that at the close of the year 1790 that he had never had a lesson since, and that he had the last mentioned is eulogized as being “a pupil of that Schumann employed to strengthen one of his older teachers are still in power and the younger (or early in 1791) the precocious child was sent to only been abroad once and then for only three months M. Clementi, a very promising genius, and has already fingers, which resulted in his being compelled to give teachers with their new methods are giving up the fight Tommaso Giordani to receive “finishing lessons,” en¬ spent mosjtly. in travel. become a great favorite in this country both in respect up a concert career. for recognition and leaving for other more progres¬ tailing no small financial sacrifice on the Field house¬ to composition and performance. It is likely you will A technical exercise that is exceedingly good for It seems to me that there is something almost tragic sive schools. hold. During the year that Field studied with Giordani soon see him in Paris.” faulty thumb passage is the playing of the C scale in a person practicing five and six hours a day with Any one in a small town who can play passably well he gave evidence of becoming a virtuoso on the piano, The promised visit to Paris of Clementi and his with thumb and second finger, then thumb and third no one to tell her that she is doing it all wrong. I and can put up a certain amount of bluff, can get at and his master decided to give the Dublin people an pupil had to be delayed owing to business engagements, finger, and so on to the fifth. Repeat the scale slowly should never have beeen allowed to graduate in two least a few pupils. There are no examinations that a opportunity of hearing the youthful prodigy at a and, in the meantime, Clementi published Field’s Three ten times daily with thumb and fingers, and with both years, but my teacher was willing to rush me as fast music teacher has to pass. Perhaps this will be changed Rotunda concert. Sonatas (in A, Eb and C minor), dedicated to his hands separately, then together. When a degree of as I wanted to go. I skimmed through the required sometime. If you are a father or mother and want Field’s debut was at Signor Giordani’s First Spiritual master. At.length—in the early part of August, 1802— mastery has been attained take the scale into other studies with no real knowledge of them whatever. to give your child a serious musical education, get The only technical knowledge that was drilled into me Concert at the Rotunda, Dublin, on Saturday, March the two pianists set forth for the French capital. Field’s keys, but remember that here it will be necessary at the best possible teacher to begin with. A good teacher 24, 1792, the two attractions being Madame Gautherot times to use other fingers in meeting sharps and flats. was to raise my fingers high. Because I did not know playing of Bach’s Fugues and of pieces by Handel and is far more important then than later. Subscribe for (the famous lady violinist) and Master Field. The Practice away from the piano can be carried on to the right way to play, I lacked self-confidence, and Clementi took Paris by storm, and he obtained a similar the best musical magazines and find out for yourself advertisements announced Field as “a child of eight.” _ a beneficial extent by placing the hand lightly on a playing in public was almost agony for me. triumph at Vienna and Anspruch. what your child ought to be learning. See to it that This was merely a “pious fraifd” (not yet unknown in bare table. Then raise the weak fingers carefully and My senior recital was said to be very successful, Ae temperamental and technical sides of your child’s advertising circles), as the boy was .close oh ten years slowly as high as possible. A gentle massage of all from a popular standpoint. I knew that it wasn’t Triumphs in St. Petersburg musical education are developed equally old; but it is probable that he only looked about eight. the muscles of the hand every day will assist in Towards the close of the year 1802, Clementi and The piece selected for his debut was “Madame Krump- acquiring suppleness and help to build up vitality. Field arrived in St. Petersburg, where Clementi—with holt’s difficult Pedal Harp Concerto.” Giordani gave Determination in all these various points can not true commercial instinct—opened a showroom for the fail to carry the diligent searcher through the jungle his second Spiritual Concert on Wednesday, April 4, sale of pianos, retaining the services of Field to dis¬ of theories that often beset him in musical work, and when Madame Gautherot and Master Field were again play the instruments to the best advantage. Under date so having arrived at the clearing he usually knows the t\Vo “stars.” Evidently Field must have proved a of December 22, Spohr, in his remarkable autobiography, by instinct whether it will pay to go farther. To The Definition of Music great success, because in the advertisements he is de¬ describes his visit to the music showrooms. He waxes relate a personal experience: I once had this “weak scribed as “the much admired Master Field, a1 youth of enthusiastic over the superb playing of the young finger” problem to'meet. I had good velocity, had One hundred master poets set out to tell what music is. Among them eight years of age.” At the second concert he per¬ Irishman. Poor Field—at that date twenty years of little trouble to read well at first sight, and could formed on the grand pianoforte “a new concerto com¬ Shakespeare, Goethe, Browning, Dryden—each tried his best. Each told age and still in an Eton suit, which he had much out¬ play many difficult passages fairly well, but still there posed by Signor Giordani.” He again appeared at grown—a pale, shy individual, unacquainted witl} any was a weakness that I could detect in spite of hours how music affected him personally. Lo! music affected each great mind Giordani’s third concert on April 14, and his playing language English; yet, as Spohr assures us, the moment qf keyboard practice. Then it dawned upon me that differently. Is not that the best definition of music? The art that above elicited the utmost encomiums. In the following year that he started to play the piano all his gaucheries were it would be well to look into the matter of weakness Field took to composing, and his initial effort was an ignored and the real artist displayed. a little closer. Accordingly, I got a clear visual idea all others bears an individual, intimate, different message to every^^ of certain passages I wished to conquer, places where I was unreasonably weak in finger movement. Then -„»1.„ w. „cc«pt Carlyle’s famou, line. "A *,W of tnorUcola,,, uofMonolU while away from the piano at other work I practiced speech which leads us on lo the edge of the infinite those forms mentally, always thinking clearly about the particular notes each weak finger was to play, with the result that I soon acquired the needed firmness. THE ETUDE 569 568 THE ETUDE

When Clementi left St. Petersburg in the early sum¬ At the Haydn Centenary on March 31 he played an mer of the year 1803, he left Field behind him as a Andante with Variations; and on May 6 he played at a guest of General Markloffsky, and the young Irishman reception given by Moscheles, where he had the pleas¬ soon formed a large and aristocratic clientele, being also ure of meeting Mendelssohn. Field’s visit to London in much request for concerts. Evidently Clementi sold was saddened by the death of his old master, Clementi, a grand piano to Field in exchange for certain musical who passed away on March 10, and who was accorded compositions, as appears from a letter written by a public funeral at Westminster Abbey on March 29, Clementi to Collard, dated Vienna, April 22. 1807: Field -being one of the chief mourners. "Has Field sent you the concerto, the quintet and some¬ Field’s reception at faris in December, 1832, was thing more, as I had agreed with him for his grand even more brilliant than that in London; the critics piano? If not, pray write by Faveryear to him.” were unanimous in praising his marvelous playing. From 1804 to 1807 Field’s services both as a virtuoso A Fine MY FRIENDS ASK ME how I mem- ! As is well known, Field did not think very highly of orize. In a kind of quack book on mem¬ and as a teacher were in much request; and he gave Memory Chopin, whose music he declared to be “un talent de orizing I learned that if a certain thought numerous concerts which proved highly remunerative. Hint Alas! like so many other artists, he was improvident chambre de malade.” The sallc of the Conservatoire were impressed upon the mind just before and lived like a true Bohemian—a life diversified with of Pairs on December 25 was crowded to hear the great retiring and then immediately recalled j various love affairs. He soon acquired a mastery of Irish composer and virtuoso, and Fetis declared his upon arising the next morning, the French, German and Russian, and was in high favor technique as simply astonishing. His concertos and thought would be retained in the memory, in the most select circles. He got petted so much that rondos were vehemently applauded. The great critic I tried this* by taking a piece of music to he became indolent and frivolous, added to which he D’Ortigue wrote of this concert: “His is no school; my bedroom and memorizing a measure was very absent-minded and eccentric. To complicate neither the school of Dussek, nor of Clementi, nor of visually just before I turned the lights out, matters, he became infatuated with a young French Steibelt. Field is Field’s; a school of his own. He When the room was dark I imagined that actress, Mdlle. Percheron, whom he married early in sits at the piano even as if at his own fireside with the notes were written upon the wall and 1808. The marriage ceremony was performed by a no attitudinizing. And surely his music is that of the magnified until their heads were as big clergyman called Syuruk, and an Englishman named fairies.” And equally brilliant receptions awaited Field as watermelons. The next morning 1 Jones acted as best man. at the Pape Salon on January 20, 1833, and again on went immediately to the piano and played New Exercises for the Beginner (o) (d) No. 4. We next hear of Field in 1812, when he and his wife February 3. that measure. Soon I found that I could As a preliminary exercise for relaxation and one that 4— -— took part in a concert at Moscow on Sunday, March 10, memorize two measures and even four I the pupil should do every day several times for a con¬ : ® ... : for the benefit of the orchestra of the Imperial Theatre. An Unfortunate End measures. The plan worked fine with me. | siderable period, let him place the finger tips on the J T T f f Four days later they gave a grand concert, tickets for In the spring and summer of 1833 Field astonished It might not be of any use at all to | keys (not enough weight to depress the keys) and t t ’* r r r ■ which were to be had, “at the residence of Princess various European centers, including Brussels, Toulouse, others. then rotate the arm, causing the wrist, which should Trubetzkv, opposite the Evangelical Church.” While in Erie Teacher, f .i J 4 J A „ j 1 1 j Moscow, Field became very friendly with Steibelt, who Marseilles and Lyons, frequently receiving triple recalls. be relaxed, to describe a circle of, say, six inches in I REGULARLY PURCHASE half-tone- : was the great star in that city. On September 30 his grand concert at Geneva was a Spurs to diameter. The wrist will be sometimes below and prints of photographs of the masters get- 1 The year 1812 is memorable for the composition of huge success, and a similar triumph was accorded him Perfection sometimes above the keyboard in making the circle. ting them in lots of one hundred. These j Each hand alone: Continue this exercise at some length a grand Marche Triomphale “en honpeur des victoires at Milan in November and December. After his ap¬ The shoulder muscles furnish the power. are used with pupils of twelve years of until considerable speed is attained. Never work at the du General Comte de Witgenstein,” quickly followed pearance at Florence in 1834 he proceeded to Naples, Next suspend the arm in a gentle curve (like a sus¬ To perform this exercise simply place the fifth finger same exercise until tiredness sets in. by a Premier Divertissement, an Air Russe Varic where he became seriously ill and had to be operated age and under in the following manner: pension bridge cable) over the keys and with a natural gently on (a), twist or turn the forearm until the (duet) and a Fantasia. In the late summer of the year on for fistula. He lay in hospital there for nine When the pupil has played a piece per- I whip-like motion of the whole arm, the hand of course thumb is, say, three inches above the key, and then stroke fectly or has mastered a page in a book 1814, Field composed the first Three Nocturnes and a months and was reduced to a pitiable condition, accel¬ moving the most, whip the key (c) three times. The the key (c) as indicated; at first without tone, when of studies he is given a portrait of a ] Further exercises similar to Ex. 2 and 3 also using pianoforte sonata; and in December of the same year erated by habits of intemperance. In June, 1835, the hand held in a natural position, just as one would find after a few repetitions use a little deeper stroke elicit¬ master to which is attached a good bio- : a rolling motion but with a radius only half as wide Peters published his Rondo Ecossais (Speed the timely arrival in Naples of the Rachmanoff family— it when walking about the house; the knuckle joints ing a tone, but cease all muscular effort the moment graphy. Ten of these portraits lead to as from the first to the fifth fingers, should be used as I Plough). In regard to the last mentioned, it is a Russian nobles—rescued Field from his sad fate, and just a trifle high so as to make a good arch. Use each the tone begins. The fifth finger acts as a pivot, some more significant reward. This leads soon as some degree of ease is attained in the first l misnomer to call it Ecossais, as it is genuinely Irish. the Rachmanoffs insisted that he should accompany finger in turn, playing three times on each key through although very little weight should be upon it; let the to habits of working for perfection and exercises. The arm motions should ever become more them back' to Moscow. shoulder muscles bear the weight of the arm, balancing No. 3. 1814 the child unconsciously- progresses. It is the octave. graceful, delicate and quick. The last professional appearance of Field was at Ex. 1. Use one hand at a time in all these exercises. it over the keys. Do not move the thumb of itself. also interesting for the child to keep I Exercises with shorter radius distance from first to Vienna, where at the earnest request of Carl Czerny Now try example (b) which is simply an exercise count of perfect pages in his work. This j third finger. he gave three concerts at the Hof Theatre, on August his pictures enable him to do excellently. , for quickness pf arm vibration; strike lightly the two 8, 11 and 13, delighting the fashionable audience by his E E. F. taps very closely together, accenting slightly the second No. 5. beautiful, playing. Whilst in Vienna he composed a Helping LITTLE PUPILS should be taught that ; of the two taps. Next try examples (c) and (d) new concerto and a new nocturne, and towards the Shut-Ins the main purpose of music is to make the with the same rolling arm motion; this exercise at close of August he returned to Moscow with the Rach¬ world beautiful and make the people in the same time moves the thumb freely in a lateral manoffs. A few months later Field became very ill, and it better and happier. I have a list of the motion. Use each exercise first with one hand, and in the first week of 1837 it was evident that the end shut-ins of our neighborhood and each then the other only a few moments, but always with was at hand. Even in his last moments his old humor week each one of my pupils is assigned The playing mechanism all takes part as a whip; the utmost piano grace of motion. did not forsake him, and when dying the following an hour in which the pupil goes to the the back end or part near the shoulder moves the The next set of exercises uses the little finger side dialog ensued: “Are you a Catholic?—No. Are you a shut-in and plays. The places are changed least while the small end or the hand with gently of the hand in exactly the same manner as prescribed Protestant?—No. Are you a Calvinist?—Not that each week, that the pupil goes to a dif¬ fixed finger moves the most. Do not make tone be¬ for the thumb. either,” said Field, “Not a1 Calvinist, but a pianist!” ferent shut-in every time. The shut-in is yond mf or f, but use the utmost grace. Field died on January 11, 1837, and was buried in the always glad of the little diversion and the The finger in this exercise is called upon slightly, No. 3. Glinka a Pupil of Field Wedensky Kirchhof, Moscow, on the 15th. The fol¬ pupil gains confidence in playing to say but not for a strenuous movement which it cannot lowing inscription was engraved on his tomb: nothing of a new estimate of the useful¬ perform at this period of study without calling to Between the years 1815 and 1819 Field gave numerous ness of music. It means a gain for all its aid of several other muscles (the sympathetic mus¬ concerts in St. Petersburg, and his reputation as a Born in°lVelan Towards the close of the year 1831 Field accepted the™ ’ tb'S 'S SO Pretty. I wonder why but now that I am familiar with the work, and with times a day, when in a very short time the motion the invitation of the Philharmonic Society of London thev f1-6 ,no words In some instances Wagner’s harmony, I can still quite understand certain at the piano will be found to be easily done. Exer¬ to play at their concert on February 27, 1832. His TB^ , I!fd t0 suPP!y words themselves. *Wr r r passages producing that effect on an admirer of Bach cises (a), (b), (c) and (d) of. Example No. 3 can playing on that occasion elicited the warmest admira¬ S°!lgS have helped greatly in i - 1 even when performed with perfect accuracy—George r }ng fhe child’s interest and love Jr 3 5 jg-i now be practiced with good results. tion, especially his rendering of his own Concerto in Eb. Bernard Shaw in The Perfect Wagnerite. tor music. The next arm motion combines Ex. 2 and Ex. 3, •-6-^-——-1 Ida H. Birk. and is as follows: Make the taps lightly and quite close together. 571 THE ETUDE 570 THE ETUDE iforearm will take charge of nearly al] y sympathy combined with your other talents. Sfou cut Food for Musical Inspiration motive power is in the upper arm. The hand is being SS*ta" »id« .«* * us up so tenderly that we would rather be scarified acted upon, not acting; an effect, not a cause. This is by you than have balm poured into our wounds by the motion used by all artists whether they know it or Comparison of Conditions Resulting From the By Katharine Burrowes any one else.” _ . „ not, in passages requiring rapid repetition and in Two Methods “I don’t want you girls to think me a conceited prig, octaves. It does away with the idea of a small muscle said Margaret, not altogether mollified. Just imagine if you will the state of a child's arB; “Yes,” said Margaret. “Now play the tonic. Oscar doing what a larger one can do much easier and better, Margaret had chosen her studio in an old-fashioned “Don’t be afraid,” said Helen. “But I must go now. muscles, and nerve tracks at the end of five months „! house in an old-fashioned quarter of New York just Elliottson’s strength and earnestness are splendid. Then and it also comes back to Nature. I’m glad none of the other girls came this evening. the old manner of beginning a pupil. No definite ai because of the open fireplace it contained; and its you would study Bach and Beethoven; and, dear me ! It has done me good beipg alone with you, Margaret, motions, a perfect chaos of nerve lines, a deploy cheery brightness, combined with certain qualities in if you can’t get inspiration from playing Beethoven The Lateral Motions of the Arm and I intend to feed my mentality with some kind of mixture of the larger and sma.ler muscular efforts, the occupant, proved such an atti action that her sonatas and Bach fugues to a critical and sympathetic There yet remains one motion in which the arm musical food every day. Probably what I give out to cronies, mostly musicians and teachers, had made it a listener, you are not the girl I take you for. In this practice, the finger that is thrown gently should receive special practice—the lateral or sidewise chronic condition of the sympathetic muscle, a lack, rendezvous for winter evenings. my pupils will be the better for it.” must remain close to the keys. The motion is really motion which is used so much, especially with the left relaxation, high muscular finger motions that are s, Helen’s eyes glowed. “I feel nervous to-night,” said Helen French, as she “Well, then,” said Margaret, “come over to-morrow a series at short vibrations. , arm in playing a deep bass note and then skipping to harmful as they are ugly, no fine discrimination between “Oh 1” she exclaimed. “I am never so happy as when Silent vibration of the arm should also be used; that rose and wandered aimlessly about the room. “Do night, and we’ll begin Niecks’ Life of. Chopin. But a chord in the middle of the keyboard. the arm’s work relative to the hands and fingers, and I am studying. But lessons even from a steady you really like teaching, Margaret ? • Don’t you find it remember the inspiration all comes from Chopin. I is to say, rest the fifth finger on any key in a comfort¬ The following exercises will furnish material for many other harmful conditions. straight-ahead are beyond me just now.” able position, and now by arm vibration cause the wears on your nerves?” won’t be made fun of.” practice in lateral motion: On the other hand consider the conditions of a pup] “I know,” said Margaret sympathetically, “you have other four fingers to whip on top of the keys but “Nerves?” said Margaret, leaning back contentedly. trained with the exercises set forth in this article. Well heavy responsibilities, and there are cheaper ways of making no tone. Start the vibration slowly and in¬ “Why, I do get tired sometimes, but so do doctors and defined graceful arm movements, nerve tracks capable buying inspiration, but they are not so dependable as nurses, and even society women. I don’t suppose my “Play Softly” crease the speed until the hand fairly flutters. Next of direct transmission, an orderly use of larger anl nerves are more worn than theirs.” lessons. For instance, concerts.” pivot on 4 and S causing the vibration to throw 1, 2 smaller muscles, the sympathetic muscle practically and 3 up and down through a small arc. Now pivot “I don’t see why society girls should get tired,” said “Yes,” said Helen, playing chords with her left hand. By Everett C. Watson eliminated, good conditions of relaxation, fingers on 3, 4 and S and vibrate 1 and 2. Now pivot on 1 Helen resentfully. "I do envy them when I am plod¬ “I have .got enough inspiration,” continued Mar¬ evenly lined up and in excellent form, and a fine dis¬ and vibrate 2, 3, 4 and 5. Pivot on 1 and 2 vibrating ding through the streets on a rainy day.” garet, “from a Kneisel Quartet concert to carry me After a great many years of successful music teach¬ crimination in the use of the arm, hand and linger 3, 4 and 5. Pivot on 1, 2 and 3 vibrating 4 and 5. Margaret shook her head. “If you could see into through a whole week of hard teaching when I was ing my life lines carried me to a somewhat different More advanced students might try pivoting on 1, 2, Practice the left hand for this and the following ex¬ movements. the mind of one of those girls,” she said, “perhaps sick myself, and the weather was February at its occupation. Recently I have undertaken to teach my These exercises have been thoroughly tried by the 3 and 4 while S are made to vibrate. ercises in a similar manner in the lower compass of the you would be sorry for her. She found a tiny crow’s wickedest.” own boy, aged nine, and some of the things for which I writer for a number of years and in the last event Another series of exercises follows where the roll¬ piano. Repeat each of these exercises many times. foot this morning—the first wrinkle—and she is hurry¬ “I don’t wonder,” said Helen, and sfte played softly formerly struggled have come to me as through a new it is the greatest good to the greatest number that ing radius is made still smaller. The forearm roll is Do not move the wrist sidewise, but move the whole ing to the beauty doctor in terror for fear it can’t be a theme from Bach’s Concerto in D Minor for two light. determines the merit of a system of work and results used exactly as in Ex. 5. arm from one key to another in a graceful sweep with ironed out. Besides, she may not be able to find a violins. “I heard them play this last winter, and if In the days of teaching beginners years ago I remem¬ certainly have crowned the using of this manner certain shade of pink chiffon for her new gown, and a care for accuracy. was like a breath of spring.” ber that I used to have great trouble with little hands beginning pupils. it will be torture if anything goes wrong with that through the breaking in or crumpling up of the knuckle No. 7. The next exercise requires a slightly finer motion. “I remember,” went on Margaret dreamily, “when An instruction book such as the new one by Theodore gown.” joints. I have just now found at this late day an excel¬ I first heard Pachmann playing Chopin. I came away Presser should be used very soon after the first few Helen laughed a little. lent remedy. It is simply “Play Softly.” After the cus¬ feeling that if I should never achieve more than a lessons, and since the work in this hook is along broad “Now, our worries,” continued Margaret, “are about tomary table drill the pupil goes to the keyboard with Chopin nocturne, I would not have lived in vain. He lines, the motions just studied can be applied to good vital things. A certain pupil hasn’t done well, and is a good hand position and then and there the trouble advantage. For pieces use at first such as require tor made it seem so well worth while.” going to leave us. We are behind with our rent, , and commences. However, if the pupil plays softly enough the most part the larger movements, such as Grade 1 the fingers will not crumple in. I simply keep on saying, Standard Compositions, compiled by Mathews; Zephyn The Bigger Educational Work “Well,” said Helen, pausing by the fire in her restless “softer, softer, softer,” until the desired result is at¬ from Melody Land, Krogmann ; Prosser’s First Park walk, “I’d rather worry about a wrinkle than about “How do the teachers in small towns manage, I tained. The tendency with the average boy is to play Pieces, and two books of Pixie pieces by Brown. wonder?” said Helen. “Look at Grace Hathaway. my rent.” very much louder than he should. Curb this and broken She was one of the most talented girls in my class. “My dear,” said Margaret, sitting up and speaking down knuckle joints will cease. In fact the pupil should energetically, “if you had no rent to think of you would Her playing was wonderful, but she is teaching now Adapting Yourself to the Pupil not be permitted to play with force until finger strength worry about the wrinkle with an agony of mind you in her own little home town. Doesn’t it seem a sacri¬ comes in the natural way; that is, through sufficient can hardly imagine. Trust me, what the socialists say fice?” By Eva Higgins Marsh exercise. about 'the dignity of labor is not all rubbish. We Margaret leaned forward, her elbow on her knee, workers have the most wholesome and, take them alto¬ gazing at the fire. Adapting yourself to the pupil really means “putting gether, the happiest lives, and I wouldn’t give up teach¬ Conceit and Confidence ing to he the prettiest girl in the largest motor car on “Ah!” she said; “but those girls have a far bigger yourself in liis place,” and by this little catechism of educational work to do than we have. It is their self each one may profit. Fifth Avenue,” mission to bring good music into the lives of people By Herbert W. Reed Did you ever watch the clock as the wee pupil strug¬ Helen laughed as she stood by the mantel looking down at her friend. “I don’t see how you keep up who do not know or care about it. They are pioneers Tn Ex. 7, (a) place the third finger lightly on the gles with the new lesson and note how long it take; There is a vast difference between conceit and con¬ your enthusiasm,she said. and they must suffer as pioneers suffer; but when they key (e) weighing it partly or entirely down to its bed, him just to read and count it through once? Often do succeed in giving music its right place in the little fidence. The former we beg our pupils to despise; the but not resting heavily on it and now by use of the two lines will occupy three minutes for one repetition What the Teacher Gives Out town, just think what a triumph it is! And what a latter we desire them to cultivate. A conceited player rolling forearm cause the second finger to play the with the right hand, two minutes for the left fa reward they have!” or singer is a personage we are prone to shun; a con¬ key (d) as indicated. Relax all fingers not in use minutes, perhaps, as he tries to put them together. By “Ah, that’s it!” said Margaret. “Enthusiasm. With¬ “Where do you suppose they get their inspiration?” fident performer is one we are glad to encourage and and hang them off the keyboard. (In Ex. 7, (a) 1, the second or third day it may lie played three time; out enthusiasm everything is a burden, and we teachers asked Helen, sinking into the wicker chair opposite imitate. 4 and S should be thus- relaxed). in five minutes. But do you estimate this time in as¬ are always giving, giving; not our money, but our¬ selves—our very lives; and we don’t take in mental Margaret. Conceit is proud that she can do so well. Confidence This forearm rotary motion is no doubt the most signing the length of the new lesson, or the time which food in anything like the same proportion that we give feels thankful that she is capable of so much. useful of all technical acquisitions, as it should be These lateral motion exercises are as important as lie has in which to practice it? “It must be partly retrospective. They must chew it out. We ought to renew our mental tissue with Conceit usually brags about his ability and what he used in playing nearly every group of two, three or any phase of piano technic, and yet in all books on To how many things do you direct his attention» the cud of former concerts and lessons,” said Mar¬ four note figures; especially all accented tones and piano practice this work is left entirely to chance. It mental food, just as we. do our bodily tissue with garet. “Then they can read a great deal. The lives has accomplished. Confidence is there “with the goods,” one short lesson? Are you surprised at the resulting material food.” saying little. 'brokefi chord passages. may be gained sooner or later; usually it come later confusmn ? Do you adapt yourself to the needs of the of composers and the modern books on music and the “I wish I were as clever as you are,” said Helen. • Conceit demands flattery. Confidence is satisfied with and the lack of it has been a continual drawback .‘"mind ? Be clear in your statements and positive musical magazines, all these are sources of inspiration. “I should never have thought of that.” encouragement. The Up and Down Motion of the Hand perhaps for months. in what you require, but be careful not to require too Have you read Niecks’ Life of Chopin?” “If I could play as well as you do,” said Margaret, Next use a study of double notes for free wrist. much. Better a few truths that obtain a clear under¬ Helen sat up and spoke indignantly. Conceit is usually the outcome of constant praise and glancing up at her friend, “it seems to me I would unstinted flattery. Though a pupil’s work be very in¬ This study is to be done as Ex. 1, i. e., with the whip¬ Finger Activity standing than many of which the child has but a hazy “Margaret, you always make me feel like a frivolous like throw of the hand on the keys, the fourth and conception. never wish for anything.” ferior and her musical knowledge very meager, indul¬ As will be plainly seen, all these exercises simply idiot! Of course, I haven’t read Niecks’ Life of second fingers being held firm enough to give good Helen’s set face relaxed. gent relatives and enthusiastic friends may so turn her begin at the known and work toward the unknown- Discouragement often accompanies the most earnest Chopin, and, of course, you have. Now, don’t ask me form to the exercise. endeavor Did you ever seriously try to pm yourself “Oh 1” she cried passionately, “if I could only play little head that she looks upon her pretended talent as begin at the frame and get it ready for the shingles’. always; but I must teach, and I must learn to teach any more such questions.” ' , pIace °f the down-hearted girl? To realize something wonderful, and regards her pianistic skill In other words, make the arm motions at the piano well.” Then more quietly, “But that idea about mental Margaret laughed. graceful, after which the smaller finger motions may iat her struggle for technical skill mav be when she as nothing short of marvelous. Many such superficial food is a good one. I believe I need some. Just what “Oh, well,” she said, “I have only just begun it. be added with not half the difificulties and appalling ™vtmpCrC,d by the ncrvous ^ar of playing before people go through life with an exalted opinion of their kind would you advise?” Suppose you come over here once a week, and we will mistakes as encountered by beginning with the old anyope, and maybe, by a weak back that prohibits long talents, and cause sensible folks a world of annoyance. “Dear,” said Margaret gently, “you must know as read it aloud together.” illogical manner of trying to develop clever fingers on slend. 1>ractice? »<’ you appreciate the strain on Others are sometimes awakened when they go away slender res°urces of hiK,, tujtion and hfr feeling that well as I do, but if you want to hear what I think, Helen’s eyes sparkled. “I certainly will,” she ex¬ from home to study, and they learn that there is noth¬ two feet of awkward arm. I’ll talk if you sit down. If you don’t I shall soon be lesson's? mi,St bc acc°mplished actually to afford the claimed. “And if I don’t get mental food from Chopin, ing in their performances to brag about, and come to Through all these exercises, which should continue as nervous as you are.” Margaret Brown will supply me.” realize that their little grain of talent is ver^ small until the teacher is satisfied that the movements are in Helen dropped on the piano stool and began to finger Practice it also by more rapid vibration or bounds, fairly good form (from two to five months) the awavVC -y7U triod *? give hcr a" outlook that will do indeed. hery undue introspection which contributes to the keys noiselessly.” Kind Criticism playing up the entire scale as shown in (a) and (b) : nerve lines running to the fingers have been exercised Confidence is brought about by a long season of C°nSC,OUsness an<1 nervousness? Can you no; “Of course,” went on Margaret, “we must buy what although no strenuous or isolated finger motion has we can afford. The mental feeders must live and they Margaret colored and spoke quickly, half laughing. preparation, and by many a timid appearance before needed Uphft in the "aV of extra time, when friends and in public. Self-consciousness and timidity been used. The nerve transmission, however has been needed, at lesson hour; the loan of an inspiring book must have money.” “Now that is not kind,” she said. “If I do criticise gradually give way to reliance and fearlessness. With direct and at the same time the muscles not’ employed “You mean the teachers?” said Helen. you girls, it is because you fairly offer yourselves to affe dgaZmu a concert ticket she could not otherwise growing knowledge and increasing skill comes a feeling in an act have been taught to relax, thereby preserving “Yes,” said Margaret. “There is no mental food like the knife, and it wouldn't be in human nature to let you tionl |SO that’ though she still may realize her Iimita- of security and repose. the ideal condition as mentioned in the beginning of study with an inspiring teacher, but he must be miles escape. But it is not because I think I know more this article. 8 NofS 'v. may Stdl find mus’c worth while? than you do. I am perfectly aware that I can never Confidence glossed over with excessive praise, may lire of* WV.have- but what we pass on is themes' above oneself, Intellectually as well as musically. If Now everything is ready to add finger articulation equal you in playing, or Jeanette Thorpe in Harmony, in the end give way to conceit; and much is the pity enconra OUr ab,I,ty- Why not pass on the smile of you can’t afford an inspiring teacher, get a steady, which should always be light, delicate, and sensit;J or Miss Hazelwood in——” of it. These bounds should be made close together. The ndenSent' ,he hand c,asp of sympathy, .be ready straight-ahead one, who does honest work and doesn’t .taps close to the keys. All heavy tones, accents etc understand,ng of the heart, which must accompany pin his faith on show.” “You dear thing!” exclaimed Helen, leaving her May it ever be our privilege as teachers to produce hand with fingers fixed are thrown easily upon the can be taken by the already prepared arm ” keys by the impulse furnished by the forearm, whose “Like Oscar Elliottson?” said Helen, ending her chair and kneeling beside Margaret’s. "The reason confident pupils: from conceited ones, may the gods The weak fifth finger idea is now dropped, since^a ,Cachin* and Kving? the ear.” ^ bllade- then the ear. then the fall corn® question with a seventh chord. we come to you is because you have such a gift of deliver us ! 573 572 THE ETUDE THE ETUDE characteristic piece full of go. This number might than usual originality. It is refreshing to find modern also be used as a march or two-step. ' harmonic devices so effectively and pleasingly employed in a piece of such easy character. This should make SFRENADE (VIOLIN AND PIANO)— FOLLOW THE BAND SCHUBERT-HARTMANN. an excellent recital number. Grade 2 MARCH GUIDE RIGHT!—H. ENGELMANN. The eminent violin virtuoso, Mr. Arthur Hartmann, Vivace m.m. J = 120 WILLIAM E. HAESCHE A brilliant and martial number of easy grade, taking has been very successful in his transcnptions „f va. its title from the familiar military command, “Guide rious master work^. Just recently lie has made a new Right!” This march should be played at the approved arrangement of Schubert’s Serenade. It is decidedly military pace of 120 steps to the minute, counting two different from any of the conventional arrangements in a measure. Grade 2J4. which have been made in the past, and it is exceed- CANZONETTA DEL SALVATORE ROSA DOLLY’S DELIGHT—JAMES H. ROGERS. —F. LISZT. Mr. James H. Rogers excels in easy teaching pieces. FESTIVAL MARCH (PIPE ORGAN)— The Canzonetta del Salvatore Rosa is taken from He evidently expends as much time and care upon ; C. F. MUTTER. a famous set of pieces by Liszt entitled Years of Pil¬ such pieces as he unquestionably does upon larger Mr. Charles F. Mutter’s Festival March has a fine grimage. In these compositions the composer endeavors works. He invariably has something good to say. rhythmic swing. It is full and brilliant, with the true to depict various scenes and sensations and sentiments This is a sprightly and graceful waltz movement. festival quality. The introduction of the fine old hymn inspired by his travels in Italy and Venice. Grade 2lA. tune, O Sanctissima, will prove ?, popular feature. Salvatore Rosa was born in Naples in 1615 and died HAPPY DAYS—A. GEIBEL. in Rome in 1673. He was a celebrated painter, but he This lively little number may be used either as a THE VOCAL NUMBERS. was almost equally famous as a poet and musician. vocal or instrumental piece. It will make a very pretty Mr. William H. Neidlinger’s Sweet Miss Mary js Liszt in his Canzonetta made use of one of the songs _ U 1 > unison chorus for girls’ voices. As an instrumental one of his series of Southern songs, all of which have of Salvatore Rosa as his principal theme. In the music number it is a sort of modern intermezzo. Grade 2. \ 4 4 ~~~ w p * 4 iiS f f Hr S will be found a free translation of the Italian text of proven very popular. Mr. Neidlinger has a wonder¬ this song. As is the case with all the thematic material THE FOUR-HAND NUMBERS. ful vein of smooth and flowing melody, which is well borrowed by Liszt from other sources, he has consider¬ D. Spooner's On to Triumph, which appeared in the exemplified in this attractive song. ably enhanced and vivified the original. January number of The Etude as a solo, has proved My True Love Lies A’Steeping is a charming lyric In playing this composition the most careful atten¬ a great favorite. In response to many requests it has by Mr. John Prindle Scott; an entirely adequate set¬ tion must be given to the rhythm. Instead of the crisp been arranged as a four-hand number, and also for ting of a very artistic text rhythmic effect resulting from a dotted eighth note military band. The four-hand arrangement is easy I Wonder Why is taken from a set of five encore followed by a sixteenth, or an eighth note followed to play, but very bril’iant. songs recently composed by Mr. Thurlow Lieurance, by a sixteenth rest and then by a sixteenth note, one Gathering for the Hunt, by Sartorio, is a vigorous all in humorous or semi-comic vein. may be'tempted at times to fall into the careless habit of playing the piece as though written in twelve-eight time. A close following of Mr. Constantin von Stern¬ The Value of Time berg’s editorial annotations will be of advantage 'to the student. Grade 7. By Madame A. Pupin VALSE BADINAGE—J. R. MORRIS. “The thing I have valued most in my life i: Mr. J. R. Morris is a contemporary American com¬ said one lady to another whom she n summer wish e iwo piano lessons a week and you will poser of talent and industry who has not been repre¬ practice two hours a day. Seek a good French teacher sented previously among our Etude pages. His False and arrange for two lessons a week, saying you will Badinage contains more variety of thematic material study one hour, at least, every day. Arrange to give than is usually met with in pieces of this type. The “You are clever. You play the piano, you can sing, a childrens’ party every other Saturday afternoon. For iB m # wm themes suggest both the French and the Viennese you play the guitar and I heard you speaking German the first one invite children from 4 to 7 years of age: (ins m styles. A rather rapid pace is demanded together with to that distinguished-looking man who sits at our table, to the next from 7 to 10; then to the next two, invite mf SCI a brilliant style of execution. Grade 5. and you crochet such wonderful things. Now I think those from 10 to 12 and from 12 to 14. You mint of it, you seem to be always doing something.” LEGEND—H. AILBOUT. take out at least one book each week from the public §e£ “You seem to have nothing to occupy you. Do you library to read.” m yi Hans Ailbout is a contemporary composer of French m speak French?” “I should not know what to take.” extraction who has resided chiefly in Berlin. His “No, I do not.” “You can choose from fiction, travel, biography or piano pieces are beginning to be very popular. The “Why do you not study it?” - essays. The librarian will help you in vour selection. Legend is one of a set of four pieces recently com¬ “I do not see of what use it would be to me.” posed; it has a charming left-hand melody in the As I leave to-morrow we may not meet again, hut I “Let me. tell you two stories. A young girl refused style of a ’cello solo, the middle section containing to learn French when at school. While in her twenties, will say this—learn to control your thoughts, and do some striking harmonic effects. Grade 4. she was married to a Frenchman of good family, and not let your thoughts control you ; find some employ- VOICES OF NATURE—E. KROHN. went to France to live in the home of his parents. mem for every waking hour, and you see I have sug¬ Voices of Nature is a brilliant and interesting They could not speak English and she could not learn gested how you can help to make others happv. " drawing-room piece with well contrasted themes. The to speak French grammatically, and she had to hear Before this lady started on her trip to Sweden the principal theme is in the style of a modern gavotte, herself alluded to as ‘that stupid American.’ ” town ShC WCnt *° SeC hCr fr!end in ,he suburban suggesting a pastoral scene with the twittering of birds, “The other story was of a boy whose father etc. The middle theme might be likened to a serenade was American and his mother French, so he spoke ‘Is it possible you are the lady of 32, whom I by a quartet of men’s voices with a rippling, harp-like the two languages with equal fluency. His mother met last year? You do not look 28.” accompaniment. Grade 4, wished him to learn to run the sewing machine, but , ’ y°u dear fnend. all has come out as you said, he refused, saying, if he did the family sewing would only a thousand times better. I now know the value LOVE’S AVOWAL—H. W. PETRIE. fall on him, and it was no kind of work for a man. A very melodious and expressive song without About ten years later there was to be a grand ex¬ wili er ‘ S° mUch of a minute I would not words, which should be played in a tender and senti¬ wilhngly waste one. I am so interested in my music. position at Paris, and he wished to go. A friend mental manner. This is drawing-room music of the said to him, ‘As you speak both French and English, to take^n' a Wi'Se fore,hnilgl't of yours, advising me better class. Mr. Petrie’s well-known lyrical gifts are I can get you a good berth, with a fine salary and displayed in his pianoforte pieces equally as well as in his songs. all expenses paid. Come with me.’ Arriving at the office he learned of the extraordinary advantages that A SOUTHERN MELODY—A. L. NORRIS. would be his, and was congratulating himself on his Mr. Arthur Locke Norris’ Southern Melody is a good luck, when the official said, ‘You can run a characteristic piece of much merit, very cleverly har¬ sewing machine of course?’ ‘No, but I could learn.’ k t ;»;r rvir- monized in modern style. It may be taken to sug¬ ‘Not now, we require an expert, one who has worked a good memcr T" ,he facC' The" * have acquired gest an old-fashioned moonlight plantation scene. with machines for at least ten years.’” Grade 3pL “It might be well if we could foresee the future. But at any rate, I am too old to study French or music. LA TOSCA—H. TOURJEE. have to fllS? pl’ysical all-rtness. for I I am thirty-two years of age.” Mr. Homer Tourjee’s La Tosca Waltz is a great learned the *fU,5kly and quickly. Then I have “Thirty-two, are you? Well, I am forty-two, and favorite although very likely it is unknown to many I do not think I am too old to study a language. I of our Etude readers. It is especially useful from the me if I lzrj° the ,n,nute” My teacher told fact that it may be played either as a waltz for danc¬ am going to learn Swedish this winter, as I expect next summer to take a trip to Sweden.” punctual to' 'the fu’.i :’"L a min«»ea, 1 must be ing'or as a drawing-room piece or as a recital number, All these and otb„ °(. a sccond Think of that! answering equally well for all purposes. Grade 3. “I never imagined you were older than I. You look young and you look happy.” thought and self rn qua itles as order, systems, fore- AFTER. SUNSET—A. PADOWSKI. “If you look or feel older than you should it is the piano ? Se1 whh 1 S° "'Cessary in °f After Sunset is a quiet nocturne-like, piece with a perhaps because you are not happy. I believe I could I once saw as small alt°ge,her di^rent eyes: things flowing and expressive melody which will prove espe¬ lay out a plan that would change your whole life in Then I hive made "°W T to me slIP"me,y cially useful as a study in tone production and in the a year’s time.” teacher wishes me r n.n'C1 ProSress in French my singing style. Grade 3. “Would you take that trouble for me?” a short trip to Cuba •‘’P Spanish- as 1 Propose “Gladly. Go to some suburban town, of from three translated into a f ■ * W,nter- 1 seem to have been FOLLOW THE BAND—W. E. HAESCHE thousand to eight thousand inhabitants, where there this joy aid hannini-" W°rld,: but 1 now see that all This is a delightful little march movement of more is a good public library and three or four fine churches. ”-nd it was l, r,neSS was Wked up within myself, May your fife Vie3 8Te me tbe "OPe>* Sesame" to it. De as haPPy as mine now is.” 574 THE ETUDE LOVE’S AVOWAL H. W. PETRIE

'.ssfaSEir. yj^Lp U.Tir. (f'r ■ • • - mf ' \ mf a tempo i>-«=' J* T~, morendo ViYTVLA L 0 — ^ f > i— W 0 .77 T~ —, »i i | J."j- J ■-- J r rr 1 *■ [Ji3^ S^P g g.LE :tr V tijfjijh ~k — La - 1 2 o -— f7« jf fog | A j-^a—== I. — Cj.— J t-Tg=g 1 l * -p-i (fo1, 3 2 ■ g = g "0-^3j .f.~=R ' = ■>f f r.: M s? 1 1 Si : >LmLmlmml r r r 1< g& ob " ~r—r r—f— \ P rallen. ~ M /jj A :rn m s ;outhj ELODY ALBER’r l. ^IORRIS, Op. 31 * Andante moderato m.m. J = = 84 5 ♦. v--* 1 5 2|^Z f |JaJ 1 "fnff /iAMw?.- — Jf^ ^iYVriAt. rtfAga pM~~m (-W-C. | n n i nni " . n ..nU^LTW 9 — mML'9 y ^ 4 - ~ ~~~ ,—v Poco pill mosso ^- : p j» ^r dim^ f'e rit. j p cantapile dolce. 1 "| V jr i ■ . g-..- j-id-- pj r <* w : # l -*■ h i# ■1*1 #== 3 *! 8 1 '1 '1 r V 1 r fr^r’r r0~ tre corde cant an do una corda rr r t ■ Piu mosso A* r » tempo j|-H"t V W 3y ® orZtv L T~ rit. "T" piu i 1 HZ UZ HZ HZ" ^ ^ | i \ Fv f Wj**i J p^L J_^&-, w-rL’"^ LA f l^L 4= J J i-|-'j - ^ (p 1 r r [Jr fvT^r r 1 f 1 a tempo

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a) Small hands may play the notes stemmed upward in these two measures with the right hand. b) The notes in small type may be omitted and the lower octave note may, in that case, be struck with the 2d finger. C) The upper of the two grace notes may he omitted by small hands;the lower one is then struck with the 2d finger which slips to the nex D 589 588 THE ETUDE THE ETUDE

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Happy days, Happy days, Oh,what joy this life is bringing, Happy days, Happy days,When the heart is full of singing: Happy

Copyright 1915 by Theo.Presser Co. British Copyright Secur'd t £... ■■■■ DOLLY’S DELIGHT nif 3 5 i Con moto grazioso m.m. J = 144 WALTZ JAMES H. ROGERS | . 2 1 _4 1, i * tempo

/ days, Hap-py days, To the wind all sor-row flinging: Hap-py days, Hap-py days, Oh what joy-ous hap-py days. Pine •T7r - frrr- ^r~\~r - -.4±±t- ... g« *. r i r> < j 1 . r j r1 d J r ru ■ Grr 1 a

Copyright 1915 by Theo.Presser Co. British Copyright Secured 8

ESTHER M.CLARK I WONDER WHY? (B.A.C.) THURLOW LIEURANCE THE ETUDE 593 5»* THE ETUDE MY TRUE LOVE LIES ASLEEP SWEET MISS MARY FRANK L. STANTON W.H. NEIDLINGER 595 THE E T U THE ETUDE FESTIVAL MARCH Maestoso M.M. J=10S CHAS. FR. MUTTER

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* From here go back to Trio, and play to-^b; then play Coda. THE ETUDE 597 596 THE ETUDE Music and the Friends—Yesterday and To-day GUIDE RIGHT! MRMICH- at least idle pastimes, but as educators— business house of my uncle, David Scull, idolce educators as much as a school is an edu¬ along in the early ’80’s, I was heard hum¬ ,U1 y cator—and therefore the musician and ming to myself as I walked by two men 1 i -4-gfr the actor may be looked upon as in * ft gz in the street. Years afterward, when 1 educators. Hence it was, I suppose, that was singing in Grand Opera, the younger 2 2 5 5 I was given a place among educators, and of the two told me that, as I passed, the Li* I am proud to have been considered elder—a very plain Friend—looking after 3-p- -p 3 4 f 3j-""T 7""” " 2-S-O" ru 2>^ ^ worthy of the distinguished honor which me, said: “Does thee see that young man ? our College has conferred upon me. Well, I tell thee he’ll nev^r come to any good, because he’s always fooling round 11 11 “A Message to Those Present” =j ' after music!” I agree with the aged j I replied to President Sharpless’s let¬ Friend in so far as fooling around with 12 Day VL ter in that spirit, and suggested that a. anything is concerned. No one should Jill Expense 1 m 1 fat commencement in June I would like to “fool around” with so pure and beautiful -Northern Cruise r ■Ti-.T JUL say a few words to the audience, and a thing as music; on the contrary, accord¬ 4 5 5 1 2 6 3 5 that if there were no objections I would ing to my belief, it should be included also sing. There was no objection. As among the elective subjects in all schools $60 gt 2 ■ I ■ 'r I sat upon the platform on that warm and colleges for every normal human • | ^ t — summer day, June 12, 1914, robed aca¬ being is “moved by concourse of sweet Including all essential expenses for demically, capped and hooded, I felt a sounds.” Everyone has a voice, a musical 'el, berth and board, is offered by the great sense of responsibility. As Friends instrument, in his throat which should be of old would have said, “It was borne in trained in speech as well as in song from RED CROSS LINE * A upon me,” that I had a message to de¬ early childhood. It is not necessary to Visiting HALIFAX, NOVA SCOTIA, S$;-” liver to those present, and I hoped to be purchase, at great expense, instruments and ST. JOHN’S, NEW FOUNDLAND f able to acquit myself manfully of my of music for every individual, but the ^ t f rtr f T This most unique, healthful and desirable vacation cruise from New York combines ■ 1 J= = | 1 i-^ duty. I cannot recall the words I used, instrument which nature has given should novelty, grandeur, delightful climate and a charming sea voyage with absolute comfort ^ r but I remember the gist of my remarks be cultivated, for from it may, be obtained and remarkable economy. No hotel bills, changes or transfers, you live on the shin— ? 5 5 was something like this: great solace through life. I do not advo¬ it is your home for the entire cruise. A foreign tour costing four times as much could u ,, a I alluded to the time when, in the cate that all persons should go far into e more e lg t u . Excel]ent Fishing and Shooting 1 t—. autumn of 1872, and during the subse¬ musical study, for it is exacting, and ■few tourist steamships—“Stephano” and “Florizel”—fitted with every device for comfort and lltl* ?i .rtti S3 e£-* * 0 f u quent four years of my residence at only those especially gifted should be en¬ ays in^pm-t.- Orchestra,- Sea Sports. ’ bilge keels, submarine bells, etc.—7 days a^seaj Haverford I was forbidden by the Board couraged to bring their talents before the Sendfor illustrated booklet full part ictlar'sd“r,ng of Directors to retain at the College my public. But music should pervade every BOWRING & C0„ 17 Battery PI. zither. No guitar, banjo or other instru- home, for it has been sung by poets and uient of music, no pipe, tabor, harp, by prophets as an alleviator of grief, the psaltery or instrument of ten strings was bringer of joy, a solace fpr the waking permitted to resound through the sombre hours of toil, twin sister to the balm of September Issue THE ETUDE—The Logical Number halls. Even the human voice was dis¬ For Fall School Announcements Copyright 1915 by Theo.Presser Co. sleep. British Copyright Secured Please mention THE ETUDS when addressing our advertisers. 599 598 THE ETUDE THE ETUDE

What the Composer Thought SCHILLING’S LATEST PUBLICATIONS The Upper Tenor Tones and How Every Tenor may Acquire By Russell Snively Gilbert Them to high ,“c” without strain or effort by unique and scientific exercises. First part 25 cents; second part or many phrases. The old classic writers $1.00; third part $1.00. An elocutionist takes a sentence and The Upper Soprano Tones and How Every Soprano may Many people do not care , to listen to usually repeated the first period literally Acquire Them to\igh'"c” and above, without strain oi marks all the important words. Then it piano music, simply because the average by using the repeat sign in order to im¬ 6^Diaphragmatic^ Breathing and the fixed High Chest is recited over and over until the proper pianist fails to express anything in his press their opening thoughts more forc¬ amount of stress for each important word Yasynand Natural Method of Sight-Singing, 50 cents. playing. Having mastered the mechan¬ ibly, and this will aid the student in find¬ Ear Training- Invaluable to Singers, Students of String In¬ has been decided upon. The little, unim¬ ical side of a composition, the real artist, ing the first period. As in a literary strument! and Musicians in General. Sample copies 10c. though the public may never have heard portant words are kept very quiet indeed Voice Placing for Singers and Speakers. Published work, the second period usually presents March, 1915. These exercises have been used from of his name, will look beneath the sur¬ So the musical phrase should be treated an entirely new thought and is not gener¬ manuscript by the author’s^ “au^e^sda3^v^“p^gUanf£e face of the notes and search for the in exactly the same way. The student ally repeated. As a sort of sutnmingup voice. pJiMnfotcents.ne thoughts -which the composer wished to should play it over and over until he the third period reviews the thoughts in express. How shall we find these can hear the important notes and knows the first one and often introduces snatenes thoughts? Let us compare the musical just how much force each requires to Fundamental Principles of Breathing from the second period. There may be composition with a literary one. make the phrase express the thought of (Drawn from various sources.) many or, rarely, there may be only two The Summer (airl One of the first difficulties is an under¬ the composer. The , unimportant notes standing of phrasing. must be kept in the background very periods, but as in a paragraph, each will Submitted for discussion at Convention of New York State Music Amid all your sports—dancing and What is a phrase? It is simply the express a complete thought. Teachers’ Association, June 16, 1915. ’■ ' continual round of pleasures—re¬ carefully. This does not mean that they expression of a thought and corresponds must be so much softer than the others, Now the student should play over each member one thing first, last and to a sentence in a literary work. Like a but if the student will only keep the next period and listen carefully to it until it ■ always—protect your dainty, delicate sentence, it may be either simple or com¬ Introductory Note:—One of the Voice Conferences of the recent convention of the New York State Music Teachers? important note in mind and not think of suggests the composer’s thought. This complexion. pound. In speaking a sentence, the great¬ ■Association was held June 16 under the auspices of the National Association of Teachers of Singing. Two of the papers the separate notes, the unimportant ones thought he should at once write down est stress of the voice is usually placed presented are given herewith. The first thing on the program, however, was an important statement, founded on recent will take care of themselves and lead ori the margin in a brief word, as love, ■ correspondence, of “The Attitude of the Authorities of New York State as to the Examination, Licensing and Registration upon the opening words, because a anger, repose, velocity, coyness, spiteful¬ GOURAUD’S thought is" about to be expressed and at¬ right up to the important note. All the of Teachers of Singing." This showed that the Department of Education of New York State is definitely opposed to any ness, gayness, sadness, beauty, mystery, tention is desired to be directed to it. bar lines within the phrase should be legislation embodying these ideas, on the(ground that they would constitute an unwarranted interference with personal liberty. imitation of horns, gallop of horses, The closing words of a sentence are erased from the mind, as they must not marching of soldiers, dancing of children, spoken in a lower and softer tone, be¬ be allowed to break the continued thought. 1. In voice production, the motive 14. Therefore, during singing, if the the muscles of expiration, or'by a bal¬ etc. The title of the work will often Oriental cause the thought has been expressed and Bar lines are only marks to guide us in power is breath. chest be held high and fairly stationary, ancing or opposition of one set against aid in discovering the composer’s inten¬ the attention has been obtained for it. The figuring out the proper value of the 2. The breath is provided by the the point of greatest motion caused by the other. same effect may often be found in a notes, and after they have fulfilled their tions. lungs, which are spongy bodies, having breathing should be in the region of the 16. The cultivation of a feeling of musical phrase, the opening notes being duty, should be taken down. Finding out Let the student now review the thought no activity of their own beyond elas¬ diaphragm or below it. strong support in th.e region of the Cream played in a manner to direct attention to just how to express the composer’s expressed in each period and the entire ticity. 15. The control of the breath would diaphragm will strengthen the ability to them, and the closing1 ones being played thought in each phrase, is the task that meaning of the composer should stand . consistently used will protect your 3. The lungs are controlled by the tfiost logically and most naturally be maintain a good cantilena and decrease softly, bringing a feeling of finality. Of takes the great artists so many years of revealed before him. The fact that he complexion against the hot summer muscles of respiration. accomplished by the control independ¬ any tendency to sing off pitch. course, there are times when the close hard labor before he feels ready to play understands the meaning himself does sun and dry air, keeping the skin 4. There are two sets of respiratory ently of the muscles of inspiration and 17. No attempt to control the breath of a sentence receives the force of the a composition in public! not imply that he can convey it to others. clear, soft and pearly white—a mark voice as in a question, but it is always muscles, one for inspiration and the should be made at the larynx. A literary man takes a number of his Let it be played many times thought¬ of refinement admired by everyone. indicated by a question mark. Likewise other for expiration, twenty-two or 18. In general, no action of the breath thoughts and groups them into a para¬ fully and with wide-open ears until the there are times when the the composer more in all. mechanism should be allowed which student knows that he has received the wishes the close of a phrase emphasized, graph containing few or many sentences. 5. The principal muscles of inspira¬ would tend to produce interference with power to convey the meaning to his Special Free Trial Offer and he will always indicate by the usual Likewise a musical composition is di¬ tion are the diaphragm and the inter¬ the voice mechanism. We want to give every woman the vided into paragraphs or periods of few hearers. costal muscles that elevate the ribs and 19. Perfect control of the breath opportunity to try GOURAUD’S means: ORIENTAL CREAM at our ex¬ evert their lower borders. pense. Send us your name and 6. The chief muscles of expiration are (a) Ability to fill the lungs to their address for a liberal trial bottle, the four sets of abdominal muscles and capacity either quickly or slowly; sufficient for 10 days’ use, and con¬ From Brain to Brain the intercostal muscles that depress the (b) Ability to breathe out as quickly vince yourself of its merits. Please ribs. or as slowly as occasion demands; send. today 10c (stamps or coin) to By Maria Chipman Topping cover cost of mailing. 7. The ordinary act of expiration is (c) Ability to suspend inspiration, merely passive, the resilience of the with the throat open, whether the Ferd. T. Hopkins & Son The interpretative artist is chiefly con¬ was a humanity, a musical emotion which tone, and the “coaxing” tone. Then chest-walls and the elasticity of the lungs are full or1 not, and to r.esume cerned in the message which leaves his every true virtuoso feels and reflects. It there is the solemn organ tone which is lungs being sufficient to produce if. the process at will without having lost is nothing but a humanity that makes the made backward; that is, the hand pushed 37 Great Jones St., New York City brain to reach the brains of others. His 8. The diaphragm is not a muscle of any of the already inspired breath; difference between Paderewski’s rendi¬ means of interpretation have to do with up and back, instead of forward and expiration. (d) Ability to exhale under the same tion of his own Menuet and the most down. These are visible means of inter¬ all that come between these brains, 9. The lungs and the respiratory mus¬ restrictions; perfect imitation on a player-piano, which pretation—then we have all the qualities whether it be hammers, wires, bows, cles may be termed the motor of the (e) Ability to, sing and to sustain the is the nearest human of any mechanical of emotion—joy, grief, pain and ecstasy Initial Napkin Holder strings', brass, wood or even the human vpice-producing mechanism. voice of an ordinary breath; instrument yet deyised. with which our minds must play if we larynx. His success as an artist depends 10. As the vibration of the vocal (f) Ability to breathe quietly as often Let us go back briefly in our own would be . true interpreters of what upon how intelligently he operates upon cords which originate the tone and the as text and phrase permit; recollections. Schmidt’s finger exercises. should make us tremble to repeat un¬ these lines of communication. continuation of this vibration depend Do you remember them? Finger ham¬ worthily. (g) Ability tp, breathe so that the A tone on the piano is made by con¬ entirely upon the breath, and as the fullest inspiration brings no fatigue; mer, wrist hammer, forearm—forearm, There is no profession that involves so tact of hammer and wire, with the key as breath depends on the lungs and the wrist hammer, finger hammer. We sit much giving of self as the musical pro¬ (h) Ability so to economize the a propelling power. If the hammer hits respiratory muscles, it follows that it ____a personal and as of old at the piano. Wrists rigid, fession. The physician, the lawyer, the breath that thp reserve is never ex¬ ' useful gift for every member of the the wire it makes a noise—sometimes is of the greatest importance that the fingers bent, knuckles pulled in. Our gen¬ preacher, all have studied years to per¬ Walter L. Bogert, A. M. hausted; family from baby to grandpa. lungs and the respiratory muscles little else. tle teacher lays a penny on the back of fect themselves in that profession to (i) Ability to breathe so naturally, so Heavily Silver Plated on should be strong and well under the Nickel Silver, any Initial 25c A tone on the violin is made by con¬ each hand, then the pointer is raised which they give their lives, but the physi¬ [Mr. Bogert received his A. B. degree in unobtrusively, that neither breath nor Two-third, actual ai» Solid Sterling Silver - 75c tact of horse hair and string. But we control of the singer; for without mas¬ 1888 and his A. M. in 1889 from Columbia toward the two measure limit which was cian is limited by the possibilities and College, and covered the courses at the lack of breath is ever suggested to the Prices in 10 and 14 karat gold quoted on request could tell with our eyes shut whether it the lesson. We play it through. If we impossibilities of the human body; the tery of the motive power, all else is Columbia Law School from 1888 to 1890, listener. THE GEORGIAN COMPANY, Inc. was Kreisler or a pupil just emerging get through without dropping either one lawyer subsists largely on crime and unavailing. practicing law from 1890 to 1894. Mr. Jewelers and Silversmiths from the distressing efforts of the first Bogert studied at the National Conservatory SALEM, MASS. of those pennies the teacher says noth¬ quarrels; the preacher, despite his long 11. To achieve this control as quickly of Music from 1894 to 1898, and the Insti¬ grade, because Kreisler has developed Self Command in Singing ing. If one drops he also says nothing, years of study, knows no more than the as possible, physical exercises, apart tute of Musical Art 1905-09. He studied certain muscles, helped on by the brain, piano with August Fraemcke, violin with but if he does the work he is paid for we humblest parishioner in the back pew, from singing, are necessary for the de¬ Ffrangcon-Davies in his work entitled and puts a subtle emotional force into Edward Mollenhauer, harmony, counterpoint, get a rap on the knuckles with that and can offer only his belief of things veloping and strengthening of the en¬ canon and orchestration with Max Spicker The Singing of the Future, offers the fol¬ PIANO TUNING bis tone that entirely changes-' its char¬ pointer. I wonder if it was the crash seen “as through a glass, darkly.” tire breathing apparatus. Such exer¬ and Percy Goetchius, singing with P. A. lowing pregnant advice: “Rule the body REGULATING and REPAIRING acter. The tone is still made by contact Rivarde, George Henschel, tV. N. Burritt and from those poor distressed hands that We of the musical profession launch cises have also a great value in building with the mind from the start, and the of hair and string, but it has taken on an Adrian Freni. From 1898 to 1901, Mr. first led some teacher to realize that there ourselves into a sea of liquid pearl whose up the general health, the possession of Bogert was Instructor of harmony at the body will say. aesthetically and spiritually, element of beauty that the other lacks. National Conservatory of Music, and at the was more in touch than was taught in heights are above the highest mountains, which is an essential for the successful what the mind wishes it to say. Inform Though the piano is a much more me¬ Institute of Musical Art from 1907 to 1909 ; By J. CREE FISCHER their philosophy’ whose depths are beyond the deepest singer. teacher of sight singing at the Ziegler Insti¬ technique with mind. A singer’s tech¬ chanical instrument than the violin, yet a Price $1.75 Technic, which was only touch, but waters. Music was before man existed. 12. In order to give the lungs the tute, 1910-1912: lecturer on music for the nique deals; with the means whereby he true artist, by developing certain muscles, N. Y. Board of Education since 1900: for A work of great practical value. Arranged now is a combination of touch and tone, Long after the world is forgotten, after greatest possible freedom to expand, the University Extension Society, 1904-6; transmits thought from his own to other systematically in lessons and thoroughly illus¬ helped on by the brain, an appreciative and without which music has no inter¬ trated, maiemg- a book that can be used forself- the physician and the body he treats the chest should be held as high and as for Metropolitan College of Music, 1908-11. brains. It is also the result of the disci¬ instruction, correspondence courses or text ear and artistic susceptibility, can pro¬ preter, has been forging itself for tangi¬ He also had charge of the music at Pan- alike are dust; after the lawyer and his expanded as is comfortable. pline of the means, viz., the power of the book in schools and conservatories. A valu¬ duce something more than soft and loud ble use for a long time. Many cele¬ American Conference of Bishops of P. E. able lesson ;s that on the tuning, regulating clients have come before the Great 13. As the bony structure of the chest Church, Washington, D. C., In 1903, and at singer over his means. These are vocal and repairing of reed organs. We think a brated teachers have made it a life study, Tribunal; after the preacher and his con¬ service held in honor of Archbishop of Can¬ cords and breath. Related to them, in the work of this kind will appeal to teachers and It was something more than technic, is largely suspended from above, being terbury, Washington, D. C„ 1904. RAG™ Sl&TSS. It musicians who live in the smaller towns and and out of their work has grown and gregation have forgotten their faith in act of singing especially, are laryngeal, voted to Ragtime and popular music. Con- something more than execution, that attached to other bones at the neck, Mr. Bogert was president of the Fraternal ^ °™gs. Lessons in Vaudeville, blossomed an interpretational touch that the light of fuller knowledge, the spheres Association of Musicians, 1910-12; treasurer. buccal, and nasal cavities, the tongue, the :ure Piano Play'... made Rubinstein the artist player he was. shoulders and back, and as it is free National Society for the Promotion of Grand It wSu’ also^^a'valuabte woTk Jor^a^young even the old masters never knew. We will continue to sing to the glory of the jaw, the cheeks, the larynx, the pharynx, ear—or send 10 ce _ipler._ copy.. Something more than rapid fingering and still have the “striking” tone which has and unattached below, the greatest mo¬ Opera in English, 1911-13; chairman of Pro¬ With a Year’s Subscription One who created them. Music reaches gram Committee of N. Y. State Music etc.—the throat generally, front and hack. Picture Show book containing every style muscular pyrotechnics produced the taken on a new bell-like quality. To this tion during respiration should take from the foundations of time to the apex Teachers’ Association, 1912; president, 1913; “Relaxation, not flaccidity, will look storm of enthusiasm with which Paderew¬ place about its lower portion, where National Association of Teachers of Singing, THEO. PRESSER CO., Philadelphia, Pa. has been added the “sweeping” tone of Eternity. Can we then confine it to ,, —- — The after these parts, and the singer need only ski was first received in this country. It either staccato or legato, or the singing there is the greatest freedom. contact of wood and wire? set them free to do their work.” THE ETUDE 601 600 THE ETUDE f a'r mechanism; and the cavities of the XX. Voice development consists of the XXVIII. The art of singing is com¬ Practical Breathing Exercises Pjf t° the ingress ^ pharynx, mouth and nose form the development of the vocal muscles. posed of two elements, viz.: the art of THE STUDY-SERVICE SHEET for All Vocal Students {ItSX ~ i. L™, XXI. The principles of muscular de¬ voice production and the art of inter¬ The STUDY-SERVICE is a new and valuable Theo. Presser Co. velopment require alternate contraction in this condition. Be careful to hold t e . ,h weight and tension of the pretation. id for the piano teacher. and relaxation without strain. Short Its AIM is to promote the teacher’s success. By Walter L. Bogert breath not at the throat but at the wa.s , ^leng^, XXIX. The art of voice production is It deals with specific musical compositions offer- Publications tones give the alternate contraction and _ by means of the muscles of mspira • Volume of voice depends upon the based upon the facts of anatomy, relaxation required for development of Bear in mind the resemblance of tft _ ’ of vibration of the vocal cords, physiology and physics. These facts HOW TO STUDY SUGGESTIONS ^ the vocal muscles. Removal of inter¬ The following exercises are earnestly human breath mechanism to the bellows. d bv breath pressure, and Issued July, 1915 apply to every voice mechanism with recommended to all singers as an excel- The small end of the bellows may be w entrance ference eliminates strain; hence, short, equal force and in precisely the same ^The'sTUDY'sUGGESTIONs'are^ authoritative: Any of our works sent on inspection to teachers, soft tones without interference form the way, and are therefore impersonal. lent method of developing and strength- thought of as at the throat. The Ihrge upon r of vojce depends upon the upon request at our usual large professional ideal exercise for voice development. XXX. The art of interpretation is TherSTUDY°lHEETCwilt be issued periodically, ening the lungs, chest and respiratory end would then be in the region of the • w VOcal cords £ 5 a whole muscles, thus lessening the necessity for diaphragm. Now, we never control a ri ra -aml up„„ resonance. XXII. The laws which regulate voice based upon the personal experience, giving conscious thought to the breath bellows at the little end, but always at a ^ \__u:~u u.. r. production are precisely the same in knowledge, musical taste and feeling of XII. Vocal resonance, which is by far PIANO SOLOS CLAYTON F. SUMMY CO. while singing. the big end. This exercise should he every singer and speaker. the singer, and is therefore individual. The Cupid Grand Publishers t important factor in voice pro¬ Title Composer Gi Their regular daily use will be found, done several times a day. XXIII. Every mechanism which pro¬ XXXI. This being true, it is evident The first small grand piano ever made was the >4 E. VAN BUREN ST., CHICAGO, ILL. duction, is due lo the sympathetic vibra- 6 The Little Hungarian, most beneficial to the health. No claim Exercise 7—Rhythmic Breathing — A. Sartorio 2 duces the voice is exactly similar. It is that the art of voice production may be product of Sohmer. That was over twenty- i of the a ’ sonance cavities. is made as to their noveity. Most of The habit of full, deep, regular breathing "“""I, R ) _The sound pro- 7 Rose Gavotte..A. Sartorio 2 composed of the same elements—vocal standardized, as the same set of facts nine years ago. In this over a quarer of a 9 Thelma Waltz.R. L. Becker 2 century we have been constantly striving to them have been prescribed by competent in the open air should be formed as soon { ■ ' . * cords, muscles, and cartilages of the may be used to measure the product of 1 Happy Youth. R. L. Becker 2 perfect this type of instrument. The result is larynx and resonance cavities. every mechanism. Your Music Is Torn! physical instructors for years. The first as possible. The sooner one abandons the duced >y icy>» • 1 he heard hm a piano without an equal among diminutive five should be practiced when the body weak, shallow, spasmodic style common alone is so an ■ Onlv the rein- XXIV. All vocal cords are of the XXXII. It also follows that the art of It will Take One Minute to grands in which tone is in no manner sacrificed is loosely clothed either on rising in the to most people, the better. When walk- a very’ s lor 1 • same material—yellow elastic tissue. interpretation cannot be standardized, as to architectural requirements. Length 5ft. 4//, Repair it by Using 13028 Serenade Espagnole, morning or just before retiring at night, ing, let a certain number of steps measure forcement o i pr , R. U. Beck* XXV. In correct voice production, the each singer’s interpretation is based upon width 4ft. 5"—price $675. Terms arranged. MuItum-in-Parvo Binding Tape The beginner will doubtless experience the length of inhalation and let the same atice spaces o p larynx. sc 13030 In the Sunshine, action of the muscles and cartilages of a different set of facts. Send for illustrated catalog and full information. 5-yard roll of white linen or 10-yard R. L. Becke the larynx is precisely the same in every roll of paper, 25 cents each, postpaid. some muscular soreness at first. This, number measure the length of exhalation, make it avail ah t in speec B' 13032 Fountain Spray, XXXIII. As there is but one set of like the stiffness that comes after the For example: Begin by inhaling during XIII. Resonance i> mo 1 P,,r R. L. Becke individual. facts underlying the art of voice produc¬ Transparent Adhesive MendingTissue first tennis of the season, is not to be two steps and exhaling during two steps, than breath pressure in rc a ion o io- 13033 At Versailles.R, L. Becke 13090 Twilight on the River, XXVI. Those conditions which give tion, there can be but one standard feared; it will soon wear off. Do not (A rhythm of two.) When this has ume of tone and more impor an an t ie L. Renk 3 full use of the resonance space are method, and this must conform in every attempt too much at the start. Begin become easy, try four, then six, and then segmentation of the vocal cords in refer- 13126 The Witching Time O'Night, identical in every speaker and singer. particular to these fundamental facts. Theo. Presser Co., Philadelphia, Pa. M. Crosby 3 gently, increasing gradually the number eight. Be careful not to take all breath ence to quality. 13135 Commencement March, Op. XXVII. Differences in the size and XXXIV. Method in voice development 315 Fifth Avenue of times you do each exercise. Persevere, in or to let all out before the last step XIV. Correct voice production, or the 401.C. Koelling 3 shape of the elements of the voice Multum-in-Parvo Binder Co. 13138 In Merry Company, is not only possible, but absolutely essen¬ 624 Arch Street Philadelphia, Pa. and you will find your appetite improved, of the group or rhythm. Inhale and exhale action of the mechanism which produces E. F. Ohristiani 3 mechanism account for individual char¬ tial, while method in interpretation is an New York, N. Y. that you sleep better, and that singing is always at same speed. The general the perfect vocal tone, consists of the 13141 Twilight Strains, acteristics of voices. E. F. Christian! 3 impossibility. becoming easier. tendency is to take in all the breath on free vibration of the vocal cords, the 13058 Village Girls.,T. T. Wolcott 3% Exercise 1—For abdominal muscles the first step, hold it by closing the free motion of the cartilages and muscles 13097 Laurel. . .A. D. Scammell 4 “ETUDE” MUSIC CLUB BUTTONS 13110 Scherzo Valse.J. T. Wolcott 4 and digestive organs.—This may be taken throat, and then let it all out at once, of the larynx, and full use of the res- 13095 Valse Rubato.A. L. Brown 5 Nadine before getting out of bed in the morning. Do not attempt to regulate outflow of onance space. This action produces the 12919 Cupid’s Dart, Vibrato:—Its Use and Abuse in Vocal Music Chopin, Schumann or Liszt. A pin on the L. Dannenberg 6. Throw off bed coverings down to the breath at throat. Keep throat relaxed, natural voice, or the voice which Nature 13078 The Brooklet, Op. 55, No. Face Powder feet and remove pillows from under head Keep mouth closed. Breathe through the intended a particular mechanism to pro- 8.E. Schutt 6 By George Noyes Rockwell (In Green Boxes Only) and place them over feet, so that the Don’t slouch. ( NOTfc by Editor.)—The experiments PIECES FOR LEFT HAND ALONE tire body is flat on mattress. Fold arms The word vibrate is derived from the to the refined and cultured ear positively and rise to a sitting position, inhaling as carried on for over eighteen years by 13117 The Fairies Nuptial March, Keeps the Complexion G. L. Spaulding 3 A same root as the English wabble: to distressing. Beautiful you rise. Sink back to lying position, Thp FiinHnmpntal PrinHnles of Prof’ Ha,lock. of Columbia University 13152 Evening Song, Op. 31, No. wander, to move in a serpentine direction. D. A. CLIPPINGER exhaling in so doing. Repeat. This ex- 1 ne * Unaamentai principles OI assisted by Dr s Muckey, demon- 1 A A 1 How often do we hear a quartet of AUTHOR OF The strings of an instrument are said to really good voices ruin a fine piece of ercise can be done on a rug on the floor. Voice Production strated that only in the manner here ii Systematic Voice Training PIANO DUETS vibrate when struck or touched; but note harmony by wabbling. Not long ago we if the feet are held down by some weight. - dicated can the acoustically perfect tone that the pitch remains the same. listened to such a combination in oratorio And Other Books on the Voice Exercise 2—For chest and lungs.— (Prepared by Dr. F. S. Muckey) (i. e., the tone having the fundamental 13077 In Martial Spirit, The Solution of the HEAD VOICE E. F. Ohristiani i Holder states that “Breath vocalized, work, and the effect of a sustained chord Stand firmly on both feet, head erect. and all the overtones in proper propor- 12874 Stray Leaves, Op. 125, that is, vibrated or undulated, may dif¬ 414-415 KIMBALL HALL, CHICAGO, ILL. E. Kronke 2 can best be described by the following shodders back arms hanging loosely at Submitted for discussion at Convention tions) be produced. Where the freedom 18070 Dance of the Winds, Op. ferently affect the lips, and impress a diagram—to illustrate, we will call it the National Toilet Co., Dept. T. E-, Paris, Tenn. sides. Without bending at elbows, of N. Y. State Music Teachers’ Asso¬ if action referred to is interfered with 17. ...A. J. Peabody, Jr. swift, tremulous motion.” Pope has it— chord of E major. arms straight out from sides, up, and KIESLING’S TEACHING PIECES ciation, June 16, 1915, by National some of these essential tonal elements “To quiver, as, a whisper vibrates on the The dotted or straight lines indicating over head. Then bring them down to PIANO STUDIES For Piiino, are Bold by most music dealers in Gn eater New York, Association of Teachers of are either weak or absent. Therefore I ear.” Dr. Hugo Riemann calls it “A true or normal pitch. sides again. Inhale fully and deeply as teachers’. Why not become acquainted with 1 Singing and Walter L. believe that this perfect tone should be mannerism in singing that soon becomes arms go up. Exhale as they come down. marches, Ynd grades'.’ Mmo “kas° caprices! Bogert, of Committee recognized as the Standard Tone in wearisome,” referring to it as a tremolo, Repeat. Voice production. gPS’il^OThS'ahd^'raMdT^n^^ on Standards of the same as used in instrumental music. Exercise 3—For chest and lungs.— N.Y. S. M. T. A. XV. Any muscular contraction which Vibrato (pronounced vee-brah'-to) KIESLING, Composer, 1035 Gates Are., Brooklyn, N. Y. Stand as in Exercise 2. Without bending prevents the free vibration of the vocal really means, vibrating with strong, in¬ at elbows, extend arms forward so that cords, the free motion of the cartilages ~.mE_ - — — . From the Standpoint of the Listener tense tone. The true vibrato as applied hands meet on a level with the face. and muscles of the larynx, and full use to vocalizing never wabbles: but the hu¬ Then, without lowering or raising hands, . Sound sensation produced of the resonance space, is termed an Hugh A. ClarkerMus. Doc. man voice under intensity of feeling To aggravate the above the accompany¬ i back as far as they will go, through the organ of hearing by means interference. naturally becomes vibrant. LESSONS BY MAIL keeping head up and chest thrown for- of air-waves, VOCAL ing instruments remained of course true XVI. The principal for ? of interfer- It is to be deplored that so many vo¬ In Harmony, Counterpoint ward. Bring arms forward again. In- II. Pitch is that characteristic of the to the pitch—to the credit of the tenor ence are: Two Little Brown Eyes, calists seem to think that the more they and Composition hale fully and deeply as arms go back, sensation of sound which depends upon _ L. W. Keith ; be it said he was at pitch about half the 1. The contraction of the muscular The Weary Hours, A flat, fluctuate (vibrate) above and below the Exhale as they come forward. Repeat. the rate at which the air-waves strike the four counts. 4618 CHESTER AVE., PHILADELPHIA, PA. fibres of the false cords, which W. H. Neidlinger ! pitch, the more impressive becomes their Exercise 4.—For chest and lungs.— ear drum. The Weary Hours, F flat. In this day and age it is really refresh¬ prevents the free vibration of rendition. Of recent years this misuse Stand as in Exercise 2. Keeping arms III. Volume is that characteristic of the 13099 Heart’s Desire,' ing to hear vocalists who sing with true the vocal cords. and abuse has increased to an aggravat¬ always at same distance apart (i. e., the sensation of sound which depends upon C. S. Briggs 3 intonation and a steady emission of 2. The contraction of the muscles of 13069 At the Sundown, ing if not alarming extent. width of the body), raise them forward, the extent of motion of the ear drum, Thurlow Lieurance 3 sound. Command of breathing and chord the soft palate, which prevents In solo singing this “mannerism” is NEW VOCAL upward, overhead as far as they will go. IV. Quality is that characteristic of the 13118 Lord, Forever By Thy Side, tension has much to do with this and the use of at least one-half the R. M. Stultz 3 “wearisome” enough, while in the rendi¬ Then let them fall forward, downward sensation of sound which depends upon 13120 The Tulip...T. Lieurance 3 therefore vocal teachers are largely re¬ Piano Students tion of duets, trios, quartets, etc., it is and back as far as they will go. Inhale the manner of motion of the ear drum, resonance space. 13122 The Song the Angels Sing, sponsible for existing conditions. ?rigin.aI appliance for 3. The contraction of the muscles of H. Wildermere 3 .ercising and strengthening the fingers. This MUSIC fully and deeply as arms go up. Exhale 13150 Ever Near.. .T. Lieurance 3 something absolutely new and far superior to as they fall. Repeat. From the Standpoint op the Producer the chin and of the back of 13109' The Roses of Love, lything that has ever been offered. With a few the tongue, which prevents the eeks practice with this device the fourth finger Exercise 5—For chest, shoulders and V. The voice is sound or air-waves in be used with as much dexterity and certainty correct action of the pitch i any of the others. A card will bring full nar- “ON SALE” arms.—Lie on floor, face down. Place Vocal tone is always complex, being corn- culars. Teacher agents wanted. hands on floor about opposite shoulders, posed of several simple tones (furula- mechanism. THE VOCAL DEPARTMENT OF “THE ETUDE” LIKE Then raise body from the floor so that mental and XVIT. Every PART SONG, MIXED VOICES THE CECIL-McMANIMONNOVELTY COMPANY DURING THE SUMMER -tones), varying in X i AVH' EvCry f(irnl "f interference ALL OF THE OTHER DEPARTMENTS ASPIRES TO BE P. O. Box 547 : ; San Jose, Calif. when arms are straight it will be sup- and in intensity, ymg in pitch leaves its impress on the quality of the Have your name entered for the receiving of a tone. The ear of the teacher must be A COMPLETE, COMPACT MUSICAL MAGAZINE IN IT¬ ported on hands and toes. Sink slowly VI. Voice production sound c few small packages of new music ON SALE during trained to hear in the tone quality the SELF. IT HAS A NEW EDITOR EVERY MONTH AND IN to floor. Repeat. A good preparation for wave production, PART SONG, WOMEN’S VOICES JUST ISSUED this rather difficult exercise is to practice VII. Sound, air-wave, v • , interference with the mechanism. This 10519 An Indian Cradle Song THIS WAY THE READER IS SURE OF A SPLENDID sponsibility the small amount of postage; returns it first standing, with hands supporting duction necessitates the of a merh 'e t*1G ^rs' steP 'n the removal of inter- (Four Parts) VARIETY OF OPINIONS. THE VOCALIST MUST HAVE of unused music to be made once each year; a postal „ K- S. Clark 3 .li “The Ange^ Lullaby” the swaying body between the sides of a anism which has three essential elements: XVTTT Tl , , 10088 My Heart at Thy Sweet A WIDE FUND OF INFORMATION, MUST BE LIBERAL narrow doorway. After awhile, a strong, 1. A vibrator to originate the air 'A'V. k’,e ability to remove interfer- Voice (Three Parts) C. Saint-Saens 4 .1! IN HIS OUTLOOK AND MUST BE FORTUNATE IN HAV¬ or 10 nc low arm-chair may be used, allowing the waves. " ence ls based upon a knowledge of the S‘alf musi°fsmUSIC' P"Ce 30 CtS’ By maiI or at . We body to sink into it, face down, with ING HIS POWERS OF JUDGMENT SO DEVELOPED 2. A pitch mechanism to determine ”atur,e of tlle v°cal muscles and of the OCTAVO CHORUSES, MIXED VOICES B. M. McWilliams, Publisher, Irwin, Pa., U. S. A. hands grasping arms of chair. Finally the rate at which the air-waves lnter‘emiR muscles, viz., the vocal muscles 10684 I Heard a Sound of Voices, THAT HE MAY TAKE THE BEST FROM ALL THAT HE the floor may be used. are originated. are '"voluntary and the interfering „ H- R- Shelley 4 .1! READS AND LEARNS AND THUS CARVE OUT A ROAD 10737 Jesus is Mine Exercise 6—To increase lung capacity 3. A resonance mechanism to rein- ™uscles. are voluntary. Correct action of FOR HIMSELF. “THE ETUDE” AFFORDS HIM OP¬ THEO. PRESSER CO. and to strengthen inspiratory muscles, force the air-waves started hv ' j vo,ce mech.mism must be induced Encore Songs thus lessening the tendency to use too the vibrator. y and cannot‘ be' forced.‘ On the other hand. PORTUNITIES FOR DOING THIS NOT COMPARABLE 1712 Chestnut Street much breath on first notes of a phrase.— WITH ANY OTHER MEANS. Send for complete list for High, THEO. PRESSER CO., Philadelphia, Pa. Medium or Low Voice. PHILADELPHIA, PA. Stand as in Exercise 2. With parted lips cords and relaxed throat, so as to offer no im vibrator^ the* £££ T?" * lp • - . A- principal business o( the THEO. PRESSER CO., Philadelphia, P,. Please mention THE ETUDE when addressing and muscles of the larynx’CmZpifch our advertisers. voice teacher is to develop the voice. Please mention THE ETUDE when addressing our advertisers. 8 THE ETUDE 603 THE ETUDE 602 earnestness and real devotion into their The Organ Prelude, Offertory that we should feel these influences as we music. That they are seldom “profes¬ entered the church building—that its por¬ sional,” is no reason they should not com¬ and Postlude tals should shut out the material thoughts, mand as much joy in their art as the both worries and pleasures, and enclose A Million Austin Organs most enslaved virtuoso, and that joy they By Albert Cotsworth us with a quiet and composure that we can forever retain. could find on no other day and in no But if choristers appear to loaf and One Sunday evening, just as I was other place. That trivial impulses and Corns sulk, a certain amount of excuse can be about to begin to play the prelude, the selfish wished’must be fought off, and a A NOTABLE new found for them. They are, as it were, clergyman turned suddenly to me and sincere desire to meet the God we came Went Last Month contract is that orphans among musicians. An enormous said in a tone that all present could hear: to worship be uppermost. I told them amount of highly specialized aid is now¬ “I see you are going to play the Pil¬ that we were all human creatures, sensi¬ for St. Paul’s Church, Last month, a million corns adays thrust upon all types and grades grims’ Chorus from Tannhduser, as I tive to countless demands upon our time Chicago, 59 stops, of music students, but scant attention is were ended in this easy, simple The Amateur Chorister: His Faults and Virtues asked you to do. But, before you begin, and strength and brain and emotions. four manuals. given to toilers in the important field of won’t you please tell us about it, where That we couldn’t always control our way. And every month a million choral music. A careful search through more go like them. Medinah Temple it belongs in the opera, what is its use, spirits and cast away the strains of musical literature discloses the fact that and any other details that will add to our anxiety, or care, or worry, or natural To each corn was applied a organ, Chicago, 92 By Wilson A. Burrows these are largely left to grope their way understanding ?” wishes, or personal cravings, but that the little Blue-jay plaster. In every stops and Mormon about as best they may. There are hosts Rather startled at the innovation, but fact of our coming into the temple was of books devoted to the orchestra and the fortunate in having a pretty fair acquaint¬ our frank confession that we needed its case the corn pain ended there. Tabernacle organ “There is the widest scope upon their eager minds. . opera; but those which discuss choral ance with that struggle of the church message, its charged atmosphere, and Then the wax in the plaster— Salt Lake, 124 stops, singing for the exercise of the highest from uo.c **—,te, --instead ox vy- ^ .^_ A siin;iar lack of curiosity usually music are few and brief. The vital part with the world of the opera, I man¬ that, in a blind kind of a way, we felt the B & B wax—gently freed the musical qualities,” says Arthur Mees, in as one reads language, and should learn -- -;sts itself. ,f in. an amazing indiffer- played by choristers in their own field is aged to meet the emergency arid to be that our presence there carried with it a now under con- his admirable book, Choirs and Choral to read music; and for some inscrutable manifest, itself « corn. In 48 hours nearly every o the doings of choirs and choruses usually taken for granted; whether they glad of a man in the pulpit who wished well-defined hope that we should find in Music; but our choristers, while gener- reason, they scorn to acquire the acu y, corn came out, without any pain /orchestral players“‘of with which they are not immediately con- are deemed to be above or beneath crit¬ to know for himself, as well as others, the church what, in our inmost souls, we ally intelligent, are nevertheless seldom so indispensable to icism doth not yet appear. Throughout what music could say to receptive hear- felt we needed. We might not be in any or soreness. A few stubborn his entire career the student of piano iia special need at certain times, and not be corns required another plaster. administer the affairs of a choral organ¬ He drinks little, and one can hardly rarely know as much as they think they difficulty they have in keeping on? eye ization in a suburban community knowj well-nigh swamped with guides, axiom<|_ conscious of other than a form in our understand how his body holds together.’’ Austin Organ Co. do, nor nearly as much as they might, the music and one on the c°"dactor' ih~e’incredible coldness such singers can and suggestions; the budding violinist attendance, but the man right next to us That’s the story of some could they but be induced to take their Now most choristers are not only s , v toward an institution for which is similarly nurtured and admonished ;e might be in all sorts of tumult. I told seventy million corns ended by I 165 Woodland Street, Hartford, Conn. musical activities more seriously: to de- that they can read: they th<£ might not unreasonably be sup- while the prospective solo singer is thc_ The Real Paganini them that all these mixed motives, and this invention. It will be the story vote a little study to sight-singing and m the consciousness of an except 1 toghave the liveliest solicitude. In object of a tremulous and prayerful solic-_ This description from the pen of a desires, and plans, and ambitions, and of your corns in 48 hours if you armony, and cease to be mere pass- of such cases one is led to wonder why itude. Words of inspiration and en-. musician like Ries is of the very greatest hopes, and fears, and sorrows, and per¬ treat them in this scientific way. their neighbors c ...... _ C.__intrudes, these impenetrable citizens deign to smg codragement, however, rarely reach the^ interest, as we have thousands of high- plexities, together with a hundred un¬ Your friends will testify to that. Our singers have a queer capacity for their own fitness no doubt ever CARL BARCKHOFF how they were ever beguiled chorister. s flown panegyrics, even poetical similes worthy impulses, find a place in the make¬ bewildering exhibitions of the capricious Every conductor is familiar with these fascinating mazes of choral and descriptions by men like Schumann, up of men and women when they go to If you don’t do this, in all BUILDER OF and sporadic. One sees them at re- symptoms. At a rehearsal of one of his There is grave reason to suspect thatc Liszt, etc., but very few of his contem¬ church. They are the composite which probability, those corns will stay hearsals with exemplary regularity for a choruses, Theodore Thomas had occa- music. much of this indifference arises from thed Those who have given much study to confronts the minister when he surveys for years. Church Organs year, or a decade, as it may happen, sion to reprimand a soprano for inatten- fact that choristers are, for the nonce.f poraries give us any actual facts about the subject have expressed varying de¬ the well-dressed figures and seemingly Then they disappear in some odd way tion. “He treats us as if we were mem- unfashionable; there is no chance, with the man and his art. Here, then, we find AND grees of pain and grief at the discovery impassive faces as he enters the pulpit, for a long period. At the most unlikely bers of his orchestra,” exclaimed a them, for personal display and exploita-;s the statement about his thin strings con¬ choristers; both urban arid and for the organist as he mounts the Self Playing Instruments moment they have been known to re- singer to her neighbor. Thomas heard a tion. Then, again, they are commercially,;- firmed, plus details about the application bench. All these are people who are appear, and become again faithful, serene the remark, and at the close of the re- su ur ian, generally have but a scant negligible; there is little hope of selling// of the fingers of his left hand, which I Over 3000 Barckhoff organs in use really desirous—some more, some less— and zealous choristers as of yore. hearsal he passed the lady -- was notion of esprit de corps. They are them either music, instruments or pub-;r do not remember to have seen in other which testify to their Superiority for something that will take them out One is constantly confronted with evi- departing, and turning her he said afflicted with a sort of snobbishness that licity. Even their conductors, though,; biographies. His care that nobody but and Durability in Construction, of their dissastisfied selves, and give Workmanship and Sweetness of Tone dences that they “order this'matter bet- very quietly, but with • intense sarcasm: assumes wondrously absurd shapes if realizing the precarious nature of the,, intimate friends should hear him play material under their control, find them-n them a stimulant that shall make them ter” in England Says Mees again- “Madam, you will have to sing a great given the shred of an opportunity. Those outside the concert room is easily under¬ selves unable to resist the temptation tc5 better for the Monday and its fellows “To-day England, in point of choral deal better than you do now before I who doubt this should carefully note the stood, and what Ries tells us about his be funny at their expense. “I have heard” that are before them. I repeat, that they 15 and 25 cents—at Druggists culture is excelled by no other country shall treat you, as I treat, the members demeanor of a body of singers when some eating much and falling asleep at meals more sarcasm and cynicism from our con-s do not give voice to this sentiment—that Samples Mailed Free It has become preeminently a nation of of my orchestra.” cordial and guileless soul ventures to shows how his overwrought system chorus singers. Bodies of amateurs can American choristers rarely manifest suggest something that will promote ductor,” said a vocal and docile bank,, they are mixed or indifferent in their fought in a most natural way for its very Bauer & Black, Chicago and New York be gathered together in almost any sec- much concern about their words, and sociability in the ranks. Thibaut, *■“ official, “than from any other man soever ,: attitude—that they came to church for existence, for without much rest or sleep Makers of Physicians* Supplies of the British Empire which can be usually proceed in happy disregard of the d^uint little book Purity » Music, says: He’s worse than a disappointed stock,, various reasons, or for no reasons at he could neither have digested his food all, but that down underneath them is HUTCHINGS trusted with singing, o.n the spur of the fact that if they were always certain of “The primary and essential requisite of a gambler.” In view of this odd neglect, nor borne the constant strain on his, moment, often from memory, the favorite the text their vocalization would be i choral society is that its members be the wonder is, that the supply of useful; felt that something in the chur.ch service oratorios of Handel, Haydn and Men- finitely improved, and that their com- judiciously chosen from genuine lovers singers should be as large as it is, and weakened nerves and constitution. In will be helpful. It is enough to appall ORGAN delssohn.” ' bined efforts would be definite and of arthence one might reasonably ex¬ this seeming antagonism probably ac-e the following letters we see Pagndnini a stout heart when one realizes this op¬ Mr. A. S. Vogt, -conductor of the euphonious, and not, as they now so pect to find such a group socially, as well counts, not only for the many self-taught again in a different light. First they portunity, as well as to make one wonder Church Organs COMPANY phenomenally successful Mendelssohn often are, “muddy, ill-seeming, thick, as musically, homogeneous. musicians to be found in choral ranks,0 show his enigmatic nature, later on the at his presumption that he can meet such Choir of Toronto, says (New Music bereft' of beauty.” Many English con- but also for the detached and indifferent child-like respect and tender sympathy a demand—the man on the bench as well Latest Approved Methods. Highest BOSTON NEW YORK Review, December, 1911): ductors insist on a thorough familiarity Choral Singing in America attitude of the many others. ; for the veteran musician, Dr. Franz as the one in the pulpit. Grade Only.Established 1827 “There is this difference, generally with’ if not an absolute memorizing, of The foregoing observations may seem Ries, Ferdinand’s father, a loveable trait A Mine of Delight 1 Main Office & Works speaking, as regards choral music in the text. The celebrated Dr. Henry to ignore the fact that America has done in the character of a man who was vari¬ The Mission of the Organist England and America, that in the former G°war(f makes his choristers not only really admirable things in choral music: There is a mine of inexhaustible de-. ously and maliciously described as a Squarely, I believe that the past proves, Hook & Hastings Co." country the very best amateur material s'n?’ but read aloud from time to time, that it has a Handel and Haydn Society light in choral singing, which is not) miser, a murderer—nay, even as in league 1that the present endorses, and the future likely to be revealed until there arises 1 with the archfiend of man. Frankfort is keen for the work, whilst in America their words’ that tbese may be the more that wiU be one hundred years old in a demands that the man whose music is ;t of the leading organs in too many localities, only indifferent deeply impressed upon them. When sud- few months (1915). and that some of the another John Sullivan Dwight, or some, proved- a great attraction to Paganini. „ the United States are to seek to touch the hearts of his fellows singers can be interested” denly co"fronted with German or Latin world's greatest choral monuments were commentator who shall be at once poet/ operated by the ‘Orgoblo’. The beginning of 1830 found him still in and bring them back to heaven again, and musician. We must await the coming- Over 8,000 equipments in English singers have even invaded the ?°'*1fhc undcrlanguaged” American sung in this country within a very few that town, ngii- it .wa«.._ahout that time, must obliterate all that part of himseif se. Write for booklet.” of some delicately sensitive and highly 7 and neglected patiehce of the hundreds United States, as an incident in a g™tes

604 THE ETUDE VIOLINS, VIOLAS, ’CELLOS TO SATISFY EVERY PLAYER prelude was improvisation—a something not so understand it, I believe it is_ what that should permeate, something form- is meant to be conveyed—that it 18 HUGU5T GEMUNDER S2 SONS ROOT’S 141 WEST 42nd STREET - NEW YORK less but steadying, centering and fore- release of all restraint and hesitation, | have just published a For Nervous Women shadowing; that no matter what the day, the voicing to the utmost of the ear "8 page catalogue No. or occasion, the prelude should contain felt desires which long for utterance, TECHNIC AND f of everything pertain- Horsford’s Acid Phosphate quiets something to quiet and soothe, but by no prostration before a Creator w ose to the violin family, the nerves, relieves nausea and head¬ means to stupify. The testimony of many bounty and blessing cannot be compre- ART OF SINGING J 40 illustrations of violins, ache, and induces refreshing sleep. ministers would be that tha prelude of hended, so vast and glorious and en- A Series icational Work* in Sins I etc., 20 styles of bows, 50 c Methods, for Use in Best of all tonics for debility and the morning sets the pace of the day for nobling is it. . , Instruction and in of cases, 14 grades of strings, loss of appetite. them, and that however imperfect the And I added, that I hadn’t in mind for jf chin rests and rosins, fitted great pianist-composer continued to ex¬ | bridges, bow grips and violin execution, the purpose and the spirit will the organist any long-faced or obtrusive By FREDERIC W. ROOT Ferdinand Ries and Paganini Cologne to Paris. He plays to me often in his room, and a similar sureness I ercise its spell over Paganini, as we may makers’ materials. get into the music itself, if that spirit is piety, any assumption of a grace that is I. Methodical Sight-Singing. Op. 21 8 valuable BOOK FREE Parti. The Beginning. ,55 see from Ries’s letter of April 26: “Paga¬ present, and the performer is in earnest, so rare that it is seldom seen—of a person By E. van der Straeten have never met with. Part 2. Through the Keys.so nini gave a concert here on Easter Sun¬ ^ 75c per That is my definition of the prelude— so completely devoted to what he is doing Part 3. ProgressiveMusicianship. .60 “It seems that wherever the long, year, 23d year. Sample sent free. II. Introductory Leaaona in day, and played more beautifully than Catalogue No. 3E Old Violins, Bows and Repairing, something to drive away the every day that the personal is absolutely left out. Ferdinand Ries (1784-1838), the shriveled fingers fall on to the finger¬ GUILMANT Voice Culture. Op. 22 - $1.00 ever. Yesterday he gave his farewell No. 2E “Gemunder Art” Violins. fret and to center the mind on what We are all “poor critters” as Mrs. Gum- famous pupil of Beethoven, who wrote board they are with absolute certainty in III. Thirty-two Short Song Studies concert, but did not play so well by far. we came to church for. midge says, mighty unreliable as to mo¬ For high compass. Op. 24. .50 some remarkably fine symphonies and the right place. The fingers bend en¬ ORGAN SCHOOL tive. But it is on ideals that the world For medium compass. Op. 25.... .50 choral works, gives an interesting ac¬ tirely, he takes many notes with the flat The house was not filled. I think that The Place of the Offertory really feeds, and the organist with one For lower compass. Op. 26. .50 IV. Scales and Various Exercises count of his personal intercourse with part of the finger, not with the tip, and disconcerted him. He will not go either WILLIAMS’ PATENT Dr. William C. Carl The Offertory, I told them, was intimate has an opportunity to work towards it for the Voice. Op. 27 - 60c Paganini and Carl Guhr, who studied yet it sounds. The A and E strings are to London or to Paris this year, but will Director in character. It is the one portion of the *s missing in many o V. Twelve Analytical Studies. Paganini’s playing, tried to imitate him, very thin. I came to him already five travel about in the watering places. One SOFT RUBBER CHIN REST service that is absolutely personal—the walks of life. Op. 20 $1.00 and published in 1829 a book On Paga¬ times when he was playing the violin, but cannot make him out.” On May 19 we surrender of one’s temporal gifts in The following list of preludes offer- VI. Sixty-eight Exercisea in the nini’s Art of Playing the Violin (Ueber so softly that I could hear nothing in hear from Diisseldorf: “I took Paganini position. Endorsed by great gratitude for spiritual gifts absorbed. tories and postludes has been selected in Synthetic Method. Op.28 75c >rs. Don’t take chances with (The General Principle of Vocalization.) Paganini’s kunst die Violine zu spielen). front of the door to his room. He eats with me to Bonn. You cannot imagine >r this wonderful rest to-day. The desire to give tribute, because the conformity with the ideas set forth in ttie VII. Guide for the Male Voice. Ries’s account is contained in some let¬ and sleeps much, frequently at his meals. father’s joy about him and his playing. not delighted. heart is full is as old, and just as new, as pjg**8gm^ na/vte?iff:Ttedpmg'5ne eye on admin Op. 23. - - $1.00 ters to his brother Joseph, who held a He drinks little, and one can hardly He was very amiable, too, played for Ask your dealer if he has it. If not write us. humanity itself. We speak, at times, and one on the conductor, izatior VIII. Studies in Florid Song, $1.00 responsible position with Messrs. Broad- understand how his body holds together.” instance at the rehearsal everything with $1.25 postpaid facetiously about the collection, and low most choristers are not only sure ttie in -SPECIAL wood & Sons, the well-known London a full tone, so that my father should be Dealers ©rife for our offer question one another’s gifts, whether they t they can read: they positively bask displa The publisher and the author Invite all pianoforte manufacturers. It is all the The Real Paganini able to hear him twice, a thing he never The R. S. Williams & Sons Co., Limited should be larger or smaller, but that does the consciousness of an exceptional they more valuable, as he was a man of cul¬ 145 YONGE STREET, TORONTO, CANADA This description from the pen of a did at Frankfort. To-day he is to give not alter the truth that the offerings ity. They are loath to adtait that posed ture and refinement, who, by the integ¬ a concert here also, and then goes via the basin, or in the basket, or the hat, musician like Ries is of the very greatest r neighbors are thus fortified: of such rity of his life and kindliness of heart, Elberfeld to Cassels, and again to Frank¬ the tamborine, are the outward and visible any or interest, as we have thousands of high- ir own fitness no doubt ever intrudes, these [ 2. ' was beloved and revered by all who knew fort. Next year only he will go to Paris Write for full particulars. sign of an inward and spiritual gratitude. flown panegyrics, even poetical similes :ry conductor , is familiar with these at all iry purpoe) him. With Vienna and Viennese artists and London. One cannot rely for half Therefore I told them that I felt that >r $3.40. po and descriptions by men like Schumann, New catalogue now ready. lptoms. At a rehearsal of one of his into Ries was in constant touch from the time an hour on his plans or what he says,” PffTONCNI'S the offertory in music might carry the Theodore Thomas had occa- music- that he studied under Beethoven, and Liszt, etc., but very few of his contem¬ On November 6 he was in Frankfort personal in its touch—the delicate, the h to rep:reprimand a soprano for inatten- The Theo> Presser Co., Philadelphia, P*. thence he received his first account of poraries give us any actual facts about flM euoraNT School reopens again, as we learn from Ries: “Paganini tender, the gentle, the appealing and even . “He‘He treats us as if we were mem- the si.. , Paganini. the man and his art. Here, then, we find the sentimental, something to cover the is giving another concert on Monday, and Lends a New Charm to of 1 orchestra,” exclaimed a grees _ On May 21, 1828, he writes to his the statement about his thin strings con¬ intimate relations of life, to recall asso¬ October 5th. ;er to 1her neighbor. Thomas heard that brother Joseph: “I have seen a letter firmed, plus details about the application says he will go to Paris and to England The Tone of Violins ciations that were blessed or formative, remark, and at the close of, the re- subu: from Mayseder in Vienna. He says all of the fingers of his left hand, which I after that. and other stringed instruments. and that such an attitude allowed the use 44 West 12th St., New York ■sal he passed the lady as ,she was notion violin players may as well hang up their do not remember to have seen in other “A little play has been given here by a Better than any rosin. Works on a different prin- of the cradle song, the evening song, the irting, and turning to. her he said afflict* ANTHEM fiddles on the wall now, that Paganini biographies. His care that nobody but stranger, Mr. Just: “Nicolo Zaganini, the No whistling, scratchy or harsh sounds. Preserves love songs, the ballads, old hymn tunes, the bow hair and strings. A pure oriental gum quietly, but with • intense sarcasm : assum has come—it must be beyond all con¬ great virtuoso.” I have never seen such fragments from larger works like quar¬ intimate friends should hear him play preparation. Used and < NEW ORGAN MUSIC idam, you will have to sing a great given ception. He has given seven concerts in an imitation. Paganini himself was in brated players ai ' ' tets, symphonies and (guardedly) operas outside the concert room is easily under¬ better than you do' now before I who t one of the boxes, and laughed heartly. “ON SALE” —all the things which, in their larger Vienna, and taken over 100,000 florins. stood, and what Ries tells us about his treat you, as I treat, the members demes COLLECTIONS What will friend Mori say to that?” One really would have sworn it was him¬ eating much and falling asleep at meals meaning, are the folk songs, the things ny orchestra.” cordis DURING THE SUMMER AT THE Nicholas Mori, a pupil of Viotti, was shows how his overwrought system self. His playing was, of course, paro¬ that people love to hear, and are endeared merican choristers rarely manifest sugge _ _ _ to by so many sorts of association, or then one of the foremost London violin¬ fought in a most natural way for its very died, but not offensively. It will be given Have your name entered for the receiv: h concern about their words, and sociab * r RICe ties, that there is no space to enumerate ists. He is mentioned also in a comic existence, for without much rest or sleep to-day for the third time before a full a few small packages of new music ON SALI illy proceed in happy disregard of the quaint ing^^^Su^tm^^aso^j^^ar^n^eto^ai them. ; song about Paganini published in Lon¬ house. It is an extraordinary thing to that if they were always certain of “The he could neither have digested his food And I confess that the postlude was don about 1831: see. I believe if they came together in text their vocalization would be in- choral POSSIBLE nor borne the constant strain on his a problem. Of course it is the outgrowth "Great King, King of Catgut! Agitato! front of the footlights one would be ely improved, and that their com- judici weakened nerves and constitution. In of the retiring processional of the cele¬ presto! Who but he, sirs, unable to tell the real one from his efforts would be definite and of ar MODEL ANTHEMS the following letters we see Pagndnini brants in the ritual of the early church, Mori, Spagnoletti, now must second fiddle counterfeit.” lonious, and not, as they now so pect t Containing 26 Selections again in a different light. First they and was then listened to in silence until play, sirs— THEO. PRESSER CO., •e, “muddy, ill-seeming, thick, as nr show his enigmatic nature, later on the Early in 1831 Paganini carried out his priests and acolytes had disappeared. In Glory be to Tweedle Dum! success to 1712 CHESTNUT ST., PHILADELPHIA, PA. :ft of beauty.” Many English child-like respect and tender sympathy intentions, and traveling via Strasburg, the Roman Catholic and Episcopal ANTHEM REPERTOIRE Tweedle Dee! sirs—” ROOT VIOLINS for the veteran musician, Dr. Franz he gave two concerts with his wonted churches there is not the “Visiting” spirit thorough familiarity Containing 23 Selections Towards the end of 1829 Paganini Ries, Ferdinand’s father, a loveable trait success. He visited Paris and London. rhich pervades other denominations. absolute memorizing, of Tin came to Frankfurt, where Guhr, the con¬ wiiicu pervaues oiner denominations. , , —, . , . , _ T“’ . Ries and Paganini however, were never PIPE ORGANS gJSte The socialcial after-meeting is a heritage tef The celebrated Dr. Henry to igi ANTHEM WORSHIP ductor of the opera, heard him, and from in the character of a man who was vari¬ from the daw when neenle l,\,ed far ?ard raakf ,h« choristers not only really ously and maliciously described as a to meet again. Our Instruments comprise all features from the days when people lived far Containing 20 Selections hearing wrote down some of his solos. apart, and the Sunday meetings were ;, but read aloud from time to time, that Being a good violinist, he set himself to miser, a murderer—nay, even as in league which are of real value. Many years of prac¬ hr words, that these may be the more that tical experience. Write for specifications. events to look forward to as giving the practice these hard, and soon imagined with the archfiend of man. Frankfort cply impressed upon them. When sud- few r ANTHEM DEVOTION EMMONS HOWARD ORGAN CO. personal intercourse craved. But there he could emulate Paganini. The results proved a great attraction to Paganini. How to Care for a Violin WESTFIELD, MASS. is another and better view. If the serv¬ My confronted with German or Latin wcrlc Containing 17 Selections we learn from Ries’s letter of January The beginning of 1830 found him still in ice has ministered to .the spiritual nature, \ds, the “underlanguaggd” American sung 2, 1830: “Guhr announced and played a that town, and it was about that time By Ben Venuto and the people have poured out praise to Be Enthusiastic in Chorus ANTHEMS OF PRAYER Concert a la Paganini for his Christmas that Schumann heard him play. On The Hall Organ Co. God in hymn and prayer, and been filled AND PRAISE concert at the theatre here, including the January 16 Ferd. Ries writes to his with nbw inspiration from the spoken Work Recitativo Preghiera, from Moses, and “A good workman is known by his New Haven, Conn. For Quartet or Chorus Choirs, Specially brother: word, is it not the most natural thing in To a:all chorus members, I would say variations on the G string, written down “I am on very intimate terms with him, tools,” and this is no less true in the the world to wish to manifest the ac- this: bi from memory and played—you cannot case of a violinist. Real artists are most Modern enthusiast above all things. but cannot make him out. I don’t be¬ PIPE ORGANS quired enthusiasm and to glow with If you imagine any such charlatanry, it was bad fastidious in the care and proper adjust¬ h be th's. do yourself, the Price, 25 cts. each postpaid; $Li lieve he can himself.” On February 8 kindliness towards one’s comrades? And chorus and the conductor a favor bv get beyond description. In the variations he per dozen not postpaid. A sample he writes again, informing his brother ment of every detail of their instrument. does not all the happy chatter, that ig- ting out before he puts you out which hi ARTHUR HARTMANN copy of all five for 75 cts. missed every point. He stood quite about the state of his comparatively new To see the ends of strings wound around nores attention to the organist is will surely do, if he knows his “business ” alone on the stage, played by heart, and the scroll, instead of neatly cut off, the VIOLINIST and INSTRUCTOR saying, really spring from the outburst Be religiously prompt at rehearsals Th Broadwood grand pianoforte, which rat¬ (—ESTEY CHURCH ORGANS- ...length and was very pale, either from fear, anger or hair of the bow dirty and worn narrow, From the rudiments to public appearances Estey standard maintained. of feeling so engendered? And so the success of the whole depends upon your tled badly, and he was anxious to with¬ difficulty suited : genera) and ppeciaP'“ shame. Paganini himself was present at the bridge wrongly placed or leaning for¬ ADDRESS - THE LINCOLN Maximum facilities. brilliant, rolling tones of the organ in presence. Give the closest attentiem Tf including: standa.w w, hold the fact from public knowledge. “I . Highest grade of product. able for quartet or chorus the concert. He is still here, and during ward, wire used in place of tail-piece gut, 130 CLAREMONT AVE., NEW YORK CITY Pioneers and leaders always. march or other stimulating mood can the conductor is makino-' „ , . 11 refused yesterday,” he writes, "to play his present stay I have become on a very ot any other careless or ignorant make¬ Examine stop action and wonderful reedless be used .to still more enliven and stir kindly remember that he " eXplanatlon intimate footing with him. We visit each with Paganini for the benefit of the poor. Oboef Saxophone, Clarinet, etc. shift in the fitting up of the instrument, the emotions and make the mingling in well as your neighbor. Don’t tr y*°U other, and often dine together. At the My rheumatism had to serve as the rea¬ stamps the owner immediately as a mere ESTEY ORGAN CO., Brattleboro, Vermont, U. S. A brotherly love more enthusiastic and velop yourself as a converse,'nn-r , .de“ the composers represented are Schneckc beginning of April he will be going to son. The secret reason, however, is that A PRIMER OF FACTS Barnby, Buck. Danks. Geibel. MacDougaH bungler, or at best as a second-class man. helpful than ever. I told them what ing the period of work O * • ^1'/" WodelL London. I shall direct him to you among I should have injured myself as well as ABOUT MUSIC [Music typography in all its Branches Eugene Thayer used to say about it, how just now and then, look at th CCasion others, and you must give him some ad¬ Broadwood, everybody being anxious to Even with the best care in the world, By M. G. EVANS Price, 50 Cent. he felt that the full strength of the organ the baton and remember th t O'™ Wit'1 the necessary wear and tear of use will HYMN AND TUNE BOOK PLATES vice in economical matters. I told him bear the instrument played in public. . . . This is by far the best primer ever issued. Itis should be reserved until the end of the practicing calisthentics W • 31 . ls not modern, thoroughly practical and comprehen¬ of new octavo music. « that he could rely upon you, as he is of Paganini told me yesterday he would occasion a visit to the repairers at least sive in all respects. The work is in the form of day. That its notes of gold should be dicate in which part of th *S trymg to in" "Octavo Music on Ssk a very suspicious nature. He is in every stay here till I returned (Ries was going as often as once a year. If there is noth¬ . the reformation being conveyed ^Dudley T. Limerick: Also a pipe org talogue, containing ma through a se Df questions a poured out then in an ascription which are supposed to be sine-" 6 mea^',re you Imported noveltL~. respect the most interesting and also the to' conduct his opera, The Robberbridc, ing else the matter, even constant prac¬ —GOSPEL SONG PLATES- summed up the day’s privilege. That it least, as hard as the Work> at Mail orders solicited and filled to all parts the country. most singular phenomenon—as artist and at Cologne), I cannot understand it.” tice of several hours a day will have should be full and vital with the sur- up straight and sing to^h U£t0r a?d sit [No. i o S. fitchs Street, Philadelphia as man. He will go via Bonn and The fascination of Frankfurt and the worn grooves under the strings, on the charged emotions of praise and exaltation ability.—Mr. H. R Harv 6 . est of y°ur THEODORE PRESSER CO. and thanksgiving. And while we may ern Educational News. EY' the Sotlthm addressing Please mention THE ETUDE when addressing PHILADELPHIA, PENNA. our advertisers. 607 606 THE ETUDE THE ETUDE violinist who plays an unaccompanied finger-board, and the latter must be re¬ The Unaccompanied Violin solo should practice it until he has Getting the Most Out of an Hour dressed by a skillful workman. One Solo brought it to a high state of perfection. The Etude could name several men in New York A correspondent writes to The Etude It is not necessary to choose the mos! Some people get two or three times to conquer them. The student with a and other large cities, who are nominally from San Francisco asking for advice in difficult movements from the Bach sonatas PREPARATORY as much real value out of a dollar real talent for practicing, and getting the VIOLIN STRINGS “violin makers,” but whose income is ETUDE Violin Strin|s offer^pUyer^^chance regard to the unaccompanied violin solo. to make them effective. One of the when they spend it as others, and in the most out of an hour, carefully tabulates really derived almost entirely from the simpler movements if played with perfect same way, some students of the violin the passages which give him the most constant repair work which they do, He says: “I should like, if I am able, to SCHOOL OF The ETUDE Strii master some “showy” and difficult appear¬ technic and the true Bach spirit will not will get far more advancement out of trouble, allowing the easier parts to go largely for professional players. fail to possess rare charm. These works an hour’s practice than others. While altogether. He then sets out to master I have spoken above of necessary re¬ ing solo, preferably one that could be should he played from memory to make there is no royal road to violin playing, these difficult passages, reducing the pairs which occur from time to time as played alone, without a piano accompani- TECHNIC Three length E Strings. »5c. and much work is necessary to establish speed to a tempo at which he can play Two length A’s or D’s, each. }5c. a mere matter of routine, but there is a -ment. This style of solo is uncommon, the best effect. Whether he expects to G Strings, each. «c. a really first-class technic, yet there are them correctly, and gradually working 30 Strings, E, A, or D.$3.00 large class of accidents to violins which and it would make a greater impression play them in public or not, every violinist FOR the pianoforte upon an audience, I think, than the ordi¬ should make himself the master of these many short cuts to proficiency, if the up the speed to that required in the THEO. PRESSER CO., Philadelphia, Pa. are the result of mere carelessness or lack of knowledge, and might better be nary violin soloist who plays with his wonderful sonatas. The mastering of By ISIDOR PHILIPP PRICE, $1.00 student only knows how to avail himself composition. A passage may have to be avoided altogether. One might enumer¬ accompanist. What is your advice upon them is a liberal violinistic education for of them. Thousands of students try to repeated hundreds of times before it is ate them somewhat as follows: the subject of playing without a piano the serious violin student. No less a master the violin without practicing any mastered, but the work is necessary if 1. Carrying a violin in a case with accompaniment ?” composer than Schumann wrote piano technical exercises at all, and this, need¬ the composition is to be learned cor¬ Exercises in the Five-Finger Position rectly. It is said that a friend of Field, Beginners’ Pipe loose catches, which come open and spill While it is possible to play double stops accompaniments to the Bach sonatas, anj Exercises with Holding Notes less to say, is like jogging along in an Ingtam's the violin out on the sidewalk or in the and broken chords of three and four although the accompaniments are a fine Rhythmical Exercises in All Keys old wagon without springs, drawn by a the famous pianist, once surprised him notes on the violin, the violin is primarily piece of composition, they are not much Similar and Contrary Motion lazy, spavined horse, compared with rid¬ at his practice with two pasteboard boxes IvColcT . Organ Book 2. Allowing the bridge to become tipped a melody instrument, and very little out¬ used, for violinists seem to feel that if Exercises Based upon the Triads ing in a limited express train, or a high- placed at opposite ends of the piano. forward (especially when tightening up side of studies has been written for it the great master Bach had wanted ac¬ Preparatory Scale Work powered auto. One was full of beans and the other iouverawe By GEORGE E. WHITING Preparat.- -y Arpeggio Work new strings), until some day it unex¬ without the accompaniment of the piano companiments he would have written The three most necessary purely tech¬ almost empty. On asking for an explana¬ pectedly falls down and breaks. This is Scales and Arpeggios in All Keys tion, Field said to his friend: “I have PRICE - $1.00 or other instruments. Unaccompanied them himself. nical exercises in violin study are scales, a very common, but very inexcusable ac¬ Exercises in Chord Positions set out to master this difficult cadenza violin playing on the concert platform, arpeggi and the various bowings, and cident. To be sure, a new bridge costs this morning. Every time I play it, I as a steady musical diet, would meet with M. PHILIPP is the leading professor of these- bowing can be combined with the but a trifle, but it is quite a task to fit The Paganini Caprices ianoforte playing in the Paris Conserva¬ take a bean from one box and put it in very doubtful success, but an occasional toire, and these works embody the result of published. It may be taken up after one year's in- it perfectly (no two violins being exactly Some of the Paganini caprices are scales and arpeggi, thus killing two birds the other. There was 500 beans in the violin solo, without accompaniment, seems with one stone. Every student of Sev- by easy stages through the keys, tending from the alike), and a new bridge never gives as often used by concert violinists, and form pl^er^M*PMlippls^advan«<^!nCjjhoughtt full box when I started. When the box to possess an unaccountable charm for and methods, thoroughly abreast of the very beginning to develop the true organ style. good a tone as a really well-fitted old one. effective unaccompanied violin soli. These . In compiling and arranging: this cik’s encyclopedic works on violin tech¬ is empty I will know that I have played 3. Laying a violin down forcibly on a the general public, and the most eminent caprices are many of them very difficult, 1 of technic he has hit upon just the nic knows what a large proportion of the cadenza 500 times, and I think that hard surface, such as a marble-topped violinists often introduce these unaccom¬ and require technic of a high order to the exercises is given to bowings, in fact this will be sufficient to master it.” Genuine musicianship is developed fi table, or hitting it against the top of a panied pieces, but mostly as encores to render them effectively. A well-known the Four Thousand Bowings of Sevcik How many students practice a passage compositions which have been played with chair back. violinist some time ago played the entire The “Preparatory School of Technic” is are famous. Every conceivable variety 500 times? If the average violin student 4. Subjecting it to extremes of heat an accompaniment, or by way of novelty one of the best “technics” ever issued for of bowing necessary for the execution plays the same passage a dozen times it twenty-four in one evening at a concert general utility work. Such a book may be and cold, dampness and dryness. If in in a group of accompanied soli. of any passage in violin compositions, seems like a hundred, and he passes on in Berlin, and later repeated the feat in used through a number of years for daily BEGINNER’S BOOK damp, muggy weather, a violin enclosed The six sonatas for violin alone by or orchestra violin parts is set forth with whether he has really learned it or not. in a tight case happens to be left in a the United States. The performance was practice, in whole or in part, to supplement School of the Pianoforte Bach, and the Twenty-four Caprices for or round out any course consisting of the the greatest thoroughness, with the re¬ The violin student should devote a Theo. Presser Co., Philadelphia, Pa. remarkable as a feat of technic and By THEODORE PRESSER Price, 75 Cents very hot place for a time, it will almost violin solo by Paganini, which are among usual studies, pieces, etc. The “Prepara¬ sult that the student who has mastered great portion of his practice to scales, surely come apart in all the joints and memory, but was naturally somewhat the most famous compositions in the tory School of Technic” may be taken up completely the technical works of Sev¬ arpeggi and bowings, for these are really be nearly ruined. monotonous. One of the caprices at a literature of the violin, are more fre¬ by students who have about completed cik is prepared for anything. labor savers and short .cuts to technical 5. Attempting to improve the appear¬ violin recital forms a pleasing novelty, second grade work and continued to good quently drawn upon by violinists for un¬ One of the hobbies of this great teacher excellence. No violinist can play really IMPORTANT TO ALL ance by a coat of common varnish, or by however, and never fails to please the advantage for some time. It will serve as accompanied solo work than any other. is that students should “practice what well, or do rapid sight reading without a cleaning the old varnish with some sub¬ The Chacone, from the Fourth Sonata audience if well played. an admirable preparation for M. Philipp’s [SINGERS larger and highly successful work, “Com- they cannot do,” for why should time thoroughly well grounded technic, and an stance which scratches or dissolves it. Of course, there is nothing to hinder by Bach for violin solo, is the greatest i School of Technic.” be spent on things which have already hour’s hard practice of technic is worth Note.—The varnish of a violin is a mat¬ The Latest and Best Word and most famous unaccompanied violin any violin solo being played without ac¬ been mastered? This is really the secret fully three hours of practice on miscel¬ ter of great skill and care with the in Voice Building solo in all the literature of the violin. companiment, provided the violin part has of getting the most out of an hour’s laneous compositions. Of course it is maker, as it affects not merely the ap¬ This great work is apt to deceive the stu¬ the melody throughout, but if the com¬ practice. The average student practices necessary to study the great compositions pearance, but the tone as well.] dent, who at first glance thinks it is poser has written an accompaniment, this over the whole of a composition which of violin literature as well as technical THE VOCAL The casual reader of this article may comparatively easy to master, but who will make it more effective. Very few works, but the point is that one cannot 1712 Chestnut St., Philadelphia, Pa. get the impression that a violin is such he wishes to master a certain number soon learns when he comes to study it, of the standard violin compositions, ex¬ COMPLETE of times, going over the more difficult do justice to these works without a good a delicate and easily damaged instrument INSTRUCTOR that it requires violin playing of supreme technic. One cannot fly without wings, that there is considerable worry involved cept those written expressly for the passages possibly three or four times By EDMUND J. MYER PRICE, $1.00 quality to make it acceptable to an audi¬ violin alone, could be used without the when he comes to them, but failing really and technic furnishes the wings. Ovide Musin’s vi’Tm “ in being the possessor of one, but such ence. The playing of the Chacone is accompaniment, since in certain parts, SCHOOL OF Recognized as the leading school for highest class is not the case. The precautions to be considered by violinists to be the “acid violin playing in this country. European methods. observed are quite simple and common¬ the melody is given to the accompany¬ A'ccdmmodation for limited number of students test” of a player’s ability, since many a in resi ence. Chaperonage relopment of the singing voice—principle follow- place, and in the last ’ analysis narrow violinist who would make a fairly pleas¬ ing instruments and the violin plays TECHNIC ^ Openjfhroughout the^year. Singing^with^Mme. down to the application of a little plain ing effect with a string of technically an accompanying part, such as arpeggi, common-sense and thoughtfulness. chords, sustained notes, etc. In cases FOR THE PIANOFORTE Violin Questions Answered :he vocal profession, for the first time in print, the difficult bravure variations, might be in¬ sufferable in the Chacone. Joachim got like this it will be readily apparent Special Correspondence Course the singing movements, the necessary physical ex¬ that the composition would not make y ISIDOR PHILIPP PRICE, $1.5( Write for catalogue. ercises, and the nerve calisthenics. Its object is The Meaning of “Col Legno” much of his reputation as a violinist to develop the singer physically and vocally. The through his excellent rendition of the sense unless both the violin part and R. M. F.—If it is true that you have dis¬ ivory bridge that I know of, is to look pretty, REGISTRAR, 51 W.76th Street, New York City A correspondent recently wrote to the Bach Chacone and other excerpts from The volume opens with a series of Exercise, covered the lost art of making the varnish and I would not advise the use of one under busyttmcher wiRall firnfmaterial ancfinformatiou accompaniment were played. r the Flexibility end Independence of the which was used by the Cremonese masters, any possible circumstances. Ivory la too of the highest value in this book. For the young London Musical Herald saying, “This the Bach sonatas for violin solo. The standard violin concertos would be ngere, chiefly based upon holaingand repeated the invention would be of considerable com- hard a substance to make bridges of, and question was given at a recent Art of >tes, and other figures in the five-fingr- rcial value, provided that you could eon- would give the violin a hard and metallic tone, i 10 DaysFreeTrial There are many other movements from impossible without accompaniment, since isition. These are followed by velocity exe ce the world that your varnish and your There is no material In the world so well I Teaching examination—‘Give the meaning the Bach sonatas which are frequently the solo violin part and the accompani¬ cises and various chromatic exercises. These .... thod of applying it were identical with suited for the manufacture of bridges as and musical effect of Col legno. It means those of Stradivarius. The violin varnish of maple wood of the proper density. Violin heard on the concert platform without ment are so intimately related and woven a variety of rhythms, rhythmic treatment and the makers spend much time in hunting for to play with the back of the bow, but Cremona is usually classed among the lost accompaniment, such as the Preludio together, that the violin part played with¬ employment of all possible keys being one of the s, and tons of ink and reams of paper have maple of just the right grain and hardness, jiii ffisigf^ what is the ‘musical effect’?” The fol¬ from the Sixth Sonata, which is a favorite _n used in exploiting theories on the sub¬ and with that beautiful “speckled” appear¬ out the accompaniment would be an ab¬ ject. Some claim that it was not the varnish ance, which adds so much beauty to a bridge. |L Write Voday^«y Get fui lowing interesting reply was printed in number of Kubelik’s, and with which that The Scales are given in full in all keys, surdity. The charm of unaccompanied the proper fingering, together with num- but the method of applying it that formed In fitting bridges to various violins, some of the journal: well-known violinist never fails to achieve the secret, which was no secret at all in the a hard brilliant tone and others of a dull violin passages is. however, recognized models for varied scale practice. Chords and palmy days of the masters of Cremona. One quality, they often use bridges of varying THEO. PRESSER CO. Col legno certainly means to play with a sensational success. The Bourree from Arpeggios are presented in a thorough ma of the most Interesting essays on the subject by the composers of the great concertos, degrees of hardness, since a bridge of com¬ the back or stick of the bow, but it should the Second Sonata is a popular number The department of Double Notes is vei of Cremona varnish is that written by paratively soft maple will often tone down OUR “SPECIAL” for they have almost universally arranged tensive. This is an important feature in me- Charles Reade, the English novelist, who a violin which has a tone which is too hard be remembered that the bow is not drawn and the Presto from the First Sonata! technic. Scales in double thirds and in double claimed to have solved the secret. and piercing, or a bridge of harder wood OCp 10 Tested Lengths, OC/» across the strings in the usual manner, and the Corrente from the Second Sonata for elaborate cadenzas for the violin There are any number of violin piakers at will sometimes give brilliance to a violin, the alone in the concertos, which they have corr t fife 8',Ve" complete al1 keys ^ith fhe the present day who claim that the varnish tone of which is too dull and mufiled. ^O^Silk Violin E, for£JL instead of this the strings are struck with are also very effective short encore the chronfatic Kscale ii"8douWe ^iTirdsy The they use is the same as that of Cremona, hut 2. A good violin repairer might be able to the bow, which immediately bounces away. pieces, and there are many other move¬ either composed themselves, or else indi¬ fingering is given for all double intervals. the world will not believe them. As you improve the tone of your violin by changing Send for Violin and Cello Catalogue have spent so much time experimenting with the bass bar, altering the position of the The Business Manual Naturally only staccato passages can be ments which can be effectively used by cated where they should be supplied by A goodly space is given to the develop violin varnishes, you would no doubt lie much sound-post, fitting It with a new bridge, etc. MUSICIANS SUPPLY CO. played, and the effect produced is a sort the violinists who wishes to vary his the performer, as was the custom in the of Octave Technic in all forms. All tie interested in the work Italian Varnishes, by It is impossible to give you an idea of the 60 Lagrange St., Boston, Mass. of musical tapping, which can either be from’th' W‘"-be f°und fo!the practice of oc cost, as I do not know what would have to program by an unaccompanied violin earlier days of violin playing. be done. Any repairer will give you an esti- for Music Teachers The TrillTs thoroughly grotesque or uncanny, according to the solo. Any violinist who can play the Much of the monotony of unaccom¬ E. S. .T.—Mathias Albanl, father, and By G. C. BENDER way it is employed. Grove describes it Mathias Albanl, son, Botzen, Tyrol, were Kreutzer studies fairly well, can play the panied violin compositions comes fr°ra K. L. F.—In justice to its advertisers, and as being something like a guitar and casta¬ neither Hungarian nor Italian, but belonged NEW VIOLIN MUSIC easier movements of these sonatas ef¬ the fact that the first G below the staff to the school of Tyrolean makers of the subscribers, The Etude cannot recommend nets combined; if a Spanish rhythm is fectively, but it must be remembered that seventeenth century. However, much of their special makes of violins, bows, etc., or ] in the treble clef is the lowest note which work is o'f an Italian character, and some on the work of modern violin makers. “ON SALE” used this effect is undoubtedly produced. these compositions must he played with bright ideas in correspondenc can be made on the violin, and that elabo¬ of the violins made by the son have been Miss B. K.—Get a list of the conse. Have your name entered for the receiving of a to collect old accounts, etc., et It is only effective when executed by a superlative skill to please an audience sold for genuine Cremona instruments. The few small packages of new music ON SALE during Not one teacher in a hundn large number of instruments, as the tone rate harmonies are impossible. The ear violins made by the elder Albanl were mostly tories and schools of music from the city a fraction of what his valu The violinist must bear in mind that misses the lower bass notes and the com¬ This work may be used in DAILY PRAC¬ of the Stainer model, but the work was directory of your city, and a list of the to be kept; discount is the best obtainable; the only bring if profitably and activi produced by a single instrument is very a piano, or other accompaniment, covers TICE and should become an indispensable largely of the Italian character. The younger leading violin teachers, and from them you responsibility the small amount of postage; returns plete harmonies which the accompanying Albanl who died In 1709, is said to have will no doubt be able to learn of all chapter in this book may rais< weak and indistinct. Hummel and Boiel- a multitude of sins when it comes to portion of the routine work. amateur orchestras in your city. to pay for it a hundredfold. instruments would supply. Long sus¬ worked with Nicola Amati. Cremona, for a dieu were the earliest composers to make violin work and violin playing which time. Albnni violins are highly esteemed by Some of these conservatories no doubt have tained notes of the violin in cantilena pupils’ orchestras in connection, which you ^Thousand? oMeachm rTceiv^plano music from use of this effect, and notable examples of might sound passably well with a skill- violinists, and are valuable. Whether your us in this way; they say it is most convenient to playing cannot fail to prove tiresome, violin is genuine is a matter for an expert .could join. have 8 or 10 new compositions coming along from THEODORE PRESSER CO. its use occur in Liszt’s Mazeppa, Wag¬ fully played accompaniment might be theo. PRESSER CO. to decide. I am not familiar enough with the musical time to time. We^send piano, vocal, octavo, violin without the complete and often elaborate life of Cleveland to be able to direct you. 1712 Chestnut St., Philadelphia, Pa. ner’s Siegfried, and The Meistersingers, excruciating when played without any PUBLISHERS accompaniment of harmonies which is Probably Sol Marcosson or Christian Timner, and Saint-Saens’ Danse Macabre. aceempamment. For this reason the PHILADELPHIA, PA. C. C. C.—You ask. “what effect an ivory well-known Cleveland violin teachers could Please mention THE ETUDE when addressing usually written to accompany them. bridge has on a violin,” and ask if I would tell you. You could get the address of either THEO. PRESSER CO., Philadelphia, Pa. advise its use. The only possible use of an from your city directory. 608 THE ETUDE THE ETUDE 609

As the opening of the new season is but A Common 'l—-'—— ■- a few weeks off, it is quite important that Bond 1 settlement of all last season’s accounts be made during the present month. Patrons Look around your music room and make should, therefore, take advantage of the a rough estimate of the musical material Department for Children hold-over privilege by arranging for the you have purchased in the past through required payment or making return and the Theodore Presser Company. Then esti¬ Edited by Jo-Shioley Watson complete settlement before the 1st of Sep¬ mate what help you have received in your Publisher’s Notes tember without fail. musical work through this source. We Be sure to put the sender’s name and have been privileged to play a very impor¬ A Department of Information Regarding New address on the wrapper of every package tant part in the lives of thousands of teachers and students. With many their that the orchestra should resign after the Educational Musical Works returned to us to avoid delay in identifica- side, when their heads rest on the third entire musical libraries are mostly made Complaints of the Three Famous Men Who Led rehearsal if they were still of the same up of Presser publications. We consider line they can swing their canes either mind. this a great responsibility and a real Note-Family up or down. Come, let us practice mak¬ Orchestras The Supplying of Music Young Nikisch appeared at the rehear¬ opportunity. Every hour we are working When school opened and Emily began ing them on the staff.” I recall seeing Hans Richter, one of and Books by Mail sal and proved his mettle. After the Jo our utmost to extend our facilities for her music lessons again she found the “The third in our family is the Quarter the great Wagnerian conductors, making Immediately after the publication of Tannhauser overture the musicians caring for more and more teachers and for Note-family even more grouchy than they Note, with closed head, a stem or, if you his way to the platform all smiles and The Etude in 1883, as a natural conse¬ improving the service to those who have begged him with a storm of cheers and had been in June. There seemed to be like, a cane. These smaller members of bows. He steps up to the conductor’s NEW WORKS. New Music on Selection quence of being asked for advice and been our friends for so many years. Your congratulations to continue the rehearsal mdre Complaining Notes than ever be¬ the Note-family seem 10 need something stand and waves his baton here and there Advance of Publication Offers— during the Summer Months where to obtain certain supplies, the mail collection of Presser publications makes a at once, and the old conductor had not order music house of Theodore Presser was fore. Some wanted their stems to go to lean upon, so they all have stems. as easily as though it were some toy. common bond between you and the house only the gratification of knowing that his August, 1915. RSr S' It is perhaps a little late to order the started, and we have been supplying up and some wanted them to go down, Then come the Eighth Notes, with closed I hardly need to say that his memory has periodical sending of packages of music of Theodore Presser. We are genuinely orchestra was composed of men of dis¬ Characteristic Studies for the teachers and schools with everything they interested in your progress because your and Emily never could remember which head, stem and a flag, see like this for years and years been a thing of won¬ during the summer, but we shall be glad cernment but he had the still greater sat¬ Pianoforte—E. S. Morrison.... 1 an need by mail order ever since, and the progress is our progress. We want to help was which when it came to stems. The (Father Whole Note draws an eighth der—he never once looks at a score. His Child’s Own Book of Great Mu¬ to send during August a small package of business has grown from that very small isfaction of learning that his confidence sicians—Thos. Tapper. Six bi¬ you all we can and we want you to . help •Whole Rest said if Emily didn’t write note). After that the others follow, each favorite text, and one he preached all the novelties for either piano or voice to any beginning to its present, not small, pro¬ had not been misplaced and that the ographies, price complete. of our patrons who are teaching at the us, not merely through continued patron¬ him under the fourth line he would fly carrying an extra flag the smaller they time and it is one we might all adopt, Same, single biography. portions, for the reason that it has always age, but by sending in suggestions for im¬ off the staff and she would never see him is what he calls “entoosum.” Over and young conductor had scored a triumph. Chopin’s_ S EtudesJ“ .. present time. Our new publications are no been our aim first to publish teaching ma¬ grow, until we have the One Hundred Chopin’s Preludes less during the summer than during the proved service, new ideas, anything that again. Then the Thirty-second Note over he says that we do not need more terial of merit, useful and practical, and and Twenty-eighth Notes flying five Diction for Singers d Composers winter; in fact, they are more in number, will enable us all to work together for our growled because Emily put the. flags to flags.” music but more enthusiasm, and one —H. G. Hawn. . to supply that material to the profession common good and for the good of the pro¬ Etudes-Poesies for e Pianoforte and excellent in quality, and a dozen or so at the lowest retail price and at the best the left of the stem, in fact Emily per¬ catches the infection by watching Hans —E. Haberbler, op. do. fession. “I never heard of that one before,” The Right Way to of such teaching pieces will without doubt discount and at the most lenient terms that sisted in doing every thing wrong, the Richter conduct. Franz Liszt Album for the Piano- be of service to every teacher having any said the astonished Emily. Make Haste it could be done profitably. From Latest truth was she had never thought such Another Wagnerian conductor who was How to Play Well-Known Piano use for them at all. Further than the above, to supply the trifles were important; so she decided very kind and also very severe was Anton Solos—Charles W. Wilkinson.. . This summer new music is merely a con¬ Trade Reports Papa’s Hat Do you know, I really think the little In the Greenwood. Easy Pieces publications of the world, of all publishers, that the Note-family should be reported. Seidl, who died in New York City some tinuation of our system of sending from Since the first day of the year there has “The Whole and Half Rests are rather things are the biggest things. Every daj for Four Hands. Mathilde Bilbro promptly and at the best discount pos¬ sixteen years ago. The wife of a first Lessons in Voice Training for the October to May about a dozen pieces every sible. been a persistent, even though somewhat easy to recall when I tell you that the I say to the pupils “Play slowly—no more Medium Voice—Alfred Arthur. unsteady, advance in business operations, Father Note violinist came to him one day and said month to freshen up the general stock There is a great deal more in the above Whole Rest looks like Pa-Pa’s summer slowly still,” and on and on they trot Melodious Studies for the Piano¬ the totals in the great majority , of lines forte—George L. Spaulding.... selection, which we send at the beginning word “promptly” than those who have not One fine day she went to make her “Mr. Seidl, my husband is always afraid as fast as their fingers can gallop. It’s having contim ously increased, and having hat turned upside down, and the Half Note Spelling Book—Adole Sutor. . of the season. All new music not desired tried this mail order buying system know. complaints to Father Whole Note, who of you.” He smiled and answered, “They maddening—indeed it is, my dears. reached at th‘s time in most lines a larger Rest is Pa-Pa’s summer hat turned right Old Favorites Album. can be put with the general package to be There are few houses in the country today lived in a large white house down the all say that. But I do nothing. I only Pandora, An Operetta—C. B. Lem- total than was recorded for the same side up, so. Whole Rest objects if he Slowly, that’s the word you should hold returned at the end of the season, June who make any pretense of carrying a stock look." or July. road. Every stranger in Musicland does not hang down from the fourth before your mind when you sit down to Pipe Organ Gems—Chas. W. Landon on hand that would supply all the needs period’ last year. Business totals, in fact, But Anton Seidl’s look conveyed more knew the house because it was so big and line; to humor him let us always re¬ practice. No one values this word more Popular Overture Album—Four A postal card sent now will bring this of the teacher with even the smallest class. in the heavier lines of trade from January new music during the next season. We 1st to June 1st exceed the same period of round. member to place him so (Father Whole than words. If twenty violins were than a great pianist—why?—he always Reward Cards; set of 1.6. The result is that, no matter where you playing in unison he could tell at once, send piano or vocal every month, as above, 1913 as well as of 1914. As Emily walked up to the door she Note draws the Whole Rest). The Quar¬ works slowly! Scale Studies for the Violin—H. order, if you want something especially it the one who had drawn a false note. A Schradieck . and pipe organ, violin and piano, and The General Business Condition of the saw Father Whole Note playing with the ter Rest has various shapes, three in fact, Of course it is difficult to see why one School of Bowing for the Violin, will come from one of the two or three player had need to be sure of himself octavo music, three or four times a year. houses in the country carrying that large Country is better than at any date since smaller Notes, and they appeared to be and it is best for you to look these up should play slowly. Later you will find Op. 2, Part 1—0. Sevioik. Any or all of the above will be sent to the beginning of the European War, and who would perform with ease in the pres¬ Studies for the Left Hand Alone, miscellaneous stock. Therefore, why not having a very fine time until they spied out for yourselves, some day you will Op.' ). 1103—Arnoldo11 Sartorio. . . . any of our patrons who desire them. activities are not confined to export lines. and draw the one you like best, I will not ence of this master. order directly from one of those houses? Emily. At sight of her sour face they go down to the cities to take lessons of Studies’ i aand Songs—Thomas Tap- Domestic business is steadily increasing tell you the one I favor, though it does Seidl preferred a light stick; a heavy per . And we can say that our stock is no less scampered away in every direction and some “famous teacher” and the first An August Musical in volume, and while the estimated billion look something like the letter Z turned baton made him nervous. If the music Study Pieces in All the Major and in importance than that of any other store Emily was almost positive that she saw the other way.” thing he will say to you is' this, “Work Minor Keys—Carl Koelling. 1 History Class in this country. and one-half favorable foreign Trade stand happened to be too high or too Technical Studies for the Violf- Balance to be created this year means that saucy Thirty-second sticking out her this out slowly, away from the piano.” It is surprising the distance that the “I remember that one,” Emily said, low it fretted him. He was a passionate Vol. I—H. Schradieck. If you ever thought the subject of musi¬ much to the business fabric, it amounts, tongue. “Away from the piano!” you exclaim— cal history dry or uninteresting, you have mail will cover in 24 hours. An order “we make that one at school.” lover of Bach’s music and Liszt he knew after all, even if it reaches that enormous “Well,” inquired Father Whole Note, well the truth of the matter is this; you never had a class of boys and girls from mailed in Toronto can be returned in 36 “The 1/8, 1/16, 1/32, 1/64 and f/128 by heart. Music Supplies hours. In other words, a postal card, sup¬ sum, to less than $15.00 per capita for the “what brings you here, little girl?” really don’t know it unless you know it eight to fourteen years of age all eagerly rests'fly flags to the left on a stem like for Fall Teaching plied by us, dropped in your post office, year to the people of this country, which “It's about my music lesson.” Emily away from the piano, unless you can studying the most fascinating story of any is less than five cents per day per capita. this (Father Whole Note draws the rests Should be Ordered Early of the arts—music. Although the Standard ordering a piece of music, or ordering a think it out with no keyboard to prompt This as a single factor is a very important began to feel afraid,, though Father in the sand). Deary me, how fast we can Von Billow’s conducting was a revela¬ Whether the teacher wishes to place a History of Music is intended for students large package by express, will be returned Whole Note smiled so broadly. you. to you filled in quicker time than if you one, but the people of this country could make them.” tion. No one could forget his personal¬ positive order for known and needed sup¬ at all ages, it has been very largely used in not enjoy prosperity on that item alone. “What about your lesson, little girl?” “Why do Notes fly their stems to the ity. He played upon the orchestra as plies or prefers to obtain a miscellaneous classes of musical young folks. The author, live in Philadelphia, and wait for a chance to go to the centre of the city and make Domestic business of many times that “There are things about your old Notes right, why must they be different from though it were a single instrument. His v mess iu piay rasi, uiey assortment from which to select and use James Francis Cooke, taught history to amount is being handled, and those manu¬ many such classes, as well as adults, and your purchase direct. There is not too I just can’t understand,” snapped Epiily, Rests?” and Emily peered into Father epigram, “In the beginning there was always have such a triumphant look when whatever proves suitable and return the facturers and merchants who are carefully they turn around to you at the end as if remainder when convenient, not later than this book embraces the principles employed much that can be said in regard to the flinging her music roll at Father Whole Whole Note’s big round face. rhythm,” is notorious. The clearness and mail order music buying. We have a spe¬ nursing the home trade are building most to say, “There—see that!” And for the close of the approaching season, the in practical work. With the- additional securely and most permanently. Note’s feet. “Now child, I can not tell unless it is precision of his rhythm was unsurpassed. obvious and most sensible course is to time that young people have in August, cial department where music required by a Though von Billow is supposed to have mercy’s sake what was it they were do- “Ho-ho-ho!” laughed Father Whole just to be different.” arrange to get the music delivered in ad¬ when the schools are closed, the whole sub¬ certain date receives instant attention. Third Etude Note. “Old notes! you say—what about been very precise and definite in all that 111S jerking along to be sure, passing by vance of the actual opening of the season’s ject may be intelligently covered in four Perhaps the most opportune advice that “I think there is a good deal to re¬ rests, jumping over expression marks; Prize Contest them, my dear child?” he did, he nevertheless could respond to work. Every teacher who is in the habit or six weeks. Why not start a class? No might be giver, would be to say to" our member,” said Emily falteringly. no accent, no staccato, no thought of patrons to let us have their order for their The third Etude Prize Competition Emily was almost in tears. She felt impulse. The following is an account of of giving personal attention to the supply¬ previous experience in teaching the subject “But Emily, dear, don’t you think it’s tied notes, no thought of anything in ing of pupils with music almost invariably is needed, if you employ the Standard-His¬ stock with which to open their next season dosed July 1st, and it is our intention to like crying aloud until Father Whole a celebration given in commemoration of rather lucky that we can say One Sixty- Emperor William. It was at a Philhar¬ fact but “showing” the teacher hotv fast begins work in September with a fairly tory of Music. We have a special plan to at the very earliest possible moment. Sim¬ announce the awards in the September Note said comfortingly, “Come, sit down ply mention the desired date of delivery number of The Etude. The judges are fourth instead of a ‘Semi-demi-semi- monic concert in Berlin and Wagner’s they could play. definite idea of the number of pupils to be help teachers who wish to start a class. by me; I will tell you all you wish to A postal inquiry will bring full particulars. and the package will not be delivered be¬ now busily engaged in their task; very quaver ?’ ” Kaisermarsch was selected to conclude the If you could read the thoughts of your taught and their gradings, so it is a com¬ paratively easy matter to arrange with The price of the history is .$1.25 when one fore that date, and it will be delivered on nearly 1400 separate manuscripts have know about us ‘Old Notes,’ as you ‘ so “What’s that?” said Emily in dismay, teacher you would be scandalized at what program. “Biilow,” we are told, “was dealers and publishers for such material as buys one copy, but in l.alf-dozen lots a that date, and with the minimum of trans¬ been submitted. This is a yery large num¬ flatteringly called us.” “must I learn that too?” standing before his orchestra like a field she really thinks of you. These are may be expected to cover the wants of the great saving may be made. portation charges. ber to assort and to sift, but none will be “No, dear, we are not English, that is marshal and conducted with passionate some of the things she thinks: “Ethel is entire class. If any one desires any of our new cata¬ overlooked and all will be carefully The Twin Brothers the English name for one sixty-fourth. ardor. Suddenly at the point where the too stubborn to play slowly.” “Mildred logues, they are free for the asking. We weighed and considered. The Theodore Presser Company offers Settlement of He led Emily to the seat beside him. You see, dear child, you would have voices join in .just when the orchestra is far too careless to play slowly.” “Effie especially favorable facilities, enabling have catalogues of almost every classifica¬ Accounts tion in music. Shopworn Music “First try to remember there are seven much more to complain of if you said sustains an organ point, he turned round asn t will power enough to play slowly.’’ alert teachers to obtain their supplies “On for Sale different kinds of Notes, with seven us as the English do. For instance, in¬ to the audience and with a slight move¬ r'dith wants to show off too much to Sale” with a reduction on the cost of trans¬ The Regular or Monthly part of ac¬ portation on all orders of this nature men¬ counts is due and payable monthly, or ThreeMonth’sTrialSubscription sister Rests. Every girl and boy knows stead of two thirty-seconds make one ment of his baton, but in reality far more Play slowly.” “Jean doesn’t know what We still have for'sale a supply of music tioning this announcement and received in quarterly to those patrons to whom is ac¬ to The Etude for 25 Cents which has been taken from our’ shelf and me with my open head and no stem. My sixty-fourth you would have to say two with the irresistible power of his eye he the word ‘slow’ means.” I was much Philadelphia on or before August 15th, corded the highest credit. During the Summer months we offer which was popular at one time. This is twin brothers are half notes. They re¬ demi-semi-quaverS make one semi-demi- bade the audience rise. It was the work surprised the other day when one of my and with the extra advantage of a better To any of our patrons who have not The Etude to new subscribers for three of a moment; the whole audience im¬ not second-hand music, but is only shop¬ semble me by having the same open head, semi-quaver.” worst pupils came in and said this: “I’ve assortment than it is possible to obtain yet made yearly settlement of last season’s months for 25 cents. Any three issues worn from age. It is the accumulation of mediately rose and thousands of people, but the difference is this: they carry a “I guess I won’t complain any more, just found out what music study is—it’s later when orders are being rushed in from On Sale supplies, we respectfully urge that from June to October can be selected. The many years and from the many catalogs dressed in the national mourning, stood up all directions. the matter lie given attention before the principal benefit of this trial subscription cane, see, like this (Father Whole Note and thank you Father Whole Note. I which we have purchased. In" all there motionless, listening to the mighty wave hard work” That girl had had a revela¬ In these days of “preparedness” let 1st of September, when the new season is that there are so many pupils whose in¬ draws two Half Notes with stems). You believe I like you better in American.” tion of some sort. I have a faint idea has been some two hundred feet which of sound that rushed over them.” teachers take a leaf from the book of of 1915-1916 begins. If any of the selec¬ terest it is necessary to keep alive during has accumulated and been packed away in will notice that they carry their canes up Emily picked up her music-roll and what brought it about—in despair one Arthur Nikisch entered the ranks of the world politics” and be prepared for a tions now on hand were sent during the the Summer months and the receiving of the cellar. We are disposing of this just or down as they are placed on the staff.” started for the gate; before she reached flood season’s business—it is the rule that past teaching season (from September, The Etude monthly will do this better foremost conductors of Germany in a day I had leaned back hopelessly and as it stands at the rate of $5.00 a foot “That’s what I can’t understand,” cried it she heard a merry shout from Father said, ‘Mildred, I don’t believe I can ever the thing for which one prepares one gets. 1914, to June, 1915), and are suitable for than almost anything else. It will give or $2.50 for half a foot. Emily. somewhat peculiar and discouraging way. the coming season’s work, arrangements Whole Note’s doorstep and looking teach you to play the piano, it is hope¬ A ready supply of teaching material will them pleasing and instructive music suit¬ There cannot be any grading or selec¬ It seems that the regular conductor had certainly help to start one or more pupils may be made to keep them over another able for the summer playing, and in addi¬ “Dear me, that’s easy,” said Father around she saw the whole Note-family less ! Mildred went home and told her tion of any kind made at this price; the gone off for his vacation, and Nikisch w™r otherwise might drift elsewhere. season, thereby saving transportation tion to this a most excellent lot of reading only thing we can do is to separate the Whole Note, marking off a staff in the waving their flags and canes, nodding mother and then something happened. was to take his place. Suddenly a tele¬ rite the Theodore Presser Company charges two ways. The necessary condi¬ matter which will be stimulating. In vocal from the instrumental. That is the sandy walk below. “Now look, above the their heads to right and to left, and ever gram came to summon the old conductor Mildred worked. Worked slowly for about it before it is too late and learn tions will be made known promptly on re¬ many cases the subscription will be con¬ only separation we have made, but each third line and down goes Mister Half after, when Emily began complaining, about, the. “On Sale” plan, if not already quest; hut in any event the return of any tinued by the pupil in the Fall. Why not from his rest it was brief: “Orchestra once and the lesson was so good that she package contains a variety of all kinds. Note’s cane on the left side; below the she remembered “Semi-demi-semi-quaver” enjoying its advantages; but in any case undesirable selections should be made this try this with your class? Offer them this refuses to play under Nikisch. Too was even surprised herself and we haye A great deal of it is violin’ music, most of third line and up it goes cn the right and stopped. order your fall supplies before the orders month and settlement for the used sup¬ trial subscription of three months for 25 it by good authors. It is a mixture of young. The affair was arranged finally never had a poor lesson from that day to plies from last season’s shipments arranged this. are wedged with hundreds of the same cents, and we are positive there will be a popular, classical, educational, easy, dif¬ amd, as is the case after September 1st. before September 1st. hearty response. ficult—in fact, all kinds will be found in 610 THE ETUDE THE ETUDE 611 takes pictures 2 Vi x 314 inches. Leather the package. The price is about one cent covered, fixed focus lens, automatic shutter carries out this idea in the very beginning one volume so many favorites, for all of thus secure their summer reading and at on a dollar. The music is sent by express for time or instantaneous exposures. For 0f the child’s study. which at one time or another there must the same time renew their subscription to and the transportation paid by the pur¬ five subscriptions we will send the Seneca The introductory price in advance of be a demand. All the arrangements are The Etude at a decided saving. The spe¬ chaser. A great deal of this music has Scout Box Camera for pictures 2y4x4y4. publication is but 15 cents postpaid. such as may be played without difficulty, cial prices given below are for subscrip¬ Special Notices been purchased from us the last two For eleven subscriptions • we will send suited to the player of average ability. tions for one year, new or renewal, and months, and we have not received a single the Seneca Folding Scout Camera for pic¬ Diction for Singers and Our special introductory price for this may begin with any issue. Magazines can complaint, or heard of any dissatisfaction. tures 2Vi x 4Vi- This camera has round Composers. By H. G. Hawn volume in advance of publication will be go to different addresses, except in the BUYING SATISFACTION 15 cents for a Single copy or two copies If one piece in ten will be found useful ends, is made of aluminum, with black seal Any one who has heard Mr. David Bis- few cases stated otherwise. Canadian and J. FRANK FRYSINGER—Music MSS. the package will pay for itself over and grain waterproof covering. Meniscus for 25 cents, postpaid. corrected. University School of Music, Lin¬ pham, Mme. Lilli Lehmann, Madame foreign postage additional. coln, Neb. over again. Of course, it is understood Nothing is more annoying than to spend one’s good achromatic lens. Automatic shutter for Schumann-Heink, or any other of the For $1.75 (regular price $2.50) we will that these packages must be paid for in time, bulb or instantaneous exposures. Chopin’s Preludes CORRESPONDENCE LESSONS in Har¬ money for any article of merchandise only to find that ureat singers who has taken particular care send The Etude, To-Day’s and McCall's. cash, and that the music is not returnable. Push cord release; reversible view finder. with his pronunciation or enunciation, for the Pianoforte mony and Counterpoint. Stanley T. Relff, We have stated the case exactly as it it is unsatisfactory. For $1.90 (regular price $2.50) we will Mus. Bac., Lansdowne, Pa. For thirteen subscriptions we will send the realizes how much good diction adds to A prominent pianist expressed to us the stands. Seneca Folding Scout Camera for pic¬ send The Etude and Modern Priscilla. MUSIC WRITTEN to words. Manuscripts How can you safeguard yourself so that when you the singer’s art. Good diction is, after all, opinion not long ago that the Preludes by For $2.00 (regular price $3.00) we will tures 3Vix4V4. the basis of communication between the corrected. Correspondence lessons in harmony. purchase anything you may be sure of getting 100 per Chopin were among his most striking and send The Etude and Mother’s Magazine. Dr. Alfred Wooler, composer, Buffalo, N. Y. Reward singer and his audience. Without good cent, satisfaction with every purchase? original productions. As time goes on the For $2.25 (regular price $3.00) we will Cards Pandora, an Operetta diction the words are not understandable, Preludes seem to increase in popularity, to FREE BOOKLET—“Music Teaching Because of the delay in obtaining impor¬ Modern advertising points out one of the safest and the singer might as well sing the send The Etude, Modern Priscilla and Systematized,” by Wilbur Follett Unger. By C. E. Lemassena be better understood and to unfold new McCall’s. Send 2 stamps to the author, Montclair, New tations from Germany, we are about to roads. This is the “why” of it. The dealer who fails to We take pleasure in announcing a alphabet to the melody as mumble out Jersey. beauties. Our new edition is now nearly For $3.00 (regular price $4.50) we will manufacture in this country a set of 16 give complete satisfaction is very likely to be reported new operetta for children. The plot is words that no one can possibly understand. ready, and it will be found to be superior reward cards, which we have been supply¬ Good diction is the result of good schooling send The Etude, Delineator and Every¬ POSITION WANTED—Yot instantly to the proprietors of the paper in which the taken from Hawthorne’s story, “The Para¬ in all respects. All previous editions have ing for a short time past. The edition dise of Children.” There are five principal in the subject, and no one is better fitted been carefully compared. body’s (last two must go to the same ad¬ which we are making will he printed by customer has seen the dealer’s advertisement. characters; there is a chorus for boys and to give advice upon the subject than The special introductory price in ad¬ dress). the very latest process of color printing. Advertising is so vital, so necessary a matter, that a chorus for girls. It is in three parts, Henry Gaines Hawn. His diction for vance of publication is 20 cents postpaid. For $3.25 (regular price $4.50) we will They will contain no less than 9 colors the dealer must make good or the reputable publisher will and the scenery is of a very simple nature; singers has enough practical material and send The Etude, Modem Priscilla, Ladies’ on the face, and will altogether be a much in fact, it can'be given without any. The exercises in it to reform very bad cases World and Pictorial Review. more artistic and finished production than reject his advertisement. The live dealer knows that he Scale Studies for the music is of the most attractive order, and indeed, if the student will only persist. For $3.25 (regular price $4.50) we will DIRECTORY OF the familiar cards of the past. The face can not get along without a sufficient amount of adver¬ this is why we accepted the manuscript. The advance of publication price upon the Violin. By H. Schradieck send The Etude, Woman’s Home Com¬ of the card contains a portrait and the tising. National journals are the great show windows It is singable and easy; it is very musical book is 60 cents. This volume is now about ready, but the panion and American Magazine (last two birthplace of a great composer, and the of the country these days. No one realizes the need for Special Offer will be continued for another INSTITUTIONS back of the card has a condensed biogra¬ and not at all trifling or flippant. It will must go to same address). making good nearly so well as the dealer who advertises. be something new for those who are inter¬ Lessons in Voice Training month. It is one of the standard works The Etude Magazine Guide of 36 pages phy, and not so condensed at that. Teach¬ of violin technic which is almost indis¬ ers and schools have made great use of That means 100 per cent, satisfaction for you, or bump,— ested in looking for a new operetta for Medium Voice will be sent free on request. It contains OF LEARNING the coming season, for which purpose we By Alfred Arthur pensable for every player. Our new edi¬ these cards in their work. Every card is out goes the dealer. tion has been prepared with great care hundreds of additional combinations at devoted to a different great master, and would heartily recommend it. This work offers a concise and practical special prices. CARR CARLTON COLLEGE AND SCHOOL THE ETUDE is very particular in this matter. We and copiously annotated with instructions until this new edition appears we will ac¬ The special price in advance of publica¬ scries of rudimentary exercises for placing of arts, have rejected advertisements time and again to protect tion is 30 cents postpaid. for practicing, etc., all in accordance with cept orders for the pack of 16 cards at and developing the voice, including special modern views on the subject. Advance of Publication Offers Sight-Singing, Choral, Normal. Miss Salli- T-’ 25 cents. As usual, this is about the cost our readers. Our aggregate money loss runs well up into exercises for flexibility, enunciation, reso¬ Carlton, Director. Write. Child’s Own Book of Great The special introductory price in ad¬ Withdrawn August 1,1915 of production. We make these special the thousands. This is your gain and our gain. You are nance, etc. It is very convenient for the vance of publication is 15 cents postpaid, offers in order to introduce our works. As the following works have appeared protected and the advertising responsibility of THE Musicians. By Thos. Tapper busy teacher to have in compact form and if cash is sent with the order. CARSON & NEWMAN COLLEGE, £ftf f eTr/n°n" By the time this issue reaches our sub¬ legible arrangement exercises such as from the press during the past month, the ETUDE is upheld. Co-educational-Baptist-School of Music. Weil- How to Play Well-known scribers the Bach number of this scries will these. They may be used in conjunction special advance of publication prices are equipped department, with a course leading to B. Pianoforte Solos. All we ask is that you cooperate with us,—patronize be in the hands of the advance subscribers. with any system of teaching. Technical Studies for the Violin herewith withdrawn. These works now be¬ M. Degree. In the mountainsof Tennessee, climate healthful; scenery beautiful. Edith Davis Potter, By Charles W. Wilkinson our advertisers liberally as they deserve to be patronized, The work is now in the binders', and we The special price in advance of publica¬ Vol. I. By H. Schradieck ing on the market, we will be glad to send expect it will he ready for delivery in a tion is 20 cents postpaid, if cash is sent This book is about completed and is now and never forget to do us the little courtesy of writing in Schradieck’s Technical Studies are about them on inspection to any of our patrons ready for the mechanical part. There has few days. Therefore, the special offer on with the order. who desire to look them over. When they your letter: “I saw your advertisement in THE ETUDE.” as important as his famous Scale Studies. GRINNELL SCHOOL OF MUSIC, pr0!nwneaH’ been a great demand for descriptions of this particular book expires with this issue. His Technical Studies cover all the remain¬ are charged at the regular professional Courses leading to the^degrees Bachelor of An^nd well-known solos, and very little has been However, the rest of the set can be pur¬ Chopin ing ground in finger work which is not price they are, of course, returnable. written by any one along this line. The only chased as a whole, and it will include Etudes covered by the scales. This book is not Bach. There are six numbers in this series thing we have at the present time are'the We will publish a volume of Chopin only used regularly in teaching, but it is Light, Everlasting by J. R. Gillette. A of children’s books, including the follow¬ two books by Edward Baxter Perry. This Etudes in the Presser Collection during also employed by many violinists in daily new sacred cantata, not difficult, and evan¬ ing: Mendelssohn, Schumann, Schubert, LITTLETON COLLEGE, Cwdf volume, which we are now introducing, will the present season, and will have the book practice for the purpose of keeping the gelistic in spirit. The work can be given contain the description of a great number Mozart, Bach and Haydn. Etudes-Poesies for the Piano¬ equal to the right as far as the manipu¬ ready in time for the Fall teaching. This fingers in condition. Our new edition has by any choir. It has a number of good roungP women/'^al^Wrm^begins^Septetoto- *22 of solos, and will be welcomed by all piano lating of the piano is concerned. A great This volume is something unique in the work will he edited by Constantin von been carefully revised with extensive anno¬ strong chorus effects, and is in every way 1915. For Catalogue address J. M. Rhodes. players and teachers. There are over a forte. By E. Haberbier. Op. 53 way of a child’s book. First of all, it gives tations, etc. This is one of the best standard study many of these selections are as pleasing Sternberg, and all the best editions will be a church work destined to enjoy great hundred well-known compositions treated directions and material for the child tp The special introductory price in ad¬ books for players well advanced. All these as pieces. It is one of the most interesting examined and compared. Mr. Sternberg is popularity. Price 50 cents. in this volume. The work was originally sets of studies we have ever come across, make his own hook, even up to the binding, one of the most careful and painstaking vance of publication is 20 cents postpaid, an English hook. It has been entirely re¬ studies are of delicate and refined charac¬ and we take great pleasure in recommend¬ for which full directions are furnished. authors we have at the present time, and if cash is sent with the order. Melodic Studies in Double Motes by A. written and condensed by the well-known ter, displaying finished workmanship. In ing it to our readers. When the child has finished his or her boot we look forward to having an edition of Sartorio. Sartorio is the piano study writer, Edward E. Hipsher. each one, however, some important techni¬ its name is signed as the author. Every¬ cal feature is thoroughly worked out. The special introductory price in ad¬ Chopin Etudes that will be par excellence School of Bowing for the Violin writer of the present day. We have pub¬ This month will most likely close the vance of publication is 20 cents postpaid. thing is done in the most simple and clear in every respect. lished a number of works by this com¬ The Education special offer on this work, which is only Several of the studies are so attractive as Op. 2, Parti. By O. Sevcik manner. Children have lately taken a won¬ poser, not one of which has failed of its OF THE 50 cents postpaid if cash is sent with the to be used separately as pieces; these are The special introductory price in ad¬ This standard teaching work for the derful interest in this line "of work, and purpose. Too great stress cannot be laid often heard in recitals. Our new edition is Melodious Studies vance of publication will be 25 cents post¬ violin will be added to the Presser Collec¬ this is the only adaptation of what is going paid. on studies made for a special purpose, for very nearly ready. on all over this country in another line. tion. By some teachers this volume is used for the Pianoforte one special branch of piano technic, and Tapper’s Studies The special introductory price in ad¬ The price for the entire set will be 40 in place of an instruction book; in othei- vance of publication is 20 cents postpaid, By Geo. L. Spaulding Popular Overture these studies we can particularly recom¬ Music Teacher and Songs We can best indicate the grade and cents, which will include the Bach biogra¬ words, the rudiments are taught orally or if cash is sent with the order. Album for Four Hands written out for the student, and violin mend. Price $1.00. Supplementary Sight -Reading Material scope of these new studies by comparing phy, or 10 cents each for the separate five THOMAS TAPPER’S LATEST In this new volume of the standard for Schools and Classes. An English them with the very popular Studies by unpublished books. playing is actually begun with this work. popular overtures will be included such Ruth by A. R. Gaul. This is another of AND MOST HELPFUL BOOK musician of note, who recently toured Characteristic Studies for the Streabbog, Op. 63. In second grade work The works by Sevcik form a substantial overtures as will always be played and our series of the popular cantatas. The America, criticised the facilities for sight Pianoforte. By R. S. Morrison it is very necessary to have studies which In the Greenwood. Easy addition to the literature of violin playing, admired, including Poet and Peasant, fact that we publish it means that it is a singing combined with song work as rep¬ Teachers who are in need of interesting will prove interesting musically in addi¬ Pieces for Four Hands and they have been incorporated in the PRICE, $1.50 resented in the music of our public schools. Stradella, Zampa, Caliph of Bagdad, standard teaching curriculum. The School work popular with choirs the world over. material suitable for third grade work or tion to their technical value and thus By Mathilde Bilbro It is possibly one of the most interesting He spoke particularly of the lack of right lighten the drudgery of practice. These Carmen, Tannhauser, and others. The book of Bowing will probably be used more and as a preparation for Grade 3 will be glad Easy' duets are always in demand. This is now about ready for press, but we will of all of the later works of this class. It The movement for a more thorough grading and general interest in the lower to know this new set of studies. There is new Studies by Mr. Spaulding will con¬ education of the music teacher is new set is particularly good. It is not a continue the special offer for one month The special introductory price in ad¬ requires about an hour to perform and has classes. Mr. Thomas Tapper has just com¬ more demand for third grade material, form admirably to this requirement. They national in its scope. The main point teacher and pupil volume, but the duets longer. Those who like to play pianoforte vance of publication is 20 cents postpaid, 14 numbers. It furnishes a very excellent pleted a work which will be welcomed by both in studies and pieces, than for ma¬ are sure to be liked. of Mr. Tapper’s new and interesting school teachers from coast to coast because are so written that they may he played by duets will find these overtures about as if cash is sent with the order. work for about half a program. No choir terial in almost any other grade. Although The special price in advance of publica¬ work is to show what (he teacher must every step is so clear, so solidly based on two students of very nearly equal grade. satisfactory for the purpose as anything leader or director can afford not to be there is so much of this material in use, tion is 20 cents postpaid, if cash is sent The volume covers grades 1 and 2. All that can be taken up! know to achieve the widest success and the previous step and at the same time so nevertheless it is necessary to have variety, with the order. Pipe Organ Gems familiar with this work. Price 75 cents. the pieces are very pretty and interesting, The special introductory price in ad¬ then how this knowledge and proficiency interesting that the work of the teacher is hence the issuing of new studies from time may be attained. The captions of a few greatly lessened and the grasp of the pupil and some of them are of sufficient impor¬ vance of publication is 40 cents postpaid, By Chas. W. Landon Showy Parlor Album for the Pianoforte. to time. These by Morrison are more than chapters make clear the great value much increased. Of course, there are tune¬ Earn a Camera tance to be used in elementary recitals. if casn is sent with the order. This new volume of pipe organ music This 50-cent collection, another of our very ordinarily tuneful and attractive, never¬ This work could he used as the" very first will fill a niche that no other collection of of a work of this character. ful little songs all along the way, songs theless the technical side is always kept for Vacation best books of this series contains about 27 that children will ask to sing. The intro¬ book of duets. New Franz organ music that we know of has ever well to the fore. Make your vacation complete with a compositions, all of a character well de¬ Fundamental Requisites ductory price upon this book is 12 cents. , The special price in advance of publica¬ Liszt Album done. It contains music that can he The special price for these studies in camera. If you do not own one you can scribed by the above title. This new album Send for it now and be one of the first to tion is 20 cents postpaid, if cash is sent played on a small pipe organ with two wiR contain “Showers of Stars,” by Wachs; Equipment and Success advance of publication is 20 cents post- by obtaining subscriptions to The Etude’ with the order. This is a new Presser Collection volume, manuals by mediocre performers. Every¬ get it. After publication the price will secure one of the new Seneca Cameras] rather different from those to be found in “L’ Tosca,” by Tourjee; “Serenade,” by Music in the Home be of such a nature that teachers may use thing is within the reach of the small which we are now able to offer as a pre¬ «ny other editions. It will contain a num- Herbert, and many other compositions in them in large quantities. Note Spelling Book parish organist. The selections are taken about the fourth grade, of the above char¬ Public School Music Studies for Left Hand Alone mium to readers of The Etude. These llnfu • , most P0Pular works by Liszt, from the very best compositions, among By Adele Sutor th original compositions and transcrip- acter. The above is not the title of the -The Basis of Music Memory Study Pieces in All the Major and “,flS. are exceedingly simple to operate, which will be found compositions by the Op. 11)93. By Arnoldo Sartorio embodying all the latest improvements in This work is quite well along in the me¬ ons. This will be one of the best concert work, but is tnbre the description of the Minor Keys. By Carl Koelling This work is in line with the special chanical portion of it, and will soon be following authors: Rinck, Battman, Gou¬ book. The book will hereafter be known Music Teaching as Service des'gpi and construction. Any roll film of a??* that 11 is Possiblc to obtain. It nod, Von Wilm, Schumann, Tours, Mozart, This work will remain on Special Offer studies that have been issued by the well- ready for distribution. The author expects be a large and handsome volume, as Standard Brilliant Album. Price 50 Pedagogy standard make can he used in Seneca Volkmann, Guilmant and many others. during the present month. It takes the known German composer, Arnoldo Sar¬ to make this the most complete spelling the special price in advance of publica- cents. vcTerf«i Subscriptions must be for one You will not he disappointed by subscrib¬ Community Music pupil through the earlier grades, begin¬ torio. In these left-hand studies he has year at $1.50 each, and should he sent to book ever offered. There is a great deal ]s 20 cents postpaid, if cash is sent ning with the second, on through all the been particularly happy in combining the of material that will be interesting and with the order. ing in advance for this most excellent Sonatinas for the Pianoforte by A. Efficiency us as obtained. If sufficient subscriptions book. major and minor keys, with excellent and useful with the pleasing. The great trou¬ have not been secured when ready to go on useful to preparatory students. Lord Schmoll. Twelve of the most pleasing interesting material in each grade. In The introductory price in advance of Teaching Material ble with the average pupil is that the right your vacation, the balance can be paid In Bacon says that reading makes a deep Old Favorites’ sonatinas. We believe that these modern other words, it familiarizes the pupil with band is far in advance of the left, and in man, speaking a ready man and writing a publication is but 50 cents postpaid. French sonatinas will even supplant the Album The work comprises 224 pages and is hand- remote keys. It is a most useful work in order to equalize the two hands it becomes full man. Of the three writing is of the Summer sonatinas by Clementi and Kuhlau. We every respect. For four yearly subscriptions we will have republished this work because of the necessary to give the left hand a special send the new Seneca Scout Box Camera most value. This has heen recognized bv Magazine Reading emepos^pardtinanypu hMS W°rk Wil1 > The special introductory price in ad¬ and distinct training. This is the office of all educators of late years, and almost immense sale of the original French edi¬ the smallest, easiest to operate, lightest . 1 certain melodies which are impel vance of publication is 20 cents postpaid. these studies—to bring the left hand up every student and pupil is now n-qmred We have arranged special combinations tion. Melodious, sprightly, thorough, but ’ complete roll film box camera made" It of magazines at prices much below the Theo. Presser Co. - - Philadelphia, Pa to do writing of som- kind. This book f07’,andTf°r these listeners will alway not difficult, and the price of the entire °una. It 1S very convenient to haw regular cost. Readers of The Etude can volume of 12 pieces is but $1.00. 612 THE ETUDE

...... -.,||H||HU|1gii^^ Greatest Educational Work of the Age

Mathews Standard The Teachers’ Round Table Graded Course of Conducted by N. J. COREY Studies “Pianoforte This department is designed to help the teacher upon questions pertaining to “How to Teach," “What to Teach," etc., and not technical problems pertaining to musical theory, history, etc., all of which properly belong to the Questions and Answers department. Full name and, address must accompany all inquiries. Compiled by W. S. B. MATHEWS The Leading Musical Writer ar.d Educator of the Present Time A COMPLETE cours9 of standard Etudes and Studies arranged in a progressive order, selected from the be3t composers for the cul¬ tivation of technic, taste and sight What a Famous Contest Revealed bar line could be drawn. This is not unusual. Rather joining notes; I have heard players who could render reading, carefully edited, fingered, GUIDE FOR THE MALE VOICE Op. 23. FREDERIC W. ROOT Price, 51^ The National Federation of Women’s Musical Clubs it is very usual. There are many ways in which these the melody of Chopin’s Second Nocturne very charm¬ phrased, and annotated and supple¬ mented with complete directions for A. It probably means that two voices or A. There are several which might contend held a series of contests during spring, the object five notes could be made into measures. And yet sup¬ ingly, but who would hammer out the melody of his parts are written on one staff, and that one for this honor. Albert Hall, in London, is First Etude, with never a thought that it might be the application of Mason’s “ System being to stimulate American-taught young musicians to posedly good players do not indicate in the language of them is at rest. Some editions are very very large and very good for its size. The made to sing most beautifully, and every nuance care¬ of Touch and Technic ” for the pro¬ careless in this matter. In Bach’s Fugue in auditorium of La Scala, in Milan, is better dlum of MlQnece8saiy knowledge? 'Noothermalmal their best endeavor. The winners were determined by of music just what these five notes may mean. Notes duction of a modern style of playing. C minor, Well-tempered Clavichord, Book I, still, and also very large. For a small hall fully observed. No. 2, for example, in most editions, It is I used to think the hall of the old Con¬ will be required. a process of elimination, contests being held first in the in melody are treated in the same way, the following, Thirty years ago Music Teaching in quite difficult to tell whether It is a three¬ servatoire building, in Paris, the best in ex¬ THEO. PRESSER CO., Philadelphia, Pa. Players of fine technique who suspect that their various States, and those successful in these had a for example: America was for the most part con¬ voiced or a four-voiced composition (it Is istence. The building of a good concert-hall playing is not as much appreciated as that of some of ducted in the most slip-shod and ex¬ four-voiced), a state of affairs that would is still something of a mystery. For example, further opportunity in a given center for a number of at once disappear if every such rest as Is the Trocadero, in Paris, was designed by their competitors, would better think these things over travagant manner imaginable. The States, the successful contestants in these to have the No. 2. above described were written In. excellent architects, assisted by some of the very carefully, and see if their trouble does not lie in teachers were not to blame for the . greatest acousticians of France, yet It turned privilege of playing at the Biennial at Los Angeles in enormous expense of purchasing in¬ out to be a musical mediocrity. Berlioz Kindergarten these very points. I have noted so many failures that Q. I have heard the term "anticipation” has rightly said that a music hall is in and holds the child’s interest. June. Candidates from nine States met in Chicago on dividual studies and pieces of music used in connection with certain notes and itself a musical instrument, and therefore we were entirely due to this that it will be a good plan for for educational purposes, nor were chords. Will you kindly explain the word Color Bird Scale, Staff Peg Board, Folding Musi April 20, at which it was my pleasure to act as one of clearly t—I. O. N. ought to study all scientific facts bearing Boards, Keyboard Diagram and many other al you to take a thorough account of stock. If you have they to blame if they did not have the upon the subject. Yet I could name a dozen tractive things. Send for Catalog. the judges. A great deal of fine talent came to light been for years neglecting that which gives life to music, experience to select the best studies A. It is the opposite of a “suspension,” halls, off hand, which have turned out to be DANIEL BATCHELLOR & SONS on this occasion, some of the playing being far above fortherighttime. TheGraded Course In harmony. If, for example, we have a com¬ utter failures, and two of these belong to Germantown, - Philadelphia, Penns you will doubtless find it hard to discover by yourself plete and regular chord, with one note re¬ universities who had plenty of scientific help idea is an original creation of the at hand. Our greatest architect in Boston the average. Two or three things of general interest The contour of this passage from Beethoven is some just where you stand, but you can do a great deal if maining from the preceding chord, and this help to the listener in instantly forming an intelligible Presser House. The Standard Graded note finally sinks into its proper harmony once built a church which was so full of in the making of pianists were impressed upon me by you study your playing carefully. Look at your music with the chord, that is a suspension. But If echoes that preaching in it was Impossible. Course has succeeded because it was The edifice was sold at an enormous loss, % BIG CATALOG OF BAND INSTRUMENTS j the playing I heard, points which I have observed for musical sentence out of it, but even at that, as often phrase by phrase and make up your mind just how it built along the lines which years of ex¬ in a chord we have a note of the succeeding chord, given before its time, but the rest and the purchasers (working quite in the FREES* years, and which should be considered by all teachers played, no one would realize that bar lines should be ought to sound, especially as to rhythm and accents, perience had shown to be necessary. of the chord following immediately, it is an dark) raised the floor, changed the shape of , more than is done at present excepting, of course, by drawn after every other note, beginning after the anticipation. the ceiling and added a gallery, and the and then play and carefully note the result. You may obliging echoes took their departure, giving the very best. second. There are many melody passages, however, surprise yourself by observing many things you never CHIEF ADVANTAGES the experimenters a fine church for almost 0. What does the word loco mean at the nothing. The same architect built another First, how few players imbue their music with the which do not assume form for the listener when played noticed before. Teachers should take this point into end o] the 8va. sign*—R. E. C. church in Boston, which turned out quite - jsy.JO. Hornet1 f«» SYSTEM te"L^iMe%ysLm7nTcome I. spirit which giveth life! In music the spirit which in dead-level monotony, and in such cases he has no A. It means “in place,” and signifies that good. In a certain building in Boston there gjjssrsrte consideration, and train their pupils carefully year in LYON & HEALY giveth life is ACCENT. Without it all is but a the octave-mark has ended, it is very seldom are two halls, both of course being the work clue whatever to the meaning. Even a passage with and year out to observe all accents of every kind, not used nowadays however, the end of the of a single architect, and one of them is 33-38 Adams St., Chicago * monotonous waste, a dreary desert of level sound, every note marked sforzato, as in the following, again alone those which are marked in the music, but metrical dotted line showing clearly enough that the wretched, while the other is perfect. I be¬ ECONOMYgSggS^-SSS^SS octave transference is finished, it would be lieve that the ancients knew some secrets in with nothing but occasional crescendo and dccrescendo from Beethoven, should be played with emphasis pro¬ accents as well, which are supposed to be well under¬ otherwise be. good if all the useless or unnecessary signs this field which belong to the Lost Arts, like to relieve the uniformity. The undulations of the west¬ portional to the place of each note in the measure, and stood by every player, and yet omitted by so many. were swept out of our notation system. Just burnishing intaglios, or making malleable PAPA orMAMA PROGRESS sft°£mm Book"! now there is some change going on in our glass, for some of the ancient buildings which ern desert contribute nothing towards an upspringing not hammered out every one precisely alike as one often notation system and it is for the better, as I have visited (and even those which were in ruins) had wonderful acoustical properties. life, neither does the gradual rise and fall of sound in hears them. The Pause up which the pupil may easily be led to musical a rule. Thus “loco” has been abolished, the wedge sign for staccatissimo is disappearing Some conceited acousticians may tell you a passage of music give the desired vitality. Some¬ (this is not so good), the pedal marking has that they know all that is necessary about read 'aloud to llnyTisTeaen. ’fuII of “1. What time value has a hold? I have heard VARIFTY The studies are taken from all the architectural acoustics, but the above facts thing is lacking, and it is that which causes people to that it should have the value of one note of the 1 best known composers of piano stud¬ been simplified and made more exact (as any sweetand dainty pictures. LittleFoto No. 3. measure plus two additional beats. ies. This is greatly preferable to a course of number of The Etcde will show you), and seem to contradict them. I might add one remark in regard to hosts of technically well-trained studies all composed by one man. some modem composers, because of the con¬ other fact to this list: the finest looking ■?/■ */ «/ sf 8tf sf sf “2. In Bach’s Two Part Invention, No. XIII, stant modulation of the newest music, have church in Boston is the poorest for sound. LITTLE™FOLKS,6 rDtept? V'“ sriem'r Mas pianists that their playing is skillful but uninteresting. measure 15, should the A in the treble be natural SIMPLICITY SradonaiaueotaesC°andP'may be even abolished the key signature, writing all One person will play a given piece through and leave or flatted? In my edition it is natural, but A is their music in the signature of C major and 0. What is the meaning of the ballet flatted in the bass, and it seems as if the pattern ence or training in°thfe course!* There° is m/arbi- adding each accidental as required. title by Chaminade Pas des Ampliores!—F. T. you completely unmoved. Another will start to play fcfr P- 1 L. -t± j Tfr— ought to correspond to the other three measures." trary method demanded. You Can Earn $5.25 in a Few Hours! the same piece, and before proceeding a half dozen INTEREST Ooly the most interesting and 0. What is the significance of what people practical studieshave been select, a two-handled^_, measures you will start up with your nerves all tingling put perfumes, oils, and even sometimes the a copy of th/verymUte?t Srf THEBOYS^MAGA- ed. The course always proves most fascinating to remains of the dead. The Pas des Amphores ZINE together with full particulars. This is a real with new life. You find you are vibrating with the pupils, especially when compared with the old- authoritative are these traditionst Where The ebb and flow of rhythm is one of the most of your first question carefully, you will be puzzled t fashioned method of using ponderous volumes by can one learn about the traditions! Are THE BOYS’ MAGAZINE, 807 Main St., Smethport, Pa. music because there is something to vibrate with. essential factors in music if it is to be made interesting they all recorded in special editions or is one determine its meaning, and will conclude that it ca obliged to go to an oratorio singer and work With the second player there is a steady throb, strong or emotionally inspiring. What does the following therefore be no explanation, even though you ma as an apprentice for years before they can here, light there, no matter how pianissimo the life- MAKE NO MISTAKE be acquired!—O. L. L. passage mean if the rise and fall of the rhythm is not have heard it given as such. What kind of a not The Standard Graded Course should not be con- giving accent, a constant stirring of the emotions with indicated, as is often the case, the music flowing im¬ should your “one note of a measure” be? Should i fouuded with any other system, course, or method. A. Tradition is generally used in speak¬ It, and it alone, is the original series. When you ing of old works, and especially those of play a simple piece of ragtime.-—E. G. R. the energy of the music. With many players accent is passively along, calm as a canal current .that is un- be a quarter, half or sixteenth? A hold has no fixe Bach and Handel. As the tempo markings incompatible with pianissimo, just as multitudes of Co*6 s1)6 8Ur6 40 in8i8fc UP°U the Standabd Grade<* were very vague in some of their solos and A. Ragtime is only syncopation gone to noticeable. The context of the following beginning time value, but its length has to be determined b choruses, we study historical tradition to get seed, or, let us say it is an excess of syncopa¬ singers cannot sing pianissimo without dragging the may be found in Beethoven’s Opus 81. experience and trained taste. I have often heard i 10 GRADES; 10 VOLUMES at these. The quick tempi were slower, and tion. Schumann went about as far in syn¬ tempo. Soft and slow seems to be one and the same $1.00 EACH VOLUME the slow ones quicker than at present. Then copation as it is safe to do, and if you will stated that a hold should add one-half to the value o there were also certain points, in some songs, look at the third movement of Beethoven's to them. I have seen many pianists of long training the note oyer which it may be placed. This also ha which are omitted to-day. Thus in Rejoice Fourth Symphony you will find an extreme No. 4. Greatly, in Handel's Messiah, there was once of syncopation. If you will examine the and great facility of technique express great surprise little meaning and can hardly be said to be a workin, >n Mathews’ Stahdaed Gbad a long cadenza, just as there might be at Andante of his sonata Op. 14, No. 2, you will when asked to accent a pianissimo passage. basis on which to explain a hold to your pupils. A par the end of an operatic aria, which would even find some rag-time. I see no reason seem almost heterodox to-day. why a musician who conquers syncopation in Do teachers, as a rule, take enough pains to make of musical training should be the development of judg We learn that Handel used only strings Schumann or Beethoven should be floored by Mothers—You Need their pupils realize the importance of accent; indeed do ment in all such matters. The hold, or pause, is on and reeds In the overture to this work, it in ragtime. Yet possibly a very wretched another traditional point. work in this school might puzzle them as I CHILD-WELFARE they realize in themselves? I do not mean simply train¬ of the most striking effects in music, when employci STANDARD The aria But Who May Abide! is given to once puzzled one of the greatest pianists of America. I had received from an over- ing them to accent their scales when practicing. This i good taste. Breathing places for the attention the bass voice in many editions, but Handel MAGAZINE ambitious composer a work which was like (.Edited by Mothers) is, of course, most important, but is only a beginning. o spea . The effect of many pieces is very mucl CONCERT ETUDES Handel accompanied his recitatives with the wild mutterings of a gibbering idiot. The harpsichord, violoncello and contrabass (one composer knew that it was not a March, or The Training of Children is the Most From the very beginning students should be taught the lessened by the little care taken to mind the pauses. FOR ADVANCED STUDY of each), but we have changed this to organ a Polka, or a Lullaby, so he decided to call importance of accent, and teachers should see that they i. the note is correctly written as in your edition Price, $1.00 Grades IX to XI accompaniment. it a “Sonata." I asked the musician afore¬ Exalted Occupation in the World— I could go much further to show what said if he could play a difficult sonata at Yet the Least Understood and Most Neglected. observe it in every measure. They can be taught to A sequent^1 passage does not always demand tha sight. “I hope so, he modestly replied. CHILD-WELFARE MAGAZINE KEEPS YOU POSTED tradition in music means. You need not ON ALL THAT HELPS CHILDREN IN HOME. make it a second nature in their playing, and it can be tions by Saint-S study for years to find out these matters, Whereupon I placed the delirious composi¬ CHURCH, SCHOOL AND STATE Directly in line with this is the treatment often given , 1 •°n °I l'le Pattern must correspond exact! — *- - library and compare different tion before him. He began stammering in brought to such a point that they will not need to be t-.; ° 6 s'ze °* the component intervals. One repe :ly of rapid reite editions of the" --work.s Often you will his performance before he had played a line, OFFICIAL ORGAN: to melodies with an accompaniment either entire or in « abound in arpeggio forma ■unu nuies given to explain the points of and at the end of two lines he put one hand constantly coached in regard to it. If a player aspires p'°n “ay ^ave a minor third, another a major third ended and arpeggioed chords, variation. Thus you might compare Prout’s NTIONAL CONGRESS OF MOTHERS part in the same hand. If the player succeeds in ham¬ AND PARENT-TEACHER ASSOCITIONS to a high place in the art, it seems strange to hear lE ,T.thrgh,y°U may not he a student of harmony content, famous pieces, ready edition of The Messiah with Robert Franz's. mering out the melody so that every note sounds louder vith an abundantly developed You might study Franz’s additions to Bach’s a the fool-house!” INCORPORATED 1897 him or her playing the following five notes as they “ hat lf t ,e chords of thc Wth and 15th measure technic. * Ther works and his revisions of that master. As To Promote Child Welfare Throughout The World than the accompaniment he exhibits the utmost satis¬ be w„tte„ out, simply, you will perceive that the pas “ all, by nine regards “tradition” in opera much of that To Help Erery Father and Mother in Heme Problems. look on the paper: composers, about half of themTy iposers still 0. What forms of outdoor sport may be faction that he has accomplished a great feat, and that sage is correct as Bach has it. Placing the A flat o originates with the teacher. If you hear YEARLY SUBSCRIPTIONS—jSl.00 Graded Course of StudieB and all*otfcer^graded works given by great artists who are known indulged in with least injury to the pianist’s No. I. nothing more remains to be done. As a matter of fact, hands and which forms must be avoided! Clubbing Offer : When 5 Subscriptions are sent at rhantraSS*t,m i!*16 treble “ ^ second measure does no ' ' be eccentric you are getlng all the I play tennis a great deal. Is that likely to he has just arrived at the point where he can begin to “tradition” that is necessary. the harmonic structure of the passage, but wil be injurious!—S. A. WITHOUT DEL A F, ADDRESS: learn to play it correctly. The melody must be played Mail o id filled to treble 6 Wl*ere Jt would come were it used in thi 0. What composer would you advise me am afraid to answer this with any distinctly with a subdued accompaniment, to be sure. to study to improve my understanding of real authority, ;v« t I can give definite points ILFARE MAGAZINE phrasing! Is there any composer icho has from the lives f certain musicians that I )22, Philadelphia, Pa. But it also must be played as if the fingers playing the made an especially clear point of having his recall one famous concert- All exactly alike, so that one could not possibly tell melody had nothing to do but interpret that melody phrases well indicated by phrase markings! pianist who was very fond of rowing and it where to begin to count, which note of the five should / am familiar with Heller.—T. A. hands. I knew two others, CHILD-WELFARE MAGAZINE with every possible finesse. It must be made to sing THEO. PRESSER COMPANY one a pianist, the other a famous organist Nome_^__ be the first count of the measure, where among them a A. Try Mendelssohn’s Songs Without and composer, who played tennis passionately and each note correctly proportioned to its next ad¬ 1712 Chestnut St., Philadelphia, Pa. Words, and the Von Billow or Lebert and and very often. I have known a host of Street and No. ___ Stark editions of Beethoven’s easier sonatas -* —-•-«-a-extremely fond of —and study musical form. Town___ flease mention THE etude when addressing our advertisers. Please mention THE ETUDE when addressing our advert,irath 615 612 THE ETUDE THE ETUDE The Aim of Productive Practice An Innovation in Piano Actions

By Mme. A. Pupin Musical artists of note are earnestly ripple a scale ppp and prestissimo from Some Pupils We Meet discussing the invention of a new form the highest note to the lowest- with ex¬ When students of the piano sit down to their daily of pianoforte action which promises to be actly the same touch, with consummate By Ernst von Musselman task of mastering the difficulties of technique they should not only know the aim or aims of each exer¬ of great interest to all those who are ease, and never miss, or half- miss, cise but they should seek to attain each in the shortest, devoted to the instrument. The Etude a single note; and this without varying quickest and easiest way possible. The shortest way understands that this action is not to be the tone' in the slightest degree. How Meeting the many varied and exacting demands of The Self-satisfied Pupil is by method, by some law: the quickest way is by controlled by any one firm of manufac¬ many can do this on an ordinary key¬ I AMC . . a class of pupils, and applying the necessary means Obnoxious egotism, vanity, over-estimated ability— having a system of practice. turers but may be used by many in the board, where even two successive notes for correcting their defects, may be compared to mak¬ one or more of such symptoms mark the presence of The right way is the easiest way. There have been future. For this reason and for the will often vary in weight, and where A\ who have a cultivated knowledge ing chemical tests; the instructor uses as reagents his one who is filled with gratification over his own fitness. singers—even opera singers—who were willing to learn reason that a discussion of the invention treble and bass and white and black notes Quite often such pupils believe themselves to have 1 x of it, the BALDWIN PIANO is powers of discernment and discrimination, and applies their songs’ and roles by note rather than undertake the has been given in the London Musical vary considerably? In playing a scale in reached the zenith of all possible advancement when recognized everywhere as the best. In the various ways and means known to modern peda¬ difficulties of learning to sing by note: they believed Times,.. which has examined . into the contrary movement, . for., instance, the gogy for securing the desired results. But even though in reality their actual ability can only attain the com¬ those difficulties to be insuperable. worthiness of the new action, The Etude feeling is delightful; as you go up in the such an atmosphere it is happily at home and with it all be reduced to the minute accuracy of a patho¬ monplace under forced draught. They may believe In fact, anyone can learn, in one afternoon, all the breaks its rule and presents the follow¬ treble and down in the bass, and. vice every day endears itself more and more to its logical test, despite all the skill that' one may display themselves to be past-masters at their tender years, but notes that can be written on the two staves, while it little do they realize that minds very much wiser than ing extract from the Musical Times, as versa, no alteration of touch is neces¬ owners. in probing into the causes for a pupil’s lack of response is possible that any singer could learn to read at sight, theirs have gone on and on in their quest for knowl¬ the instrument in question cannot be con¬ sary—resistance is the same in either to your methods, the student’s progress may still remain in one week at least, all the notes in the range of her The same is true of the an unsolved problem even though you may have ex¬ edge and finally, in the wintry years of their lives, sidered proprietory in the ordinary sense. direction. hausted all of your resources and' are entirely at a have discovered that a lifetime is none too long. Such voice. One might think that the arrangement The right way is always the easiest way. I know, ■loss for further plans of procedure. pupils may not hesitate in valuing their opinion over The Clutsam Cradle Keyboard would destroy the forte tone; but such Musical instruction is not the blind groping in the yours, even though you may have spent years in gain¬ for I once had to teach a prima-donna who could not Considerable interest is being aroused is not the case. It remains as full as “laliuotn iHamwIn” dark that the average person may believe; there must ing your experience. They may patronizingly accept read notes, to sing a song, and it was the hardest work in musical—and especially pianistic—cir¬ ever, the bass notes especially being much the successful unification of the most artistic piano be a basis to work from, a basis to work with. There your tutelage, but it is often such a monopoly of clash¬ I ever did. cles by a new invention, styled “The purer. A chord such as: When we say, “try to attain your object in the easiest with the most scientific player action made in the must be a definite end in view with each pupil, and if ing opinions that not infrequently is the general class Clutsam cradle keyboard.” As a good given a fair chance to use every iota of your skill, you advancement retarded. Such is the deportment of a way,” there are several things to be considered: Firstly, deal of misconception is caused by the world. There is absolutely nothing better, nothing will succeed in bringing that end about if you have the pupil who is so pleased with his own knowledge that the difference between the ways of teaching sixty or term “cradle”—some even imagining that more perfect on the market, neither as a piano nor proper material to work upon. You may realize the he will- accept none from superior wisdom; such are more years ago and the methods of to-day. the keyboard rocks up and down while iiipi impossibility of some pupils, and you may even honestly those who would have us believe their knowledge su¬ Then the student was required to learn all of the as a player piano. one plays!—a brief description of the make that fact known, only to have the matter com¬ preme, their fitness complete. Pupils, like these, cannot exercises of Czerny, Cramer, Clementi, et al. These Contemplating the purchase of either a piano system will doubtless be welcomed. which on an ordinary keyboard sounds plicated by the refusal of a too fond parent to coincide fail to be a menace to anyone’s classes. They not only exercises were practiced as rapidly as possible, and retard the progress of others, but if you allow your In the ordinary keyboard, as in every¬ quite harsh by reason of the numerous or a player piano, you should not fail to examine with your view of the case. As you enter into almost were, as might be supposed, imperfectly played, but it daily association with your class, and your class’ opinions to lie attacked and questioned, you may lose day use, and which has not been mater¬ discordant qvertones engendered by each these instruments. Prices and terms will suit you. was then believed if you practiced a thing (wrong) relatives, and those relatives’ friends, you will taste of much of your class’ respect and confidence. ially altered for something like two cen¬ of the three notes, C, E, G, now sounds long enough it would come out right some time. So Write for catalogs human nature in all its divers phases so that you may turies, the keys are pivoted on a fixed decidedly purer in tone-quality. The The Dissatisfied Pupil volumes of exercises were practiced, year after year, well feel appalled at having undertaken to meet the fulcrum, on what is usually called a reason may possibly be that with the If the dissatisfaction, as exhibited by a pupil who to bring the hands in playing condition. Of course, demands of such varied ideas as to just what consti¬ “see-saw” principle. To ensure the re¬ “cradles” the hammers strike and leave injtono tutes successful pedagogy. has found a grievance against each and every instructor, this forcing the fingers up to speed was an immense the strings with far greater rapidity than were confined solely to himself, perhaps little harm strain on the muscles, and I have seen, in Germany, quired touch little wads of lead are in¬ Manufacturers serted in the keys, and the aggregate under ordinary conditions; this effect The Impossible Pupil would result. But always must the pessimist spread the effects in the condition of the hands of students Cincinnati Chicago New York his spirit of dissatisfaction. Gradually the infection weight required upon a single keyboard, ensures, too, a very perfect “repetition.” It is folly to believe that thorough musicianship can who had practiced seven hours a day for seven years. extends until it involves some of your other pupils. in order to secure a quasi-equalization, The writer has tested pianofortes thus be . implanted in sterile soil. You, as an instructor, Their fingers were all gnarled and twisted around each To you it seems like a veritable contagion of the air. varies from some five to nine pounds. fitted both privately and in the concert probably realize this fact, but a hopeful parent is very other, and their hands were perfectly useless. In innocence, you may even wonder what has gone apt to overlook it. If certain parents are desirous of Naturally, this addition of lead must to a hall, and in either case they left nothing amiss. Ultimately, you realize the far-reaching power furnishing their children with a musical education for Seeing Things in a Different Light certain extent destroy the perfect elas¬ to be desired. The celebrated Russian of a student’s dissatisfaction when his parents make the sake of whatever of accomplishment it may provide, ticity of the key. What does the “cradle” pianist, M. Benno Moiseivitscb, uses a you the centralized figure of a sort of court-martial We look at things in a different light to-day. Czerny it is certainly your duty to cultivate such patronage; do? First of all, every one of these Pleyel grand fitted with “cradles,” and in which your ability as an instructor is questioned. wrote exercises in every key and on every figure that if, however, you are asked specifically to develop such leaden weights is taken out of the keys; the system (the inventor of which is Mr. And what must you do? Nothing!—unless it is to he thought might be used in a piece. We do not prac¬ pupils into something more pretentious regardless of Frederick Clutsam) has received the assert yourself and your position in no less emphatic tice so many exercises. We take from a piece the pas¬ then tiny wooden cradles (pieces of wood, the amount of adaptability shown, then indeed is your sage we wish to execute perfectly and give to it the scientifically curved) are substituted for highest encomiums from, among others, problem complicated. manner! Make your defense plain and decisive. If practice formerly wasted on Czerny’s nine hundred and the old fixed centre and placed under all Percy Grainger, Ernst von Dohnanyi, and Looking at one’s classes from a purely business point1 it is necessary for you to substantiate your assertions, Old Dominion Line and if possible, call in another instructor for consul¬ ninety-nine studies. He made his studies so harmoni¬ the kfys. These cradles rest on a piece Busoni. The invention, which can be of view, it is necessary to have a clientele such as will tation; we cannot see why such a consultation is not of felt on the flat middle rail. There is fitted to a pianoforte by any maker, has enable you to afford the necessities if not the luxuries, ous and so melodious that the students might enjoy ' Attractive Short Sea Trips just as possible between instructors as between diag¬ one drawback. If one were habitually to of life. Then, there will also be your professional practicing them. Giving attention to the sounds, the nothing which can possibly wear out or to the Sunny South nosticians. Assure yourself of one fact, however, that pride to consider, in which it will ever be your desire attention was deflected from the execution, which was get disorganized, as often happens with practice on cradle keys one would be to produce brilliant, representative pupils so that some such conditions, if allowed to run on will continue to the real object of the exercise. new inventions. somewhat handicapped when having to NEW YORK TO credit may be gained as the result of your efforts. spread until harm can result for you. Therefore, the Nor do we to-day force our speed, but begin all What is the advantage, one may natur¬ play on the “fixed-fulcrum keys.” Not OLD POINT COMFORT, And while the aesthetic part of your nature may time to assert yourself is when the matter has reached exercises in a slow rate of speed and work up to ally ask ? This: every key, black and being sufficiently prepared for the more just such a climax. [ NORFOLK & RICHMOND, VA. occasionally struggle for supremacy over the practical, higher rates without taxing the muscles, and instead white, from the highest treble note to the heavily weighted touch, fatigue would Special 4-Day, All Water Tour it is well to bear in mind that one must perforce live, The Serious Pupil of being satisfied with imperfect practice, we have deepest bass note, has exactly the same sooner be felt; for practicing to ensure and that only the favored few can hope for all-artist everything played right from the beginning. endurance is almost unnecessary with the I 888 miles of all $1 Q.00 Historic James And now we come upon that ever reliable source of weight or resistance. There is no neces¬ er travel 1 tJ River Route classes. In this, thsn, your duty to yourself is apparent. genuine pleasure and delight to any instructor—the The practice of many technical exercises is found to sity, therefore, constantly to be testing cradle action. On the other hand, no Nevertheless, however practical you may be, and de¬ \ Including all expanses afloat and asho serious student. You feel immeasurably drawn toward be unnecessary, for the principle of ten finger exer¬ key-resistance,” when every key resists difficulty is experienced in changing over sirous of an ever-increasing clientele, there will surely , Every week day at 3 P. M. from Pier 25 such a pupil. You feel an irrestible desire to extend cises may be found in one of the ten, and the practice from the old1 to the new system; one is ’ North River, New York come to you, at some time, one with whom you can do to exactly the same degree as its fellow. occasional extra help to the one seeking knowledge so that would be divided among the ten may be given to The effect in playing is extraordinary; at home at once, and playing becomes, Send for illustrated pamphlet No. 49 absolutely nothing. In such a case as this, when you eagerly. And as the days come and go, there are the J.J. BROWN, Gen’l Pass. ».t have exhausted your last resource and failed, the only it must be tested to be believed, for mere instantly and naturally, more easily per¬ W.L. WOODROW, Traf usual trials and tribulations that beset any teacher, but words can hardly describe it. One can fect both in touch and tone. thing you can do is to admit your defeat. Such a * * always, as a sort of compensating balm to your tired practicing sustained finger exercises. When one or t A course is then necessary for the sake of the dignity of and jaded brain, will the serious pupil appeal to you the profession. ngers are holding down keys, while the other fitig and make you feel that after all pedagogic life is worth are playing a part, we do not press those keys with one’s while. In this respect, a serious student is a most the force we have, from fingers to shoulder, and fo The Ambitionless Pupil valuable asset to any teacher. Some Don’ts That Mothers Should Read How often do we see them—bright, intelligent pupils, When you have such pupils come to you, pupils giv¬ the other fingers to do impossible, or painful thir yet entirely devoid of that ambitious spirit so necessary ing every evidence of that quiet seriousness which be¬ which may result' in permanent injury. We tell to stir them to actual accomplishment. They remind tokens intense desire to learn, you commit a wrong if pupils to do the thing in the easiest way, show th By Mrs. H. B. Hudson one of the crisp, brown leaves that lie scattered about you do not throw a bit of extra help their way as an a. ?.?Van Press the finger tip with sufficient fo the forest in autumn, waiting only for the first stirring occasional reward. Consequently for every reason that to hold the key down. When this is done with men breeze to arouse them from their inertness. In much is of personal importance to you, there should be every instead of physical force, there is a great differe. , Don’t make the child’s practice a pun¬ come, and she’ll be angry if you keep the same manner is it dependent upon you to arouse bit of encouragement and help extended to the one who there are some persons who will grasp a pen, o ishment for misconduct, unless you wish her waiting." the dormant faculties of inert pupils. Instead of him to hate both music and lessons. is taking a serious view of his musical studies, even T1?0”’,! S° ‘’’f °ne could not Pul1 it away from th Don’t be disconcerted if the teacher smothering them beneath the folds of dry, pedantic though that help may entail an occasional inconvenience e> o not know that they are so tenacious and wa: Don’t have the piano in the darkest smiles or occasionally tells a story to routine, waft them some soft, stirring draught such upon you. The results may be such that, in the many M of energy. When they recognize it, and are t corner of a dark room. make the lesson interesting. THE NILES BRYANT SCHOOL OF PIANO TUNING as will serve to awaken their interest in life. It may years hence, when you are old, and withered, and gray, ° o things in an easier way, they are surprised t Don t have the shades down and the Don't tell her you learned all the scales, 235 ART INSTITUTE BATTLE CREEK, MICH., U. S. A. require only a seat at the opera or a friendly com¬ you may be able to point out happily to your grand¬ they do not get tired, as they used to do. So v lace curtains closely drawn, making the petition in class, yet the opportunity will in some major and minor, at the very start (and children that So-and-So was once a pupil of yours. piano students. Suggest to them to do things in room seem gloomy. manner present itself for you to stimulate them, and never got beyond them) and you want easier way. Show them, by playing the passage, h the renewed vitality that such an interest will place in Don’t change teachers every time you your child to do the same. easily it can be done. If they have to practice sustai: hear of another one. ZABEL BROTHERS your classes should be sufficient to warrant your efforts The artwork which through all ages must be con¬ Don’t condemn up-to-date hooks, ideas nger exercises, how they can press the keys with m in that direction. Incidentally, it may be some incentive sidered the most complete is the drama; because in the Don’t keep the teacher waiting while and methods, because you and your tai determination, without straining the muscles; i you dust the piano. MUSIC PRINTERS m ENGRAVERS for you to remember that interested pupils are the drama the highest and deepest artistic purposes can be grandmother never heard of such things, Send for Itemized Price List and Samples how by continued practice in an easy wav. the ot advance-agents of future acquisitions to your classes. given the proper expression.—Richard Wagner. P.on t ^announce her arrival by loudly and the good old-fashioned way is good fingers will gain in independence and flexibility. almg, “hurry up, the music teacher has enough. COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. Please mention THE ETUDE when addressing our advertisers. 616 THE ETUDE THI ETUDE 617

composer has indicated that de- this important event will be.»' i drawback at the start a man Naturally, the Drama League of rfittf'i's PROFESSIONAL DIRECTORY! ■ ■ 1 —d talent can often taking a leading part in promoting the cele- Have You Studied Harmony?

SCHOOLS SCHOOLS The World of Music armony is the grammar of music, a knowledge of which will make you a better AMERICANS£^SL AMERICAN tLJAWLINSBAKER^ CHASE rEBgMgSK: ^Ipliiiill BARTEL"” „ CINCINNATI S55»'JB» BECKER

2&mwnSSsSHrSs University School of Music in that study.” EBERHARDSaSSS, ABROAD HAWTHORNE "•-m,.

HENRY de GUICHARO^SSP-'' HSSSSwvBS fashion, and I beg to congratulate you and your pupils.” INSTITUTE "-fleas r-si...,. FALK ““sasdSS&r: fE~tB'lxSSz MARKS'"TSgSS’c-.,. NEWKIRKJ5g8jk*K

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6. Thou shall take heed to what thy “ROUTE MARCHIN” hi, ,ery BY period. 7. Thou shalt teach thy fingers to obey best studies of all grades in attractive and convenient form for general use. The success of this work has been of the most GEORGE CHADWICK STOCK ; 3- Thou shalt use thy mind, both at them ^bble.nor be as sticks WRITTEN FOR AND SUNG BY spew w/and then hfjw"*1!^1 part of thy ,eSSGn every day’ DAVID BISPHAM lesson y 7 ° 1 a hy 9- Thou shalt not dislike scales; but Sung with big success at nearly all of Mr. Bispham’s recitals the past season r 1 , , shalt try to see the real good in them. Published by THE JOHN CHURCH CO. On sale in all Music Stores unkel tYhah n°‘ Pky With l0Hg and 10- Thou sha11. dil?geIIt,y k?ep these THEODORE PRESSER CO., suppS byfiuSer"nfai S’ Keep Ay handS commandments 80 that thy music days 80ap< ° Wa unto the uttermost parts of musicdom. 618 THl ETUJDE THE ETUDE 619 New Mud i- ^oks Richard Strauss and the Kaiser Music and Higher Education, by Edward, hig characteristic activity he was not con ten SUMMER MAGAZINE seasonable Dickinson. Published by Charles Scribner’s until he had done some valviable rese» Auhed Rausch, in his introduction t„ Sons. 234 pages, bound in cloth. Price, work and let the musical world have tpe READING Ernest Newman’s interesting little biog¬ WINTON SIX PREMIUMS raphy of Richard Strauss, tells us that ctrauss is “modern in all his artistic tastes, as the pictures on his walls testify. conditions srs: This love of all that is new and of this m century is part a: ‘ aasS^Ss’SCif^ SENECA FILM CAMERAS ££18*13*363$*

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THE MASTER WORK IN AMER1CAH MUSICAL EDUCATIOH A Few Among Hundreds of Tt TOUCH and TECHNIC Hi THE ETUDE By DR. WILLIAM MASON e!Sr“:™®g^lSP THE ETUDE Pavaag^. ^ The Life Work of Our Greatest American Piano Tea S3S«SSS£sE THE ETUDE FRIENDSHIP PINS sfiSiilM

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Whence Comes Inspiration? STANDARD SUE MODERN THEODORE PRESSER COMPANY, PHILADELPHIA, PA. INSTRUCTION BOOKS ELEMENTS By J. F. Rogers FOR THE PIANOFORTE IMPORTANT RECENT PUBLICATIONS OF MUSIC thoughts and feelings. No one can play Ail or an y of these Methods , fully Kl Some musicians play or sing im¬ “On Sale” peccably so far as technical achieve¬ Beethoven’s sonatas who does not know A PRIMER OF FACTS ABOUT MUSIC ment is concerned, and yet they move Beethoven personally, who does not un¬ books for young people FOR THE ORGANIST AND CHOIR MASTER derstand Beethoven’s outlook upon life, BEGINNER’S BOOK Questions and Answers op the Elements us not a whit. We examine them as School of the Pianoforte of Music so many curious automatons working who does not appreciate and feel in MUSICAL IDEAS FOR LITTLE FOLK’S SONG BOOK THE LIGHT EVERLASTING ANTHEM OFFERING By THEODORE PRESSER By M. G. EVANS for our entertainment. Their music is some measure his force of character, his BEGINNERS By WM. H. NEIDLINGER Price, 75 cents CHURCH CANTATA A COLLECTION FOR GENERAL USE not music, but mere mechanics. Other heroism under misfortune, his rough The latest work along lines of elanentary Instrucnon. The A unique book of Children’s Songs by one By J. R. GILLETTE Price, 50 cents This little work Is more than a primer; material used is entirely fresh and is presented in an attractive ON THE PIANOFORTE Single Copy, 25c Prepaid, $1.80 Per Doz. Not Prepaid «1,MC0Musical Notation graded and a pleasingly interesting course of rtudy. By GEO. L SPAULDING Price, 50 cents with music for young folks. The pieces mann ; “Beetles’ Dance,” Holst; “Serenade,” Herbert; “Roses de Boheme,” Kowalski; study. Mr. Tapper shows what knowledge By CHARLES W. LANDON The pieces and exercises are all short, attractive and of A volume of 27 pieces, each containing are all in characteristic vein and in spite and proficiency the teacher must have and effective technical value, the entire work being based upon the of their easy grade they are effectively “Silver Chimes,” Wettach; “Dancing Rivu¬ then makes clear how this may best be ob¬ A practical and intelligible presentation of author's wide personal experience in this field of musical one of the imperishable melodies of the written throughout. They cannot fail to let,” Drumheller; “Delta Kappa Epsilon,” everything writable in musical notation. The great classic and modern masters, preceded Pease ; and others equally attractive. tained. The hook is finely bound in cloth subject is treated in a manner calculated to by original introductory material by Geo. prove interesting to young students. The and comprises 224 pages. interest and instruct^even the dullest pupil; The Three Graces of Music Teaching Special attention is given to rhythm, time values and sight study of pieces of this type tends to de¬ reading. It is an ideal method calculated to awaken a sus¬ L. Spaulding and ad libitum text by Jes¬ velop genuine musicianship. tained interest in the study of pianoforte playing. sica Moore. A really unique idea. The SONATINAS FOR THE cises in these books will become a correct cover page of the book contains half-tone and rapid reader of music, vocal or instru¬ _Price. $1.00_ portraits of all the composers represented. PIANOFORTE SIX FOREST SKETCHES mental Blank pages with lines for writing By Dorothy M. Latchem music included In each book. RHYMING TUNES FOR LITTLE By A. SCHMOLL Price, $1.00 FOR THE PIANOFORTE Sent for Examination. Price, Complete, 50 cents LANDON’S PIANOFORTE A. B. C. OF PIANO MUSIC PLAYERS This is an educational work par excel¬ By F. FLAXINGTON HARKER Price, 50 cents lence. The book contains twelve of the Yes, six, all entertaining, as well as in¬ Books I and II, each, 30 cents Firmness. METHOD By MRS. H. B. HUDSON Price, 50 cents By HANNAH SMITH Price, 75 cents most pleasing sonatinas. Those who have structive, characteristic pieces by a well- couragement when none should be given. been teaching Clementi and Kuhlau in Have firm Convictions. Do not be led EASILY GRADED FOR BEGINNERS The author of this little book in her This new work should prove one of the known American composer. The music Is RUDIMENTS OF MUSIC This will hurt your self-respect as well opening paragraph says; “A teaching ex¬ best efforts of an unusually successful com¬ the past will find a very pleasing relief in of a fine character, far removed from the away by new fads and ideas, new ■n>is book is by . practical teacher who has proven the value these Sonatinas of Schmoll. They have commonplace, the kind of a volume the By WM. H. CUMMINGS as your pocket-book. Therefore do not of the method in his own work with primary pupils. The plan perience of sixteen thousand lessons has poser of pieces for the very young. “methods,” unless you see absolute truth of the book is thoroughly modem, including the use of the demonstrated the need of a more simple The work is largely melodic, the times gone through fifteen editions in the origi¬ best teachers are glad to add to their rep¬ In this work particular stress is laid upon say that “Mary is extraordinary” when Mason system of technics in its simpler forms. The teacher's form of piano exercises for children. This being, divided- between the hands nal French edition. This tests their popu¬ ertoire. In point of difficulty the pieces the teaching that the pitch of sound is rep¬ in them, but cling to fundamental princi¬ she is merely ordinary; nor that “Edith needs are also fully considered, a special feature of the work book is intended to precede any piano very little It : be ti n up larity and worth. Arranged in progressive third grade second Srade, verging on the resented by line* and spaces and time bv ples of good playing. At the same time, being the valuable suggestions intended o guide the teacher. method; familiarizing the pupil with the in conjunct.^ wuu ax. notes. The book is intended for piano and has perfect lessons” when this is far from These suggestions and directions are well worth the price of piano keys before taking up notation is tion, and the various r students and is do not neglect to keep abreast of the true. the hook and are applicable in connection with the use of any the principle on which the work is based. . theory. There times by examining, selecting and re¬ The book is illustrated in a manner to VOCAL COLLECTION-MUSICAL GAME Patience. impress the child. jecting, whatever the world has to offer Price,50 cent! of musical pedagogical value. Be patient. Can it be said of you as FOUR SONGS THE COURT OF MUSIC it has been said of Bach, “He exercised GUSTAV DAMM’S PIANO PIANO TECHNICS AND STUDIES By CARYL FLORIO Price $1.00 A DELIGHTFUL NOVELTY IN WRITING BOOK Honesty. great patience with individual pupils and A splendid set of songs for studio use, PLAYING CARDS By EUGENE F. MARKS Be honest. When a pupil asks your showed a happy faculty for teaching them. SCHOOL ELECTIC COURSE OF GRADED STUDIES IN SYNCOPATION to be taken up in conjunction with any Price, 50 cents WITH ENGLISH AND GERMAN TEH vocal exercises or studies of elementary or For Musical Exercises and Buies in Dicta¬ opinion as to her true musical ability, tell Instead of oppressing them by the excess OP. 1079 intermediate grade. These songs are unique Especially adapted for Musical Card. tion, Harmony and Theory, with practical her the truth, even if it does hurt your An excellent edilion of this widely used work, the popularity STUDIES in the fact that all lie within the compass Parties, _ Sociables, Clubs, etc. hints In Music Writing. Handy in lorm; of his genius, he drew them up to him¬ ot which may be judged by the fact that the original German By A. SART0RI0 Price, $1.25 of a fifth, E to B on the staff. Each song All of the regular card games—Euchi- pages ruled alternately for notation and pocket-book. The immediate financial in¬ self with words of friendly encourage¬ pjubjisher^has^issued no jess than two hundred ^edition sof it. IN PIANO PLAYING Too much stress cannot be laid on the has both Italian and English words. All Casino, Hearts—may be played handwriting, thus making it possible to jury you will suffer is nothing to that importance of these studies. They are really are carefully phrased, with interpretative with this pack, the difference being that, write special memoranda, rules, suggestions, ment, and it is certain that he could hSld ,tex.1. are correspondingly larger and dearer, making this the By J. M. BLOSE Price, $1.00 in some respects studies in rhythm, and one instead of hearts, diamonds, clubs and etc., opposite the musical matter written in you will suffer when parents warn each ideal edition for both teacher and pupil. spades, the denominations arp shnnw flafo the staves. It also contains directions as up to them no better example than his of the chief elements In music is correct The titles of the songs are: other that you are prone to offer en¬ own unwearied industry.” Price, Substantially bound in board*, large A practical course for pupils who have time. Without that you have jargon. notes and rests with the wing face to the proper manner of writing the char¬ quarto (329 pages). $2.00 some knowledge of the rudiments. To be A pupil who will take a course in this set “Ave Marla.” acters and Signs used in musical notation. taken up after the instruction book is “Fair Is the Sky, Ah Why?” finished. of studies will play in better time than Price, 15 cents An Enlarged and Revised Edition of before. In these particular studies synco¬ “Song of the Fortune Teller.” The book contains sixty pages, and one pation is the one thing. It is simply aston¬ WRITING PRIMER FOR MUSIC LOUIS KOEHLER’S PRACTICAL hundred and eight exercises! Those exer- ishing how pupils lag In the ready concep¬ What Berlioz Thought of Gottschalk as a Pianist clsils atl the beginning of the work are tion of this one subject. Our candid advise l practical vocal work. STUDENTS METHOD FOR PIANOFORTE extremely simple. is for teachers generally to put pupils A Series of Practical Exercises for Acquiring a Opu. 249; Volume I and II through these special lines of study. Knowledge of the Rudiments of Music By Edgar Wild Revised by the Author’s daughter FOUR HAND COLLECTIONS . CLARA KOEHLER-HEBERLEIN FOR THE VIOLINIST By M. S. MORRIS GENERAL STUDY BOOK This does not take the place of a writing ' 1 18 a w“rlt needing no introduction to teachers. Tlterc PRACTICAL TIME SCHOOL FOR VERY FIRST DUET BOOK book, but gives the pupil the necessary ma¬ xax-'T-Ltl'nrf^-*10118, bul edition oi the PRACTICAL PRACTICAL METHOD FOR By MATHILDE BILBROW Price, 50 cents METHOD IS recognized a, definite-it is the edition per THE PIANOFORTE FOR THE PIANOFORTE terial for practice in music writing: the verv Had the erratic genius, Hector Berlioz, sistible prestige, and give him a sovereign excellence for the AMERICAN PUPIL: nevertheless, A very useful book of studies and recrea¬ act of copying the notes, signs, and exercises been better appreciated in his own day, the 2“rnp‘?“ “lower than that quoted on some, and no higher THE YOUNG VIOLINIST tions, well adapted to accompany or to FOUR HANDS. OP. 824 power. He is an accomplished musician; By K. H. AIQOUNI Price, $1.00 Price, 50 cents world would be without some informing than that of the ordinary unrevtsed editions. Tcachcrs buying supplement any instruction book or method. By C. CZERNY Price, 60 cents . — introduction ^ he knows just how far fancy may be in¬ edM™ I™ rtKer dealer, should ask for the PRESSER ine most elementary method yet offered. The pieces are for both two and four Although lesser known that some of the A collection of easy four-hand pieces, suit¬ comments on his musical contemporaries. t IS possible to take un this work with thp hands. In the four hand numbers the other works of Czerny, his Op. 824 is one able for students in the First and Second “Theory Explained to Piano Students.’ dulged in expression. He knows the lim- of the most useful and practical. It is Sent for Examination Price, 20 cents His compositions ignored, Berlioz turned Volume. 1 and II, each, SOc. Combined. $1.00 and”!™* stu(3ents- It is logically arranged teacher is supposed to play the Secondo Grades. These are not “Teacher and Pupil Us beyond which any liberties taken with mu9trt.SfSSKS by easy staSes- The booh is part. The pieces for two hands and the designed to inculcate rhythm and playing in Duets,’ but they are duets which may be critic, as many less gifted composers have the rhythm produce only confusion and “e

Some of ttBe Unique Advasnteg'es of Sthuidyimig> In the Combs Broad Street Conservatory

% With the mighty advances in science, the various f To the earnest, capable and diligent student professions and business, there has come a corre¬ who desires to comprehend adequately and inter¬ sponding demand for higher standards of proficiency pret worthily a noble art, the Combs Conservatory offers unprecedented advantages. f The demands for higher standards of proficiency in teaching music as a science and an art have € Frequent recitals—four a week—are given by been anticipated as well as met by this school. the students to accustom them to public appear¬ <| For thirty years the Combs Conservatory, ances. These recitals are also of inestimable value under the inspiration and guidance of its Founder in kindling their ambition by enabling them to and Director, Gilbert Raynolds Combs, has lead observe the work accomplished by others. in applying advanced methods of instruction ^ Our complete symphony orchestra of 80 pieces founded upon scientific, psychological and sound offers the rare privilege of orchestra routine and pedagogical principles. exceptional opportunity of public performance An enrollment last year of thirty per cent, in with orchestral accompaniment. advance of any previous year in its history is evidence that the Combs Conservatory of Music ^ Eighteen of our pupils accepted by the Phila¬ has successfully demonstrated the EFFICIENCY delphia Orchestra; others by Boston Symphony of its methods of instruction. Orchestra and organizations of similar importance. ^ Our students are taught the underlying principles

WRITE TODAY FOR OUR YEAR BOOK ITS INFORMATION MAY OPEN gilbert raynolds combs A SUCCESSFUL CAREER TO director YOU AS IT HAS FOR HUNDREDS 1335 South Broad St., Philadelphia