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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1919 Volume 37, Number 09 (September 1919) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 37, Number 09 (September 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/661
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PRICE 20 CENTS SEPTEMBER, 1919 $1.75 A YEAR L THE ETUDE SEPTEMBER 1910 Page 537
NOTICE: -On January 1, 1919, the Subscription Price of THE ETUDE Advanced to $1.75 the Year 1 The Best Elementary | Educational Works | for the Piano H Just as the Master Craftsman uses the best tools and materials ^ to achieve master results so the teacher to achieve pedagogic |j success must use the best formative teaching material :: ::
TO The “Standard Graded Course99 and the “Beginner’s Book” stand unequaled in the number of copies sold and the other works mentioned below rank far above the average TO in the number used by the teaching profession. ^ The above facts are given as a solid foundation for the statement that among these works f^j the most discriminating teacher will find the one that satisfies, as | Each Possesses an Individuality that Appeals 8§ Standard Graded Course of Studies Beginner’s Book FOR THE PIANOFORTE SCHOOL OF THE PIANOFORTE, VOL. I. Compiled by W. S. B. Mathews by IN TEN GRADES TEN VOLUMES THEO. PRESSER PRICE, $1.00 EACH GRADE PRICE, $1.00 The Original Graded Course The “First Reader” in Piano Study Each volume supplies all the needed material for the grade The simplicity of this work has enabled many teachers to with which it treats, and in addition pieces for study diversion achieve speedy results with even the youngest beginner. are suggested The rudiments of music, notation and elementary work are Constant revising, enlarging and re-editing keep this system thoroughly covered in a most delightful manner. modernized and filled with the world’s best studies. The first grade of study up to, but not including, the scales Teachers desiring to use special systems for various purposes is the scope of this work. can readily apply them in conjunction with this course. Large music notes, illustrations, questions on the lessons and CONTENTS FOR SEPTEMBER, 1919 No other method has been so widely used in music many specially written exercises individualize this work beyond education. others.
Landon’s Foundation Materials New Piano Method Essential Helps in Elementary FOR THE PIANOFORTE By A. SCHMOLL PRICE, $1.25 Instruction IN TWO BOOKS PRICE, $1.25 EACH An Old "Stand-By” of Thorough Teachers The Popular French Method Includes special spelling lessons for the acquir¬ Primer of Facts About Music ing of accurate note reading. By M. G. Evans Price, 60 Cents The teaching, profession have here in the on Replete with careful directions to both teacher Note Spelling Book edition with an English translation, one of the me and student. Every lesson has a note explainin ; By Adele Sutor Price, 50 Cents. popular methods used in France. what should be observed and obtained from the study in that lesson. The studies are pleasing and Tunes and Rhymes Book One covers the necessary rudimenl progress gradually. By Geo. L. Spaulding Price, 75 Cents chord study, the major keys and major scales, in thorough and original manner. On the last pages an extremely illuminating ex¬ Very First Duet Book planation of fifteen different chord touches is given Price, 75 Cents Book Two is simply a continuation of the fir in conjunctioii with a like explanation on the art of book and takes the student through a course scale practice. Child’s Own Book of Great Musicians study up to about the Fourth Grade. The maxims at the foot of each page form a „ A Series of Ten Biographies for Children bit of musical literature that all serious students By Thos. Tapper Price, 20 Cents Each Throughout the work is attractive and is wit would delight to read. obtainabl °ne °" *^e most melodious metho
The Above Given Prices are Subject to a Liberal Discount to the Profession THEO. PRESSER COMPANY SotSImI PHILADELPHIA, PA. Page 588 SEPTEMBER 1919 THE ETUDE SEPTEMBER 1919 Page THE ETUDE A “Miniature Catalog” of Important Music Publications An Extremely Helpful List for the Progressive Teacher, Suggesting Many Valuable Works for Modernizing and Strengthening the Teacher’s Work. Select Material Now for the Fall Teaching Season »
PRIMERS -RUDIMENTARY WORKS | PIANO TECHNICS AND STUDIES LANDON, C. W. Writing Book for M. PIANO COLLECTIONS VOCAL COLLECTIONS Book II.8 K '°r BACH, J. S. Little Preludes MASON, Dr. WM. Touch and Technic: *p„t I A practical and easily'under! “ Inventions for the Piano actuation of everything writable “ First Study of Bach Leefsoi The Two Finger Exercises; Pari If Tul VOCAL ALBUM FOR HIGH VOICE. $1 Characters, leading to a full 1 “ Well Tempered Clavichord, VOCAL ALBUM FOR LOW VOICE .. 1 BERTINI, H. 2" - - ' ~ CHO.R. Sacred two part Songs for MEN S CLUB COLLECTION One of the most remarkable works in the SACRED DUETS. For all Voice. . MARKS,DE.aF?n'writi„g Book “ 25 Studies inoforte. Op I _ IK FOREWOMEN'S VOICES SINGER S REPERTOIR. 36 Songs Has pages alternating with staff’r BIEHL, A. Elements ot riano rtaying. Up. 311 AND HOME. Sxcred Songx, High Voice 1 STANDARD SONG TREASURY. 48 Son, BILBRO, MATHILDE. General Study Book. -•* '-igi, Low Voice.. I STANDARD VOCALIST. 50 Songs pSafnbgrUtodthen mn,0-r hand £=S;:,S'£F-*-3 . ...3DB. Sexen Memory Songx I TWO PART SONGS. Women's yoices site pageB Very'prati'ea/ nOUtlon First Lesson; MORRIS. M. S. Writing Priraer asGLEE SINGEIGERS’ COLLECTION. Mixed roieex. WOMEN'S CLUB COLLECTION. mrat a"ylindar?c*n0bMk°OT m?Uiod SUPPle' ing, Book I. , BUGBEE, L. A. First cT.de^Studie, Easy, ---ing, Book II. j “ STANDARD CRADED COURSE OF STUD¬ G,ade 0( Mj,odi' sutdie*..v.:: IES. 10 volume, 10 grades, each | ORGAN W RKS r?n^n^u^SIC^at^CH^ . Bo”k • u k'T* ™?. " ,he °r;Sinal. and in spite of dozens 499 "A„frChi'm ■ BURGMULLEr! f! °25 Studies, Op. 100 antra of pia’no'study^combi ““lp"“My ORGAN REPERTOIRE. Pipe Organ Collection 52 00 Bach, Mozart, Schubert, SchnE “ 12 Brilliant and Melodious Studies, Op. ioS del ehopin Beethoven Mend. iSoEtudcs de Cen'c. Character,.,, Etude, PRESSER, THEO. Velocity Studiea. Furnishes lANDON. C.ff. 'Writing Book for Mu.ic Pupil., Haydn and Wagner. Each. help in an unoccupied field. I 00 REED ORGAN PLAYER. Collection ol elaaaic Writing Book for Music Pupil,,’ Book L.' CHORDS AND ARPEGGIOS (Orem) MORRISON, R. S. 10 Characteristic Studies i„ and modern pieces. 7S CLEMENTI. M. Gradus ad Parnassum. ROGERS, J. H. Graded Materials for Pipe Organ. CONCONE, J. Selected Studies Fr hd *r”dinTr,ia”iri ^
theo. presser company! M supply house^'c Philadelphia. Pa. Page 540 SEPTEMBER 1919 THE ETUDE
,, • v, W//- • - -- - - ^ % •• --- ■ —- Your GOOD MUSIC Finger Tips 1 “Summer Showers” in Condition A delightful serenade carefully and correctly phrased and ri I fingered. The tremendous populanty of Mr Rub a little Ingram’s Milkweed Cream Logan's waltzes, “Missouri" “Blue Rose" into the tips of the fingers twice daily and “Moonlight” prompted our THE ETUDE and the hardness and toughness that publishing this inspiration. VOL. XXXVII, No. 9 constant practice at the piano brings SEPTEMBER, 1919 Single Copies 20 Cents will soon disappear. This treatment is of exceptional value to the pianiste or violinist who wishes to keep the flesh A Friendly Circle and when the three little ones came “daughter” gave up her of her finger tips in proper condition. place in the choir and sang lullabies to the babies. The privilege of editing The Etude for twelve years Ingram s Milkweed Cream is best known The husband was killed in an automobile accident. The has been a real joy to the present editor. Best of all has been for its ability to tone up the skin tissues insurance he left was barely enough to keep the house rent paid. the splendid friendly spirit displayed by our thousands of and to keep the complexion colorful, Of course “daughter” started to teach. Teaching was her one | m readers who write to us continually. Nearly every letter con¬ soft, and free from blemish. Applied money-earning accomplishment. Soon she moved to the ad¬ to the hands it will keep them soft, tains a message of inspiration and appreciation. We intend joining city and opened a “studio.” People liked her, and she white, and attractive in spite of dish¬ in future issues to print a few of these letters that come to us worked hard. At the end of two and one-half years she found water and housework. commenting upon various features in The Etude and com¬ that her income was over fifteen hundred dollars a year—that paring experiences in the field. We value this spirit of friend¬ Buy it in either is, her profit. ship as one of our greatest assets. Our readers know that What did $3800 earn at 5%? Wasn’t it $190 a year? 50c or $1.00 Size we have a genuine desire to help‘them in every possible way Did it pay? Can’t you hear old “Pop,” somewhere in the great and we know that they are willing to go out of their way to beyond, chuckling, “Well, darter, I guess that was a preety Ingram's Rouge help The Etude and bring more friends to it. good investment, after all.” American Symphony Orchestras The Philadelphia Convention Within the last decade, American Symphony orchestras Lig““M~"i,hC"'5£J,““lyp'rf"”'d' s"lld “k‘'- iw.’U,- The coming convention of the Music Teachers’ National have developed so remarkably,, and European orchestras have Association, at Philadelphia, Dec. 29, 30, 31, is attracting wide suffered so greatly because of the war, that we may be exceed¬ attention among the active music teachers in all parts of the FREDERICK F. INGRAM COMPANY ingly proud of our present standing in the musical world. The country who see the advantages of this important gathering TT o A n -j Established 1885 very fine orchestra, which the French Government sent over to of leading educators in music. It should be a matter of pride Can a d^aSnR e sfd eTi F' r8?™ 9°'’J3 Tenth St‘> Dctmh’ Mich., U. S. A. us last spring, was heard with delight in all parts of the coun¬ with every American music lover that the teacher-body of our Australasian Residents, ^S^'aSS try, but it did not surprise us, because America has already country has supported an organization of this kind which has become accustomed to as fine orchestral playing as may be survived forty-three tears. “The Song Beautiful’’ heard anywhere in the world. , The Association was begun when Grant was President of 11 It seems highly necessary that a conductor should be with the United States. The electric light and the typewriter were an orchestra for some considerable length of time in order to AA1PP,CA’S MOST DISTINGUISHED MUSICAL VISITOR “Our Yesterdays” just beginning to startle the world with their possibilities. bring about the best results. The element of personality and .V? Se5pei Rachmaninoff-regarded by many as the greatest FRANCIS LAKE’S WONDERFUL POEM Aerial and submarine navigation, the X-Ray, Radium, to say individuality play large r61es. The Philadelphia Orchestra, living Russian Composer— will be the subject of a Special nothing of wireless telegraphy and telephony, were still the at the end of the first year of*Mr. Stokowski’s highly success¬ dreams of mistrusted enthusiasts. Jules Verne still had a ful engagement, showed advance, but it was nothing to the monopoly upon the territory of imagination. Practically all Philadelphia Orchestra of to-day. Mr. Stokowski has made Published in 3 keys of Africa and much of South America were still dark continents. RACHMANINOFF NUMBER the orchestra his orchestra, and he is best known throughout The population of the United States is over double what it was |MKP, /) . LOW the musical world for his achievements with this orchestra. when the M. T. N. A. was founded. Our wealth is said to be The Etude Let us hope that Mr. Gabrilowitsch, Mr. Damrosch, Mr. nearly ten times as great. We have fought in a great war Monteaux, Mr. Stock, Mr. Stransky, Mr. Bodansky, Mr. Zach OCTOBER = = 1919 and in two small ones. New countries have been formed the and others may continue long ire their present posts, that they world over and the Atlantic and the Pacific have been linked may work constructively for the orchestras which they direct. ,-1 -—-- millions of times by Uncle Sam. All this in the lifetime of the M. T. N. A. and his concerts in our country have drawn throngs unequalled since the early days of Paderewski. Did It Pay? In the forty and more years of the life of the Association practically all of the representative American music workers Rachmaninoff has 8'ven The Etude es- “Pop” spent a lot of the principal he and “Mom” were -—-;- pecially for this issue a very have been connected with it. Its present membership and officers saving up for their old age, to “train” “daughter’s” voice. It graphic view upon modern musical development. are a credit to American musicianship and musical education. There will also be ,n this issue, compositions by cost about $3800, that two years in New York, London and The number ought to be five times as great. Membership costs this master and the first authenticated biography Paris. Thirty-eight hundred dollars at 5% yields $190.00 a of him to appear in English. P7 only $3.00 a year and every sincere American music worker Rachmaninoff’s latest piano¬ year—and there was a time when $190.00 would go a long forte composition will ap¬ uP°n a*l mannerof ought to be enrolled as a member. Application may be sent to Abundance of Material way on the farm. pear for the first time in Charles N. Boyd, President, at 4259 Fifth Ave., Pittsburgh. this issue. “Daughter” came back and sang. But somehow New The Etude naturally takes a peculiar interest in the York was not staggered. Indeed, the one and only paper that issue you will want to preserve for years to come coming convention, since it was at the invitation of the founder did realize the fact gave six lines of eight-point type to the of The Etude that the first group of zealous pioneers went artistic event. to Delaware, Ohio (where the founder was then engaged in Turning Waste to Profit The voice that was so sweet and pure when heard over the teaching music at the Ohio Wesleyan University), and there Millions have been made , , brass rail in the little church at “the corners” sounded like a tures. Thousands of American music teachenfUC^ t0 P™fit in manufac- organized one of the oldest and most important music teacher during each day a little timp ,, and ™US1C students have thin thread in the great New York Hall. The critics winked, bodies in the world. We earnestly hope that all who are plan¬ yawned, and went out before the program was half through. ning to get to Philadelphia during the Christmas holidays to “Daughter’s” teachers had done their work well, but the voice attend this convention will know that they will be doubly wel¬ at best was a small voice; and “daughter” wept on “Mom’s” come as visitors at the home of The Etude. of buying an occasional copy §at the news stfnA? j ♦ut re8?lar,y instead shoulder, went home and joined the choir. when some of the best features occur. Write this onV^T8'1!8 montl\s “Pop” and “Mom” struggled and “scrimped” along a On Sale where Good Music is sold or direrr f T few years, living on a little less. Then they died. There is need for strong organization among the musical educational bodies of America—perhaps we may sometime see » as pa-tiZZttirh. Price, postpaid, 40cts. per copy"1 ^ Pub,ishers “Daughter” married a “real nice young fellow,” who dressed finely and had the “route” for all the drugs and candies our State organizations affiliated with the National after the The Etude Theo. Presser Co. POSTER MUSIC PHILADELPHIA, PA. sold in the" general stores in the county. They lived well. manner of our Congress at Washington. m I 736 South Michigan Avenue. CHlPAnn]^* In°* V mgrpqg - /
B > ^ ■■ ^ - -■___ _ : •- " ' s ' V v- ' 7 SEPTEMBER 1919 Page 5^3 _ THE ETUDE
Justice or Prejudice Those Bad Debts We arc too near the great day at Versailles, alien the In these days there are not nearly so many bad debts to groiip of peacemakers—largely teachers and writers like face as formerly, when music teachers gave their lessons and W ilson, Cleraenceau, Poincare, George, Orlando, Nitti and then collected—when they could. Practically all city teacheis others—determined the future of the world, to estimate what at least demand payment in advance—usually ten weeks in Strong Fingers, Strong Arms, Strong Technic may be the attitude of America in the matter of German music. advance. I he fire-eaters M ould renounce everything German in the Bad debts, however, do come, and we want to help teachers Physical Culture Exercises Backed with Right Living Help to Build Sound Technical Background musical world—even Beethoven, who brooked the all-powerful to find out the best ways to collect them. Business houses have Napoleon when Bonaparte forgot his democratic ideals and a series of means of doing this before putting the matter in the By ALLAN J. EASTMAN m aspired for the autocratic heights which ruined him. The lawyer’s hands for suit. The conscience of the debtor must be bitterness which follows the horrors and the injustice of war very sharply wakened. Whether you have ever thought of it in this light or Interest and Muscular Growth naturally lives for many years. On the other hand, it must be So much has been written in recent years about the One shrewd old merchant of .the Hebrew faith used to need for mental technic that it would seem as though not—it is what actually occurs. Therefore,, the ability Generally speaking, the body generates two poisons, remembered that the thing that the world fought in the Central employ this trick: If a debtor failed to respond to his requests the actual technical machinery operated by the brain to recognize the time to stop to rest is a matter of which must be eliminated after action, or the giving Powers—the military autocracy—is, for the present at least, for payment and showed no sign of recognizing the debt, the had been wholly neglected. The best captain in the great importance to all piano students. It is simply out of energy. These are carbon-dioxide, which is abolished. The world cannot hope to convert Germany to the merchant sent the debtor a bill for exactly twice the amount. world is helpless with a hopelessly unseaworthy ship. that of watching for the signs of fatigue, and then taken care of by the lungs, and lactic acid. These highest ideals of democracy, as we see it, if we continue to This usually brought the debtor around ready to contest the The ideal combination is a fine captain and a fine having the good sense to rest until the mind and body poisons, when applied experimentally to a muscle in new every move through the eyes of prejudice. Germany is matter, when the merchant gently suggested that it was time ship—a good brain and a good body. Good health is catch up. the psychological laboratory, immediately reproduce ofien the last consideration of the piano student who The old stories of the piano students in European broken and dilapidated by the war. She has been humiliated to make a payment. He usually got something on account. fatigue in a startling manner. On the other hand, a stupidly goes on exercising his fingers and his wrists conservatories, who practiced and practiced until their secretion known as adrenalin, coming from capsules in endless ways and punishment severe and long has been meted We do not believe in tricks in business, but this one was out to her for the despoliation of her neighbors and the destruc¬ and his forearms, which, in many cases, are little bet¬ arms were almost paralyzed, are simply chronicles of located above the kidneys in the human body, has a so cute and effective and showed such a keen knowledge of ter than dying branches on a sick tree. tion of the equilibrium of the society of the entire world. She very bad teaching. marvelous effect of averting fatigue. This secretion human nature that we have noted it. The human piano-playing machine, and it is a mar¬ Many piano students have failed because they have has accepted her punishment and has signed the contract to is increased under the influence of interest and excite¬ How do you collect your.bills? We M'ould like to have you velously beautiful machine, this human body of ours, not recognized this simple principle until it is too late— ment. Therefore, interest in one’s work postpones fa¬ expiate her offenses as set down by the treaty between the tell others. What is the best method you have found for mak¬ demands the following things: Alhes. the principle of resting at the right time. Many of the tigue and enables the piano student to do things which ing an indifferent debtor come to terms? Send us a letter of BOO Good food strained hands might have been averted if teachers had he might not be able to do in its absence. Francis llie question of fair-minded American musicians is: “How words on this subject and we will award the following prizes Frequent bathing insisted upon more rest periods. Galton, a noted English authority, has pointed out: much shall we deprive ourselves of the German music, which Fresh air for the best letters and pay for others used, at our regular “A man with no interest is rapidly fagged. before the war we patronized with unfeigned zeal?” Surely we Exercise Food That Makes Energy rates: Prisoners are well nourished and cared for, but 'shall not forsake the classics—the beauties and wonders of Rest It is a well-established fact that one of the chief First Prize—Ten Dollars. they cannot perform the task of even an ill-fed the art works from Bach and Handel to Schumann and Men¬ Neglect any of these things and ill health is very sources of bodily energy (force) is to be found in Second Prize—Five Dollars. and ill-housed laborer. Whenever they are likely to result. Much bad piano playing is directly the class of foods known as carbo-hydrates (starches, delssohn—men who hardly dreamed of a Zeppelin or a Sub¬ Third Prize—A subscription to The Etude. forced to do more than their usual small due to indigestion, a sluggish skin, bad air, too little sugars, etc.). These, when oxidized by the blood, are marine—because Germans of a present generation have warred amount they show all the symptoms of being exercige and overwork. translated into force. These elements should not be with us. That would hardly be characteristic of the mag¬ overtaxed. An army in retreat suffers in every Tonsorial Harmony Too much meat, too much sugar, too much starch, neglected in the diet of the student who is called upon nanimous spirit of Washington, Grant, Lincoln or other Ameri¬ way, while one in advance, being full of hope, The American insatiable appetite for variety is said to too few green vegetables and too little bodily exer¬ to do a great deal of mental and bodily work. Too can makers of America. may perform prodigious feats.” be an outgrowth of our breezy, activating climate. More likely cise may lead, not merely to an indolent mind, but to much sugar and starch is as bad as too little. The present time does offer, however, a magnificent oppor¬ it is the intense ebullition of the mixed pioneer blood from scores a body §o filled with toxins that the fine dexterity On the other hand, the student should remember Daily Physical Exercises for Pianists tunity to continue the development of our native resources as of races. However, we must have new things and we must have demanded by piano playing is an impossibility. that these substances to be of value must be oxidized There are no general exercises that might not be well as to investigate the musical riches cf our allies. The in the blood, and that to accomplish this the student them continuously. In music it is new rhythms, new tonal beneficial for the piano student. The only care that immense German influence in music in America in the past has Why Muscles Become Weak at One Time and Grow should have as much good, pure air as he can possibly quality and new harmony. need be taken is to protect the hand from over-use or quite naturally favored the promotion of German music possi¬ Strong at Another secure. Air is free, but, like many of the best things Thus do we account, for our ragtime with its inebriate rough use. However, the average student often makes bly to the exclusion of the music of other countries. Manv The intelligent teacher and the piano student should in life, we do not avail ourselves of it. swing, for our “jazz” with its orgy of cacophonic instruments, take a pride in knowing what modern research in phy¬ the serious mistake of not exercising sufficiently, under of the German, conductors have, nevertheless (in all justice), It has been demonstrated at Bryn Mawr College and siology and psychology has found out about muscle the excuse of possible injury to the hand. ifor "ur barber-shop chords’.’ so dear to the heart of the in public school systems, in various parts of the coun¬ displayed great initiative in introducing works of the com¬ fatigue and muscle development. The amazing change that took place among our sol¬ Wi.lie Boy Quartet.” (Already we realize that we ought to try, that the increase in the amount of fresh air greatly posers of other countries. Above all tilings let us cleanse our¬ What happens when there is any kind of muscle or diers after a few months of camp training was a reve¬ stop here and present our numerous valued readers in the Brit¬ adds to the student’s ability to develop his mind and his selves of prejudice and be just. mind activity? There is a liberation of energy and lation to thousands of American families. ish colonies with a Glossary of American musical slang.) body. Children studying the year round out of doors a disintegration (destruction) of tissue in the part of It is nothing short of a crime for anyone to work produce mental results far superior to indoor classes. II The “Barber-shop chord”—(“barber-shop” doubtless be¬ the body or' of the mind being used. continuously at the piano keyboard for more than two cause of the custom of young men in some country towns to The best comparison is the explosion of a charge of What a potent lesson there is in this for the sensible or three hours at a stretch. The sedentary worker Dead Pianos piano student in these days of keen competition. make the barber shop the evening meeting place, and then and gunpowder in a gun, although this is not scientifically must punctuate his days with frequent excursions into One other remarkable phase of study stressed by the One of the greatest tragedies of America are the sepul¬ here join in voed harmony) is-nothing more than any one of accurate. After the gunpowder is discharged the gun the open air or else he will surely pay some very dis¬ cannot be fired again until the powder is replaced. In psychologist in recent years, and one which the up-to- chres of American homes, the parlors, the sacred rooms of the chords variously known as the added sixth, augmented sixth agreeable penalties in the form of ill health. Moreover, somewhat similar manner the mental and bodily date piano student can well afford to take into serious yesterday, visited only occasionally by the members of family augmented seventh or Neapolitan sixth chords. If your technic sources of energy are replaced through the marvelous consideration is the astonishing effect of the emotions it is the opposite of economy not to take exercise in the open as frequently as possible during the day. It ami then in a spirit of formality. Therein reposes the unused in Harmony does not make this clear to you we can, perhaps, processes of nature. upon fatigue. Let us look into this. often happens that results, which otherwise piano—as dead and silent as the Sphinx. help you identify one famous “barber-shop” to be found in’ Prof. Edgar Swift has pointed out that a might take months, can be accomplished by There are thousands of dead pianos in America—supposed iSevms Rosary accompanying the word “dear” in the line man walking at the rate of two miles an hour gives out three-and-one-half times as much the well-exercised and well-aired body in a monuments to the culture and refinement of the family pos¬ The hours I spent with Thee dear Heart.” Here Nevin has carbon di-oxide (the poisonous gas generated few weeks. used the chord very artistically, but in many instances the sessing them. When will people see that it is not the instru¬ in the lungs during breathing and purifying There is no proprietary claim to the fol¬ chords are dragged in without reason or effect ment winch bespeaks culture, but the appreciation of the the blood) as when the same man is asleep. lowing exercises. Others might be devised In most cases they contribute a kind of mawkish, artificial which would do quite as well, possibly better. music which the instrument can make. Far better a player- In other words, during action our muscles sweetness which soon cloys upon the healthy musical appe i e are in a process of dying and being reborn. These, however, are exercises which the . piano that can be used by one who is a technical ignoramus, \ ct America at least that part of America demanding pip This process practically never ceases during writer in his personal acquaintance with in¬ than a dead piano. Real musical culture, however, is highest songs, likes the “barber shop” and few sentimental ditties of - lifetime. The rapidity with which it occurs numerable teachers and piano virtuosos has developed in those who can play the instrument creditably. day may be found without at least one. Like the weather depends upon how fast or hard we use our ‘ heard recommended and, having tried them Resurrect your dead piano, even if you have to go out into the minds and bodies. out with his own pupils with successful re¬ sults, they are given here: highways and byways and bring in some little child and have If the pianist in his mind or body effort j $: Srr ^ uses up his energy faster than the normal turn taught at your own expense. Have you ever thought of alley.” How long will this appetite last? Shall ™ rate at which the blood stream can refeed his Exercise I. that opportunity? Better still, learn to play yourself. It is a prohibition movement making these tearful W, • • muscles or his brain, he becomes tired. never too late. J General Exercise for the Torso The torso is the upper part of the body, Stops When Fatigue Approaches that is from the waist up; by exercising it Here is the point which the student must as described many of the muscles of the back note most of all. It is absolutely useless and and sides are cultivated as well as internal OCTO«ERR'ShM^INOH Tue'ct™'D^OTmLTOCTm'^
this is often written by the inexperienced and is not subjects of modulation and chromatic, or borrowed A Musical Gas Stove unpardonably bad; it would be easily avoided by hav¬ chords. Such harmonies as the augmented sixth, too, It would seem that every imaginable means had ing either or G# in the bass instead of G. may be considered as the frills upon the garment of St. been utilized to make sound in musical instruments. 3. Doubling weak notes in the bass. Cecilia (a pretty conceit, that!) and can easily be One of the most extraordinary of the present day is When the bass has the third of the tonic, dominant acquired later. If you want to learn music I have the Choralcelo, an instrument in which an electric cur¬ or subdominant chords these notes should be omitted here given you a notion of how to start. Train your rent, operating through bars or chunks of wood, steel, from the right hand part. Example: ear, train your ear and never leave off training your brass and other materials, produces a very beautiful ear. Harmonize all the tunes you can get firstly with organ-like tone. These instruments are very expensive the three principal chords of the key, learn how cad¬ and are found principally in the homes of million¬ ences are approached and managed, learn to use the aires and in moving picture palaces. The tone can be dominant seventh and that will introduce you to the varied, however, so that it resembles many of the way one chord has to follow another. Make tunes— instruments of the orchestra. ever so roughly—for yourself, learn to harmonize these One of the oddest musical instruments, however, is the concerto on the organ).” In these concertos Chromatic notes should not appear in both treble and Purcell and the Organ with a b(iss only; leaving the fill-up notes till you can what might be called a musical gas stove. It war, in¬ It is unquestionably interesting, although occasionally Handel often introduced an extempore cadenza. bass, and when a chord of diminished seventh is being Transferring our attention from the violin to the really hear the bass with the treble. I have not wasted vented many years ago by a man named Kastner, and somewhat irritating, to observe how many musicians, Thus in the second movement of his Concerto in U employed whichever note the bass has should not be king of keyboard instruments, the organ, it is well to time iri describing the shape of a tune, because a per¬ it consists of a series of resonant tubes, each, contain¬ often of premier rank, fail to receive adequate credit minor, the 4th of the 2d set, we have no less than doubled in the right hand part. remember that Henry Purcell (1658-1695), the greatest son who cannot feel how verse and music go hand in ing a gas jet. The burning jet causes the air in the for some of their most remarkable characteristics or six passages in which, over a rest or pause in the Plain broken chord arpeggios are all that the begin- composer of his age, was no mean performer upon the hand is not likely to want harmony lessons. tube to vibrate, producing a tone. The name of the activities. This is especially the case in regard to their orchestral parts, are written the words organo ad rier can invent, but after some experience he will per¬ English organ of his day, which instrument, although Finally, while trying your very hardest to hear the instrument is a'pyrophone. There are few in existence. knowledge of, or performance upon, keyboard or or¬ libitum, a direction to the player (in this case Han¬ ceive how these can be made more agreeable and inter¬ possessing several manuals and some variety of stops, sound of what you write, guard against the temptation chestral instruments; many composers being credited del himself) to extemporize at discretion. Some esting by the occasional insertion of passing notes, as lacked the modern compass and was practically desti¬ to write by the eye, and though it is of the greatest as special performers on instruments to which, in many idea of this extempore playing may be gathered in the third version of the bar just given. The inven¬ tute of a pedal clavier. Purcell’s facility on this type importance to be able to dispense with playing every¬ cases, they were not particularly partial; while, per from an account of his performance at Oxford, in tion of such figures of accompaniment, as they are Rules and Scales of organ, which called for a special style of playing, called, cannot be taught, but it can be and will be thing on the piano, you cannot do so at first. That contra, many distinguished musicians have failed to 1733, on the occasion of his receiving a doctor s power, like all others, will come only by earnest prac¬ receive proper honor for the understanding and mas¬ is sufficiently indicated by the fact that, in 1680, Dr. degree from that university. Festing, the violinist learnt when the student gets critical and fastidious By Edward Kilenyi, M.A. John Blow, his former teacher, is said to have re¬ tice. You may help it thus, as I did when a boy. tery of the very instruments in which they were most and Dr. Arne, the composer, both of whom were over his work. He will then perceive that part-writing signed his position as organist of Westminster Abbey Notice the sound of a chord or a simple passage as interested. ... amongst the audience, assured Dr. Burney, the his¬ consists in adding passing notes to harmony notes in Scales are not and never have been made after rules. in Purcell’s favor, returning and holding it for sev¬ you play it, then presently put your fingers silently Taking as our first example the case of the violin,, it torian, that “neither themselves nor anyone else of such a way as to convert every fraction of an arpeggio They have resulted from the process of endeavoring tn eral years after Purcell’s untimely death. In 1684, into a fraction of a melody. (Look back, for instance, upon the keys and you will probably be able to recall must be obvious to all our readers that no great violin¬ their acquaintance had ever before heard such ex¬ make music. There are “laws,” which are often con¬ ist or violin composer could appear before the second Purcell, as one of the most distinguished organists of tempore or such premeditated playing on that or to the first example in my chapter on Passing Notes.) the sound. Try this with all sorts of chords and all sidered to be “rules.” These laws were established his age, was engaged by “Father” Smith, the celebrated Music is not clumps of notes taken separately or suc¬ sorts of passages very frequently, and when you feel half of the 17th century; as it was not until that period any other instrument.” As Sir John Hawkins put after the music had been composed and the scales al¬ that the Cremona school of violin manufacture, headed organ builder, to show off the powers and possibilities it: “His amazing command of the instrument, the cessively; it is melody in from one to N parts, and you are improving, put your fingers on the table instead ready made. The origin of the first scale will clearly of his organ recently erected in the Temple Church, in those who ignore this fact may talk till all is blue about of the piano and try if you can think the sound. So by Nicolo Amati, and his pupils—Guarnieri and Strada- fullness of his harmony, the grandeur and dignity illustrate this point. In fact, we will see that tin vari—came into being. Only with the improved in¬ opposition to another instrument erected in the same “self-expression” and “emotion;” they may impose by gradual stages, always trying, you will coax your of his style, the copiousness of his imagination and tion of the first scale had but little to do with music. struments could there arise the really great performers building by a rival builder, Renatus Harris. The con¬ upon you for the moment, but they will never produce inner ear to wake from its slumber and you will be the fertility of his invention were qualities that ab¬ It originated in Chinese religion, thousands of years thereon. The man in this case was Arcangelo Corelli test, known in history as “The Battle of Organs,” music that will live. able at last to hear not only what you see, but sounds sorbed every inferior attainment.” And this on an ago. “The Chinese say that there is perfect harmony (1653-1713). As the greatest composer of his age, of eventually terminated in Smith’s favor, to which re¬ I think it would be out of place in this elementary that do not yet exist. I can assure you it is worth organ practically destitute of a pedal board and of between heaven and earth; and that as the number i music for stringed instruments, he is justly recognized; sult the brilliant playing of Purcell must have con¬ almost every modern contrivance or convenience 1 series of papers to discourse to you on the interesting trying for. is the symbol of heaven and 2 of earth, any sounds that but many fail to realize that, as a performer and tributed to no small extent. These facts, selected from For performance upon the modern organ, Handel s are in the relation of 3 to 2 must be in perfect har¬ teacher, we have in Corelli the founder of a school many which might be mentioned, should prevent us Concertos have been rendered available, in a man¬ [Editor’s Note.—We have persuaded Professor Gorder to supplement the mony. They accordingly cut two tubes, one of which which, as developed by Somis, Pugnani, Viotti, and from forgetting Purcell, the organist, while rightly ner at once masterly and musicianly, through the foregoing with special lessons upon modulation, chromatic chords, etc., all is two-thirds the length of the other, thus obtaining Baillot, practically created the art of violin playing as recognizing Purcell, the composer. Nor is even the arrangements of the late Mr. W. T. Best (1826- the interval of the fifth, and took the sounds which dealing with the important subject of rational study of the main principles we have it to-day. Nor is the worth of Corelli’s music greatest contrapuntist of all the ages—Johann Sebas¬ 1897), the first organist of St. George’s Hall, Liver¬ they produced as the basis of their musical system. Ac¬ of composition. However, we urge upon the reader who has been following to be discounted by the fact that, although considered tian Bach (1685-1750)—altogether free from mis¬ pool, and the greatest organ virtuoso of his or any cording to the same story, they went on to find out at the time of its production to be of almost insur¬ understanding with reference to his principal instru¬ subsequent time. Mr. Best has also enriched these these remarkable lessons to take this opportunity to review them not once other notes by cutting a series of twelve such tubes, each mountable difficulty, it is now deemed suitable for ments. Of course, the first of these was the organ, Concertos with some fine original cadenzas of his but many times.] of which was two-thirds of the next longer, thus ob¬ comparatively elementary students. And although we “whose powers he developed to the utmost extent pos¬ own, which he played at some of his public perform¬ taining a complete series of semi-tones.” (Twelve sible,” and for which, during his Weimar period (1708- fifths.) may all know the story of Corelli’s inability to execute ances of these works at the Handel Festivals, at to Handel’s satisfaction that irate master’s overture to 1717), he wrote some of his finest works. From 1717 McDowell gives the following account of the origin the Crystal Palace, London. 11 Trionfo del Tempo, in which occurred passages, in¬ to 1723, while at Cothen, the organ is less prominent; Leaving Out Notes of the Indian scale: “Vocal music began when the volving the 7th position while Corelli’s technique but from 1723 to his death, while Cantor of the St. Mendelssohn, Pianist and Organist first tone could be given clearly; that is to say, when the ascended only to the 3d; yet, like his works, his Thomas School, at Leipsic, he returned to his first love Although one of the most cosmopolitan of com¬ By Benjamin V. Gardiner sound sentence had amalgamated into a single musical violin playing, as Paul David remarks, “not only hin¬ both as regards performance and composition, this posers, as a performer Mendelssohn was distin¬ tone. The pitch being sometimes F, sometimes G— , D° you leave out notes ? Thousands of inexperienced dered a threatened development in the wrong direction, being the period to which we owe the publication and guished only upon the piano and organ. Concerning dominant seventh is a good example. In the Key of the normal tone of the human voice—sudden emotion piano players do. They assume that the composer has but also gave to this branch of musical art a sound most probably the production of those unrivalled com¬ his organ playing, old Karl Haupt (1810-1891), the C this would be the chord G B D F, reading from the gives us the fifth, C or D, and the strongest emotion put in just so many notes in a composition to give it the and solid basis, which his successors could and did build positions, the St. Ann’s, the B minor, and the great E Prussian organ virtuoso, is said to have been fond lower note up. These notes usually resolve in the the octave F or G. Thus we have the following sounds minor Preludes and Fugues. Of keyboard instruments effect of richness or fullness and if a note in a chord in our first musical scale: upon successfully.” Although resident for the larger of relating, to the accompaniment of sundry pinches is left out it makes very little indifference. following fashion: F resolves on the E below it. D portion of his life in the palace of Cardinal Ottobom, of percussion, Bach’s favorite was the more expressive of snuff, that Mendelssohn’s fondness for Bach’s True, in many instances it does make very little differ- resolves either up to E or down to C. B resolves up at Rome, and buried with almost princely honors, there clavichord, in which the string was pressed by a wooden little E minor Prelude and Fugue was due to the ference, but in others it makes a very serious differ¬ to C, while G goes down to C or up to C. Try this is every reason to believe that Corelli’s end was has¬ tangent, and not plucked by a “jack” or quill, as in the fact that that composition was comparatively easy ence. This is particularly the case in what is out on your piano. This chord often appears inverted tened by the failure of his visit to Naples in 1708, case of the harpsichord. But in style and treatment, and, therefore, not beyond the limitations of his known as dissonances. Christiani in his Principles of —that is, with the notes in different order—let us say where the courtesy of Alessandro Scarlatti could not many of Bach’s clavier compositions suggest the harp¬ technic. This, however, is an unwarrantable insinu¬ D F G B. Suppose in the resolution of this chord E prevent his limited technique from becoming apparent sichord rather than the clavichord. His technique was Expression in Pianoforte Playing, describes a dis¬ We know how singers slur from one tone to another. ation. As Mr. Cuthbert Hadden once wrote, the sonance as “like a thorn in the flesh—something foreign were left out with the resulting chord of C G C. The to the 'Neapolitan cogniscenti, and also by the fact that i*nsuited to the piano; and this, coupled with the mani¬ little E minor was a great favorite amongst emi¬ The jump from G to C would be slurred. Now the fest and manifold imperfections of such earlier speci¬ which must be removed—something aggressive which effect would be very bad for many reasons, one of distance from G to C is too small to admit two tones upon his return to Rome he found his place as a popu¬ nent organists (e. g., W. T. Best), whose technical must be appeased—something jarring which must be which is that the dissonant note F is unresolved. All lar violinist usurped by a performer technically and mens of the instrument as he encountered in his later attainments were far in advance of those of Haupt such as the savage knew; consequently for the sake of years, may have led to his being credited with the re¬ euphonized.” The dissonance must be converted into students should become acquainted with dissonances uniformity, he would try to put but one tone between, artistically his inferior. and his school. Further, the facts of history are all consonance by resolving, or leading, one or more of mark that there were only two beings who could con¬ and for this reason the writer recommends The Begin¬ smgmg a.mixture of A and B flat, which sound in time dead against Haupt’s rash assertion. For instance, its notes to others which make a consonance. The Spohr, Violin Virtuoso Composer struct a piano—its maker or the devil. Bach was also ner's Harmony. fell definitely to A, leaving the mystery of the half¬ on September 10, 1837, when in London, Mendels¬ tone unsolved.” Living in an entirely different age, and possessing a a skilful violinist, and the favorite instrument of his sohn undertook to play the postlude at a service in musical equipment infinitely superior to that enjoyed later years was the viola, because, says Forkel, it placed Similarly interesting accounts could be given of the St. Paul’s Cathedral, but, as Mr. F. G. Edwards by Corelli, but a mental attitude by no means dissimilar, him “in the middle of the harmony, whence he-could remarks, “instead of playing the people out Mendels¬ Be True to Your Own Musical Tastes sca?esS °f thC f°Il0WIng more or less frequently used was Louis Spohr (1784-1859). To the ordinary reader best hear and enjoy it on both sides.” sohn kept them in.” Despairing of clearing the he is known as the composer of the symphonies “The With an allegiance almost equally divided between Hungarian: Cathedral by any legitimate means, the vergers By T. McLeod Consecration of Sound,” the “Historical,” and the the organ and the harpsichord, the former instru¬ ordered the blowers to desist, and so the wind went “Seasons”; of the oratorios, “The Last Judgment,” ment must, we think, be accepted as the principal out, as it happened, just before the final entry of “Calvary,” and “The Fall of Babylon”; and of the instrument of George Frederick Handel (1685-1759). It stands to reason that, as in religion, so in music- the pedals in Bach’s great A minor Fugue. Two particular mood of mind. He may read Schopenhauer opera “Faust,” afterwards eclipsed by Gounod’s more That he was the absolute master of such imperfect each man espouses the kind that will best suit his days afterwards Mendelssohn played at Christ or Emmanuel Kant, but is this a good reason for your popular and modern treatment of the same subject. organs as existed in England in his day is proved needs. Just as one invalid takes the medicine that will Church, Newgate Street; and here, although as Sir But as a teacher of the violin and a performer upon it, by the past and present popularity of his Organ help him individually—not that which will help his dropping your light novel to partake of his intellectual Scrabine: George Grove remarks, “the touch of the organ was Spohr, in his day, was unequalled. Indeed, to quote Concertos which he inserted between the acts of neighbor. Why should we do any differently in choos¬ feast? True—you may wish to join him some day. both deep and heavy, yet he threw off arpeggios Paul David again, “as an executant he counts amongst his oratorios from about 1,733 onwards, and which, ing our music? It, too, is medicine—medicine to the When that day comes, do so by all means. Besides, as if he were at a piano. His command of the pedal the greatest of all times.” His compositions at the according to Dr. Burney, were the favorite food for soul. And no one should grudge another the music no matter how deep-minded is your friend, he still clavier was also a subject of much remark.” On time of their production were considered the ne plus performers on keyboard instruments for more than that appeals to him, even if it seems of a lower grade condescends to read the newspapers, those “half hours this occasion there was present old Samuel Wesley ultra of difficulty; while, as a conductor, Spohr will than what he himself likes. with the worn authors,” as a witty person called them. thirty years. As Victor Schoelcher says, Handel (the son of Charles Wesley, the poet, and the father Debussy: always be remembered as the man who, by his first reg¬ If these variations obtain in literature, why not in the “continued to play concertos upon the organ, at of Samuel Sebastian Wesley, the celebrated English There is no disgrace in avowing a “hankering” for a ular use of the baton, revolutionized the art of con¬ more subtle realm of music? every performance of an oratorio, to the end of his cathedral organist and church composer). At Wes¬ gay little street melody. The real dishonor is in saying ducting throughout the whole of musical Europe. life. He generally gave them at the beginning of an ley’s request Mendelssohn played six extempore you do not like it, if you do. Be independent musically. Do not allow yourself to be standardized by other Spohr has also been credited with the invention of the act, but sometimes he introduced them even in the fantasias on a subject given by Wesley at the mo¬ Because a “high-brow” friend is “just crazy” over people’s tastes. Come out boldly and say what pleases chin rest; and even if this claim cannot be substantiated, ment and also played several of Bach’s more im¬ Schoenberg, or Mahler, is that any reason why you you. Cant in music is abominable—as bad as cant both in his violin school and elsewhere he was one of middle of the performance. In several of his manu¬ Bach’s melodic minor: portant works. During the performance Wesley should follow at his coat-tails like a woolly lamb, and in religion. Let us be sincere and refuse to be the first to advocate the employment of this conveni- scripts may be found, written with pencil, after an declare a corresponding “craze”? Your friend likes forced into saying what we do not think, merely to air or chorus, ‘Segue il concerto per l’organo’ (Here turned to his daughter and remarked, “This is Schoenberg—if he does—because that composer fits his keep some people from raising their eyebrows at us. SEPTEMBER 1919 Page 51,9 Page 54S SEPTEMBER 1919 THE ETUDE THE ETUDE : -'"LAW': / ■■ A.1,.' transcendent playing.” Of Mendelssohn’s other per¬ Indeed, the degree of nervous power and muscular spoke of his “fine, crisp, diamond-like touch”; Schu¬ _ formances on English organs we can mention only endurance required for the proper execution of some mann, in 1839, said that he and Mendelssohn “play * r,-; * <*•- a few, amongst them that of June 12, 1842, when he of his long passages of diatonic octaves is prodigious, the pianoforte like angels, and with no more assump¬ played the outgoing voluntary at St. Peter’s, Corn- and remains a task of almost insuperable difficulty to a tion than children”; while Mr. W. Shakespeare, hearing I'.iU, London, on the first CC organ erected in Eng¬ virtuoso of to-day.” This is in exact conformity with him after his retirement, noticed that he still pos¬ land, “taking as his theme the hymn tune which had a statement made by the anonymous editor of the sessed “a remarkable firmness of touch, splendid ac¬ just been sung, upon which he extemporized for half Dictionary of Musical Biography, published in Lon¬ cent, wonderfully clear technic, and a style of phras¬ Secrets of the Success of Great Musicians an hour in a most masterly manner, winding up with don in 1814, to the effect that Clementi’s “fieetness of ing as pure and fastidious as his own music.” With all By EUGENIO di PIRANI a fully developed fugue. Two days later, at Christ finger is such that he is able to execute running pas¬ these encomiums, it is no wonder that—as his own son Church, Newgate Street, he took the same theme sages of octaves and sixths with as much facility and biographer remarks—“regret would naturally come (by request) and treated it extempore, with con¬ as the generality of musicians can play the single that in the fulness of his powers, Bennett should have Hector Berlioz summate variety and skill, in a totally different way, notes.” In conclusion, it is interesting to note that discarded, to so great an extent, that branch of his to the delight of his enchanted hearers.” On June Clementi was the first to introduce the technical de¬ musicianship on which his individuality was so clearly 17th he played Bach’s Prelude and Fugue in E flat vice of holding down one or more keys while another pronounced.” This is the Seventh Article in this Interesting Series by Commentator* di Pirani. The Former (St. Ann’s), also “an extempore introduction and (February), to Verdi (April), to Rubinstein (May), to Gounod (June), to Liszt (July) and to Fschatkovsky (August). key is repeated by another finger. Composers Sans Instruments variations on Handel’s so-called Harmonious Black¬ Meyerbeer, already mentioned as one of Clementi’s In order to say something on the negative side of smith, ending with a fugue on the same theme.” pupils, is now chiefly remembered by his operas. But our subject, we ought to refer to the celebrated French Paris to perform Shakespeare, and at their first per¬ This at a concert of the Sacred Harmonic Society lie was primarily intended for the career of a piano¬ “Which power raises man the higher? Love or symphonist, Hector Berlioz (1803-1869), a man who, formance of ’Hamlet” he saw, as Ophelia, Miss Smith- at Exeter Hall. These performances were no fraud. forte virtuoso; and Moscheles, who heard him in 1814, music? It is a great question. .It seems to me that like Richard Wagner, had no “particular instrument.” son, who was going to play such a momentous role in They were given in the presence of some of the declared that, had he continued along those lines, he love alone cannot give an idea of music, but music finest English organists and composers. And they would have been almost without a European competi¬ Only Wagner could play the piano “indifferently well,” can give an idea of love—why separate them? They his life. The impression made upon Berliozs heart were such as could have been given only by an or¬ tor. So great were his powers of execution that he whereas Berlioz, when on his Russian tour of 1847, are the twin wings of the soul.” So once declared and mind was equaled only by the agitation into which ganist of first-rate technical and artistic equipment. could read at sight the most complicated orchestral informed the wife of one of the court functionaries Hector Berlioz, and his life, all permeated with love he was plunged by the poetry of the drama. He be¬ Equally conclusive is the evidence concerning the scores with unfailing accuracy. His fellow-pupil under (who had refused him the only available hall for his and music, was certainly a demonstration of that came a martyr to insomnia, he lost all ta.ste for the excellence of Mendelssohn’s pianoforte playing. We Vogler, Carl Maria von Weber, is another musician concerts because the Frenchman would not undertake sentence. best-loved studies and got severe spells of deathlike can only sum it up by saying that while free from who will be remembered by his operatic works rather to perform at one of the gatherings of the nobility) To striving, ambitious musicians there cannot be a torpor. An English writer has stated that, in seeing all-display and trickery, it was characterized by firm than by his keyboard performances. Yet, like Meyer¬ that “he could at one time play very well on the more inspiring figure than Hector Berlioz. His whole Miss Smithson at the performance of Romeo and and brilliant technic, together with splendid tone, beer, Weber was a passable organist, and as a pianist flagolet, flute and guitar,” but that of these instru¬ life was a continuous struggle, a battle against critics, Juliet, Berlioz said: "I will marry Juliet and will write combined with great command of light and shade, one of the greatest and most original of his time,, ments he had “not touched one for 25 years.” Ber¬ public, musicians of the old school. 1 f he succeeded in my greatest symphony on the play.” He did both, but as well as of perfect phrasing. One of his pupils, possessing long flexible fingers to which came so easily' lioz then sarcastically suggested that if the Marshall, overcoming the most discouraging, seemingly insur¬ at that time he never would have dared to think of Mr. W. S. Rockstro, declares that “though lightness the extensions to be found so frequently in his piano¬ “a respectable old fellow of eighty,” would be satis¬ mountable obstacles, the most obdurate adverse criti¬ the realization of those dreams, comparing the bril¬ of touch and a delicious liquid pearliness of tone forte works. fied with a solo on the drum, he (Berlioz) might cism, there is no doubt that everybody else, also pos¬ liant triumphs of Miss Smithson, the darling of Paris, were prominent characteristics, yet his power in appear to greater advantage. He secured the hall sessed of the same amount of pertinacity, energy and and his sad obscurity. However, he decided that she fortes was immense,” so much so that on some occa¬ Sterndale Bennett at the Piano not by his sarcasm, but by the intervention of a friend. diligence, will be able to do the same. should hear of him; she should know that he also was sions “it seemed as if the band had quite enough to Second only to Mendelssohn in the charm of his Similarly, at Breslau, he had great difficulty in per¬ From earliest youth lie had to fight against the nar¬ an artist. He would give a concert of his own com¬ do to work up to the chord he played.” At another compositions, and perhaps superior to him in the art suading a fond parent, anxious for him to give his son rowmindedness of his parents. His father, Louis Ber¬ positions. But where find the money for the musicians time, says the same authority, although the “delicacy Hector Beri.ioz of pianoforte playing, was Sir William Sterndale Ben¬ some violin lessons, that he did not play the violin, lioz, was a country doctor with a large practice, and of his piano was perfect, yet every note penetrated and the hall? Cherubini, the arbiter of the Salle du nett (1816-1875). As a youth, in 1831, he played Hum¬ but caused it to be played. The father had never-heard his mother, devout in all religious observance, looked to the remotest corner of the room.” Conservatoire, the only one appropriate to his purpose, He was hurt in his feelings and, to be appeased, mel’s Concerto in A flat at a concert of the Royal of a conductor, and only after attendance at one of upon an artistic career as a terrible temptation and was opposed to giving the concert, but Berlioz, after would only accept “three piasters, a shirt and a necker¬ Academy of Music, in London, in a manner which Berlioz’s concerts could he understand “a musician shrank in horror from the idea of a life so little in a persistent fight, succeeded in securing the orchestra, Clementi’s Pupils presenting himself in public without being an execu¬ chief.” So relates Berlioz in his memoirs “took everybody by surprise.” Some injudicious friends accord with the traditions of respectability. They the hall, chorus and parts and he gained a decided Retracing our steps chronologically, we ought not to at once styled him the English Hummel, to the great tant.” One of the obligatory works he sent to Pans was wanted him to study medicine; the boy, on the con¬ success. “Nothing is lacking to my success, not even overlook the justly-termed “father of pianoforte play¬ annoyance of a fellow-student, afterwards Sir George a part of a mass performed at St. Roch several years We must now close this lengthy, but all too inade¬ trary, showed interest only for music, for instruments, the criticism of Panseron and Brugnieres. who say ing,” Muzio Clementi (1752-1832), that “grand old Macfarren, who opined that Bennett “had done quite quate, survey by remarking that in the study of musical before he got the Rome prize. The “powers” said that man” of pianoforte music, whose sonatas far surpass He found a flageolet in a neglected drawer and made my style is not to be encouraged.” well enough to deserve the use of his own name.” history, as well as in the correct placing of anv mu such dire noises that his father in self-defense taught he had made great progress. those of Haydn and many of Mozart’s, who—born What fiber of a man! Even adverse criticism he In a letter to Ferrand (April. 1830.) he tells the John Field, the inventor of the Nocturne, another of sician, it is only just and fair to endeavor to realize him to play. After that he discovered a flute and later when Handel was alive—lived through the great classi¬ considered as a part of success. story which lie tries to express in his Symphonic Fan¬ Clementi’s pupils, was present, and said, “That little every department of that musician’s activities; and a guitar—a peculiar omen for the future master of cal period, and in his unjustly neglected works gave fellow knows what he is about.” The pianoforte play¬ But his hope that Miss Smithson 'would hear of not to allow the chief things in a composer’s career modern instrumentation. tastique. . . , no evidence whatever of external aid or influence. In ing thus auspiciously commenced, was continued until or performances to blind us to some lesser enterprises him was not fulfilled. She was not present. “This “The opening adagio presents a young artist with a 1776 he was brought to England by a cousin of Beck- passion will be my death; how often all the English 1856, after which Bennett entirely ceased public play¬ or endeavors which, if not so strongly in evidence, A Strong Musical Inclination lively imagination and a sensitive temperament, plunged ford, the author of Vathek; and after four years’ ing. Concerning the latter, Davison, the great critic, papers ring with her praises; I am unknown. When are by no means unimportant To lose sight of these, Dr. Berlioz observed those symptoms with growing in that half-morbid reverie which French writers study at his patron’s English home, under whom it is said: “No such legato playing has been heard since I have writen something great, something stupen¬ or to ignore them altogether, would be an incomplete concern. When the time was drawing near for the express as the besom d’aimer” In the allegro which not clear, took London by storm, toured every portion the days of Dussek and Cramer.” The same authority dous, I must go to London to have it performed. Oh. and one-sided method of study or estimation. The choice of a profession, lie called Hector and handed follows he meets his fate; the woman who realizes the of musical Europe, leaving behind him a record of once declared that “Bennett’s unwearying industry as for success! success under her very eyes!” him a voluminous treatise on anatomy and promised ideal of beauty and charm for which his heart has improvements and inventions in pianoforte playing and a young man, over minute details, was one of the whole is, of course, greater than its part; but the construction unrivalled in his day. As Mr. E. Dann- him to buy him a beautiful flute if lie would be assidu¬ yearned; and gives himself up to the passion with secrets of the individuality of his playing”; and that whole is made up of parts, and as Carlyle says, the art¬ Berlioz in Rome ous in the study of medicine. That was a dangerous which she inspires him. His love is typified by a sen¬ reuther says, “Clementi may be regarded as the orig¬ “the result alone was sufficient to differentiate him ists and not the Artisans in History are the men “who weapon, but for the time-being Berlioz busied himself A passionate nature like Berlioz’s, burning with inator of the proper treatment of the modern piano- from many eminent pianists of his time.” Ferdinand inform and ennoble the humblest department with an timental melody given in full at the opening of the reluctantly with Aesculapius only, of course, to acquire love and ambition, is downright whipped into enthusi¬ movement, and repeated in various thematic forms forte. . . .His example as a player and a teacher Hiller spoke of his playing as “perfect in mechanism, idea of the whole, and habitually know that only in (Field, Hummel, Cramer, Meyerbeer, etc., were amongst the coveted instrument. In 1822, when lie was nineteen asm and inspiration. No wonder that the immediate throughout the whole work. The second movement and, while remarkable for an extraordinary delicacy the whole is the partial to be truly discerned.” The his pupils), together with his compositions have left years old, he was sent to Paris to enter the medical result of this elated mood was one of his masterworks, proper is an adagio in which the artist wanders alone of nuance, full of soul and fire”; Mendelssohn, in desire we have for the presentation of the whole truth the Symphonic Fautastique, Episodes de hi vie d’nn a deep and indelible mark upon everything that per¬ 1837, declared his performance to be the talk of Leip- school, feeling, however, in his heart like a condemned through the fields, listening to the shepherd’s pipe and concerning a composer’s powers and activities is at artiste. As the winner of the Prix de Rome he went tains to the piano, both mechanically and spiritually. sic; the Musical Examiner of 1844 asserted that as a criminal. But the first day of the dissecting room the mutterings of a distant storm and dreaming of the once our only apology for this paper and our onlv to Rome and took up his abode at the French Academy, His nervous organization must have been highly strung. pianist he had “no superior and but few rivals”; Piatti was too much for him, and he declared that he would new-born hope that has come to sweeten his solitude. desire for its appreciation. where he was applying himself more to riotous amuse¬ rather die than return to that charnel house. A visit Next comes a ballroom scene, in which he stands apart, to the Academy of Music, where they were Paying ments than to serious study. silent and preoccupied, watching the dancers with a Salieri’s Danaide, determined him to break totally with They had there what they called “English concerts.” listless, careless gaze and cherishing in his heart the the hated medical career. He established himself m Every one of the artists living there chose a different the public library of the Conservatoire and began de¬ song and sang it in a different key beginning at a persistent melody. In a fit of despair he poisons him¬ How to Learn a Short Passage Quickly vouring Gluck’s scores; he read and reread them; he sign one after another; as the concert in twenty-four self with opium, but the narcotic, instead of killing him. learned them by heart; he forgot to eat, drink or sleep keys went on crescendo, the frightened dogs in the produces a horrible vision in which he imagines that By Ernst Eberhard and swore that despite father, mother, relations and pincio kept up a howling obligato and the barbers on he has killed his mistress and that he is condemned to friends, a musician he would be and nothing else! the Piazza, di Spagna down below winked at each die. The fourth movement is the march to the scene Technicaj. and interpretative difficulties can almost But here new obstacles grew in his way. The director other, saying slyly: "French music.” Some bad tongue of execution, a long, grim procession, winding up with Mways be learned more quickly through thought form a mental conception of your pieces how can of the Conservatoire, Cherubini, had issued .an edict affirmed that the influence of these uproarious per¬ the idee fixe and the sharp flash of the guillotine. (thinking them out) than through practice. By this you expect to play them? You can not’convey a that men and women were to enter the building from formances is to be noticed in Berlioz’ compositions. Last comes the Pensfe d’une tetc couple, a hideous I mean that if a student analyses a passage or com¬ ought or an idea to anyone unless vou first have a opposite sides. Berlioz did not conform to the order While living at the Academy he contracted a friend¬ orgy of witches and demons who dance round the cof position in order to learn just what is to be accom¬ definite conception of what you want fo express You and presented himself at the wrong door and brushing ship with Crispino, one of the villagers. "He got me fin, perform a burlesque “Dies Trae” as in funeral plished, he will learn it more quickly and play it aside the servant who tried to stop him made himself balls, powder, and even percussion caps. I won his Mg wmehnlUddled and hestitate—so it is with pla" rite, and welcome with diabolic glee a brutalized and better than if he depends only upon practice. In learn¬ at home in the library. Cherubini became furious and affection by helping to serenade bis mistress and by degraded version of the original subject. And so the ing any passage, the first thing to do is to trace out generaUygenerXj 1easily be able WMtto express to ex ?it.ress > a"d you will forbade Berlioz the use of the library. Things were singing a duet with him to that untamable young per¬ If you study your pieces in this way, you will fir symphony ends with an indescribable scene of chacs the melody, phrase by phrase. Next, add the harmonies smoothed down afterwards, but from that time dated a son, then by a present of two shirts and a pair of that you will quickly understand just what you wi< and fury- to this melody so that it is grasped as a melodic and thought ofaXS galned * men,al inception of the mutual aversion between the famous master and the trousers. Crispino could not write, so, when he had to accomplish. By first learning the melody and i harmonic whole. how ever°vfrce’fstu,dy -the music as written. Note hot-headed young artist. A greater difficulty, was the anything to tell me, he came to Rome. What were His Tremendous Orchestral Effects accompanying harmonies, your ear will instinctive! formed Th / ldea which you have already cessation of the monthly allowance of 120 francs from thirty leagues for him ? Once he appeared: I have quoted in detail the program of this work, Perhaps the easiest way in which to do this is to play direct your fingers. After having formed a conceptio the melody in chords with the right hand, adapting a ust as a \ ngerS mUSt dways foll°w the mind, his father. He had to live in a garret, dined upon bread “Hello, Crispino! what brings you here?” as it gives a characteristic of Berlioz’ individuality. of the structure of a passage, 'you will find it muc and dates, and taught anyone who would learn of him. simple accompaniment in the left hand. The average Ms idea, T ,Can ta'k f3Ster than he conceives “To tell the truth, I’ve got no money.” His fantasy and his other music have something mor¬ easier to play it and memorize it. Then came the long struggle for recognition. Five student with no deep theoretical knowledge will, by Me natural raPP ymg idea’ take short Passages, “You have no money? What business is that of bid and chaotic, which borders on insanity. Even the Lack of such an understanding is perhaps the prir times in five consecutive years (1826-1830) he entered extravagant orchestral masses he uses in his works such a procedure, quickly understand the melodic and as vou nr TT °f tllC music‘ Understand them mine, oh, mightiest of scamps?” ’ cipal reason why so many students find it hard to pla as you proceed and many of your technical and inter the competition for the Prix de Rome, failing four are a symptom of his abnormality. In his smaller harmonic structure of the piece he is studying. An ex¬ pretative difficulties will vaXu V 1 and inter- “I am no scamp.’ If you call me a scamp because a piece through smoothly and without hesitation To times but never losing courage and faith in his own works he usually writes for an orchestra of more than ample of how this can be done is as follows, taken the fact that in music aPPrec,ate I have no money you are right, but if it is because many students will study a piece for months withot alwavs tL » asL Zin allS' otherX* ™studies, mastery power, and gaining the prize at his fifth effort, with usual size, using by preference four bassoons instead from the opening measures of the Liszt A flat Liebes- 1 was two years at Civita Vecchia you are wrong. I learning what the melody is and without being abl his Sardanapahts. of two and reinforcing his trumpets with cornets d done ,ea ”7 i °rder °f kn°W first what is to be wasn’t sent to the galleys for stealing, but just for good to hum it away from their instrument. If you can nc In this time falls his first meeting with Henrietta piston. In the Requiem and Te Dcum his forces are then-try to dolt.' ^ d°ne’' then~and not until Smithson. An English company had come over to honest shots at strangers in the mountains.” Page 550 SEPTEMBER 1919 THE ETUDE SEPTEMBER 1919 Page 551 the etude hearts, of course, are not to be measured by normal enormous; the wind doubled, an immense number of Peculiarly enough, Berlioz himself felt very keenly strings, and for the Tuba micum and Lacrymosa, extravagance and exaggeration in the music of other standards. four small bands of brass instruments and eight pairs composers. Of Wagner’s “Tannhauser” he wrote: He showed even a touching loyalty, after ten years of kettledrums in addition to big drums, gongs and "Wagner is turning singers into goats ... he is had passed since the death of Henrieta, in a gruesome scene thus described by Berlioz: “I was officially noti¬ cymbals. To get the right effect in the Tuba mirum decidedly mad; he will die of apoplexy after all. Liszt, Practical Study of Arpeggios fied that the small cemetery at Monmarte, where Henri¬ Berlioz prescribed that the four brass bands were who was expected, never came. I think he expected a placed one at each corner of the body of instrumental¬ fiasco. The second performance was worse than the etta lay, was to be closed and that I must remove her ists and choristers. As they join in, the tempo doubles How the Least Possible Contraction of the Muscles, Combined with the Greatest first. No more laughter—the audience was too furious dear body. I gave the necessary orders and one gloomy to represent the “titanic cataclysm,” the Last Judgment. Possible Control of Weight, Will Produce the Best Results in the Shortest Time and, regardless of the presence of the Emperor and morning set out alone for the deserted burial ground. 'Si j’etais menace de voir bruler mon oeuvre entiere, Empress, hissed unmercifully. Coming out Wagner was A municipal officer awaited me, and as I came up a moin une partition, e’est pour le Requiem que je de- vituperated as a scoundrel, an idiot, an impertinent sexton jumped down into the open grave. The ten By LE ROY B. CAMPBELL mandcraiss grace." (If I were threatened with the wretch.” years’ buried coffin was still intact with the exception burning of my entire works, less one, it is for the Re¬ And to Madame Massart (a distinguished pianist, of the cover decayed by damp, and the man, instead of quiem I would beg exemption.) Thus wrote Berlioz wife of the violinist Massart) he wrote: “Ah, God in lifting it to the surface, pulled at the rotten boards, in one of his last letters (11 Jan., 1867). Heaven! what a performance! what peals of laughter! which, tearing asunder with a hideous noise, left the I remember at a performance of the Requiem at the The Parisians have shown themselves under a quite new remains exposed. Stooping, he took in his hands that After Exercise 2 has been carefully practiced in the consistent with the ordinary non-legato touch) return¬ Philharmonic in Berlin the public came chieflv to hear light; they laughed at the indecency (polissonerios) of fleshless head, discrowned and gaunt; the head of poor The broken-chord or short arpeggio is one step, and right hand, then proceed with the left. Let as much as ing the hand instantly to proper relaxation, while the the "explosion” of the band of kettledrums. The rest a farcical orchestration; they laughed at the naivete of Ophelia, and placed it in the coffin lying on the brink a very advantageous step, toward the more important made very little impression. possible of this work be done without looking at the momentum of the hand moving sidewise, together a hoboe; at least they understand that there is a style of the grave—alas, alas 1 Again he stooped and raised and more used figure known as the extended broken- with inclining the thumb slightly under, will deposit As I remarked in the course of this article, most in music. As to the horrors, they' have hissed them the headless trunk, a black, repulsive mass in its dis¬ chord or grand arpeggio. As in the broken-chord prac¬ keys. We are essaying to develop the sense of touch, of Berlioz’s works betray a preference for the gigantic splendidly,” colored shroud—it fell with a dull, hopeless sound into tice, the chief cause of the difficulty in playing this not the sense of sight. Psychology tells us that it is difficult to pay careful attention to two senses on any the thumb over (c) with no perceptible break in legato —for the prodigious. Whoever expected to meet in However,- there were two famous musicians who its place. The officer, a few paces off, stood watching. form of technic lies in bringing the right fingers over new act at the same time, therefore, pay 100 per cent, and, at the same time, the second finger, being not the music of his fcist opera, The Trojans, those extrav¬ recognized Berlioz’s genius and even made great efforts Seeing me leaning against a cypress tree, he cried: the right keys at the right time. We have already agances which shock us so often in his symphonies, held back as in the old way, will then flow on in an to enforce. public recognition of his works. Liszt, ‘Come nearer, M. Berlioz, come nearer.’ In a few prepared the fingers to fit any form of the broken- of attention to the sense which is most desired to be would be, however, disappointed. I witnessed a per¬ uninterrupted legato, or connected manner, pleasing to always ready to help young striving talent, cooperated moments we followed the hearse down the hill to the chord; but a new difficulty now arises, that of an developed, viz.: that of touch. It might be noted in formance of Les Trojens in Carlsruhe under Mottl’s the ear as well as to the eye. In coming down the often in Berlioz’s concerts and even spent great sums of great cemetery where the new vault yawned before us. extended lateral motion, together with putting the passing, that the sleight-of-hand performer gains the direction, and I was surprised to find a very tame Ber¬ arpeggio, it will be the thumb on (c) which will touch Henrietta was laid within.” thumb under the fingers, or the fingers over the thumb. attention of his. audience to the sense of hearing by lioz. The opera is performed in two evenings: I. The As explained in the broken-chord practice, we must some clever story, when suddenly he performs the Conquest of Troy; II. The Trojans in Carthage. In its key a short stroke, and then relax, allowing the A Brilliant Writer guard against any but the lightest possible, yet at the trick, and the eye is deceived because the attention is the first part the elegiac mood prevails. Cassandra’s hand freedom in passing the third finger over to same time potent, finger articulation from the knuckle elsewhere, i. e., on his story. mournful tidings are splendidly se£onded by the orches¬ Berlioz was also a brilliant and witty critic and feuil- joint, since it is from this joint that spacing must tra ; further, we notice an original march and a remark¬ letoniste. He was for many years music critic of the A New Practice of Putting the Thumb Under a Finger, be made. A pulling sidewise and downward at the the (g)...... able octet. The ballet in ' the second part lacks the Journal des Dcbats, and he left some entertaining writ¬ or a Finger Over the Thumb Second: In the old way, of grounding the third same time and from the same pivot, would certainly swing which we naturally expect of a Frenchman. On ing in his Grotesques de le mttsique, Voyage musical and Soirees de fOrchestrc; but he always held in result in a tug-of-war. The downward force must A most important spacing exercise follows, in which the other hand, the sextet which immediately follows, the difficulty of passing the thumb under the third or finger on (g) while the thumb was turned under, a and a duet by Dido and Aeneas show Berlioz at his abhorrence his duties as a critic. “I hate circumliicution. therefore, come as largely as possible from nicely bal¬ large part of the weight of the playing-mechanism, anced and evenly distributed weight, making all accents fourth fingers, or the third and fourth fingers over the best. A pitiful sight was the famous wooden horse, diplomacy, trimming and all half measures and conces¬ in nearly every case, rested upon this third finger. This sions,” he said. “Why can I not remember that the with arm impulses while the fingers furnish the clearer thumb, is given careful and consistent attention. which used to arouse our deepest interest when we particular place where the thumb passes under is of good, the beautiful, the true, the false, the ugly are not articulation. Were still keeping school benches warm. all places in arpeggio playing the very point which the same to everyone??" A hint to the adherents of With this end in view, employ as a first exercise, What an attractive task for the stage manager to should be free from any burden of excess weight or produce the huge quadruped in whose bowels the Greek ‘ standardization” in music. one that does not differ greatly from the first exercise tension. In fact, at this very point, the whole hand host lies 1 Frankly, it was a sad disappointment. The A constant reader of his articles once remarked to in the broken-chord study except that this one uses rickety, tottering pasteboard monster which filled the him: “You don’t look a firebrand, but from your more lateral motion. should be most relaxed and free. entire breadth of the stage was a ludicrous view and articles I should have expected quite a different sort Suppose we take an exercise from Duvernoy op. 120, gave evidence of one of the most unsuccessful efforts of of man, for, devil take me, you write with a dagger- No. 8. The notes to be played in the right and left „ The Remedy stage craft. hot with a pen 1” hand are the following: Touch the (g) with a short effort, free from heavi¬ Berlioz specialty is no doubt the masterful orches¬ Some anecdotes and bon mots: ness, and return the hand quickly to relaxation; the tration, as exemplified in his famous Traite d' Instru¬ An autograph collector stole Berlioz’s hat. “It was In this exercise the student will depart from the shoulder muscle will then assume the whole responsi¬ mentation. About the way he acquired such pre¬ such a shabby one,” he said, “that I can’t ascribe the usual custom-bound manner of putting the thumb bility for the control of the playing-mechanism and eminence he writes in his memoirs: “I always took the theft to any other motive.” under. A few comparisons of the old manner of with an easy movement sidewise, each finger will have score of the work to be performed and read it carefully When Berlioz finished his VEnfance du Christ, a practice with the new will be cited and the student practically perfect freedom for the clearest kind of during the performance, so that in time I got to know can then decide for himself which way seems more tonal articulation. the sound—the voice, as it were—of each instrument .lnd ?,,P.lnstmas Car°l> be invented a seventeenth cen- tU7 Maitro du Chapelle” by name "Pierre Ruche” consistent. Third: Naturally, in the old process the arpeggio and the part it filled; although, of course, I learned A few measures later the left hand has a similar and had the work performed as his. All Paris fell First: As a rule the student, in playing any figure nothing of either its mechanism or compass.. Listening passage: will go by jerks since the second finger’s progress into the trap. Even Felis, who as an historian might like Ex. 3 A, has been asked to hold the third finger on so closely, I also found out for myself the intangible have been expected to know better, led the chorus of bond between each instrument and true musical expres¬ toward its key (e) is held back by the third finger (g) (right hand) until the thumb touches (c) in sion. Careful investigation of rare or unused combina¬ f, S+ i critics applauded the antique severitv of 3 the styie. and some one went so far as to declare that order, as he has been told, to make a perfect legato tions, the society of virtuosi, who kindly explained to holding (g). [The student formerly worked labor¬ me the powers of their several instruments, and a BERLIOZ’ HUMBLE BIRTHPLACE B™ tcould never.write a work like that. When the iously to make the arpeggio flow evenly; he thought between the (g) and (c) in the course of the arpeggio. certain amount of instinct have done the rest for me.” auffiorsb °niW^at US height BeHioz acknowledged the It will be seen at a glance that either of these forms authorship,'0 the consternation of his opponents. At first thought, this sounds well, but examine it more that the break which he heard was between (g) and money to have Schlesinger, the Paris publisher, print can be reduced to two chords Berlioz’ Critics his “Symphonic Fantastique”; and Paganini, the famous alhum req“ested him t0 write something in her 1 12 closely. Why he partial to making (g) and (c) legato? The daring innovator aroused also the wrath of the violinist, after hearing that work sent him the follow¬ as Te' : tr’C‘ Pati (°ne must «*«!) and (c), but in reality it was between (c) and (e).] as she asked him what it meant, he answered “it was Why should not all the tones throughout the whole conservative musicians like Boieldieu (the author of the ing letter: "Dear friend—Only Berlioz can remind me As will readily be seen by touching a short tone at two octaves be approximately legato? When one holds °?e«f ' La Darne Blanche”) and Halevy (the composer of Beethoven, and I who have heard that divine work— the pie H and meant: Apporlez le (bring on 3 of La Juive”). In his third attempt to win the Prix 3 i (g), the second finger is released and by the gentle sup¬ so worthy of your genius—beg you to accept the (g) with the third finger until the thumb plays (c), de Rome Berlioz had composed a cantata, “Cleopatra ” enclosed 20,000 (twenty thousand) francs as a tribute friend6came ft? Th'T/°>a™ was first produced a port of the arm at the shoulder it is possible for each Boieldieu, who was one of the judges, said to Berlioz: “OlVfT hjm confidentially and told him. With the playing mechanism suspended easily over finger to be directly over its respective key at the pre¬ of respect. Believe me ever your affectionate friend, naturally (g) and (c) will be legato, but what of But, my dear boy, how could I possibly approve it? ‘Mercurv TVi' ° s0methinS to Please me-suppress the keys place the fingers over the keys at (a) and cise instant that it should be there. I who like nice, gentle music—cradle music, one might - Nicolo Paganini, the second finger which should be ready to play ‘Paris, 18 Dec., 1838.” Sy^ comidl SNWmgS °" ^ head and his are after the mind gets a correct idea of the chord at (b), 3 say.” tap gently, but crisply the chord under the hand at (a) At least he had the satisfaction that some of his their heelT” ^ SaW a"ybody with wings on Fourth : In the old manner of holding (g) until the ‘But, monsieur, could an Egyptian queen, passionate by a general arm impulse, and, in the same instant, (e) following the (c) which the thumb has just remorseful and despairing, die in mortal anguish of illustrious fellow artists championed him with word dend'1’ I wT/w ?e°ple W‘th wings on their shr,u]~ spring over the keys for the chord at (b). The fingers thumb plays (c) the whole central energy of the hand body and soul to the sound of cradle music?” and deed, and he got fresh courage to fight on. “No a struck? The second finger and its key (e) are sep¬ should be keenly alive to each key they touch, but is made very tense, which, of course, is most incon- “And then”—Boieldieu went on—“why do you intro- thousand times no!”—he writes—“no man living has’ a in unexpected ** ^ arated by at least six inches. If the idea were to play under no constrained attitude; on the contrary, they .sistent with an easy flow of motion most necessary for du,fe j.j0tally new rMhm in your accompaniments?” right to try and destroy the individuality of another only to c went to hear3^-^^!'3' ^feat *'avor'te with Berlioz, “I should hold their respective positions with the very an even arpeggio. It will be noted also that this tense¬ I did not understand, monsieur, that we were not to to force him to adopt a style not his own, and to give minimum of tension or contraction. Return from (b) 4-C ness or rigidity would vary, being sometimes quite try new modes if we were fortunate enough to find the h.s natural point of view. If a man is commonplace to (a) in the same manner—make several repetitions right place for them.” contracted and at other times not so firm. It is almost let him remain so; if he be great—a choice spirit set of this springing exercise. Berlioz himself puts his case in the clearest possible above his fellows then in the name of all the gods bercfor making me Hste^t^ needless to call attention to the fact that an easy way: The value of my melodies, their distinction, bow humbly before him and let him stand erect and Muscular Sensations in Practice and in Actual Playing accurate habit will be very slow in forming under such novelty and charm, may, of course, be disputed. It is not 'alone in his glory.” and When the hand springs from the position at (a) to then this holding of (g) with the third finger would a variable muscular condition, and instead a very diffi¬ for me to estimate them; but to deny their existence is A puzzle in Berlioz’s life is the “plural” attachments (b), let it be with a slightly circular motion; in fact, cult and complicated habit will result from the effort unfair and absurd. The prevailing characteristics of of his success rSUme °f Berlloz’s ,lfe and the elements to several young beauties; to Estelle ‘“with the pink a motion like that made by the arm in playing an ideal be consistent, but we are not going to stop on (c), to co-ordinate each finger with its proper key by this my music are passionate expression, intense ardor, Pertinacity in his aim u slippers to the English “divinity* Henrietta Smithson we are to go on up another octave. It can easily be faulty method. rhythmical animation and unexpected effects ” of all obstacles ?• to.becorne a musician in spite arpeggio up and back, through two octaves. The rea¬ to his Ariel, as he calls Marie Plegel, and to Mile an obstacles and disappointments. son for this is, that all sensations made in practice seen that while a gain of an inch in legato connection “Berlioz’ music,” says Heine in his I.uttce, “has The Remedy something primitive or primeval about it. It makes me Recto, a mediocre but very ambitious singer, whom he should be as nearly like those in actual playing as pos¬ »ph, Xi ,he ** * i- is made between (g) and (c), six inches is lost between think of vast mammoths or other extinct animals, or of married later on. Consecutive love affairs are not sible, since it is this very accumulation of sensations By this new manner of practicing the arpeggio the fabulous empires filled with fabulous crimes, and other uncommon in some, but Berlioz loved several charmers which is to gttide our movements in real playing. muscular condition is not variable; on the contrary, it enormous impossibilities.” ah the same time. He was raving for “Ariel” and had 1“d “,”r Never forget this fact in all playing, or practice. If we (c) and the next (e). is as nearly constant as is possible to make it. There¬ ready loaded pistols to kill her and her whole family Mendelssohn was still more severe in his judgment keep this in mind we will then see clearly why the fore, a correct habit will be established with the least tor not responding to his entreaties; but this trifle (I) o.- - high-raised-finger-stroke is not productive of any but The Remedy ot Berlioz. ‘Re is a perfect caricature, without one amount of practice. the slowest progress, because the sensations in that In order, therefore, to correct this old fallacy, touch spark of talent,” he wrote in one of his letters. rnlihe feeteorM^mgfr°n throwin^ his ha"d and heart attemptedTcak °rdleStratio" a "ever before t the feet of Miss Smithson and marrying her. Artists’ kind of practice are absolutely contrary to those used Fifth: In the last event the old form of practicing A Man of Iron 1 in real playing. (g) as shortly as possible (that is, short enough to be the arpeggio is not like real playing; the artist does not SEPTEMBER 1919 Page 553 THE ETUDE Page 552 SEPTEMBER 1919 THE ETUDE
The next exercise passes the thumb under the fourth Do You Know? ■—»——— .“ -...1.“ ” “. ~ ' hold the third finger upon (g) while he places the finger. Siberia boasts one composer of renown. He is Validimir I Rebikoff, born at Krasnojarsk in 1866. thumb upon (c). On the contrary, he plays precisely as His effects are said to rival Mousorgsky and Schoen¬ , : , ...V ' . ■ ' . ■ :.4 ■: , ...... - : ■ "■■■■■■ - - we have described it. Again, we must refer to sensa¬ berg in weirdness. He has -written operas, songs and tions in practice; under the old arpeggio practice, the ,|i.j f i' f many piano pieces, now difficult to obtain. general sensation produced is totally unlike that which Schubert’s teacher, Wenzel Ruzicka, after a few must govern the finished arpeggio in real piano playing. weeks’ instruction, threw up his hands with the excla¬ Therefore such practice should be • discarded. The mation, “He knows everything—God Almighty has How to Learn to Transpose manner of practice here advised brings the same sen¬ taught him 1” sation, the same quality of feeling in practice as in Chamber music in America owes a great debt to an real playing (except that it goes slower); therefore By E. H. PIERCE Irish musician, now almost forgotten. He was Thomas more satisfying and quicker results are sure to follow. Ryan, who was born in 1827, came to America in 1844, We have gone into detail on this point in the arpeggio and for fifty years thereafter was the guiding spirit practice because it is really a vital issue. Many a Anyone who has the patience to learn the major and the minor scales thoroughly may at once All the practice forms thus far shown can bey ap¬ of the Mendelssohn Quintette which played in nearly student has, like the writer, lost hour after hour of plied to any arpeggio, regular or irregular, and even commence with this article to study the indispensable subject of transposition precious time upon the old thumb-under exercises. It every town of size man^ times. He played clarinet to a seventh chord. and viola. _ D, E flat” four semitones: from C to E we count “C, is hardly necessary to call the attention of the student In practicing these last two exercises, the student To lower a semitone when the key is already a flat The ability to transpose at sight is a very useful D flat, D, E flat, E” five semitones. to the fact that in the other two positions of the should suspend the arm and hand over the keys by key is slightly more difficult, though the difficulty will accomplishment for pianists who have occasion to ac¬ Composers writing in Sonata form, Rondo form, arpeggio for the right hand the fourth finger is used the use of the upper arm and shoulder muscles; this soon yield to honest effort. The rule will be: imagine Why Rhythm is so Important company singers; also, the practice of transposing is a or Fugue always meet with the necessity of trans¬ where we have spoken of third, e. g., but the same gives perfect freedom fpr finger articulation. The arm the flats in the signature are double flats and every¬ help to one’s general musicianship. posing certain of their themes a fifth or a fourth in principle applies. should make an easy and natural lateral motion, while By Francis X. Wahle thing else single flats. Should accidentals be met with, The first necessity to one who would master the the course of their work. Those writing or arrang¬ the fingers drop on their respective keys as the hand regard a flat as a double flat, a natural as .a flat, a “Why do you talk continually of rhythm?" asked art of transposition is a thorough and practical, ac¬ ing for orchestra are also obliged to be specially well moves up and down the keyboard. The fingers should sharp as a natural. one of my inquisitive pupils recently. At first I was quaintance with all the keys, both major and minor, versed in transposition, as the parts for clarinet, cor¬ always be assisted by more or less controlled-weight. It is recommended to practice the transpositions just “stumped” for a reply. Then it came to me. as regards their signatures, scales and principal chords; net, trumpet, French horn, etc., are written in keys Remember what was said about passing the thumb described for a few weeks before going on to the “Rhythm is the thing which gives identity to a melody. this granted, it becomes merely a mechanical routine, other than which they sound. The reason for this under the fingers or the fingers over the thumb. That is, it is the same as identifying a face of a requiring concentration and quickness of thought rather next, which will be lies in the early history of these instruments and the The left hand should be given equal practice with the friend. Everyone has a nose, a mouth, ears and eyes, right. Regular Routine Practice of the Arpeggio than any deep theoretical knowledge. To Transpose Upward a Semitone technical incompleteness of their original forms. It yet you know your friend at once when you see him In the next example the student will practice an¬ The student is now ready, if he chooses, to practice The transpositions most likely to be called for by All the rules for this will be the exact converse of is an interesting subject but would lead us too far in the street because of the lines of his features which singers are (in the order of frequency) a semitone other spacing exercise. the arpeggio through all keys in the usual routine man¬ those given above. For the key of C, imagine seven afield to discuss at present. We shall give no special no one else seems to have exactly the same.” down or up, a whole tone down or up, a minor or rules in regard to these transpositions for the reason ner of presenting them. It might be noted that the Take melody such as “Nearer My God to Thee.” sharps in the signature—that is, sharp every note. For actually different positions found in the twenty-four major third down or up. A transposition of.a fourth, accidentals, read a sharp as a double sharp, a flat as a that persons engaged in such activities as those just Any composer, by changing the rhythm, can so camou¬ fifth or wider interval changes the tone quality of the indicated have, as a matter of course, reached a point major and minor keys are all included in the follow¬ natural, a natural as a sharp. flage the original that you might take it for the latest piece so greatly as to alter entirely its character, and ing keys: For keys having a flat signature, imagine each flat in their musical experience where help from an article jazz outrage. Haydn’s lively Gypsy Rondo can be if made at all would require mord properly an entire of this kind is unnecessary. Major: C, D, Eb, B, Bb and F#. turned into a waltz, a funeral march or a minuet at re-arrangement of the harmony rather than a mere a natural and sharp all other notes. Minor: C, D, F#, B and Bb. will, but the moment the rhythm is altered in the literal transposition. This is particularly true of com¬ For keys having a sharp signature, imagine each The Perfection of the Art least its identity is lost. Be strict with rhythm. sharp a double sharp, and all other notes singly In using the arpeggio practice known as the “ex¬ positions in which part is to be sung. ‘ When one has reached a high degree of musician- For one’s first attempt there is nothing better than sharped. tended form” through two or three octaves, it is well When readiness is acquired in these transpositions, ship and has been long accustomed to the task of all to take an easy song-accompaniment, a hymn-tune With an easy, swinging motion of the hand play the we are ready to advance to more difficult tasks, for sorts of transpositions, he will at last reach a point to use sometimes accents of threes or a short piano-piece or study, in the key of C, and c, e, g, c and then with quick spacing movements of | J J and again Putting “Pep” in Piano Pupil’s Playing where all such mechanical rules as we have endeav¬ transpose it downward a semitone. This puts it in instance: the right fingers over their respective keys while at the ored to present for the aid of beginners may be thrown By George W. Porter the key of C flat (seven flats) and all one needs to same time with an upper-arm impulse (The lower-arm To Transpose Upward or Downward a Whole Step of fours Let the accent be made by use of do is to imagine a flat before every note, including,’ of aside, and the task accomplished in quite a different and hand being consistently relaxed) swing the com¬ The writer confesses that he has used “the unpardon¬ Here the first question to ask ourselves is: “What JW course, C and F, whose transpositions will be white way. One then reads the music and hears it inwardly, fortably fixed fingers into the keys by a snappy lever¬ able alliteration” in the title above to attract attention to is the signature of the new key?” Suppose the orig¬ impulsed arm weight, while the fingers give clear, keys, not black. If accidentals are met with, remember both in its melody and its harmonic scheme and sim¬ age movement, the wrist seeming to lead while the the following principle, which he has found verv val¬ inal is in C, and we wish to transpose downward to B smooth articulation to tones not on the accent. that a sharp will become a natural, a flat will become ply plays it by instinct in the key desired, the mental hand immediately relaxes. This should also be prac¬ uable in his own work: flat: the signature of B flat is “B flat and E flat. The usual arpeggio in music is used for an accom¬ a double flat, a natural will become a flat. process being quite similar to playing by ear a tune ticed with a gentle effort in striking the chord, for Pep is slang for vitality. The late Charles Frohman Hold this firmly in mind and act accordingly, putting panying figure and as such will be played with a harp- that one has heard but never seen in print. The writer, in actual playing we have both the snappy finish to like leggiero, or non-Iegato touch. In slower tempo a was once asked what he considered the greatest asset every note downward one letter and observing the on just one occasion in his lifetime, found himself arpeggios as well as a gentle, softer finish. This more legato touch will be used. of the actor. He answered, “Vitality.” signature of the new key. Thus . called upon to transpose at sight a short Anglican exercise also should be given equal attention for the Dr. McKeever, an eminent psychologist, says “The Much piano playing is uninteresting because there left hand. C will become B flat. chant into a key distant an “augmented fourth”—prob¬ reason why students blunder, is often because they do as vitality ** t0 'n<*'Cate tbat Find of strength known D will become C. not have a clear image of what they should do, before ably the most difficult transposition that could be Finger Articulation for the Arpeggio E will become D. setting out to do it.” We often find students working Vitality, to my mind, comes from quick, rapid (not named. Instead of attempting to do so by following As in the case of the broken chord after the spac¬ F will become E flat. at broken-chords and arpeggios for weeks, and yet necessarily forced) motions employing, the muscles to out any rule, he managed by extreme concentration of ing exercises have been perfected to a certain degree, G will become A. they do not get the fingering correct with respect to their normal extent. Is that clear? mind to memorize the chant in a few moments, after the student should now practice some articulation ex¬ where they should use the third, and where, the H can be illustrated with a simple scale of C. Plav A will become G. which he played it successfully in the desired key. ercises for finger clearness. This finger articulation fourth fingers. A good plan in such cases is to have the T ?caleMhrst \n -vour accustomed manner but quite rendering it “by ear,” so to speak. Problems of this should call upon the finger for only a slight, but crisp The chief difficulty will be in the matter of acci¬ student buy a good music writing book and then extreme sort are fortunately very rare. non-Iegato tone; the finger should use the minimum of rLN0W P'a,y ■!;again with th« same tempo, but dentals, as it is impossible to frame any such simple tension, the fore-arm feeling as unconstrained from explain how the triad is built and developed into the ma W tnalSmg the fing6rs at the metacarpal joint and and convenient rule-of-thumb as that given for the arpeggio. After that let him write and finger correctly Technical Value of Transposition to Pianists muscular action as possible, and at the same time the strMn Twmt-S° \S h'gh 35 they P?ssibly can without transposition by semitones. Generally speaking, a sharp It is one weakness of nearly all the standard etudes mind should take in this sensation, for the correct all the broken-chords and arpeggios in each key as he andTn St ahowever, in the downward movement will remain a sharp and a flat will remain a flat, but uses them for practice. This usually has the result of sensations will improve the mental power to direct the ranidTv « P movement make the finger travel as there are sure to be exceptions: for instance, in the for piano, aside from those intended for very ad¬ correct motions. establishing a clear image of the correct fingering in scale is aly°\P0-bIy can- The movement of the transposition just described, an accidental C sharp vanced players, that they stick too closely to the key the mind. As a first articulation exercise let us try this:_ The man Jh U+ m.overne.nt °* the finger quick, would become, not B sharp, but B natural. The best of C and its nearly related tonalities, giving the stu¬ un asnlnlt m ° Stan<*s ,wlth a pick in the street digging The next step is to take a piece in any sharp key thing we do when we meet an accidental is to ask dent insufficient acquaintance with the black keys. Etudes and Pieces for Arpeggio Practice up asphalt may use twice the force of the lithe anile and transpose it to the corresponding flat key. Ihe ourselves what note is a whole step below this (or Hanon’s Virtuoso Pianist, otherwise a work of surr The student will find excellent practice for the use tteaXonsttebutfiPlr' .Wh° is exertiS e-ry muscle to rule for this is only an extension of that just given; above, as the case may be). A thorough elementary passing excellence, suffers from this defect, while it is of these forms of technic in Franklin Taylor’s “Brok- knowledge of harmony is a great help in this and cato scales seL t the “PeP-” Stac- remember that the sharps in the signature will become almost ludicrously in evidence in Czerny and other similar cases, yet I have known many musicians, es¬ bv Pbfllr a rPeggi-°” sen'es’,a,so in “New Gradus,” vitalitv but this ; a S'Ve p.aylng the effect of more naturals, and that all other notes will be flat. For older writers. Pischna cannot be accused of it, nor by Philipp. A few pieces might be suggested in pro- instance, take the key of A: the F, C and^ G, being pecially orchestral players, who had succeeded in be¬ finger^motions'.5 ^ to «"!<* Wolff in his Little Pischna, but the former is only gressive order-"Song of the Woodman,” Lynnes; sharp in the signature, will always be natural; the coming very expert transposers without any such Album Leaf, Grutzmacher; “Guirlands,” Godard- rch.StaCCat° SC3leS Wil1 ren°vate the'most" sluggish other notes, B, E, A, D, will be flat. Notice that the knowledge. for very advanced pupils, and both are painfully un¬ Impromptu” op. 90 No. 4. Schubert; “The Lorelli” letters just last named are nothing more or less than musical to the ear. The writer has found it very Hans Seeling; “Melody in FT (left hand alone), by To Transpose Upward or Downward a Third Be sure to carry the forearm and hand by use of the signature of the key of A flat, into which we are beneficial to require pupils, even as early as grade 3 the upper arm muscles, so that the fingers are not Eggling; Whispering Zephyrs,” Lynnes; “Prelude” in about to transpose. The same routine may be followed This is the transposition usually called for when or 4, to transpose their studies occasionally. The E minor, Mendelssohn; “Kammenoi Ostrow,” Rubin- Have You Mastered the Quiet Hant burdened with anything but their work of light but with any sharp key. an alto voice sings a soprano song, or the reverse. exercises in the first part of Hanon, which are all in stem;.. The Swan,” St. Saens-Kunkel; “Rondo Capric- clear cut articulation. Also practice the finger articu¬ By M. c. W. Fix firmly in mind the signature of the desired new the key of C, may be transposed with profit into the cioso, Mendelssohn; a collection of pieces; “Modern lation by use of two taps on each tone. key, and read each note which is on a line as if on the key of C sharp or C flat, without changing the finger¬ Student Book Two, Presser; “School of Melody- Two more exercises where the passing under of the line above (or below, as the case may be), each note ing. True, this brings the thumb occasionally on a Playing,” Schirmer. y i.ow*S«Vsi/;nis ? *• ke>b°"d »d - on a space as if on the space above (as the case may thumb is included, will complete the practice in artic¬ the hand position a finger PassaS?e work. ' black key, but he has never found any good reason Broken-chords and arpeggios practiced thus with a forearms !eem fl n0t Seem studied or stiff. 1 be). The interval may be either a minor or a major ulation. The first exercise is to pass the thumb under uT to uphold the superstition of the earlier school of the third finger. due regard for the laws of mechanics, as well as for it? Merely by J*'! * a."d tbuoyant’ How does he third, according to the signature chosen: for instance, correct physiological and psychological conditions will if the original is in B flat, transposing to the key of piano teaching, which apparently takes for granted -8-A bring rich returns to the student in the matter of that the black keys are in some mysterious manner Hold your hand IgZ? a thls purpose- G would be lowering it a minor third; transposing economy of time, a better tone, more facile technic, harmful to the thumb. try this exercise enouv!yt?nd avoid 3,1 rigidity’ a it to the key of G flat would be lowering it a major and a deeper feeling 0f reserve power which will come really gettine some u Sc tVTles to see that you ; third. Accidentals constitute the chief difficulty, but from the easy and frictionless manner now accom¬ are dealt with by considering what interval is in ques¬ panying his every playing motion; and in the last °i »rmf,’ Tit “Music is the mediator between the spiritual life and tion—a minor or major third—and acting accordingly. event, he will see that his newly acquired manner of -ail in the life of the senses; although the spirit be not master For the benefit of those who have not studied har¬ playing is identical with that of the artist-pianist “As of that which it creates through music, yet it is blessed mony, we would say that a “minor third” is obtained a. man thmketh (correct motions with their accompany¬ in this creation, which, like every creation of art, is ing correct sensations) so plays he.” by counting four semitones; a “major third,” by count¬ ing five. Thus, from C to E flat we count “C, D flat, mightier than the artist.”—Beethoven. SEPTEMBER 1919 Page 555 THE ETUDE Page 554 SEPTEMBER 1919 THE ETUDE Cool Dips and Hot Teaching the Bass Notes We musicians live at a higher tension than most The most successful way for an absolutely new be¬ people, and this means several things that go on in ginner at the piano to play at sight the proper bass the body unknown to us. Everyone who plays or sings key for the proper bass note, can be learned by any and say to him, “See these two notes? The middle line with that “pouring out of the heart and senses” that is ordinary child in as many minutes as you need take goes just between them; they are on each side of the “temperament” or “art” wastes the tissues of his body to show him (or her). Indeed, it is only a matter of middle line, therefore play the two white keys just in the process. He breaks down the little cells by the seconds instead of minutes. For the eye does it, and above and below the middle-line key.” Write another The Teachers’ Round Table sight is instantaneous. chord sheer force of feeling and, muscularly, too, he depletes himself. Now this means waste cells that must be The following little method was a matter of inspira¬ Conducted by N. J. COREY tion to the writer some years ago, after meeting new thrown out of the body by some avenue or another. To do this, the kidneys, the lungs and the skin have all pupils of all grades from all sections of the country, . • • . 7WA” “ What to Teach,” etc., and not technical problems pertaining to who came to him with the confused idea that because their part to play. It stands to reason that if any one This department is designed to help the teacher upon questions pertaining Answered department Full name and address must accompany all inquiries. the lower line note of the treble staff was E it should and say, ‘Here is a not; just above the top line, also of these organs is not up to the mark, the others will Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. also be E in the bass staff. So he abandoned the ancient one on the middle, and next-to-the-top lines. Place have to do a double share. Leschetizky system. Mastering the Scales and Arpeg¬ custom of teaching notes and keys by letter at the be¬ your fingers on those white keys and play them.” Write The skin is too often the lazy member of this trio. Reading Cumbersome gios is also indispensable. The Standard Graded ginning, and there has been no more trouble. Your other chords like these, as an example, and your begin¬ To keep it active, the student should take particular “I A pupil in the second grade, fifteen years beginner has got to play by sight, and stopping to spell ner will be playing at sight in a few moments. This is pains. Many of us suppose that if we take our hot “I have a pupil of eleven, average reader, and of age, cannot keep correct time, particularly when Course and the Czcrny-Liebling will provide you with faithful in practice, In the third grade, but whose she encounters sixteenth notes and grace notes practical work. Excellent pieces in the third grade are the alphabet all the time will never do it. the experience of the writer. The added line and space bath daily, this will be sufficient to keep the skin in hands, in spite of my best efforts, remain clumsy She reads well for her advancement, but cannot and awkwaid and with the usual resulting inac¬ Sarabande, Handel; Rondo in C, Hummel; Schubert, Seat your beginner at the piano, fix the middle C notes above and below the staff are taught in the same prime condition. But this is not enough. The skin will seem to get the speed on the notes mentioned. curacy. She uses them like one who is numb with What can be done? Walser, op. g; Tschaikowsky, The Skylark; Kroeger, key at once in his mind. Then take your pencil and manner and just as easily.' get still more lazy with only hot tubbings to clear it cold I have used some of the exercises from Band “2. I am in the seventh grade, but am a slow out. It needs the stimulus of a cold shower or sponge Culture, by Anna Busch Flint, but can see little reader. How can I improve ?’ —L. E. Swing Song; Koelling, Two Flowers; Lieurance, Down paper, draw the five bass staff lines and place a note [Editor’s Note.—The name of the author of this article Improvement. Can you advise me? —W. M. E. has been mislaid. Will he kindly communicate with the after the hot scrub. And an occasional airing in a cool the Stream; Williams, On the Lake; Ringuet, False on the top, bottom and middle lines. Say to him, “Here Facile reading pre-supposes two principal functions. is the top-line note, the bottom-line note and the middle¬ Editor in the handwriting of the manuscript? Writers room, especially if the sun pours in through the win¬ The hand may be naturally clumsy, and possess a Venitienne. should always put their full name and address upon all First the quick recognition of the notes, and the keys line note. You want to know the top-line key, middle¬ dow, will do wonders in making the skin active. physical awkwardness difficult to change. A hand that manuscripts sent for publication.] to which they should apply. Second, translating groups Attempting Too Much line key and bottom-line key for those notes.” Your Friction, too, shouid bear a part in the keeping in is stiff through and through by nature sometimes fails of notes at sight into their correct rhythm,Just exactly notes on the staff will look like this: to respond to any treatment. Then again it may be “I am seventeen, have taken thirty:five lessons, condition of this important organ of elimination. Con¬ as you recognize at sight any word without being practice one and one^lialf hours daily and aui stant attention to this matter will pay big dividends in deficient in nerve force and fail to react to the applied obliged to spell it out. Of course, this ability is the playing third and fourth grade music. When the musical stimulus. In this case the hand would tend to pieces should be played fast I have difficulty in Five Health Hints for the Music the life of the nerve-tried music student, making him result of a long and slow process, whether in music or attaining correct tempo, as my fingers become stiff become very tense and unresponsive. Massaging the fresher for his task; and later he will be all the better the printed page. The quick recognition of note values and stumble over the keys. Can you suggest some Student hand in a preparation of wintergreen oil and cold exercises, and am I as far advanced as I should able to fulfill the stringent requirements of the artist, in measure or phrase groups is one of the essentials ’of cream would help to soften it. Then holding it in hot be?”—IC. 0. Then show him the two groups of three black keys if he has perfect health as one of his assets. keeping correct time. Some pupils seem to be naturally By Nanette Van Alstyne water for a few minutes before going to the piano at the left from middle C. Stand behind him, take My inference from your letter is that you are would also help. It would loosen up the muscles and gifted along this line and give the teacher but little each of his hands in yours, and, with his forefingers Temperament and Poise attempting music that is too difficult for you. Also, make them respond more quickly to the nerve stimulus. trouble. Others are defective and occasion trouble extended or pointing out, do as this illustration shows Diet and Practice “O-oo-ooo-oooo !”• the singer wailed, fairly throwing which is sometimes difficult to overcome. If you will that you have not passed progressively over the various you, making his index fingers follow the arrows. You I doubt if exercise work will accomplish much with a steps, and that your hands, so far as position and action If you wish to get the most out of your practice hour, herself through the wings, where something had gone child of eleven. A too conscious endeavor to produce secure a copy of Studies in Musical Rhythm by Justis, can tell him, “Bring your hands towards each other. do not eat a heavy meal beforehand. For several hours wrong in rehearsal. She flung open the door t,, her and give your pupils a few minutes’ work to be done of fingers is concerned, have been left pretty much to results by gymnastic exercises, which all exercises are, themselves. I hardly feel that it is possible to suggest after a too-solid dinner, you will find your mind a lazy dressing room, sank into a seat, and forthwith gave daily, you will find in the course of a few months a will not appeal to the unformed intelligence of a child. any exercises to meet such a condition without coming instrument, and your fingers will lag and lack alertness. way to a fit of hysteria. very great improvement. With the pupil mentioned What she needs most is to learn by note some very sim¬ in contact with you to observe yotiy needs at close hand. The manager shrugged his shoulders, with a grimace above a part of the trouble may be caused by a lack of This makes practice uphill work, and one does not get ple, but pretty pieces which she will like. If third grade Very few play third and fourth grade music after thir¬ of distaste. "There she goes again,” he observed, drily, ability in velocity work. You should work for this in the most out of it. It is often wasted time, practice is her limit, these pieces should be in the early second ty-five lessons. Attempting music that is too difficult after eating a hearty meal. “She’s used up enough force to carry her through a grade.' Then she should be trained to play these with five-finger exercises and short scales. With the devel¬ opment of more speed will come the ability to play the would immediately cause stiff hands. I am afraid you Instead of meat, potatoes, bread and sweet dessert, relaxed hand and fingers. She will learn nothing while need a thorough review of elementary principles under Temperament is all very well in its place—a cer¬ grace notes with sufficient rapidity. eat a luncheon of fruit and salad—something light and trying to pick out a piece of any difficulty, because her an expert teacher who can determine at once whether tain sensitiveness of the nerves that will permit the attention will be fixed on deciphering the notes and For your own improvement in sight reading play a easily digested, and—this is an important point even in great deal of music in the second, third and fourth you are practicing with your hands in a relaxed con¬ strong, vivid musical impressions that later the artist finding their equivalents on the keyboard. But when a dition. Any music is too difficult that you cannot play the partaking of light food—do not eat too much. And will give back to the public in his rendition of tin . im¬ piece is thoroughly learned, so that she can play it, as it grades. Buy several of the fifty-cent albums containing remember that starchy foods are digested in the small such music and play them through from end to end with proper relaxation. If no teacher is available at position he has heard and studied. But this tempera¬ were, automatically, then she can give her entire atten¬ present you might be able to acquire some ideas in hand intestines and several hours are required for the com¬ ment must not be wasted in mere silly fits of protest tion to the manner in which she holds her hands and without repeating any of the pieces. Try to gain a mental conception of the pieces before beginning, and position and relaxation from the first book of Mason’s let the fingers fall just inside the fence, and you have pletion of the process. against the thousand and one irritations that com. into fingers and uses them. Try this method and see if it then play straight through 'without stopping for any Touch and Technic. It will require the closest and the top-line key, and bottom-line key.” Try this the next time you practice and see how every life, artistic or otherwise. will not, after a few months of careful atttention, pro¬ mistakes. If you are in the seventh grade, you would most concentrated attention, however, a complete use of Now show him the two black keys in between these smoothly your work will go, how much more interest¬ If anyone in the world needs poise, it is the musician, duce results that will be more favorable. find many of the sonatas of Haydn and Mozart excel¬ your intelligence, and a revolution of your ideas of groups, take his left index finger and place it on the for much of the power to impress and bold an audi.-nce ing it will be and how quickly the time will move, in¬ lent for sight reading. All players should acquire this progress, for instead of something to pass over page white key in between these two blacks, saying, “Here is dependent upon that very qualification. How shall stead of lagging till you think the hands of the clock habit, for it is impossible for any musician to bring to by page quickly, which seems to have been your method, is the middle-line key, right in between the two blacks— an artist dominate a big audience to the best degree, if must be sticking and holding back the hours. “2 Is tile metronome used ill teaching scales? polished perfection all the music with which he ought to you will find enough instruction oh one page to last you the middle-line key is the middle, that’s all there is sne has not the power of dominating herself-her "3. Is there any fixed rate for playing scales? for weeks. It is a small book, but to master it requires to it.” temper, her tremors, her resentments.' “4. How fast should a second grade pupil play become familiar. The better you can read, the more Proper Sleep enjoyment you can obtain in looking over new music. years. Apply the principles to the first book of the Take your pencil again, and place the next-to-the-top- >i'lps? new scale until after noth !,rtlSt rvi" face her hearers with added coolness Make your art entertaining and profitable to yourself m Standard Graded Course, proceeding with the utmost line note, and the next-to-the-bottom-line note, saying, There are. some fortunate musical people who can on the day of performance if she has not used up some le one already given “G. The people in m lage think 1 should teach, this way. You can never be musically educated if you caution, and you may gradually build up to better imifc “There are only these two line notes left on the staff, get along with a small amount of sleep and feel no he eighth grade. I feel, that in th^ibeforeflantI ’’y letting off steam over trifles play only the music that you can practice. Increase the cular conditions. and here they are.” Use his index fingers again in your lack of energy. These are the exception—not, by any that, m the last analysis, have nothing to do with art. t properly qualified, as I lony, theory or history. range of your knowledge of musical compositions by hands as before, following this illustration, and as you means, the rule. means of your sight reading proficiency. Working Material bring the hands towards each other again (as per ar¬ Fresh Air If you are not students in this small group, do not 1. The metronome is a great convenience, but not a rows) tell him, “Here they are, just outside the fence—- take liberties with your sleeping time. If your musical rnmn h°W Iovely and stirring is the air of the necessity for all students. The more the pupil advances The Universal Teacher next-to-top-line key, and next-to-bottom-line key.” career is really an object in your life, try to subordi¬ dav wh y°Vr? practicing. there are times in the towards musicianship, the more necessary it becomes. “I am trying to study music alone, nate all other interests to it. Get to bed early every ' time witlfthe “3. Which should be taught first, scales or tend Oftr Sh°Uf‘d g° °Ut a"d try air of a different By it many composers indicate the general rate of s far as the third grade, most of the night and arrange conditions so that your sleep may be elp of a teacher, but a teacher is no longer ob- go f 3 S:,'ft Walk OUtdoors wi» make practice speed at which a composition should be played. This ainable. Can you give me a list of books, studies ”4. Should pieces be given before Book II is solid and restful. begun ? down int r,SifWe and 'ts accornPhshment condense applies to advanced pieces. nd pieces that will help me.”—C. J. ”5. What books should I use in my method of If you are a student in a city, away from home, do down ,nto half or a third the time requi-ed otherwise. 2. Sometimes it may be used to advantage in develop¬ teaching piano?”—C. M. ing speed. Beginning at 60 with four notes to a count, After all is said and done, the most universal not allow yourself to remain in a room that is too work aml0” h 35 if y0U were doi"S uphill practice for example, and setting the metronome gradually teacher is one’s own self. The student who learns 1. Exercises with a beginner should be reduced to a near the noisy street, the railroad track or an early- at the h?Ve 0 exercise a >'ttle fortitude to stick nothing but that told him by his teacher knows but higher, 63, 66, 72, etc., as skill increases. minimum or he will hate the work. Instruction books blowing factory whistle. No matter how charming it take a Inner’fPU °n y0Ur kat’ get 'ntt stout shoes and little. It is the initiative for self-study that leads any 3. The only fixed rate for scales is to learn to execute contain all the exercises that are needed at the start, may be in other ways, if it is impossible to get quiet treets or ^ Spmewhere’ whether along the city musician farthest. Of course, the player who has the them with as much velocity as possible, limited, of unless some special point needs attention. sleep there, it will not do for a serious music student. advantage of expert guidance is doubly blessed, for or ^ or-when course, in the early grades, but unlimited in advanced 2. If the hand is ’well formed scales may be begun many false steps may be avoided. But making the best Have your windows wide open, so that you may have work. ’ The average second grade student does not far at about the beginning of the second term, and arpeg¬ while’I'hp’.VL 3 fjr'“: swinS'ng walk, forgetting mean- of an unfortunate condition shows grit, and grit often sufficient pure air. Never go to bed cold—you will pass the 100 mark, four notes to the count, in playing gios may follow when a fair start has been made on Have a little rehearsal now to fix the manner of accomplishes much. You will need to think, and think waste vitality and impair sleep. Heat a cup of milk ".“Vpi , ‘t”'more.'Z? k>eet Tf>if tmno-cck <-1,-. • nd “ scales. . ... scales. finding these line keys in his mind. For the space See things do not go more hard, to keep yourself from going astray. You will or hot water and drink it down, and, in the glow that easily wSn X 4. There is no such thing as mastering a scale with notes, all you have to do is to take your pencil, place need to study closely and attentively, and go over the 3. The preliminary study of octaves is not generally comes with the swallowing of a warm drink, you will the average pupil. It is necessary to learn all the a note above the top line, like this : same point many, many times until you are sure you begun before the third grade. Of course, the scales go to sleep much more comfortably. scales in order to acquire familiarity with them in all will be pretty well established by this time. keys. It is a most excellent plan, however, to use one understand it, and that you are not pushing too fast, If, for any reason, you have to stay up late one night, and not gaining the feeling of controlled relaxation that 4. Very simple pieces should be used near the start. try to make up for it the following night. You will do scale for the development of speed. The Mason Pupils will learn more from them than exercises, which P™wSK1, in receRt statement said: method uses the scale of D flit major. your hand should have. A stiff, constrained hand is better work musically if you are scrupulous about this the enemy of free and easy playing. I sometimes rec¬ always repel little folks. matter. And, remember, the little jaunt to the smart 5. You would be surprised to know how few teachers Tell him that note is just above the top line, therefore ommend the first book of Mason’s Touch and Technic 5. Nothing is more suitable or better than the Stand¬ restaurant that keeps you up till long past midnight, know anything about the subjects you name. Although play the white key just above the top-line key (“Above” whatOheC1s^e^”'eS^3”de^°*t Choate defects!' must^feel to pupils placed as you are, hut with compunction, for ard Graded Course. With it, after a fair start is made, or the dance that sends you home yawning at three or there is a general uplift in the standard of attainment, on the keyboard meaning to the right, of course). Do so many fail to understand it even with a teacher. use the Czerny-Licbling Selected Studies. The fact that four,, may be very jolly indeed at the time, but you will yet superficiality is still far too common. The fact this for notes just above or below each of the five You could gain many ideas from it, however, especially this question has been answered in full in this depart¬ feel it later on when you practice. And, besides, all that you consider it necessary to study harmony and line-keys. if you can understand that it should provide you with ment so many times causes me to wonder if you are these pleasures are very shortlived and transitory com¬ immense audience whichever”/SPe3k *° that theory shows that your “heart is in the right place,” Also get at once into chords in this manner: Take work for years. Another book you will find inval¬ a new subscriber. Of course, with subscriptions pared with the great joy of building up a technic that • • • yet he must put hi?nLn PendS °n perfect art and that you will aim to do your best. You would bet¬ your pencil and write two notes like this: triumphantly into hie own personality resolutely, uable for the study of principles is The Modern Pian¬ increasing by hundreds monthly, there will naturally be will .open up the wonderful world of music to you. ter keep right on, and sooner or later opportunity will idea.” y ° hlS mterpretation of the composer’s more or less repetition on the part of new teachers. come your way. ist, by Marie Prentner, which is an exposition of the SEPTEMBER 1919 Page 557 THE ETUDE the etude Why Children Should Study Music De Pachmann’s Secret | When de Pachmann came back to America for his By Harriett Gibson , his friends all noticed a peculiar ease and velvet-like finish to his playing and also a force some¬ L— . “One price for all” is usually a good business motto; what astonishing in comparison with his previous per¬ prepared by the wr but I am not sure that it is always best for music formances. The marvelous effortless ease with which Editor of Etude.] V ' he played certain running passages—passages which, teachers. On one extreme, we have the wealthy stu¬ All children should study music The Proper Use of the “Forte” Pedal dent 'who is taking music largely ‘‘for effect” and despite their resonance, seemed to rain out of a hand T . Wm that was scarcely moving, astonished everybody. for the grace, charm, and joy it will give them, gauging its social importance to him solely by what it Knowing de Pachmann’s eccentricities and also the for its refining influence; costs. If such a pupil can boast that he pays $10 a By ORVIL A. LINDQUIST fact that he had been absent from the concert stage for its educational and cultural benefits. A child ; 'l3 lesson, and deeply impress his hearers, he is satisfied. for some years, his friends thought that he had hit whose ear is trained in music will have a soft, well At the other extreme we find the child poor but upon some new method or evolved some secret system. modulated voice—a child with its sense of rhythm deserving. If such a one comes to you, a teacher, and If, in Example Six, the pedal is very quickly released . They asked him frankly for the secret of his progress developed will be more graceful, and with a sense of Note.—Prof. Lindquist gave our Etcde proves that he possesses latent genius of high order, is [Editor’ on the last note of the crescendo run, the accent will —progress made in the baffling matter of piano technic melody and harmony well developed there comes a There are few students of the pianoforte who have friends a n it interesting article upon the Mysterious Mid- it right to turn him down because of his poverty? I at the age of sixty-four, de Pachmann smiled and die Pedal i Tiie Etude for December, 1918. The middle be greatly increased. Of course, this is more o an love of the beautiful and through musical expression not at some time or other, heard the two following h-ilf so important, to the average student, as believe there is justification for accepting both these answered: illusion than an actual fact. The storm >sn 1 m°Te as well as a refined sensitiveness. statements: “It is wrong .to speak of the damper- tbeaFo*rte*'pedal Prof. Lindquist is quite right in saying pupils; the parvenu is going to give his money to some "Secret? My secret is I work like de devil eight ni EortTnedal is really used legitimately as a loud furious because it is followed by a dead calm, but on y Music is also an exact science, and will train the pedal as the “loud-pedal”; and to say, The damper that the Forte peuai is r s artistic purposes one; and the other little chap appeals to our ethical hours a day at practice until I get it right.” seems to have been more so; also the more suddenly mind and memory. What other single study develops pedal should never be used as if it were a loud pedal. Those who heard him at work said that twelve or the storm ceases, the greater will d appear o have the mind, the memory, the imagination, the feelings, It is not to be denied that the foregoing advice is Admitting, then, that it is “good business” as well as fourteen hours a day would have been nearer the been. So with this run, the more suddenly this rush well worth heeding, at least for the majority of piano culty IS that the averagei pin isi here. The Etude faithfulness to the art one loves, for a teacher some¬ truth. the heart and the hand at one and the same time? It of tone can be shut off, the stronger will the accent times to alter his usual price, how is it safely to be is history, biography, romance, mathematics, language, pupils; yet, strange as it may appear, neither of the *E?ssrand trying out bis suggestions.] 1 appear to be. done? More than one teacher has regretted trusting to literature, grace, charm, beauty, and manual training two statements cap be said to be true. a pupil’s promised secrecy. Of course, in the case of all in one. We should study music to be able to appre¬ When the damper-pedal is depressed all the dampers the parvenu all he wants is pretense anyway, and your ciate the best in musical literature just as we study are raised so that the strings are free to vibrate in other pupils are not going to care how much it costs literature to be familiar with the thoughts of the great sympathy with each other. It stands to reason that him. Most any explanation that flatters his vanity will authors. We cannot live by bread alone, and no edu¬ any tone, or group of tones, would sound louder un¬ be sufficient. cation is complete without some artistic training. Sci¬ der such conditions. But it is different with the pupil who is accepted at ence and mathematics are splendid brain developers, Perhaps it might better be said that to speak of the less than your usual price; your action must be ex¬ but what of the realm of the beautiful and spiritual? damper-pedal as the loud-pedal is not so wrong as it plained here; and note that the favored pupil must True education is the bringing out of what is best in is vulgar. However it be, this advice is nowaday believe what the others do. Children will talk, you us; it is.the unfolding of human nature. pretty well followed, and the expression ‘ loud-pedal Everyone has music in his heart, but must study to is put in the same class with “play by heart, -1 The best plan is to give such a pupil an unpopular bring it out. It is like a bubbling spring, striving to “tune,” etc. .hour, a period that no one else would have. Charge In Example Four we have what is called the stac¬ be free, and the best time to free this fountain of mel¬ The second statement, in regard to never using the him something, if it is but 25 or 50 cents. He must not cato-pedal, which is still only another use of the forte- Example Six, Etude in A Minor.Chopin ody—to give outlet to this expression of joyous rhythm damper pedal as a loud pedal, is even further irom be able to say that he is a “gratis” pupil; it will have a -IS IN CHILDHOOD. pedal because it is used only when forte staccato chords bad effect, lessening his self-respect and tending to the truth than the first one, for this pedal is quite fre¬ are wanted. Why it is called the staccato-pedal is This sudden release of the pedal is used quite often The home is the bulwark of the nation. There char¬ cheapen music in his eyes. quently used for no other purpose than to make the hard to see, because it has nothing to do with the to make a passage more rhythmical. For instance, the Another method is to shorten the lesson period. But acter is moulded, ideals formed, and the future des¬ playing louder. Since this particular use of the pedal staccato effect; in fact, the tendency is to make the octave passage in Example Seven will have a much tiny1 of the child determined. Let us have more even¬ hai no authoritative name, it will be referred to in this plan is less logical, besides giving the other stu¬ Louis Adolphe Coerne chords less so, for a perfectly clean-cut staccato is stronger rhythm if the pedal is released on the third dents a closer “line” on the “complimentary” student. ings at home at the fireside, with good music and good this article as the “forte-pedal.” possible only when no pedal is used. To be sure, the count than if it were held throughout the measure. If you are charging $1.50 or $2.00 for 30-ininute lessons, I^UIS Adolphe Coerne was born at Newark, N. J., books. The picture show, outside amusements, and damper-pedal is also often used on soft chords of A Thunderbolt However, if it is held for all three counts, the volume — ------worth”- would...... hardly give the pup,,pupil time °n Leb. 27th, 1870. He is a graduate of Harvard, and automobiles have displaced the pleasures and the en¬ short duration, but only for the purpose of keeping will be much greater; so, in the last analysis the In Example One we have a common use of the lay aside his hat. Use of the unpopular hour is the best “e Pursued his musical studies with Franz Kneisel, nobling influences of home life. Let us get back to first such chords from being too dry or colorless. choice of pedaling in this passage would depend en¬ forte-pedal. Here the chord marked sf should sound of all plans for such a pupil; you can do much n studying authe violin-s»i:-- concurrently with his academic principles, true and tried customs, old ideals. Make tirely upon the strength of the player’s octave work. for him and arouse no embarrassing inquiry. course. He is a pupil of Rheinberger in composition the music the center of interest—let the boys and girls out like a thunderbolt out of a clear sky, and the A teacher must have a “regular price” from which and organ, and in composition with J. K. Paine. He study, sing, and play. Let the parents join in and bring damper-pedal is used on this chord m order that such no departure is made without good reason; but to be later. returned to Harvard for post-graduate work. the best that music has to give to the home, thereby an effect might be obtained. over-strict in this will militate against success, both Coerne took his degree as Ph.D. in 1905 with the the¬ combating the cheap and demoralizing influence of financial and ethical. Be assured that the self-satisfac¬ sis, The Evolution of Modern Orchestration.” Later some present day amusements. tion of having helped a meritorious youngster, a kiddie he was active in musical affairs in Buffalo, N. Y, and who really “has it in him,” will be of practical value to Columbus, Ohio. After protracted study in Germany you; there is no greater impetus to good work, in any he took charge of the musical courses in Harvard In summing up the blessings and 1_ line, than the consciousness that the work in itself is University for the summer sessions. He was pro¬ i Denents derived from music in times of peace, let u_ . .. worth while. fessor of music at Smith College from 1903 to 1904 Example Four, Waltz.Chopin get that it is a mighty safety-valve in time of war. It when he again returned to Germany for further study! lightened the burdens of our heroes at the front; Example Seven, Minuet in G...Paderewski He has held posts at Troy, N. Y. (as musical direc¬ they marched with fresher tread to the strains of mar¬ In Example Five we have an exceedingly interest¬ Discouragement and Its Antidote tor), University of Wisconsin, Connecticut College. He ing use of the forte-pedal. If the reader will strike In pedalling the last chord of a composition, the has written in the larger form, operas, symphonic tial music; their morale was strengthened, their feel¬ ings soothed, their patriotism fanned into a living a pianissimo chord on the piano and afterwards de¬ pedal release should come on some definite pulse bear. poems, chorus, a Mass in D flat, sonatas, and a ballet. Example One, Moonlight Sonata.Beethoven By M. C. Cowin flame, and music, “sacred tongue of God!” inspired press and release the damper-pedal very slowly, he This is a point that seems to be overlooked by many His piano music is melodious and graceful. Probably will notice a gradual increase and decrease of tone. the best liked are Happy Valley Waltz; At Daybreak; them with confidence which is the mother of victory. pianists, and we only need to look at the number of By this means a very perceptible swell can be ob¬ Musicians seem to think that they have a monopoly Somewhere in the Sunlight; and the anthem, “O God At home, what a blessing to be able to express, or Passages that are tempestuous in character also need compositions that have a fermato over the last chord upon discouragement; but as a matter of fact, very of Bethel.” have expressed for us, in the concord of sweet sounds, the forte-pedal, otherwise this tempest becomes a tained, which, when put on the final chord of such to see how it is also lost sight of by the composers. few people ever escape discouragement—waves of dis¬ our patriotism, our griefs, our joys, our hopes and mere “puff of wind,” so to speak. Example Two is compositions as this one of Chopin’s, makes a beautiful For instance, the fermato over the final C in Example effect. The swell is more noticeable, of course, on a Eight would indicate that the note should be held couragement—in some form. tears! Thomas Edison said, "The Marseillaise is worth of this type. concert grand than on an upright. To say that such longer than the four counts allotted to it To do this The antidote that many wise men have found is Thumb Drill of the Right Kind a million men to France.” To-day, America is express- If the reader will play examples one and two, first a delicate effect as this was obtained by the use of would be a great mistake, for the only way to get a simply the words: g in song her adoration of her immortal heroes, who with and then without the damper-pedal, he will read¬ “Of course I’ll be discouraged, but I won’t stop.” the forte-pedal might seem an absurdity; nevertheless, good, snappy ending to this spirited composition would By M. C. W. died so gloriously for this “Land of the Free, and ily see how much bigger they sound the first way than It is a physiological and psychological fact that the ? Brave” The sun, the moon, the stars, the effect is gotten on the principle that depressing be to release the damper-pedal on the first count be¬ mind and body are constantly changing. The weather, the second. the damper-pedal increases the tone. yond the double bar. The releasing of the pedal on Here is a thumb drill that can be used to preface Dressing in'tt ? ^ chantinS a mighty Requiem, ex- the digestion, internal bacteriological action, exercise, scale-playing to good advantage. As the thumb is L . g’ n,? harmony of God, His gratitude to those a strong pulse beat is as important in quiet composi¬ all have a definite effect upon our being, to say noth¬ rarely used on a black key in scale playing, the prac¬ who have died for Truth, and Ideals. Let us foster tions as it is in spirited ones, except that the effect is ing of our mental behavior. It is virtually impossible not so noticeable; but the listener, if he has a strong tice may be confined to the broken thirds in C Major rrjdr:i0nI and the things worth while in the to play a piece one day in the same manner in which sense of rhythm, will not be satisfied in either case as indicated. those wh v, and’..so they may be worthy successors of it is to be played on the following day. There is al¬ unless the ending comes to a close on the proper Follow this counting for precision: music n hr d‘ed t0 make us Let us foster ways some element of variation. That is what makes rhythmical beat. Count I. Strike the second finger and at the same m st ncrfTI h°meS’ -in our nationa> and civic life,-the human playing so interesting. If Harold Bauer played moment let the thumb fly under to its proper posi¬ most perfect expression of truth and beauty the Brahms concerto exactly the same at every con¬ tion over the E, the next key to be struck. These cert, it is hardly likely that he would draw the same star? beginning of time- when “the morning motions are to occur simultaneously and are not to be iot ” 11? “ and the sons of man shouted for audiences over and over again. The fact is, that it accompanied by any jerky motion of the hand. is always slightly different. The writer has heard to exoress f 1 beeJJ,,t.^le best medium through which Count II. Strike the'E confidently with the thumb rhvthmfc ng- great world ours moves in Paderewski in the same program at two different at the same moment liberating the second finger and This perfect harm0510.11’ uthe Stars *n t^le*r courses move in . .Chopin concerts play compositions in a notably different placing it in striking position immediately over D the Example Two, Concert Etude.MacDowell Example Five, Prelude.. manner. next note. ’ ebb and flnw°1’ 1“ seasons c°me and go, the tides great harm?5 6 hearts of the world keep time in a Just remember that every day we differ, and that Proceed in the same manner with the other fingers What is commonly called the crescendo-pedal is In the above examples we have seen how the de¬ on some days our spirits may be down, our optimism and the other notes in all the exercises. nothing more than the name of another use of the pression of the damper-pedal actually makes a chord weak. Don’t despair, be patient, to-morrow is an¬ forte-pedal, increasing the crescendo in a run, as in or passage louder. In the examples to follow we shall other day, things will go better, the runs that refuse Example Three. Crescendos of any type can be see how a quite similar effect can be obtained by the to run to-day may fairly fly to-morrow. Of course, very opposite means, i. e., by releasing the damper- heightened by*a proper application of the damper- you will get discouraged—only don’t keep discouraged pedal. pedal. SEPTEMBER 1919 Page 559 Page 558 SEPTEMBER 1919 THE ETUDE the etude It might seem to the reader that the last half of A Sure Cure for Footlight Fear this article contradicts what was said in the first half. AN IRISH LILT Of course this is not so, and (as already has been By Nannette van Alstyn said) the effects received on releasing the pedal are Nervousness is the bane of the performer. In some of any task. For this power is our real sen—our big self, that can accomplish anything, as opposed to the only illusionary ones caused by very sudden contrasts. cases it is so marked and so excruciatingly painful, that little groping self that is responsible for so much of In closing, let us take another example to show this one wonders why the sufferer does not give up music point more clearly. Play Example Nine, pedalling as our unhappiness and failure. altogether and choose some other and more tranquiliz- marked, and notice in the fifth measure, where the Now, when we flounder through any task before the ing profession. But there is this about music—that it pedal is released, how the C major chord seems to public, uncertain—miserably uncertain of our grasp; is so divine an art that we are willing to endure much take on new life. In other words, at the exact point when we contrive to do our very worst in our very in its service. where we suddenly get less tone, we seem to have worst way; and endure thereafter the half-veiled com- We will find, in the consideration of this type of gotten more. (Notice how the pedal sustains the chord iseration-of our “friends,” and the lukewarm commen¬ six full beats beyond the double bar.) nervousness, that it has its roots in one prevailing trait dation given perfunctorily by the polite and kind- of human nature—the love of approbation. It is this hearted—then we may know that we have set the small trait, too, which makes us unhappy—even when we self to do our artistic task, instead of calling resolutely have done our best—if the press notices are not what upon the great subliminal self to engineer things for we think they should be, or when our “friends” say unkind things about our performances. We are, as a Music, above and beyond .all other things, links up rule, overanxious for praise. And this—far from con¬ with the larger life which the psychologists are dimly ducing to perfection—is a hindrance to all we strive discovering in these modern days. It is highly probable to do. that the music of the great composers flowed into their When we sit down to the piano to interpret the souls and so into the world, at some uplifted moment, thoughts of the great, we have not the bouyant, happy that put them in tune with the Infinite. Now, if we Example Nine, Norwegian Peasant’s March...Grieg confidence that has characterized our practice alone, can so tranquilize and un-tense our little selves, it is in the weeks that were given to the study of the com¬ probable that we, too, can get so into harmony with the Since, the two statements at' the beginning form position. Instead, we are trembling, our hands are maker of the music and its Great Source, that our the basis of this article, the writer, in closing, would cold, or dripping with perspiration, our minds are tremors—our cowardly apprehensions—our warping like to restate them with a slight change in the word¬ obsessed with a dread that we will not be able to round self-consciousness—our disturbing thirst for the appro¬ ing: Never speak of the damper-pedal as the the next corner in the piece—that difficult phrase on the bation of the hearers—will drop from us like a hamper¬ * loud-pedal”—because it is considered vulgar. Also: third page that we practised with such tireless zeal. ing cloak, and we will carry through our artistic work We are “all-gone-to-pieces” with stage fright. Never use the damper-pedal as if it were a loud with tranquil assurance, to a victory which else v. e had pedal—unless you are sure you know just whdn and Why? not achieved. how to so use it. Simply and solely because we have allowed the little Try it. The next time you undertake ‘o play for a , ? i ^a 1 j* ^ self in us to be master. We are all of us made up of an audience realize that here is the composition of a this little self, and of a big one of whose existence we great soul, which must be presented to your listeners Music After Business Hours are usually unaware. And it depends upon ourselves as the composer intended; a glimpse into the Infinite, which self is to prevail. We often read of the action to be shared with your audience, for it is no exclusive . . -rtf of some puny, shy person or another in a sudden emer¬ By Thomas Welsh possession—either of the composer of of the per¬ HI gency—how he performed deeds that ordinarily require former. It belong, to all the world. Brush aside the great sttength of muscle, extraordinary calmness and little self that is pawing around for praise (like a 0L In the following article it will be our endeavor to initiative; and so doing, saved the day, preserved other poodle on its hind legs begging anguishedly for cake), convince the reader, as far as possible, that music is lives, and covered himself with glory. and instead, let the music possess you. not given the consideration that it is due to receive; But, in such cases we will always find that the hero con espansione There is calmness in this way of doing things—in so, with the following few points we will hope to show ■of the occasion is deeply inclined to modesty—rather that there are greater advantages in music, both intel¬ surprised, in fact, to have people praise him. music and in everything else. There is sure and cer¬ tain achievement, and there is—all the praise your lore lectually and mentally, than we ever allow credit for. Why( again? So many people are of the opinion that, to appreciate of approbation reaches out so avidly to secure. ()nly Because he recognizes that there was a power that now it will seem a thing of little moment, in the light music, it is essential that you must be very musically acted in him beyond his own small abilities, a power inclined or that you must possess some skill as a player of what is revealed to you of the glory of the music that ^was as impersonal as it was limitless. And this and the joy of being its vehicle to the people who or as a singer. Such is not the case. Appreciation mysterious power is potentially resident in us .all—in and a deep liking can be developed just as one grows have heard you render it. “Duty performed—in this ' the poorest and meanest, and in the greatest. It is manner—is (truly) a rainbow in the soul.” And the from childhood into the stage of manhood or woman¬ always in our will whether we shall draw upon this hood without thinking of such happening. In develop¬ joy of doing things■ is, after all, the most lasting of all fund of strength and knowledge, or whether we shall joys, a Joy that it is beyond the power of hyper-criti¬ ing we must, of course, begin in the first stages and use our own tiny, circumscribed capacity in the doing at that point we will enjoy music of the more simple cising ‘ friends” to take away from you. nature; then, having followed it closely and with un¬ derstanding, it is wonderful how soon the demand comes for something better, and we eventually accept By Elleni Amey nothing but the best in operatic and classical composi¬ i.uuiuouug IU leant W lid L cUTlSt tions. The musically inclined person, of course, has It is always interesting to learn what artists and if one observed one would find those in the great works teachers have to say upon two important points the advantage over the unmusical, inasmuch as the de¬ achers have to say upon two important points, i. e.. of Tschaikowsky very simple in form; thus showing technic and memorizing. velopment is more rapid—the result of the inward feel¬ that he carefully noted forms. ing asking always for something better. Unlike most These are the points that astonish the young student Just the other day a gifted young musician in answer other pursuits, in music we can reach a point where and bring forth the exclamation: “Howdo they do it!” to my remark that with his talent he could memorize we have real satisfaction. Aside from the expression of astonishment he really anythmg he pleased, said: “When I find my talent does wants to know how it is done, for he is working to ac¬ The point arises here that we ought to follow more ?°:nhv:Lme 1 lnvenj a ,way t0 do things.” The ability closely and with greater interest the musical events quire the same technic and the ability to memorize. to invent a way to do things is in itself a gift and happenings of the season. If the business man of Rules for technic allow generalization in a large de¬ foiner Hlng Ug-* -°f the Gewandhaus concerts of the present were to devote part of hiy time to music gree; not so those for memorizing. Consequently, re¬ ™ rdlySl a p.lani,st °f exceptional ability and thor¬ of the higherorder,mental and nervous breakdown would marks upon this subject show more interesting phases ough training, who had a big repertoire of the great be less frequent, and while we ought to be devoted to of' character, and they also make known the mental our work in every way we must not become slaves to type of artist. Sometimes, like those given below, they gramTaTSd,"' each successive “d Wh0 week, ‘T" told ^ me that he saw his it. The benefit derived from attending the opera, a may only vaguely define a suggestion, but they are ”h0atSheatmemoFma * t0 recal1 them- waning concert by a great orchestra or a recital by an artist always helpful for they are the result of personal that he memorized through a visual image. But twice is very considerable. It is wonderful relief to the mind experience. n one season there came to him a sudden limse of that has been full of business all day long. On attend¬ In an article by Maud Powell, which appeared some ing the performance of a great conductor or soloist hee™em,abiePfllC Per/°rmance- At neither time did years ago, she said that if a passage gave her trouble movemTnt fn h T h'mSelf together to finish the the ordinary business man should experience a rest¬ to retain in the memory, she immediately tried until ful serenity that must be a relief after his strenuous memoTin I f t mStance? * was the fickleness of day. she found some trick, generally through the fingering or position, that helped her fix it in the mind. Capable the cue^o wha" followeadSmg f“rnished Our intention in advocating music is not to impress of any invention to meet an exigency, it would seem inStances show that the natural ability to mem- the reader of the beauties of a “rag” time for we can¬ that she found it efficacious to make an impression not argue any beauty into such “stuff.” “Rag” time, upon the motor sense. as music, is a dissipation, and we realize this the more Richard Arnold, a violinist and teacher of national we hear of the classical and higher musical writings. Of specificwork ,mage-y may be fickle- The need reputation, and a prominent figure in the musical life of Let us, therefore, always look for and accept nothing but the best. New York, said to me: “If one can only play quietly and trust to the fingers they will carry one through.” We recommend music as an investment of high or¬ On one occasion when a doubtful passage slipped his der. It pays good dividends. Very often our mind memory for an instant, he played it again, remarking: needs rest when our body does not, and music might be depended upon to stren^ °Ugh SUCh study may be I must remember to go up in position there.” This advanced as the best thing to soothe the tired or dition to a quicker ^ssitrfilatf T™' ^ifts‘ In ad~ showed that, although he trusted to a tactual image, overtaxed brain and nerves. This proves the value of the student who acm,aim l °n the content of music, the impression was made under conscious direction, the investment, and we trust goes to show that what learns to recogm'ze them ’“t? •w,th basic for™, and and he always appeared to know objective points music can give, money cannot buy. the invention of self-helpT iA tldi^5 £S0U£es for British Copyright secured often referred to the form of themes, and once said Copyright 1919 byTheo. Presser Co. troublesome places. d g hlmse,f over V THE ETUDE -Page 560 Sc.rln.JiD£,n ivlv SEPTEMBER 1919 THE ETUDE mctrcato > ^ . _ ■» ^ I j 1 YALSE -BLUETTE JAMES H. ROGERS / ^ 0 f^i \>J t f-. 1 ^
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THE BUGLER MAURICE ARNOLD.
A useful study in the elementary chord positions, for either hand. Almost a first piece in chords. Grade 2.
Copyright 1918 by Theo.Presser Co. British Copyright secured THE ETUDE SEPTEMBER 1919 Page 563 THE ETUDE Page 562 SEPTEMBER 1919 OVER THE TOP WHITE HEATHER MARCH WALTER ROLFE
Two contrasting themes,both characteristically Scotch. Grade A good Jeaching.piece,.affording practice in the five-finger positions. Play in double time two cdunts in a measure. Grade 2^ Tempo diJHarcia .M.M.J=i26 i m A A A , A m letcf M
Poco animato
Copyright 1919 by Theo.Presser Co. British Copyright secured THE ETUDE Page 564 SEPTEMBER 19i9 IN STEP AU PAS L I OCAR FONTAINE, Op. UO, No.2 SECONDO „ Gr.de 4 Graceful and pleasing, with parts well balanced. In the style of a promenade march or modern w Marziale m.m.J=.108
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i pptu animat6 -- — f— =•
Copyright 1917 by Theo.Presser Co. British Copyright secured THE ETUDE SEPTEMBER 1919 Page 567 Page 566 SEPTEMBER 1919 the ETUDE SECONDO PRIMO
LOVE’S RAPTURE SEGONDO LOUI S_ADOLPHE_COERNE, Op. No.l An originaLduet number, easy to play, and of real teaching value. Grade3.
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Copyright 1919 by Theo.Presser Co- British Copyright secured SEPTEMBER 1919 Page 569 the ETUDE Page 568 SEPTEMBER 1919 THE ETUDE VALSE RUBATO ARTHUR L. BROWN By the popular American composer of Love Dreams and other successes. To he played in the manner of an improvisation,with much freedom of iem-
MY FAIR LADY Introducing “LONDON BRIDGE’,’etc.,with Variations A good little study in the parallel major and minor keys. Grade 2h GEO. L. SPAULDING Andante M. m. •' = 108
Copyright 1919 by Theo Presser Co. Copyright 1915 by Theo. Presser Co. British Copyright secured SEPTEMBER 1919 Page 575. JtfE ETUDE TARANTELLE CAPRICE This brilliant number will repay careful study. While nut too difficult,it contains much of technical value: quick finger work m <* hand, interlocking passages, octaves and chords. Grade 5 ALOIS. F..LEJE AL, Op.80 Molto vivace m.m.J. = -144
British Copyright secured Copyright 1919 by Theo.Pre8ser Co. SEPTEMBER 1919 Page 577 f0 am*
YOUNG PARADERS t- HOMER GRUNN
• The middle eec.tatSu. .he eign.tee remains unchanged. Or^fcA a double time, witjv regularwing ’ ~-^ Tempo di Marci%M.M.^-^08 a =» 3^2 _f? SEPTEMBER 1919 Page 579 XEE ETUDE 1 3 2 1 3 2
MELODY OF HOPE FRANCESCO B. DE LEONE quiet, meditative style, almost organlike in construetion, requiring a true legato. Grade 3 V Andante con espressione m.m. J = 76 -----
.annassionato, ma allarg. stentato P-sonoro ma rjtpoco a poco^
British Copyright secured Copyright 1919 by Thec.Presser Co. 41
SEPTEMBER 1919 Page 581 Page 580 SEPTEMBER 1919 THE ETUDE* ACROSS THE LAWN POLKA
PROCESSIONAL MARCH A lively Processional or Postlude, which might,if desired.be used for indoor marching. Grade 3
L SEPTEMBER 1919 Pag* F}8S THE ETUDE THE ETUDE Tran8.by MI TERESITA ARTHUR HARTMANN TERESA CARRENO Originally written for piano solo, this lovely wait* melody is even better adapted for the.violin. Allegretto (Tempo di Valse) M.M. J*=48
VIOLIN
PIANO
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Copyright 1918 by Theo.Presser Co. SEPTEMBER 1919 Page 585 THE etude Page 584 SEPTEMBER 1919 T1TE ETUDE REMINISCENCE , , IRENE MARSCHAND RITTER THE ROAD TO SALLIE’S HOUSE A modern recital song-, tuneful and impressionistic. A delightful encore number in the style of an old English song. Andante Georgia Wood Pangborn ADDISON F.ANDREWS Andante
road to mine went down; And Sal - lie’s hair was like the sun,while minewasmere - ly brown; And Rarwi-nOp nf onM The hirds all sane- like an - y- thing,And naught was sad_or old, When
day; But these things made no dif - fer - enceWhen Satlie came to - way, ^ I heard the sil - ver of her shouCHur-rahllVe come to
play, When Sal-lie y came to play. The years havegoneso fast, my dear, I dohtknowhow to play; And play, Hur-rah! I’ve come' to play!”
fj, - | | jV| \-—:T Copyright 1919 by Theo.Presser Co. British Copyright secured SEPTEMBER 1919 Page 587 tee ETUDE Page 586 SEPTEMBER 1919 The Freemasonry of Music m THE STARLIGHT WALTER WALLACE SMITH By Sidney Bushell Cv Moderato con moto P While on a holiday trip a few weeks ing her ability, but felt sure that her mas- ago. my wife and I had the freemasonry ter, who was due to give her a lesson that of music brought home to us in a striking afternoon, would be only too pleased to manner. Personally, I have always been oblige. And so it came about. Although a firm believer in its existence and I did not actually sing at the church potentiality. service, I had a splendid opportunity for A day or so before leaving home I practice in the afternoon, gaining both remarked that although the people in experience and no little encouragement _- (our first stopping place) did from the organist, who is also a vocal not know it then, or were even aware of teacher. my existence, I was going to sing a solo in a certain church in that town on Sun¬ All this was done in the kindliest and day evening. This statement was greeted most fraternal manner, followed by an skeptically, so I contented myself by say- ' invitation to be shown over his own ing we would wait and see. Arriving church, and especially his large new or¬ at the town Saturday towards evening, gan before service that evening. The Sunday morning came with my prophecy result was that we had a most enjoyable no nearer fulfillment. talk, and duly capped and gowned both of us had the pleasure of assisting his *-J' • J * 0 -*' r * j ~7 t}je lit - tie stars ap - pear, They We went for a walk quite early, and choir during the ensuing service. A week night comes on, My thoughts,dear turn to you. „ heart 0 . beys your si - lent call, And while passing the church in which I had or so later, in another and larger town, soft - ly drawn, A - cross the flan^^^ng skies, . X i k. i said I would sing, the sound of some¬ one practicing on the organ reached us. we received an invitation to a choir so¬ With a significant glance I suggested that cial, where my vocal ability was tested. we should enter. We discovered a young Despite the fact that we were strangers, lady at the instrument, and sat for some much kindness was shown us. I was invited to sing a solo in the church and, It IS THE FURNITURE of the true artist in home-making. time listening, when, during a pause, a If a piano is to be yours, why an upright? The Grandette slight movement betrayed our presence, later, to assist in a large concert given in takes up no more space, but it is a grand. It costs but little compelling us, for courtesy’s sake,, to the theater. We were kindly received more than a good upright, but it is a grand. make ourselves known. It transpired everywhere, had a most enjoyable and Being a grand, it has the lines and grace which make a room; tliat she was a pupil of a local organist, instructive time, which has given us a lasting fund of pleasant memories, and being a grand, it has the musical superiorities of richest, bell¬ so it was an easy matter to suggest she like tones. Make your home—own a should try some accompaniments for me, a all through the medium I have chosen student vocalist. This she declined, doubt- for the heading of this article. KRANICH &. BACH The se - cret we both hdd pledged to keep In our hearts this whole life whis-per as if they knew - mind- ing me that the day has flown, And of you “X ve * Ty j - er to you it flies. mmmtmmmtmmmm — __ pOCO Til. Good Manners Before an Audience Hf, ambled upon the stage, correctly song with pleasure and to give him a attired, but with a “public-be-damned!” full meed of appreciation. air, that possibly concealed the trepida¬ But if he is ungracious, and takes their ,___—_can’t afford to endang welcome coldly, he must not be sur¬ ie best. On the other hand, the Grandette is do tion of the artist. He received some wel¬ itation of the house than any other instrument coming applause. This he did not deign prised if he meets with coolness in return. to notice, but swept a coolly appraising This matter of courtesy to an audience KRANICH & BACH Catalogue should. be recognized as being of the Convenient eye over the audience, and from it to his Terms of 235 East 23d Street Sent on accompanist, who sat at the piano, await¬ utmost importance in teaching the stu¬ Payment Harlem: 16 West 125th St. Request ing his nod to start. The singer began dent, either for public or private per¬ NEW YORK CITY his solo with an air of complete aloof¬ formance of the art he has elected to ness, as if the people in the rows upon serve. rows of seats before him, were so many Too often, in pupils’ recitals, the young sheep in the pasture, or cobblestones on performers behave like small savages, so the road. far as visible appreciation of the encour¬ His voice was good, and the song well agement showered upon their efforts is chosen. Its conclusion was rewarded concerned. And this—seemingly—with¬ j Harmony Book for Beginners | with hearty applause. Possibly he did out reproof from their teacher. not hear it, for with a glance at his ac¬ The smallest child is not too young to | I AN IMMEDIATE I By PRESTON WARE OREM I ADMIRABLE for I I be taught to bob its little courtesy in re¬ companist, he turned on his heel and | I SUCCESS J Price $1.25 I < \ walked off the platform. sponse to the encouragement of applause. He was not recalled, though I saw him That so many teachers neglect this admo¬ 1 Brief, Simple, Vital, Practical, New and Distinctive | standing near the wings, music in hand, nition is possibly the outcome of an en¬ evidently waiting for an encore. deavor to appear modest. But—far from 1 Lays a strong foundation for future musicianship by giving the main g When the love - light from your eyes Shines out like the star&^a - bove. Yield - ing to love’s swe No Dainty Shoes If You Consider Corns There are these three ways: Scientific Methods 1— Get big, loose-fitting shoes which don’t pinch corns, or which permit corn pads. ' Blue-jay is the scientific method, evolved 2— Get dainty shoes and suffer. by scientific men. It is made in laboratories 3— Remove the corns. known the world over. It has displaced, with those who know, the old, harsh, mussy methods. It substitutes a Words of Praise from The Sensible Way method which is gentle, sure and right. Practical Teachers The last way is the only way to nowadays People who now pare corns and merely pad consider. A corn is today a reflection. It them do themselves injustice. Corn troubles signifies neglect. should be ended. Millions of people know that corns can be People who use wrong treatments court quickly ended. They have proved it repeat¬ soreness and disappointment. edly with Blue-jay. Let Blue-jay prove itself. Try it on one They apply it in a jiffy, and the pain stops corn. It will show you the way to dainty, instantly. The corn never aches again. corn-free feet. In two days the corn completely disappears. You will never let a < Only one corn in ten needs a second application. after that. A large proportion of all corns are now Please don’t delay. Ask your druggist ended in that way. now for Blue-jay and apply tonight. The Scientific CornEnder Stops Pain Instantly—Ends Corns Completely For Millions Every Month 25 Cents Per Package—At Druggists mummm BAUER & BLACK, ^ILsKSLa"”"‘‘ Chicago, New York, Toronto How Blue=jay Acts A is a thin, soft, protecting ring which stops the pain by relieving the pressure. B is the B & B wax centered on the corn to gently under- C is rubber adhesive. It wraps around the toe and makes the plaster snug and comfortable. (984) SEPTEMBER 1919 Page 597 THE ETUDE 'THE ETUDE Page 596 SEPTEMBER 1919 ber that the “stage would be her best France there are great national schools, master.” And so the event proved. free to all. Such schools are a clearing _ Concluding his article, Prof. Auer house for genius; the boy who has great¬ _ makes an earnest plea for schools in the ness in him has his chance there. In A treasured collection United States where children of genius this country the necessity for going can secure a musical education free. abroad for instruction must hold back Of such schools he says: many of whom we never hear. Such a of old violins “I believe greatly and hope greatly for Department for Violinists school would keep alive and renew flag¬ So smooth-toned is a fine violin, so the future of music in America. But at ging inspiration. And it is well to re¬ completely free from the objectionable present you waste genius—at least, genius Edited by ROBERT BRAINE member that in art there, is no halting “wolf tones”—that if saves half the in the realm of art. In Russia or in place. One must advance or retreat.” nervous energy. No wonder prominent “If All Would Play First Violin We Could Get No Orchestra Together. — R- SCHUMANN artists have a standing order with us to notify them of certain instruments as soon as they come into our possession. Leopold Auer on Violin Geniuses Violin Pupils’ Recitals Like diamonds, old violins are an in¬ i of the publishers.) vestment, not only for the artist, but for (The following extracts from an article which appeared in the “American Magazine" are printed with the kind perm. In addition to the value of pupils’ re¬ cially is this the case in regard to solo anyone who wishes to take advantage of a market that is always rising. We are <“Is it possible!’ I exclaimed to myself. lie and the critics against prodigies. citals to the teacher as business “getters,” performances. To give pleasure at all to "And those ‘good pupils?’ As I have holding in our vaults a number of fine Having produced a greater number of And when he had finished 1 sat down Mozart, Beethoven, Liszt, Rubinstein, is the effect on the pupil’s progress. The the audience, a violin solo must be played famous concert violinists than any living said, there are no marks by which you d’Albert, Hofmann, Scriabine, Wieni- instruments purchased by connoisseurs, and wrote a letter to the director of the average music pupil never learns a piece in good tune, and with good tone, and the teacher of the violin, few men are better may surely know them on sight. The awski, Sarasate—all of these were con¬ which are increasing in monetary value Conservatoire at Petrograd. technic must be thoroughly worked out. fitted to speak of the qualities which make qualities that make for genius have no really thoroughly, unless he prepares it to “That letter procured for Elman a spicuous as prodigies. Not that every every day. for success than Prof. Leopold Auer, the physical signs. Outwardly they may be play at a recital or other public event. It is not necessary that the piece should scholarship. But he was poor, his fam¬ prodigy becomes a master. Sometimes famous Russian violinist, who is now fair or dark, tall or short, fat or thin; Preparing a composition for private prac¬ be difficult. A simple melody well" played ily in great need, and they could not sup¬ the brain falters under the strain of the Back of the fact that the genuineness living in this country. In a recent num¬ and they may have been born in any land tice and to recite to his teacher, and pre¬ with piano accompaniment, is effective port him away from home. I was fortu¬ work, the exhausting work that is nec¬ of old violins sold by Lyon & Healy is ber of the American Magazine, Prof. under the sun. If it has happened that nate enough, however, to find some peo¬ essary; for it is only very rarely that the paring it to play for an audience, are two and pleasing, but it must be well done. accepted everywhere, lie many years of Auer tells of his gifted pupils, and why genius, musical genius, has been found ple who would see that the hoy could live very great brain, not backed by splendid very different things. In the former case A violin teacher for business reasons experience and extraordinary care in se¬ and how they became great. more often in Europe than here, it is physical force, endures to achieve the while he studied, even though his life he feels that a few mistakes more or less is naturally anxious to have as many of lection. We are also fortunate in having Prof. Auer was the Imperial Court Vi¬ because there genius never lacks its op¬ triumph of success.' Mind, body and portunity; there the great schools are was far from being one of comfort. will not make much difference, but where his pupils represented on the program as the best master workmen in our employ, olinist in Russia under three Czars, and soul must not only be fitted for the open to all and the poorest has his “At that time, although Jewish pupils the public is concerned, pride and rivalry possible. This can be best done by pick¬ when the Russian revolution swept away task, they must also be fit for it. who take the instruments picked up by of the Conservatoire were allowed to live the work of a lifetime, he was 73 years chance. enter into the case. He wants to play as ing out from the class for solo work, our experts all over the world and give in the metropolis, their parents were con¬ “No, I do not at all mean that every Complete “pedigree” of age. Nothing daunted, he resolved to “I said that those boys who are to have brilliant youngster may be expected to well or better than his fellow students only those few who are really compe¬ them the artistic adjustment necessary fined to their own district. But it was with each violin begin all over again, and came to the the wonder-touch to-morrow, might be who appear on the program, and his nat¬ tent, and grouping the rest together as a even to a Stradivarius or Guarnerius. necessary that Elman’s father be with fulfill his promise? but I do believe that A certificate of genuineness United States and settled in New York, born under any sky. I will say more ural pride to make as good a showing as pupils’ orchestra, or in trios, quartets, him—he was only eleven years old 1 the prodigy represents a musical phe¬ accompanies every violin where he at once began teaching large than that. They may come from your etc. Very nervous pupils should not be Let us send you the 30th edition of so I asked the then Minister of the In¬ nomenon deserving to be treated with possible before his friends in the audience purchased from the Lyon L? classes of pupils who flocked to him there crowded East Side, as did Rosen; or Healy collection. our Catalog of Rare Old Violins. terior, the famous Von Plewa, who was the keenest interest.” is powerfully aroused. Every teacher allowed to appear in solo work until from all parts of the world. Notwith¬ from a small Russian city, as did Hei¬ The famous teacher goes on to tell fetz; or from a little village, as did afterward killed by the revolutionists, knows how even the dullest pupil perks some of their timidity has worn off by standing his age he even appeared in how the lack of some one quality will Elman. The teeming city or the lonely for permission for Elman’s father to up, if he is to appear in public. He appearing in the pupils’ orchestra or in recitals in New York, Chicago and other often lead to failure, as evidenced by the country may give them birth; they may live in Petrograd. I had great difficulty practices as never before, and instead of ensemble work, in duet, trio, quartet, etc. cities, playing with the fire of youth and experience of his favorite pupil of all. LYON & HEALY be reared in the crowded slums or in in arranging the matter, but finally the going through his composition in a list¬ It is a strange thing in human nature the skill of a master. Speaking of this pupil he says: some isolated prairie farmhouse. necessary permission was secured. The veteran violin teacher was the in¬ "But one I shall always remember; less, half-hearted manner, always break¬ that two nervous pupils who would in¬ 57-81 Jackson Blvd. Chicago structor of Elman, Zimbalist, Kathleen “But one thing they must he—they ing down in the same difficult parts, he fallibly break down if they appeared in Zimbalist’s Beginning one who in genius was as great ,as the Parlow, Max Rosen, Eddy Brown, Toscha must be poor! And it is best that they greatest of those whose names I love to really applies himself, repeatedly going solo, are perfectly self-possessed when “Then there was Zimbalist. About Seidel, Jascha Heifetz and a host of come from a large family. repeat. over the most difficult passages until he they play in a duet. “They should have known want; they eight o’clock, one chill autumn morning, scarcely less famous violin virtuosi. “He was with me at the same time as Pupils should be encouraged to play LET US SEND YOU SOME OF OUR should have known hunger. Zimbalist, my servant ushered in Zimbalist and masters them. were Seidel and Heifetz. He had, and Discovering Genius Elman, Heifetz, Rosen, Seidel—they all his mother. They both appeared nearly It is difficult to get pupils to memorize works which they have studied for some has, great genius; and—I may confess it and Modern came of poor people. There is some¬ frozen with the cold. When I inquired violin compositions, unless they are to weeks or months, and not pieces learned VIOLINS Speaking of the ability of a teacher to —he was my favorite among all my thing, I know not what, that is bred in the reason for their early call, the boy play them in public. If the piece is to be on the spur of the moment. Every AT NON-PROHIBITIVE PRICES “discover” genius, to pick “from the hun¬ pupils. But he lacked a body strong the soul by Poverty. It is something began to cry. He told me that he and played privately for the teacher only, the teacher knows how hard it is to make OCr I® Tested Lengths, OC/» dreds of young hopes, the ones in whom enough to do his will. When it came VIOLINS mystic. To feel this terrible need is the Jiis mother had been forced to pass the find elsewhere. Convince yourself. Silk Violin E, forLd'- the clear flame of genius will burn stead¬ to the test his nerves mastered him. when pupil feels that it does not much matter pupils and parents understand the wis¬ motive power that drives genius. It night in the streets because, while be, as Every Violin has its j>rice, zn&^ it will give ns ily on, and to discard those in whom it he should have been master of them. if he forgets and breaks down a few dom of this. Parents buy suits for their Send fo, Violin and Cello Catalogue develops feeling; it makes both force and a student, had permission to live in the will flare up for a brief moment and This was especially true when lie played times, but no one wants to forget and sons, and dresses for their daughters on MUSICIANS SUPPLY CO. tenderness” metropolis, his mother had not permis- The world-renowned “Gemiinder then go out forever,” P.rof. Auer says: in public. And so he failed by the slight¬ break down in front of an audience. Monday to be worn on Tuesday, so they Art” Violins $200.00 to $500.00 each. 60 Lagrange St., Boston, Mail. Continuing, the great teacher calls “I do not discover genius. It discovers est margin. His fellow pupils are mak¬ cannot see why they should not ask the Old family relics repaired and restored. attention to the fact that here in the “Coming with him to seek lodgings for The recital season is now on, and me. How do I know it when I see it? ing great names for themselves; while United States most of the great men in him—he was only a child—she had been thousands of pupils are preparing to ap¬ teacher to give a scholar a piece on Mon¬ Tell me how the skilled physician knows, he—I do not even know where he is.” business, in literature, in art, and in the hounded about by the police, who pre¬ pear in public. The violin teacher is wise day to be played the following Friday. when he feels the pulse and listens to the Speaking of the large number of pu¬ professions were once poor boys, and vented her from even securing shelter for if he presents to the public only such A solo work for the violin, of any diffi¬ Subscribe to the Violin World, a monthly, beating of the heart, that all is well or ill. pils who apply to him, Prof. Auer states that they gathered strength from the the night. I wrote a letter to the Pre¬ culty at all should be studied a long time, J1.00. Est. 1892. He senses it. Something he knows that he tries to hear them all, for possi¬ pupils as are thoroughly prepared. Many poverty that was their necessity. Speak¬ fect of Police, explaining that it was AUGUST GEMUNDER $ 50N5 ’through training and experience, but bly “the next will be that one whom the teachers make a mistake in allowing pu¬ the longer the better, until the pupil is ing of Elman, Heifetz and Zimbalist, he necessary that the mother be with her more he feels and cannot explain. world is waiting to hear.” It is hard to pils to play in public too soon. Espe¬ absolutely sure of it. declared that they had also developed no¬ son for a time, and through courtesy to “A boy comes to me quite unfinished tell many that they have no talent, but it bility of character from their early hard¬ me she was allowed to stay in Petrograd and unpolished; I listen to him ; I give is better to tell them the truth, and save ships, and that their first acts when they one week. She found a lodging for her him a difficult test; I listen and I watch. them from bitter disappointment later— Tf he meets the test, we go on. But who began to amass wealth were to send for boy, and then went away. You see, it their parents and less-gifted brothers was not only the young genius, but the perhaps ruined lives. knows? He may he clever, yet have no He Would “Play the Violin” heart for work. And a worker without and sisters to share their prosperity. father and the mother of genius who Sex in Violin Playing PORTABLE genius is better than a genius who will Further, Prof. Auer says: “There are had hardship to bear.” Of the fact that genius for violin exceptions, to be sure. But, after all, I not work. “Yet this boy, who suffered such in¬ playing appears so much more frequently “I can tell if th.e young pupil has abil- must believe that poverty is the master credible hardships, was one of the few in the male sex, Prof. Auer says: At the present day this story would lowing dialogue took place between him KEYBOARD teacher of genius. to win the final diploma in the full have but little point, as the majority of and the president of the tribunal: ity—that is easy. But who can say that “Perhaps girls lack physical force. FOR PIANISTS and STUDENTS he will be great? The great musician, course at the Conservatoire. Those who Perhaps, created for motherhood, they professional violinists as well as other What is your name? the great artist of any sort, must have From Poverty to Wealth won such a diploma were called 'Free are denied the creative gift in art. But musicians are persons of broad culture, Fine Touch, Changeable Weight “To-day Elman is a rich man. His Artists,’ and could live anywhere in who knows? There are striking excep¬ and often exceedingly versatile in their What.do you do? combined in him so many qualities. Art INTERESTING CATALOG demands so much, both of the body and genius has won him wealth as well as the Russian Empire, notwithstanding tions. There is, for instance, Kathleen activities, but in former times it was only I play the violin. mind. There are those who have skilled fame. But I remember the night I first their Jewish birth; but not so his par¬ Parlow, who is known to you here; too common for them to be confined to What were your activities during the FOR SALE AND RENT fingers, but who lack the strong brain to saw him. He was ten or eleven years ents and relatives. Heifetz was another and recently there have come to me two an absurdly narrow and one-sided out¬ reign of the tyrant? carry them on. They go so far, and then old then and had come with his father, brilliant student, and would have won American girls—I cannot name them; look on life, and to take no interest in I played the violin. VIRGIL PIANO CONSERVATORY they stop. They may play and play and a poor teacher in a Russian village near such a diploma had it not been for the they are not yet formed—of whom I anything outside of their own peculiar And nowadays? play-forever! But if they lack under¬ Kiev, to find me at Elizavetgrad, a town revolution.” have hope that they will become great. specialty. An amusing example of this I play the violin. 11 WEST 68th STREET NEW YORK In his article Prof. Auer makes standing they will never be great. in South Russia where I was on tour. Perhaps in this new life that women are was Giuseppe Puppo, a native of Lucca And if the Republic has need of you, They arrived shortly before I was to be¬ a plea for the prodigy. He says: opening up for themselves, genius will “Health is a great asset. They must (1749-1827), an eccentric violinist, at one what will you do? have it, those who would tread this road, gin my recital. I could not hear the boy ‘‘Heifetz has brought up the old, old flower for them as abundantly as for time a fashionable teacher in Paris and I will play the ’violin. Zahki. Itnoruiucs in order that they may stand the strain then, but sent him in to the concert. I discussion about prodigies. He is only their brothers.” The members of the tribunal, who had of unending work that is to be their part. had to leave early the next morning, so seventeen, and yet the critics have Of Kathleen Parlow he states that be London. Living in Paris in the bloody MUSIC PRINTERS and ENGRAVERS For work they must. Halevy, who was I told Elman to play for me while I spoken most highly of him. It is a sub¬ was not sure of her genius until he had times of the French Revolution, although been anything but gay all the day, could SEND FOR ITEMIZED PRICE LIST AND SAMPLES Gounod’s master, said when Gounod packed for the journey. I was bending ject in which T have always been keenly given her ten lessons, and then informed Perfectly inoffensive, he was denounced not keep from laughing at the serious¬ came to thank him: over my packing; but when he began, I interested. I believe that genius makes her mother that she had in her the mak¬ as a suspect and brought before the rev¬ ness and self-possession of his replies, COLUMBIA AVI. AND RANDOLPH ST.™ ^ L'UL PHILADELPHIA, PA. “There are no good masters; there are stopped and turned my head in astonish- itself known early, and that prejudice ing Of a great artist. After two years olutionary tribunal for trial. The fol¬ and the brave Puppo was acquitted. only good pupils.” has been too often shown by the pub- study, he “sent her to the stage,” telling advertisers. THE ETUDE' SEPTEMBER 1919 Page 599 the ETUDE Page 598 SEPTEMBER 1919 September Rewards Order Music For Introducing Etude Supplies Early The month of September carries with it In preparation for an active and pros¬ an unusual opportunity. In the first place perous teaching season, an unusually the price of The Etude will undoubtedly large number of teachers have this year advance. This may occur next month, o placed advance orders with us for fall it may not occur untii the foliowmg month teaching supplies, and these orders being but it is almost certain that we will have filled and delivered, the teachers so served to advance the price soon. Postage rates, have a considerable advantage in being which increased July 1st, have made this able to start pupils in their work without imperative. Hence there is a double op¬ waiting for music and studies to be or¬ portunity during September—one to earn dered. premiums for introducing T«e EtID JUNIOR- Teachers who have missed our offer to your neighbors, and the other to save make up and send “on sale” or regular money both for yourself and fiends by orders in advance should take prompt ordering before the price goes up. Here action in getting their teaching material are a number of valuable premiums that together so as to avoid any “hitch” at the we can offer you for getting others to take ETUDE Prices Annual Money start of the season’s work. The Presser The Etude. Saving Offer Advanced Catalog and “on sale” system will give For ONE Subscription. Every year just as the new teaching Throughout the period covered by the assistance and encouragement at any Mathews’ Standard Graded Course of season is about to open we make a num¬ Great War we made a conscientious time, but the only safe plan is to get the Studies. Ten grades, any one grade. ber of offers and inducements to the orders in early. Album of Favorite Pieces. H. Engle- CONDUCTED BY ELIZABETH A.GEST music teachers of the country. This is effort to avoid any increase in the price of our own publications. These prices done for mutual advantage. On one of m Picture Frame. Made of non-tarmsh- were based upon conditions existing long Etude for Three ‘the pages following there will be found able platinoid, height six inches, width four Who Knows? Months’ Special Offer A Musical “Three-Legged Race” •our “Offers on Works in Advance of prior to the war, and we can truthfully and one-quarter inches. These frames are September Publication." This month there are say that in spite of higher and higher During the month of September we are backed with velvet and substantially 1. Who was Clara Schumann? about seven works advertised for the first costs we still hoped a readjustment of offering to all readers the privilege of in¬ By Gwen M. Skett time. The balance are works advertised Now, here it is, September already. 2. Who wrote “Keep the Home Fires these would make it possible, ultimately, troducing The Etude to their friends and bUHanger Sets. Something new. Collap¬ in the last few issues, but not yet pub¬ to go on in the old way; but, in the light pupils at the special rate,of 30 cents for sible coat and skirt hanger, comes folded How much Summer practicing did you Here, then, we see three things, but Burning?” lished. The prices on all of these are Did you ever meet this rhythm and of later experience and observation, we three months. If you are a teacher, this in small compact case. Can be carried in do? Did you get everything accom¬ about the cost of paper and printing. We really there are four legs belonging to 3. What is a xylophone? have concluded that the conditions now gives you an opportunity to place The plished that you had planned to accom¬ think it very difficult to understand? know, and many of our patrons know, two little men, Mr. Smith and Mr. Brown. 4. What is meant by pizzicato? existing are not likely to change toward Etude in the hands of pupils at a great ^Lingerie Sets. Consist of a pair of lin¬ plish during the Summer? Now let us look at our first picture. that, considering the cost, not one of these lower price levels, and we have, most gerie clasps and two dainty oval shaped 5. When was Liszt born? advance of publication offers has ever reduction in price. If you are a music Did you learn those new pieces that unwillingly, made some advances in the. lover, it gives you an opportunity to ren¬ pins. Useful and attractive. J J> I * > •' •' been unsatisfactory to any one of our your teacher started you on? 6. What is melody? retail and professional prices of our der a friendly service of unusual value. For TWO Subscriptions. I have something to tell you about that aj> J music books, but without any change as Did you review all of last year’s pieces 4 A B c 7. Of what nationality is Melba? nhf. other offer is what is termed the We have printed a limited number of Black Seal Grain, Morean Lined, first measure— yet in the prices of our sheet music. The “three-month subscription coupons” which Pocket Book. A very fine pocket hook. as you intended to? You know Summer 8. What is a chromatic scale? “Final Introductory Offer on New Publi¬ changes are all more than justified by the Although you can’t see them now, there we distribute to a number of older readers. Six inches long by three inches deep, witn has a way of slipping by very quickly, A is the beginning of the first beat. 9. How is a mandolin tuned? cations,” and is the last chance at low in¬ present cost of paper, printing, and bind¬ were once two little men in that measure. troductory prices on the new publications We will send you a set of these for distri¬ handstrap on hack. and Summer weather has a way of saying B is two things, the end of the first beat 10. From what is this melody taken? ing, to say nothing of higher wages and Bonbon Dish. In a novel and attractive which this publishing house. The Theodore increased operating expenses of all kinds. bution among your friends if you request to us : ‘Oh, don’t bother with that to-day; and the beginning of the second. them. This gives you a chance to widen design, quadruple silver plated. Interior Presscr Co., brought out during the past We are sure that tie purchasers and it is too hot; do it next week!” I C is the end of the second beat. twelve months. Here is the last opportu¬ the usefulness of The Etude in your im¬ gold lined. Size 7 inches. Now look at this— users of Presser publications will accept mediate community, and to introduce a Modern Drawing Room Pieces. Thirty- hope -when Summer weather speaks to Mr Brown J~J Mr Smith nity to obtain a copy of the most modern, these moderate changes as being dictated you like that you say: “Go away; you’re very latest publications in music at excep¬ service to your friends out of all propor¬ four piano pieces. . by necessity and not simply to keep pace tion to its cost. These subscriptions are Mozart Sonatas. Two volumes, either too lazy. I just love to work on hot days They ran a three-legged race, tied to¬ ! * J J tionally low prices. with a practice so frequently abused. We cannot but say a word about prices not good if subscriptions are sent through volume. and I don’t intend to wait until next week gether. i in connection with both of the above clas¬ agents or dealers. Nocturnes. Chopin. at all.” A is an odd foot, isn’t it? Answers to Last Month’s sifications. Never in the history of our Music Supplies Handel Album. 16 pieces for the piano. If you said that, Summer weather could Therefore B must be the first beat’s Questions business has the manufacturing cost been By Mail Order No More For THREE Subscriptions. Solid Gold Lavalliers. Diamond shape not interfere with your schedule and even other foot and at the same time, tied onto so great. We believe that in many cases The house of Theo. Presser Co. stands Magazine Bargains mu- oost on musical works has been with amethyst and four pearls and one if you were away on vacations and vis¬ This month will undoubtedly mark the hh it is the beginning of the second beat. 1. A fife is a small wind instrument doubled, and in some cases even more than foremost in the music trade as a source large pearl; pendant measuring one inch; its. you could do some practicing, and So often they went that their feet grew C contains the end of the second beat which produces tones in the high register. doubled. The especial advantage of the of general music supplies. Through its end of low prices for magazines. The or with one pearl and large amethyst, size then make up for what you could not do together. and the beginning of the third, and there 2. Massenet wrote the opera, Thais. 3. above offers can, therefore, be readily highly developed mail order system it is postage rates, which became effective on of pendant one and a quarter inches. after you came back. at the end is the third beat’s free foot. Eugen d’Albert was Scotch. 4. Weber seen. It is far greater this year than at able to meet the needs of the teacher July 1st, are so heavy a burden upon pub¬ One Year’s Subscription to The Etude. lishers, that no other alternative than a So now brush up on everything, so that Let us ask the fairy’s help and we get was born in 1786. 5. Da Capo means any other time, and we ask of every located in the most remote village or in Great Pianists on the Art of Piano reader that they give careful attention to price increase will make profitable exist¬ you will be in fine condition to start les- this repeat from the beginning. 6. A double the greatest metropolis. The most im- Playing. J. F. Cooke. the listing that follows. We know that ence possible. The Etude will certainly flat is flatting a note which has already uortant feature of a mail order business History of Music. W. J. Baltzell. every one of these works has been most is promptness in filling orders; after that have to advance its price soon, possibly been flatted, making it sound a whole carefully prepared. A number of them al¬ the assurance that the orders will be cor¬ this month. Fourteen magazines have al¬ A fairy came along and made all the tone below the line or space on which it ready successful through the original in¬ rectly filled at right prices leaves no ready done so. Twelve more have an¬ A person who played on the flute. rest of diem invisible, and transformed JXXi is written. 7. A grace note is a rapid note troduction. In our desire to keep prices room for apprehension as to the wisdom nounced their intention of so doing. Most Had a friend who was born a deaf mute. them into this shape. preceding the melody note, to which no down, to save the teacher every expense of sending by mail for what one wants. of the rest are thinking about it earnestly Special Notices Here you see five things. time value is given. 8. Legato means possible, we cannot but say that here %s The Presser service is too well known to right now. If you order while we are all And he said, “We'll be friends an opportunity for every teacher and stu¬ studying the question—while we are trying Now can you find out how many beats smoothly connected and well bound the teaching profession to need general S3 ANNOUNCEMENTS Until the world ends, J> J J> dent, one that should not be allowed to advertising, but there are doubtless to determine how much of an increase there really are ? together. 9. A cadence is a succession of must be made—you will profit by so doing. All because he can’t hear me toot-toot,” tones or chords forming a close or a pass without action. many teachers well acquainted with the Presser publications who hesitate to at¬ You will save money undoubtedly. But to WANTED and FOR SALE partial close to a competition. 10. Dou¬ Year Book for tempt dealing direct with the house, not do so you must act; you cannot delay, for ble sharp. The Torn Page Music Teachers knowing how easy it is to establish direct tomorrow may be too late. None of the Many of our teacher patrons have been business relations. To all such we un¬ prices given below are guaranteed. We YOUNG MAN. experienced teactier, piano, much about them, after all. “I will tell reserve the right to refund your money if harmonv and counterpoint, desires position in One day, after Betty had had her two thing about each one of them,” she added using our little vest pocket memorandum hesitatingly suggest giving us a trial—no Conservatory or School of Music. Address matter how seemingly unimportant the your order is received too late. dreams about the instruments of the proudly. you about them on Saturday. Good-bye, Letter Box books. This is the third year that we have J. G„ care of Etude. _ ■ ■ i orchestra, she became very much inter¬ “Do you indeed? Tell me something and thank you for the book,” she cried. been giving it away. To any of our pa¬ want may be. THE ETUDE THE SCHOOL OF MUSIC OP MISSOURI ested in instruments in general, and de¬ about them.” So Betty went home as fast as she trons who desire a copy, or who desire a Pictorial Review . $3.25 s5aoVcE V VLLEY COLLEGE. Marshall. Missouri, is fresh copy for the new season, a word wanting a young *nan to take charge of piano, cided that she would like to know more “I know, for instance, that French could go, and in a few moments was Dear Junior Etude; Extraordinary Offer THE ETUDE _ pipe organ and voice. This is a fine oppor¬ from them either in their letters or on a McCall’s. } $2.35 S4A0VcE about them. “I want to know something Horn would be seventeen feet long if it comfortably settled in the big chair; and I have read The Etude and like it September Renewals tunity for some musician who is ambitious, very much, and I am going to express postal card dirct will bring a copy with¬ THE ETUDE .... well qualified, and wanting to make a record about all the instruments,” she said to were straightened out,” and she paused she began to read about the history of In order to bring to the notice of our Modern Priscilla . . for himself._ » _ my love for music in a story of an inci¬ out charge. , !$3,00S25VcE herself, “and I will, too,” she added, as and thought for a minute; then she con¬ the violin and lots of interesting things. The Year Book has many advantages old friends the importance of acting at GEN Fl YE STRADIV A HITS VIOLIN dent in my life. she doubled up her fist. tinued, “and I know that Tuba is the And then she read, “The strings-choir and conveniences in the keeping of ac¬ once in this matter of renewal, we are ■■'$2.25 J? FOR SALE. Call or write Henry Noferi, When I was nine years old I had a very care of John R. Briggs, 2716 Boulevard, She always means business by that, bass of the orchestra.” in an orchestra consists of -” counts, listing of pupils, daily memoren- offering extraordinary value in induce¬ THE ETUDE .... Jersey City, N. J. _ severe case of typhoid fever. The doc¬ dums of various kinds of necessity to does Betty, and so the next time she* “Is it?” asked her teacher. “What “Oh, pshaw,” said Betty, in disgust, ments for immediate action. An increase Christian Herald . $3.75 W TO I 1 ;< IT R HR S ON Ml SIC. VND went to her music lesson, she told her about the bass viol?” “the page is torn.” tor wished me to be kept quiet, but child¬ the teacher. Just mention in your first OTHERS. JOHN TOWERS, writer and lec¬ order that you desire a copy of the Year in the rate of The Etude will undoubtedly You can add any of the magazines listed turer on musical subjects, about to retire, teacher that she wanted to borrow1 a “Oh, you see, I have not learned about And she turned the page and read on like I wanted to be pleased. My nurse Book and it wifi be sent without charge. come. It may come next month, possibly below to any club at the price given in the . . .„„ J6BSL—-„i„ „f his life-s,-.^e p0rtraits of book that has something in it about all the strings yet,” said -Betty. “I only the other side, “Other stringed instru¬ was very nice to me. She played a violin not until the following month. In order column marked “Club Price.” B\CH HAENDEL. HAYDN, MOZART and They were specially painted kinds of instruments. and after my begging and persuasion she to save money, act now. Here is the BEETHOV know the wind instruments, and that is ments in frequent use, but not employed Etude for him hy BRAZINGTON. the noted “Why, Betty, how inquisitive yop are!” why I wan’t to borrow your book,” she in the orchestra are-” consented to play and sing to me. I was extraordinary value in premiums that we portrait p: f Indiana, and are artis- much better after the music and my fever Prize Contest wmv can offer for your renewal this month. linen, and are very handy said her teacher. explained. Of course that side of the page was We desire to keep the new ETUDE cost him $35.00, and will had cooled considerably. Send us 15 cents in addition to regular American Magazine. “Yes, but they are very interesting, and “Well, here it is. Take it home and torn, too! PRIZE CONTEST for piano composi¬ Boys’ Life . the highest' bidder. Address, 101 West She and the doctor both admitted that subscription price of $1.75, making total I only know about the ‘brasses’ and study up the strings, and tell the class Who can finish this, and tell Betty tions constantly before our readers. Al¬ of $1.90 ($2.15 in Canada) and we will Christian Herald . the effect of the music helped me improve though the time for the close ot the con¬ ‘wood-winds’ so far,” she explained. something about them on Saturday.” which instruments comprise the string send your choice of the following: Delineator’ !!!!]!!. test is given on October 1st, neverthe¬ “That is very good. Tell me which “All right, I will,” answered the little choir of an orchestra, and how each one so quickly. Standard Song Treasury. 48 Selected Designer .. they are,” said her teacher, pleased to girl, enthusiastically, “but everybody in is tuned and played? I advise anyone who is sick or doesn’t less it is well not to wait until the last moment before sending in manuscripts. Songs. Good Housekeeping . find Betty so earnest. the class knows about violins and things Send your letters to The Junior feel well to try my recommended music Ladies’ Home Journal. ANNOUNCEMENTS Many manuscripts are coming m ctai y. Beginners’ Book for the Pianoforte. Little Folks. “Well, let me see! The ‘brasses’ are like that. They are easy.” Etude-, 1712 Chestnut Street, Philadel¬ remedy and see the results for them¬ Judging from the number of letters and Theo. Presser. Mothers' Magazine. French Horn, Trumpet. Trombone and “Do you think so? What do .you phia, Pa. This is not a part of the com¬ selves. inquiries we have had this contest is ere Standard Brilliant Album. People's Popular Monthly.. MUSIC COMPOSED—Send words. Manu¬ Tuba; and the ‘wood-winds’ are Flute, scripts corrected. Harmony, correspondence know about the viola, for instance?” petition, so do not expect a prize, but we Geneva Collins (Age 13), ating interest and we look for a very Life and Works of Handel, Haydn, lessons. Dr. Wooier. Buffalo. N. Y. Oboe, English Horn, Clarinet and Bas- large representation. AH composers are And Betty thought a long time, and might give you “Honorable Mention” if Selma, Ala. Weber, Beethoven, Mendelssohn, Liszt, 1*1 \ M ST S Surmise 3 our friends bv com- .soon,” she answered, “and I know some- then she decided that she did not know your letters are very good. (Continued on page 602.) welcome in this contest and all composers Wagner, or Mozart. (Choice of one, posing a fine piano piece Write and I will may be represented in any or all of the pocket size.) tell you how. Box 1073, California, Pa. classes. SEPTEMBER 1919 Page 601 the etude THE ETUDE Page 600 SEPTEMBER 1919 Annual Sept. Money Saving' Opportunity for Music Buyers On This Page are Final Introductory Offers on New Publications On This Page are Offers on Works in Advance of Publication _ .... n..i r\a_KT..mUAe to arrnmnanv all ordt Knowing that acquainting the musician with these late publications will rouse «a ditional when charged to regular account. At these low offer prices the^?r8 Numbers 1 to 23 are works not yet published that will be delivered the moment Conditions :-Order by Offer Number. Cash to accompany all orders; postage enthusiasm that will lead to many more desirable sales, the publishers present this ■ not returnable. Final Introductory Offer Prices are good only for September, they appear from press. The low price offers greatly aid and reward the enterprise additional when charged to regular account. At these Offer Prices the works are last chance to secure these important works at just about the cost of manufacture. ?919 Remember there is a bonus offered on $2.00 and $3.00 purchases made from Off¬ of thousands of progressive music workers who want to be among the first to secure not returnable. Don’t overlook the cho.ce of one of the valuable books given with One copy only at these prices. The offers (Nos. 24 to 46 inclusive) on this page ers Nos. 1 to 46 inclusive. Send orders only to Theo. Presser Co., 1712 Chestnut St., Phila., Pa. the latest and best works. Incidentally the publishers secure the best possible in¬ $2.00 and $3.00 purchases made up from offers Nos. I to 40. refer to works already published and immediately deliverable. troduction for new works. Send all orders to THE0. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. PIANO TECHNICS PIANO—FOUR HANDS ■ess PIANO TECHNIC No. 24—Biehl, Op. 44, Book 2. Easy and No. 8—Finger Gymnastics, by Philipp pjE'ion cash No. 16—Difficult Four-Hand Album for c„ The First-Time Offer This volume we are in hopes to have on Price, Postpaid the Pianoforte Pri«- Postpaid the market in time for the fall teaching. n There has long been a demand for an album of . f y . ~~K^S30S In Advance of Publication of t is one of those unusual volumes that makes prf A t- this nature, and we feel certain that those who H llv 20s I11P' ■ ' Sr 4U gggg ts appearance in the technical world only at order any advance copies will not be distip- jng intervals. We thoroughly believe that this Both original duets and olmne by Isidor Philipp will also be epoch- are included, but the pit 50s taking. It is the most original work on 50 independent ___players. Among luk coi ‘clinic that we have come across. The v_ represented •e Dvorak, Grieg, Moszkowski, Raft’, VOCAL STUDIES Seven New Works me for a beginner, and is only adapted to the e; ty others. £&“,EE£ ^pKr'u,,kP“ple' V£3& hardworking ambitious student. It is not a work that ran Marchesi, Op. 1, Elementary ggg A Bonus with No. 27—The Art of the Piano, by Theo. No. 2—Old Rhymes With New Lack (L’art du Clavier) u"!il M1919 $2 and $3 Purchases Tunes—Six Piano Pieces Pri«, Postpaid No. 10—Pedal Book, by Dr. J. M. Blose c h by Geo. F. Hamer i; "i,:',:;:kii'iidying f^two^orM'vSS? The /*ac Each 1919 ^of^oToffers6 Nos.6 tto^MonTheTe I, will entitle the customer to a choice of ga MHHfMr one of theft PIANO COLLECTIONS No. 28 Album for the Y< NoJS-NewJndian Song Collection, by c..h T PIANO COLLECTIONS—SOLO No. 11—Advanced Study Pieces for ,h' ~ VIOLIN AND ORCHESTRA C BBS SRs* Sfe mm 40s mmm? volume6 XS nstructive Pieces **!■“* for the Left Hand Alone, mSj&Su by A. Sartorio, Op. 1136 C&l-C No. 13-Standard American Alb BIOGRAPHY o. 6—Twelve Melodious Studies c . No. 22—Child’s Own Book of Great pdb“c'i°f c«»h for Acquiring Certainty, by PriM, p£*.id A. Sartorio, Op. 1107 ^ P^C HIT llSp=Ksi4f CANTATAS AND OPERETTAS "“ESS No-^rM^tLSy,npho,,y SS£ liisaisii Send orders for above offers only to Theo. Presser Co., Philadelphia, Pa. VIOLIN AND PIANO N^vot Old-Time Tunes for & b' KS THEO. PRESSER CO. mmnf SEPTEMBER 1919 ■ Page 603 T0 ETVDI! THE ETUDE Page 602 SEPTEMBER 1919 A Simple Way of Teaching MUSICAL AMERICA Lines and Spaces Junior Etude Music as Education (Continued, from page 598.) The leading International Musical By Mrs. H. E. Heaton Weekly Newspaper Devoted to the Musical activities of the world. The study of music is many-sided, and in analyzing its phases we have HOW DID MUSIC BEGIN? One of the problems before the music Junior Etude Competition Profusely Illustrated found it necessary to issue various well-grounded forms of presentation. (Prize Winner.) teacher in dealing with the younger pupils, is how to fix in the plastic mind the People have always asked: “Who in¬ Subscription Price; for °“^r: The following represents a carefully selected series of educational works The Junior Etude will award three time, notes, signatures, and, more than vented music?” But this is difficult to ' Domestic . . $3.00 which may be considered sufficiently broad to embrace all the needs o pretty prizes each month for the best and all, to cultivate the ear. The following answer, for we must look to Nature for neatest original stories or essays and Canada . • 4.00 plan proves very interesting to the the modern teacher, and to contain the specific work that is essential for its origin. Foreign . . 5.00 children. Of course a great deal must answers to musical puzzles. Music is made up of sound, and the the pupil who needs especial training in some one particular line of study: be left to the teacher’s winning manner Subject for story or essay this month, beginning of music has always been “An Experience with Community Music.” around us in the whispering leaves, the and ability to bring out this “family Elements of Harmony (New) $ .35 It must contain not more than 150 words. song of birds, the roar of oceans and the gteMUSIC TRADES story.” By EMIL BARTH. Write on one side of the paper only. deep thunder. ARE you satisfied with your out¬ To the boy of eight years (or less) Any boy or girl under fifteen years of look in the profession—don’t The Leading Weekly Paper devoted begin by drawing the staff, and having A Time Table (New) .20 Man has ever tried to -imitate Nature, By HANNAH SMITH ------age may compete. and in this way music had its beginning. you feel that you could estab¬ to every branch of the Musical In¬ him draw it, calling it a “rail fence.” He is dustries. Contains all the News. All contributions must bear name, age, Whoever blew the first reed gave us the lish yourself in a position of greater told that after a while we will name each responsibility and incidentally enjoy Is Constructive and Educational. Practical Scale Builder .25 and address of sender, and must be sent principle on which great organs are built rail and space. In this way he gets the By ROBERT J. RING. to The Junior Etude Competition, 1712 a better financial future if you spent Profusely Illustrated idea of the lines and spaces firmly fixed and whoever first brought sound from a a little time on brushing up your own Lessons in Rhythm ,75 | Chestnut Street, Philadelphia, Pa., before beast’s horn may be called the father of IT IS A VALUABLE ASSET TO THE in his mind. Then he is told, “There’s a knowledge? __ IM TUF DFTAI1 INf. OF By JOHN MOKREJS ------the twentieth of September. the cornet or horn. , An ounce of proof is worth a pound nice old man, whom we’ll call captain, The names of the prize winners and The Bible tells us that Jubal was the of promise. Making claims, is easy— who lives in the middle of the block.” Lessons in Sight Reading at the Piano .75 their contributions will be published in father of all such as handle the harp “making good” is the real test of Subscription Price; for One Year: Show the pupil Middle C, sounding the By JOHN MOKREJS -. the November issue. and the organ. Whoever it was who merit. Many readers of The Etude tone. Always sound each note shown —teachers and students, have been Domestic . . $3.00 Dictation Studies in Melody and Harmony . -0 first thought of using and imitating the him. Fix the pupil’s idea of the position By MARY FRANCES FROTHINGHAM - - - - 1,aW greatly benefited by our courses— Canada . . 4.00 of C by saying, “C is always just by two how: MUSIC BEGAN sounds of Nature for the purpose of others have seen our announcement in this publication for years, but harmony, deserves to be called the Foreign . . 5.00 little black houses.” His attention is at Studies in Sight Reading for the Piano 75 (Prizewinner.) as yet have no direct personal knowledge of the By MARY FRANCES FROTHINGHAM - “Father of Music.” once attracted and he shows his teacher Music began when the first plant was Mary Harrington (Age 13), all the “C’s” on the piano. The Very First Lessons at the Piano 75 placed on this earth of ours. The wind Teetonia, Ohio. Sherwood Piano Lessons “The Captain has a little boy called By MRS. CROSBY ADAMS. blowing through the plants caused The Piano 6 Organ Dick, whom he keeps always right by sounds. Then the plants developed into him.” The child then discovers all the Graded Studies for the Piano Compiled by MRS. CROSBY ADAMS J .00 lower animals and those into higher ani¬ Honorable Mention For for Purchaser’s Guide “D’s” on the piano and on the printed mals. These animals could make differ¬ Compositions page. loo ent sounds until some of them, the birds, For 1919 “Dick always leans against the fence. would sing beautiful songs. But Mother Alice Dawes, Rowena Henslee, Eliza¬ Students and Teachers “The Captain also has a boy Edward, Preliminary Studies for the Piano .25 beth Muir, Marcella Duncan, Frances. The Twenty-third Annual Edition By MRS. CROSBY ADAMS - Nature did not expect the birds to fur¬ and his name is Gray.” Holden, Mary Brady, Pearl Russel, Ath- Now Ready. Contains complete nish all the music. Water as it rippled They contain complete, explicit instruction on every phase of Enlarge on Captain Gray and his boys, leen Benton, Katherine T. Wise, Henry authenic list and grading of Pianos Home Study Books for Beginners in Music -- over the pebbles sang its weird song. piano playing and teaching. No stone has been left unturned to make and Organs manufactured in the and follow with the sentence “Captain-Ed- By MRS. CROSBY ADAMS. 2 volumes - “cb Man was created and he tried to Wolff, Jr., Francis Burke, Angela Bar- this absolutely perfect. It would surprise you to know that Sherwood United States. Also some account ward-Gray’s-Boys-Don’t-Fight” for the bella, Roma Frances Gilleham, Lola devoted to each lesson enough time to earn at least $100.00 in teach¬ mimic the different calls of birds, but let of the leading Phonograph and lines. Then have him print these words The Music Student’s Spelling Book 50 j Whitt, and Alice Slocum. ing. It is possible for you to get all this time and energy and devo¬ By MRS CROSBY ADAMS. me remind you, man was in his savage Talking Machine Manufacturers, under the staff he has made, show on the tion to the art for almost nothing, compared to what it cost. The Music Roll Makers, Supply Houses stage yet, so, like the savage of to-day, lessons are illustrated with life-like photographs of Sherwood at the piano where they belong, and sound he enjoyed noisy music. By stretching & Musical Merchandise Concerns. Pedal Studies 1.00 Puzzle Corner piano. They are given with weekly examination papers. To be a them. By MRS. CROSBY ADAMS. a hide across a hollowed-out, log, he sat¬ successful teacher one must be able to give, not only the proper in¬ Price 25 cents per copy For the spaces the pupil is told that isfied his ear for noisy music and that Beginning with any letter in the square struction, but to ask the right questions at the right time, which will The Child at the Piano 60 move either up or down, horizontal or the Captain gave his boy Frank some By MEDA ZARBELL STEELE. was the beginning of our drum. develop the students’ use of the knowledge imparted. The Sherwood money, and Frank-Ate-Candy-Eggs. diagonal in any direction to the next let¬ Course is available to every teacher throughout the country. N<> To-day music is at its greatest height: These very homely facts seem to fix the A Course of Forty Lessons for the Piano v on man has made many complicated musical ter, and spell the name of a composer. need to give up your present classes and leave home for private 'pedal Offer By ALLEN SPENCER. There are a great many names hidden in instruction. notes firmly in his mind, and he soon instruments and can play them beauti¬ readily names from the notes the different fully. the square. How many can you find? ! Finger Plays go words in the sentence, bringing to me each By JULIA LOIS CARUTHERS - Helen Weir (Age 14), HTSOPIBLG lesson the made staff with notes. In a Eaton, Ohio. RCHMYNEUC Harmony short time thq words are dropped, leav¬ Piano Technic for Children 2 40 By JULIA LOIS CARUTHERS. UAUANDNSK ing only the letters which have become a SMBRTHEPS A knowledge of Harmony is necessary for every student and fixture. Girls are told that the Captain HOW DID MUSIC BEGIN? teacher. You can study the Harmony Course prepared especiallv THE MUSICAL AMERICA CO. Elements of Musical Expression j.50 SNEESOLAY By JESSIE L. GAYNOR ------(Prize Winner.) for us by Adolph Rosenbecker, former Soloist and Conductor, pupil THE MUSIC TRADES CO. gave each of his girls money and that E D L S Z I V I D “Elizabeth-Gray-Bought - Doll - Furniture” So far as our records go, all people of Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬ SOI Fifth Avenue, New York A Primary Course in Ear Training and Melody NAMOASKER for the lines, while “Fannie-Ate-Candy- who lived long before the birth of Christ ductor and Teacher. You will receive the personal instruction of OSZIRTWNG Herbert J. Wrightson, Theorist and Composer. You need Harmony Eggs” for the spaces. Going on with the Writing By bessie w. sherman - -35 showed a love for music. Even the CTNLEBTAA and this is your chance to study the subject thoroughly. affairs of, the Captain and his friends we savages made an- attempt to sing or j Applied Touch and Technic (Piano) , 00 tind “They have a little brother Dick” make some kind of musical sound. Robert Fisher (Age 14). lNitKlNAUUlNAL CATIONAL AGENCY By EARLE C. SMITH. Music seems to be a part of man’s nature MRS. BABCOCK (showing Dick’s position next to Cap¬ Harmony Teaches You to tain). “The note on top of the fence I Equalizing Exercises for all Scales (Piano) . -0 by which he expresses thoughts he would fYFFERS Teaching Positions, Col- By GEORGE BAILHE -. be unable to express through words. July Puzzle Prize 1. Analyze Music, th#s enabling V leges, Conservatories, Schools. is old Uncle George, he lives at the top you to determine the key of any of the hill.” “The Captain has two old The Chinese claim that music com¬ Leona J.' Houde, Syracuse, N. Y.; composition and its various har¬ Alio Church and Concert Engagements Studies in Sixths (Piano) 50 menced in their country three thousand Frances E. Smith, Washington, D. C.; monic progressions. brothers, Benjamin and Abraham, down By CLARE ROCKAFIELD . CARNEGIE HALL, NEW YORK below the Captain, and they live on the years before the birth of Christ. Edna Soloman, Cairo, Ill. (Marguerite L. 2. Transpose at sight more easily 5. Memorize Rapidly, one of the Keyboard Harmony and Transposition 40 accompaniments which you may be very greatest benefits derived from next square.” The teacher can enlarge The first music of any nation was Stalker might have won a prize had she called upon to play. J By ANNA HEUERMANN HAMILTON. 3 volumes - each the study of Harmony. on this thought as he pleases. probably “vocal” music, and then the given her age). 3. Harmonize Melodies correctly The Courtright System of Musical Kindergarten natural desire to tap time regularly. To 6. Substitute other notes when for Harmony and Analysis i 5Q Honorable Mention and^ arrange music for bands and any reason the ones written are have a system, scales were developed. inconvenient to play. By KENNETH M. BRADLEY ----- Gertrude Rich, Amy Wakefield, Jean The Chinese had one which we know as A concert was in progress behind the M. Hessel, Elizabeth McCullough, Mil¬ Lessons in Appreciation of Musical Form - __ the Pentatonic or Five-Toned Scale. lines in France, and the chairman, a padre, By JEANNIE R. SMELTZER - - - * ’ The Hindus had, it is said, thirty-six ford Harmden and Helen Purdum. Unprecedented Special Offer! A Book to Help Increase the announced that the special turn of the scales, but in their writings they speak Will you take advantage of our offer of 6 lessons which we offer Music Education Interest of Pupils evening—a skirl on the bagpipes by a By CALVIN B. CADY of over six hundred. Little Bo-peep to Etude readers without charge or obligation on their part? We piper of a Scottish regiment—would now Book I. $1.80 Book II. $1.80 Book III, 75c Book 111, Part 2, 50c Book III. Part 3. 50c wiil send you 6 lessons from the Normal Piano or Harmony Course It was by the Greeks who lived before Has lost her sleep, Stories of Standard Teaching take place. Half way through the turn a Christ that the foundations of our music or 6 lessons selected from some other subject, if you prefer. We And does not know the reason. voice was heard to say: were laid. have courses in Piano (one for students and one for teachers), Har¬ Pieces for the Pianoforte Any of the above will be sent for examination to responsible parties: or She’s trying to sing, “Shut up, you blighter!” Thereupon Velma J'ones (Age 12), mony, Voice Choral Conducting, Public School Music, Violin. Cornet. By Edward Baxter Perry send for descriptive circulars of such as may be of interest to you. And play everything— Guitar and Mandolin. Select the course you are interested in and the piper stopped. Bristow, Okla. That’s really too much for one season. write now for 6 lessons and catalog. You will receive full details of tensely interesting volume4has a deep significance. The padre called for silence. 236 pages bound in boards. “I want to know who called the piper a CLAYTON F. SUMMY CO., Publishers £5 jrsj&.St’ss.’" ol"“ion *° »■ ■»« ■* PRICE, $1.75 blighter?” he asked. Theo. Presser Co., Phila., Pa- No answer. 64 E. Van Buren Street, Chicago, Ill. He repeated his' request. Still no ans¬ “SUMMY EDITION,*' a gro University Extension Conservatory wer. Then a broad, gruff voice said : Send for catalogue. I NO TEACHER “I dinna ken who called the piper a The Teacher's Loose Leaf^Jc rnal-Ledpr; the simplest, most concise device for keeping accurate Clarence Eddy, Dean desir, blighter, but what I should like to ken is, | THETHEO. W,pRESSERWrCof,OUphiiadelphia!mpa; who called the blighter a piper!”—Music Our Study-Service Sheet, for 7006 Siegel-Myers Bldg. Chicago, Ill. Student. Please mention THE ETUDE when addressing Please mention THE ETUDE when addressing o; our advertisers. Please mention THE ETUDE when addressing our advertisers. SEPTEMBER 1919 Page 605 Page 604 SEPTEMBER 1919 THE ETUDE One Way to Memorize =»3= Schools and Colleges < By M. E. Snider chools and Collides NEW YORK Ellen was one of my most promising “Ellen,’ I said, “please study the first pupils. Her sight reading was good, her two bars of this selection. Gaze at it' CHICAGO ^ technic was fine and she played with very intently—so intently that when you much feeling and intelligence, for she close your eyes you can plainly See the IRGIL PIANO CONSERVATORY loved music. Therefore her advancement signature, the time, the notes in their V was marked, excepting—alas! in one re¬ correct places upon the staff, and marks (28th Season) spect. That was memorizing. When it of expression, etc.” Ellen obeyed. came to memory work Ellen was a veri¬ In an incredibly short time she said, “Oh, that’s easy!” and dosing her eyes] Musical table, little stupid, and all my pride in my Chicago College “I can see every note.” Dr. F. ZIEGFELD, President Emeritus VIRGIL METHOD OF TECHNIC brilliant pupil began to wilt. FELIX BOROWSKI, President Greatest of all teaching methods “Ellen,” I would say, “you must mem¬ “Well, then, without looking at the orize. It is ridiculous for a pupil as far music play what you see in your mind’s 54th Year RESULTS TELL advanced as you are not to be able to eye,” I told her. The Leading and Largest College of Music and Dramatic Art in America Superior Instruction in Piano, Harmony, Theory, play a single composition without the Without any faltering she unhesitat- Public Performance ingly played the first two bars. To which emphatic speech, Ellen would FALL TERM OPENS SEPTEMBER^ 15 Foundational and Advanced Courses “Now study the next two bars in the miserably and doggedly reply, “I can’t same way,” I said. Faculty of More than 100 Teachers including the following noted artists: TEACHERS’ CERTIFICATES DIPLOMAS learn to play without the notes, Miss Again the result was favorable, andl I VIOLIN For Particulars, Address Snider, I simply can’t get them into my without a single incorrect note ElleniJ PIANO VOCAL head. I have tried and tried. I play ADOLF MUHLMANN LEON SAMETINI played the four measures. RUDOLPH REUTER MRS. O. L. FOX MAX FISCHEL over a line dozens of times, and when ALEXANDER RAAB MAURICE GOLDBLATT MRS. A. M. VIRGIL :: 11 W. 68th St., New York So in this manner of “sight memoriz-1 HAROLD MICKWITZ EDOARDO SACERDOTE I don’t look at the score I can’t remem¬ BURTON THATCHER LOUISE FERRARIS ing” we continued, and at the end of the A FUWARD COLLINS MABEL SHARP HERDIEN RAY HUNTINGTON ber even the first note.” KARL RECKZEH lesson period Ellen had easily memorized 1 I AURICE ARONSON ROSE LUTIGER GANNON ORGAN I had never requested Ellen to mem¬ JOHN B. MILLER \ 34th Year of Continuous Service the first page, very much to her surprise LOUIS VICTOR SAAR LOUIS VICTOR SAAR ERIC DeLAMARTER orize a selection until she had first learned HARRY DETWEILER GENEVRA JOHNSTONE-BISHOP C. GORDON WEDERTZ and delight, to say nothing of how C. GORDON WEDERTZ HELEN W. ROSS ^ for the development of the to play it correctly with the notes. Now VERA KAPLUN-ARONSON ELIAS BREDIN pleased her teacher felt. Since then I I took a concert piece, which I knew HARMONY COMPOSITION, COUNTERPOINT, CANON AND FUGUE Individual Needs of Students Ellen was quite capable of learning to have had no trouble with Ellen along this’ ---- LOD^VICM HAROLD B. MARYOTT LAURA D. HARRIS BARTON BACHMANN FELIX BOROWSKI October 1st, 1919 play, but one which she had never before line, she memorizes easily, and anything’! REPERTOIRE CLASSES 212 West 59th Street, NEW YORK CITY Send for Circulars seen. I put it on the piano rack. once memorized always sticks. TEACHERS’ NORMAL COURSES ---HERS (Piano) —-' HAROLD B.'^?I?V-rTHEMAXMRA FISCHEL <(Violin™,> iviAUDE F. DONOVAN. .... (Expression and Dramatic Art) BURTON THATCHER MINNA MAE LEWIS (Expression) Music and Character SCHOOL OF OPERA PUBLIC SCHOOL MUSIC ADOLF MUHLMANN EDOARDO SACERDOTE INSTITUTE OF MUSICAL ART HAROLD B. MARYOTT OF THE CITY OF NEW YORK By Maso Brevoort TOE, BALLET, INTERPRETIVE AND CLASSICAL DANCING ANDREAS PAVLEY, MAE STEBBINS REED, GLADYS PRICE. All Orchestral Instruments T. FRANK DAMROSCH, Director, The singer was out of tune—there was was plain to those who had heard thef no doubt of that. She was obviously conversation between the three women. nervous, and the more nervous she be¬ The writer does not know the outcome. -4 FREE SCHOLARSHIPS AND PRIZES** came, the worse she sharped, till the But of this thing one may be sure—that piano accompaniment clashed with every whatever the stout, kindly looking woman 60 Free and 140 Partial Scholarships--- * p.- SKIDMORE note she sang. said, was said in such obvious goodness Class by the Mason & Hamlin Company. Conover Grand Fiar SCHOOL OF ARTS Two people halfway down the hall of heart, that the singer would receive Valuable Violin presented for Orchestra* HallOiicago, a^fudget^^fters^ FoX^SmScold Zd Sdter MedS sat and exchanged comments, smiling enlightenment without the sting of ran-', prizes will be competed for in DORMITORY ACCOMMODATIONS CHARLES HENRY KEYES, Ph D., President with ill-concealed amusement. cour that is so often the direct accom¬ \ PROFESSIONAL and Vocational College for “I love to hear her sing,” said one, so paniment of unpleasing truths. f\ Women. Fine and Applied Art, Home Eco¬ CARL D. KINSEY, Manager — " — — S0UTH MICHIGAN AVENUE nomics, Music. Physical Education, Secretarial and audibly that all in the near neighborhood The attitude of the other two women General Studies. Athletic field. Non-sectarian. 1-0, .v O^USIC could hear. “She always sharps when was one unfortunately very common in DEGREE GIVEN she’s nervous, and the worse she gets, musical circles. That of criticism with¬ Four-year courses^d to B. S. Degree. Two- and Vocal!1 DraEnatic°Art° and Physical Training^UGr?id^~ ates of Musical, Public Speaking and Physical Train¬ the higher she goes. It’s rich! I out sympathy. Now if music—“the lan¬ ing Departments eligible to teach in N. Y. State Public wouldn’t miss it for worlds!” guage of the angels”—will not serve to Schools without State Certiflcat'\ Maintains several fOTfour hundred studeMi.'"Acatabgpof regular Companies in the Lyceum field. Dormitories and “They say she doesn’t dream she does make better men and women of us, it has Concert Hall. Summer School. Terms moderate. it,” the other remarked in the same ill- certainly failed of its divine mission. Summer Senior, SARATOGA SPRINGS, N. Y. CLARE For ca Tbe^R^giJSS, DeWitt Park, Ithaca, N. Y. natured glee. “If people don’t like her No one who goes humbly and in the AMERICAN singing she puts it down to their ignor¬ proper spirit to hear the inspirations of OSBORNE REED Crane Normal Institute of Music PIANO FOR TEACHERS AND ance of music.” The speaker tittered the great masters can afford to link beau¬ ADVANCED PUPILS only Training School for Supervisors of Music r with manifest enjoyment. tiful music with ugly character. Find Director Conservatory of Music OPEN FOR FIVE MORE PUPILS A stout, good-natured looking woman what you can in the singing or playing BOTH SEXES Wire for appointment Nineteenth season opens September 15,1919—Registrationvoeek begins September 8 THIRTY-FOURTH SEASON t Voice culture, sight-einging, ear-train ing, harmony, LESCHETIZKY METHOD taught by leaned toward the two critics, with an that is worthy. To the rest, turn a deaf A SCHOOL FOR THE SERIOUS STUDY OF MUSIC Karleton Hackett) ALBERT WINSTON, Steinway Hall, New York :.ir of real concern. “Has she no friends?” ear. There is always something elevating JOHN J. HATTSTAEDT, ‘President Adolph Weidig \ Associate ‘Directors Four and half years under personal direction of she asked. in music—some exquisite phrase that Faculty of seventy-five eminent Artists and Teachers Heniot Levy ) 53 MAIN ST., y POTSDAM, NEW YORK Prof. Theodore Leschetizky In her question there was no touch of will suggest a thought from higher levels. the small character that the other women Be content to get that thought, even if Every Branch of Music: PIANO, THEORY,VPICE, VIOLIN had shown; only honest distress and not played or sung to absolute perfection. Chicago’s Foremost School of Music The National Conservatory of Music of America E 3StH year oPRns oct°2d 1 sympathy for the singer. And suppress sternly any captious, ill- Public School Music Methods—Teachers’ Normal Training Located in spacious quarters in the new Kimball Hall The only School of Music in the U. S. chartered by Congress After the concert, the stout, florid natured picking of flaws. You will have Building in the heart of Chicago’s Musical Centre. (JEANNETTE M. THURBER, Founder & Pres.) Ad. Sec., 126-128 W. 79th St., N. Y. City Special Classes htfce'pZft Create Harmony. woman walked toward the rooms that your reward in increased enjoyment of UNSURPASSED FACULTY OF NINETY ARTISTS gave to the stage. She had a certain the music, and in the betterment of your Chorus Class. t— Free Advantages Orchestra, Demonstration ot Childrens’ Class Work. Lectures. College of Fine Arts — cool, deliberate purpose in her mien that own character. Graduates assisted to positions through the school employment bureau. Modem Courses in: GRANBERRYsH Syracuse University Piano, Voice, Violin, Organ, Harp, Orchestral Instru¬ Students’ Orchestra (Free) "younger p!lj5l». An umifual experience Pianists :: Accompanists Unexcelled advantages for the study of music. Facul- Rachmaninoff, the greatest Russian composer-pianist since for advanced pupils in Piano, Voice and Violin to appear at rehearsals and concerts. ments, Musical Theory, Public School Music, Etc. to the degree of Mus. B. Special certificate courses. School of Expression and Dramatic Art School of Opera Teachers’ Training Courses Special students may enter at any time of year. Rubinstein, will be the subject of the next issue of The ETUDE. Students’ Chorus (Free) -Open to students of all departments. For catalogue and full information, address, Certificates. Diplomas and Degrees by authority of the STATE OF ILLINOIS. Booklet CARNEGIE HALL, NEW YORK Registrar, Syracuse University, Syracuse, N. Y. Don’t miss this exceptional number. Normal Teacher’s Training School, recognized as unsurpassed in the country, supplies teachers for schools and colleges. Degrees, Diplomas, and Teachers’ Certificates, Lyceum Public School Music and Chautauqua Engagements secured. MARY STRAWN VERNON. Pri, A MUSICAL BUREAU FOR SECURING POSITIONS NEW YORK SCHOOL OF MUSIC AND ARTS of Public School Musi, i nere is j onstantly growing demand for Men and Worn, Many Free Advantages Excellent Dormitory Accommodations Opposite Central Park, cor. 95th St., New York City :: RALFE LEECH STERNER, Director and many responsibiible and lu< departmental teachers, i nese i «j»* The Columbia School of Music otters an Thirty-Fourth School Year Opens Thursday, September 11, 1919 New York City’s most beautiful and home-like School devoted to Music and the Allied Arts with IJNSIIRPA^RFD BEAUTY graduates to secure positions thrOUgh the School nee ve«r . OF SCENE FACING CENTRAL PARK S for graduahonbut m C^v^sStTork and stud, Catalog Sitailed Free an Application Celebrated faculty including Arthur Friedheim, Ralfe Leech Sterner, Aloys Kremer, Harold A. Fix, Clarance de Vaux Rover Eueene Salvatore Guisenpi Melfi, thereby to 1 applied Psychology. PracticePracti Teaching. AMERICAN CONSERVATORY 571 kimball hall, T1I Frank Howard Warner, S. Reid Spencer, Mable Rivers Schuler, Mme. Clara Lopez, Helen Wolverton and others. ' ^ ’ orchestran„L.1.h' Conducting Chorus,ChOTtJ; extended workworn in naunony.Harmony, Sight Reading and Ear-Training.f WABASH AVENUE AND JACKSON BOULEVARD, LHlCAuU, ILL. DORMITORIES IN SCHOOL BUILDINGS Year book free on request. Address PUBLIC" CONCERTS every WEEK.' ‘ TERMS, INCL U D IN* gYUIT1 ON; * BOA Rd] VpRAI^TI CJ NG °ETC Pp7!?fVm£R' SEND FOR BOOKLET AND TEACHERS’ BIOGRAPHIES ‘ ICING, ETC., ON APPLICATION. COLUMBIA SCHOOL OF MUSIC, 460 Ohio Building, 509 South Wabaih Avenue, CHICAGO « MEHLIN PIANO USED EXCLUSIVELY Ms, E when addressing o iHen THE ETUDE when advertiser*. SEPTEMBER 1919 ' Page 607 THE ETUDE' the ETUDE Page 606 SEPTEMBER 1919 r A Backward Glance at Some Ancient Instruments The instrument called the oboe is now and offering it to Guildenstern, says; 1 oelv in evidence in symphony orches- "Can you play upon this pipe?” Schools and Co\\e£&s > 5cHools and Colleges tras’ but the great ' majority of people It is customary, in most stage produc- PENNSYLVANIA, and SOUTHERN Schools and Colleges WEST AND MIDDLE WEST Jould not recognize one if they met it tions of this play, to use a fife, or trans- DETROIT AND INDIANA expectedly on the street. Yet there verse flute, but it would be much more in ^as a time when, in England, it was one keeping with historical accuracy to use a [YCEU/A "f the commonest street sights, for to flageolet—an instrument blown through %RTS nlav the oboe, hautboy or waight (all a mouthpiece on the end, like an organ $- Detroit Conservatory of being names for the same thing) was pipe or a penny whistle. The flute blown QO fi SER.VATO RY considered a fitting accomplishment for through a hole in the side was a later mwi a policeman or night-watchman. After invention, probably German, and was in- ELIAS DAY, DIRECTOR a short solo on the “waight,” the watch- troduced into French orchestras by Lulli, Finest Conservatory in the West ■MUSIC “Definite Preparation for a Definite Work” man v/ould sing out something like the coming into general use in England about CONSEWArORYyMuSIC A superior faculty,_teadiing every branch of Offers to earnest students courses of study based upon the best modern and following: “Past three o’clock, and a cold the time of Handel. The recorder, or PHILADELPHIA educational principles. Renowned faculty of 70. Students’ orchestra, and frosty morning,” “Past four o’clock, beaked flute, was made in several sizes; concerts and recitals. Diplomas and degrees conferred. Teachers REGISTRATION DAYS, Sept. 8 to 13 Good morrow, masters all!” Fancy a treble, alto, tenor and bass. The larger 35th YEAR OPENS SEPTEMBER 15th certificates. Desirable Boarding Accommodations. FALL TERM OPENS, Sept. 15, 1919 modern policeman playing a solo at mid- sizes are now extremely rare, only a few night on the clarinet or saxaphone, and being found in museums, COMBS* Fall Term Opens September 15, 1919 chanting the hour! This was a small portable organ whose UNRIVALED FREE ADVANTAGES pipes were “reed pipes” like those of the Complete Pupils' Public School Music and Drawing The Cornet oboe, Cornopean or trumpet stop on a The cornet, as we know it, is less than church organ. Sometimes it was made A SCHOOL OF INDIVIDUAL INSTRUCTION THERE is a constantly growing demand for women teachers of public school THE COSMOPOLITAN SCHOOL OF MUSIC a century old, and largely the invention in very small sizes, and in the shape of a A SCHOOL OF PUBLIC PERFORMANCE ^ music and drawing and many responsible appointments are open to graduates I of a Frenchman named Sax, yet we read large hook: the pipes were unscrewed of these courses as supervisors or departmental teachers—positions which are espe¬ cially attractive as to working conditions as well as remuneration. AND DRAMATIC ART of the “cornet” being used in England and packed inside when it was to be Kimball Building, Chicago, Ill. Tradf ! in the time of Charles II (about 1660) closed up. This was known as the Bible The Detroit Conservatory of Music £ to strengthen the soprano parts of church Regal. In the time of Shakespeare and ^^frc-hr,nianfeMusichin t^e^Middl^W^st. unexcelled faailty^d^ArtiM^Dsachers! h,l!h ^ * music during the temporary scarcity of earlier, the “regal-tuner” was as familiar offers an excellent training for these places, and recommends them to its graduates. ation, address Dept. E. E. L. Stephen, Mam The course requires two years and in many instances credit is given to those who BE A MUSICIAN choir boys. Further than that, we read a personage as the piano-tuner is now. have had sufficient teaching experience, music study, college or university work in the Bible of the “cornet” being used There was even one attached to the which enables students to complete the course in one year. among other instruments at certain idola- Chapel Royal of St. James’, with a sal- The special features of the course are: Sight reading; ear training and dictation: trous ceremonies (Daniel III, 15), sev- ary of £56 a year, which, considering the methods; song interpretation; harmony; chorus conducting; psychology; practice eral thousand years ago. What was this low prices of commodities in that day, teaching, etc. M“ van^U~n!^^JSSToF RECOGNIZED STANDING” primitive instrument? It was a flaring represented quite a respectable living, Examination Free. For Catalog and Other Information, Address tube, usually made of wood and covered JAMES H. BELL, Sec., Box 7 1013 Woodward Ave., Detroit, Mich. with leather, having a cupped mouthpiece The Oldest Instrument FIVE SPACIOUS BUILDINGS Musical ^dargartan ^J ^OPBN SEPTEMBER,™ ^ A School of Inspiration, Enthusiasm, Loyalty and Success. like the cornet of our day, but pierced The Slide Trombone is, without doubt, Illustrated Year Book Free with holes, like a flute. In Germany, it the oldest instrument still existing in its was known by the name of Zinke, and primitive form. All others have under- GILBERT RAYNOLDS COMBS, Director ^Sr11 DETROIT INSTITUTE OF MUSICAL ART was made in various sizes, just as are gone remarkable changes, some of them WESTERN CONSERVATORY TH,fVTEY;sRIXTH the brass band instruments of our day. even in very recent years. The Violin ONE OF THE OLDEST MUSIC SCHOOLS IN CHICAGO “Strongest Faculty in the Middle West” Send for Catalog E. H. SCOTT, presipent KIMBALL HALL, CHICAGO In its largest, or deep bass form, it was has been developed from the Viol; the PITTSBURGH curiously curved, and known as the “Ser- Flute has been given keys, and blown ZECKWER-HAHN pent.” It must, in this form, have been the side instead of at the end; the MUSICAL INSTITUTE, Inc. A School which offers every advantage School Professional more used in England than on the Con¬ Trumpet and French Horn have been PHILADELPHIA Academy OVER 500 STUDENTS IN ATTENDANCE foreIt--TJniversitV tinent, for Handel, on first hearing it in supplied with valves; the Piano has been 1617 Spruce Street, Philadelphia incidental to a broad musical education. —of r i If only'one-half of the time spent in W°Uld ^ IS !1 *700.00 Pt compositions by American writers of decided merit and education this or that, he sure to do it! She was once a child like yourself and had to do the very same things she is asking you Your Pupils of To day Are Our Future Teachers, Artists, Composers and Critics were/and that°is why she asks you to he IzJTL.,1——— ——- - “rf “Mus,c' Will You Examine Carefully the Following List ol Compositions by American Composers of Decided Merit? COMBSrStF»S£s. ARNOLD"«WpEi&w* SSE'i—“ Ignace Jan Paderewski says: Josef Hofmann says: “It affords me a real pleasure to declare that there is great deal of good DUNNING SLSwsSS BR0WN •‘The American public, so far, with but few exceptions, has treated the in vour home-made music. . .« ive young musician with discouraging indifference. “The piano pieces which I beteby to'teUh VlXuI and FABRl CHICAGOSSSSSS5S CLASS 1. -The public and composers should more than ever^ S&^y^Si-Ypuf^Se..,; a few of them may even " emeiMMiTiCINCINNATI SrKigaaassa'MS ** <“■*' e three best Concert puces for „e that quality creates demand,’ it is finally true that demand will become popular with tbe geueral public. , . , N 4, Price 60c ite quality.’ HAWTHORNE "-“Sasv, *?£.?■ : S'!S:S “Recognition ,ni encouragement are ft. mo.t rial .ttautatt. necessary T : 4:2, • * COLUMBIA 'hat is the first one. Did you kne t you have a cushion on the tip c his further development. h tSb“• : : CLASS 2. £ KRIENS 0 American music, «rs. of A ought to M * P>a« <■ »■ »*““ »< "» ™ DAHM-PETERSENSgsr: ite&'sss For the best three Drawing} Am erican public.” _____ Arthur Kerim■ Neath the Balcony, Op. 11. . „ prize""0 10l°. . $75.00 moulton rs£j»asc: Ti:rss^r,.“^7«?“ I) PRIZE The four distinctive successes on hi, recent concert program by living PRIZE . ■ ■: • 4, American composers were: Grade No. 4, Price 60c NEW YORK •&$&$&$&*. KNOX ^ CLASS 3. Dance W C E. Seeboeck.Minuet a 1 Antico. Horatio W. Parker.Valse Gracile. „ „ 7- “ 60c W. C. E. Seeboeck.Lullaby. « < W C. E. Seeboeck.Spinning Song. 4, Fannie Dillon .Birds at Dawn’ .. « 3 « 60c W! C. E. Seeboeck.Serenata Napolitana. BOBERSMARLOWE^Sj^ Reginald de Koven.Romance. « « 5’ “ 75c Clayton Johns.Introduction and Fugue. SECON notable works THIRD VIRGIL WESTERN2“j5tC romantic music Appealing to Critical Interest and Developed Taste Grade No. 4, Price 75c -SOUTHERN- CLASS 4. Eiem Worthy Examples of theRoinantic School of Composition For the four best easy grac Si^XeSeiFadm..: Tta IWW. W. C. Barron....:.Lulla-lo, Irish Lullaby. Grade No. 4, Price 60c Charles Wakefield Cadman. To a Vanishing Race. BRYANT =s™ CONVERSE COLLEGERS Paul Bliss.Lllles- „ « « 3 “ 40c Reginald de Koven.^ono‘°“e; SECOND PRIZE . . Mentor Crosse.Polka desGammes. __ „ ^ „ S(fc ^.K,m.:::::::::faLDfk. THIRDrKfzk : John Francis Gilder.The Aero a. „ „ 4_ “ 75c asked to count one, two, three or one, Ralph C. Jackson.Caprice Romant.que. <( „ ^ „net75c two, three, four—you shake your head Alexander Macfadyen.Nocturne. and say “I can’t?” I am afraid it is just Ethelbert Nevin.In Dreamland. „ „ 3 „ SOc Constance A. Mills.AHemande. Op. 8. pUNNINGt SYSTEM because you do not want to—it is a little Henry Pabst.Oconto Ripple. „ „ ’ 40, more trouble for you. Now confess, Frank E. Sawyer.Chanson Pnntamiere. ^ S™ HwK ^Snr,oLh°SWhen y°U M1919^aAcldre^8*354'8frv,ing)S,t'aTo!ed^*,Ohlo a^°8Ce'^^^a ’ JU"* 16’ ,9,9i T°led0’ °” J“ly 21’ “music StU»eDtS’ you wil1 findPthaty 200 YEARS OF WMUSICAL INSTRUMENT MAKING Musical Instrume Are Standard of theVorld Complete Musical Outfits ANEW plan. Wurlitzer, the largest general music house in the world, is offering the finest musical instru¬ ments with complete outfits at factory price. With each instrument comes a handsome carrying case; all attach¬ ments and extra parts; music rack; instruction book and book of musical selections. This new plan gives you at a tremendous saving all the things that otherwise you would have to buy separately at regular prices. Wurlitzer Violin Outfit Sent on Trial Any Wurlitzer Complete Musical Outfit will be sent for a full week s free trial in your own home. Play the instru^ ment as if it were your own. Examine all the details of the complete musical outfit. You are under no obligation to buy. At the end of the week return the instrument and outfit at our expense if you wish. Convenient Monthly Payments If you decide to keep the instrument, you may pay the direct-ffom- manufacturer price in small monthly sums. A few cents a day will make one of these beautiful instruments and outfits your own. These Complete Outfits are ready. Send for one on free trial. Wurlitzer Cornet Outfit Violin Mellophone Flute Mandolin Banjo-Ukelele Hawaiian Comet Trap Drum Bugle Tenor Banjo Banjo Guitar baxophone Clarionet Fife Banjo- Banjo-Guitar Viola Trombone Piccolo Guitar Mandolin Ukelele Cello Send for New Illustrated Catalog The instrument of your choice and everything in the complete outfit fully illustrated and described, with full details of the free trial and easy payment plan. We are manu¬ The Rudolph Wurlitzer Co., Dept. 2306 facturers of all musical instruments, 329Ohio rhis wonderful catalog is a verit- 329 South Wabwh Avenue. Chicago. Illinois able musical encyclopedia. We will send it to you free and without ob¬ ^fe/rT,?eW Catalog with illustration? in color and full description of the Wurlitzer Com- ligation. Mention the musical in¬ strument in which you are inter¬ SSofe detailS °f the free trial and easv ested. Mail the coupon now. The Rudolph Wurlitzer Co. I I (Musical instrument in which l am especially interested) J