Volume 26, Number 01 (January 1908)

Page 1

~ | ANNIVERSARY JANUARY: 1908 3 ~ GOUNOD 1.50 PER YEAR - .- 15* PER COPY

Page 2

THE COMPREHENSIVE SCALE AND ARPEGGIO MANUAL Walter Macfarren Price, $1.50 This is the most complete work of the kind ever published, meeting all requirements, All the scales, major and minor, are written out in full, and in all their’ various forms, with proper fingering. ‘In addition to the usual four-octave forms, the scales are given ‘in thirds, sixths, tenths, double thirds, double sixths, chords ofthe sixth and double octaves, allin similar and contrary motion; also the various forms of the minor scale and all fingerings for the chromatic scale. The arpeggios of all common chords are given, to- gether with those of the dominant and diminished seventh chords in various forms, The work is hand- somely engraved on extra large size plates, nothing being abbreviated. Many teachers and students prefer a Substantial volume of this sort which may be used. indefinitely. FIRST SONATINAS Introductory to the Study of the Classics This volume is one of the easiest and most practical sonatina collections that itis possible to put together. It consists of complete sonatinas and selected move- ments in the sonatina form and allied forms by classic and modern composers, melodious, interesting and of genuine musical value, but all of easy grade. | All dry and uninteresting material has been rigidly excluded. It is designed to be given to pupils asa first book of sonatinas, serving as an admirable introduction to Kohler's Sonatina Album, or any Sonatina album of similar grade. The material in this volume is carefully graded, the earlier numbers being sufficiently easy to be studied by pupils of the nd grade. A few of the composers represented are: Biehl, Schmitt, Czerny, Lichner, Spindler, Haslinger, Steibelt, Merkel, Miiller, Hiinten, uhlan, Hévker, Mendelssohn, Schumann. Teachers will find this book of practical value in their work, and we anticipate that ‘First Sonatinas" will be widely Price, 50 cts. and successfully used. Melodious Anthems of Moderate Length and Difficulty at the Smallest Price Possible ANTHEM WORSHIP A collection of anthems for general use, suited to either quartet or chorus choirs, pleasing and singable, of but moderate difficulty, varied in character. This volume is a worthy successor to our well-known and widely used collections ‘MODEL ANTHEMS” and ‘ANTHEM REPERTOIRE,” the most popular works of this sort ever published. This new book is similar to the above in size (64 pages), style and general make-up but differs malerialigaa contents. It represents the product of ripened experience in com- pilation and a wide increase in resources, The an- thems are a trifle more difficult and make a most pleasing and fitting continuation to the other books. any of the anthems have been specially composed or arranged for this volume. Every one of genuine merit, some already great successes in sheet form. All are of prime interest, practically useful and bound to become popular. Well printed on good paper, and bound in strong paper covers—opening flat. Price: Single Copy, postpaid, 25c. Per Dozen, $1.80 Postage or express Sc. ench extra when ordered by the dozen The Young Duet Players A New Easy Four-Hand Album Compiled By DR. HANS HARTHAN PRICE 50c. This collection of easy duets, all of which were either speciallyarranged or composed, is particularly adapted for sight reading and for elementary drill in ensemble laying. This volume may therefore be used to follow Vrarthan’s “Childhood Days,’’Koelling’s ‘Teacher and Pupil” or Low's “Teacher and Pupil.” In these duets the pupil may play either primo or secondo, a very decided advantage. The various numbers are carefully graded, varied as to style, key and rhythm, and gener- ally attractive. The pieces are all melodious and the parts well balanced. The use of this work will prove a source of mutual enjoyment to teacher and pupil. New Publications Youthful Diversion For the Pianoforte Introducing Well-known Children’s Melodies GEO. L. SPAULDING Price 50 cents This volume contains fourteen original pieces in various rhythms and styles chiefly written in the Keys of C, G and F, each piece introducing some well- known or traditional children’s melody as its middle theme, its usual text being printed with the melody. It may be regarded as a sequence to the author's widely known “Tunes and Rhymes for the Playroom,” and it may be used in the early second grade. x Young pupils especially will be delighted with these pieces, but they will serve to amuse and instruct both young and old Chopin Album Selected Works Edited by I. PHILIPP Price, $1.00 The Chopin Album is possibly the most popular of ‘all music books of a high grade for the plano. It contains the very best pieces of this gifted composer, the same work found in corresponding albums in the various standard editions, including the favorite waltzes, polonaises, mazurkas, nocturnes, ballades, etudes, etc. There is scarcely a pupil of any advance- ment who does not need this album. M. Philipp, in addition to being one of the greatest living teachers, is a most accomplished editor. His work is practical and up-to-date, and our edition is as good as it is possible for us to make it. Musical Poems For The Children Original Melodies for the Pianoforte With Appropriate Text OCTAVIA HUDSON Price, 50 cents This collection of short pieces is intended more par- ticularly to develop the sense of rhythm and inculcate style and expression in playing. The pieces have an added interest in that they are accompanied by texts which in most cases may be sung with music. This work, the author of which is a teacher and writer of many years’ experience in elementary work with children, may be used either in private or class in- struction or in kindergarten work. It will prove of great value to teachers working in the early grades, The last page will contain a short explanation of all the musical terms used throughout the book. FIRST BOOK OF MELODIC STUDIES (25 ETUDES CHANTANTES) For the piano By A. CROISEZ Op. 100, Price 75c. Grades I and 11% These studies will be added to the “Presse: = tion.” There are twenty-five in all, suited tothe ce of second grade pupils.” They are very graceful, mel dious and in contrasting styles and thythmg te plenty of work for both hands, Itis alwayest gute idea to have as much variety as possible in teachin material in the early grades, It is beneficial both ms the teacher and the pupil. These studies of Croise: 5 may be used as substitutes for many of the better k- = second grade studies ; once made use of they vill be used again many times. They are intended today | 4 style and expression as well as technic, M; y have names and are really short little pieces,” any Mave IN PRESS FOR SALE AT LOW ADVANCE PRICES. SEND FOR BULLETIN, NEW SONGS WITHOUT WORDS R, Ferber MUSICAL FABLES. Geo, L. Spaulding. SCHUMANN ALBUM. 24 PROGRESSIVE STUDIES, FOR THE PIPE ORGAN. Geo. E. Whiting. 1712 Chestnut Street “STRICH & ZEIDLER ELAN Manufacturers of Artistic Grand and Upright Pj, anos, ROOT, METHODICAL 5 ‘ I ING. Vol. IIL, oe BING. CHILDREN’S SONGS, Collection, VIOLIN METHOD. Geo. Lehmann KEYSER. Violin studies OP. 20. Bk. I THEODORE PRESSER Opinions of Authorities Speak- ing of the “UNIVERSAL EDITION” ry : Messrs, Breitkopf & Hartel, - 7? Oct 16th, 1907. GENTLEMEN :—Please accept m: Prat ‘ y thanks Violin Music you sent me to look at of the Deg Edition. It is one of the best I have seen and it will give me great pleasure to everybody P to recommend the same RICHARD ARN Concertmaster of the N. Y. Phileas Satay. New York City, Messrs. Breitkopf & Hartel, 9” Oct 21st, 1907. GENTLEMEN:—Tho “Universal Edition” j I am _ particularly pleased with the area ORE Max Reger, several of which I expect, to ade net repertoire this season. The edition has bee ‘care fully prepared in the “minutest detail. " Allow ane to congratulate you and to predict fon : success in this country. Put f0F the work great : : WILLIAM ©, cy Director of the Guilmant_ Organ School, Overt and Director of Music in the First’ Presbyteri Church in the City of New York. ree New York, N.Y. Messrs. Breitkopf & Hartel, 08k 2a, 1907. GEN MEN :—I desire to thank you for of the “Edition Universelle” you kindly sent mort find in looking over the edition carefully, it gives me great pleasure to state that I consider the editi to be an excellent one, and I do not doubt. that st will become very popular among artists, te well_as amateurs. ie re cLersi as With the assurance of my highest esteem, Sincerely yours, 2 FERDINAND CARRI, the copies I am, Boston, Mass., Oct. Messrs. Breitkopf & Hartel,” eee BNTLEMEN:—I have looked over the speci of the “Universal Edition” whicn you cones mai few days ago, am favorably impressed by them in many respects. I shall test them in practical instruc- tion, and shall then be able to speak more intelli- Bently. enous ue ae far as He editing of the text concerned. ‘Thanking y i e ri a Caner ig you for sending the various Very truly yours CARL F. ELTEN, Director, Chicago, October 8th, 19 Dear SIR8:—T thank you very much for ae me a few copies of the “Universal Edition.” Thee are certainly of the most excellent editing and ef splendid type, I found’ Schumann, Chopia, ‘Gdn? and Beriot edited with an exceptional kmeiade ered on a ncmira ble thoroughness, For its chenpnees e acquirs ‘a vi i : pusnertol quired by every one interested in our ALEXANDER VON FIELITZ, 6 Newbury St. DraR_Strs:—Thank y x the of the “Universal Belton treet standard that ee ; about the edition, “74S Set, and T an Yours truly, ARTHUR Foorr Messrs. Breitkopf & HAnCiM™ati, October 9 pf & Hartel, th, 1907, Boston, Mass. specimen copies up to the high n glad to know atte GeNTLEMEN :—The sty ork I know of, if alt’, Universal Edition” ig adopt ft fs the one whic’ therein publi he, best ] enthusiasti , y Which you will be wy T enclose ai g be 80 ki an init’ as you can, 80 kind as to send ‘te mes araee soon to Yours y ery truly, GenTLeny + New York the ie Mee aesider the “Unive use, “*°ellent results wigetical and have ng Zion” Accomplished by “tot 8 DY their MIDDELg : ~~ “USCHULDE ee aie 4 LTE, rs, Breitkopf & Harte October 4th, New York, WILEEL: 1907, NTLEM your ¢ ™M very Buished n iver: 2l2d to na meane plist which i ee Edition xd MY approval we ¥ which 4 ready have. Gaythe ,distin- Moderate prieg © PUblic may ye: Certainly any be gi ven the be: Y acclaimed, "a MAUD POWRLL, Discount 5 0% Catalogues on Request! Breitkops & Hartel 4 W. 20th s Ower, and its of Tone; Respon- Ons! ‘ . ew A truction, Workmanship, ee é istic Designs of Cases, NEW YORK

Page 3

THE ETUDE mel ESD) SIN WES CLGET! SAN Canadian Postuge, 25 cents, DS EGU) IS. ENED SIS PIII SSK BS San LED. SAS MES TAK 7) Dwele SIE > FA WU AES SSIS Sas me my) VIII (EET. Wh SSI TX MBS, LDL LDL e YO o A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Subscription, $1.50 per year. Single Copies, 15 Cents. Foreign Postage,72 cents. Liberal premiums and cash deductions are allowed for ob- taining subscriptions. Remittances should be made by post-office or express money orders, bank check or draft, or registered letter. United States postage stamps are always recelyed for cash. Money sent in letters 1s dan- gerous, and we are not responsible for its safe arrival. DISCONTINUANCE.—!f you wish the Journal stopped, nn explicit notice must be sent us by letter, otherwise it will be continued. All ar- rearages must be paid, RENEWAL.—No receipt is sent for renewals. On the wrapper of the next issue sent you will be printed the date to which your subscrip- tion is paid up, which serves as a receipt for your subscription, MANUSCRIPTS.—All manuscripts intended for publica- tion should be addressed to THN WTUDEH, 1712 Chestnut Street, and should be written on one side of the sheet only. Contributions on topics con- nected with music-teaching and musiec-study are Solletted Those that are not available will be re- urned. ADVERTISING RATES will be sent on application. Forms close on 10th of each month for the suc- ceeding month’s issue. THEODORE PRESSER, 1712 Chestnut St., Philadelphia, Pa. Entered at Philadelphia P. O. as Second-class Matter. CONTENTS “THE ETUDE” - January, 1908. My Pupils and Myself... Carl Reinecke The Home Life of Reineck wh. C. Elson Course in Self-study for Piano. Carl G, Schmidt What Music Owes to Dancing. Louis C. Elson Think Before You Play....Perlee V. Jervis Piano Touch and Piano Action. _ H, D. Wilkins Important Events in Musical History IL. D. V. Bloomfield Their Real Names Paderewski on Musie is The Career of a Concert Singer. Miss Emma Thursby W. Fullwood A, Fisher A.C. Scammell Mme. A. Pupin ons. Helena Maguire Music Lessons by the Great Masters. Bdward Burlingame Hill Musie Teacher in the Southwest ..............H. R. Kroeger Program Craft........Jo Shipley Watson The Pursuit of the Impossible. James F' ‘The Mother's Influence. ... ‘Teachers’ Round Table 1 Keyhoard Talk Musie in Public Sc Maxims for Teachers Ifow I Teach the Seal Length of Children’s Le: Chances of the acis Cooke W. Borst CG. @. Hamition Teachers Haydn’s Sonata in G Practical Points for Bus; peal Department .. gan Department Violin Department Children’s Page Announcements by E ‘ The Story of Tae Erupe and Its Founder. Dxplanatory Notes on Our Music P: e Ve oO Questions and Answ ‘The World of Music..... Review of New Publicatio Staccato and Legato..... Recital Programs Burlesque ....... Gavotte Martiale 5 Valse Venitienne (4 hanc Swan Song from ‘“Lohen: Petite Saltarella...... The Betrothal M In Sylvan Glades. Clara Gottschalk: Peterson The Taunt of the Fairies... .3 Marie Croshi Serenade (Violin and Piano)....G. Pierne P, Renard A. Tellier ly (Vocal or In- Geo. L. Spaulding Henry Parker -R. M, Stults -H. Spielter . Dolmetch . DL, Ringuet dD. Krug ...G, Horvath «Chas, Lindsay Good Morning. strumental) . A Gipsy Maiden, Sunlight Land =) %) w gi KAA IAI TO OUR READERS In this column will be mentioned from time to time our best offers in the way of premiums for the obtaining of subscriptions to THe Erupr, as well as other special offers that will be of interest to our readers. OF A PERSONAL NATURE. During the year 1908 no effort or expense will be spared to make Tue Erupr even better and of more value than before. Many new features will be added. More than 160 com- positions, valued at over $50.00 retail, will be included in the twelve issues in addition to the attractive, instructing and inspiring reading matter, Besides all of this, do not lose sight of what you save by being a subscriber to Tue Etupe, Every issue contains announcements of pub- lications at special prices that you would not know of otherwise. By taking advantage of these special offers it is possible to save many times the subscription price of the journal on your purchases of necessary music supplies. We want all of our readers to take a per- sonal interest in the growth of Tur Erupe to the extent of sending us at least one new sub- scription with their own renewal. Tell your friends and acquaintances of the benefit they will derive from Tue Erupe and of the good work it is doing toward the advancement of Musical Culture. Let us send them a sample copy. You can then secure their subscription and take as a payment for your trouble either cash commission or a premium. MAGAZINE BARGAINS. By a special- arrangement with the pub- lishers it is possible for us to offer THE ErupE in combination with other magazines at very low rates. These Clubbing Offers are listed in a circular entitled “Magazine Bargains,” a copy of which we will send to any address upon request. We are prepared to duplicate any clubbing offer, in which a subscription to “The Etude” is included, made by any reputable publisher or subscription agency. PREMIUMS. On the back inside cover page of this issue will be found a carefully selected list of our most popular premiums for obtaining subscrip- tions to Tue Erupe. All of our premiums are selected with the greatest care to give the most value possible in return for the services which our readers render in securing new subscribers. A copy of our Premium Booklet, containing a com- plete list of the premiums we offer, will be sent upon request. MISTAKES, CHANGES OF ADDRESS. While the utmost care is taken at all times to prevent mistakes, errors will sometimes creep in. In every instance we stand ready to apologize and make immediate correction. All of our dealings must be entirely satisfactory, no matter what the cost to us. To reduce errors to a minimum we would ask all of our readers to write their full name and address very plainly on every communica- tion. If a change of address is desired be particular to mention the former name and address as well as the new one. All changes of address must reach us before the roth of the month to insure delive of the next month’s issue to the new address. AGENTS WANTED. Large commissions are offered to canvassers in all parts of the country who will devote all or a portion of their time to soliciting sub scriptions for “The Etude.” Write for par= ticulars. wy yy YD Sy, HAT AAR, 8 KARR SSNS AEN aS NaN x THE EDITOR'S COLUMN Tue Erupe extends to its many readers in all climes the heartiest New Year wishes and the right hand of musical fellowship. Our “New Year” word of advice to our readers is to constantly remember that success is bred of confidence, faith in yourself and your fellow- man, optimism and a healthy abundance of honest, sincere work. The man or woman who thinks, works and lives after this plan rarely needs take into consideration panics, financial flurries or what the world foolishly styles “bad luck.” We are going to do our best to keep you intellectually in tune with the spirit of the times in music. We want Ture Erupe to grow more and more necessary to you every day, whether you be teacher, pupil or music lover, and we realize that in order to do this we must continually strive to improve the paper, and not to rest satisfied with our twenty-five years of unusual success. Again— “a Happy New Year” to you and success in your undertakings. New Year’s Greeting. We have worked very hard to make this “Twenty-fifth Anniversary Number? of Tue Erupe a particularly interesting one, and we are proud of it. We are going to try to keep on improving the paper each month, but we feel that we have set a pretty high standard in this issue. The article by Carl Reinecke is, in a sense, epoch making. The greatest teacher of the last quarter of the last century makes the first statement he has ever made for publication about his famous pupils, many of whom have joined the ranks of the immortal. The most noted concert soprano of our country, Emma Thursby, gives our readers the results of a lifetime of experience. Mr. Louis Elson con- tributes an important article on the dance, and Mr. E. B. Hill starts what we feel will be a very valuable seri of articles called “Lessons from the Gr Masters,” indicating just how the great masters might teach if they were living to-day. Not the least is the fine story of Tur Erupe itself and the strug- gle of its founder to make a paper which would be beloved by musicians wherever the English language is spoken. This is Tur Etupe menu for January, and it is an indica- tion of the feast to which you are invited throughout the year. We feel that you can take thi of your musical friends and say: “Just look at this! Isn’t it a fine specimen of a musical journal? How can such a journal be published for $1.50 per year?” We sincerely hope that you will do this in appreciation of our efforts in your behalf, There is nothing like a good musical paper to foster the musical interests of a community. If a single one of your pupils, or your musical friends, is not regularly entered as a sub- seriber upon Tur Erupe subs ription books he is missing the most vital support a musician or student can have, to say nothing of the actual loss in cash. issue to any SPECIAL NOTICE. All communications of any kind whatsoever relating to the editorial management of THE Eruper should be addr “Editor” of “The 1712 Chestnut Street, Philadelphia, Pa. Communications should never be addressed to private individuals. The editor most sin- cerely requests his correspondents to respect this rule. All cther communications should be addressec Theodore Presser, 1712 Chestnut Street, Philadelphia, Pa, LEK a ESE (G(E(E(ECE( ail CG Ck CG IDA AA AA AAA QQ SON CLD ED DLO_LD EDD LDL NES (wf fz el AE WTVED x Sis eG (RE REERKRKECSSK NESS WEED) KEEL CK WF AEN (a Seca eK REE

Page 4

THE ETUDE CHARMING FLOWER SONGS FOR SINGERS ano VOCAL TEACHERS These Flower Songs are exceptionally rich in lyric charm. They are very musical and modern. Should be pleased to send them on selection to any one, if reference is given. As ina Rose Jar yy CHARLES WAKEFIELD CADMAN. ¥ = = = Drank deep of, you and I a lit-tle space, Three Keys. Dandelions __ ‘By CHARLES WAKEFIELD CADMAN., \ f : ae ‘ J Bat TEs = : -ing,smil-idg,goklen suns up - onthe em'raldmead, 0 rage testes con moto. SS SSS SS z 7 ‘spreading glo-ry in the grass thatlighto the pathof spring, You bol of my love,my! \vegrantthots you lead, Two Keys. FLOWER SONGS: delions. (2 keys)-..+ ep DondeiRore Jar, (3 keys): 8 ‘Ao the Flower Clings to the 3 Song of the Crocus. (High) a Captive Rose, The, (3_keys) So Bee and the Flow’ret, The. 150 Butterfly and the Rose, The, 2g Flower's Sorrow, A. a keys) = ingtime. (2 keys)..-. : In Springtire what the Rose Is. ES Rose and the Thorn, The, (M = Rose Gardon, A. (2 keys). se Rose of Love, The. (Medium) e Send for our GATALOGS of Songs, Duets, etc. WHITE-SMITH MUSIC PUBLISHING CO., BOSTON NEW YORK CHICAGO 62-64 Stanhope St. 13 East 17th 8t. 259 Wabash Avo. If your dealer connot supply the above, we shall be pleased to send them to you on approval, Harmony Text Books in the Oberlin Conservatory. ; Now Revised Edition, Price 25c. Cloth. Ready August 20th. ‘ Conservatory Music Tablet, Price 20c. pointon the market. Prices 25c, 30c and 50c. Your Name on Our Mailing Lists WILL MEAN THAT YOU WILL RECEIVE, FREE OF CHARGE, COPIES OF THE MOST USEFUL “Helps to Teachers” TO BE HAD Our Thematic Catalogues are now widely known, and we have just issued two nore: “Pieces Worth Playing’? (in which an entire page is devoted to each composi- tion), and ‘‘Supplement to Teachers’ Book of Samples.” Teachers need only to be reminded that we are pre-eminently the teachers’ pub- lishers. All Thematics Free, Postpaid Write Today The B. F. Wood Music Co. Proprietors of “ Edition Wood” Boston: New York: 246 Summer Street 6 East 17th Street London, W.: 12 Rathbone Place, Oxford St. Hear what one of the Teachers of ‘‘Carleton College’’ has to say in regard to . , : Grimm’s Practical Method FOR BEGINNERS ON THE PIANO “Grimm's Piano Instructor ts by far the most sensible and practical book on the subject that Ihave seen anywhere." This is the opinion of hundreds of satisfied teachers in every section of the country. Send for a copy for the next beginner. PRICE, $1.00. TEACHERS’ PRICE, 75c, prepaid Are Your Pupils Interested? Are You Making Mechanics or Musicians ? For all-round Development Nothing io Better for Beginners than **Song Stories for the Piano’’ By MISS CARRIE ALCHIN It is not a meaningless lot of exercises, but material that savs something; melodious, especially good in h: monic treatment, and of exceptionalvalue for Ear Train- ing and Transposition. Revised and augmented edition will be ready May rst, 1907. PRICE, 60 cents per copy TEACHERS? PRICE, ‘5 cents, prepaid EE THE GEO. B. JENNINGS CO, 105-107 W. FOURTH ST., - CINCINNATI, 0, New Cantatas and Books RUTH, THE GLE. choirs horal no . Charming my ompton. A sacred enntatn for : huced with or wi iti hot dittiouit. “Price 75 conta Rosey OF Returnuble es—elevon gir . Price 30 cents, ete wrogran: quartets Cninie Quatat, (nite: a umoror a ent for examination St! Da of organ votu le for eithe oluntaries by 5 of cone nae eT Feed OF ine orgs sSmpoalttons for the organ Noy n Not di PLE Ono: both # TR. By Mr. 3, ‘| we eaten’ American, ‘Th antherna Te ‘The contribitory Areturnable copy mentite Adapted to volun tt FAL be nung pete PY sent for examination, UMEEr choirs, “Prjey Goh, oket . © 60 cents, FILLMORE 528 Bim St., Cincinnati, First Lessons in Harmony, by Arthur E. Heacox, Oberlin Conservatory of Music—clear, concise and practical. Harmony Lessons, Purt II, The second term of Harmony by the same author. Harmony Lessons, Parts 2, 3, 4, by A. E. Heacox and F. J: Lehmann. Lessons in Harmony, PartsI, U, II, IV, V, Heacox and Lehmann. Complete in one volume. Harmony Blank Books, Nos 1,2,38. The best tablet and blank bo For discounts to the trade and profession, address the publisher A. G. COMINGS, Publisher and Music Dealer, OBERLIN, O. Harmony Blank Books Professor of Harmony and Counterpoint in It comprises the first term of the regular course Price 50c. Cloth, $1.25 net. oks for harmony and counter- date collection of anthems in book form will q Chorus or Quartette Choirs desiring an up-to- fird in Samerior Asithem: Edited by I, H. MEREDITH a collection which is all its name implies It is SUPERIOR in Quality of contents and Mechani- cal Construction, contains 35 anthems by well known authors, is printed from en i 5. graved plates, bound in the best style, aeedeeg. teS It is SUPERIOR in pri int | Price, containing over $3.00 | worth of anthems, offered at the exceedingly low cae of 60 cents per copy, postpaid, $6.00 per d i Above prices STRICTLY NET) "Ot Prepaid. Sample for examination sent on request to any Choir Director. Mention the ETUDE. Lilanffiedi 57 Washington St. 150 Fifth A: CHICAGO, ILL. , Rae NEW YORK,N. Y. PALMER'S PIANO PRIMER PRoMINENT Piano Players Prefer ‘s Pi i It is Progressively Plaid. Practical Desir an Eanes, Peerless, Perfect. Pupils Peruse it with Plone se onounce it 396,000 Published Proves Popularity. Price ged Profit. vt: Please Purchase Promptly pai a of bitt 1 » Nation- im one neat pocket volume, soe, C The two dictionaries 0€s not keep them, send to H. R. PALMER Lock Box 1841, New York City SWALLOws R The latest and best ET celebrated Piano gs, URN : Olo wri der Bisher, pee of Robin's Rate by the eauti cae fs to you for 15 twat and original, Patil THE EBERLE music co.’ “Acceptances! er Daydream: OTHER go; - SPecial Price, 75¢: “The Birds Sent Pp, ILLINOIS Ostpaig MUSIC and TREstO c — NISTS| Pre, Het Companple book of Moya J. St. Clatr’s ema tWo, as plived for Grand Organ, Volumes “emare and other noted and endorsed by Edwin H: Hi, organist: 1870 Ka WHITE, PUBLISHER ——_*P St. N. E,, Cleveland, OO

Page 5

PUBLICATIONS OF G. SCHIRMER : NEW YORK JOSEPH CONCONE THIRTY SELECTED STUDIES Edited and Fingered by LOUIS OESTERLE PRICE, FLEXIBLE GLOTH, - - $1.00 NET We invite special attention to the fact that the process of judicious selection, by weeding out certain numbers which are substantially duplicates of more valuable ones, provides the student with the really essential features of Concone’s etudes, thus very considerably abbreviating the time required for the mastery of their important points, and relieving him of needless drudgery and of the task of choosing the best for himself. STEPHEN HELLER FIFTY STUDIES FOR PIANOFORTE Selected and Edited by LOUIS OESTERLE PRICE, FLEXIBLE CLOTH = - - + $1.00 NET In offering this new edition of Heller’s Studies, comprising a selection from Op. 45, 46 and 47, we wish to emphasize the point that, from among the mass of material, those studies which practically repeat, in style or technical form, others which are deemed more important and beneficial have been eliminated. When the vast amount of studies and exercises, which the student is expected to master, is taken into consideration, the importance of careful and intelligent selection becomes very ap- parent, in view of the saving effected in time and effort JUST PUBLISHED The Golden Treasury of Music Vols. XI and XII ROBERT FRANZ COLLECTION OF SONGS Preceded by a Sixty-two Songs, with Piano Accompaniment, Biographical and Critical Essay By H. E. KREHBIEL High or Low Voice. Cloth, Each, Net, $1.50 There are sixty-two songs in this collection, and they re veal, it goes without saying, Franz at his best Here is pre- sented the very flower of his exquisité and subtle art. The songs are published in two editions, one for high, the other for low voice. Both the German text and excellent English translations are given. . W. H. NEIDLINGER TWENTY-FIVE EARLY VOCALISES Price, 50c Net This is a series of progressive exercises. It begins with pre- liminary exercises of the simplest kind, and passes through in- termediate studies of increasing elaborateness, though none of the twenty-five pass*beyond the early grade of study in their re- quirements. It is worthy of note that the exercises are written with a recognition of the fact that it is possible to make such studies musically interesting. For the Medium Voice. Paap tne The Fairest Rose, WALTZES. 8. ENGBLMAM? New Popular as ae Apt - seSea meer ssoecrne 2 Teaching Material. Fairest Rose Waltz, By Engelmann Celestial Visions Reverie, By Drumheller Sweet Memories of the Past , Meditation, By Drumheller Cupid’s Appeal Reverie, By Engelmann Andante expresso, Moonlight on the Ocean A Reverie, By Martin Loye’s Reverie Waltz, , By Martin Dance of the Sunflowers, By Story Celestial Visions Reverie. LOUIS A, DRULEELLER, Op o8 AEE IE 1, $6) £2! Meditation, By Martin elie : meaamezanes seersenaae a Frolic of the Demons, a By Martin + a thom om em o Alpine Twilight Three-step, By Phelps \Pearl of the North Reverie, By Martin Cupid’s Pranks Waltz, By Kuebler Lonely Star Reverie, By Brehm Sweet Memories Of The Past. Blush of Roses Waltz, By Kuebler Tonkawa Intermezzo, 2y Story Turtle Parade Two-step, Meditation Rua By Crosby SPECIAL price 15¢ per copy, any four for 50c, any 10 for $1, Postpaid. Send for our new catalogue with cut price on everything inmusic. : 20: 3 508 BREHM BROS. ERIE, -- PA. LATE PUBLICATIONS TWO NEW SETTINGS OF THE BENEDICITE OMNIA OPERA CHRISTIAN B. CLARK, in Eb (Shortened Form) - - SAM’L W. BALDWIN, in F - - 3 5 cents 10 cents ANTHEMS FOR EPIPHANY The Morning Star .. Break Forth into Joy. Simper Almighty and Everlas Gibbons Almighty and Everlasting God S. Smith Arise, Shine, for Thy Light is Come. G. Elvey Ascribe Unto the Lord........... Hugh Blair Behold, the Days Come........ .H. H. Woodward Cry Aloud and Shout.......... . Croft From the Rising of the Sun...... Ouseley How Beautiful Upon the Mountains................. 0.00.0 ee R. A. Smith Let the Words of My Mouth, .2q Hall O Where Shall Wis be Found. Boyce O Jerusalem, Look About Thee. Naylor God Came from Teman........... teggall COPIES SENT ON SELECTION. THE H.W. GRAY COMPANY SOLE AGENTS FOR NOVELLO & CO., Limited. 21 East 17th Street, New York. ~ Please mention THE ETUDE when addressing our advertisers, G: A, Burdett $0.05 +05 +05 +05 +05 05 05 +05 +05, 05 +05 105 +05 +05 +05 +05 05 +05, +05 +25 +25 12 +25 Pay +15

Page 6

THE ETUDE “FLAG OF THE FREE” B+ jemoy New Books ine JEROME H.REMICK & CO. DETROIT, MICH. of Unusual. Largest Music Publishers in the World A Brilliant, Stirring, New March by the com- poser of the famous “Beneath the Starry Flag.”* Sure to be popular. POPULAR INSTRUMENTAL PIECES College Days Waltzes (Pretty) _ A Trip to the Moon (Descriptive March) June Roses Waltzes (Very Popular) Beneath the Starry Flag (The finest march SEND FOR OUR CATALOGUE AND SPECIAL BULLETINS We publish a great deal of Music of Special Interest to Teachers eed Ip Love a Kane Walle (Descriptive March DANCE OF THE DEMONS JUNE BUG DANCE —over 100,000 sold) Crushed Violets Waltzes The Academy Girl March Qn to Victory March Dancing Moonbeams Schottische The Demon's Laugh (Galop de Concert—25c) Old Glory March : ‘ Angels’ Voices (Popular New Reverie) Evening Thoughts (The Most Popular Rey- erie Ever Written) Forest Echoes Reverie Moonlight on the Lake Reverie Echoes of Spring Reverie POPULAR SONGS She’s the Sunshine of Her Old Kentucky Home (Very Popular) 'Tis You (Very Pretty—High or Low Voice) Some body’s Heart Beats for Someone Forever (High or Low Voice) When Mother Sang the SongaI Loved to Hear Down Where the Yellow Corn is Waving SPECIAL FOR THIS MONTH—Any of the above 15¢ each (except “The Demon's Laugh") orany SEVEN for ONE DOLLAR. Koninsky Music Co., 38 cents 30 cents i ii Lady Fingers, Orchids, Dance of the Brownies, Dainty Dames, Heartsease, Bescinations Clematis, Eyes of the Soul, Evening Shadows, Sleepy Hollow 25 cents each, or six for $1.00 Our Folios, both Popular and Classic, are Unsurpassed REMICK’S CLASSICAL FOLIOS Nos. 1 & 2 i i Farewell to in such pieces as Melody in F, Flatterer, Pe Buia: Waderesuiti Minuet, Fifth Nocturne, Serenate, etc. Cost 35 cents each Special Teaching Folio Entitled “NIMBLE FINGERS” Containing thirteen original numbers by the composer of Dance of the Demons. Second and third grades Special price, 35 cents Dept. E, Troy, = Poses New Nadia(Mazurka) Wittman - Concert Polonaise Kindig - -60 -60 Send us your name and address, and we will send you our catalogue free All figures include postage paid by us offer i] Gilmore Publishing Co, St. Louis, Mo. Over 50,000 Copies Sold. ““‘A MOTHER’S PRAYER” By I. B. ARENSTEIN, The favorite piano solo with Teachers and Students, Medium grade. By Ase. ES. oe ‘ SPECIAL 16 © mhe Virgil Method—Foundation Exercises | | seen nities weve eel | ee , POSTAGE PAID deditions, Mail orders promptly Teaching Pieces Write for catalogue and special introductory [if Interest Mid-Wintet A Selection from the Publications of THE JOHN CHURCH COMPANY Cincinnati New York Chicago | OF Special Interest to Violinists is The Kneisel Collection for Violin and Piano Selections from the Masters, Old and New Edited by Franz Kneisel A notable issue for violinists is this really superb book, a gathering into practical and permanent form of Violin Masterpieces. The discriminating choice of the editor clearly jus- tifles the right to the e. ence of this new The present collection contains the compositions by Bach, Bazzini, Bee- thoven, Brahms, Godard, Guiraud, Handel, Lalo, Lauterbach, Locatelli, Lully, Paganini, Renard, Saint Sans, Shubert, Spohr, Tenaglia and Veracini. Close attention has been given to every detail of fingering, bowing, phrasing and of book-mak’ do king, presenting a series alike artistic and durable, Two Volumes, Each, $1.00 Novelties for the Organ, Vol. 2 Rare, Ancient and Modern Compo- sitions Collected and Edited by William C. Carl Mr. Carl has exceeded his former work both in quality and’ quantity and, remembering the success of the initial volume of this series, this would be fulsome praise, were we wn. BOOKS I and Il, Each $3.00; Cloth 25 cts. Extra " in Pi Playing for Teachers, BY STEP—A Text Book in Piano sree Players and Students. Price $2.00 EDUCATION IN MUSIC—A Book for Teachers. EDUCATIOAR eee 2 Excellent Piano Solos “F,0.E.” MARCH BY TYRRELL. Serenade, ‘‘ THE OLD CHURCH ORGAN’’ by Chambers, is now ready for piano or organ, Gesuc ESSERE wae bi a Price 25 cts. Kk Address 1002 Flatiron Building, NEV YOR THEATRICALS PLAYS, DRILLS, RECITATIONS OPERETTAS 64-page catalogue free on application JOSEPH F. WAGNER NEW OY St: A Work Indispensable to Every Musician _——————————————————— A COMPLETE HISTORY OF MUSIC 660 Pages By W. J. BALTZELL Brought up to 1906 THE STANDARD TEXT BOOK ON THE 1 | COMPREHENSIVE CONC oe geet rae Chapters by Dr Gollege Mr. Arthur L. Jud- ‘8 Hill and Mr, Arthur Elson, Boston : Ware Orem, Philadelphia teachers and Varssubjects sonnected with the history HISTORY 2 MUSIC os Gs THREE LATEST SONGS “The Great White Way” “Take Me Back to Dear Old Samentowa’ ‘Three Best Songs of To-day 25e ench or all three 65e in stamps MRS. J. D. BROWNING CRANESVILL - - of music. wiyparrZett PEDAGOGIC FEATURES OF GREAT VALUE TO TEACHERS AND PUPILS ARE Arrangement in lessons of moderate length, two per week during the school year. Suegestions for independent work and reading by pupils. Revi Subject to a liberal PRICE, $1.75 professional discount ic conters attention upon ‘The plan of the Door Jory reat master being the evoT ution to criribution to tho artand placed accom on the subsequent development, the his influence Or resont an accurate and faithful stim belng, tracts estontial to good understanding record oF wih of anciont, classical and modern of the music. A BARGAIN For a limited time onty, ¥ we P “. am Bre “Tho Fancinator,” “On the Pik Cash or stamps mist accompany tively but one order will be sent to nelps and subject outlines. Quostions at the end of each lesson. Reference lists of more exhaustive works. A pronouncing index Many illustrations. Paragraph headings. ¥ Ors person, important statements, etc. In large tyne, enabling the eye, ata glance, tofx in Prominent names, teri tat iby Leading Schools, Colleges aud Conservatories of Muste Froiaind the gist of a page: SEE “THE ETUD PREMIUM LIST THEO. PRESSER, 1712 Chestnut St.. PHILADELPHIA, PA. inn Please mention THE ETUDE when addressin “sitting by the Old Hearth Stone To-mtght,Gtrla” Don't be without them ° W.VA. order, and posi- E.W. BERRY MUSIC CO., Kansas City, Mo. = IRD COVER PAGE mindful of the exquisite taste and care of the editor. This isa practical collection; the sole aim has been to select suitable and effective pieces for the various demands of organists the title indicating the character of contents, Oblong, Cloth, $1.00 a ————= Landon’s First Steps in Harmony By Charles W, Landon A demonstration of MODERN ideas of harmony teaching in especially clear and lucid form. The student is full to work out this in a Wonderfully el rule is abundantly illust and all written work ha: guiding hints embodied in th ing not only what to do but be done. ly directed exactly how system of explicit, ne exercises, show- Just where it is to This is undoubtedly the easiest method in existence, and at the same time is unusually thorough. Bound in Boards, 50 cents Grimm’s Music Writing Books Vols, 3 and 4 By Carl W. Grimm The publication o these two new volumes completes the series, and with and two presents not only method of casily and practic: music notation of all time an h volumes one a COMPLETE ally learning the di kind, but gives music history and quite a thorough also an interesting study of of biography fact is system of musical education, Each Book, 25 cents in

Page 7

COLLECTIONS Music of the better class, although popular. Not one dry, uninteresting piece in any volume. ATTRACTIVE FIRST PARLOR PIECES FOR THE PIANO A collection of thirty-four pieces. Not a poor selection in the work, All intended for use in the first and second grades, but interesting and pleasing to any piano student, POPULAR PARLOR ALBUM _ This volume may be regarded as a con- tinuation of ‘'First Parlor Pieces,’? and of equal excellence. Not a dull number in the book. Every music lover will find many occasions when this volume will be available for his own or others’ recre- ation and pleasure, MUSICAL PICTURES FOR PIANO OR ORGAN A most select collection of musical gems. All pieces are as well adapted for the organ as the piano. The compo- sitions ure not long, but for real music there is no work of twice the size thai can begin to compare with it. 24 PIECES FOR SMALL HANDS, FOR THE PIANO ee ional, none can Engelmann. Intended for students in the first and second grades. If bought separately these compositions would cost over $5.00; at 50 cents no beginner can afford to be without them. FOUR-HAND PARLOR PIECES This volume has been prepared in re- fponse to an urgent demand for a col- lection of this nature at a popular price. The various numbers are of bright, enter- taining character, The pieces are of mod- erate difficulty. ALBUM OF LYRIC PIECES A collection of pieces by various compos- ers, in which the melodic idea and the expressive quality are predominant. The study of such compositions tends to de- velop musical intelligence and apprecia- tion, Grades II and Il. MODERN DANCE ALBUM | A collection of dance music of medium difficulty for the piano, Every piece 18 a gem. ‘The book has been expressly de- signed to meet the demands of the mod ern ball-room, being rich in captivating waltzes and dashing two-steps, and var- ious other dances. CHOPIN WALTZES i This edition we consider superior to any now on the market. Contains a por- trait and sketch of Chopin, but more spe- cially it combines all the good features of all the other editions. FIRST SONATINAS : Introductory to the Study of the Classics One of the easiest and most pra tical sonatina collections that it, is possible to put together, The compositions are by classic and modern composers, melodious, interesting and of genuine musical value, but all of easy grade. sight ¥ ensemb. Dt ne. Harthan's ‘Childhood’ Da “Teacher and Pupil’? or Low's and Pupil."'| Tn these duct: may play cither primo or earefully graded, varied as to style and rhythm, and generally ‘ “Teacher the pupil SUBSTANTIAL USEFUL LITTLE HOME PLAYER .A collection similar to First Parlor Pieces, containing easy compositions, with the one advantage that the pieces, though in themselves piano selections, are as suit- able for use on the organ. THE JUVENILE DUET PLAYERS A collection of piano duets suitable for the cabinet organ or piano in the earlier grades. Both the primo and secondo parts will be found to be about of equal grade. The value of duet playing, even in the earlier grades, cannot be overestimated. YOUTHFUL DIVERSION Geo. L. Spaulding A yolume of little pieces, based on a variety of characteristic rhythms, in each of which is introduced some well-known or traditional children's melody accom- panied by the text and is about one grade more advanced than Mr. Spaulding's very popular ‘‘Tunes and Rhymes for the Play- room,'' HANDEL ALBUM Selected and Edited by Theo. Presser A collection of favorite pieces for the Piano, with Portrait and Biographical Sketch The entire literature of Handel has been investigated, and we are confident this volume surpasses anything that has ever yet_appeared in the way of a collec- tion of Handel’s Music. THE DUET HOUR Piano duets for pupils, or for teacher and pupil, of a moderate degree of diffi- culty. Every one is rich in harmony and melody, Of special value for light read- ing and the development of the rhythmical sense. FIRST DANCE ALBUM Eighty pages of dance music of all kinds for the parlor or ball-room, in the second grade. For a collection of very easy dance music nothing better can be had, EASY DANCE ALBUM FOR THE PIANO A bright and sparkling collection suited to the various demands of the modern ball- room, dancing class or the home. dances are all easy, lying chiefly in the second and early third grades, mid-way between our popular ‘‘lirst Dance Al- bum'’ and ‘‘Modern Dance Album.’! STANDARD COMPOSITIONS FOR THE PIANO Vol. 1—First_ Grade. Vol. II—Second Grade, Vol, I1I—Third Grade. Graded and compiled by S. W. B. Mathews ch volume is intended to be used with the corresponding grade of Mathews’ Standard Graded’ Course and all other graded courses. The pieces have been thor- oughly tested in actual teaching. In ad- dition to their pleasing musical qualities, all the pieces are of genuine educational value. Each volume is carefully graded TUNES AND RHYMES FOR THE PLAY- RooM : By Geo. L. Spaulding Little pieces that m be either sung or played, both together, adapted for use with very young pupils or for kinder- garten or other class wor The words are clever and = amusin the melodies bright, pleasing and characteristic, gen- uine first grade pieces. THEO. PRESSER, Publisher ritusvsurara “GOLDEN LILIES” A New Teaching Piece for Pupils in the Second and Third Grades. A most desirable number for TEACHERS, SCHOOLS, CONVENTS and CONSERVATORIES, Postpaid, 25c. With every copy of “GOLDEN LILIES” you buy we willsend free any one of the following instructive Piano Pieces. Endorsed by the Best Teachers in the United States . In the Mountain Cot (In der Senn- 50c 50 -Wohlfahrt, F. 50¢ : 60c . Morning Glory.. . 50c . Glittering Snow Flakes. . 50e Op. 80, No. 2 7. Beneath My Loved One’s Window, Grade 2-3 sess «Lange 8. Love in the Mountains (Idylle) Op. 27, | Grade 2 +: Ziegler, J. 9. “Dancing With Dolly” (Little Waltz for Little Hands), Grade 2. Ziegler, J. 10. Dream of the Alps... Ed. Holst 11, The Beetles Dance. Ed. Holst 12. La Moscovite: ... - Maurice Always ask for edition fingered by Jacob Moerschel JOSEPH FLANNER, CHILDREN’S EARLY PETS Three Melodious 2d Grade Fieces mailed for 20 cts. A. W. BORST, 1505 Arch St., Philadelphia, Pa, DEAR READER: Send us Six Cents in stamps and give us the ad- dress of your nearest musle dealer, and we will send you complete copy of the above March for plano. CHAS, E, ROAT MUSIC CO., Battle Creek, Mich. Gurlitt Album FOR THE PIANO Carefully selected, edited and annotated om various works of this favorite author by W. S. B. MATHEWS Price, 75 cents This is a volume of rare educational value and suverior attractiveness. The numb all interesting and useful, have been selected with greatest care from ali the popular writings of th prolific composer. The editorial work h: been most thorough, each piece is accom panied by explanatory and analyt The pie are largely of the second and third degree of difficulty. This book can be used to good advan- tage in conjunction with Mathews’ ‘Standard Graded Course’? or to accom: pany any second or third grade studies. THEO. PRESSER, 1712 Chestnut St, - —_—Philadelphia, Pa. i MELVINA WALTZES C BY CHAS. E. ROAT Handel Album A Collection of favorite pieces for the Piano, with Portrait and Biographical Sketch Selected and Edited by THEO. PRESSER Price, 60 cents The entire literature of Handel has been investiga con fic this volume that has ever yet appe y of a col lection of Handel, in our opinion, has been fully appreciated by the American teach: ing public helming genius of Bach has pwn Handel in’ th shade, , and at the same time Handel is to be prefer The volume thot we are issuing ean be i nd of either the Bach's ‘Little Preludes,’’ and i just as much benefit the same time experience more re than with either of the volumes THEO. PRESSER, 1712 Chestnut St., Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. MUSIC PUBLISHER Milwaukee, Wis. A Cordial Invitation To Teachers The very next time you visit the music store, we invite you to inspect THE TEACHER’S COUNTER BOOK an entirely new idea for selecting music, which saves you valuable time and much worry. This book is universally accepted as the HANDIEST, most economical and practical method ever conceived for the selection of sheet music for teachers. In it every grade is represented—the choicest of modern musical works. 23-For the purpose of identification each copy bears the registered trade-mark. L. F. GRADED EDITION For sale by all Leading Music Houses throughout the World. Should your regu- lar Dealer not have it, send us his name, and for your trouble we will send you a sample copy and catalog absolutely Published by LEO FEIST “ Feist Building” 134W.37thStreee New York OU HAVE PLAYED “Moon Moths” Three Melodies By ALBERT KUSSNER HY NOT TRY HIS LATER COMPOSITIONS ? MEMORIES (a Reverie) . . $0.50 DAWN (Morceau deSalon). . . . .50 BY CANDLE LIGHT (Melody for littie fingers)... . . HESITATION (Piéce Caractéristique) THE MERRY CANTER (Polka Bril- ante). Sata If you cannot get these pieces through your dealer, order of the publisher, L. C. KUSSNER, ¢iicaco, we. 5 BEAUTIFUL NEW SPECIAL CLASSICAL SONGS PERCHANCE.—FROM THE TOILS OF THE SEA, E E, DEAR HOME,—ALONE.—IF ALL ME, HOME, THE GIRLS WERE ROSES, ss 6 CTS. EACH, POSTPAID *McRNge °° D. E. FORCE MUSI 156 MONTICELLO AY., JE cc SEY CITY, D

Page 8

6 THE ETUDE BOSTON: 120 Boylston St. RTHUR P. SCHMIDT LEIPZIG NEW YORK: 136 Fifth Avenue First Year Harmony By THOMAS TAPPER Price, $1.00 | 1. A text-book especially designed for use in the first presentation of the subject. 2. Itis so arranged as to be available either for private study or for use in classes. 3. Each chapter presents a single principle. 4. A sufficient amount of work is required to familiarize the student with the principle itself and with its relation to what precedes and what follows. There is an abundance of Review Work Writing are.included. This book may be studied by means of CORRESPONDENCE LESSONS under the Author’s personal supervision. Address THOMAS TAPPER, in care of ARTHUR P, SCHMIDT Sight-Reading and Memory Lessons for the Pianoforte By THOMAS TAPPER Price, 75 cents 1. A scientific i presentation of Sight-Reading and Memory - The Lessons are base . These Lessons sh Piano Instruction, ould form a Part of all 2 3 4, The Material is musical and for 5 6 the principles of don Musical Structure, mirable repertoire in itself, Ms an ad- . It may be used in method. - No other book presents the , : two j Sight-Reading and Memory Woe es tinct and practical manner, whine conjunction with any This book may be studied by mean: f LESSONS under the Author’s personal espetiths CORRESPONDENCE Address THOMAS TAPPER, in care of ARTHUR P. SCHMIDT Instructive Works for the Pianoforte Composed, Edited and Compiled By C ARL FE AELTEN 78 Elementary Exercises. Book 1 - - - e - $1.25 25 Elementary Studies and Pieces. Book 2 - © - 4.50 76 Exercises for Intermediate Grades. Book 3 2 = 4.50 25 Exercises for Advanced Grades. Book 4 - - - 4.50 27 Preparatory Exercises in Pianoforte Playing - - 473 Progressive Lessons in Pianoforte Technique (in press) 2 Books. Each - - - - - - - 1.00 12 Pedal Exercises - - See Pease & 75 45 Rhythmical Scale Exercises ° - a os = 5 25 Two-part Studies. (Bach) - 2° 2 -~ = = 1.00 25 Three-part Studies. (Bach) en elec (0) 10 Easiest Pieces. (Bach) - ee a Legh 2." ee 75 30 Characteristic Studies in all major and minor keys. (Bach) 1.25 ie Sa Rae a ar ae EW Musicians and Virtuosi | | pianists who have appeared during recent years have ex- erted a more powerful influence on the development of the art of “Piano Teaching” than has CARL FAELTEN, who combines conservatism and progressiveness in a striking man- ner. Mr. Faelten has been fortu- nate in having had unusual oppor- tunities of critically observing the various phases of pianoforte teach- ing After first teaching at the Peabody Institute, he for seven years held the position of Director of the New England Conservatory of Music, In 1897 he founded the Faelten Pianoforte School which, through his broad experience in musical matters, has been phenomenally successful and has gained for him a position in the foremost rank of musical educators, | required. 6. Lessons in Analysis, Dictation and Melody- Please mention THE ETUDE when Work in Music. Key-Circle Exercises for the Pianoforte gy FRANK LYNES A new and progressive system of teaching FPianoforte Technic THREE BOOKS - z EACH 75 CENTS A N exceedingly useful and original presentation of the scales, it will help to a knowledge of key awakening the modulatory sense, _ tion with these scale studies is that on wach the fourth finger falls, which enabl in his mind far more rapidly than thr ine assistance until the habit of correct Gece ae areepods and is of great ; S automatic, The Third Volume Specialty Contains: : chords of ue erent and Diminished Sev. enth in extended Positions “it a any S and with resolu. Major and Minor Scales (H A double Thirds progressing ed in steps. : abiard by tale The Italian, German ar a an an Chords with reso utions, . xercises in Extended : for stretching the fingers, Chord Positions Major and Harmonic Scal Form, progressing upward Chicago Piano College addressing our advertisers,

Page 9

ETU Copyright 1907 by THEODORE PRESSER. Vor. XXVI. PHILADELPHIA, PA., JANUARY; 1908. No. 1. MY PUPILS AND MYSELF By CARL REINECKE Wuen my thoughts turn to the many pupils I have had I think involuntarily of Eichendorff’s poem, Die Zwei Gesellen (The Two Lads)—"“they strove for high things.” The poet further sings of the one who “sat jn his snug chamber and looked comfortably out into the field,” and of the one who “was weary and old, his bark lay a wreck.” Among my hundreds of up to that time a pupil of Ferdinand Hiller. When- Hiller left Cologne to go to Paris for a year as director * of the opera, he gave Bruch, his favorite pupil, over to my charge with these words: “You will soon see that the young fellow is hardly a pupil so far as his com- positions are concerned, and that one must treat them always been firm friends and colleagues. While he was Hofkapellmeister in Sondershausen I visited him from time to time and he produced many of my orchestral works. In Breslau, as leader of the Orchester Verein, he invited me to direct my symphony in A major and to appear as soloist. That I in return brought out most of his large choral works, such as Odysseus, Achilleus, Lied der Glocke (Song of the Bell), Frithjof, Schoen Ellen (Fair Ellen), Das Feuerkreus (The Fiery Cross), at the Gewandhaus concerts is but natural. Less natural does it seem to me that since I have left the Gewand- haus Bruch’s name appears on the program only when a violinist plays one of his violin concertos. Bruch was also one of the stipendiaries of the Mozart coundation. Here I might say that afterward two others of my pupils were thus distinguished: Paul Umlauft, who also took the prize for the best one-act opera in a competition instituted by Duke Ernest of Coburg and Gotha, and Professor Arnold Krug, whose name is favorably known in America. : After I left Cologne in 1860 I was called to pupils there is also many a one who has yielded to the prose of life, many a one who, jn spite of commanding gifts, has had neithe> fortune nor fame; others whom I loved and of whom I cherished fond hopes have been Jaid away in the prime of their youth under the cool turf. But many have achieved success and now bear noted names, and it is of these that I will now talk a little. Naturally I shall confine myself to those who have made music their profession, but there is one exception I shall allow myself; I cannot forbear the mention of an art-loving prince, who is both a creative and an executive artist of high rank, This is Duke George Alexander of Mecklenburg-Stre- litz, now a Russian general. For several years he used to sit once a week at the table where J am now writing to you. his compositions spread out for my criticism, taking blame as good-humoredly as if it was praise. A few years ago he formed a fine string quartet that, under his auspices, has made many artis- tic tours with the greatest success. Another pupil of whom I may well be proud is the Dane, August Winding, later the son-in-law of Niels Gade. During my stay in Copenhagen in 1847-48, as court pianist to King Christian VIII, Winding, then a boy ol 13, was brought to me for piano lessons. He was a lovablé child, full of talent, and came by railroad once a week from a country vi lage near Roeskilde. It was a pleasure to teach him, but after a year his lessons came to an abrupt end on account of the insurrec- tion of the duchies of Schleswig and Holstein against Denmark, which obliged me to leave Denmark. After many years I heard of him again. A lady told me that a y , Dane, Winding by name, was making a ir in Leip- “< the Conservatory at Leipzig as teacher of com- position and piano. As I entered the class- room for my first lesson in composition, I found sitting there three young men who in- troduced themselves as Sullivan, Grieg and Rudorff. And all three have passed away! Rudorff, from 1869 a highly esteemed teacher in the Berlin Konigliche Hochschule, I con- sider the foremost musician of the three, though his name is far less known than those of his two fellow-students. His variations for orchestra on an original theme, Op. 24, to mention ony one of his valuable works, is as fine a composition as any by Greig or Sullivan known to me, but serious orchestral works do not find acceptance as readily as burlesque operas, or songs, or lyric pieces for the piano, or compositions of similar caliber. While in my classes Rudorff wrote his charming over- ture to Der Blonde Eckbert (Fair Eckbert), and Sullivan composed the music to Shakes- peare’s “Tempest,” which afterward made his reputation in England. He had originally con- ceived the single numbers in such short forms that it was not possible for them to make an effect as orchestral works; but he followed my suggestions, worked them over on a larger scale, altered them here and there in accord- ance with my advice, and in April, 1861, the music was performed as a whole in one of the Hauptpriifungs (principal examinations) at the Conservatory. A year later it was given with colossal success at Crystal Palace, Syden- ham, and with a bound Sullivan became fa- mous in his fatherland. As the vears went on, Sullivan and Rudorff always showed me true attachment, while Grieg, in the Harmonie Kalendar for 1902 and in Velhagen and Clasing’s magazine, dur- zig by his piano playing, which reminded her strongly of me. I was delighted when [ heard that, and still more de ighted when Winding himself told me that he had never had any other instructor than myself. My first professional position I took in 1851, when T was called to teach composition and the piano in the Conservatory at Cologne. There T had the pleasure of having in my classes two students who afterward at- tained well-deserved distinction. One was Joseph Bromberg, who later won the scholarship awarded by ‘the Mozart foundation of Frankfort on-the-Main. The other was none other than Max Bruch, a lad of 13, and 7 CARL REINECKE, DIRECTOR CE THE ROYAL MUSICAL CONSERVATORY OF LEIPSIC. from a collegiate point of view. In piano playing he is also equally advanced.” And Willer was ri The thirteen-year-old boy brought me part writing that manifested remarkable mastery in the management of voices, and as a pianist eded in f ng Beethoven's Sonata Appassion- ata. Now the world knows him as one of the greatest of modern composers. Although since then we have never worked together in the same place, we have ing the year 1005, poured forth a veritable flood of sarcasm apropos of the Leipzig Con- servatory. When he ridicules such a charac- ter as Louis Plaidy, thirty years after Plaidy’s death, and Plaidy was a man whose ability was recognized by Mendelssohn in calling him to the Conservatory to take charge of the technical department of piano playing, 1 can well be satisfied to have him describe me as a short-sighted in- structor, too ignorant to know what tasks to jen to his pupils. I shall not quote any of his injurious : I do not wish to arouse the suspicion of seek- words; of | ing revenge upon the dead. I can say that this is the

Page 10

Gro. W. CHADWICK J. E. PERABO RAFAEL JOSEFFY Max Bruch Kari Muck JOHAN SVENSEN Hueco RIEMANN Faux WEINGARTNER See Fre represe spoke o sts Ty day a nted. as Fi rie of their work. their | noon they met and eir arts; in such an atm, lopes, their 7 and atmos: ir plans, and here Phere the plant of high ideality could not but thrive, an that we might ’ and practical America. d I could onl i y wish Be day have such unostentatious rings among the artists of pas) Reinecke received his musical tr: father, who was a most tho eee s rough, careful a <cel- pee Sau teeritics of Rea Be Rte Bek Fe clearness and neatness, and when De ok Were Sreatest success was as an THEE. these chevabtanietice® cat a ge nee valuable Pe a stics were in this connection, — x youth he made almost yearl pene through England, Scandinavia, H of ae zerland, everywhere being recely Beane candy Swit thusiasm. His compositions sho ment and a sensitive nature. pression that his many friend times there is a flavor aining through his ed with great en- Ww very great refine- They indicate the ae i is made upon him. At : a Mendelssohn a mann, and at times even Wagner ae = of whom Reinecke knew personally or a he Was generally considered most 1 tative and excellent, but it is no doubt be remer e mbered. Not peas and Kullak, it may be safely said seep Ong S ca i a of Carl alee bel ton indire cin ven io re than any other teache 7 influence oo : pupils who attended thet of all time. servatory j : i en ry is now well up ir amous Leip- a these pupils rey the thousands, hes membe : earted man who was so long = fee Seale oS 5 €ad of the in- : As a conductor horough, authori 1a i- as a teacher that he will stitution, Se CONFIDENCE, ee Tue old = cus aq: come up eho humiliating a : DP to the teacher's 4 pupil who fails to going . Tequir g out of existence, quirements js rapidly ers se Tn former emed to try to mak rmer years many teach- ensitive Maca to touch the SPot in cases wher mos schaieeme played j ases where st destructive te Dlayed incorrect] his fd ance. Far bett » the pupil's s y. his was we Otter encours S sense of self reli- difficulties by Rr Sneourage the pupil + f self i. than by destroyi Teasing his cong o master his old eno ni ee 1 idence in him ough ence. Tf yi es er ha i : the pupil '§ erful essay, “Self Rap him to ead Bien e pup x again yoursel Reliance.” py “Merson’s pow among {} self. As an aa hen read it again and one of Je Sreatest of Pry Of his most “ all times, Some pupils, ractical abnormal Pupil upon his Most s D i : Pieces of studies Were : & this confic encourage Emerson stands and this essay * ay 2 oN nd helpful works, how 1OWeVeT. can T. seem to be blessed with at i amour ; self pels. nt of Wt . ath reliance cann self reliance, and. this very : - aS esotism -- he classed as . ait put or the sm, ieee ‘ é conceit, i cacher S€ pupils are very di icwtlt liane often m to handle. To de ma ie a fea : he teacher ig to destroy a rg be ic vate 9% vetain MUSt OkCHeIKe the wrece ee Te HOE : ain their Sercise the gre; sible tact : S greates ssible insure (he is ifomlidence ane on - t pos _ 5 Wagal 4 ve same Ut (Ramst the evils of eee confidence i N ;

Page 11

it

THE ETUDE I \ COURSE OF SELF-STUDY FOR PIANO / \ Suggestions as to How it May Best be Pursued [ By CARL G, SCHMIDT Success means work, which implies time, labor, patience and untiring perseverance. To become a fine player of the pianoforte does not mean to have finger agility or ability to read music at sight, but it does mean that, added to these mechanical acquirements, one must have the greater, underlying knowledge of reai musicianship. Music is not meant to be aural only, but it has a far greater mission and purpose. It emanates from the inner soul, and we express only what our inner-self sees and knows. Therefore, our aim must be to educate that inner-self. How best to reach and encourage such students as this article will appeal to is a problem of no small dimensions, since individuals differ in the nature and amount of their instincts and capacities, and these things must be allowed for by the teacher as well as directed by him. Class teaching must for this very reason always be to a certain ¢x- tent a failure; how infinitely more difficult then to reach the thousands who. may read this article. Let us suppose that a pupil has been carefully taught so as to be able to play compositions in a line with Schumann’s Kinder Scenen. He has now come to a comparative standstill and all his further efforts seem of no avail. Here is where he needs the right kind of a teacher, one who is capable of guiding his technique and develop him musically. Such a teacher would, of course, be invaluable, but for various reasons our sup- posed student cannot reach such a one. What is he to do, give up? By no means. If he is to sit down dis- couraged, content to dawdle away his time playing over the few compositions he already knows or reat inuing to learn others of a like, or what inevitably fol- Jows, a cheaper character, then this article ain mo way applies to him. But if he really longs to learn of the jnner meaning of music and eventually be able to pa his better thoughts musical expression, then let nin remember the work accomplished by men placed in just such positions and go ahead patiently, persistently and never cease working. Finger Exercises. The first question which arises is, How much finger exercise practice must I do each day? ; This cannot be definitely answered, but we will try and strike a general average. There are hundres of books of finger exercises, and I might say all o en are good and contain valuable information, but all o these cannot be purchased, and even after we possess them many need teachers to expound their intricacies. I will suggest a few ideas which need no book and are capable of an infinite variety of changes. For Daily Practice. lace the hand in an easy position. The thumb rest- we a aes middle C. The second, third and fourth fingers on F sharp, G sharp and A sharp, and the fifth finger on B, all curved. You will find that the hand rests easily and naturally. Playing from the wrist strike each note five time. Play as if the fingers began aito, then demi stacatto, at the wrist. Play it pure stac then with the aulesrs, very slowly and firmly, carefully raising each finger in a curved position. Then gradu- ally accelerate this finger action until considerable speed has been attained with c earness and equal firm- ness. These exercises and all others suggested apply equally to each hand for separate practice. Now pro- ‘ceed to the scales, Do not play them aimlessly up and down the piano, but play slowly at first, as follows: Take the scale of C, retain the hand position as in former exercise (fingers curved over white notes), play CG, D, E, F, Gand return to C. Then C, D, B, F,G, A and return to C, Continue in this way, each time in- cluding one extra note until the octave has been practiced, then carry the same idea through several octaves. Then reverse the order. This practice will give you evenness and a great amount of practice in passing the fingers over the thumb. It will also fix the mind upon the difficulty and awkwardness of sudden return, This same exercise applies to arpeggios C, E, G, B, C and return; then C, E, G, B, C, E and return, etc. For octave practice you have probably been taught to bring the wrist up high, raising it almost perpendicularly. That is all right as far as it goes, but will never play octaves without great fatigue and with no evenness. The extra height must be eliminated. Take each hand separately. Strike octave C firmly, then without much raise, but with absolutely loose wrist, quickly and decidedly strike C sharp and rest there. This action should be almost instantaneous. Then return to C, and in the same quick manner, with slight raise, play C, C sharp, D, resting there. You will find that the wrist responds easily and rapidly with a hinge-like motion. Then return again to C, go on chromatically one step farther, C, C sharp, D, D sharp, E, etc. Continue this exercise through two octaves, each time returning to C. Eventually play this with both hands together. Two octaves, or four octaves, played in this way rapidly after a few weeks of study will cause no fatigue. You have now devoted, say, fifteen or twenty minutes to finger work, scales, arpeggios, octaves; that is quite sufficient for each day. As you continue this marner of study numerous ways of change will suggest them- selves. For instance, scales, including fwo notes, then three, each time. The same with arpeggios. Octaves in skips, etc., etc. Now for your work. Books. The First Book of Cramer Etudes and the Tausig edition of -Clementi’s Gradus have never been excelled as etudes for fundamental study. These you should have. The secret of their attainment is to practice them with an even, firm touch, never sacrificing those features to speed. Obtain evenness first, velocity will surely follow. Still, do not imagine you have gotten all there is in an etude until you can play it with a fair degree of rapidity, otherwise you are merely reading, which, though good in itself, ds not compass your end Schumann, Mendelssohn and Bach. After devoting one hour to your etudes take up your Kinder Scenen and try to find in them some- thing of what Schumann had in mind. For instance, “Child Falling Asleep.” Make a mental picture of it, See the mother rocking and hear the gentle lullaby; then, in the minor strain, picture to yourself the little fearful vision which might appear to the child's mind, or a passing fancy of the mother at some un- seen danger; then again the recurring lullaby, and finally the last sleepy chord, as the baby drifts away into dreamland. Now you are getting a glimpse into the real meaning of music and you are catching some of the loveliness of the tone world visions. Play all of them and study them. Get their hidden meanings. Then learn to know Mendelssohn's songs without words in the ne way. There is so much more in these compositions than is usually grasped. They are in the first place heautiful examples of composition, filled with technical possibilities and poetic suggestion. Approach them with these thoughts in mind and they will prove a great step onward in your upward journey. In connection with Mendelssohn begin the study of Bach. Get all the information you can concerning Bach and realize that you are studying the works of a great tone poet. Invest each melody with feeling and expression, make the voices answer each other, never under any circumstances pound them out theme after theme in an aimless manner. Think them as Bach did, voice answering voice. The reason that so many students dislike Bach is because they sce merely the technical and not the musical side of his work. This is the whole secret of becoming a pianist. It does not mean becoming a technician, but a musician. Doing an exercise or a composition over and over 9 again for hours a day, instead of making you a musician will endanger your musical development, and it can be truly said that after years of such work the last state of that student was worse than the first. Think your music, learn its construction. Valuable Aids to Self-Study. You will find that it will be necessary to devote considerable time to the study of ear training, which is a branch of study most sadly neglected by the average teacher as well as student. You will find a valuable book on this subject published by Presser, entitled “Ear Training,” by Arthur Heacox; price, 75 cents. This book will give you a great deal of in- formation and many exercises. Also a small volume on “Improvisation,” by Dr. Sawyer, and a small book, “Composition,” by Dr. Stainer. These three small books will do you a world of good and if carefully studied will give you a new conception of music and will add enormously to your grasp of your subject. A man like Elgar did not become great by study- ing finger exercises or by having famous teachers, but he was seldom seen without books on musical theory, and he studied them. In Mathew’'s graded course for the piano you will find many very valuable suggestions for the correct comprehension of all forms of comp)sition. Dr. Wm. Mason’s “School of Technic” is a great work and contains years of effort and the result of teaching experience, but it is not necessary to do miles of exercises in every key; it is far more valu- able to devote some minutes each day to con- centrated study along the lines suggested in the be- ginning of this article and then by all means take up the daily study of ear training, harmony, improv- isation, construction and composition. This — will make your piano playing worth while. Remember that some will succeed no matter how poor the teaching, while some will fail no matter how great the teacher may be. In the last analysis it is what the student docs that educates him and not what he is told to do by a teacher. The Other Arts. Again, learn all you can of the other arts—Poetry, Painting, Psychology. Read, study and associate with others who are wiser than you. Study Nature— the mountains, woods, flowers, sky. Everything made by your Creator lies open before you; take it aJl into your soul, make it yours, and transmit it to your music. You say all this takes too much time. I advise that you try from now on to use every moment thoughtfully and see how much you will ac- complish and how many hours you have heretofore wasted. Everything is possible to you. You can become a pianist and more a musician by courage and perseverance. A Beethoven sonata must forever remain a sealed book to one who is merely a technician, for only to the musician is its beauty revealed. With such thoughts as these in mind, always remembering that the greatest geniuses were the hardest workers, men who never dreamed of giving up because of a lack of means or a teacher, or even health, witness Grieg, who worked on steadily in spite of sickness; witness Bach, Beethoven, Schubert, Schumann and a host of others who have worked not only for themselves but for all time. THE AMATEUR’S ADVANTAGE. Tue ideal musical life is that of the well-educated amateur, the one who can come to his music as a pleasure and recreation, and yet, because of his knowledge of the art, is not satisfied with a low grade of composition. Music is sweetest when un- tinged with any color of business, consequently the amateur of good musical standing can take uncon- taminated enjoyment in his music, free from the commercial spirit that too often enters into the teaching life. What an enjoyable life it would be —to study, to teach, to give concerts, all without any financial appendix! But how many so situated do lead such a musical life? An abundance of money generally begets mental and artistic stagna- tion. So it may be that the teacher can thank his anemic pocket-book for his musical vitality. Tuere is but one straight road to success, and that is merit. The man who is successful is the man who is useful, Capacity never lacks opportunity.— Carlyle, ‘

Page 12

10 THE ETUDE WHAT MUSIC OWES TO DANCING By LOUIS C. ELSON Tue statement that dancing is the mother of music is by no means an exaggerated one, for some of our noblest musical forms can be traced back to a terpsi- chorean origin. The first cycle forms in music were made by placing dances in contrast, out of these came the suite, and out of the suite came the symphony. The word “orchestra” traced to its Greek root means simply “a place for the dancers,” while a “chorus” once meant an assemblage of dancers. The earliest dancing of the world probably had its origin in a set of pantomimic actions. The adventures of the chase or of the combat were imitated with some primitive musical accompaniment. Very soon dancing was invested with ceremonial attributes and became a part of ancient religious rites. Many such ancient dances will be found described in Wallaschek’s “Primi- tive Music,” or my own “Curiosities of Music.” The Bible is full of allusions to dancing, but it is well for the Scriptural reader to remember that these do not refer to anything like a quadrille or waltz, but rather to what we to-day would call “dramatic action.” David’s dancing before the Ark might have consisted of a clasping of hands in adoration, a set of genu- flexions, gestures of delight, raising the hands to heaven, etc. That the ancient dancing meant chiefly such graphic gesticulations may be inferred from the fact that a prince of Pontus, at the court of the Emperor Nero, once begged of that monarch the gift of one of his dancing slaves. On being asked why he wished this dancer so earnestly he replied that he had many bar- barian neighbors whose language he did not under- stand, and this dancer would be able to act as a perfect interpreter by his gestures. Lucian, in his treatise “De Saltatione” makes it very evident that ancient dancing meant chiefly pantomime to a musical accompaniment. The Dance in Biblical Times. Examining the Scriptures more closely we find many traces of folk-dances in the chapters of the Old Testa- ment. The bridal song was of course a joyous melody and was united to dancing. Samson at his wedding (Judges xiv: 10) had not only riddles and feasting but plenty of song and dance. The vintage song was also a joyous folk-dance in Scriptural times, and Isaiah (Chap. v) probably began his songs with many of the gestures of the harvesters, but soon changed it to a more terrible song of mourning. This latter song was not unlike that of the “Keener” at the old-fashioned wake in Ireland. The professional mourning women sang this in Biblical days with many gestures and much dramatic action. The Dumka of modern Bohemia is not very far removed from such a dance-song. One can readily imagine the dancing of Miriam after the passage of the Red Sea, and in the song of Moses one can easily supply the gestures which accompanied such words as— “The enemy said I will pursue, I will overtake, I will divide the spoil: my lust shall be satisfied upon them; I will draw my sword, my hand shall destroy ae clatter of the timbrel, a rhythmic beating of the tambourine and a clapping of hands to guide the music accompanied the song-dance. This clapping of hands was the mode of keeping the rhythm and tempo of the song. “Sing joyfully and clap your hands does not convey an injunction merely to mirth and hilarity, but in- dicates the conducting of the music, As much of the poetry must have been improvised, while the tune was. familiar to the assembly, the result could not have been very different from a scene at many a colored camp-meeting of the South. Tf the reader will examine the song of Deborah and Bar (Judges, Chap. v) he will dis- any indications of the gestures, satirical, con- yer mi - ; sf ing” SenatiGils or triumphant, which constituted “dancing” in old Hebraic times. 1 ans Pea, i) Many modern dance-games have a very ancient origin. One of the most universal modes of dancing in the world is the act of swinging in a circle, tothe animent of vocal music. Such is the child's ae ee “Little Sallie Waters,” and also the wild 4 : of the Russian peasant, called “Kamar- game circular dance inskaia;” such is the old English May-pole dance, and one might cite many other instances of the circular dance. But when the Israelites danced around the golden calf they were only exercising an old form of this circular dance, which they had possibly borrowed from the Egyptians who danced in a circle around their bull-god Aphis, and these had possibly borrowed the idea from the older Sun-worshippers who also danced in a circle, often around a human sacrifice. It seems a long way from the human sacrifice to “Little Sallie Waters,” yet there is a relationship. Coming to the Medieval dances we find a gradual connection with modern forms of music. The Troubadours and Minnesingers often sang dance-songs, or “Tanzweisen,” in which a certain contrast began to take place. One can discern the two-period and the Peri gah THE MINU three-division form of our own song-forms of both vocal and instrumental music in several of these early compositions. There were two chief kinds of dances now existent, the dances of the aristocracy, which were generally slow, walking-dances, and the dances of the peasantry, which were wild and hearty. It was a natural but artistic contrast to unite these two in a single form, and the chief idea of musical form arose from this union Two elements are essential to strict music: : contrast and symmetry, Contrast was gained when tw, such dissimilar dances were interwoven in a sing! i position. But it would have been unnatural 4 stopped here. The next step was inevitable. to the first movement as an end. This the essence of the tripartite form whi in many of the compositions of Moz: bert, Beethoven, and even earlier clas Meanwhile the Orient was also contributing her of assistance in the musical evolution, The M 7 oe In possession of south Spain from ig] ere were to the end of the fifteenth. ae Sats al form— le com- to have —to return “Da Capo” gave ich one may find tt, Haydn, Schu- les, the e Their ‘ oe ; ! dances had tale, root there and remained when the orientals w talk i. out. Many of these had a direct influence ie en on the instry- mental music of Europe later on. These were 10 longer song-dances but purely instrumental forms. The slow dance which in Turkey became the “Ser a bende” in France and Germany became the Sarabande, the most dignified of all the dance-forms, It is, I think, one of the defects of musical history that so. little mention is made in its pages of the music of Spain, for that country, chiefly by its dance forms, greatly influenced the music of other countries and of later centuries. At the time when instrumental music was looked at as merely the employment of vagabonds m many European states, Spain had a goodly repertoire cr instrumental works. The lute (the word comes ail econ leer ae the tenth and eleventh centuries deneeenae Spain ee in France and in Ttaly. The mental forms of Hie eo of the earliest instru- fasting then; se ee ee eatriss: The idea of con- “Tanzweisen” was ae inesingers had contrasted the as s arrived at. B y ied further than had been done in tl puma ee centuries, and the end of the Rcaeae and thirteen Italian Gantios a te sixteenth century found composers placing three or f, f Feo dances in combination, thus A gaa eee CSTD 3 Ss making a fairly large com- Position in the cycle form. Thi si t i his was the “ ita,” the foreshadowing of the symphonic idea aa The Gigue, pean the dances which now beg: Classical forms we find many that ¢ the peasa , kere tee There Was the Gigue, a hearty dance wee bel known from Spain to Ireland. Tq Spain aes slow Gg en ne ne of the dance, including one ee oure.” The Gj the favorite i ie Gigue soon became had eee {opm for ending the cycle of dances wal Progressed from Partita to Suite. The influence of the Gi . igue ji 2x symphonic times, (°F JS) extended even to It was held to be ments in an instrumenta @ jovial one. Nothi an to appear in ame directly from generally ended with iti When Phony ca i i samme idea was ne oe nee Haydn, -the fotiuseds ine See Sone and, although the Gigue was fuaies Ne Eee of it can be found in almost every symphonies, toy, ang Mozart, Particularly in the ends with thic th ‘ecthoven in his first symphony necessity. Hat eee icking vein which was -deemed a ie Ber mae ae ast-named composer soon found that mibrer a eee a of instrumental music required a Sanna, ia e i mg, and even from the second and Bee See desert the merely jovial character ae more dignified. Other dances of the Bee SWeee a into the suite and have come down to S$ instru a sl v example, was originally eas Poa aes the sonata and sym- D y & mountaineers’ dance j I i ance in ig sity a Gap, in tho Upper Dauphiné district jy mance. The women of this city were called “gay, : whence the dance receiy : ey esteSy f ed its title aris j became a social dance ; ire ee now so well known, The gavotte is ; often giv like a bagpipe, Peo 8 io with ; » and this is called p sree 1 i ASS, musette,” small bagpipe of ce ae ) f ntral Europe. T ae wielded an influence to Noe apipe by ; g nas aan € on follk-musg for many ae imagine that e the drone hasg in the only harm musie which they called Word means the unic nturies, Greeks employed i mb ce have been u ey Nad a species of “a _Sumphonia,” and since this ey at ate ek sean, Chappell in his “His- tee ey e that they POssesseq hari y ‘Zumpogna.” Si = Present in Ttaly a bagpipe ailea gleaned fri ame ‘ often more tees pat oe an from a mo ab Wwe TE ee oe He ame of the Italian ae ie me race of the “harmony” of Haan be ) e ancien he ring of § of the hagpipe hagpipe may be heard L ven the ancient Gr ome of their music ony they knew, Greek my m the dance different ne posi of many countries trated ah inte ee as this dance eee en ae Modern concert ne symphony, it May he ; © has pene- Anglaise, the Pp; room as well, The avast in the by Bach sha assepieds, and Many other OUurree, the Branle (c L others, come ftom nei dances, used Auve ourree ) Deing stil] the Peasantry, the Tene in Pp. Shiet gne in | Tance, chief dance of More Modern of the dane SO represe. Dances, €s which } nt the But some Music al t 1aVe influence: “ Pr a luenced modert aristoer, Frane se always the deli tit y olten days; “Te ance. altar . lig’ é € received its 4: fr of court circles of From the : (the smallest) $name ris used in j “alluded to the dainty little dance re. ‘he mi ae Nee regu lhe minuet was the only phony, Haydn in carry’ Latin “minimus n

Page 13

ing out this idea must have written some two hundred or more minuets. As a symphonic movement it be- came somewhat quicker than as a dance, so that “Tempo di Minuetto” is distinctly quicker than the minuet used by Mozart in “Don Giovanni,” which was danced. Beethoven chafed sorely against the constant minuet in sonata form and, in 1802, in his second symphony jnaugurated a reform by establishing the scherzo, which, however, is sometimes but a freer minuet. Another dance of the aristocracy which has become a famous modern instrumental form is the polonaise. This noble dance well illustrates the fact that dancing was not always of the present ball-room type. This was at first a processional. When John Sobieski be- came King of Poland the nobility of that brilliant country formed a great fete in his honor, at which they passed in review before him and presented their wives and children. The effect, with dignified musical accompa- niment, was so striking that it took root as a dance of ceremony on other occasions, and * became national music. That it was not a dance in the modern sense may be understood from the fact that it was some- times executed on horseback. Folk-Dances and Modern Composers. The folk-dances of the world form a great mine of little explored wealth for the modern composers to draw from. Some composers have entered very heartily into this field, a proceeding made especially easy even in the symphonic form by the establishment of the scherzo alluded to above. We may cite a few instances at random: Mendelssohn, in the “Scotch” symphony Scherzo, imitates the swing of the Gaclic Strathspey. Grieg, in a string quartette and in one of his violin sonatas, reproduces the wild heartiness of the Norwegian Halling. The Halling is a dance which takes place in a barn, and the object of the dancers, who are all males, is to kick high enough to touch one of the rafters of the building. , ; Tschaikowsky has employed the Kamarinskaia (described above) as a scherzo in more than one of his symphonies. He has also used the waltz in a classical orchestral form. Berlioz, perhaps, used this dance best in his “Symphonie Fantastique, which has as its scherzo a movement called “Le Bal, which introduces a waltz most skillfully intertwined with the chief theme of the work. The waltz, let us add parenthetically, was the child of the minuet, and one has but to examine the minuets of Schu- bert to note the period of transition, for some of Schubert's minuets are but waltzes in disguise. The chief point of difference between the two dances is in the fact that while the minuet is a true 3/4 rhythm, the waltz, although marked the same, is in reality a 6/4 rhythm. ’ : Dvorak has introduced the dances of his native Bohemia in many of his works. The furiant, a wild and dashing dance; the pulka, the predecessor of our polka, and other Bohemian dances may be found in his scores. : American composers also are adding to the ex- amples of folk-dance in classical forms, and the music of the plantation may be heard in the scherzo of Mr. Chadwick's second symphony, and even before the road was indicated by Dvorak in his “From the New World” symphony, such Americans as Chadwick, Coerne, Kroeger, Schoenfeld, and others had used typically American plantation, frequently dance, tunes, in their classical works. The influence of the dance upon advanced musical forms will be even stronger in the future than in the past. SS Some people give out courage. To Inspiring be in their presence makes us feel Teachers. stronger. They are the men and women who have faith in themselves and courage enough to live up to their convictions. We lose much by losing hope. We weaken ourselves by giving up. The hours are all lost when we put aside the problem before it is solved because we think perhaps we are on the wront track; we are so much more apt to give up the next one, too. And who wants a life made up of unsolved problem Surely life, for courage can be cultivated. Borrow some to start with. You can borrow light from people or you can absorb from their writings, or get it by reading the lives of noble men and women, You can find some one in eyery- day life who will have a little to spare. Perhaps he too was once a borrower. Then when you have grown both strong and brave be most generous, and sprinkle a liberal allowance over the bowed heads of the dejected. Seatter fre that requisite without which no one ean succeed . 8. Davis. no one need have such a THE ETUDE HOME FOR AGED MUSICIANS. WE are pleased to present in this issue two photo- graphs of the Home for Aged Musicians established in Philadelphia which has been previously mentioned in Tue Erupe. It would be difficult for us to imagine a better equipped, more comfortable and more securely endowed residence for the aged musician, who, having fought a good fight, has been brought through force of circumstances to a condition where it is necessary for some of her more successful brothers and sisters to care HOME FOR AGED MUSICIANS. for her. The Home, as we have previously stated, is now exclusively for ladies. It is located at 236 South Third Street. It is in a quiet part of old Philadelphia, although within easy walking distance of the busiest part of the Quaker City. The pictures we present give “a ROOM IN HOME FOR AGED MUSICIANS. a small idea of the capaciousness of the institution. The picture of one of the rooms, however, gives some idea of the elegance which characterizes the building through- out. Full particulars will be sent to any one applying to the Secretary of The Home, and we sincerely trust that of our country will make the well-meaning musicians known the existence of this institution to their musical friends, so that the advantages of the Home may be- come as widely known as possible, 11 THINK BEFORE YOU PLAY. BY PERLEE V. JERVIS. Ir the writer were asked what was the piano teacher’s most difficult task he would unhesitatingly answer to make pupils use their brains during practice. In an experience of many years rarely has the writer had a pupil come to him who knew how to practice. Piano playing, in its last analysis, is in the best sense of the word automatic or a habit. Piano practice in order to be successful should recognize and be founded on the laws of psychology. Any mental or muscular action carries with it a tendency to repetition, with each successive repetition made in precisely the same order. This tendency be- comes stronger, till after a sufficient number of repetitions a habit results, or a performance of the act without conscious volition. Now the aim of practice is, or should be, to establish by numerous repetitions automatic action, and it will succeed only when these repetitions follow each other without the slightest variation from the correct order of move: ments. In practicing a piano passage, therefore, the initial performance should be absolutely free from mistakes, and each repetition exactly as accurate. This would seem to be a self-evident proposition, but what happens when the average pupil sets out to practice? The first trial of the passage results in a wrong note or finger; at the repetition, if the error is corrected (frequently it is not), a new one creeps in, and so on, ad finitum, till if any habit is estab- lished it is one of falsity. The prescription for the cure of this typical case, very simple in itself, very difficult to apply, is theught before action. To secure this is the problem that con- fronts the teacher, and its solution as reached by the writer may help some other teacher. Suppose the pupil is studying Chopin’s Impromptu in C sharp minor, Op. 66, she is required to name aloud the first note in the right hand, then the finger that is to play it, finally the touch to be used. The prescribed finger is then placed on the key named, and not till this is done is the pupil allowed to play it. Each succeeding note is treated in the same way to the end of the phrase, when a return to the beginning is made and the same procedure is repeated till the phrase has been played at least five times without an error; after this the left hand is studied in the same way, and finally the hands are put together, thinking every note before playing to the end of the piece. Automatic Playing. Now begins the practice for rendering the playing automatic. When a passage is played at a high rate of speed, and automatically, a series of notes is thought as a unit, “in a lump,” so to speak, and not as individual tones, just as in reading we do not think separate letters but group the letters into words and the words into phrases. Take the first measure or phrase of the impromptu, divide it into groups of four notes each (the first group would be made up of a rest and three notes), play the first group a few times slowly and without error, then exactly doubl: the speed and play four or five times; now, keeping the muscles in a loose and flexible con- dition, make a dash for the highest velocity con- sistent with clearness, making no attempt to think of the separate tones, but letting the fingers find their way through the passage; this they will easily do after a few attempts. If they do not, return to the slow playing, double the speed once more then make another dash for velocity, and so alternate be- tween slow and fast playing till the group can be played easily at a high rate of speed. Practice the second group in the same manner, then join to the first, thus enlarging the unit of thought to eight tones; then practice the third and fourth groups separately, add them to those already learned and continue till the entire phrase can be played at a high rate of speed without conscious thought. The left hand should be worked up in the same way, then both hands together, joining one phrase to the next, and repeating the practice daily till the entire composition can be played at or near the preseribed tempo, by which time the pupil will probably dis- cover that the piece has been memorized. In addition to the practice outlined above the phrases should be practiced with accents of four, transferring the accent to each note of the group in turn, then staccato, ff. f, p, pp, eres. and dim, Such treatment keeps the mind actively at work and in- duces that intensity of concentration which is the sine qua non of succesful study.

Page 14

PIANO TOUCH AND PIANO ACTION. BY HERVE D. WILKINS. [Mr. Wilkins touches upon a very interesting and extensive subject. There have been volumes upon volumes written upon this topic, and volumes will have to be written until piano students realize the necessity of looking inside the piano now and then and com- prehending the wonderful system of administering and magnifying force from the finger tips to the wires. Very few are the teachers who take pains to open the piano so that the young pupil can comprehend the means by which tonal effects are achieved through the use of the damper pedal or through the use of ile soft jus Very few pupils know the meaning of “una corda, “tre corde,” “con sordini,” nor do they know that in the upright piano the soft effects are achieved by bring- ing the hammers closer to the wires or through the intervention of a strip of cloth between the hammers and the wires, while on the grand piano the soft effects are attained by means of moving all the hammers to one side, so that the hammers instead of striking three strings, as is the case with most keys, strike only one wire, thus the term “una corda” (one string) and the sister term “tre corde” (three strings) when the soft pedal is to be released. ; Much less do pupils know of the action of the sev- eral little levers and springs upon which the pianist must depend to communicate his thoughts to the wires, It is little wonder, then, that we have so little definite opinion upon this matter. of touch. Many very capable teachers and writers are so misinformed in this respect that we are often obliged to reject manuscripts that otherwise might be acceptable simply because the writer says things that we know to be incorrect. a advise our readers, both teachers and pupils, to make themselves familiar with that valuable book giving a detailed description of the piano and its action entitled “Piano Tuning,” by J. Cree Fisher. At the present time most teachers are lamentably in the dark ae many points in pianoforte construction which shou have been included in their regular musical en ae The history of the pianoforte, together with peence information regarding its construction, are ylides a the regular courses in several European schoo Bi a the Academy for Church Music in Berlin the piers are actually required to construct a church organ, at set if anything happens during a performance they will no’ be in ignorance of their instrument. ; As Mr. Wilkins intimates, much of the beauty of te piano tone depends upon the release of the eas a the consistency of the striking part of the i ae itself. Still more depends upon the point at which ne i er touches the wire. This seemingly inconse- pH atter has been the subject of untiring in- ae Reine the piano manufacturers. The differ- Rees i “fraction of an inch will either make or un- ae nee tone, as the quality depends upon the wee ee of exciting a string to give forth the aan Lavertone which makes for sonority, richness, aeee or clearness. We strongly advise aor eur ambitious readers to secure the book mentioned. Eprror.] Tone Production. : j of tone production as applied to the ee ee which continually engages the atten- ee of piano teachers and students and has also had Erreatiie discussion in public pene - at Such a discussion in Scribner's Magazine gone ys : drew forth expressions of opinion in a series OF ee les by Theodore Thomas, B. J. Lang, Professor are mr eranster, Rafael Joseffy and other eminent eae ee thorities. Some of these writers maintained pci Bees tincasion of tone quality by changes o1 tee tee impossible—that the tone of the piano is BC aaa | according to the hardness or consistency of haga while others held that by the control of thie putes ‘oF the fingers in. touching the keys the the ae he tones could be extensively modified. angry 0 BePice to a piano instruction book, Mr, ‘A IR; mnie Hee editor: maintains that when a piano key Fate th : hammer is “tossed” towards the string and ig struc a ae of control, so that the tone: of the piano ee F te madned by any change in the nature of the cabno’ Taba Anpiher adthonie, We Bara Bauer, finger ate opular magazine, claims that the piano pe i fe Gealared” according to the desire and tone ca fancy of the player. THE ETUDE The Release. Among all those who have written upon this subject of tone production, as applied to piano playing, there is not one writer who has ever taken into account the so-called regulation of the piano mechanism whereby the release of the hammer is hastened or retarded. Yet this is a vital matter, for the piano-action may be so adjusted as to drop the hammer when the ke slightly dcpressed, or the mechanism may be so regu- lated that the hammer will be carried close up to the string and released at the latest possible moment, Thus it is possible so to adjust the mechanism that by skillfully touching the key the hammer will remain for the greater part of its flight under the control of the finger, It would indeed always be possible, adjustment, by a sudden blow to send the hammer or “toss” it out of control, but with this close adjustment of the hammer escapement, which has been favored by all the eminent pianists from Rubinstein and Von Bi- low on to the present time, it is possible to modulate the piano tone expressively, to increase the volume of the tones without percussion, to attain great power without harshness, and to play with extreme delicacy without loss of clearness, As to “coloring” the Piano tone, some passages for the piano w others which imitate the effec brass instruments. Thus there are moments when piano music sounds almost as if made by an orchestra, and everyone will have noticed the converse of this fact, that often, in listening to an orchestra one will almost be convinced that a Piano is being sounded, As to the quality of piano tone changing with the quality of the touch, it is sufficient to listen to the same Piano under the hands of different players to be con- vinced that the piano tone is not entirely dependent upon the adjustment of the releases and the hardness of the hammers, in which Tespects no two pianos ever alike. It follows from the above reasoning and explanations that the use of snapping finger motions and a solely percussive touch cannot result in expressive piano tones. Tone production proper takes Dp! mechanism is operated by such following motions of the finger that the resulting tones correspond most intimately with the player’s impulse. Some Pianos have one fixed grade of power and no variations in touch can change it; the tones are all hard and loud, or they may be all woolly and soft. ; The great thing to be desired in a piano action is responsiveness, and in a pj 1 in Plano touch suavity, power, discrimination, - Plasticity, | discretion—whatevey. ae has to “do with the highest and best j expression. in musical y is only with any there are no doubt hich sound flute-like, and t of the ‘trumpet or other are lace when a responsive ee THE pedal should be used in four ww, one tone to another; 2, to modify and tensity and quality of the sound ; aid in interpretation ; 4, to count of the sounds in the higher oct: ays: 1, to bind augment the in. a very valuable nee the brevity —Isidor Philipp, 3, as erbala ‘aves, ee IMPORTANT EVENTS IN MUSIC. HISTORY, is BY DANIEL BLOOMFIELD, — (The second installment of a car record of the chief events in Musica] should prove of great value to lovers and teachers, The first THE Hrupy for December.) 1604—Giacomo Carissimi b, Marino, near Rome. A composer who greatly influence his conten: poraries by his style of composition, i Claudio Merulo 4, Parma, May 4, 1607—Monteyerdi’s first opera, “Arianna,’ Mantua, Ttaly. ¢ 1608—Tomaso L, Vittoria a, Madrid (9), “Orfeo,” Monteverdi’s econd opera 1610—Baldassare Por ib. Perguia, tty y, of the most ¢ tr ordinary : Harpsichords j 1611—The “Partheni published, 1620—Tacopo Peri ¢ 1621—J. p, Sweelinek a, Amsterdam, Michael Praetorius a. Wolfenbii 1623—William Byrd a. London, Wngl 1627—Hoinrich Schtitz introduces ope efully prepared History which all students, music section appeared jn ” produced in produced. » Dee. 9, One singe ntroduced into a,” a collection °. Ungland, f virginal musie, d. Florence, Oct. 16, ttel, Pep, 15, land, July 4, ra i + “Dafne” produced. - Sry, 1628—Robert Cambert b, Pari igi + aris. Originator of Fh Originator of Wrench 1633—Jean Baptiste Lulli (or Lully) b. Florence, Italy. Although an Italian, he made ae his home, and was one of the creators 0 French opera. 1635—Buxtehude b. Helsingér, Denmark. ganist and composer for organ, a 1637—The first opera house, Teatra San Caziano, opened with a performance of Manelli’s “Au- dromeda,” 1648—Claudio Monteverdi d. Venice, Noy. 29. 1644—Antonius Stradivarius b. Cremona. Greatest violin maker who ever lived. Girolamo Frescobaldi d, Rome, Italy. 1645—Alessandro Stradella b, Naples. Great singer and composer. 1616—Mailly’s “Akebar, Roi de Mogul,” the first French opera, produced before Court of France (a private performance ) 1651—Jacob Praetorius d. 1652—Gregorio Allegeri d, Rome, Feb, 18, 1653—Arcangelo Corelli), Fusignano, Imola, Italy. One of the greatest reformers of yiolin playing. Johann Pachebel pb, Nuremburg, Sept. 1. Fa- mous organist and clavier player, 1658—Henry Purcel] b. London. ‘The greatest Eng- lish composer of the seventeenth century. Han- 7 del was greatly d by Purcell’s music. 1659—Allesandro Scarlatti b, Trapani, Sicily. Wrote one hundred operas and was the founder of the Neapolitan school. He developed the or- chestra and operatic forms, 1660—Sebastian de Bross first musical diction: 16638—Friedrich Willhelm Teacher of his time, 1668—rrancois Couperin p, Pari: 4nstruction book for the el lifie composer, Program muuch by him, 1669—Louis March of the grey 1671—Robe Hamburg. influence: ard b. France, Wrote the ary in the French language. Zachau p, Leipsie, Nov. andel and noted musician of Ue wrote the first avier and was a pro- Music was deyeloped and b, Lyons, F test organists. rt Cambe first Fre, rance, Feb. 2, One Tt’s “Pomone” produced. (The Neh opera to be pla i i as ae ayed 1 1672—Heinrich Schiitz q, reste N oe 1673—Matthey Loc 1 is ‘Gat os eae opera, Drodacea Hey che: 1674—Giacomo Carissimi q Ror 1676—V’rancesco Cavalli a, v a 1677—Robert Cambert da. Lo 1680 (?)—A essandro Stra Baldassare Ferri a, Perug} rf 1683—Jean Philippe Rameau hee es Sent. ig 25. Originator the first English Italy, Jan. 12. enice, Jan, 14, ndon, della qd. hi "wrote aT re many operas. mony. a Domenico Scarlatti pb, Naples, Famous harpsi- chordist. Founder of the Modern technic of piano-playing. Joseph Guarnerius (del Gesu) p, Gyemona. Noted violin maker. 1684—Nicolo Amati d. Cremona, Aug. 12. Francesco Durante b. Naples, Mar. 15. Cele- brated church composer; teacher, 1685—Johann Sebastian Bach b. Kisenach, Mar, 21. The contrapuntist of all ages, estes Vrederiek Mandel b, Halle, Feb. 23. 1ege_ purer the greategt oratorio, “The Messiah.” Nicolo Porpora pb, Naples, Aug. 19, Famous Singing teacher, Benedetto Marcello p, Venice, Aug. 1, Church Je aptist ae Baptiste Lully (or Luli) eiuseppe Tartini p, “ne of the gre; 1698—Wanct: 5 698. Faustina Tlasse (nee bra 33 Singer, d. Paris, Mar. 1692. ted oper: Pietro Loe: atelli y i . Sree Atelli p, Bergamo. Violinist and O5—Tanay a. 1608p Tureell q London, Noy. 21 Pietro Tinetna feta sio b. Rome, Jan. 3. : Ss or Huck. rt, Ui r 1699" asa musician, - _ eee —— %—Johann Adolph Hasse Mar Prolifie pny coe ‘Husbaad to8 an Bordoni, on — oo ay Verkmeister introduced the equal eal . poe tuning About this time. re hall Ame Majorano) b. Ttaly. Great —Carlo Farinelij b. Na name was « Soprano ever 703—~ 1705 ples, Jan, 94 arlo Broschi) . : heard, (To be ©, (His real The greatest male ontinued), Great or ~

Page 15

THEIR REAL NAMES. From the earliest times to the present day it has been one of the peculiar idiosyncrasies of talent in men and women to adopt names other than their own. Probably one of the most famous instances of this was Palestrina, whose real name was Sante, and who took the name of his birthplace instead of his own. A modern instance of a similar assumed name is that of Max Meyer-Olbersleben, whose real name is Max Meyer. Here there was a real neces- sity for taking an assumed name, since the patriotic Bavarians were wont to name all their sons after the famous Maximilian. The name Meyer is more com- mon than Smith in Bavaria and Max Meyer had lit- tle value as a means of identification. There are various other reasons for the adoption of assumed names. Sometimes the fact that a name is cacophonous is sufficient. We do not wonder that Felix Tilkens changed his name to Ivan Caryl, nor do we wonder that the famous Parisian conductor changed Judas Colonne to Eduard Colonne. How a parent could ever give a child the name of one of the most despised figures in Christian history is more than we are able to determine. In other cases a nom de plume has been taken by composers and authors who have been either uncer- tain as to success, or who have been genuinely mod- est and have had little desire to see their names in print. In literature we have several such instances (“Boz,” “George Sand,” “George Eliot,” “Marie Corelli,” “Ouida,” “Mark Twain"). It not infrequently happens that very prolific com- posers of Salon music have several assumed names so that the public will not tire of seeing the name of one composer frequently printed upon title pages Singers and actors, as a rule. take assumed names principally for the sake of securing some short, striking or euphonious word that will be readily re- membered by the public. Richard Mansfield, Henry Irving, Julia Marlowe, Maude Adams and many others have done this. The present tendency, how- ever, is toward retaining the real name. unless there is some very excellent*reason for changing it. The list given below also includes the names of many women musicians, together with their names before marriage: NAMES, BEST KNOWN. REAL NAMES. Adamowski, Mad, J....- *Antoinette Szumowska Adams, Stephen ........ M. Maybrick AWA ez oid oo yee see A. R. Gourron ¢ Mrs. C. C. Barnard CESIGI oe 090 ba aaa { Charlotte Alington Edward Slater H. J. L. Wilson Barri, Odoardo ..... Batten, Robert .... *Wehmann, Liza ...,...-- Mrs. H. Bedford Bizet, Georges ........- A, Cos Bizet *Brema, Marie .........+ Mrs. A. Braun Strelezki, Anton .....-- Mr. Arthur B. Burnard Caccamisi Marchesi, Blanche = SUE Cactiane *Chaminade, : } Mad. L. M. Carbonel Cecile L. Stephanie. . Felix Tilki rd ... Felix Tilkins Serv ash So Baroness Cederstrom *Pattin Adelina .....>+- { Adele Juana Maria Patti Colonne, Eduard ....--- Judas Co onne Hatton ge Doe sce. 2s 0's Ri B. Czapek : DAVIES WIBER oss Destinn, Emmy o Lebert, Dr. Sigismund... *Urso, Camilla Lully, Jean Baptiste.... *Maidon name, { Mrs. R. H. Kennerley- Rumford Emmy Kittl Levy Mad. F. Lueres Giovanni Battista Lulli THE ETUDE Lysberg, } G. S. Bovy . Mrs, J. MacKinley Southcote Mansergh Mrs. H. Mapleson Marie Ponsin Mad. J. R. de la Mar Lillian Norton Mad. S. Marchesi Felix Marie Masse Comtesse C. di Miranda F. Behr Mrs. R. Palmer Charles Samuel *Sterling, Antoinette . Manners, Charles ... *Roze, Maric .. Nordica, Mad. Graumann, Mathilde Masse, Victor ... Nilsson, Kristina Morley, Charles . Nevada, Mad. Offenbach, Jacques .. Palestrina, Giovanni Parkina : Lunn, Louisa Kirby Alboni, Marietta Redan, Karl ..... *Russell, Ella D’Hardelot, Guy Parepa, Euphrosyne.. Breval, Lucienne Sivrai, Jules de zabeth Parkinson Mrs. W. J. R. Pearson Countess Pepoli C. C. Converse Mad. de Rhigini - Mrs. W. T. Rhodes Mad. C. A. N. Rosa Bertha Agnes Schilling Mrs. J. L. Roeckel { Frau W. Stengel Sembrich, Marcella ... Praxede Marcelline Kochanska Streabbog, L. .iaesees J..L. Gobbaerts Francesco Ezechiele Von Suppe, Franz..... Ermenegildo Suppe- Demelli *Gadski, > os Johanna Emilia pred Frau H. Tauscher Mad. A. Terry Mad. Bettini Mad. R. A. Schumann Mrs. W. Wilson *Sanderson, Sibyl Trebelli, Zelia E *Wieck,. Clara Josephine... *Hopekirk, Helen PADEREWSKI ON MUSIC TEACHING. Tue pianoforte is at once the easiest and the hardest instrument to play. Anyone can play the pianoforte, but few can do so well, and then only after years of toil and study. When you have surmounted all difficulties, not one in a hundred among your audience realizes through what labor you have passed. Yet they are all capable of criti- cising and understanding what your playing should be. Anyone who takes up piano playing with a view to becoming a professional artist has taken on himself an awful burden. The chief aim of every teacher of the pianoforte should be to impart to his pupils a correct technique and to enable them to play any composition at sight with proficiency and correctness: but how much or rather how little of this kind of teaching is practiced by many so called chers? Many really competent teachers have assured me that of all the pupils who came to them from teach- ers of lesser reputation to be “finished,” there is not one in ten who has ever been taught to play all the major and minor scales in all the various keys. Physical weakness from too much practice is j as bad as mental. To over-fatigue the muscles is to spoil their tone, at least for the time being, and some time must elapse before they can regain their former elasticity and vigor. music t 13 It is highly desirable that he who strives to at- tain the highest excellence as a performer on the pianoforte should have well-developed muscles, a strong nervous system and in fact be in as good general health as possible. It might be thought that practice upon the pianoforte itself would bring about the necessary increase in muscular power and endurance. This, however, is not altogether the case, as it sometimes has a distinctly deteriorative effect owing to the muscles being cramped and un- used. The chief muscles actually used are those of the hand, the forearm, neck, small of the back and shoulders. The latter only come into play in striking heavy chords for which the hands and arms are considerably raised from the keys. In light playing the work is chiefly done from the wrists and of course the forearm muscles which raise and lower the fingers. It is not so much that greater strength of muscle will give greater power for the pianoforte, but rather that the fact of the muscle being in good condition will help the player to express his artistic talent without so much effort. To play for a great length of time is often very painful, and you cannot expect a player to lose himself in his art when every movement of his hand is provocative of discomfort, if not actual pain. Sometimes a great amount of playing brings on a special form of complaint known as pianists’ cramp, which may so affect the muscles and nerves that the unfortunate artist thus afflicted finds his occupation gone. I have frequently found that though whilst playing I have experienced no trouble from my muscles being overtaxed, afterwards the reaction has set in and I have no little exhaustion from the shoulder and neck, and I have also suffered from severe neuralgic pains affecting the nerve which runs from the head and conveys impulses from the brain to the deltoid* muscle. Weakness in the small of the back has been by no means uncommon. [*Deltoid Muscle.—‘A triangular muscle in the shoulder which serves to move the arm directly upward.’—Editor.] ONE of the fashionable restaurants of New York city inserts this line in its advertisements: “NO MUSIC.” A daily journal, in commenting upon this, says: “The same announcement might very safely be made by many other restaurants employing orchestras to ac- company meals.” From time immemorial music has been employed at banquets, great and small. There is an undeniable something in music that seems to have a peculiar, indescribable psychological and physiological effect upon hearers who do not pay any particular attention to the pieces performed, but who are engaged in other things. In fact, it may safely be said that the great majority of listeners at a concert, listen in an ab- stracted manner, and, moreover, prefer to receive their music in this way. They have little desire to analyze the intricate contrapuntal webs. They make little effort to understand anything whatever and would far rather sit passively and dream away the moments, either in ecstasies of genuine appreciation, or in night- mares of boredom. ‘They gaze at the tropical plants, contemplate the proscenium, note the obvious efforts of the players, all the time attending to the musie itself in a very indirect manner. Music is to them something to form the basis of day-dreams, and when they hear musie at restaurants, it often seems a fitting background to the clatter of dishes, the frou-frou of silks, and the din of conyersation. The musie stimu- es, and for the time being, distracts the mind from the wor ay world. Tt is all very intoxicating, and the busin man often looks upon it as a real neces- sity. jut all this has a very depreciating effect upon the standing of sincere musicians and teachers. Many players are foreed, through nec , to play in or- chestras upon occasions when their presence is a desecration of divine art. As long as music is employed as a lubrieator for conversation, or as an aid to digestion, just so long will the layman’s valua- tion of the art from the educational standpoint be correspondingly low. Tt would be asonable to ask a company of actors to give a performance of Hamlet during a banquet, as it is to perform the works of the masters as fitting accompaniments to meals. The “No Music” plan mentioned above is said to be very successful, and it is possible that the frivolously in- clined may themselves be the first to end the eustom of music at meals. Ss re

Page 16

i+ THE ETUDE THE CAREER OF THE CONCERT SINGER Opinions and Experiences of the Noted Concert Soprano Miss Emma Thursby 4 33 (Secured and arranged especially for THE ETUDE by James Francis Cooke.) Miss Thursby’s Exceptional Training. Few concert singers of American birth have so justly earned their celebrity and position as has Miss Emma Cecilia Thursby, and few have been those who have borne the honors attending fame with more modesty and womanly grace. Her inbred sense of refinement and propriety in this respect are due, no doubt, largely to the home influences surrounding her youth. Her parents were people of influence, wealth and culture, who provided her with an ex- cellent education in her native city of Brooklyn, N. Y. She also received a fine musical training, which was undertaken with no anticipation of a public career. At a very early age her friends soon began to recognize indications of the remarkable voice which was later to bring the royal courts of Europe to her feet. Her first teacher was Julius Meyer, a friend and pupil of Mendelssohn, who took a great interest in the child. She then studied voice under a disciple of Vaccai, named Errasni. Educational advantages in those days were not what they are now in America, and her teacher, realizing her remarkable talent, unselfishly urged her parents to send her abroad for further study. At Milan she fell under the training of Lamperti and his son Giovanni, Later she returned to New York and studied under Mme. Rudersdorf, one of the most capable and inspiring teachers ever resident in America, and who was the mother of the late Richard Mansfield, the famous American tragedian. Owing to the somewhat strict religious principles held by her family Miss Thursby never essayed to become an opera singer, and her first public singing was in a church choir in Brooklyn. She was soon engaged at one of the leading churche$ of New York, where she was destined to be re-introduced to Fortune in the person of Maurice Strackosch, the noted impressario. Strackosch was himself a fine musician and was the brother-in-law of Adelina Patti, who, in turn, owed much to him and who fell under his influence more than that of any teacher or musician. Strackosch was so impressed with Miss Thursby’s voice, which he first heard at a church service, that he immediately offered her an engage- ment to sing in concert on tour. From her first con- cert her progress through America and Europe was little less than a triumphal march. The enthusiasm she aroused in Europe can only be estimated by criticisms like the following from Dr. Eduard Hans- lick, the most noted of European critics of his day and the author of the most celebrated treatise upon musical zsthetics. Dr. Hanslick said: “Miss Thursby justified yesterday, ina glorious manner, her renown as cantatrice which had prec eded her com'ng. The Musikvereinsaal was filled to overflowing for the first concert. Anton Rubinstein and Joachim alone have succeeded in do'ng this hitherto. Her brilliant in- terpretation of various selections at once surprised and charmed the great audience.” Critics in all parts of Europe showered even more flattering testi- monials upon our talented fellow citizen, and it is thus evident that there could be no one who could speak with greater authority to American girls aspiring to do concert work. Miss Thursby says in this connection: A Great New Field for Concert Singers. “Although conditions have changed very greatly is last regularly engaged in making con- nett fous, the change has been rather one of ad- vantage to young singers than one to their disad- wantdee: The enormous advance A musical taste can only be expressed by the word “startling.” For since | we while we have apparently a vast amount of worthless music being continually inoculated upon our un- suspecting public, we have, nevertheless, a cor- responding cultivation of the love for good musi which contributes much to the support of the conc a singer of the present day. Sek “The old time lyceum has almost disappeared, but the high-class song recital has taken its Riacee and recitals that would have been barely possible es ago are now frequently given with greatest fianciat and artistic success. Schumann, Franz, Strauss Grieg and MacDowell have conquered the field Miss Emma Tuurspy, formerly held by the vapid and meaningless compos; tions of brainless composers who wrote pape amuse or to appeal to morbid sentimentalit ; “The conditions of travel have also Been ae improved. It is now possible to go about in oF tly cars and stop at hotels and at the same ti eee ence very slight inconvenience and disco fon eae makes the career of the concert artist a fa ot bi sirable one than in former years, aes ee frigid cars, poorly prepared meals and privacy were hardly the best thin 3 aS Jel cof high degree of musical inspiration POV SHLET IAS st solely to A far de- Uninviting hotels, Health. ng ever C y ir ; N vertheless, the girl who would b if ee must either pos sor aie ew health, as her first q — sea ae first and all essential ake ooae standing > marvelous ; aS ri steading ‘ ° maryclous IMprovement { ria Fi ths S and accommodations the nery ae ik public performance js not lessen ele puaeih of SSsenec and it not an frequently happens that these very facilities enable the avaricious manager to crowd in more concerts and recitals than in former years, with the conse quent strain upon the vitality of the singer. Of course the singer must also possess the foundation for a good natural voice, a sense of heat Gon oo oh being trained to the keenest perce?” een eat quality, rhythm and metre, an attractive and Aa ae a atiglit mind, a good general education list, I Poa temperament—a very extraordinary public pays you, but we must remember that the people and tl ate its money to hear extraordinary qualification "ad would-be singer who does not possess solicit the emule description had better sincerely teacher or siti Beets of some experienced, unbiaset cal seas in a wane ce putting forth upon the musi struction in Letter en must meet with certain de- who consciously Bee. the first storm. The teacher Public career and at Hie, a singer to undertake @ a career would ae 4 sia time knows that such the recognition of = ikely be a failure is beneat y honest man or woman. The Singer’s Early Training. “ The educati cation o i too early, if y f the singer should not commence we mea , . . the voice. If a by education the training 0 remarkable voice, « ‘scover that a child has a very » ear and musical intelligence you had better | E et the voice - 5 A to the general mu e¢ alone and give your attention the lings oP Giant ee ne of the child along is a fine violinist y Madame Sembrich, who and piani who know acPtiine aia fen aterthe teacliaag ver about the child-voice or who can treat i 5 be at it with = = it is far better to leave a ee ot safety ta ithe: see alon wath it. Encourage the child to sin then te ama and naturally, much as ng; softly, sweetly telling him to f. an, ings 6: a FORA nde orm the habit of the lips’ rather 1 i you have amo: wvcr than in the throg or singer of eee acquaintances some aaa honor “sie can eee ae ability and impeccable the child go to this friend qauterested advice have whether any aut tiend now and then to ascertain formed. Of eee ioe aeblts oe being atti an A ave the famo eee fancy. eae who seem to have s0ne fon sy ‘ve No recollection of the time heart first ¢ ommenced to si Sin siee ss sing, av gloried in emer: gs. I have always sung and ‘See to it th general educatj fluent conversation, Speaking his tones at your musical child has a good a collewe. ae eens a his does not necessarily mean ob mite Sin ersity training. In fact, the amount days antes ie a Seed has to accomplish in these aRBCeEES te ligher academic training apparently cance theca: owevers with the great musical tos Padares has come a demand for higher and het- coneioe a epectnal work among singers This every cae aS ecore more and more imper: ae berehat ae the same time you must al ALINE a ng should be undertak = DEN aken that might in any way be liable t ermi hee 0 undermine or impair the child's ad- When to Begin Training, “The tin ne to begin traini maturity a aus trainin 2 tgelien of the voice and the ee ie ane eee the physical sone ual, ¢ while oth * are ready to Start voice ers are not really ; e ae older age i in conditi > teac :, ag: the teacher of Judgmet g upon the onsidered of the pupil. Work at sixteen, ain co on until a some- wh ‘ . nt and peels necessity for : O° might in any way b s 7 experience A teacher OY securing VY De influenced i gap ced by the necessity one avoids dirs aloe ee a foe should oe ec struction ¢ Styster lawyer € avoided as 00 early S yer. Starti eet many a sane has been the preci ae vocal in oblivion Sg career has been 4 = Sven whiny “ i ashec early _ “Tn choos 1 to earls iM these he ing a teacher days of eee her T hardly know Sreatest teach ad methods and endless claims E A achers ane ‘ss cla ind women of eae ae known have been men seat simplicity 2 what to say. Perpetrator ne s the crestor Of the complicated nt mmectness. The hs ator of vocal sa ted System is normally ‘8 at once a m on failures, The se : 7 Bae q arve és secret of singt Secret to fling. co ous mystery and Aes ae eee cannot be iltoweene have realized its aia ici It by words alone * Written nor ean it Me ian jarte’ importa Mitatio , ees ant par oe Q undoubtedly -s¢ an Must he Part, but it is Dtedly plays NOt Everythi q 5 ything, The teacher truths . has actu: i Le niths which under} 8 actually realized the great Natural methods at the best, simplest. and most Possess the won ee Securing results and swiio mus ( : eae f ‘ oT exactly communica ing these erful power ¢ 9 the pupil. A good teacher 1 one who Principles f

Page 17

far rarer than a good singer. Singers are often poor teachers, as they destroy the individuality of the pupil by demanding arbitrary imitation. A teacher can only be judged by results, and the pupil should never permit herself to be deluded by advertisements and claims a teacher is unable to substantiate with successful pupils, Habits of Speech, Poise and Thinking. “One of the deep foundation piers of all educational effort is the inculcation of habits. The most suc- cessful voice teacher is the one who is most happy in developing habits of correct singing. These habits must be watched with the persistence, per- The severance and affectionate care of the scientist. “ens THE ETUDE muscles, and is thus conducive to the most natural breathing. Too much anatomical explanation is liable to confuse the young singer, and if the matter of breathing can be assisted by poise just so much is gained. “Another important habit that the teacher should see to at the start is that of correct thinking. Most vocal beginners are poor thinkers and fail to realize the vast importance of the mind in all voice work. Unless the teacher has the power of inspiring the pupil to a realization of the great fact that nothing is accomplished in the throat that has not been pre- viously performed in the mind, the path will be a difficult one. During the process of singing the throat and the auxiliary vocal process of breathing are really a part of the brain, or, more specifically, the mind or soul. The body is never more than an in- strument. Without the performer it is as voiceless as the piano of Richard Wagner standing in all its solitary silence at Wahnfried—a mute monument of the marvelous thoughts which once rang from its vibrating wires to all parts of the civilized world. We really sing with that which leaves the body after death. It is in the cultivation of this mystery of mysteries, the soul, that most singers fail. The mental ideal is, after all, that which makes the singer. Patti possessed this ideal as a child, and with it the wonderful bodily qualifications which made her im- mortal. But it requires work to overcome vocal de- ficiencies, and Patti as a child was known to have been a ceaseless worker and thinker, always trying to bring her little body up to the high zsthetic apprecia- tion of the best artistic interpretation of a given passage. MISS EMMA THURSBY WITH THER PUPIL, MISS GERALDINE FARRAR, NOW PRIMA DONNA AT THE BERLIN ROYAL OPERA AND THE METROPOLITAN OPERA HOUSE. teacher must realize that the single lapse or violation of a habit may mean the ruin of weeks or months of hard work. . “One of the most necessary habits a teacher should form is that of speaking with ease, naturalness and vocal charm. Many of our American girls speak with indescribable harshness, slovenliness and shrill- ness. This is a severe tax upon the sensibilities of a musical person and I know of countless people eG) suffer acute annoyance from this source. Vowels are emitted with a nasal twang or a throaty growl that seem at times most unpardonable noises when ee ing from a pretty face. Consonants are Ha ee mangled until the words are very cine wo to pas prehend. Our girls are improving in Phe respec 5 but there is still cause for grievous comp aint among voice teachers, who find in this one of their most rmi tacles. ates a ped tee o eaneae natural tault, which is ies ticularly offensive to me, is that eran genre bodily poise. I have found — fae ne career that bodily poise in concert wor . is oe mount importance, but I seem to Dave e a i cae in sufficiently impressing this great truth ae oes E ladies who would be singers. The note Rete teacher, Sbriglio, is said to require a ah es ts to build up and fortify the chest. eae Beene felt that the best poise is that in which the Spouls Be are held well back, although not in a stiff or ee position, the upper part of the body _ fecha gently and naturally and the whole ae e i by a sense of relaxation. and ease. din we De the natural equilibrium is not taxed, and Re sple sensation of non-constraint ms to be noticeable, Bo. tee » front of the SE Ae rer the entire area of the particularly over the ease and an absence torso, This position suggests - Po a al of that military rigidity which is so fata id al gece vocal effort, It also permits of a freer move o well as the interecosta the abdominal walls. as Maurice Strackosch’s famous “Ten Vocal Com- mandments,” as used by Adelina Patti and several great singers in their daily work. Note their sim- plicity and gradual increase in difficulty. They are to be transposed at the teacher’s discretion to suit the range of the voice and are to be used with the different vowels, Maurice Strackosch, “Tt was from Maurice Strackosch that I learned of the methods pursued by Patti in her daily work, and although Strackosch was not a teacher in the com- mercial sense of the word he had comparatively few pupils, he was nevertheless a very fine musician, and there is no doubt that Patti owed a great deal to his careful and insistent regime and instruction. Although our relation was that of impressario and artist, [ cannot be grateful enough to him for the advice and instruction I received from him. The technical exercises he employed were exceedingly simple and he gave more attention to how they were 15 sung than to the exercises themselves. I know of no more effective set of exercises than Strackosch’s ten daily exercises. They were sung to the different vowels, principally to the vowel ‘ah,’ as in ‘father.’ Notwithstanding their great simplicity Strackosch gave the greatest possible attention and time to them. Patti used these exercises, which he called his ‘Ten Commandments for the singer,’ daily, and there can be little doubt that the extraordinary preserva- tion of her voice is the result of these simple means. T have used them for years with exceptional results in all cases. However, if the singer has any idea that the mere practice of these exercises to the different vowel sounds will inevitably bring success she is greatly mistaken. These exercises are only valuable when used with vowels correctly and naturally ‘placed,’ and that means, in some cases, years of the most careful and painstaking work. “The concert singer of the present day must have linguistic attainments far greater than those in de- mand some years ago. She is required to sing in English, French, German, Italian, and some singers are now attempting the interpretation of songs in Slavic and other tongues. Not only do we have to consider arias and passages from the great oratorios and operas as a part of the present-day repertoire, but the song of the ‘lied’ type has come to have a valu- ble significance in all concert work. Many songs intended for the chamber and the salon are now in- cluded in programs of concerts and recitals given in our largest auditoriums. Only a very few numbers are in themselves songs written for the concert hall. Most of the numbers now sung at song concerts are really transplanted from either the stage or the chamber. This makes the position of the concert singer an extremely difficult one. Without the dramatic accessories of the opera house or the in- timacy of the home circle, she is expected to achieve results varying from the cry of the Valkyries, in ‘Die Walkure,’ to the frail fragrance of Franz’ ‘Es hat die Rose sich beklagt.’ I do not wonder that. Mme. Schumann-Heink and others have declared: that there is nothing more difficult or exhausting than concert singing. The enormous fees paid to great concert singers are not surprising when we consider how very few must be the people who can ever hope to attain great heights in this work,” KEYBOARD TALK. BY C. W. FULLWOop. Purtts should be taught to anticipate in note reading. Before turning a page they should strive to con- ceive the first note or more of the bar on the suc- ceeding page. A valuable exercise is the analysis of a composi- tion or piece so that you can begin at any part of it where there will be a natural modulation from the part you have been playing. For instance, after the finale of a piece take up the theme again at some place where the harmony will not be broken by a sudden transition. As the ear is trained and a true musical conception developed the pupil will almost unconsciously read a measure in advance of his playing, and will be agree- ably surprised to find that he instinctively strikes the first note before turning the page. The sequence of chords will become a habit because the seed of harmony is growing in the mind, There is always but one right way of doing a thing. Do not deceive yourself with the thought that you can make a short cut to the musical highway. The teacher should remember that he can impart strength and encouragement to his pupil along with the regular instruction, Don’t cramp the pupil. Give him a chance to ex- press his individuality. Atmosphere, personality and example will influ- ence the pupil, How essential that the teacher should be not only a musician but also a pure-minded, kind, considerate and sympathetic man or woman, Music and morals should be correlative. The teacher and pupil are, or should be, co- workers, Silent practice should precede the practice at the piano. The student can go through a mental exer- cise of the work in hand, Analyze the study or piece. Imagine how you will play each measure, phrase and sentence. Likewise do this with your scales, arpeggios and chor Tnspiration is really readiness for work. would be inspired be receptive Tf you to the study motive.

Page 18

16 THE ETUDE THE PRIVATE TEACHER IN HIS RELATION TO MUSIC IN THE PUBLIC SCHOOLS By CHAS. A. FISHER TIME was—and not so long ago—when the subject of music in the public schools brought forth the un- mitigated contempt of the professional musician. Nor was this attitude altogether without justification. So long as the musical methods in vogue in our system of public instruction resulted in nothing better than a screechy unisono rendition of “Twinkle, twinkle, little star” by the infant class, culminating, perhaps, in the upper grades, in a touching, two-part perform- ance (by ear) of “Woodman, spare that tree,’ it was scarcely to be expected that the serious private teacher of the noble art of music would be very pro- foundly interested in the subject. Public school music was, in fact, considered beneath discussion in all respectable professional conversation, and the unfortunate person who had permitted him- self to be burdened with the supervision of this silly, recreative feature in the school curriculum of the com- munity was at best favored by his professional brethren of the loftier plane by a condescending nod when they passed him on the highway. If mentioned at all in professional coterie, it was merely to make his name the occasion for ironical and jocose comment. A New Era in Public School Music. But the day has passed when almost anybody was considered good enough to guide the study of music in the public schools, and it behooves the profession to make itself better acquainted with what has been done, and what is doing to-day, to elevate the subject of music in the schools at least to the level of other important studies. With the appointment of competent supervisors and the introduction of carefully prepared textbooks, music in the schools is entering upon a new era in this country—an era of broad significance in its bearings and far-reaching in its ultimate effects upon the teaching profession. If there is any doubt on this point, let the doubters take the trouble to acquaint themselves with the results already accomplished in many places. It is not broad-spirited for us to plead lack of time; it is not good policy for us to say: “We have our teaching to attend to—public school musie will take care of itself—it does not immediately concern us.” The fact is that it does concern us, immediately and remotely as well. Taking but a purely business view of the situation, it ought to concern us very closely to observe how, under thoughtful methods and more competent teachers in this branch of the public school service, the road is being cleared—the way for subsequent private instruction paved for us. The Importance of the Subject. As to the importance of the subject, there would seem to be no necessity of discussing that with any fair-minded teacher, and it would appear equally safe to say that no teacher approaches his work in the proper spirit who considers it beneath his dignity to acquaint himself with the subject of elementary misical instruction—the instruction of the child. In Art, as elsewhere, comparisons are considered odious, and yet, after all these years of music writing and music making—in all the history of our noble Art—there is one figure, by common consent towering superbly aloft in rugged, unattainable grandeur—more or less the acknowledged fountain head of all sub- sequent musical production of value: Johann Sebastian Bach! Bach’s Work as a Public School Teacher. Barring the great affliction of blindness in his later years and the obscurity to which the busy world consigned him for so many years after his death, what is more touching in his life, than his devotion to the duties he assumed as a teacher of youth? Tt is per- haps not altogether proper at the present day to refer to the now great Bach as a supervisor of publie school but was not the Thomas Schule, so far as he essentially a public music music, was connected with it, e school for the city of Leipzig? Through all the work of that celebrated school the of the greatest of musicians breathes to-day, bay ie spiri eler (of musical propensities) and the hurried trav who may chance to reach the old Saxon town at noon some Saturday will be informed in answer to his eager inquiries that he had better bestir himself to reach the church, for early in the afternoon of Saturdays Bach’s Thomancr sings there. And when he reaches the old church he will find it crowded to the doors with visitors from far and near, and he will hear some of the greatest and best choral works sung in the most finished manner. Such a capella singing of male voices he will probably never again hear. And this Bach, this musical colossus, daily taught the elements of music to boys and took an interest in the voice instruction of the young. It is most gratifying to note that the Music Teach- ers’ Associations have, in recent years, found a place in their programs for papers and discussions on public school music at their annual conventions. Eyen though nothing very tangible may have resulted thus far—for papers and talk do not as a rule accomplish much in themselves—the very fact of the subject being considered at these meetings is bound to make for better conditions. And what the whole subject needs is better and more thoughtful consideration. The poor supervisor of music in the public scliools is beset with many difficulties. Not only must he hurry about from school to school in the work of actual class instruction on limited time allowance, but he must teach the teachers after school hours. That is, he must do the work that ought long before to have been done for him in the normal and in the teachers’ training schools. It not infrequently happens that the real funda- mental trouble lies with political conditions, which are the basis for corrupt engagements of incompetent supervisors or instructors. In such cases the only remedy is reached through the organization of the teachers of the community into a body designed to make public the existing evils and to induce public spirit to take cognizance of these evils and correct them through legislative means. As a purely professional necessity, the advisability of pushing our demands before the legislature has been frequently discussed of late years in the journals and at Musie Teachers’ Conventions, as well as at local gatherings of musicians, with the purpose in view, of establishing by law some standard of effi- ciency for the music teaching profession, in the hope of remedying to some extent the injury done the community by the ignorant and incompetent who pose as “professors” of the Art. How much we need trouble ourselyes about this evil and its partial aboli- tion by means of legislation is still a mooted question. The profession has managed somehow to get along all these years without legislative interference; the capable, the decent, the industrious have somehow succeeded, each in his particular sphere, so far as any earnest worker may hope for success. But if conditions in the main are to be improved we cannot afford to overlook the matter of music in the public schools, for it is to the proper elementary musical training in the schools that we must look for the ultimate making of a musical community. School Boards. School Boards are amenable to reason and ready enough to put themselves to personal inconyenience when suggestions for improvement are presented, although as a rule the members of such Boards serve the community without pay; and it would seem a matter well worth the serious attention of the private teacher whether or not it be to the interest of the musical profession to aid, as much ag Possible, the Supervisor of Musie in the Publie Schools of th community in his just demands for the Proper reco; ra tion of his department. en Of course there are prejudices to be obstacles to be overcome, but very accomplished in this world unless there be ot to overcome. One of the main stumbling i gs the road to improvement is encountered ;{ Stee 2m themselves, among a certain class of ed he schools mainly on account of their ignorance aoe auto} and by reason of the multifarion: eos Subject, quired of them, are unable or cady re pt them- f removed and little good is ever S duties aly unwilling to ada selves to progressive musical conditions and would much prefer to return to the dear, old, comfortable musical curriculum of ‘Lwinkle, Twinkle, Little Star” and “Woodman, Spare That Tree!” Then there are ancient and worshipped prejudices of the public to be overcome—to be overcome only by concerted and persistent effort. It is not for the sake of the Supervisor of Music that this plea is made. THe is probably able to take care of himself and would doubtless, and very properly, resent anything like condescension or patronage on our part. But for our own sakes and to our advantage, it would at least seem proper for us to extend the Sane of encouragement and codperation to the ade Augie _ Supervisor who is anxiously sasec, under many difficulties, in laying foundations. for us to build on in the future. 4 MAXIMS FOR TEACHERS, BY A. G) SCAMMELL. Ir a scholar ask a favor, of granting or denying the request before you decide, and abide by the answer you first give, unles: the: : is an obvious reason for altering it. ait ee In case a pupil is troublesome. confidence in him by giving him something to di Lead children to govern themselves. aca Lead children to feel that th pleasant countenance they those around them. Lead children to understand that y. their feelings by their looks, - Lead them to consider Let reason be your executing them, examine the propriety » Show him you place. _When they wear an un- diminish the happiness of ou can judge of it a privilege to study. guide in making laws and in Never allow i co) your children ire i Rei to direct their own Never allow yourself to in a oO s speak ery ful manner, i Nene stat Never appeal to the prine a last resort. Never be in haste to believ wrong. Never congratulate yourself because manifest for you a fondness of attach ia ; Never discourage q scholar by ‘ eit is easy. . Never let your pupils think you are Never make an employ: ; delight, a punishment. ; Never magnify failings, Never provoke children. Never reprove a pupil bhefo good of the school requires it, Punish rather than threaten, So instruct your pupils will see that the diffident neglected or feel solitary, Take an interest in the contrive such as are suita join in them yourself, Teach children fulness, ‘iple of shame, unless ag e that a pupil has done your pupils. telling him his lesson ¢ watching them. ment, in which a child should re the school unless the that the best amo) mg th and the dull w ee ill never be amusements of your Scholars ble for them, and oce: aie ‘asionally t nae - o bear disappointments with cheer Treat a refractory ¢ E hild with ere, Treat a forward chi Re at kind ld with app: annie arent indifferenee Ss, A Courage Disagree a eens ‘able a task, ; res. OM Taske, Wear a hateful, unbear hi ie ing agar Petding, despairing re helps us; no one ae hope for a release. N cs OF necessity, an. Finally, with the ae ae our breath ; ie ne ps te that we are surprised even an exhilar: begin to enjoy heartednogg, believe ty deaths,” courage horn © takes away Prepared. After ‘ own daring, There is aving the thing out. We rat the first fai Ourselves tien ae many times before their first pling ond We are : at our ation in br: it all, g Then uly “Cowards die Do not 4 bE denpnc. that one ie foe heear eee 2 ather he ie ie IS not finished, : : roublesome Dlaces? 3 eas? f he ean do 20 me You yi YOurself gas Said the rin ise of the hour thanktuj How long Spent on re able ta “S-§N artist worl Feels within him- should you ¢: J does Untit he And we ore, ing you sh uld do the same. into + hie an ideal to ont be ribbon like, show- aS wro kup to. i now know, ought More good th, The time put that particular yet think all yon mae ot Can just Re ar rur 1 You get ont of it is Courageous and Ne hourg are not of it is ave Rate, Set : t was ; ave not fingers 9 Te kencrons ESF sted hours. Y those Hotaed Ts, ming 1 your hours. all profited

Page 19

HOW I TEACH THE SCALES. BY MADAME A. PUPIN. THERE are a number of ways of teaching the scales. Young piano students are apt to think that every way is disagreeable, and many have been heard to declare that they would love music if only those hateful scales could be eliminated from their practice. And yet if these same students were to hear a great artist play they would be likely to admire, most of all in his playing, the limpid scales, like strings of pearls. The old-fashioned way of teaching scales was to compel the young student to play every scale, with both hands together, four octaves ascending and then descending. Another way of teaching scales was to let the pupil read them from the printed notes. But these scales generally began at C, and went on from the scale of one sharp to the scale of six or seven sharps; and then began again at one flat, and went up to five flats, or perhaps six flats. By this method of learning scales the pupil got no idea of the formation of the scale, and no notion of the relation of the scales to each other, but imagined there were two kinds of scales—sharp scales and flat scales. The shortest, quickest and easiest way to learn any- thing is to find the law, the rule, the underlying prin- ciple. When the underlying principle is found the twelve scales will be discovered to be all alike, instead of twelve different scales. ‘Then to learn their forma- tion before their fingering makes it easier to learn the apparently complicated fingering and the appar- ently complicated fingering becomes simple, by being reduced to a rule. It should be remembered learn more quickly, and with more which requires them to exercise their powers of reason and reflection, and that all can learn more quickly and thoroughly when the attention is concentrated on one principle than when divided between two or more. To learn the scales thoroughly should begin with the formation of the scale. Every scale is formed of two tetrachords. A tetrachord is a little seale of four notes that even young children pleasure, that and quickly we The interval between the first and second notes has al between the second and two semitones; the interv: a third notes hag also two semitones, while the interva between the third and fourth notes has but one semi- tone. This scale of four notes. with two whole tones and one semitone, is called a tetrachord. By making another, beginning two semitones higher, we have lowest note is These tetrachords sound exactly we have a scale of eight notes, and the called the key note. e in each alike because the intervals are the aol sti she rd of To make a new seale take the higher te A i pee ‘ eee n¢ this seale for the lower one of the new ace. aa a tetrachord beginning, as before, ao a scale of higher. These two tetrachords give us fhe sea 4 q a 4 w z—to——*. the second were between In order to make the interval 3 and third in the new tetrachord two semitones we obliged to take IF sharp instead of FP. By carrying out this rule further, we shall see that scales consist of a series of similar tetrachords, each one of which belongs to two scales; as the bee tetrachord is always the lower one of the next s en Pxample 5. The youngest pupil will find it EO ing to form the scales up to B, with five sharps; sharp, with six sharps (one of the sharps @ white key), and the scale of ( sharp, with seven sharps (two of the sharps white keys). THE ETUDE The beginner may first play on the piano the series of tetrachords which go to form the scales, playing each tetrachord with the same four fingers, omitting the thumb. Begin with Example 3 and play the two tetrachords with the fingers 23452345. Re peating the second tetrachord and adding another beginning two semitones higher gives the scale of G, like Example 4. If this exercise be continued, and each new tetrachord perfectly formed, the player ‘will in a short time find herself back at the key of C, for the second or higher tetrachord of the scale of F (which is the twelfth scale) is the same as the lower tetrachord of the scale of C. When anyone walks or rides in e continuous direc- tion and finally finds himself at the point from which he started he is said to haye been going in a circle, So these twelve scales coming back to the starting point have formed a circle, and we call it The Har- monic Circle. When the pupil has become somewhat familiar with the series of tetrachords and the ear trained to ob- serve the similarity in sound, resulting from the simi- lar intervals in each, then they must be written. Get a sheet of music paper and cut the staves apart; cut off the paper at the right-hand end of one and paste it on to the beginning of another, and repeat until you have a continuous staff long enough for fifteen scales. Write the scales and tetrachords as in Ex- ample 5. notes can be The made without stems, but the tetrachords must be slurred off in groups of four and the scales in groups of eight. When the notes go too far above the staff, repeat the last tetrachords two octaves below, and continue as before, as was done in Example 5. When the seale of C sharp, with seven sharps, has been written, cut off this continuous staff and paste the clean part below the seale, begin- ning on B. These last four tetrachords, which form the scale of B, F sharp and C sharp, must be written below, as C flat, G flat and D flat; then the following tetrachords will be written in flats instead of sharps. ‘The following is the order of the scales in the Har- monic Circle with their sharps and flats: Sharps Cc G D A BE B F# ct o 12 8 4 5 7 6 Ch Gb Db Ab Ey Bh F GC € 6 4 8 2 2 @ Flats It would be possible to write the scale of A flat as G sharp, with eight sharps, F being sharped twice, or F double sharp; and the scale could be continued as sharp scales up to twelve sharps. The unassuming scale of C, all natural, might be written as B sharp, with two single sharps and five double sharps. It could also be written as D double flat, with twelve flats. When the scales have been written in connecting tetrachords, as in Dxample 5, they may be written as scales of eight notes in the order of the Harmonie Circle. And when the scales are played the ear must listen and observe the proper interyals. HOW LONG SHALL BE THE LESSON OF A CHILD UNDER TWELVE YEARS? A M. MAGUIRE. BY HEL Av six years of age the child is a bundle of un- organized forces. Setween the years of six and twelve is carried on the work of organizing these forces, of preparing, arranging and getting them into order and condition for the life work that is to come. And this is a trying time for the child, this transition period, from the beautiful golden mis: of “make- believe,” from the rainbows and shadows of the play- world into the claimant reality of actual things. Interest. Tt has often been said that the musie lesson should last only just so long as the teacher can hold the pupil’s interest, but the. teacher has got to sceure the interest before she can hold it. The fact that the child remains quiet and docile while the teacher talks is no proof that his interest in the subject is being held, as, witness Profe y James’s oft-repeated story of the little boy who said to his teacher at the end of a long explanation of a point in arithmetic, “You're lower jaw moves up and down all the time you talk,” 17 So then, in the first lessons the teacher's effort must be directed to securing the child’s interest, and I know of no better way to do this than to bring the child gradually into the realm of music by one of the paths which lead from the world of play; to go out into the “make-believe” with him,,to go hand in hand with him there long enough to show him that you, too, know about play, and then that you have something to “show” him that is “just as good” as anything that he has in play-land. Play and Study. By this I do not mean to make music-study play, or the lesson period a play-hour. Not at all. Music is a study, and should never be permitted to lose the dignity which belongs to it as such, The study of an instrument is not one which can be brought into the kindergarten, nor should it be entered upon until the little brain has been at least started in the way of right thinking. What I do mean is, that during the first lessons the child must be permitted to “play” with the materials with which he is later to work, that “make-believe” must not be forbidden in the studio, but the child permitted to grow out of it by little and little as he grows into a knowledge of what is required of him. Take, for instance, the little girl who, as soon as she began to study music, conceived the idea of “making-believe” that she was a composer, and started in to write “pieces,” the greatest gibberish of course, but at the same time practice in note making, and from this it was but a step to ask her to divide what she had written into four-four t'me, to write the letter-names under the notes, ete. Also the little girl who made a funny- shaped note on the fifth line, and said, “I'll put arms and legs on it and it will be a man falling down stair and proceeded to do so. “Very well,” I said, “only what is his name?” After that she giggled a little whenever she came to a note on the fifth’ line, but she never forgot that its name was “F.’”’ So too with the common tendency to ‘“make-be- lieve” that they are the teacher. I never refuse an invitation to “swap around” and be Hazel or Marion as the case may be, because, as such I can ask a great many questions and secure thought upon things which, if presented by a “truly teacher” to a “truly pupil,” would be very uninteresting and tiresome. Some teachers call this “fooling” and will have none of it, but it is ali right, and is not waste of time by any means if the teacher is clever enough to turn every vagary of the little mind to some kind of account. Always Busy. The lesson period should neyer be more than half an hour in length, and during this half-hour the child should be doing something constantly. The time should be spent between the blackboard, the table, and the keyboard. 'The chalk should be in the little fingers, not in the teacher's, and there should be sufficient running back and forth between blackboard and keyboard placing the notes in their relative posi- tions on staff and piano to work off natural restless- ness. If at first the little maid shows a tendency to turn the table work into a make-believe tea-party no harm is done. Once the interest has been “eap- tured” and the hand culture begun she will associate tables with something else than tea-parties and settle down to the work in hand. At the table, then, the mechanical working of the muscles should be begun, and the hands prepared for the keyboard, so that when the child goes to the key- board it is to play the tiny themes and melodies musically from the beginning, and not to remain there so long that the thought of sitting at the piano car- ries reminiscence of fatigue that causes a dread of going back to it, and, consequently, a distaste for practice. In this way the teacher is really “organizing” the child’s forces; bringing the eyes to a proper under- standing of the printed page at the blackboard, bring- ing the fingers into working order at the table, and training the ears for keen and pleasant listening at the keyboard. And, as the child grows older and “the eapacity to enjoy Shakespeare overbalances a lost aptitude to play at soldiers,” interest in the actual work will displace the tendency to play; the child will be able to remain at the piano the whole lesson period with- out fatigue; but this period should never be longer than one-half hour, occurring twice in each week, of course, and three times is much better. ONE can never rightly or justly judge his contem- poraries.—Chateaubriand,

Page 20

THE ETUDE SA, PIANO LESSONS BY GREAT MASTERS FRANGOLS COUPERIN, LGeand! I Francois Couperin, J. P. Rameau, Philipp Emanuel Bach. (The first of a notable series of articles by Mr. Hill in which the practical teaching ideas of the great masters will be presented in such a manner that teachers and students may apply them to their daily work. In the present article the advice of the men, who in a sense were the founders of modern pianistic practices, seems as fresh and helpful as if written by a present day writer.—Editor.) It is doubtless a frequent experience with many teachers that problems arise in the course of in- struction which are difficult to solve conclusively. Instinctively one wishes to have the prestige of a great master behind a statement or simple explana- tion. With this idea in mind it has seemed of prac- tical value to collect some opinions from command- ing personalities, and to put them in a form where they will be readily accessible. Couperin’s Methods, The French have always been conspicuously skill- ful at instrument playing. Accordingly it is not remarkable, considering this innate facility which has always characterized the French, that we find the first significant framing of pritciples in the preface to a “Method, or the Art of Playing the Harpsichord,” by Francois Couperin, published in Paris as early as 1717.** Some extracts from this preface will illustrate more concisely and intelligibly than in any other way the early establishment of many facts supposedly of later origin. Position of the Body. “As gracefulness is first of all necessary, the posi- tion of the body comes first. To be seated at an advantageous height, the under part of the elbows, the wrists and the fingers should be on a level. Accordingly one should choose a chair which per- mits this rule to be followed. One should place something under the feet of young persons of greater or less height as they grow, so that they may sustain their body in just equilibrium. The distance at which a mature person should sit from the key- board is about nine inches” [their inches were larger than ours] “from the waist, less in pro- portion for young people. The middle of the body and that of the keyboard should coincide. * * * It is best and fitting not to mark the time with the head, the body or with the feet. One should have an easy manner at the harpsichord, without fixing the eyes too much upon one object or with- out being too vague in expression, or looking at the audience, if perchance there be one, or in be- ing occupied elsewhere, if there be none. This advice igs only to help those who play without music” (showing how early the practice of playing from valuable information on this subject, as well as for of examining > original editions of works by } others, I am indebted to Mr. Arnold jority on old music and the instru- played. [E. B. HJ ee “For, much the privilege yell to recall that the harpsichord and the clayi- » predecessors of the piano. In spite m and tone, there is virtual identity ng performances upon the older and any di te jn the prince later instruments BY EDWARD BURLINGAME HILL.* memory began. Yet this is attributed to Liszt!) * * * “Beautiful execution depends much more upon suppleness and great liberty of the fingers than upon strength. * * * For a child it is of utmost importance that he should not strain his hands to make the keys speak. From this result badly placed hands and stiffness in playing. Gentleness of touch depends still more upon holding the fingers as close to the keys as possible.” [This has been modified to some extent by the heavy action (in comparison) of our pianos, but this idea is ex- tremely valuable for teachers of to-day.] “Aside from the embellishments used, I have al- ways given my pupils little exercises, such as pas- sages and various figures, beginning with the most simple and in the most familiar keys. Insensibly I lead them to the swiftest and most transposed in key. These little exercises, which cannot be too many, may be readily devised from materials at the teach- er’s command.” [This early insistence on gymnastic training of the fingers is extremely interesting to note. ] “Men who wish to arrive at a certain degree of perfection should never practice any exercise which strains their hands. Women’s hands are generally better, for the contrary reason. I have already said that suppleness of the nerves (tendons) contributes much more to good playing than strength. My proof lies in the difference between men’s and women’s hands, and in the fact that most men’s left hands, which they exercise less, are usually the most supple.” * * * Finally Couperin terminates his preface with the following sage advice: “It would be a good thing if parents, or those put in charge of children, should have less impatience and more confidence in him who teaches (certain of having made a good choice in his person), and that a skillful teacher, on his side, should act with less condescension.” Rameau’s Advice. Rameau is very brief in the specific advice which he prefixes to the first book of his harpsichord pieces, dated 1731. He explains minutely all the embellishments employed in his pieces, adopts the fingering from one to five in each hand (althou } this had already been suggested by Couperin) aoa gives a simple exercise, adding: “This is to be PER eeted frequently without discontinuing and with equality t tempo.” But after all Rameau’s great theor 4 iy innovation was his treatise on harmony, jn tea he formulated many ideas in advance of He aaah Opinions of “J. S. Bach’s Famous Son.” Probably the most important most systematic treatment of the lying good performance on and certainly the Principles under- Bet : the piar ati this time is Carl Phillip manuel fone nae ach’s treatise, oot Manner of Playing the C] in 1780. It is laid on a definite : degree of deboestion. peng with nO little eral Instruction in Playing the Cla ens contains “Instruction in A eGitiSaniin’ Part two, figured bass), Free Tmprov hina: tment (from a edge of Harmony Necessary Ther and the Knowl. part does not offer m nereto.” The second the present Paper. , avier,” publis hed “Gen- aterial for but the first possesses such a treasure-house of suggestion that it is a difficult matter to limit quotation. “Three things,” begins the introduction, “belong first of all to the true manner of playing the clavier. They are, namely, the proper fingering, the correct execution of embellishments, and the right style of interpretation. Clear knowledge of these is not much spread abroad, and in consequence one for the See Heats piano players who, after unspeak- iene have finally learned to make intelligent sles eae the piano. One misses in their Lae fea eae ness of tone, clearness and natural- stumbling Pies Seat Panett a ingia a ta eee , the other instruments have learned behindhand a de ans es, respect as remainey instead of one concerned with gay passages et eaene N sustained notes to such an extent heat eee fo feel that it would be a shock to ihe clavies ma Play anything slow or songful om anita) a ne can neither connect one tone with eee xEp separate one tone from another by ay ee instrument has to be endured merely addition to thei Seeeten, cgcompaniment. * */agl tioned Sbaves pu css of the three qualities men- tion of their aE ThOcL fr in the wong poss playing well vanish, Teby all possibility of their hes, and from their stiffly-stretched ngers, as if made of wi : be inferred.” € ot wire, their other faults may The Left Hand, because the tater Geen attention than the right, (This is ex &xercise in other ways. * Ok aioe the opposite of Couperin’s pe) easy pieces: if ene to keep the pupil on too many A very few a thus remain always in one place. a 4 heir first SS r 4 sufficient time at the eR should remain a a skillful teacher ei harder pieces, of instruction, a: In this way a pupil “The left hand n e€ manner eo beginnings. z ealize that he is be- fathe € difficult pieces, f coeene eae Sebastian Bach) ey sa ee s this His pupils had ed pre e with his far from had to begin at The remainder : n chapters, deal- ; ee sering, embellishments and ing Cee a The teks eee with his open- iS alt ¥ s hapter on embelli a ra for one who wishes to eae ae ee Ghee vo selections from the first aha z will ne ir i dncieaetees ed no apology for their intro- P. E. Bach’ “The use of the proscribed in ady style of perform s Rules for Fingering fingers on most ree 3 instrum i ance by its natura nents is 1 construction; account there is not Singers on the cl cases more than Each new thought Peculiar to itself merely ; angler, Y irregular POssible age wae a depends upon fing experience that 4 On this ey of using the Y v ; od, and i aes In some ig aa may be permitted ees a new fingering a ee may be altered cen one thought and this last directto”, " Y misu 2 should “USunderstoo + i Tbe given to in” d, and much consideré used,” { i 1

Page 21

THE CHANCES OF A MUSIC TEACHER IN THE SOUTHWEST. BY E, R. KROEGER. A vast empire, whose potentialities are just becoming known to its inhabitants, is opening in the southwestern part of the country. The States of Texas and Okla- homa contain more square miles than all the New Eng- land and Atlantic States. The soil is rich in agricul- tural and mineral resources, which are just developing. Within a comparatively short period towns and cities have sprung up where all was prairie land but a few years ago. The men and women who have been the pioneers in this noble country are energetic and intel- ligent. They have come from the North, East and Mid- dle West and they carry with them the taste and in- clination for the conditions which surrounded them in their former homes. When the farm or the mercantile business is established then they immediately begin the quest for educational facilities. Visitors to the World’s Fair, at St. Louis, in 1904, were much impressed by the photographs of school buildings in the Southwest, and also by the school exhibits. More capable and in- telligent teaching cannot be found elsewhere. Full op- portunity is given instructors with ideas to carry them out. Many of these teachers have come from the lead- ing universities, colleges and seminarics in the North and East and have imbibed up-to-date methods. There is no stagnant conservatism to overcome in these new communities. All that is required is that they “make good.” The results must be in evidence and of a satisfactory nature. With all this comes a demand for education in higher literature and art. Excellent libraries are to be found in small towns whose resources are liberally drawn upon. Tnexpensive but good reproductions of celebrated paintings are hung in school-rooms. Pianists, vocalists and even orchestras are brought from the large cities in order that those with a taste for good music may have it gratified, and the younger generation may hear per- formances which may have a very decisive influence upon their artistic susceptibilities. New Opportunities. To this promising field comes the music teacher with the capacity for doing much good, if his ideals are high, or for doing much harm if they are low. He finds that many citizens of the small towns are astonishingly well- to-do. They own valuable cotton, grain or timber land. They bought property by the acre which now sells by the foot. Oil or coal was found on their land, which was purchased at high figures by Eastern syndicates. Some started small merchandise establishments ten or fifteen years ago with a few hundred dollars capital. They now have veritable department stores, carrying thousands of dollars of stocks, which bring them forty per cent. profit at the close of the year. The people want their children to have the best education obtainable. Their schools must be thoroughly modern. The music teachers must be efficient. They have no ob- jection to paying well, provided they receive high-grade work in return. In that portion of the known as Indian Territory ™ the Indians and their mixed-blood descendants through the allotments of land or money given them by the National Government. They are ambitious to pecone good citizens and to see that their children are educate similarly to those of the whites. In many instances their children cannot be distinguished from ther RuRE Caucasian brothers and sisters. Their cage ie frequently fair and as rosy as are ee a ; children, Their manners are gentle and eee ii oes speech is carefully chosen and freer from slang e be that of many city-bred children. They are ane a Eastern and Northern seminaries and colleges, and hol their own in their classes. Their musical studies often display distinction. The music teacher who =e them in their homes has much of praise for them a little of blame. The close observer, seeing this cess ° citizens so earnest for progress in the higher ae ace tion, and the virule and enthus white settler de . . ij cannot help velopin € vith rapid ¢ ping the country v f ficent Southwest a sighted music teacher anitely calculate upon n sense in State of Oklahoma formerly nuch wealth has come to prophesying for this vast, magn! glorious future. The capable, far- who locates in this region may d siugese, providing he uses ordinary ROMINOE dealing with his fellow creatures. 2 Often a competent musician fails to succeed ae of a total lack of good judgment in getting along ww i others. It matters little whether he resides in ae York City or El Paso, Texas: under such conditions he THE ETUDE lacks the qualifications for obtaining a good living. The mere fact that he is able to play Beethoven's Sonatas or Liszt's Rhapsodies is insufficient. Often an inferior musician will succeed where his superior will fail. The former is tactful, kind, cheerful, friendly, un- selfish; the latter is brusque, disagreeable, churlish, re- pellant, egotistical. The “personal equation” is an important item every- where. The music teacher who locates in the South- west possessing in some degree a sympathetic and generous nature will find that if his work is meritorious and worthy his neighbors will cordially welcome him. In a short time he may be assured of a reasonably satisfactory income. Certainly no other portion of the United States seems now to offer more favorable op- portunities to him than does this section. But before making the momentous move of locating there he should carefully weigh his personal and musical quali- fications. If he is unsuccessful, the chief reproach must rest upon his own shoulders. “PROGRAM-CRAFT.” BY JO-SHIPLEY WATSON. ProcraMs are the outward and visible sign of inner musical worth. A formless, invertebrate program is indicative of a slovenly mind, if not a slovenly player. A program with a well-defined outline is suggestive of good musical understanding. Look at your last program. Is it an unlovely bit of paper that longs for a waste basket to hide in, or have you given it a personal touch that distinguishes it from an advertising dodger? Like visiting cards and cor- respondence paper, programs classify us. We all know the itemized list of twenty numbers, the sight of which inspires us with any sort of excuse to escape from hear- ing it played to a finish. Compositions for programs are not unlike choice plants, that must Le started flower fashion, in tiny pots. Mere slips, that grow larger and stronger, with roots firmly planted, until they are sturdy enough to bloom in the freedom of outdoors. Too often we set the frail cutting in the public glare and see it curl, then it is that we direct our ill humor at the public and call it names. Many teachers, of the little town, have not yet learned the first stage, that of making proper selection: we are inclined to put the vigorous plant in a wee small pot, then, too, we are liable to play down to the notions of a popular audience, using pieces of momentary brilliancy, that get tangled in the mind as they in- variably do in the fingers. As we, of the little towns, have a good deal of un- occupied time on our hands why not use some of it in which to grow programs. For spring recitals, autumn planting is best, as many varieties, Bach and Beethoven for instance,. require diligent tending. It is hard to naturalize Brahms. Some things winter kills, others get root bound and need shaking up and transplanting. , Tt is only by changing, re-placing, making and unmak- ing, experimenting endlessly until the program becomes adapted to the pupils, that we can hope to keep the public from yawning over our recitals. It is a laborious proceeding if left to the last, but begun in time, and with a well-conceived design, the result will be proof against wearisomeness and uncertainty. Prune liberally and clip close, before so much as the date is set for a recital, the smallest detail must be nicely adjusted. Over long programs inflict injuries upon the players and impose upon the audience, if the pupils are humble they may not remind you, but the public will not hesitate to say that it was “Worn out and bored to death.” In experimenting, plant much and often, waiting to see what will live or die, and by keeping constantly at it you will discover, in time. that your programs are becoming more and more varied, more adequate and richer. The Historical Program. Perhaps the most appealing program for the teacher of the little town to try is the historical one, particu- larly if he possesses pupils who are semi-conscious, mu- sically. Let us not call it by its common nar MK Journey to Musicland Along the Paths of Yesterday” will prove more workable. The chief requisite for such a journey is perfect willingness on the part of the pupils, and the two words “Let’s pretend” will start them go- ing. Tt was surprising how effectively this old game of “Let's pretend” waked up my drowsy pupils and turned them into eager and wondering beings. The responsi- bility of the “make believe” showed me that they were far more capable than | supposed They gave them- 19 selves. more freely and fully to their task and forgot to fret over things that were hard, because their minds were not wholly centered upon themselves. Indeed it was this game of “Let’s pretend” that carried us safely to the end of our first journey. Each little pretender, with the likeness of his pretended pinned on his dress, polished and smoothed out his piece into something more than a stale example in key hitting. As most of them were very simple little travelers they took along very simple little pieces, not silly pieces, just simple ones. The paths of yesterday go by Bach and Haydn and Handel and lead to Mozart, Beethoven and Schu- bert, they pass by Mendelssohn and Schumann on to Chopin and Wagner. Though done in a small way, it was not a trivial lesson. Sketched in outline our map looked like this: Little Prelude in C.........-2-+06+ . Bach Andante (Surprise .Haydn Saraband ......... -Handel Three First Pieces . .. Mozart Allegretto (Seventh Symphony), Simplified. . Beethoven First Three Waltzes, Op. 9... ..- Schubert Hunting Song, Op. 68, No. 7. 5 - Schumann Melody (Concerto in G minor), Op. Mendelssohn Prelude in E minor, Op. 28, No. 4.. Chopin Lohengrin Bridal March (Arr. by P. W. Orem) Wagner If one is clever he can arrange and simplify his own material, but in the program above one finds it done and ready for use. In the catalogue you will see that the pieces range from the first to the third grade, the majority of them can be played in thirty seconds, the Chopin Prelude in one minute and a half, such short excursions that one is inclined to think the player gets nothing for his effort. But he does. As he stands up before his task he says bravely that he is Handel, a German composer, born in Halle; that he practiced in the garret at night, and ran away from home in search of music, hanging to the tail of the Grand Duke’s coach; that he found it and became famous in England, and that beside the Messiah and the Largo he wrote some other things;.then he stumbles and for- gets what they were, and finally recovers enough to say “My piece is one.” And when he plays it the audience feels rather more interested than it thought it would, and some of them are even glad they came. If it is not possible to begin with a Bach solo, and it is always trying to come first even when Bach is not there, use the four-hand arrangement of Bach-Gounod’s Ave Maria, a kind of Mellen’s food brand of Bach that critics do not fancy, but the audience will find it “pretty.” The Chopin Prelude is small in size but large in subject, it is far above the third grade intellectually and emotionally, though any serious pupil can play it technically correct. The audience will like it if it is told that it is one of twenty-eight sketches, “Ruins, eagles’ feathers all strangely intermingted,” done by Chopin in Majorca. The theme gravely repeated is singularly pathetic, and who can say but the playing of such a composition at such a time may produce some vivid impression and awaken aspirations that we have been trying for months to arouse in some slumbering pupil. The tiniest splinters from the real gems, if intelli- gently presented, will do more toward enlivening a dull class and enlightening an apathetic audience than any of the showy, key-pattering pieces one can mention. When growing programs, in your little town, think more of educating the public than of showing off your pupils, and remember the best recipe for educating the public is to educate yourself. A DOZEN DON'TS. 1. Don’t fail to keep your piano in tune. 2. Don’t employ anyone but a competent tuner. 3. Don’t forget that if the piano is out of tune the hearing will grow that way. 4. Don’t permit all exercises to be practiced in the middle of the key-board. 5. Don't fail to boil water in a room heated by gas, furnace or stoye. 6. Don't place your piano close to heat, an out- side door, window or wall. 7. Don't place articles on your piano—they rattle and buzz. 8. Don’t keep it in a dark room or closed too much— keys will turn yellow. 9. Don't fail to have it rest evenly on the floor. 10. Don’t keep your piano in a damp room. 11. Don't let your piano stand more than six months without tuning. 12. Don’t use any polish on your piano. —H. M. Hughes.

Page 22

20 THE PURSUIT OF THE IMPOSSIBLE. BY JAMES FRANCIS COOKE. Impossibility and Impracticability. Ir was somewhat difficult to determine whether this article had better be called “The Pursuit of the Impracticable” or “The Pursuit of the Impossible,” for it is aimed at the unfortunately very common habit of both students and teachers of attempting to accomplish things that are for the time being un- attainable. In music there is little difference be- tween impracticability and impossibility. It would be possible, of course, for a pupil with very little instruction and musical experience to attempt to play the Beethoven Hammer-Klavier Sonata without going through any of the inter- mediate steps ordinarily introduced by teachers be- fore they permit their pupils to essay such a difficult work. By dint of persistence, years of working and waiting and concentration, to say nothing of in- terminable mistakes and disappointments, the pupil could master the sonata in question, but this course would not be practicable. Yet the habit of giving pupils music far beyond their ability is one of the most common errors into which teachers with limited experience seem to fall. Teachers struggle along for years with pupils, who in turn are tortured by hours of practice upon com- positions so difficult that it is impossible for the pupil to even comprehend the mental technical work they must do before anything like perfection is reached. Whether through a lack of tact or sheer ignorance, some teachers seem to be unconscious of the fact that the pursuit of the impossible or the impracti- cable lies at the bottom of their inability to succeed. It is possible that many have not learned the great secret of all pedagogical endeavor, “look through the pupil's eyes, think with the pupil's brain, hear with the pupil’s ears.” Many a composition that seems very simple indeed to the teacher is appallingly dif- ficult to the pupil. It is the business of the teacher to pre-determine the pupil's capacity and to be guided thereby. I have just seen a case of mis- directed good intention. A pupil, eleven years old, came to me with the inevitable “Rondo Capriccioso” of Mendelssohn and the E flat Nocturne (Celebre) of Chopin, poised upon a technical structure so frail and so delicate that one waited with baited breath until the end and then indulged in a sigh of genuine relief. The teacher of this pupil had been well schooled in music. The fault lay in the fact that she did not realize that the pupil, in order to play these compositions, which seemed simple to her, should have been required to go through a technical training, which she no doubt had enjoyed, but had failed to give the pupil. Reputation. The policy adopted by some teachers of giving pupils pieces in advance of their real ability, for the purpose of making “advertisements” of them, to the certain injury of the pupil, is always a very short- sighted one. A teacher’s reputation depends very largely upon the thoroughness of his work, and this means thoroughness from the beginning to the end. Even a few exceptions to this rule are damaging. He does not make his fame through a few talented pupils, but through the regular routine and general excellence of his work. It is highly ential then that he should con- tinually endeavor to ascertain whether he is hamp- ered by the pursuit of the impossible. There are certain technical faults, such as breaking in of the finger joints, stiffness at the wrist, etc., etc. that hinder success as negatively as does the observance of the correct technical principles predicate more rapid progress. Not long since I found a pupil struggling with the “doppio movimento” in Chopin’s Nocturne in F sharp major (Opus 15, No 2). The rhythm was entirely misunderstood by the pupil, and years of practice would not have produced en lent restilts. It was necessary to take the pupil in hand and devote a considerable time to the subject of rhythm alone. Practice Not Everything. teachers and parents make the serious error thinking that practice Is everything. If the pupil a a certain spec ed time in front of the key- ‘ assume that fine performances must Some remains poard they THE ETUDE ensue. Nothing could be more absurd. The old ex- pression “Practice makes Perfect” is only true when we modify it to read “Perfect Practice makes Per- fect.” Practice may be very injurious indeed. Often the cause of the failure of certain pupils is due to the mis-spent practice period. This is not always in the case of careless pupils, but often happens with pupils of good intentions. The teacher must first of all insure himself against wasted practice Joriide To attempt to succeed with the handicap of in- different practice is to pursue the impossible. It is far safer for the teacher to specify a given tine fo: the pupil to devote to various branches of his w i than to permit the pupil to use his own judgment unless the teacher is convinced that the pupil’s mi d is sufficiently mature to navigate the musical @ himself. The ideal plan is, of course, to mail ae pupil independent in his work, but this i ote impossible. ease ork Talentless Pupils. Another and somewhat sad pursuit of the j possible is the case of the talentless pupil. Jo. Bt Jefferson, the renowned actor, once said os FE mati Wilson, “Genius is that which creates; talent See which reproduces.” Allowing that musical tal ae may have to do only with reproduction it is ‘certainly true that some people do not seem to be endow a with the ability to interpret musical master. ee with any liability of ma <ing them artistical] ae able. _ Many such people seem to be able wf eel duce in other lines, and, in fact, I have in ie young lady who has worked faithfully and a Nie gently for years, with the desire of becomin See complished amateur musician, and I am alae ee discover any flaw in her work that has SrevEn a her achieving her Purpose except the fact th fae seems to be without what people call musical ae . This same young lady has undoubted abilit ii ae direction of painting, and it would be decidedi: oe her advantage if she devoted all of her time t aoe art instead of music. SOatlus It is a great mistake for a teacher t talentless pupil. The injustice to the commensurable with the injury such i a teacher. The talentless saei is ae tad ee a detracting element in the teacher’s bid ae legiti. mate reputation and publicity. But worst cea perhaps, is the mental influence that such a at has upon the teacher. It is depressing to me treme to feel that you are carrying along some aed to whom ultimate success must be denied. Tf he teacher will make a policy of dismissing such pu le and devoting the time lost to securing new Bu eTA : credit side of the teacher's ledger will go up like 2 thermometer in June. The strain upon the teacher's energies is always a great one, and in order to do good work he must free himself from all dead wood Nevertheless, many teachers hold to such pupils Sth no uncertain pride, calling them “difficult eave oy ‘ and feeling that their mission calls them to eo k ait the harder with the talentless student. Tt : a ignis fatuus in the swamp of despai : : . ts spair. It j : of the impossible. s the pursuit 0 encourage ey pupil is hardly THE MOTHER’S INFLUENCE, BY A. W. BORST, GivEN the universal! ; ally acknowledged axj : , } ged axio at is no factor more powerful m moulding aie thers child than that of its mother, how a oe power is of so little service when it” mien eae development of its artisti oes 6" ‘the € nature? [¢ = aq bheHiive GAG : : We ar po a seats nation outside of the fe ee ee an echiaiel, it is surely time to call a erely useful great latent power-house ; mother’ ronnie this ‘TS care for he; her i au the progeny’s advancement, She ought, at the s ght, a art, to he’ i of the tuneful nursery fede Me nf this end. Pictoria illust ations ay gaye S add to ¢ training. Tf the m f : other ea songs, then it behoove ee ant with some 1 expressly for N€ value of the ven these bs Ss her aah ve a substitute. Her wee T to make atrangemens easy selection of a capable. responsibilities +o. ents for important to We tee teacher. This eigen on her Later on the eee to favoritism Oe ction js too his studies, to ie abl ae his chilq aie chance aM Sia- ix case ADle to give « 4 Ms eae This is in order, but— 2 give some Practical t pur Suing the mother ss exhibition whilst the young shows excuses for rane a ) Interess his not s trea : she ace other school lesson—th aoe his Music a ia accept any Aili: bankai core onl t eS NG Wi daily, conscientiously ra tis not every chi Would wny times drudger ve OUR Whi Md Who goe. S How to Help. If the student must, perforce, give up a little of his Playtime, surely it ought not to be too much to expect a similar sacrifice, occasionally, on the mother’s part. Both need the lesson that, in order to fully appreciate any pleasure, it must be worked for, The role which E tesappoan parent should assume does not end here. Ee numerous ways in which she can make the aS oo £9. artistic knowledge somewhat easier to cientiy meee y to show pride and interest in any Teveie ain in the learner has been able to overcome. op aba ae now and then at the piano (even if it tunity to stor pe Soak), De sive Dn oo eae doe wa Others that he is making progress; by Ate ce oe Ormance. To read some trait of a cor in WHEN sone an anecdote relating to the circumstances BIOL OF sae fe Sane or Picce was composed. Even the might possibly cra ms a little from a magazine article, fiend chiBlit he = a stimulant. Perhaps some musical from a work ben luced to play some of the leading airs might agree to visit eeort in the city. Or another playing four-hands. a fee for the useful purpose 4 a great charm Aa oe music, like new garments, has kindergarten game proves Ber very little children ? imitate some musical pee beneficial. Get them ' It is not Ret sufficient t a + i to the public schools, oe musical culture entire quipped than form » although they are now far better ites, are quite a st ctly. The churches, in some local- high-class music pe element in furthering a love the credit of the his, in parentheses, cannot be laid to by their eee ne Ministers. In many places the lattet i training, or by their interference with Or, often become a niperets: hindrance to re4 he next plac f ace wher i with a more or Te children are put into contact Sunday-school less musical a century, Hers -7. atmosphere is at theif the advan also, during the last quarter nature. Ty many . ce has been of a very limite little better than Thee the ditties provided ‘are butt Streets. So, then what one hears now all along the to the fact’ tise ae behooves the mothers to wake UP coming race in the ere is a Promising future for the domestic ties wil] alm of art. Through this medium and it would be eta htEBly be more firmly welded, Women’s conyenti im order if some of the 1 AS tons would make a note of tl ables! < he point. a THE PERSONALITY OF THE gs TEACHER i ‘ about persons : Ing. Y i sonal magnetism j Rate ate only to look into seus ae i teach- ability, Ae ee feel instantly confidence ° Some sincerity in your own attitua in theiy . de toward them, They a % themselves, mp More than that—they itor es. "They know you pen capacity for es not j sely — een feel he can make sie eh ie Sonality is philanthropi “te en if Shine, '~T eg " mark that sifitess vill gen, Woe ‘ One Will y . ne whose personality a UCCESSFUL WE hear much know life a ay sympathy, ona Se person It wishes its ACO is 2 ft me he Wins people, a question Ip you" is the Personali alit: r Personality; ¥ and Prestige, men from othe are some Way, The. ‘onstitutes distine: Y men j f Nn that who Would haye tion. It distinguishes They ; a hae IS Individual, ‘There Ney increase jf by ae gp personality any" i Y StUdY, traye’ mecca Iping others to eee associations. Personahiiv «eae estige. me Nh prestige, T do not a. It is so often Ugeley d, too, “TSSIEN'S tricks, ieee SUCCEgS icks, tricks of th a Mauch More a ® synonym for . its original meaning Dased upon every one won prestige © trade,” the oe Merit, and not upo? Musical lifes Dersonality a Wold be: sate, BOY sonality ie! rou may Sees than prestige—" oughly bag, ie thoroughly ee of strong per A man ; tism for by May use his Che wore No one is thor ~~ strong personal ‘That same strong magnet Frection Would he a powe™ strong {is personal magne’ hey grow strong in PFO” difficulties they encounte! Of luxury sae chataeies c aie a one in the ia : tat does not deve Thr man ee Who oat WhO sneeao, sh Sarly th tite. “eds ahove his fellows is the mit Ward that dba Clearly divestas fas ciiéta and Fening itsate Jeet habitnany oe s his objec ‘yaver fixity of 'S Dut fine * eorects his powers: iy Observation, strengthened DUrpog Dose, Lora Lytton oe PR iiss

Page 23

THE ETUDE Pachers: Rote fabe Conducted By MORE ABOUT A NEW NOTATION. Tue way of the reformer, like that of the trans- gressor, has always been hard. When Guido d’Arezzo, in the early part of the eleventh century, was trying to perfect a notation that would make it possible for singers to read their music and learn it in a reasonable length of time, and when he had devised an excellent working system with which he was making a great success with the singers in his monastery, as usual in such cases, the jealous wrath of his associates descended upon him. He was accused of corrupting true ecclesiastical music, and introducing that which would undermine the faith. Tradition won the day, and Guido was driven from the monastery and forced to wander about with the curse of expulsion upon him. Fortunately he had a friend in high place who interceded for him with the Pope, and he was himself eventually triumphant. : One of the correspondents of the Rounp TABLE is distressed because of the inadequacy of our present system of notation. She has devised something new. which, however, has not yet been submitted to in- spection. It is, therefore. impossible to express any opinion upon it. The Round Tape answered some questions in regard to this in the October number. Another long and interesting letter has been re- ceived in regard to the matter. It is too long to print entire, but I will select such portions as space will allow, as they call for comment of general inter- est in the profession. to give a ‘remedy.’ I have lation which your depart- ment affords. I have been told the idea_is not new, but have never seen it in print. Will you kindly note that I have in mind one idea of a next best step in the evolution of staff pees that I do not propose to subject our wonder u tone picture to ‘wholesale condemnation. “If Tue Erupe publisher believes, as your answer to my first question seems to indicate, that a Biad: ual change of music and plates would involve him in financial ruin, then I should not wish to trouble him with a proposition tending to such a cata trophe. I was under the impression that such a all the time, that gradual change was going on a ma the plates for new music and for new editions of the standard works were in process of construction continually.” _ Q. “I should be glad in mind the wide circu A. I alone am responsible for the statement ast the publisher being involved in financial Spat . might answer you differently if you should su es your system directly to him. Bunglenn ene, while new and improved editions of the classics ae stantly being issued, yet you fail to take note o i fact that the same and well known notation 1s used for all. The new editions are not a process bowen an entirely new system of representation. but me y newly edited with phrasing, comments, or r ed the publication of new music involves nothing ee wards a new system. Such would neses te ive systems, the old and the new. But it could he be expected that prospective players would take the pains to make themselves familiar with both. Q. “Your answers, considered together, leave me wholly in the dark as to the attitude, of par 5 lisher toward a possible further logical siden: ment toward one given thing. Will the END Tame express the present trend of thought in re gard to this. Also, I feel sure it would Help may of us if you could give a clear statement 2 yd that ‘logical development’ was arrested after the invention of printing.” it is impossible to ex- -h one knows nothing is submitted A. You seem to forget that Press an opinion on that which ¢ ef about. Unless your new “staff-picture N. J. COREY for inspection nothing can be said either for or against it. One glance at it would be worth pages of generalizing about it, or any other system. Furthermore, no one but the publisher himself could tell you his opinion regarding it. “Logical development” ceases to be such when it has reached a satisfactory conclusion. It passes from development to completion. The development of a staff notation ceased for the same reason that the development of the alphabet ceased thousands of years ago. simply because a satisfactory method of representing sounds had been found. The alphabet represents spoken language perfectly. The staff notation also represents the musical language, as we understand it at the present time, perfectly. That is, it remains for some one to show us that it is not so. When a satisfactory outcome to develop- ment along any line has been reached, it is no longer necessary to pursue it farther. This is the reason why “logical development” ceased after the inven- tion of printing, although the invention of printing has no necessary connection with that cessation. The present trend of thought toward the means of representing music now employed seems to be one of complete satisfaction with it. The only agitation regarding it that I remember to have ever seen has been in connection with minor points of detail. the adoption of which would neither affect seriously players nor publishers. Gradual additions to, or improvements of, the staff notation may be made from time to time without affecting its gen- eral appearance and use, but radical changes must make their way with difficulty. As you suggest that you have only a modification, it will doubtless be inspected with interest. Q. “The teacher’s mind would naturally give first place to the problem of making the best use of time and mental energy in the musical education of children. A modern thinker may have ideas far in advance of those which be- came so universally and firmly established some four hundred years ago. If so, the old ideas must seem ‘antiquated’ to his mind. He may have ‘something newer that answers the same purpose to much better advantage.’ If publishers and the public generally are not ready for these advanced ideas, those who are ready must submit to ideas and conditions which to their minds appear ‘antiquated.’ A missionary map of the religious world shows a large pro- portion of its area occupied by those who still bow the knee to ‘graven images.’ Is it, there- fore. incorrect to say ‘the worship of graven images is an antiquated idea?’ Is it not an an- tiquated idea which has not yet given way to the more vital conception of the spiritual wor- ship of the One Spirit?” A. Your analogy of the graven images is not altogether to the purpose. Graven images are wor- shipped by the most benighted and ignorant people of the world. The intelligent world has outgrown them, and therefore they are antiquated. The staff notation, unlike graven images. is used by the most intelligent and informed portion of the world. It cannot become antiquated until abondoned for some- thing better by this intelligent class. Q. “Apropos of verbal criticism, will the Rounp Taste also give the correct terminology for a characterization of the ‘movable do, for instance? If it is not a ‘mechanical conception of music.’ what is it?” A. It should be clear to everyone that notation is not conception, but a means of representation. The letters of the alphabet are not a conception of the ten commandments, although they can be used to represent them to the eye. and through the eye in- form the mind. Notation is not a conception of a 21 Beethoven symphony, but by means of it a composer may represent his music to your mind. The con- ception is the music that we hear when it is played or sung, not the attempt to represent it, whatever the manner, whether by the staff notation, movable do, or otherwise. I should characterize the “moy- able do” as an unnecessary nuisance, a snare to con- fuse the mind of whoever is trying to gain a con- ception of music. The fixed pitches of sound are represented by the letters of the alphabet, a, b, ¢, etc. A is always a, and is never changed. The inter= relationship of the tones of the scale may be repre sented most simply by the figures, I, 2, 3, etc. Through these two a student can gain a perfect con- ception of the musical system, and learn to read quickly. The “movable do” only confuses the mind by adding a third means, which simply repeats what has been learned by the figures. Why add unneces- sary ways of doing the same thing? The gbures give a clearer idea of tonal relationship than does do, re, me, etc. Why have three ways of doing a thing to confuse the student’s mind when two are sufficient? The do, re, me, syllables are a middle age invention which should become obsolete. If you can show a notation that is better than the staff notation, then let that go, too. Q. “Does not the editor misrepresent the quota- tion when he says, ‘Notation is no more a mechanical conception of music, than is a photo- graph of a tree a mechanical conception of it?” A. No, because notation is not the music, neither is the photograph the tree. Each is a representation of something which exists apart. Q. “Might not the sentence, ‘Notation is a musi- cal conception’ be erroneous, while the sentence, ‘Notation is a mechanical conception of music’ be correct? A child at the piano may be taught to read the notes of a major third, to find a major third on the keyboard, to write or draw the pic- ture, we might, say, for himself, but does he have a musical conception of a major third until he can distinguish the difference between a major and minor chord at first hearing? Might not the first conception be called mechanical?” A. There is no conception whatever up to the time when the child begins to be able todistinguish between the major and minor thirds. He has simply been learn- ing to read the representation. During this process he may have neither mechanical nor musical conception, Neither of the sentences at the beginning of the fore- going paragraph is correct. To say, “Notation is a representation of musical conceptions” would be correct. It does represent them just as accurately to the mind that has learned to read it as the printed page repre- sents the ideas of a writer to anyone who has learned how to read it. The mind gains a conception through the printed page, notation or a photograph. But none of these are the conception, Your new staff notation, whatever it may be, is not a new conception, except of staff notation itself, but a new way of representing musical conceptions. The publisher of THe Erupe will be glad to give you an opinion on your new system any time you may desire to offer it for his inspection. Q. “I shall be very much pleased to have the two following questions answered: “1, How long will it take the average pupil to complete each grade when only one hour a day can be available for practice? J “2, How can one determine when a course in music is equal in advancement to a given literary course? For example, if a high school course should complete solid and plane geometry, three years in Latin, and other studies correspondingly, how many grades, counting from one to ten, should be completed that the music course should be on a par with the literary course?” A. Progress must necessarily be very slow with only one hour a day for practice. As a pupil becomes fairly well advanced, the daily hour is hardly more than is absolutely necessary for the technical work, scales, arpeggios, chords, octaves, special exercises, etc. Us- ing the Standard Graded Course, such a pupil might finish the first two books or grades in one year each. After that each grade would require a longer period of time, the required time being greater as the diffi- . culties increase. T doubt if the final grades could ever be accomplished by anyone with only an hour a day for practice. To determine such a question as you propound in your second item is a purely arbitrary matter. No (Continued on page 68) 7

Page 24

22 here is an 4 dvent of a new year at celebration of the ady : se to the Donate anes ae ee From the wild Cea fo Se PS aiienial of the Hebrew “Yom pre restaurant, where reverent ci : ibald crowd in the Br ss . . ting to the riba = 2 ne onl silence of ge inte Be are sold for oe oe ee oi » the seats on New i t something that goes stra i i : is always presen : ‘ ing past and ie pepe anloake the doors, revealing the vista of the dy 8 individual a ‘i o ica ture, ei ian the dream picture of the feted ae of a new quarter of a century ly at the door of a. ae onsibility of our We stand nee We, are impressed with the oo roe = nue ee Ge eis eae deeply the necessity of administering ‘ SRtie oe it has done Ge eeitaitery bing - of musical education in the world ne peas it has been increased serve the interests tunity is a glorious one, and we rea ize é Z and) suppoHedice ce gue past Our nee efforts of our readers who ee in a most sincere fhrough te ie Preset and the entire staff of THE catbeadie Without your this work, Ae aeises and appreciation to all of our ession oO e tinue. ints loyalty and support we can not ea Tue Erupe has developed from the menses a0 a teste: of a: century «an, which eet largest circulation ever During the que reas I jossession o ne acer Inning to the possessi country has been most insignificant es manatce, the musical oe eats 1 aoe i accredited’ tol any sailsical i ther country of the world. a : than in any o 7 Z , . In*another part o seed oh aes able to participate in ue Ae scene i made Tre Erupe Tue Erupe has i ible in which the fo Wns induct ead of the crucible | Insulting alike to the kind of morbid hysteria still ie bes Wwe can understand, Nevertheless, a called artists. We SMP of the commercially eccentric so- in the matter of hea inists to change their individual taste gusted with those yy re, but we “American heartily dis- a ars, sk o utiful and appropriate att ho employ e EW teachers avail themselves of the impression that seems to exist in ¢p Almost as many people Tesolve to co as at the commencement of the r advantages arisin ar mental ig from a Peculi: Year season, at the New 1 € study of Music at this 4 e Is have a i egular teaching year in September ee 1 ume of large schools nave assured ys that advertising Put forth at this season au heads brings results, A little energy upon the teacher's». icky coe SS of those gaps in the te 5 : SCASOn iqyy, May fil] rable durin NE and oft ariably Up some & the busy en troubled Part right now M Inconside e during the lo months but which mear I 1 SO much to summer vacation, r [ YEACHERS are often C n will stop to Tealize tha © Much honor t themselves, If you of the world Comparatively ¢ the vast Number of Steat teachers immense educational energy With the MS: dine Teally ever evolved from the Tehend wh . i at we mean, in the final mean : 1 of bupils the teacher’s Hee o If such 2 timate is possible. the Motive force, But a 800d © he mu ivan i "rani a disastrous Tuin, Par Nts sho a nine ay a musical engineer for th bad “gineer may court Sreatest care in selecting HE ETUDR ; 1S co: a Way that th ae & ideas ¢.. , H © believe jn advert: ‘tonal dignity of tt be Methods of advertising in such this adve; ising iy vol esing § I teieha. lead Vertiser js ray jeoparded: ae Using Should be done t teacher. ang iciang pt RO way ire tha at aff a" and al] Printed adyelet @ Strictly legitimate yout We also believ atio' clame tes a t Ought pre Tt We advise ste basis, In the preDaaa e 4mMs the least and dog ; Pret we 1 = Ur teacher readers to exe Mos i) . . wil Be Y that the teacher © Ne who Teaps rich rewards. a Sn a ge gig a

Page 25

23 THE ETUDE BURLESQUE gro-deciso,ma non troppo M.M.d. H. SPIELTER 5 3 Cr) 2 A Boe 15 =84 4 4 3 3 Alle con bravura Si leggiero Tempo I accel, a 3 24 wyed £0) ot] ce we! elo] |e] to sls = oe oufer shod at] ce = a) 29 |e PR ON ee mareato British Copyright secured Copyright 1908 by Theo. Presser...

Page 26

a THE ETUDE espressivo 2 2 3FS { {.M.¢-96 | etlen ee M ee : a - ee Lie) hie Le Nive = | Hel | He Le nthe > pe (copyright 4908 by Theo. Presser

Page 27

THE ETUDE atempo 4: 3 7 == : eas me

Page 28

THE ETUDE VALSE VENITIENNE 25 Secondo ra an ctl i 8 Te Pa | z mall] ih iN eal in oH itt mi dq \ \ Ot (7 | Wi all “iy ih eal Ti = all ‘4 cil ky H a) a an acl ——’ a b ie san 4 ~ Jie Ml L{Nee® ie { ha 1h i ae Atay Sie seh wane = SS ao ik j thine I lami ih | U il it | re tt iz ee UT Fine =: Mal 19 ball il tl ball Aid (ets fet f pakcal Ihe 4 From here 80 to the beginning and play to Fine; then play Trio Copyright 1908 by Theo. Presser British Copyright Secured

Page 29

THE ETUDE VALSE, VENITIENNE ‘Primo: LEON RINGUET, Op. 41. Grazioso M. M. d."= 63 e ee i ie Sar a = Ss A = 7) a or ae) inni lay to Fine; then’ play Trio. % beginning and play ®& From here 62 ¢9 the

Page 30

THE ETUDE 28 Secondo _ cantando Fine of Trio # After D. C. Of Trio repeat the Valse, ending at Fine.

Page 31

THE ETUDE | a Trio a , 3 » Sat es - <= ae AO on of Trté: Valse, ending at Fine. # After D, C. of Trio repeat the

Page 32

| | | 1, | 30 THE ETUDE SWAN SONG From“Lohengrin” R. WAGNER. Andante molto. Arr. by D. KRUG s 3 5 se # Storing the Cathedral elig 1080 ee a ae =acee i : : pee oS a6 Tim. - Ne = = 7 gremolo Chorus: A swan, a swan, a swan! Allegro Copyright 1908 by Theo. Presser rte

Page 33

THE ETUDE 2 4 3 4 35 es a pee I give theethanks,my trust-y swan! Turn thee a-gain and breast whee re- a eieree parlando coe una corda sempre turn un-to that ‘land of dawn,Where Jate we did in Joy a-bide! Well thy ap-point-ed task is done! Fare -well, ee Sie e eade aa ii ey 1@Q- r = & y swan! fare-well,my trust - Chorus: Doth he not seem from Heav’n canta bile Swan Motive de -scend-ed? Hisra - - diant Val tre crordeY & 4 once fae or andgrace him al dolerssimo (pete ie an and grace inhim 3]

Page 34

32 THE ETUDE a fempo 3 x oO ad = a tempo appasstouato @ tempo tremolo = ‘sae | 2990y0 EPP

Page 35

No:1 Op.90 , GEZA HORVATH B | Bere SALTARELLE THE ETUDE oe DOR D ——aal ea 3 peter ¢ 4 (wet £ =e a] @ tempo enna International Copyright secured A Last time only ° : 2 J 4 3 first time onl, . e Va Copyright 1908 by Theo. Presser

Page 36

THE ETUDE THE BETROTHAL MARCH = British Copyright geoured CHAS, LINDSAY h Mare = Introducing “ANNIE LAURIE” 2120 = Al o di Marcia M.M 3 oS Intro Temp => Copyright 1908 by Theo. Presser

Page 37

THE ETUDE 35 well - ton |braes a - nie, Where ear - e =t oe {= 3 Fi 2 5) 1 her |cromise o there that < é Feat 3 { : += doune — and, eee 2 | Solo 7 basso marcato con 8 ad lib. 4 5

Page 38

36 THE ETUDE IN SYLVAN GLADE DANS LA CLAIRIERE Bluette Mazurka Moderato e grazioso madatt2 3 a NS. 8 — : CLARA GOTTSCHALK PETERSON, Op. 26 3% 34 Padi 5 - se aa Y = 2S) a ee ee By, 2] ‘ I, ae ee Copyright 1908 by Theo.Presser. British Copyr ight secure?

Page 39

THE ETUDE 37 Ay, POCO acced. 2» dolce sempre legato a Sa ee oS aah Pane

Page 40

MARIE CROSBY THE ETUDE THE AON? Or THE FATRIES Allegretto M.M.4.=69 38 | Sd Pe no | ‘ iS Z Eu eramin| %& 8 fe Cap Galas & = 8 % ie a ool Be ok” (“: ON imc - ch! nt z ro SERENADE VIOLIN AND PIANO ry) 1d 2 104 =e : f et = gretto M.M. d N H| : Dy a e. tH - 8 5 2 & th n| : z 3 & th earch & =< ra hy yy cal fool be o : Be 4 mull u 5 i = Wesean Hy) || ONS 2 9 SS ay S| | neh = a ole eS Be 3 5 aa cin! bel & oR os 3 See CR & 3 is s ins lL} & a

Page 41

THE ETUDE aS rate ties NLS : po alba a 2 ee a ee ee atempo PP rit. a tempo y —. ca 4 eat rf a —f ——— = ee uy Sul A fn 4 4 as Ps yr —" as 5 | at the re tH Hest Fee tough gat eS pg 8 8S te oo pe eS y eee — i ie t t o- Last time to Coda Ri 7 => riten. i tempo Scherzando Te gelero = 2 =et 2 = ee a a—~ Ne Se a gp wea Temipol i 2 = Su cresc. —Daco Pilon. Ppp Tempol pw. ° $ ¢ eee =T — a ‘2 aa DS OL.

Page 42

THE ETUDE 40 Eels INTERMEZZO PIERRE RENARD Allegro con fuoco Z i ~3> S oO ' Ones 0 10 i s lex tip i ae ree io 2 =p oe 2) =a +, E CL ah = nS ¢ id 8 r Sh TQ be 8 5! Ble Ke —_—===—— ay, Lento e teneramente 4 2 ‘1, pres ae # tas a Ce | ra _—) Presser a Bans Titish Copyright seQured copyright 1908 by Theo. P

Page 43

41 THE ETUDE Poco animato Ze x THE SHEPHERD'S JOY \‘VHEURE DU BERGER A. TELLIER ae Vdd ST Allegretto mM. mM 4 rie. > a tempo Piu mosso ee

Page 44

49 THE ETUDE Tempo I 5 —# = = ey H Seam a/aynsme ate ae Pee 5 aS j j ip, | @ tempo — rit. @ decrese. Daadi BL A

Page 45

THE ETUDE GOOD MORNING EVERY BODY Jessica Moore Allegretto moderato M.M. d=80 VOCAL OR INSTRUMENTAL GEO. L. SPAULDING 1 1 a ey is = it See = t — == ses Se ee a er crs —e | i z & oe a f = = s 2 In thehigh blue sky the suneachdaycomes slow-ly from the See ~When a cloud ap-pears and hides the sun’s face from us_ for a- —— And his Then the smil- ing face sun dis-pels See io is to our eyes a nev the cloud by his good- na - tured, hap - py tir - feast; smile; 5! = (er ing i? wel-come him IA at the morn-ingsdawn, As all thro’ lifewhenreal_ trou - blecomes, We of thosewhomwe it with ne'er a one face love; Andim - ag - ine ‘he For suc-cess_ is sure area, =e oe E=* aS = be = = = | ae — ey I greet-ing us like this from up we will heed the greet - ing of 4 x | 7 = lf + a - bove? the sun: ia ba | i ees and birds; morn-ing_ trees at ; A pleas-ant smilewill al-waysturn (G8 e Lae ee ws lg i 2 r; e e ¢ # The part ay Sint notes muy be sung by a second voice Copyright 1yO8 by Theo. Presser British Copyright secured ieee! aan

Page 46

44 THE ETUDE A GIPSY MAIDEN, I. NELLA, 3 3 . is ° 2 ee Se 1 ae Ba J eel 2S — ; bisa | Al-ham - bra ar - den, Neath the shade of o --range trees, gladday I Fon - derd Why my way so oft was thine; ets = SS ae foun - tain mur-murd soft ly In the per SS Sos learnt - thy hap-py se - ret, Till I knew hose ting breeze, t ly heart wa S$ mi ~ fen. ne, Copyright transferred 1903 to Theo, p, Copytigh 1898 by H.B.Stevens ALSO. PUBLISHED FoR TeSseg O. HIGH AND LOW voice

Page 47

THE ETUDE 45 P ee paco rit: con espress. ——— ee ee ere —— ve eNS ee ————— Sr ae a There we met andtalkdto - geth - er, Till the stars . -hadgemmithe sky; Thou, a Now for thee brighteyes are gleam - ing, And for ‘ thee fair la - dies sigh , Butthere’s ar wise andlearn - ed, i sy maid-en A : ar wise and could love thee. bet - ter, ; sy maid-en But theresnone could ‘love thee learn - ed, But a Gip - symaid-en I” ah} bet, - ter, Tho’ a Gip - Mere en | ails 4) TSS =|] a \ EES |_| ff Ce (‘tos aaa a ee oT - a i i a A dim.e rall. a wee . + 3 Saas a : A) ; i Saw Refrain Allegretto = == . Thro’ o-livegroveswithmer-ry song I go, While: e - cho trills the gay re-frain, As ten. fel. poco ri. n , a , z ioe === are ieee fj Sp || ae mera < f i ight as ai 1 dance my way thro'sun-ny, Spain. Ah! | day by igowine step light as a en : y. PP = ‘ — ke 32 oe @ Sf rrilianie woes colla voce ee oO Z Ps

Page 48

46 THE ETUDE po 77me to Cotte 9 atempo i : eS Ss a ne day by ak Ww a footstep light as air, I dance my Way thro’ sun-ny thro’ sun-ny =) ain. I dance my way, = Soste nu a Se aa ee Se = = —~s = = : = as - sats V , Seer tle bliss a - bove; When ev-ry good that ea a ae s AS Ss yt ; ae | axis ae ort

Page 49

THE ETUDE 47 SUNLIGHT LAND hk. M. STULTS. Andante maestoso % fs ae hs IN 5 —————— == a —— Ov-er _ thehills to Sun- light Land, With a- zure sky and sil - ver strand; oe oe ee aay Yee Sy ZA rl A a3 pie _ ae ‘rall. dim. Se ee thro’ the mist, We climb the hills that are sun- light kissed. $$ y bitin J = = = = = —— ae SS SS ee eee : = = Hap-pi - ness ‘waits us be - yond the height, Ov - er the hills where all is light; We (Garis Aa = Sarees ee erese. RaW en Le ip fenpo = = = = S Gib. =| 2 —— ne : = : # —i- ear e Se " SIF AN PP ret. <== — accel. @ erese. f . 2 = ms a 5 SS Te: =e — eS re ee eae aims on the oth -er sides. ; struggle a-long, What-so - eer el. @ eresc. = a ya , fe 3 é 4 Y British Copyright secured Copyright 1908 by Theo.Presser.s beat

Page 50

48 THE ETUDE ee quasi allegretto EEE = == ae Ov-er_the hills to Sun-lightLand With a - zure sky and sil - ver strand; Ov-er thehills we > > oe —— ===e = $ a ir i © = : 3 wend our way Tillwe greet thedawn of a bright-er day, We o 5 | =F . =: Benne ia = dim: <6 | ae ee ee = -wardpresstoward the _tow’ring height Till we | = z == erF = = | rall s z \ ig = ie 3S view the land of — end-less light. ¥ A | ee == Andantino MW a = === Wea - ry andworn, we long to rest, Down. in a — th awe 2 gu 3 : £ crests = is t =r = ioc | jig Els ee | ~~ —— | — “—" Pe g ' : 4 Z eee

Page 51

Con moto 4 accel. THE ETUDE 49 eS ig == =e errr 4. man-y there be that fall by the way, Al-most in sight of the 'm - ing aa z = 3g 9 eo aecel es er : z i e . " (9 | Be = allegretto ts = == eee ee = Ife tempo enue i ia eb 5 . ’ brave hearts ne’er give v t up the fight,Till they find the way to the a of li ay Ov-er the fale to; = O-s —— a Sun - light Land,With a - zure sky and sil -_ ver strand;' as == == Ov-er the hills we fend te way Till we, | : Ze i | 2 C: oe : - i SSS ipreet ‘the dawn of a .bright-er day, We on -ward presstoward the tow? sone Till we view the land of my = ae : aa = ° et z aes 2 é Y rit. © “erese. se lat t= = ee “ead: 6 ss ssitalt, We on-ward press toward ie fow- ring height bes V = fa aaa lane of en = light,

Page 52

AG} | | a THE ETUDE PRACTICAL POINTS FOR BUSY HAYDN’S PIANOFORTE SONATA IN G MAJOR | By C. G. HAMILTON. | | ApproacuiInc a Haydn Sonata, we immediately stray into a sunny, cheerful atmosphere, where all is life and vigor, and where no evil thing may enter in. It is the music of primeval existence, before warring factions had arisen, and when the simple joy of living excluded all abstruse and wearisome thought. The Sonata under consideration opens with the conventional pronunciamento of the tonic and dom- inant harmonies—above these chords a gleeful bubbling theme, which, in its embellishments, reminds us of Mozart’s style. The first measure, with its dainty turns, dances up the scale like a peal of rippling Jaughter (1). Arrived at the dominant, D, it hops about upon this like a bird on a bough, occasionally fluttering into the air and back again (2), and finally resting (measure 8) on the indeterminate B, the third of the scale. Now comes a stalwart downward march, as though Haydn assumed for an instant a sterner visage, rebuking these trivialities (3) ; but his good humor cannot refrain from a chuckle as he tries to repeat his admonition (4). Again the first phrase starts, this time on a little leaping figure (5); but it is soon held in check by a twice-heard chromatic figure (6), leading us almost unconsciously to the key of D major, which we bound down upon with a fanci- ful run. Now enters theme the second, gay as the first, but contrasted with it by the use of a down- ward instead of an upward scale figure (7). This figure, two measures long, is repeated sequentially on the next higher degree of the scale, after which another sequence is introduced, also made up of a two-measure figure, which embraces a downward run in sixteenth notes, legato, followed by four upward- leaping staccato eighths (8); and leading us down gradually, during its three appearances, it merges into a series of rollicking, vigorous upward and down- ward leaps (9), several times repeated, which later grow into the still more hilarious octave leap, supple- mented by downward fourths (10), during which each fourth beat has a rippling turn, to add to the merri- ment. ‘This last passage is repeated, as if to em- phasize the mood of exhilaration; and then, with the repetition of the connecting downward run (11), intensified in its second appearance, the first part closes with a few emphatic chords to define the dom- inant key of D major Generalizing this Haposition part, we notice that, from a closely constructed beginning, it has broad- ened out to a more decisive rhythm and broad leaps, inducing a continual increase in its vitality. Also that the characteristic upward scale of the first theme is balanced by the oft-recurring downward scale of the second. The definiteness of theme and repetitions of short, pithy musical figures all point out Haydn’s Teutonic nature, as contrasted with the trivial and aimless spirit of the Italian style in vogue in his time. The Development Portion. These chayerteristics are still further exemplified in the Development portion, which occupies the next twenty-eight measure Throughout this is seen a prevalence of the even eighth note rhythm, used at first in short, incisive six-note phrases (12) in which the theme leaps up the chords, which define in suc- cession the keys of D minor, A minor and E minor. Made more continuous, and softened by an oceasional turn, the eighth note rhythm continues, merging into an undulating figure (13), in which the tonality shifts continually, till the theme rests comfortably on the dominant seventh of G major, thus preparing for the return of the first theme, and the beginning of the third part. Throughout, the developing section is held together by the continuous “Alberti? bass, which jogs blithely along, exploring the by-paths of the yarious keys, without disturbance at the vagaries of its companion, the upper part; just as an elderly man might walk serenely and steadily along, untroubled by the sportive fancies of his child companion, Convention is observed in the third part, or Re- prise, in the orderly presentation of the two principal themes in almost the identical form used nt first, ex- pt that both now retain the G tonality. An occa- ce sional additional touch shows that Haydn is not a servile copyist of himself :—witness the phrase (14) now made continuous in its triplet figure. The neat nine bars are inserted instead of the modulation mate- rial used in the first part. Also, while in the Exposi- tion this phrase consisted of first theme material, it sow starts with the six-note figure of the develop- ment, which ushers in a repeated suggestion of the downward scale (15) shortly to appear in the second theme. This second theme follows, unchanged except in its transposition to the key of G. There is no especial Coda. The slow movement of this sonata is replaced by a charmingly graceful Minuet, while the following Presto is worked out upon an eighth note theme closely analogous to that of the first movement development. Altogether, the sonata is short, compact, and able, demanding clean technique and a characteris ie expression of the themes. Taydn’s humorous and kindly nature is everywhere apparent, and should be emphasized in an unceasing and vigorous rhythmie style. Illustrations from Haydn Pianoforte Sonata in G Major. TEACHERS. BY W. F. GATES. Besides the physical benefits to be gained by out- door excursions—a name that may be applied whether it refer to an hour or a month—this aesthetic side of the matter is worthy of consideration. While one rejuvenates the nerves and muscles, one is, at the same time, storing up aesthetic impressions, the sum total of which will have a vital effect on one’s enjoy- ment of music in the days to follow. Not even the brightest te Lge aged he must haye sources of supply and ted oe lest the fountain become ex- a acer dest of music one can hear from others, a na oe literature and the plastic arts, and SavieS insp’ jon of all, the one that carried en and Mendelssohn to the heights they reached —Mo Vatur Poco Nature, these are the sources of re-creation Cessary to the teacher of arts. ad Self-certaint: i Y carries rei. vi i Let the teacher seem y Snake Ce ee certain as to hig os acillating in his methods, uw and he loses we requirements, weak in his demands, uncertainties ae on his pupils. Fight out your rival y confidence ana enthowiag and present a front of self- qualities in your studlents. Fyn sould tneweate acher can keep on giving Tt used to be Siena by long hair and fees that genius was indicated in those days pr, unkempt appearance. People rough, Wie, pegened their hugian diamonds in the the country has eae of a higher civilization over monds. An antics * preference for polished dia- indicative only ae poo nce is now held toe lack of sufieiane ..0, DOTY balan ispositi nd eee la Polish to admit ibe von is eiety, op S owner to a se the Leg the external polish, the he greater the ; Sines. The bett arel e IMpression produced oh the antl : 1 se Mer who is S confi one illustration ree to one method vt The teac explanation, Dhrases foy +» He may bring down is a large possibility & point to one pupil One must have 2 point, must adapt d acuteness of the dining every he mentality an who hing; ee the making of ccm ich ae at learning is received it eady known. Work from : 1e unk a WS api s saKnown, A Will, choos pistration The bridge between the 4 ~t Get your : Pupil is mtn Sbiect or ee our material where you yetitices a "from etna eee with which the ee lust ie Sible Phos °S of his every day eX" cess hire bis aptness oe? does the illustra arks by hicn figure of i sctivtive and ex: teacher ee is one of the Ach Sati. features: ex lal chy teY may NUSicg Yy fae Cuplain wie Strnete asso , SPitit amo his way you eat S Ng y, oa Rot on} het: COue atin: fortunag, § your pupils and “© techn: ter theip nee M having an in Onder 7 1d thejp allen interests, and Sn or termining wt Spneatinrs SOP Ob 5 NS fretor of success Sordiq. etchant on a large trols me Bersonatity ig lost | phot the machine grinds erSongy &t deals with iD Maenetism, or the Attention and tor of suecess MOLY he Vj , = the © Vital the

Page 53

THE ETUDE Editor for January Mr. Karlton Hackett VOCAL TONE QUALITY. How shall the student judge of the tone quality of his own voice? If anything in music is important, this is important, for beautiful tone quality is the very foundation of musical value. Yet strange as it always seems to the student, to judge accurately of the tone quality of one’s own yoice is the most dif- ficult thing in vocal technique. The only person in the world who cannot tell just what the tone sounds like is the one who makes it. This seems at first an extravagant, if not absolutely false, statement, yet it is a fact, and one of the most far-reaching im- portance. Let it be pondered over and thoroughly digested. ‘The only one who cannot tell just what the tone quality of his yoice is like is the one who is making it. This is a stumbling block, especially to the young student. But how is it possible? Every- one feels in the first place that if there is one thing in the world of which he is sure it is the sound of his own voice; and the younger he is, the less eX- perience he has had, the more sure he is of his Imowledge. However, when he begins to study and observes, there are a good many things that shake his confidence, In the first place a great many people think that the quality of the tone is something inherent, a phys- ical characteristic that is unchangeable and must be accepted for better or for worse, like the color of GRE Cyeeh | INtary BATS Ho cs fundamental error and brings a whole catalog of mistakes in its train. Of course one yoice will have naturally a different gual- ity from another, one more beautiful, the other less so; but the whole thing depends so on the usage and derslopment, that in the final result the original quality of the tone counts for very little. We see jpnumerable instances of students with voices of naturally beautiful tone quality, who by improper raining lose all their charm, and others just the rontrary, who by the right sort of work improve the ¢one quality, until voices that were in the first place very ordinary become in time of great beauty. The seauty of the tone guality is just as much a matter of training as any other part of vocal technique, and in fact the most yital point in all voice training, If a singer has not a tone of beautiful, sympathetic quality, then he is fatally handicapped, and it is sure that somewhere his principles of tone production have peen bad. The object of vocal development is to make a thing of beauty, and if this is not attained, then the thing is a failure. Heaven knows there is altogether too much evidence that a good deal of vocal training at an amount of the sing- i ailure, because 8° gre! f ads not beautiful, and if it be not beautiful people do not care to listen to it. No one cares how high you sing, nor how joud, but if you sing something, even the simplest thing, in : ee ie hee 4 x jt and W ful, they are al] moved by er a sing more. One ‘ if ‘t be soggy and purat, so we do not cg et big a tone a singer can make if that same tone pleasant in quality. What has 2 singer achieved i i i tone that people do n0 the cesult of his study is 2 oe care to hear? Yet how many such do we 20 Once upon a time @ sensitive, refined young ge came to the studi sked for privilege of singing for him. : \ what i ae ae my voice. I have studied e for over three years and {J know something is t he matter, because ‘nobody really likes to hear me sing, I can feel it in the air wherever 1 0.” The teacher asked her to sing something and he was given one of the surprises of his life, for from the lips of this slender, delicate-looking girl there jgsued a tone quality such as one would expect in 4 Bowery yaude- ville performance. How was this possible? Byidently she had been striving to set power 10 matter at What expense. But to one who did not know the laws of tone, here ghe was sensl- tive enough to realize that comething was Wrong with js the curious facts the way she sang, but she had become so accustomed to this awful sounding tone that it did not in the least offend her ears. Now, one who had no ex- perience in vocal matters would have said at once, the woman is without musical feeling—but she was not, she was very sensitive to tone quality and a very good judge of jt in others, but she herself would sing a tone which could only be described as horrible. Tow many times has each one of us heard ‘people screech and howl and wondered how they could do it; how many times has each one of us said, “Well if I sang as So-and-So does, at least I would have the sense to keep my mouth shut when anybody was within hearing?’ Now, do you suppose that these tones sounded bad to the one who made them? No, most decidedly, no. But how can this be? It comes right back to the original statement that the singer simply cannot judge of the tone quality of his own voice. Youthful Pupils. This is about the most difficult fact in voice de- velopment. The younger the pupil the less he knows about singing, the more sure he is of his likes and dislikes the more confident of his own judgment; consequently, over and oyer again, things that could easily be remedied, because no habits had been formed that interfered, cannot be done, simply because the pupil refuses to do them, Take one curious case for an example: A young man with naturally a good voice had got himself in a bad way by forcing, so that the tone was husky and unpleasant and he could only sing a short time before his throat became so tired that he had to stop. He knew he was wrong, for, first, his friends all told him that his voice had lost in two years almost all the things that they had liked in it in the beginning, and then, even if they had not said anything, the fact that in singing two songs he would get 80 hoarse that he could not continue was of itself enough, But, the young man liked the tone quality of his voice, even though it was doing these things to him, so here he and his voice teacher locked horns. He wished to get over all his difficul- ties, relax the tension, loosen the throat so that the tone could pass freely to the resonating chambers, put not change the tone quality; the teacher knew, first of all, that this was impossible, and if it had been possible he would not have desired it, because this quality of tone he knew was unpleasant. Here they fought for a year and a half. The young man was seeking to do that which was impossible; to change the way of making the tone without changing its tone quality; that is to changé a thing and keep it the same. However, bit by bit, things grew better ; he found that as he relaxed the tension and permitted the breath to flow more easily the strain on his throat grew less, that he could sing longer without fatigue and the range began to come pack. The teacher was encouraged, feeling that he was making a success of @ hard case, but just when he felt that they were really out of the woods the crash came, The tone had been getting better and better, but to the young man it sounded more and more strange, it did not seem as though he himself were singing, and finally he could stand it no longer, so he stopped his lessons, saying that if that was to be the sound of his voice he did not wish to sing. Now, see the unfortunate wrong- headedness of this poy? His voice was wrong; every said so and he admitted it. His voice was getting he got a church position, began to lose but he would not have it. He liked ed his throat and which peo- and did not like a tone which one right again, hig hoarseness + a tone quality which tir ple did not wish to hear, like a t relieved his throat and which people did like. How are these things possible? Wirst of all, you eannot step outside your body and hear your own voice from the other side of the room; you simply Then, you eannot judge your own tone manner; you hear not merely what mind is at the same cannot do it. in a dispassionate tone you actually make, but your! 51 time colored by what you wish to do, and know that you are trying to do. When you listen to another you do not care what they are trying to do, nor what they think they do, nor kmow they ought to do; you listen quietly for what they actually do, and you are far enough away to judge the matter in a calm frame of mind. When you make the tone yourself and listen to it at the same time you are not in a calm frame of mind, you have many things to think of and much to do besides listen for the tone and, worst of all, over and over again, you do not know what kind of a tone you ought to hear from your own throat. Nobody knows what sort of a tone he should listen for until he has made a pure, free tone, and made enough of them, so that he can recognize them. Pure, free tone is the result of perfect poise and elasticity in the instrument, and until that con- dition is attained you have no jdea what the tone quality should be. This is the second stumbling block. The young student has no real standard by which to judge of his own tone. Of course, if he has naturally a good voice and makes his tone freely, then the tone to which he is accustomed is a proper tone, one that he ought to keep, so that in this case his ear helps him from the yery first. But in the vast majority of cases the pupil does not make the tone properly, so it must be changed; the moment the way of making the tone is changed the tone quality im- mediately changes, and the young student depending on his hearing of the tone is completely at sea. Tf there has been tension, rigidity, improper pressure, and in at least ninety-nine cases out of a hundred there has been, when the tension relaxes the tone quality changes. Not only this, but so long as vocal development continues and the conditions grow bet- ter the tone quality keeps changing. So the young pupil depending on his hearing of the tone as the main guide to correct yocal usage is truly like a man groping in the dark, If the original tone quality of his voice is the result of poor tone production, then jt must be changed; as it changes it overturns the very foundation of his vocal system, he does not know what it ought to sound like because he has not yet made a sufficient number of free tones so that he recognizes them, and so he flounders, helpless and discouraged. And that which most of all confuses him is that the tone his teacher prefers, and that he is told is better, does not please his own ears; it is new and strange, he does not understand it and does not like it. Vocal Ease. How shall we go to work? What is the clew to lead him from these gloomy depths out into the day- light? He must consider his voice from the stand- point of the ease of the production. Primarily from the sensations that he has in his throat. The axiom on which all successful yoice development is based is this: Of two tones, the one which is the easier which is made with the least effort, is always the better. Beauty of tone quality is the result of per- fect freedom of production. When the tension is re- laxed in a rigid throat the tone becomes more musi- eal, more pleasant to hear; it may sound strange to the singer, but it always sounds better to the lis- tener. Now a student cannot tell exactly what his tone sounds like, but he can tell what his throat feels like. ‘This by observation and thought becomes ab- golutely sure; it is a question of physical fact, and if a man is honest with himself he will not be de- ceived. If a certain kind of tone tires the throat, makes the singer hoarse, or only comes by heavy effort, such a tone is always pad, and the singer can know that it is bad because it hurts him—physically hurts. If these disagreeable sensations grow less by making the tone in a different way, then no matter how strange the tone may seem, it is better; the singer can tell by physical fact that it is better because it no longer hurts. This becomes something definite on which he can depend at all times, and bit by bit he has some real basis of intelligent tone production. Then after a time he finds that a certain way of making the tones always produces the same tone quality. He knows that his yoice is more free, and he begins to have some idea of the correct tone of his voice, But let him keep always in mind that in all cases of doubt he must trust to the sensations of the tone, and not to its quality. If he feels him- self growing a little stiff, if he is straining to make a tone, then it is not so good. It is exceedingly dif eult to make pupils comprehend this, and to make them live up to it after they begin to eomprehend ; but it must be done somehow or the result will not he Whose students learn to sing the best their ideas of tone quality the most snecessftl. who surrender

Page 54

OZ, readily, give their attention to the free- dom and elasticity of the instrument, and let it take on whatever quality is natural to it. Those students are in perpetual trouble, and usually end in failure, who try to make the tone qual- ity what they think it ought to be, and do not give their minds to the freedom of the apparatus. The real quality of tone natural to any voice only shows itself as that voice becomes perfectly free; any other tone quality is false and unnatural, and will prevent the proper development of the instrument. Let the young students learn to under- stand ease and freedom, then when these conditions are brought about they will begin to understand what the real quality of their tone should be— Karleton Hackett, GENERAL EDUCATION. Sicinc is not merely a matter of a good voice and good tone production. To sing is to interpret the meaning of music and poetry by that most beautiful and expressive of all instruments, the human voice. To interpret in any ade- quate manner what the masters have written, the voice itself must be well understood and under such control that it responds to the intentions of the singer, but the really vital point in in- terpretation is that the singer have real love and comprehension of the thought to be expressed. The failure of many singers to make any place for them- selves is not because they cannot make good tone, but because they have noth- ing to say; they have gained mastery over their instrument, but they do not know music, poetry, and life with the sincere sympathy that might enable them to reveal its true meaning. This is apt to be especially true on the musical side. Many singers have had no musical education worth con- sidering until their voices developed and they were nearly twenty years old. Almost every violinist or pianist is well under way by the time he is ten, and all the study during these precious years of early youth, when the mind and body is so responsive to impres- sion, count enormously in making an artist. The Serious Study of Music. The singer who in his early years has had good training on some instrument has an advantage over his less fortunate brother that is very great, but if you did not begin the study of music when you were ten, begin seriously this moment, no matter what your age. Perfect yourself as much as you can on the piano; learn all you can hold of the laws and history of music; you cannot possibly steep yourself too completely in the atmosphere of our art. If you are to express to people the deepest emotions of humanity, as the poets and musicians have set them down, you must learn the full language of our art, Your audience cares nothing for your method of tone production, that is only one of the essentials, and by no means the one most important to them; what they care for is that you shall express something to them. To do this you must have a good “method,” but this is only the means of expression and not the thing itself. Keep this thought firm in your mind in all your study— technique is merely the means whereby you give utterance to the conceptions of your mind and the feelings of your heart. See to it that these be worhy; then only can you become an artist. ¥ What we recognize as an artist 18 ho has adequate technical skill incere feeling for See to it one for the what is noble expression oO and bes THE ETUDE that your love for music and poetry, your sympathy with human life, with its struggles and triumphs, is true and deep, otherwise all the high places will be closed against you. Good Breathing. The foundation of all good vocal technique lies in an understanding of good breathing. Good breathing means to learn how Nature intended the ap- paratus to work. A famous opera singer in times gone by has put it well in her book the “Philosophy of Singing.” “What is required in breathing is ex- pansion without unnecessary tension. The lungs must fill themselves in pro- portion as the breath is exhausted un- der the regulation of their own law— that of action and reaction—and not by any conscious regulation of the dia- phram on the part of the singer, as this leads inevitably to a mechanical and unspontaneous production of tone. Singers will understand me better if I say that there must be no holding, no tightness anywhere, but the frame of the body must remain plastic or passive to the natural act of inhaling and exhal- ing, as in this way only can perfect freedom of vocal expression be ob- tained.”—Clara K. Rogers. W. J. Henderson, in his excellent book, “The Art of the Singer,” says, in reference to this very passage: “This is sound talk and should be carefully tucked away in the memory closet of every student of singing. Lilli Leh- mann, in her treatise on her own way of singing, advocates a wholly different method, but her book discloses the secret that this method was devised to meet certain physical disqualifications with which Lehmann had to contend in girlhood. In other words, she acquired her manner of breathing when she was making earnest efforts to overcome a natural shortness of breath. She therefore fell into the habit of wilfully operating her breathing muscles instead of permitting them to operate in re- sponse to the demands of tone. She tells us that she breathed that way for twenty-five years, and then learned from a horn player, with a remarkably long wind, that although he set up his diaphragm very firmly in inspiration, he relaxed it when he began to play. Madame Lehmann tried that way in singing and says she obtained the ‘best results.’ So, in the end, the principle of no holding, no tightness anywhere. came home to her.” D. Frangcon-Davies, in his valuable work, “The Singing of the Future,” says: “A student’s aim should be to sing a word, rather than to make a tone, Fine pronunciation is the inevitable result of proper mental and bodily discipline, and fine tone the inseparable companion of fine pronunciation. What constitutes pronunciation? It is not the mere physical act of forming the vowels and consonants that go to make up the word; rather let us call it the saying of the unified, mental thing, which comes into vocal existence when the vowels and consonants—the verbal representa- tives of that thing—are uttered. The student first thinks the thing clearly, and listens to it with the inner ear; when the mind has sounded it he says it calmly with his voice. This is the finest singing lesson a man can have. A singer who is, at bottom, a com- bination of poet and musician, will produce only poetic and musical tone. A musical human tone is produced without trickery, and flows easily and naturally out of the situation and the words. In order that he may produce such a tone the student must have a musical and poetic disposition, trained to instrumental and linguistic accuracy. In addition the upper part of the trunk, from the base of the thorax upward, in- cluding the throat, front and back, and the jaw, must be unrigid. The Sigh, The normal sign of normal weariness or contentment is the sigh, common to animals and man. The sigh will be as deep as the weariness or contentment, For our purpose we will choose the sigh of contentment. This is easily ex- pressed by some such sound as “Ah” and it is some such rational expression as this which is the basis of all human vocal-sound, as it is the very “alpha” and “omega” of all true singing. The normal student will make drawn sigh, and build on con By a single effort of the min can turn such an “Ah” sion of a mood, and ¢ one half-wispered word, a whole lif. time of emotion. The student can ‘ise this expression for long phrases, ey % for long exercises, when he Basted some progress in his studies, This 8 what one may call informing techni i with the mind. Conservation and R eee tion are the singers two great Uéhnefsice Everything is contained in them wR laxation implies faith and the b a of fear, and conservati pescnce 7 on impli ance and bringing to a focus iplies bal- Position, Learn to stand sim and to look cheerful, things can be done wi it a long tentment, € d any one into the expres- an exemplify, in ply and at ease Neither of tout ¢ these t . be told to look cheerful, fit aie to ‘ flects the mind, and when the aah in his mind he will Bena 18 too set tries, the tone will noe When he has to look “cheer up,” it immediate] action on the mind, ace relaxes the muscles and = the chance. Outside of the fae fluence of a cheerful fran cacti the tone itself, there is a of your hearers, If you ac le selves to form the habe em sombre, gloomy and aa of Io practice you will fing el ir wish to sing to people ce wh this expression ag a YU canno¢ d your coat, 2 °p y Don’t cl a : D * nar which is useless Ba ermit any 1, Se started, Begin ir : you wont have pee f Billings, the first Am a in his “Singin a published in Bo gard to this “ Ss Ss 2 1778, sa; 4 He is not only very, big aa Pg teee but often wee oe ie hearer, by Teaso Agree, nie ee Meouth Gaon! = : mble a posture pain than one who Pt in pleasantly employed 8 s) Sing because 4 . I song in your i nay learn to oe es as tee will wish to he; raw Wis you ie Henry p book of esca. rT. rs SSay. From yy; is cent ing and admiring compositions in a foreign and unknown tongue engend- ered in the English public a lamentable indifference to the words of songs, which reacted with evil effect on the singer. Concerned only to please the ears of his audience the singer quickly grew careless in his enunciation. Of how many singers, and even of good ones, may it not be fairly affirmed that at the end of a song the audience has failed to recognize the language.” These remarks are quite as applicable to America as to England. We hear singers every week to whom we can listen attentively for five minutes with- out being able to tell what language they are singing in. This is the con- Stantly increasing cry all over our land. People wish to know what the songs are about and if possible wish to hear them in their own language. One see why many singers prefer to use ; a a tongue is that when they sing n “tench or German a large portion of their audience cannot tell whether - not they have enunciated distinctly, whereas if they sing in familiar English eet Nae knows whether or not he ape understand, and is consequently 3 excellent judge of the singer's skill. diene pensiate distinctly and at the same demaaniaee ome beautiful and elas pectluction et a proper basis of be fortunately 3 artistic sincerity Mant a hese seem at times rare. a es will controls every muscw@ of his body. I¢ TI intend a el 4 passing friend, every © whose CoSperation is required fot On of my purpose perform? bene The arm is raise’; ent, the | is exten nd o hand is ex ¥ wards or More fingers are directed ack a te friend and afterwards be taniier in towards myself; in this the whole act of beckoning | exe : . conception te a facility equaling, Hf uring the, This likewise takes pl® Muscles obey (U8Bing; here, to fy he whole», the mandates of the ™; £ssentially dee OSS of singing depen is an intuitive fy Muscular action, wad the will, function at the com? ‘The Att of gin Musj ignac, te! Edue ging,” by F, siebe ation,” by Albert ue Harmony at pat contains much # “A Tale to the gj pe tthing i) bee ety ear atynx, This gives the me ‘th air, and leads 0° he i authors have take? it Me to he the windpipes ness Mow], , an absolutely ee pe & neitt 8e for the pup!) ist ler better nor worst que S that the voice ® al Vibrations of the Woy Constit u 078! museler’ by the thy! ve fibro, ought : 2 oe we ™ the chest-vol% ji © kno Ww Chorg Sonoroy > Whi Ontract, and the & ¢if Cig . e tive! PHheeig 4, to produce 8 Mead. Ut his throat in Of Dhys; st note? A® Y, he learns S: the ethnoidal cell! Yonta i Uy Sate to form the # kno ber ay . : Ww any 1y ot mietefn Ne tang 4 Renee “a When he shall me | ees layers of the Vint nx _ ate, whilst the Hott ;

Page 55

the slightest degree in understanding the lessons of a good teacher, nor. in practicing a good respiration, a good emission of voice and a good pro- nunciation. It is as though one should pretend to teach soldiers to march with commands of the following nature: “Contract your femoral biceps!” “Relax the triceps!” “Distend the adducent muscles!” Whether such a study of the physi- Ology of the voice is desirable for the professor even is debatable. Per- haps (?) at the utmost it might enlighten him in the selection of the exercises of Pure vocal gymnastics that might suit such or such a pupil, but then only on the express condition that this study is complete and not superficial. To make it complete it must be extended over the whole range of the respiratory ap- paratus, from the lungs and the muscles of the breast to the nasal cavities and the nose, which play such an important Part in the formation of the timbre; which would inevitably lead, in order to arrive at a comprehension, physiologically Speaking, of the functions of all these organs, intimately related as they are with all the others, to a study of general anatomy. If this utility were really demonstrated, the best professor of sing- ing would be the doctor—the laryn- gologist—which will not bear examina- tion. There is nothing worse than the demi-savants, and nothing more pre- tentious, , The old professors of the great Tealian Period of the bel canto, who, we must frankly confess, could easily give us les- sons in the art of forming the voice and rendering it flexible, did not aoe themselves with this supet- fluous knowledge. 5 ubinstein, a his Aphorisms, age “The doctor and the professor 0 Singing resemble one another in many points; the doctor can heal or Kill, a may make a false diagnosis; he ind invents new remedies, and always er that the doctor who preceded him ¢y not understand the case. Taso “The professor of singing can i 3 for Voice or spoil it; he can take ana ene a soprano, and vice versa; he is anxi a to invent new methods of teaching, sar always finds also that the eae il who preceded him gave the See faulty instruction. The public tre It these specialists in the same Way. has confidence in the charlatans. “°V one recommends with equal woe his doctor or his singing master; the after all it is still Nature ee cue best physician and the bes master.” eee ral. Don’t forget that to sing ip Nature gave us the voice ant ng. There that we should use it for eee cuts. is no mystery; there are 20 e and sitl- What we have to do is eg eer and cerely to find what Nature ngs with Zovern ourselves in accord her laws, yoice That which gives value on which is the beauty of the tones his having gives value to a singet ee See to something in his heart Ok of truth in it that there is something ess then you which you wish to ex! you will find a way- ewe practice of singing the lungs. and ne titution. The Tue regular daily strengthens not only voice, but the whole eee re a defect~ deaf and dumb have thereto at and the ive development of the torcasumption. voice and are disposed to ¢° —Albert Bach. t which we do ae hal We should never $n& ue liscord some- not feel. There must i odes insensible inger remains ins where when the singet T of both poet 2 ; jon to the underlying emo! leon Rogers. and composer.—Clara Kat THE ETUDE CONGREGATIONAL SINGING, BY THE REV, WILLIAM T. MANNING, S.T.D. A Minister’s Attitude. We hear much of®the general lessen- ing of religious interest, of the falling off in church attendance, of the fact that worship is becoming a lost art— there is nothing that would do more to restore the art of worship, to stimulate and encourage church attendance, to lift our people to a higher level of religious earnestness, than the true development among us of congregational singing. We have tried all sorts of arts and devices to draw people to church; in the words of one of our bishops, we have tried both oratory and oratorio; in musical services and church concerts we have gone far towards substituting music for worship; it is time now for us to realize that the people do not want substitutes for worship, that those who, in the words of Alexander Pope, “To the church repair ; Not for the doctrine, but for the music there,” very soon cease to repair there at all; that the one thing that the people long and look for in church, the one thing that will bring them there and keep them there, the one thing that it is worth their while to come there for, is worship itself. There may be those who | doubt whether congregational singing is practicable. There are those who in- sist, and rightly, that there is a place in irch music for the meditative as well chu ¢ y as for the active, for the music which impresses as well as for the music which expresses. There are none who will question the fact that congrega- tional singing, if it can be attained, has a power to touch and move and lift up the hearts of the people into the very heights of worship with which no other can compare. Mae ingham, in his “Antiquities,” says: “From the first and Apostolic age sing- ways a part of Divine service, in which the whole body of the anitteh joined together . 3 It — a decay of this that first brought the order of singers into the church. For, when it was found by experience that he negligence and unskilfulness of the iS le rendered them unfit to perform DP eeecegice without some more curious and skilful to guide them and assist then a peculiar order of men were set over this business to retrieve and improve ody and not to abolish ing was al them, the appointed and with a design the ancient psalm estroy it.” , ag considering the question of con- ational singing there are things a clearly in view. ight to be kept clearly , eee There need be, and should be, i between the rights of the on oes rights of the congrega- , The service of the church gives ample opportunity for both. oe Second. Congregational singing does we are to bring down the hurch to the level of the choi not mean that ic of the c ¢ Sait of the congregation. It feaad on the contrary, that, by per- : st and systematic ef- fort, we are to seek to bring the singing of the congregation up towasds the level of the music of the church. , "The true ideal of congregational singing is, in the words of oF Stainer, to convert our congreg: i ns far as may be into vast amateur ere is be even in some measure ac- ales the great volume of song rol or drown out those es which are so disturb- neighbors, and which sistent and earne: complished, will itself cont occasional voic ing to their near sometimes raise doubts a3 to the de- sirability of congregational singing in the minds even of the very elect. It is the absence of congregational singing which gives these voices prom- inence. The remedy for them is not less singing in the congregation, but more. Congregational singing is the one thing that will rob these voices of their terrors. The third point to be remembered is that, if we desire to have congregational singing in our churches, we must be willing to give thought and care and effort, yes, and to spend money also, in order to secure it. It is just here that the whole question hinges. Congrega- tional singing is perfectly practicable. There is enough music in any congre- gation to make its attainment possible. We can have it if we care enough about it to really work for it. We cannot have it, however, any more than we can have any other good thing, by merely wishing for it and agreeing that it is good. We have been too much disposed to think of congregational singing as something that might be expected to come about of itself, or that, at any rate, involved nothing more than the selec- tion of such simple and familiar music as the congregation would without any training undertake to sing. Even where congregational singing means only the hearty singing of hymns of the camp-meeting style, it is not secured without care and forethought and effort; and where it means the noble and worthy rendering of the service of the church, the effort must be, as the result will also be, corre- spondingly greater. Why should we not give as serious and careful thought to improving the singing of the congregation as we give, and rightly give, to improving the sing- ing of the choir? Let me, in closing, venture to offer two or three practical suggestions: 1. If there is to be any success in de- veloping congregational singing there must be a strong and unfeigned interest in it on the part of both rector and organist. Together they can accom- plish it, but neither can hope to carry it to success without the other. 2, There must be each seasona series of stated rehearsals for the congrega- tion, conducted by the regular organist and choirmaster, and at these rehearsals the rector must himself always be present. 3. The people must be provided with both the words and the music of every- thing that is to be sung. 4. The same tunes must be sung often enough for the congregation to be- come thoroughly familiar with them. The tunes used should all be of the highest order, but the number needed to give sufficient variety will be found to be surprisingly small. It is quite true that congregational singing in its highest meaning involves time and work and expense; but how could time and work and expense be better applied? In congregational sing- ing we have an agency that can be used with equally certain effect everywhere —in the small church in the rural dis- trict and the most recently established mission; in the largest city parish and the most imposing service of the great cathedral. And wherever the help of this simple agency is invoked it will do two things: It will give to our services the grandeur and the interest and the spiritual power that truly belong to them, and it will bring the people back to the church by giving them their rightful and inestimable privilege when they come there—the privilege of tak- ing their full and united and personal part in the worship of God. 53 It is, I believe, not too much to say that a revival of congregational singing in its true sense in our churches would go very far toward a revival among us of true religion. RESONANT TONES, BY GEO. W. MARTON, Dr. Bruns-Moter says, “The nasal sound can be much exaggerated, some- thing that rarely happens; it can be much neglected, something that very often happens.” We find from the nasal sound we get our resonant tones; resonance is the life of the tone, and the vowel sound is the life of word, so a good resonant tone with a well- placed vowel sound we get what we call a good tone in singing. To get this resonant tone, teachers ask the pupils to hum the sound with the lips closed, which is very good, but we should remember that it is the facial resonance that we are after, so with the lips closed the pupil will very easily hum in the throat, or rather half sing the sound. I find, from experience, that by requesting pupils to hum with the mouth open, the same as in speaking words, they get a clearer idea of the facial resonance, which is wanted after they get this idea of facial resonance. Facial Resonance. I have them enunciate the sound “Ah” or “Oh,” but keep the facial reso- nance above the word, then I strike the same tone on the piano (a pupil should always have a good toned piano to practice with) and let them hear if their tone is of the same quality. It is an easy matter to give the same pitch of tone, but to give the same quality of tone is different, but you can get it very easily if you use the facial rego- nance over the enunciation of the word, I use all the different vowel sounds, keeping them very distinct, and_ still get the same quality of tone, it helps the singer to sing a phrase in a smooth even quality of tone, even if the phrase is mixed with open and closed vowel sounds. I try to make the pupil see that the tones ought to be as smooth and even as if they heard them played on a cello or violin, Upper Resonance Chambers, A good exercise for this facial reso- nance is “Who-Oh-Ah.” “Who,” natu- rally speaking, places itself in the reso- nating chambers over the roof of the mouth, having that you follow it up with the closed vowel sound “O,” then the open “Ah,” but be sure to have all the three words well placed to the front, keeping the high resonant tone in the facial resonance. I find the three front sounds spoken on the tongue, “Ah, A, E,” with the “N” before them (*N” is a good resonator) are good, Have them divide the words, using the “N” first, as “Ng,” hummed, then the “Ah,” as following “Ng-ah, Ne-Ay, Neg-ee.” Try to have them sing all three without moving the chin, but not stiffening the muscles of the chin to make it rigid, and it will hold the tone placing steady. After they have the resonance under control, then have them sing the words, as “Nah-Nay- Nee,”—chin quiet. Tue dry throat and parched tongue which almost invariably accompany that trying moment of suspense when the singer is standing awaiting his introduc- tion to the public, may be easily obviated by stimulating the salivary glands by chewing a morsel of paper or holding a tiny pebble in the mouth—Dr, G. Durant,

Page 56

| 54 GENERALLY speaking all church organs are laid out CONSTRUCTION OF as to their interior ar- THE INTERIOR AN ORGAN. ‘Geo. E, Wuirine. rangements on very nearly the same plan. On _ the floor immediately behind the key desk or console is erected the bellows and sup- ports for the frame, action, cte. This might be called the first story. At back of the bellows (occasionally at the sides) are the pedal pipes and wind chest, the action of which is carried from the pedal keys under the bellows. Over the bellows is erected the wind chest holding the pipes of the “Great” (so named from having the louder or greater pipes) and if the organ is a three manual instrument, back of this the “Choir,*”” between which is a passage where the tuner stands when tun- ing reeds, ete. These “reed” pipes give the artistic organist more trouble than any other part of the in- strument. During changes of temperature caused by letting the heat on in the fall and when it is taken off in the spring, these reed pipes become slightly longer or shorter, the consequence being that they are either slightly flatter or sharper than the other pipes; of course in this condition they should not be used until they are gone over by a tuner and brought into perfect accord with the rest of the instrument.** In the organ the author plays there are fifteen reed stops; and a Sunday rarely passes without his tuning one or more of the pipes. But to return to the subject: the Great Trumpet is placed next to the passage spoken of above and should there be a four-foot Trumpet or “Clarion” this last is directly behind the trumpet. Turning round and facing the back of the organ the “Choir Clarinet” will be found placed next to the passage. This might be called the second story of the organ. The “Swell Box” containing the pipes of the Swell Manual is usually placed over the Great and Choir, and the arrangement of the pipes is similar to the other manuals. The “Swell Reeds’ (Oboe, Corno- pean, Vox Humana, etc.,) will always be found in front of the other pipes (for convenience in tuning), and sometimes (in small instruments) have to be tuned from the outside of the swell box (through the folds). However, in large organs there is always a passage inside the box. This might be called the third story. In constructing an organ it has been found neces- sary to the best effect to avoid placing all the large pipes on one side of the instrument and the small ones on the other, but to place them as follows: The pipes of the lowest note of the manuals “OC” will be found on one side of the organ, but the next note CC# will have its pipes on the opposite side of the justrument (perhaps 50 feet away), and so on until the smallest pipes (giving the highest notes) will meet in the middle. This peculiar arrangement should be borne in mind in tuning reeds, etc., the notes given to the tuner being C, D, B, F#, ete., then begin Ci, Di, F, G, ete. If this is not done the tuner would haye to jump from one side to the other of the organ. In giving the following directions for tuning reeds the author would remark that he does not intend that these simple repairs should take the place entirely of a professional tuner, but in many parts of our country @ professional tuner is a rare visitor and the organ- ist must do his own tuning or go without. All organ reeds are constructed on the same general plan. Wirst the barrel or top of the reed pipe, which is about the same as any other organ pipe, but differs as to the construction of its “foot,” which contains the reed proper; this latter being made of several differ- ent pieces of metal. It is not necessary for our present purpose to give the technical names of these ha vender Is referred to the extremely interesting BE ine. Stainer's “The Organ’ (Theo. Presser) Hag he various positions the choir organ has occupied it te eloun times in the Buglish Cathedrals, A See remarks on tuning rocda. rs THE ETUDE parts (as this is not a treatise on tuning), but suffice it to say that the peculiar quality of the reed tone is produced by a “tongue” of very thin brass “so placed that as air is blown into the tube containing this ‘tongue,’ it is made to vibrate or beat backwards and forwards and by so doing sets the column of air in- side the tube into synchronous vibration.”* Now this tongue of brass is fitted with a Piece of thick wire so placed as to allow a larger or smaller opening between the reed proper and the tube this reed rests in; this wire is brought out to the outside of the pipe and bent over at a right angle. In tuning, this angle is tapped gently by the tuner using a tuning wire, which is a piece of metal or large wire about 18 inches long (a long-shanked screw driver js frequently used for this purpose), and by striking the upper or under part of the angle the reed is brought into the proper condition.** Sometimes the reed becomes clogged with dust, even dirt. in which case it refuses to sound. I have frequently cured this by lifting the pipe an inch or so and letting it fall back—this probably blows out the obstruction. In case this will not make it sound the tuner removes the pipe, takes off the barrel (or upper part of the pipe), and taking the foot—contain- ing the reed—in his hand draws a piece of paper be- tween the reed and the slot, thereby cleaning it. In taking off the barrel care should be used not to twist the neck of the pipe as (if slightly Tusty) it might break. Do not hold the pipe in the hand longer than is absolutely necessary as the warmth of the hand raises the pitch of the pipe. Professional tuners al. ways use the “Octave stop” as a guide in tuning, but I must confess that I get better results by using a Diapason or Flute of the same pitch ag the reed, Occasionally & stopped Diapason or Bour manuals or pedal (which is the same stop, only q octave lower in pitch) will be out of tune, This mn caused by the “stopper” in the top of the pipe a coming loose and falling down slightly into the pi ei it should be refitted, but a simple remedy is to abet a piece of paper around the stopper and tune ie lowering or raising the same. The same irouhte sometimes occurs in Wlute pipes (Melodia, ete.) 7 the metal flap at the top of the pipe getting bene vy far down (or up)—the flap is easily bent into Foo proper height. Pedal pipes will sometimes the sounding nearly or entirely; this ig caused jy Stop plug (or gate, a piece of wood placed in ihe me the these pipes to regulate the sound) setting loos ot of working in, thus closing the orifice so that the RS and not get into the pipe. Remedy as above, If can. or don in Tue Action, Most moderate sized organs are fitted w; known as the tracker action.*** ae ps Action fortunately I think) the most complicated ae is (un. the following remarks I shall only speak ee ate In nary troubles that are usually mot with Ne ordi. former. The pedal tracker action jg the Lae the per. manuals, only made of stouter material Me ag the remarks will apply to both. » 8O the same When the key is pressed down j of wood about the size of a any ae UP a piece frame; this is called a “sticker,” The Fe fixed in a this sticker is fitted into another piece aanees end of fixed in a frame) called a “lever? The eee last is to change the direction of the acti Object of this small space of the keyboard may be Sbies SO that the to cover the large space of the varioy ead oy : beneath the pipes. The further eng of ae di chee of above is pierced by a small wire a ley, to the tracker, This tracker ig g thin 2 sometimes 12 to 15 feet long, according 4 of the “$e, Stainer. sts up i Reioanige tt ; but a Te aE POE BE ent sp slower y cease al 2 becom, Pie chines, dutuilar paeumittc action Coes ing the valves and there! (also ery pa —when® slower ‘atv, the Ding Wd an eloe by aheat, the ratte preumae Py Hebtening the wpemer { open? oh 3 the organ; the further end of this tracker is fitted with a wire which enters the wind chest and is at- tached to the valve. At the lower end of the tracker it is attached to the lever spoken of above by a screw wire which is “tapped” for the “nut” (a small leather button), and it is this nut or button which holds the key at the Proper level. There are various other contrivances which Ih ave n of here, iot space to speak ACCIDENTS THAT ARE LiaBLe To HapPen To THE ACTION. The small leather nut s more or less trouble.* usage they are apt to sii + iD on th rm i entirely fall off, thus e€ worm if they do not cleceea der the pipes become sed by dust or even chips falling pias through This is particularly apt S and prevents the valve . Tout of the wind chests en the obstruction can be IS out of the organ, hese et done ‘whten! thea thee wide known the valve to be This aah 0n either side of it by a preven eet for the t the use of the time being. (Remedy a3 The sto called Ripe handles D seasong ) the key js pressed hese sliders (which are $ course, made to fit Swo! é < cee and cause much annoy- Sliderg atiae T the wing ; Steen builders looset th tino ye that contain these Telieves ; relieves the difficulty. itself when the wood becomes d, and, of © Levey Swell that eo; some openin Mects the Swell P, ith the at g g cles edal with th Rected cithon to give ing the Swell box) is : er g tro Venting th at one ena ee by becoming discon easily Se of the gy, 1 Smother, and thereby pre- Habten fed ay 1 a expression, This cad @ fol Teplacin &dy applied : b; Squeak yy eMselyes | & se (generally Y S become °r bolt). Sometimes ¥ blacks Sveneq a 0 dry and creak of 1° e. O8ed. pH}, d sing th MIS can be cure How To gE are two ways of ti US Organ musie 8° it Will 1a i St a long time The Other h ne way ig to | it at Manilla ®Y ig 4. Ome. eave © Cover : ee Rough fo, leavy akg iL Get some strong . Have gy.. 4 that * Vers of prot and have it cut Six in te Oth kinds, that in the ro} Me Slay » that in the smal, bY two guidal ties Sheet music folio. Musie 7, Piece te, s S of the same eut about hale sh ® coy ee y one-half inches, Double Middle fh the mytich fits +, OY Place the sheet of a ay Begin te COR, a Dassin, te sew through be darg va Q the , 8nd stror needle throug Doing thre Stance ote ng thread—linen is a ro pod sew Piece. Y° inch A dow Wo ineh Toth, ten Cong ee towards the ent; : a and sew out from & © thregg © Middle. <° °84 of the middle < ®0 tie the first and . Way that they bind far a at tone in the faiddie: Y yy a 800d black ink and ‘Shand comer of the he back on the front . Sey towers.’ m last nj V back it Wards uaa rs quit Wap, WI ages, “pote tat bit You, Wen the backs of the oe Sp th troy ee By ag there 5 TUbIes yay: ' din the Mather, Sno but it lasts thirty Anger of losing any &stg, een” uty — he “@S Usually ynaar the

Page 57

CURRENT MISCONCEPTIONS CONCERNING THE CHURCH ORGAN. BY ORLANDO A, MANSFIELD. Owrne to its centuries of connection with the services of the Christian Church, the organ is surrounded with such a halo of romantic and legendary accretions that anyone attempting to remove the latter will almost invariably be regarded as a sacrilegist or an iconoclast. For us, however, accus- tomed as we are to constant misrepre- sentation, this fate has no terrors; and, although convinced, by years of ex- perience in matters educational and controversial, of the difficulty experi- enced in the combatting of any popular error, the harder the task we set our- selves the greater will be our satisfac- tion at any measure of success to which those of our readers who may be good enough to follow us to the end of this article may consider us to have attained. Undoubtedly the elementary misconceptions concerning the church organ are found in the discussion of its specification or scheme. The popu- lar idea is that an organ of liberal dimensions must be intolerably harsh and noisy. On the contrary, the small, overblown, and harshly voiced little crgans are those which produce noisy and irritating tone quality, while, by their lack of variety of soft stop com- Linations, they engender the most deadly monotony. Whereas, the larger instrument, though more powerful, is usually better voiced and blown, its full power is but rarely called into play, while its greater number of soft stops enables it to produce a constant variety of subdued and pleasing effects. Another popular error is the estima- tion of the size and value of an organ by the number of its draw stops or stop keys. This is to forget that some ten or twelve per cent. of these are couplers, controlling and combining stops or combinations, but not adding to the number of either. Besides, stops are sometime made to draw in halves, or a portion of one stop is “grooved” into another, in both of which cases there are two stops but only one set of pipes. Again, a number of small fancy or stopped pipes, especially if some of these are shorter than their legitimate compass, will be much less expensive and far less sonorous than a single complete open pipe of generous pro- portions. And it is through ignorance of these elementary facts 1 organ Luilding that many churches and organ committees, declining to engage Pro” fessional advice, have come to grief and squandered public money to an almost incredible extent. , For the fostering of one serious conception concerning organ Ee tion, organ builders themselves are often responsible. This is the erection of organs of two instead of three man= ‘dn churches of respectable size. most ous mis- uals in Given a sufficient number of eae " combined with adequate — coup’ng action, and distributed over three man can be produced the same power é Is, but with Sin an organ of two manua a much larger number of effects, and With far greater case and comfort to the performer Indeed, the wrestling with some of the unmanageable and Overgrown two-mannal organs, to be found in so many churches. constitutes nO mean addition to the troubles to Which almost every organ’st is heir Pneumatic and electric actions, al- though fairly common, are still but 1m fectly understood in many quarters THE ETUDE Quite a respectable number of other- wise well-informed people are as yet unable to distinguish between a console or a key desk and a glorified reed organ minus the cheap turnery top and dum- my pipes. Only quite recently, and in our own hearing, a lady deposed to hay- ing visited a church in which there were /wo organs—a little one at which the organist sat, and a large one at some distance behind him, the two be- ing played together by means of elec- tricity. Better than this however, is the story vouched for by the late Dr. Longhurst, to the effect that after the introduction of the new organ into Can- terbury Cathedral, a verger used to in- form visitors that “the connection be- tween the console and the hargin is done by helectrics, and the whole thing set in motion by hydraulic water!” A more pardonable misconception, jrowever, is that, in placing a contract for the construction of an organ, the larger the firm the better the building. In many cases this is not a misconcep- tion at all. There are many firms of the first rank who would take as much interest in an instrument designed for some humble meeting-house as in one intended for an influential church or popular concert hall. It only remains for us to remark, by way of conclusion, that this paper is not altogether intended for the profes- sional organist who should be fully aware of all the misconceptions we have passed in review, and equally well acquainted with the facts we have ad- duced by way of refutation. We write rather for the earnest church worker and supporter, the individual who de- sires to do and to have done for his church the best things in the best pos- sible way, the individual who has sound and, we trust, sanctified common sense, and whose only deficiency 1s along technical lines—The Church Economist. TONE-COLORING. BY A. MADELEY RICHARDSON, M.A. Ir is a general principle in building up of tone that foundation stops of eight-foot pitch should predominate; that as the upper partials are brought into prominence by the addition of stops of a higher pitch, the balance should be maintained by reinforcing the foundation tone and the addition oi doubles. It is important to notice the reason for this. It must be remembered that in organ tone, combinations of stops of varying pitch are intended to give the effect of one note only, that note being of a composite character. As we all know, every musical note that reaches the ear contains within it every note of the scale—diatonic, chro- matic and enharmonic—just as a ray of sunlight includes every color of the spectrum. Nevertheless the mathemiati- cal progression upon which they de- pend is unending, and it gives a plc: ture of that mystery of infinity which faces us in time and space. Nature presents us with compound tones; the organist by mixing his col- ors—in other words. by combining his par s—imitates her, and produces from his storehouse of stops artificially compound tones. be borne in mind organ, and constructed It should alw : that in a correctly voiced with judicious re ristering, the com pound note formed by the organist 1s intended to reach the ear of the listener ngle note of a particular quality. asas Thus, an Open Diapason of eight feet, combined with a Principal of four feet, is not to sound as two notes an octave apart, but as one eight-foot tone of a brilliant quality. The four-foot, being of a smaller scale: than the eight-foot, will be merged in its more powerful companion, and not heard as a sepa- rate sound. If this line of thought were followed and realized, players would perhaps be less willing to use octave couplers for “tutti” effects. In combinations of stops of varying pitch on one note, the ear always fixes vpon the octave to which the greatest strength is assigned. and accepts that as the real pitch of the given note, the accompanying sounds being taken as color qualifications. An interesting experiment may be made by drawing a mixture stop giving the complete common chord, and hold- ing down a single note. If then stops of a lower pitch are gradually added, one by one, it will be noticed that when they have reached a_ certain strength we shall cease to hear the in- tervals of the third and fifth in the mixture as separate notes. We know they are there, and if the mixture stop is shut off their absence will be shown by a lessened brightness of tone, but, if the organ is correctly balanced, we shall not hear them individually. Now in building up the tone from soft to loud the beginner is largely as- sisted by composition pedals and pis- tons, prearranged to give certain satis- factory fixed combinations. These are valuable and useful, but they have their danger. They lessen the neces- sity for the student to think out the subject for himself, and so tend to lead him away from acquiring a real insight into, and knowledge of. the principles upon which they are arranged. Tone-building should be studied apart from the assistance of compositions, and then, when it is understood, these mechanical helps will be used in their own place. The one and only general rule for guidance when combining stops of dif- ferent pitch is that the strongest octave will give the note accepted by the ear as the intended pitch. To commence, any eight-foot stop iiay be used alone, or any one may be combined with any other. A Stopped Diapason may be used separately or combined with a Dulciana, Gamba, Sal- icional or Open Diapason. Again, each cf these latter may be used alone or combined with any other. Then each or all may be combined with any four- foot, always remembering that the eight-foot tone must predominate over the four-foot. When there are two or three four-foots to select from, it will be seen that a great many possible com- binations will be available. For in- stance, a Stopped Diapason may be combined with a soft four-foot Flute, or an eight-foot stop of string tone with the same, or with a string-toned four- foot. Again, an Open Diapason alone with a four-foot Principal will give a fine, clear and bold effect, without the four-foot Flute. Or again, the single Diapason may keep company with the single four-foot Flute, giving a full, sil- very effect. As regards the reeds, with the series of fixed combinations given by pedals and pistons, they will usually come on late, for fortissimo effects. But it is excellent to use them with only eight- foot flue work. especially in swell com- binations; and where there are loud and soft reeds to select from. it is not al- ways necessary to retain the soft after the loud have been drawn. The single loud stop will often give a crisper and clearer effect by itself. 55 Church Organs LATEST IMPROVEMENTS BOSTON NEW YORK PHILADELPHIA CHICAGO LOUISVILLE DALLAS . 2 IASTIN' ASS. Main Office & Works ¥-0:Kendai Green, S86 ook ASTINGS Co. Established 1827. All Sizes. Falr Prices. “The King of Organs” The Official Organ, in the Auditorium Building of the Jamestown Exposition, was built by the Austin Organ Company. The instrument is a fitting illustration of the efficiency and progressiveness of this company. It embodies the latest approved features, including the Universal Air Chest, Electric Key Action and Tubular Pneumatic Stop Action. TheAustin Organ Company is prepared to submit specifications and estimates for organs of all classes and sizes. Catalogue E mailed upon request. Austin Organ Company Hartford, Connecticut CHOIR LEADERS SEND A 2 CENT STAMP For pestaxe on a sample copy of THE CHOIR MAGA- ZINE. Contains articles by F W. Wodell (editor), Herve D. Wilkins, D. A. Clippinger, Dr. S. A. Eliot, William Reed, Tali Esen Morgan, Thomas Tapper and others. Organ Information. Service programs. Sug- gestions that are really practical. Also Twelve Pages of Church Music of standard quality. Subscription 50 cents a year, The music alone represents in value many times the’ sub- scription price. A sample copy will be sent to any address on receipt of a 2 cent stamp. THE CHOIR MAGAZINE 831 Colonial Bldg., BOSTON The Latest Hymn Book Success Church Hymns and Tunes “The most evenly balanced of all.’"—IWValter Heaton. Sample copy (returnable) free for examination to organists, choir-mastersandcommittees, Inwriting, give name of church, A. S. BARNES & CO., = - New York EMMONS HOWARD Westiield, Mass. Pipe Organs of Highest Grade ELECTRIC TUBULAR PNEUMATIC All the latest facilities for Easy Control, Melodious Anthems of Moderate Length and Difficulty at the Smallest Price Possible The Anthem Repertoire A collection of bright and si and singa thems for quartette or chorus, suiinee all geeasions. he work contains 64 pages of a 1 axes of anth by well-known modern composers. AiT are melodious and interesting, well har- mopized and not at all ditieult! a _ This volume may be regarded as ae tinuation of the successful collection Model Anthems,'’ which is the cheapest and most popular collection of generally useful anthems which has ever been pub. lished and at the samo price. Der 25c $1.80 dozen. Transportation is additional at the dozen prices Postage, 3¢ each ‘ bs an- suitable for postpaid per single copy. THEO. PRESSER 1712 Chestnut Street, - Phila.

Page 58

THE ETUDE JOLIN DEPARTMENT OPINIONS OF EXPERIENCED SPECIALISTS | THE CREMONA VIOLIN. Gasparp pa SALo, who lived at Bres- cia, in the Province of Cremona, in Lombardy, made the first violin. His instruments were somewhat crude in form and workmanship; but those who followed him—Maggini, who was his pupil; the Amatis, Jacob Stainer, Stradi- varius, the Guarnerius family and a few of their immediate successors—made violins that were perfect in form, work- manship and tone quality. This band of immortals worked, one generation after the other, for about a century. When they were all dead the making of perfect violins ceased. It had be- come one of the lost arts. A few words written on a parchment by any one of them might have sufficed to hand the art down to posterity, but they were never written,or,at least, have not been found, despite the most careful search. Nevertheless, their instruments re- main, and it is worth while to consider whether or not a systematic study of them may not reveal the secret of their greatness. For, since we have the prod- uct of the art, the art itself is not lost, but has simply been lost sight of. Whatever it is, it is there in the violin. A systematic study of the Cremona vio- lin reveals the following superstructure of facts: It is covered by a varnish, the com- position of which moderns know noth- ing whatever. It is incomparable in lustre and lasting quality to any other. It has been said that the lost varnish accounts for the lost art. But inas- much as some Cremona violins are of poor tone, it is clear that the varnish cannot be at the bottom of the secret. It is all very nice for the violin enthu- siast to gaze at the Cremona varnish long and intently, thus becoming hyp- notized into the feeling that therein lies the secret; but such mere reclining apon thought-waves does not generate knowledge. It was good varnish; and, when the new “Cremona” comes to be made, modern methods of research and experiment, chemical and otherwise, will result in its like being produced, or better than its like. The Wood of Old Violins. We next discover that the Cremona violin was made of wood that was very precious in the eyes of the Cre- mona makers. Thus, one of them had a piece of pine that he used to make violin tops of, and, although it had a dark streak in it, which was a blemish, he used it over and over again until it was all used up. Other times. one would have a piece of wood that he wanted to make a back out of, that would have a knot or a hole or a flaw in it; and the maker would cut out that hole, or knot, or flaw, and insert a piece of good wood. Again, the Cremona makers at length began to make their tops and bottoms in two parts, on oc- casion—doubtless for the same reason in the main. Now, this wood was na- tive to the soil. It was. therefore, plentiful. if of the ordinary kind as found in the market or in the forest. But since it was precious, it follows that it was not the ordinary market kind. It was either very old wood, or very sonorous wood, and, perhaps, it was both very old and very sonorous. Could it have been very old wood? That is physically possible. Lombardy is one of the oldest states in Europe. It was the highway of na- tions in the middle ages, the seat of an intense art and civilization. Its soil, the richest in Europe, had been fought for and fought across since the dawn of historic times, and it had been won by force of arms and valor, in succession, by Austria, France, Spain and its own patriotic people; and history is laid down on that little land in more lay- ers than any other part of Europe ex- HOUSE IN CREMONIA IN WHICH STRADA- VARIUS LIVED AND WORKED. cept Rome. There must have been chests and tables and doors in Lom- bardy that were made almost as far back as the time of Charlemagne, who was once its king. Was the wood pre- cious because of its peculiar sonority? If so, then the discovery of such pieces of wood must have been a mere rule of thumb affair. They had no instru- ments of precision for measuring and testing vibrations. They merely “knocked on wood,” and if it sounded good they made it into a violin. And if the result was a poor one, it is safe to say that that violin was sold for whatever it would bring. and that it thereafter entered that dark and tragic land where failures hide themselves and die. On the other hand, and if the violin so made was a good one, more were made of the same wood; and those violins entered the happy land of success and longevity, and it is by these fruits that we judge them. The Mystery of the Old Violin. There remains the form of their in- struments. It would seem as though accurate measurement and careful in- spection of the models would tell all that is to be told about the form of the Cremona violins. But it does not, for the measurements would indicate that there was no system of construc- tion: but that each maker differed from the other, and that each instrument of any one maker differed from any other instrument by the same maker; and an inspection of the form reveals no more than is shown by the figures; and yet there lies concealed in those hetero- geneous figures, like a cryptogram, a principle of construction, known to them all, and doubtless known to Nicholas Lupot, the French violin maker, as late as 1809. This some- what startling assertion is worthless, of course, without the proof. Many years ago Mr. R. D. llawley, of Hartford, began collecting Cremona violins; and at the time of his death his collection was one of the finest, if not the finest, that has ever been made. He bought, sold and exchanged until he had a splendid specimen of each of the Cremona makers, including Stainer and Lupot in that generic term That collection of violins, more valu- able to the art of music than would be a collection of all of the works of Rembrandt to the art of painting, was dispersed after the death of Mr. Hawley; but in a work, entitled "The Hawley Collection of Violins,” pub- lished by Messrs. Lyon & Healy, the instruments are faithfully reproduced in colors, and graphically and admirably described by Mr. Freeman, the violin connoisseur, and their measurements accurately given by Mr. Hawley’s life- long friend and executor, Mr. A. H Pitkin. oa The principle of construction is the principle of the cubic contents, The violins of Cremona were built with a pint measure, or something equivalent thereto. They were built to contain such and such a measure of w or sawdust, or whatever it was used. A violin may seem to be about of the same size and yet be twenty cubic inches different in form, and, it may be remarked in passing, to quote from eminent authority, as manifestly differ. ent in tone quality. If they built their violins of g cer- tain size, and nevertheless deliberately varied the dimensions, they did so for a purpose. There remains to be dis- covered, first, the varnish and, inei- dentally, just how much the varnish had to do with the art; second, the exact quality and strength of the vibra- tion of the wood they used—its dis. tinctive quality and carrying power: and, third, the effect upon the tone and the various tones of the several strings produced by thus changing about the particular dimensions without deviat- ing from the standard of cubic con- tents. When this is discovered the lost art of Cremona will have been found, heat, they A Violin Laboratory? How may this best be done? questionably, by means of musical instrument labora periment and research. Such an insti tution, with patient and skillful work any supplied with proper insttuments cf precision for testing and aes might not only achieve thi might, also, if not improv. ey Teast standardize the of other instruments, i i piano; and this eerie ie complishment alone would confe ae calculable benefit upon societ as many of the army of lay ni ; Now would pay “two prices” for Usicians fine piano if there was a aaien really thority saying that ve of au. ‘ certair equally fine pianos were + bed rae one price; and how m lad for 2 any of th . © thou. sands of luckless wights who worthless instruments anate now buy worthless agents and pittance of do so if such a voice was Ms a would Neard in warning, for the asking ?. e, asking ?Cp,,. wien “NE !—George Ken. Un- an endowed tory of ex. Measuring, S end, but © upon them, manufacture EXPENSIVE ECONOMY. _ As a rule the average man figures that it is the best economy to buy the best piano he can afford for his daughter, but trom some strange crook in the human intellect when he comes to buying a vi0- lin for his son, he reverses the reason- ing. and buys the cheapest yiolin he can_ procure. He thinks nothing of paying $400 for a piano, but does not want to 80 over $10 or $15 for an entire violin outht, on the theory that the beginner may not “take to the violin,” and then the amount invested would be lost. He ust ally adds that he will buy a first-rate vio- lin if the pupil learns to play well. The trouble is that having once purchased, the violin’ matter usually drags along for years before a better one is bought. This view of the subject should be ex actly reversed, as a comparatively cheap Plano will answer very well for a begil- ner, but if there is anything more excru= clating than the rasping of a common cheap “trade fiddle” | have yet to hear it. How can a child be expected to enjoy Practicing on a violin which makes a hid- fous din like the filing of a saw. No Tin olege ousands of students give up vio- have, pee disgust, simply because they ed. screeching, cheap fiddels to practic A ae e€ on which a i sen- sitive ears. ire a torture to A pure-toned, violin j sympathetic, sweet-toned ene 3 @ constant inspiration to the stu- deligt t produces beautiful sounds a” Be the car. The possessor of a and tl eal singing voice loves to sing never ce owner of a really good violin . Vearies of drawi - ee Hen beauties. wing forth its hidd By a 5 pest’ a meant let the beginner have the late The m which can be afforded. The linist a Thomas, the eminent vio- and orchestra director, was always this point. He fre- at constantly listening Bet ee unsympathetic actual injury to th ical ear 3 the musica eiieee ie the talent of a violin pupil, cated and! aed ae instrument edt, hearing, 1€ musical taste and When it j is reme 8ood piano loses es that even a its bes i ten or fifteen years efioed: St tone in and becomes insufferably “tj inary usage, tallic in twenty ; whereas fine and me- ally improves ae fae violin actu- with age and indefinitely use, ’ in Pega useg of buying a good violi . - G really fae ee JS apparent. Birpiae "2 a € Molin is like investing 2. Stee onds, as it has Sting in dia- les of a violin was an ae : 3 a@ permanent. y. . an | So Stable 1s the value of real ae talian violins ce nares there are not a ‘ writen Sell such in- at any a agreement to ‘ny time and pay in ly ten or fifteen i Paid by the cus- 7 1 a Student bought a pre? the deter would take it violin for so lf the student Ould cost hi fve years the opera- » Or at the rate 2 cents per week; for the pleasure Od violin —Rob- few reputable firms Struments with a. take them back cash for them Per cent, tomer, : a really g, raine, really go Good Bowing. son why re found anks is th Mt instrueti hem te One rea are rarely sional ran Suifficiey ally good violinists Outside of the profes: At So few students have ; ae, i the beginning a he ee technic of the ase beginner in V9 Re 1S Hited States has one 4s: _ 80ns per week, and i! © Weeks, Wan CMY one lesson every : | "th this limited instructiot for the averas Correct bowing. Spolit Sreatest teachers @

Page 59

the history of violin playing, tells us in his “Violin School” that it is necessary for the first few months for the pupil to have a lesson every day, and it is said that he kept many of his pupils practicing for weeks on the open strings before he allowed them to use the left hand at all. There is nothing so difficult in the tech- nic of any instrument known to music to acquire, or for the teacher to impart, as violin bowing. Like the round “O” of Giottithe perfect circle——drawn off-hand by that famous artist to convince an emis- sary of the Pope of his wonderful skill as a draughtsman, a perfect bowing is extra- ordinarily difficult of acquirement. Some learn it with small effort, others learn it after a prodigious amount of practice, and many never succeed in learning it. Much mechanical ability of the hand, wrist, and arm is required for a good bowing. In this respect it is similar to handwriting ot drawing. Out of so many hundred stu- dents in writing or drawing one will be found whose strokes, shading and curves Tescmble the perfection of copper plate work, while many others hopelessly fail in turning out work that is even passable. — After the foundation of the bowing is laid, a fairly talented pupil can, as a rule, make fairly good progress with two half- hour lessons a week, but during the first (raining of the bow arm three or four Weekly lessons will be the best, as if the bowing is learned wrong at the start it 's extremely difficult, yes, many times im- Possible to correct, The Pupil must not expect that every Sod violinist or even noted soloist will i able to give him a perfect bowing. The ag Of teaching the violin well is one ne rarest in the world. I have seen oe artist violinists whose pupils ean Wretchedly, and again obscure molding une possessed the knack . Thika ie Ow arms into shape 1m an 3 aan € manner. In choosing a teacher pile © one who has produced notable pu- S—Robert Braine. TEACHING TONE PRODUCTION TO BEGINNERS. BY ARTHUR L, JUDSON. cause the i 1 Mecatise Y solve then of their grea apt- Hy recognize the ai te But this pres- don the speed ressure if 2 +, words; t of the bow, though an experienced player can safely use .more pressure than a beginner. For this reason, then, certain bowings are better suited to the beginner, and produce better results. With the knowledge that the pupil knows something of what I am trying to do I begin by placing the right hand in position. I can give no rules for this position. I find that it differs with each pupil and that to get uniformity of position means to succeed with some pupils and to fail with others. I try to avoid positions of the hand which I know will produce bad results. For ex- ample, the first three fingers should not project over the bow beyond half way between the first and second joints, the fingers should lie close together, the thumb should bend out, not in, and should slant slightly downwards op- posite the two middle fingers. The rest of the position should depend on the formation of the hand. I then have the pupil place the bow on the A string, in the middle of the bow and about an inch from the bridge. If the pupil has difficulty getting a good tone there I allow the bow to be placed a half inch further down. However, I gradually work back to the first posi- tion or even a little nearer the bridge. The pupil is then told to draw the bow over the string lightly until the motion seems easy, and then is told to apply more pressure. The amount of pres- sure is conditioned on the strength of the pupil and is added to lesson after lesson until the required amount is gotten. The use of the upper half of the bow in short strokes is the easiest bowing to begin on and pro- duces quicker results. Wrist Motion. It is necessary to remember that the question of wrist motion enters here, but this article cannot be extended to include it at this time. It is also im- portant to note that the pressure once exerted should not be relaxed with each stroke but kept uniform; also that it should slightly increase toward the point and that the stroke should be at right angles to the string. After this bowing has begun to go smoothly, the whole bow on the A string may be given. This should be done to four slow beats and especial care taken that the speed and pressure be kept even; the ear should judge of this. Then these bowings should be taken on the D string, next on the E, and finally on the G. The position of the arm should be carefully watched in all cases, to see that a lower position is used for the upper strings, and a free and higher position for the G and D_ strings. Then bowings alternating on different strings should be used, but these will have to be considered in a future ar- ticle. If care is taken in applying these ideas, along with a fair amount of good common sense and some ability for teaching, successful results may be ob- tained. “THe music that Paganini wrote for his instrument contained so many diffi- culties that he had to practice unre- mittingly to overcome them, often working ten to twelve hours a day and being overwhelmed with exhaustion.”— La Hee. Joser Joacuim’s favorite violin was pur- chased by a Berlin banker, Robert von Mendelsohn, who is himself a ‘cellist. Rather than force the instrument into the useless confinement of a museum, this wealth dilettante has. wisely given the violin to a_ favorite pupil of Joachim, for use during the violinist’s life. The violin is a Stradivarius 57 Root Violins The very best made in this country to-d In beauty of construction—rich tone quali and la service—Rool Itolins reach “violin perfection.” We guarantee and stand back of Root Vio- fins. You run no risk—You buy one of our Violins like you would buy a diamond from your jeweler, with the understanding that you can return it at any time and get your money back. Write for our Ca/a/og ‘and particulars about our Violin Investment Offer One of the most liberal, profitable offers ever made. Particulars and Catalog sent free to any one writing to us. Root Violins sold on credit if desired—easy terms—write and ask. E. T. ROOT & SONS 8 PATTERN BLDG., - - CHICAGO ESTABLISHED 1857 Bauer's Tone-Improving Chemical VIOLIN BRIDGE (Absolutely without wood) Will Improve Your Violin 100 Per Cent. Price 25 cts. Order One To-day THE H. BAUER MUSIC CO., 135 East 34th - NEW YORK H. R. KNOPF Importer and Dealer Fine Old Violins, Violas and Cellos Also Bows, Best Italian and German Strings, mings. er of the Celebrated I and Cellos. Sole Agent for the ¢ and Cello Rows. Artistie Repairi 119 East 23d Street, - - Sartory, Paris, Violin New York Please mention THE ETUDE when addressing our advertisers. VIOLIN QUERIES. Inquirer: In playing pizzicati with the right hand where there are a succession of notes, hold the thumb against the sharp edge of the fingerboard and the bow in the hand with the hair pointing upwards and pick the strings with the right side of the first finger about two inches from the end of the fingerboard. In playing a sin- gle chord pizzicato this is, however, not necessary. In this case the bow can be held in a normal position and by putting the first finger forward and bending hand fairly well under, the pizzicato chord can be accomplished with the hand in a nor- mal position, thereby being in readiness for the next note, which, more than likely, will be arco. There are two kinds of vibrato on the violin, First, the slow, or German, which is produced by a swinging motion, which brings into play the entire forearm and hand, i. e., from the elbow to the tips of the fing The swing must not be too pereeptible but uniform in motion, as the finger tips must not move too far back and forth, to avoid other notes being heard. The quick, or French, vibrato is pro- duced by a nervous twitch of the hand and fingers only. Great care should be taken in the use of either, especially ef- fective in catilena, or slow singing pass- ages. The individual talent must prompt one in their use.

Page 60

58 LITTLE HELPS FOR LITTLE PEOPLE. SOME THINGS ABOUT POSITION. BY HELENA MAGUIRE, A creat many little folks get very tired during the practice period, and it is this as often as anything else which makes them call out to Mamma so frequently, “Isn't it half an hour yet?” You really are tired, and I believe that the reason is that you sit in an uncomfortable position, which will tire anyone very soon. POSITION AT THE PIANO. Tue very first thing is to take thought for your posi- tion before you commence practice. Always see that your stool is directly op- posite middle Ii, not pushed in so far that your elbows are away out behind you, nor out so far from the piano that you are obliged to reach out after the keys. Then be very eareful SIT RIGHT. THE ETUDE amongst the black keys, in fact; the fourth finger should be in on its key almost, but not quite as far as the third finger, and the fifth finger should } in on its key almost, but not quite as far ‘a the fourth finger. (When you play black nev ti end of the finger should come on the end of the th 4 key). If you place the fingers on the keys in this ae you will find that you have got a nice straight lis aa the outside of your forearm and hand, and thi: fad that all the muscles that move the fingers eae down are working along a nice StPATElit ‘lin “Pend what we call “the line of least resistance ” ae On the other hand, if you push the thumt i key, and let the long fingers play out on i Coe the white keys, you will find that this : ; the wrist in, and all the muscles are doi oF in a twisted, uncomfortable position, so the help getting tired and wanting to Hees a play with the fingers out on the edg i he ends of ion twists their work they can’t Also, if yo » If you e of the ke YS, you about the height of your stool. It should be just so high that your elbows will be on a horizontal line with the keys. If your stool is too low it will “hunch” your shoulders, and make you very uncomfortable, and if it is too high there will be a strain on the muscles in getting hold of the keys. THE easiest DON’T TIGHTEN UP. way to play is with a nice straight back, elbows a little in front of the body, and forearms in horizontal position, just as though resting on the table. And every once in a while asic yourself this question, “Am I holding on anywhere?” Think “inside” and try if your shoulder is “holding on” to your .arm instead of letting it hang down loosely; see if your elbow joint is “holding on” instead of swinging free, neither “stuck out” nor hugging your side. Do not hold on anywhere; let your muscles be free to do their work, and if you work with free mus- cles, muscles which are not twisted out of place by uncomfortable positions of hand, arm or body, then a half-hour practice period will not tire you one hit. This “thinking inside” is a little dif- ficult for little people to do, bur you must try to realize that the hand you play with you really never see, because it is the hand that is made up of muscles, ligamen and bones, and the only way we have of directing the working of this hand is by thought. Therefore, take thought for the position of your whole body, that this “inner hand” may do its work well without fatigue. Ask your teacher what muscles, ligaments and sinews are. Somerimes your hand gets tired, “cramped,” when you practice, When you feel it getting tired look down at it and try to find out what the trouble is. I’m pretty sure that you will find that it is in a bad position, which has twisted or bound up some of the muscles so that they are haying such a hard time doing their work that it makes them “ob- ject” in the only way that muscles have of objecting, and that is by making you feel that pain or dis- comfort which makes you want to stop practicing. Now let us see what the right position is, the posi- tion which will make it possible for you to do your half-hour’s practice without feeling tired. Wach finger has its own proper place on the key. The thumb should be placed with the corner of the nail on the edge of the key; the second finger should play just in the middle of the key, the third finger ghould play auite @ distance in on the key, quite HOW TO HOLD THE HAND. THE DREAM op ST. Cre: + CECELY, . TA, , ded to the effort of moy tdan the effort of holding is very tiresome, and js - : stand the fingers y woh gee key. Then as to the Position a great teacher oy, v “UOpe Wh, higher the arch. 1 and the deeper th Says that « the better ig ¢} he hand posit; e cup By arch, of course vonition® P Of the ha and by cup he mean have when you round ing the fing ie * Which too a, One away ys é DP nicely, Well in ea, ‘1 » each of your ny er in ckles, » he Meang 4 a . the holloweg he knuckles i Tor Tre Strength ; THE STRENGY THE ARCH. Md poy ‘ Beak banat see th: — hag that you ant oe a rted by archos er i sink in, ne 8. So in you Ca ened must } oe 8 a sign of oe Sst make a nic Weak raly ys ‘Uno muscles may pags : ended iad them in Position. a Nite the Riga Over 5 piayiie MED 20¢ Dlay} *S and alg Meh the aN : MINES Wavccc tO! ends ae eee for “el as - § Me fingerg § ~ Whe Ls $ toge ‘ pe ro eet q to hy ess the fingoy + ‘ands Rae © finger ting ioe, a Me that»? lip Sethey Mnr¢ Q JUSt ag 4, Vappig are 1rd 9, They You Ser, 0 the keys, een and can. The tendency will be for the knuckle joints t0 give way,” to sink in, but persevere until you cal keep them rounded however hard you press, just as rounded as if the apple were really between them. Make your thought prevent their sinking in just 48 surely as the apple would if it were there. Then you will have an arch which represents strength, too, and right in your own very hand. A CHILD’S NEW YEAR RESOLVES ON PRACTICE. BY EVA HIGGINS MARSH. IL i To practice regularly each day, hou I. To Fe vieetn do my work as though my teacher wer Ill. sitees © count aloud all new work and any hard IV. To obsery fingering Qa’ printed marks of expression V. To i practice slowly enough for accurate, steady playing. VI. To i ; rac ag aout practice with my head as well as my finge™ 8 ave my thoughts aves: VIL. ‘To ian ughts away off, hand alone. all difficult parts out separately, each VIL. To _ mak 7 Secumate meee my left hand a faithful, true and IX. 'To s play ; . i Practice hours all pieces outside my lesson, outside ‘ *. To prac tice distasteful work and scales first: SHOULD po, AND WHA THEY SHOULD NOT D0: BY GABRIEL LINCOLN HINES: What Not to Do. Do not say: “I can’t.” Do not be e y new face: hasty and play 1! jessoDs « ofliet Do not waste time in playing oa Music than that assigned for the less! wee not dictate to the teacher 9° at musie he is to use. ; Do not be jealous of other pupils 4 ang not ask the teacher t use a ( Worthless instruction pook- iy. Do not treat teachers disrespect u a ti Do not be impatient under ©° lon, : Do Not expect progress unless yol put forth all your energies: a a0" Do not be contented with } Work, y. rmony* Do not neglect the study of harm ave I u eT iis 0 not play in public until ye ‘red something worth hearing: ‘ What to Do. vias practice systema earn to listen as you play: ; ' Pr Advance gradually and surels: laACtiog Tave + our teach : n confidence in your tically: Ts Only what Vtery Metal iat your teacher tells YOU: _ ps0” Ge Necessary nd don’t miss a lesson wnles NINE a] , alg Praction ud to master the time pio Ves Ves daily ne. é Strive othly. ally 5 they will enable you t 7 ‘or provement *O make Ne your stud care Sacrifices for your music. stot Y until you become & marr yout out less and do not play wher , of tune, iterature thos j AY own sty yor tg ‘ Who know more than i © of playing, but use the c Misg i 8N. Oppantie.« mo Pbortunity to hear great Nsirneys y det: +o9 ine fon and diligent practic? ye m interpretation of t S always insisted that oul VAS to smother sell: d ney 7 1p" © Are: heer on Oe inflicted we a a DSfgre hac. i. tana nile

Page 61

AUNT EUNICE’S LETTER. My Dear Little Friends: We hear a great deal about “turning over a new leaf” at this time of the year. But we simply can’t help turning over new leaves every day of the year whether we want to or not. Every day is a new leaf and we write upon that leaf something that we will look back to with pleasure or something that we will look back to with sorrow. The best way is to go along trying to make each day more helpful to others and to ourselves. It is a good thing, however, to have some definite plan ahead, and if we re- solve to do a certain thing and stick to it, we accomplish things we never would have dreamed of if we had followed the plan of drifting along. You will find in another part of this page Tue Erupve Club Department. Teachers, pupils and musicians all over the country are as busy as bees in this splendid work. They write to us and tell us all about it. This is the best way for you to find out how this work is being done. If you have a club write to me, and if we have space I will be glad to print part of your letter that we think may be of interest to our other readers. Composer Months. Don’t you think it would be a good plan to have composer months in your club work? By this I mean to devote one or two months to the study of some com: poser’s work. January and February, for instance, might be devoted to Beethoven, March and April to Schumann, May and June to Chopin, July and August to Liszt, September and October to Mozart, No- vember and December to Liszt. ‘ In order to encourage MY dear little nephews and nieces in this work, I have been making great plans and hope that you will appreciate them by working hard for the success of your club. In the first place I am having a very jnteresting writ- er, who knows little children and loves them, prepare a series of articles upon the childhood and youth of these ae composers, and these articles may be Bae at your club meetings and in a sense orn the plan of work. They will tell the als of the doings of masters 11 the pine iS and pleasantest manner, and ile that part of their lives UP to a a when they reached maturily- is a be hard to do for you know, that Mozar' was a master even as a child, and that Mendelssohn wrote his wonderful | Mid- summer Night Dream,” music which in- # the oreat “Wedding March” THE ETUDE more of them we can supply them at the low rate of thirty cents per dozen. This would make the cost of six buttons for the whole six composers fifteen cents for the year. With this trifling expense the ciub interest and the club loyalty is sure to greatly increase. Club Help. If you intend having a Musical Club and at any time are confronted with per- plexing questions, do not hesitate to write to me, as I shall be very glad indeed to answer your questions. In Tue Erupe for November there were some suggestions for forming a club which you will do well to read. The club meeting should be made as interesting and at the same time as profitable as pos- sible. There should always be something in the nature of a little prize either for games or for contests or things of this de- scription. - Next month I will present a list of things that seem to me to make very de- sirable prizes. I am taking a great deal of pains with this list, and I will not only give the names of the things themselves, but also give prizes. Look for this list. Often these clubs awaken an_ interest which is productive of the very finest re- sults. Responsibility. There comes a time in every one’s life when a great awakening occurs. By this J mean something occurs which stimulates you to think and think and think. You realize that things have not been going just as they should go—and the thing thar causes the awakening is usually Re- sponsibility. d In the management of a musical club it is very ess ntial that the responsibility of each member should be carefully indi- cated. The value of Responsibility can- not be underestimated, and every individ- ual member of the club should continu- ally have something under consideration, some one particular task to do for which he or she is alone responsible. The president of the club should see to this, because it is only by continued work on the part of each member that the club work can be successfully carried on. Sometimes this very responsibility makes a change in the life of some little friend. It gives them something to think about. It makes them realize that their older brothers and sisters are not the only peo- ple of significance in the world. All the great teachers for centuries and centuries knew this and made much of it. There was a great teacher by the name ff Tenchel who. like all great teachers, I would also like all my little nieces and nephews to read the story of the foundation of Tue Etupe, which you will find in another part of this issue. It is the story of the success of a man, who, through honesty, persistence and ceaseless work has made for himself a place sec- ond to none in the world in his particular line, and he has founded a musical paper embodying an idea which has been copied by musical papers all over the world, and which has been without doubt one of the greatest forces for music study the world has ever known. I wish that I might shake hands with all of you and wish you a Happy New Year in person. Very cordially, Aunt Eunice. NEWS OF THE NATIONAL FED- ERATION OF MUSI- CAL CLUBS. BY MRS, JOHN OLIVER. I. Membership of the Ladies’ Friday Musicale, of Jacksonville, Florida, is rapidly increasing and the club is in a prosperous condition. On the 18th of November a concert was given by Madame Almy in the Board of Trade Auditorium, and was a very choice musical event. On Novem- ber 22d the club gave their regular monthly concert, with Mrs. T. F. Or- chard and Miss Minnie Clarke in charge. The Matinee Musicale, of Lincoln, Nebraska, has entered upon its four- teenth year with about 250 members and most flattering prospects. Early in November a Grieg memorial program was given with much success. The first artists recital of the season was given on November 29th by Her- bert Witherspoon. Two other artists recitals will follow later, and the sea- son will probably close with a concert by the Thomas Orchestra in May. The Monday Musicale of Vermont- ville, Michigan, has rented club rooms and a piano, and for the first time since its organization, six years ago, holds meetings in its own quarters, The club was represented at the St. Cecelian Temple, in Grand Rapids, Michigan, on Federation Day by Miss Grace Hawkins. 59 The second of the regular monthly concerts of the Beethoven Club of Memphis, Tennessee, was given on Sat- urday, November 30th, at Beethoven Hall, The program was in charge of Mrs. Charles Miller, who is chairman of the program committee for the year. Under Mrs. Miller’s skillful manage- ment both this and the previous con- cert was a delightful artistic success. (Additional Club Activities on page 61.) Dear Aunt Eunice: J reap the nice little stories you write in Tue Erupe, and as you are inviting us to write to you, I thought I would accept the invitation. I am in the fourth grade of music and am ten years old. We have a musical club. It is arranged in two divisions on account of so many girls. There is only one president, secretary and treasurer for both, but there are two assistants in the junior club. Our colors. are red and white. Last Sunday we (the junior division) held our first meeting: we called it “An hour with Mozart,” because we talked all about Mozart. The roll call was answered by little incidents in Mozart’s life. Next we had a duet from “Don Juan’ by Mozart. Then we had a little sketch on Mozart’s life, a recitation by eight girls, each one taking up where the other left off. Then Mo- zart’s first three compositions. I played the first one while two other little girls played the other two. Then a little girl recited “The Organ Grinder,” followed by a piano solo by W. Lege, “The Butter- flies.” To make the evening lively a small child recited “The Witty Musi- cians.” To close the program a duet was played, “Under the Double Eagle,” taken from Tue Erupe. I love to read the little stories you write in Tur Erupe. I send much lov+ to all the little nieces. Your new little niece, Grapys Burns. PUZZLES. Hidden Instruments and Composers. Find a musical instrument in each sentence: 1. No, Thespia, no; you cannot be excused from practice to-day. 2. See, Octavio, lines and spaces form the staff. 3. Your skill will fall off if ever you cease practicing. 4. Scales are conquered by practice, whales by a harpoon. 5. He tried hard to think of the air, and rumpled his hair in the effort. 6. A great crowd, or gang of people thronged the door. RNa Se) as | See eee es eS

Page 62

60 The Twenty-fifth Anniversary of the founding of Tue Erupe affords me an occasion to express my sincere thanks to all the readers of Tur Erupe who, through the quarter of a century of its existence, have loyally supported the journal, Without your assistance I realize that nothing could have been accomplished. Notwithstanding the flattering success with which our efforts have been greeted, I look forward daily to a newer, greater and better esi and earnestly solicit the continued support of all our musicai riends. With cordial wishes for a Happy New Year, NEW SONGS WITHOUT WORDS. This new volume by Richard Ferber will be a most excel- lent preparatory work to Mendels- sohn’s Songs Without Words. We have grown very enthusiastic over this work, and hope to see it an epoch- making volume. To my mind these pieces are almost equal in musical worth to Mendelssohn, although much easier to play. Our subscribers can get some idea of what they are like from the two pieces we have published, one in the October and the other in the December issue of Tue Erupe. We would like to see every teacher on our list use at least one volume with his pupils, and I am sure that pupils would be benefited musically by the study of such great and elevated musi- cal thoughts as are contained in this volume. It should become one of the standard works and be added to many curriculums of study. The work is quite far advanced, and will most likely be taken off the spe- cial offer during the coming month. In the meantime we are offering a copy at only 30 cents, postpaid, if cash accompanies the order. eae We can truthfully say Suitable that our publications have Teaching never been in so great a Material. demand as during the pres- ent season. This is not the result of mere chance; there are sev- eral important factors, each in its own way working toward the same end. To begin with, our catalogue is made ap almost exclusively of material se- lected with painstaking judgment, es- pecially for teachers’ use. This in- cludes methods, text books, courses of study, pieces for study and for recrea- tion, all carefully edited in the interest of both teacher and pupil—an almost inexhaustible mine of all that is worthy and practical in these lines; our stock of music and music books representing the catalogues of all publishers of Europe and America, second to none in the world in point of completeness, making it possible for a teacher to or- der confidently from us anything that may be wanted from a catalogue other than our own. One of the best appre- ciated features of our business is the uniform promptness with which all regular orders are despatched. We are daily in receipt of thankful acknowl- edgments of the unexpectedly quick deliveries of music ordered. Then, we are always willing to answer inquiries and to correspond with our patrons on all matters pertaining, professionally or commercially, to music. not least, our “On Sale Plan” e a strong influence towa d keeping us in touch with music teachers, partic- ularly those who cannot spare the time to go to a music store at frequent in- tervals to select music, or who are lo- cated where no adequate stock of niusic is kept. For lack of space we cannot here give the details of our “On Sale Plan,” but any teacher wish- THEO. PRESSER. ing to know all about it may get the information by sending us a request to that affect on a postal card. All in- quiries are promptly and cheerfully an- swered. kok oe THE CATHOLIC CHOIR AND SODALITY. Under the above title, A. H. Rosewig, well-known as a director and as a writer of Catholic music, has compiled two volumes of solos, duets, trios. quartettes and choruses, suitable for all feasts and seasons of the year. They have been carefully selected to meet the present requirements, being mostly easy, short and melodious. Volume I contains some well-known Offertories, complete Gregorian Vespers, Litanies, Benedic- tion Hymns, etc., while Volume If contains mostly selections which have never before been printed in book form. Many of the selections have both Latin and English words. We can heartily recommend them to the consideration of Catholic Choirs, Sodalities, Convents, Schools and the Home Circle as containing the most useful and appropriate music for all occasions. Introductory price. one sample copy, cash with order, for 75 cents, postpaid, ae ae E A. MACDOWELL’S SIX PCEMS * (Sechs Gedichte), after H. Heine for the Pianoforte. Op. 31, will be shortly issued complete in one volume. This is one of the great American com- poser’s most celebrated works, having among its number the well-known “Scotch Poem” and “A Memory.” Each of the pieces has for its motto one of Heine’s well-known poems, to which the music written in Mr. Mac- Dowell’s most characteristic vein is aptly illustrative. Interest in the work c{ this composer is constantly increas- ing both in this country and in Europe, aud the “Six Poems” should be found in the library of every pianist. The pieces are of medium length and are graded from moderately difficult to difficult. All are characterized by po- etic grace and originality of conception, and will amply repay careful study. In addition to the two numbers men- tioned above the remaining numbers are. “The Fisherman’s Cottage.” “The Post-chaise,” “The Shepherd Boy” and “Night.” The work will be handsome- ly gotten out, carefully® revised and edited, and printed from special plates, The special price in advance of publi- cation will be 30 cents, if cash accom- panies the order. If charged, the post- age will be additional. WELL-KNOWN FABLES SET TO MUSIC is a new work for the pianoforte, by Geo. L. Spaulding which will shortly be published by this house. This novel and very interest- ing volume consists of fourteen little pieces which may be played or sung, cach piece taking its title from one of Asop’s Vables, cach fable having THE ETUDE ANNOUNCEMENTS &%e PUBLISHER | been versied and set to an appropriate and original melody. The pieces all lie in the first or early second grade and display the same freshness of melody and attractive musical qualities as are to be found in the composer’s well- known “Tunes and Rhymes for the Playroom” and other works, This volume will be gotten up in handsome form, very clearly engraved and uni- form in general make-up with the other popular volumes by this writer The special price in advance of publication will be 70 cents, postpaid, if cash a. companies the order. a a * x AE ROGRESSIVE STUDIES FOR ‘ae we aoe by Geo. L, Whit- ng, ! ontinued on special ofte during the current month, although he work will be ready in the near ia one studies are the best of the kind os nave ever seen, practical and y t date in every respect, These studies are of real musical interest, ai poe appeal especially to pianists’ takiy the study of the organ, TI aon Prove most useful to organ ae, el who have completed the co stage. Each study is in realit ee plete musical work well cont 3 eae embodying all phases of Oran ane The special introductory ee Bohne 30 cents, postpaid, if cash ee ihe Ofdce 1 accompanies SoNcs FOR CHILD continued on speci the current month, alt} | 1 1s Now well advanced ; ee Our endeavor ume has been work useful for : all rpos children’s songs m, Pees this end in view wide range in vi the consta inake use questionably be pleas tents of this = $ vo troductor olume. cuctory price wil paid, if cash keene . in making to produce © 30 anies the or : g ; eg Copies time. Ty View tibution in om. wall Methodicg Sted ta, bE ae and ee Bight Singing yilttity . cess of this ety ot out of the ete irradi Volume, hie i ae ioe ior, to the oth ch is equal ek pois of nt WO con iginality, ep n 1 Price will be 25 cea intr : op accompanies th rede cash Ne order ce 2 ; ash Kavsers erup . VIOLIN, Op = Pe continued on spe a ee current month. » pe 5 h. the new D resser use by Volume Out Rew aa: of : : new edition h he san: 3 tudies d, edited ¢ as bee teacher and mM advance of cents, postya » POstps order, i SCHUMANN OP. 68 AND OP. 15 These volumes, both separately and combined, are now ready, and the special offer is hereby withdrawn. We are pleased to announce that, as prom ised, we had these ready for distribu- ton early in December. Our patrons will undoubtedly be pleased with the New edition of these works. The edit- ing and typography are of the best and the volumes are gotten out in sub- Stantial shape. We will be pleased t2 send them for examination at any time to those who may be interested. “k Ook Ok SCHUMANN ALBUM will be com tinued on special offer during the current month. This is a volume ° miscellaneous pieces selected from the well-known opus numbers and com taming practically all the popular Picces by this master, It will be rather More comprehensive than any Schtt mann Volume as yet offered. The se cial introductory price of this wo will be 3o cents, postpaid, if cash 2° companies the order. He OR BURGMUELLER’s CHARACTER ISTIC STUDIES, OP. 109, “ continued on special offer during the current month, These brilliant a ie attractive studies are intende ale this composer's widely used UP: fait The edition has been very care: fe Y prepared and will be found a factory in every respect. The spec! introductory price will be 20 centés Postpaid, i 5 ant he of der, » if cash accompanies th De Ok BERTIN?s 25 STUDIES, OP. Ga” been added to the J on. These studies are 7." . ae a teachers. They are in vation’ es ce and useful for the developer ey fire he style and mechanism. theif melodie by pupils on account of Phe sc quality, «1 be Spec i 1 -- oT v1 Pecial introductory price W nies 15 cents trod me Rostpa a compa the onde. stpaid, if cash accomP use CALEnpars. Our Musical Caer Hoeiger” for this year have beet we can be called ¢} xv hay * Ozart, Schumann sach, 7 Cardbo, endar Vagner, Lis , n, Chopin, Mendelssoh® Chey are mounted on be, ard with an easel, with the on his Ps og one corner of the vin expensie ces a very handsome an eee themgal ne ornament. The pict f the Salen are of use irrespectiv? - Studio ag Men pad 4Ssorted UY pric dozen 1 ar, and are most exce ormment. They may be | They may sire: or any way y ay des 3 you may 3 1,00 * © 18 10 cents apiece, of > Postpaid, — J ae Ve: Fee in advance for the ac COtdynee woe their copies, and i we? With the rule the book is " Wi : 1th Withdr 231 now advertic tea al off ‘wn from any specta lat 5 2 -e gut Only be had at the 8 a Yate. As lren poe this rs po Stween the de ed Previg chil ye; mentionec fot work is ont ad ages of 6 an are Poems 1 Work and music are © hands, is gotten out a Ctive jy ee Manner and is VE ger String typ. “PPearance. To any OM ap. Prova, 5 Work it will be sent af

Page 63

CHOPIN ALBUM. One of the Most important volumes that we have issued this season is the Chopin 2 Ibum. It has no less than 158 pages, and contains the cream of Chopin's Planoforte: compositions. There are ees in this volume and some of is ae are quite lengthy. The selection © same as is usually found in the Tae Album of other editions. The Isid as been very carefully edited by re Philipp, of the Paris Conserva- ee The work has been on special pict for the last few months, but is aaeae withdrawn. The retail price of Ws work is $1.00, subject to the usual ‘scount of works in the Presser Col- lection, koe OF NEW PIANO sTUDIES. We will have reaily for delivery soon Four Studies of a Standard Order. eae will appear in the Presser Col- Ti on. These studies are so well eee that comment would only waste stdie They rank with the finest les that are used. The following are the names: ace eaipeey, Op. 26. Studies; K © Czerny’s Velocity Studies. .Tause, Op. 5. Ten Studies for the ianoforte, rause, Op, 2, Velopment wake iano Pref- Studies for the De- Trill. Twelve Preliminary Cia. ae Studies will only be on the spe- Positively this month, when they will Price f y be withdrawn. Our special Cents or each of these volumes is 25 for Here eu If an order is sent in ei Our at one time, the price will Price aoe and as 75 cents is the retail Parent mac from this it will be ap- ing. La pier we ee ma OSiti er that this offer w t! moka’ withdrawn at the end of ho okie U™ounrep capiner SIZED MasppeRAITS OF GREAT We had For the Christmas trade traits a limited number of these Por- They Printed, and have a few left. Cuality of an example of the highest ee and. Printing, Done in two col- Soften th the sheets then pebbled to he € effect of the printing. s fae’ Is exceedingly cheap, 10 traits_p a sheet containing eight por- Liszt fethoven, Mozart, Wagner Sohn. Chopin, Mendels- We sell a dozen In other words, you me 96 portraits, twelve of exch of e % for $1.00, about 1 cent the Abicg, TI ; ey ate Suitable for framing either T the whole eight or four Pattoutinge are excellent for passe- he , ; One dey is limited, so that if any Uture Re 4 number of these even for Se send the order promptly. ook ok Post carps ‘any PICTURES. ae fitted Series of musical post od itinog qa want long known. The Sipe, 2P€ cards that we carry are Samples of the printers art. 5) ee for pupils or subjects for €coration they cannot be str _ The Price is 50 cents per The historical post cards are ind a distinct aid to students of ee Liszt. or Wagner. The § 30 cents cach, except Liszt § 15 cents, The series of col- if Blakes of composers and their bit 4. ° 18 a dainty set. The price 1S 35 cents for 14 cards. A complete Wes, these cards sent free upon Te Pict Deal toke Raia “the Utes to th of musical subjects that aP~ 1€ music lover as well as to THE ETUDE the artistic eye are unfortunately but few. We have compiled the very best from the publishers of Europe and offer a varied but select assortment. The prints are of the finest quality both in finish and style. The size is about 8 by 10 inches surrounded by a generous margin. The price but $1.00 each postpaid. Illustrated list sent free upon application. MUSICAL CLUB ACTIVITIES. (Continued from the Children's Department.) (Tue Erupe will be glad to have any of its readers send in communications regarding club matters. Tell us how you formed your club, how your pupils Were most benefited, what courses of study you have found most helpful, what amusements you have enjoyed. We cannot print all of every letter, but we will be glad to notice as many as possible. ‘Address letters to The Club Editor, Tue Erupe, 1712 Chestnut St., Philadelphia. In THE Erupe for last November we printed a sketch of the initial work likely to be necessary i ing a club. De ae ee an announcement of the “Saturday Club” of Sacramento, was organized in 1893. The which : 1 work of this club as represented in ae little booklet is very laudable. The number of members is reported as eee of whom, however, only 45 are active. dance is 686 per meet- The average attendance! eet ing. The correspondence of the clu amounts to 12,000 pieces of mail a year. Its expenses for one year were Sor 61.61. One very praiseworthy - Sees eit was that of 25:00 pales MacDowell Fund. Among oS ; S eason ar a F or the present § Ls and Carreno. The programs of last year conteung eves os uy. 4 : i ac. 0 ‘ons, ranging from seraues to such popular Bo ee Abt and Nevin. This shows oe a an izati f this kind can de- ical organization 0 n ibe ea become of great educational in a community. : ye lowe are some excellent ae li na from the constitution, es . nd egulations of the club, which ae poe failing of the manner 1n w aa Pan gaits of this highly successful clu he affa a een conducted: : ee objects of this Club are the Be ical improvement of its meme ae the stimulation of musical in to. eee Club shall be composed and if as follows: classified as fo echt nate ive Members. — ; de ane conduct the affairs of the on pers—(Men and wo- iat ers. ‘ Associate, Mr have no vote in the af- men, who § fairs of the " Auxiliary Associate ie only, who shall have irs of the Club.) f an nttge? Members—(Men and wo men.) Student To become 4 ; the Saturday Club. ea candidate be a te the immediate Cieb) Members.—(Men vote in the 1g—-(Girls.) Mem bet eae Member of : it is necessary that resident of Sacra- vicinity, and be -one and over twelve eats — Her teacher 10 musi mt Cage the Secretary a watten apt 4 sen iP nee must be renewed eac cation, mento or under twenty fember absent from three any consecutive three and sufficient ex- . ut good an i ¢ pres er membership. She cuse, sha ; » entire program g the y during ie less excused bY the Ps See cieaie vm student Member shall ho jn readiness to, “ Members’ Recita oie to do so by her tea A Student Member may retain her student membership for two years. She may then be transferred to the Asso- ciate Membership, and may not be eli- gible to Active Membership until one year after her retirement from the Stu- dent Membership. Candidates for Active Membership, ex- cept those of established musical reputa- tion, shall be required to perform before the Board, and shall be placed on a trial list and governed as Active Members, to be admitted to permanent Active Member- ship by vote of the Board at its closing meeting. If unsatisfactory, at the close of the season the Board may remove them. They will be required to perform one number of their choosing and one selec- tion by one of the following composers: Bach, Beethoven, Brahms, Chopin, Franz, Grieg, MacDowell, Rubinstein, Schumann, Schubert. Associate members may participate in cencerted numbers by permission of the Board. Members are requested to send in writ- ing to the member of the Board appointed by the President their contemplated work for the season—giving opus, number and translation, By doing this they will avoid having their number chosen by others. All substitutes must be submitted to the Board. Only in exceptional cases will numbers, other than vocal, piano, ’cello, violin, flute and harp be accepted. A member may not furnish more than one substitute during ‘the season without per- mission of the Board. A member may not repeat in the same form any number given during the preced- ing or present season, unless that number has not been given in its entirety, and she wishes to give it in a complete form or wishes to render the part that has not been given. A member may invite one guest for every number participated in on the pro- gram. Upon request the Secretary will send a guest card to a new resident, or a non- resident for Home Meetings.” This fall we have inaugurated a series of monthly meetings. The first one was held Saturday, October 26th, and we were so delighted with the impetus it gave to the pupils who played or sang by way of stimulating to practice more than they ordinarily do, that we thought the news ought to be spread to those teachers who have not already discovered the benefit to be derived from such meetings. Every pupil in the classes will in this way appear iwo or three times during the year, and with a couple of public concerts they should learn the repose and control of themselves so necessary to a public ap- pearance of any kind. The enclosed pro- gram was given almost entirely from memory. FE. E. Farrar, Club, of Warren, Pa, Mrs, William Linsey, president, has adopted, with some modification, the “Plan of Study” recommended by the Na- tional Federation of Musical Clubs, the subject of the first yea work being “A General View of Mus They give irty minutes each week to discussion of indicated, and a paper will be read y monthly opening meeting. The Philomel Club has on its artist member- ship list Madame Julie Rive-King, who has appeared before the club for six con- secutive years. The Philomel 2 The Philomel, Jr., offers a most at- tractive calendar for 1907-8. This branch of the club is composed of the younger with Miss Hunter, president; Miss vice-president; Miss Lesser, secretary; and Miss Kelly, treasurer. The Philomel Jrs. will give open day on No- vember 25th, when the program will con- set Buersted, 61 sist exclusively of McDowell composi- tions. The Polyhymnia, of Waverly, N. Y., celebrated their tenth anniversary on Oc- tober 18th. This is Waverly’s oldest and leading musical organization, and its his- tory is largely the history of the musical’ advancement of the town for the past tem years, An elaborate program was rendered}. after which a delightful menu was served as a compliment from the Waverly Cook- ing School. Officers of the Polyhymnia aie: President, Mrs. R. P. Blakemore; vice-president, Mrs. F. A. Sawyer; secre- tary, Mrs. H. B, Ingham; treasurer, Mrs. I. W. Taylor; critic, Mrs. F. M. Snook; Federation secretary, Miss Mary Finch, On Tuesday, October 20th, the Tuesday Morning Musical Club, of Knoxville, Ten- nessee, gave its opening concert, with a mixed program, under Mrs. Delpuech, di- rector. Miss Florence Fair is president of the Knoxville club, and has outlined most in- teresting work for the winter. Assisting Miss Fair on the official board are Miss. Elizabeth Honeyman, Mrs. Justin Smith and Mrs. Lavice Powers, The club opened the season with fifty-five members. Cameron Music Club, of Cameron, Mis- souri, has opened the year with much en- thusiasm and complete plans for a suc- cessful season. Mrs. Adah B. Corn, who is responsible for the existence of the club, is the president. Only two public recitals were given last year, but plans for a much better record this year have been formulated. As yet the Cameron Club have studied only American com- posers. The Wednesday Matinee Musical, of Marlin, Texas, is enjoying the ninth year of its organization. They are studying this year American music and have opened the season’s study with orches- tras, conductors, ete. ‘ Each week the club meets with one of its members and each meeting a different leader is in charge. The meetings are well attended and great interest mani~ fested in the work, N. N. O. The name of our club is THe Erupe Music Club; our motto, “Hitch Your Wagon to a Star.” We have programs. every two weeks and prize contests upon scales and arpeggios, the class voting as, to which performers played best. The members are the pupils of my music class; and such little friends as will agree to play when asked. Our initiation cere- mony includes finding middle C upon the piano, blindfolded. We have secret password and grip. Sincerely yours, Netz R, CAMERON: Pomona, Calif. The pupils of the Waldemar GC. Mertens School of Piano formed a musical Club, known as the Beethoven Musical Club; treet monthly. Officers were elected as follows: President, Mrs. Gay Miller, '07 5 vice-president, Miss Irene Heyl, ’07; sec- retary, Mr. Theo. Brinkman; treasurer, Miss Katie Bischoff; librarian, Mr. Ar- thur Linkenheimer, ’o7. Turo, BriInkMAN. No teacher s obliged to give instruc- tion to every applicant. Nor is he obliged to continue teaching a pupil who, through laziness, Is to make reasonable progr One can stand a lack of talent if there is a fair degree of application, but only the worst financial straits will condone the wast- ing of time on a lazy pupil. One of the best advertisements a teacher can have is the refusal to continue the farce of instructing such a person,

Page 64

THE ETUDE 62 93 -FIFTH ANNIVERSARY —1908 STORY OF oe eee ee aN PRESSER—“ THE ETUDE”—ITS FOUNDER ivi : i “The Etude” tury of struggles, ceaseless energy, activity and ultimate triumph, How T. The tale of a quarter of cei ee grown to be the most widely circulated musical magazine in exist from a yee ares ccount of the remarkable publishing business that has grown with it n interesti. P ence A ae Etude” has to realize that The | iden i r some of our readers : st insignificant T may be oe a quarter of a century. From an Be as ea eae has grown to have the largest eee eee a Nat Wie even contribntine brains to 7 iti ihe next step yw; § Other Pleceg + p a Muting nt eusto! jp s epee @ Soaition 9s 6 Miude @ Nas to hay, “Sto fj certai ands of the eve”, Vhiting. He soon was off ae din this ‘The Etnde.2 This w © the Musie y), un demands ¢ 0 at 5 d also Mr. George E. Whiting 51,000 a year, and remained in this iS 0s a, re apes demands of the i Emery, an ln are, Ohio, at a salary of $1,0 a oe + that during this time Tn the early augs a sinning J Fe mek monly ae a er % ae 1 wane We desire to emphasize the pteaning GouRs of self- had entered ag a boy in le pisinness Vas arg “ ie = Hots a" on for two years. . f Mr. Pr '’s energy in s ‘dics: . esi . MNeke. boa fs hase of resser hu ei val (rowed s a a naar study. Th in different parts of the eountry Tier me Ustee ss niger ay marked nat te 3 ate different p: ir ‘ational influence was Mand he « ‘| ans i ent cppred ie the vale ogee he ve oe John Orth, Carl Zer- to Mr, Presser's thereon retains this pane business standpoint a adi" poco 3 ; ps a bel ge ae i - 5 et Stage. : Lion: ics > valua’ appreciate Men like J. ©. D. Parker, B. ; i mats ont Ga ee: 2 hi i eh ay ned. J. cay nerne n this work, a 16 busines ener most ag Whiting and others were re es es courses should several efforts hee ee ona: , rn jeorge If, a a ‘ough ‘Ses § "’C mada 9 P ‘i Kj eric 63 Se Cee eis through the ree] nS Vala Nes of a mail order business: yea! i bp ci Swlar mug; } he Sale of . qd pr 2 bi iderestimated. a coer bi not be w s

Page 65

THE ETUDE After the Walnut street location became far too small, the business was moved to 1704 Chestnut street, home, 1712 and 1714, the present location. one time the entire stock of Wm. A. Pond & of t a lot of sheet musie whieh if York publishers, was purchased ; pile would be about a mile high. to Philadelphia. then to 1708 Chestnut, and lastly to a permanent Eaeh step marked an advance. At Company, one of the largest of New kept in a single It took four freight cars to bring this musie¢ depa tlraw yp ad “ dressing of the wrappers, A bridge was built over Toni Spread out eneray, 'sravers also had the benefit of Mak: An el ectrie convey vill be t adel nveyanee will and forth, Very soon it was found necessary ang riment; so a building across the sma annex. Here was a branch of the wor andl Pwards of 3,000 letters a weels € it. Then there was the subserip now done on & int is he > opening, ak the south en construe ek and do he motive pow A freight tunnel had just be Ng it possible to receive sto ER BUILDING. to do something for eeqThe gate II street in the rear was laa ae +k which promised to draw, = : = t required a@ place nae ibe Va tion list with its incessant ¢ anges, machine, 30,000 per day. " treet to thi ex, and ‘The Etude es b he music eo. gaining light, 2 ; : eee light of the windows 0 tied under the street to the nee all packing in the new bui A ‘ er for transporting the bundles k, and i cephe Etude.”’ + ‘ “The Etnde”? illustrates to Tose i Of its founder and Thig ih the cae ie Ee Who combines the Be on will look at the 7, Nth of this idea. In t le Ollowing: eT ie Hor iM will be primarily dev Will }; © consta ee eae Some tantly before Valu peo On: but with the si ble and practical as lies 11 B . The Etude’? has long sine Mattoy Mae of comprehensivenes oe 1 Organ Department, Childre NEstio partment, Aen the first issues ¢ q 4, not only in articles whie 5 he tenac is perhaps best expressed bY the si first issue: ¢Omna tulit pu useful with the frst issue re editorl oted to the gener study properly, how to teach, our minds. sineere det 1 our power. e leaped aw of materi n’s Depart ment, ns and swars De partment, 4 uN wah i ded in th » None off which were include ? the paper Mr. h show 80 in stndies and exercises he he i f pur- stent the singleness © en held to this purpose. iff found upon the cover «onificant motto ot ne Fa 1 miseuit utile dulee. onavtus ie vreeable bears away the prize.’’) ae minde”” you will find if an out- fhe purpose of the paper, we find a remarkable ity with which he has of ‘‘ The al, stating al interests of piano teaching. a ntice, ete., are subjects which Tee . our first number with e the publication as how to We pres ermination , ent this, to mal jainal bounds jn the has a Voice Depart- ‘3? Round Table, Notes and Home ay from its or , Tt now The Teacher ent of Foreign al and scope. a Departm ivst issue. ; int - pen was continually repre- erience as a teacher, Presser ’8 ‘| sqetieal ex} , is practica 1 et a ed B Aa during his tenching days - rd evolve 63 Among the first writers for ‘‘The Etude’’ we find Calvin B. Cady, E. M. Bowman, W. S. B. Mathews, George T. Bullings, Dr. Louis Maas, Calixa Lavalle, 3. C. Fillmore, Jas. Huneker, W. H. Sherwood, J. 5. van Cleve, Hamilton MacDougal, ete. “The Etude’’ is the result of the co-operation of many experienced heads. Tig contributors represent both the articles by great teaching specialists of the time and through the homely words of practical advice and experience the little teachers in tiny hamlets all over the world. Its scope is as broad as the sphere of music itself. The leading article of this issue by Carl Reinicke is indication of this. The music in it probably represents an actual cash saving of over $25 a year to those who buy ‘‘The Etude.’’ It also acts as a commercial bulletin, carrying the latest statements of the leading publishers to those who need them most. The musical papers of the entire world are faithfully read every month and any idea likely to be of value to teachers and students is immediately pre- sented. The paper thus becomes, not a newspaper of transient value, but a permanent addition to the teacher’s library. Advertisers tell us that they hear from advertisements inserted years ago, thus proving that ‘‘The Etude’’ has been saved for years as a book of reference. ‘The Etude,’? formerly under: the editorship of Mr. W. J. Baltzell, has been placed under the editorial management of Mr. James Francis Cooke, who for many years has been one of its leading contributors. Mr. Cooke is an ‘American who has received a comprehensive musical training in Europe and ‘America. Although still a comparatively young man, he comes to ‘‘The Etude’’ with a reeord of several years of metropolitan experience as a teacher, lecturer and choir director. No other country in the world possesses a paper similar to ‘‘The Etude;’’ there ean be little wonder, therefore, that ‘‘The Etude’’ has leaped beyond the bounds of the United States and has a cireulation all its own in each one of the five great continents. PUBLICATIONS. HE five hundred to one thousand catalogue numbers which are added an- fh nually entail an amount of engraving, averaging from two to three pieces of sheet musie daily. The copy for these new catalogue numbers js selected from among the many manuseripts which are arriving daily from all parts of the world. The Catalogue. During these years which we have passed over so lightly, the Presser pub- lishing business had been, in common parlanee, ‘‘sawing wood.’’ By original publication upwards of 500 titles were added to the eatalogue every year and there were generally bought elsewhere about the same number. The consequence js that this business is now one of the largest anywhere, with a catalogue of nearly 8,000 titles, books and music, and this catalogue is not the expression of a barren ideality or of ancient history, but a most sensitive and eareful selection of possibilities whieh will appeal to the teaching world and to the world of serious musie students. Very fortunate have been some of the heavy investments in important edu- cational publications. In 1890 was brought out Dr. Mason’s ‘‘Toueh and Technie,”’ partly out of reverence for the oldest and most distinguished of American pianists, and partly in belief that it was the thing for the patrons. Later was produced ‘eThe Standard Graded Course’’ for piano, edited by W. S. B. Mathews, a earefully winnowed list of selected study compositions from all the authorita- live sources, graded for progress. The idea had been tried in Germany before, but with no general success. Tlere the result was different. ‘‘The Standard Graded Course?’ at one bound eame into a very wide acceptance as a practicable and pleasant way of passing through the working years of piano study. That there was profit in the enterprise is generally admitted, especially by the com- petitors of the house. More recently the same thing has been done for the work of the singing teacher, and a ‘*Standard Graded Course of Singing Studies’’ has resulted, and these also are having a good sale. But salability is not a singularity of any special number in the Presser catalogue. As the late Gustav Sehirmer said of Mr. Presser: ‘‘He has the publishing instinet; he feels rather than reasons whieh pieces out of many possible ones will meet a real demand.’’ And the end justifies the means, as proved by the quality and by the demand, which grows year by year. Handling Manuscripis. ' When a manuscript is received it is dated, properly filed, and the title, the name and the address of the composer are entered in a book kept for the pur- pose, and the sender is promptly notified of its arrival, The mannseript is then taken up and passed upon in its regular turn. Every manuseript, no matter by whom written, whether the composer be known or unknown, is thoughtfully and seriously read. Tt often happens that manuseripts by unknown writers contain ideas of value, and the publisher never negleets compositions of this kind. As more than one hundred mannseripts are reeeived weekly, the amount of thought, labor and correspondence entailed in their consideration and final disposition may be veadily imagined. Tn this work, to which Mr. Presser personally devotes much time and attention, he has the assistance of his eritie,

Page 66

64 THE ETUDE HEADS OF DEPARTMENTS " P. W. Orem, Critic. G. H. Dows, RetatL. W. E. Herzert, Gen. MANAcer. H. B. MacCoy, Orper Dept. Mr. Preston Ware Orem, who has had charge of the editing of the Presser editions for a number of years. THe is a graduate of the University of Penn- sylvania, and prior to his connection with ‘‘The Etude’? he had won tor himself an enviable reputation as a teacher, organist and conductor. Each manuscript is gone over a number of times, passing through several hands and being carefully played or sung, as the ease may be, and a final sifting is made weekly, such manuscripts being retained as are finally found to be available for publication in the catalogue. Hardly ten per cent. of the manuscripts received are accepted. Those found unavailable are promptly returned. In every case, either of acceptance or rejection, a letter is written. That a manuscript is rejected is not necessarily to be understood in derogation of the composition itself, but rather should be taken to mean that it is not suited to the publisher’s needs. Frequently a composition which cannot be used by one publisher exactly meets the views of another. When a work is accepted a price is arranged with the author, usually on a cash basis, since royalty arrangements, as a rule, are only made with composers of solid and established reputation; even at that, a surprising number of well- known composers prefer to sell outright, and wisely so. As in the ease of all literary manuscripts, so are all musical reanuscripts carefully prepared before being placed in the hands of the engravers, sometimes passing through the hands of several experts, musicians of experience, since, except in the case of a few highly experienced writers of music, manuscripts usually contain faults or inaccuracies, technical, grammatical, rhetorical. It is the province of the ecritie to oversee all these matters. The musie for ‘‘The Etude’? is personally selected by Mr. Presser, assisted by his staff, and months are often consumed in preparing this very important department of the work. Reasons of poliey and variety govern the selection of pieces; catering to the largest musical audience in existence being by no means a small problem, no pains being spared to make the editorial work as exact and practical as possible. The Engravers. The manuscript is finally ready for the engravers. It is then placed in the hands of Mr. Hessel, who is in charge of the mechanical department. It is his duty to ‘‘lay out’? the work and assign it among the five engravers, who are continually engaged in making plates under his supervision and who are engaged for their notable efficiency in this work. After the piece has been engraved proofs are drawn and the composition returns to the hands of the editorial department. The proofs are then sent to the composer for correction, and when returned by him are again read by some member of the staff. The proofs are then handed back to the mechanical department so that the necessary revision and cor- rection of the plates may be made. Meanwhile an appropriate title must: be selected, composers frequently leaving this matter to the editorial department, and a design for the title page must be prepared; the executive, the editorial and mechanical departments collaborating in this im- portant matter. The piece is then finally ready for printing, and it may be stated in this connection that the plants in which ‘The Etude’? and Presser editions are printed are the most modern in Philadelphia, a city noted for large printing establishments and excellence of typographical work since the time of Benjamin ¥ranklin. In the case of music selected to be used in ‘The Etude’? special large plates of a uniform size are prepared which are reproduced by the photo-engrav- ing process and reeast in the foundry for use on the modern presses upon which the large monthly edition of The Biude’’ is printed. Commrecial. Around ‘‘The Etude,’? and starting only a few er, has grown the mail order musie supply The close relationship originally existing years Jat house. between the business ; i ; g to-day as — - me patrons is felt by the heads just as strongly : a rou : . zl still upon our books, In te hee au ah of Mr. Presser himsel tea } f, there w. the first call from whi i hs Music Teachers? oe a Sent out from Delaware, Ohio, in 1876, and hen the 1 of Employment was another naar whieh drew ue business of ¢'T] ne a7 department of our ene ant the people into close personal relations. ; aia most interest to our patrons is order department. ia EOSEES ite The building i street, a cate ee ng sie The firm has not ent nothing but sheet m students exclusively, The second floor of t My. Presser and hig perso: at » and runs back 15 a frontage of 44 feet on Chest!” ered the piano or 50 feet. Tt is five and six stories Bi usie, music books musical instrument business, dealing and musieal supplies for teachers he front buil hal cia Iding is occupied by the private offices Business Offices, stairease to a mezzanine stor ce department of 80 feet we ascend prow business offices, Here. di ee ines it i oi 0 assistants, is carried Ch tiee oe iM a BA : ° filled here each day aban - 0 aagesiness = Ge mi rode i ! different pieces, Tt ean x ee ferent eudets eS et ne aaa readily be imagined dutta cio ce tem most : at a staff of the e Stocks; the stogl ese letters are distributed among Ee ex Consists of piano and vocal musi? ie Merican composers followed by oa is allow sie for six hands, eight ae: v classifications, and lastly the be lisher in the wo vorld, but and i | a th i oe rie cael largest oA he publications of every # ag Steingracher, ae of studies, Peters, Lito Passing back through the stock, i ck in this country of the ¥ vals studies. ae Well asvall of Gh The orders are carried f, ee ae ep this baleony where a one stock to anotl pare at they are Properly Alen are checked by the meet oe oe the charging and billim, 7) ued. Te Y the most experienced MO iy ; " com department; if not cope tment an Pleted, they are then passed g , detail Work oe mt cre to the packing and ™ the ' department and then va ae er imacj ¥ Imagined when we say THE MAIL ORDER pep ART My: al! Iff, Augener, Brictkopf & Boy

Page 67

THE ETUDE DEPARTMENTS HEADS OF | Miss L. M. C ‘ ‘ My Cox “Au a: -atingnea Wee 5, Accoun : Tie ane uprtor. | J. W. CLINGER, ADVERTISING |G W. Norton, Accounts. K. D. Watxer, Casuier. | H. Hesset, Mecnantcat. | - Miss H. B. BENNETT, — _ SuRSCRIPTION. 65. } | Ig as ents there is the correspondence the selection department as in the business, aid of the teacher; e trend toward the degree that every es of musi¢ fee each of the above stocks or departm rant pe oyine not less than eight persons} forming on me of those experienced Jn teaching as well the ae of the most important original adjunets to the modern ing department, no small part of the business; th steamer oe of Europe having developed to such a consi rom Germany to Philadelphia brings one or more cas igned to us. Miia to famous ‘<On Sale’? system, W y this house, has tended to bring “me! : i : tropolitan business to teachers situated in the most remote parts country, tion eye of the many original ideas applied to this busines Beau new books by selling at cost jn advance of publication § that are practical, useful and well made, which means that no buy gs Was ever disappointed. hich was first applied to the musi¢ the advantages of a great of the s is the introdue- and selling only advance The Stock. 000 feet of floor space irrespective m ‘ ate plants which are necessary to earry on the manufacture of , and the book and sheet musi¢ publications. he stock of outside publications of sheet music if place another w : a 2 Wet Would make a solid pile one mile high; of books not our 2,01 hn; of bool 000 feet; of sheet musie of our own publication, 5,000 feet, mount. The magnitu of the To-d A : ay the business occupies 22, Nase d on top of one own publication, and of books of de of this mail during the last our 3 order pa Poe ncaton at least twice that am te ihe 4801 cen twelve rt of our business can best be imagined by he fa jurn oat i month “1 ¢ 7 te was $40,000, this is entirely is our bill for postage stamps ,00U, aeiron mueatss s by express an this baleony, and here all of ted for and purehesed. The la fill forty-two of the of shipment his office on contrac alone wou irre: fee of the immense amount bs sn eg manager also has baper f = for this immense business are ¢ or a year’s issue of ‘The Etude Argest f, reight cars The Store. M A a . +, store: tne United Stata.” store is one of the best equipped retail mile er ite. H. Dows, ates. This : . an anageme aCe Chis retail department 1S under the Ae, ane with shelves and dust The wae). sic stock is kept. With ta ie de i Proof ho ve salesmen and helpers: ces. 4 3 joned sheet Xes, in which a part of | mentl¢ a manilla wrapper: containing title, js quite elegant, He Gane { Comoe Copies of one piece are inserted jn ae = quipment Se publisher and & record of its $8 Ce wieh and in taste with the rest furnishings "C° ” tthe city are le " Uxtures he} of the wes being of cherry and the ie) amateurs % daily, establishment. ‘The foremos a Y Visitors P ¢ teachers ng been stupendous in the past “with what erumbs New York f its own that has com- vatie society that produces 1" Hate hid development of music in Philadelphia be at B q . 3 ° Ten years ago Philadelphia was satisbed afforded, but now it supports an ] critics. fhe respect of all musica lea, grand opera on a large seale, with all tale rti i i pay, say ae of whieh Tee mete pats OR ith this great growth our store has k ral i . clerks looks after the daily needs of ae ae Sate oe Tne pres joasts the largest library of literature devoted to musie in Phile acl hi ae Under a large skylight, 80 feet back, is located the ei hi " accounting department, and back of this additional stock nee a, shi department of the whole place, employing no less thaa 16 sents co RESERVE STOCK STORAGE, BASEMENT, ae e ia oe business has been so great that each year 3 ze of the area for the proper dispositi busi I I ae sposition of th ce imperatiy e. In the basement we find the reserve ice tea a a one and ean publications, 6,000 feet of floor space almost solidly ee pe “a oe are is the vault in which the valuable plates of eee nan ations are stored. It should 1 x ‘ ah a lie a numbers some 8,000 separate fitlad, The sera Bel ie e t pul ication, that. from which daily orders are filled Secunie the 5 is a cng ge ee exception of the space used for offices. : Pee we i? eee A = stairs from the baleony we reach the rear second ae 2 : Udit Tere we find the eashier’s department and that in wate oe a BE Se Here in the first place are taken the 9,000 or ce eit as iy as ed each day. Here the letters are read, actuated, the y entered and all accounts audited. This cashier’s depart 5 10 a8 s department employs 10 CASHIER S DEPARTMEN’ i NT. letters with payments enclosed are numbered and the a ount is stamped pe on the letters, which are at once deliv € are a e delivered to the book i 5 : okkeeping deparir y a 3{ er a ay . = me ace of cash posted each day is acknowledged to the individal me me n ah ee “dare ae Si a * a rel ‘ jelters with orders are sent immediately to the order acnument * ae. H , Where eae!

Page 68

66 THE ETUDE BOOKKEEPING DEPARTMENT, day’s charges are made and the charge slips are delivered to the bookkeeping department the following morning. On the same floor is the accounting department, and here are handled the 20,000 and over individual accounts from customers in all parts of the musical world. For the honor of musicians at large it should be said, that almost as an invariable rule the accounts are good, and the customers pay as agreed. The ledgers are especially made by the Safeguard Account Co. and are ruled after our own ideas. Each ledger contains 1,600 pages, and there are eight of them. Twenty accounts are on each page and are arranged alphabetically in the different ledgers. By the use of this system each bookkeeper is compelled to take off a balance each month and is thus able to detect any error in an account before statements are sent out the first of each month. The work of this department requires 15 thoroughly competent and experienced people. It may be interesting to some to know that in place of day books, slips are used, each containing only one charge. These slips can then be arranged according to the order used in the ledgers and numbered as well. All computing is done on the latest and best adding machines. Passing from the bookkeeping department across a bridge to the annex on Sansom street, we find the subscription department of ‘‘The Etude.’? The head of this department has seen the list grow from a few copies to the present immense size, where we have not less than 135,000 actual buyers of ‘‘The Etude.’? This is where the subscriptions are recorded, changes of address are registered and other matters pertaining to the subscription list are attended to. The method in which this is transacted is interesting. Each regular subscriber to ‘‘The Etude’’ has his name typewritten upon a little stencil of wax paper somewhat larger than a business card. The steneil is made from type composed of needle points so that through the perfora- tions in the wax paper the ink may be applied to the envelopes or wrappers. The stencil is made the moment the subscription comes in and is enclosed in a little cardboard frame. These frames are then put in boxes in systematie order after the manner of the usual card system, but kept according to cities and States. When ‘‘The Etude’’ is about to be issued these frames are taken from their repositories and inserted in the addressing machine, which addresses and euts the wrappers from a roll of paper for ‘The Fiude’’ subseription list at a rate of 3,000 per hour. The stencils are also run through the machine and printed close to one another upon narrow white paper. This paper is cut into pages, 12 stencils to a page, and bound into books by States, and in these books are made the corrections required by ‘‘Hiude’’ subscribers. The books are therefore the existing proof of all subscribers. Some twenty clerks are engaged in the recording of sub- seriptions and attending to the letters referring to the subserip- tion list. This is entirely apart from the main editorial staff of “The Etude.’’ There is also kept in this room the file in which the cor- yespondence is systematically and carefully put away for future reference. Owing to the immense size of the correspondence at least. two young ladies are constantly engaged in this work. The letters are kept in about 700 divisions of the alphabet, and for each division two pigeon holes, one for letters and one for postal cards. Advertising Department. ss needs or columns No department of “The Etude’? or the busi yeceives more eareful attention than our advert Advertisements of liquor, tobaceo, patent medieines and offers of a questionable nature are excluded. We exercise the my careful discrimination, so that our readers will feel safe to deal with our advertisers in perfect contidence that they will receive full value for their investment, i Ve cater partienlarly ites as gr oo for the announcements of the leading pub- i music. reading of their adverti i oe ee reading of theix advertisements each month will a oF airly well aequainted With all the new musie and musical Wen fe ae Realizing that a large majority of our readers a rested in aequirine x ice nti princi fee eg 8 & musical education, the principal schools Pe i ound represented in our columns vertisements of pia ano me ’ rers, pi i PLANO manufacturer 8, piano tuning schools and of many other articles ral i i ae be iy of general interest to our subscribers will be Social Features, a Fe sbments employing great + n the t i rte Factor is 1 asi Find ee factor is best expressed by that untrans- eee a Wi de corps”? (the spirit of the compas): er bas 4 leader, and in this ease it may be truthfully Presser himself. Fr 1e resser establishment works harder than Mt until the time he pci the {ime he leaves his home in Germantow? interests of “The mine 1s constantly engaged in working for the re pall - ea oa Had he so desired he might have ed } g nature roy E i co eed ce itural enerey and sense of duty keep him és His spiri . workers in the establishment and interest set the pace for all other “very possib. a e for ible provision has been made f I a safety of the employees, More than this, there whie he employees take a leading part. t 1 lead: & part. Tree,’? condueted by y tl : held at Mr. Presser’ ay ces themselves, and the annual ({Laenhonae ha mule oceasion the entire eat nttown (a suburb of Philadelphia) Upon Ody of employees are My *ushment is closed for i‘ ‘the w! is left undone in ‘ Y. Presser’s guests ‘ or the day, and the fi notable one. ahs wig: ne Sports ‘and ele ly cnt oe male ttl Nom : a er ak All employees reeeiy nt to make this of service. It is int i Aeati h s erestin, “10ns com - H ir lengt and esteem obtaining, that ie , aS an evidenie af with they ae go are still with the house, Ore than go Per cent. of th ss ee te n year . a ose employed té! numbers of earnest men and the ecomfort, convenience and are numerous social events 2 Among these is the «Christm _ We ean not bu will be of interes out each year j ; . n of “The Etude’? itself is 135,009. (tably audience IM existence, This ise,q 4.00 the three times ag tall as the oe tt atisti = q © our readers, asLiGs Concerning the Presser busine’ pieces of sheet musie 8°” ver two millions. The eireulal™ : Paper reaches the largest mus York City. Tt w Tuch-diseusseq Re copy on another, would make @ P hundred and thirty emp] again as ta] ‘Ser Building (42'stories high) in Ne usta street, entire. Nees ar as the Hiffel Tower of Paris. Me inders who ar regularly in th i ab lag Q 3 he business @ No effort numeroy . i 1 efficient in every Make {) Preparation of “The Bude.” d ness. All matter Ness Cue ate am abligat Matters are Siege thoroughly up-to-date “a § - tons to Customers gy sMilcant features has been prom 1 acher ar he ore; z Hp S needs often yo ne Assumed : - Sreatest possible despatel- the rosperity of th immedi recogniti hat x 2 © busi ediate » 2 snition of the fact that, Courtesy and putea 'Y con: attention and that in order to contint’ Success of the h h Sderation must be shown our eustome™ 7 F -. th YS been important factors 1” { respect. Ong alwa: SULSCR IPTON

Page 69

FE _—_— Le 67 THE ETUDE EXPLANATORY NOTES ON OUR MUSIC PAGES. THE music in this issue covers twenty-seven Pages; fourteen pieces in all, including some new works of importance. The composer of “In Syl- van Glade,” Clara Gottschalk Peterson, is a tal- ented sister of the famous pianist, L. M. Gott- schalk, This Piece is a fascinating drawing-room number, one of the best we have seen in some time. Another excellent drawing-room piece, of the modern intermeszo type, is Pierre Renard’s “Tris.” This dainty waltz movement should be Played with grace and considerable freedom. Many numbers from the Wagner operas lend themselves most effectively to pianoforte trans- cription. The “Swan Song.” from “Lohengrin, is one of the most satisfactory. The arrangement by Krug is beautifully made. closely following the Original, and of but moderate difficulty. The Principal motives are marked and the text has been added. H, Spielter’s “Burlesque” is an in- teresting novelty, a sturdy and sonorous move- ment of real musical value, reminding one Strongly of Schumann in certain moods. V. Dol- metsch’s “Gavotte Marziale” is another novelty Strongly in contrast with the preceding. This Piece reminds one of a Watteau picture: grace- ful, elegant and quaintly pastoral. pe ‘Shepherd’s Joy” is another pastoral, quite differ ent in character, modern in vein, melodious and Tather boisterous, Geza Horvath’s “Petite Salta- Telle” is an excellent teaching piece of intesms diate grade, brilliant, snappy in rhythm, ot affording valuable finger practice. Another teach: ng °F recital piece of easier grade is Lids 2) Ss .Betrothal” March, In this piece the eer nme Laurie,” is cleverly introduced. A pak ‘asier teaching novelty is Marie Crosby's, i Haunt of the Fairies.” This taking little piece 1 the first of a set of four characteristic pes entitled “Shadowland Sketches.” These will s much liked by young pupils. Geo. L. Spaulding: od Morning, Everybody,” is a tuneful num i Which may be used for a variety of purposes: Sek Buano Piece, a vocal solo, or a school chorus, Tie two-part refrain. The four-hand piece is a a arrangement of Ringuet’s popular “Valse” es Henne” Should be much appreciated. In seep oe © a number of requests we have again Sea 6 umber for violin and piano, Pierre’s “Serena ae 3 daintily characteristic bit of writing, adiningn muted to the solo instrument, with an effective “ompaniment, In the Songs of this issue will be found two ips Tai- dene Rumbers, Henry Parker's ee ORR an ene is a fine concert or recital song, “Sun- y R. M. Stult’s i-religi har- ni-religious in ¢ ou ve, useful for the : f evangel- fone moderate difficulty. Aa and” is a new song, n “ter, melodious and expressive, ne circle and for various occasions ©: IStic ¢ aracter, THE HUNT FOR AN ERROR IN OUR DECEMBER MUSIC. in the The intentional typographical eee Eruve Music of the December number 0 E 0. 'S to be found in “Cupid’s Message,” on pe dintat® the last measure on the page: bed Te dental sharp should stand before the Be ase a Tight hand, The following wer Radke ks ten Calling our attention to the errors gee - Hiebel, B., Higbee, O. A. Trapp. © rs. Harry ee Adam Geibel, Eleanor Bell, es cae i Murphy, Rachel Kolsky an ackson, 5 the “jniquities” cat ~ His opinion 18 the ahead of up- ‘act that my Pucorny has referred to American copyright on music. 800d, old, slow. soing Italy is far away ® to-date America, “{ am proud of the # give com- Country hag been the first in the world Be of their Posers the right to safeguard the reproduc ents, such Works even jy mechanical musical instrum| ae as Dhonographs, ete. In Amer ‘y sas the "Tso and Scotti sing my operas ae ; yu nd receive a large remuneration, anak Ome ing Indeed, should I ec ora would be tors of the as singers j phonograph where do I e those 3 Nowhere. I avily fs for duplicate reproduction “ti ith #0 well are the rights of the propr Dh t Hographs guarded.” The Cocoa Yellow Wrapper, because of its Double Strength, is the cocoa of ECONOMY. Stephen L. Bartlett Co., IMPORTERS, DEPT. 50, BOSTON. Send 10c. for trial can. BENSDORPF'’S ROYAL DUTCH SHELBYVILLE, = IND. Now strictly a Corre- spondence School ained the highest succers of any schoool teaching by mall—99 Central School of Piano Tuning per cent, of stiwlents heer No “ grafts" or worth- 1 Tothe NEW SYSTEM OF TEMPERMENT pertus if interested Su acquiring the best profession of the day. Knox Conservatory Galesburg, Ill. A TONIC Horsford’s Acid Phosphate Half a teaspoonful in half a glass of water, refreshes and invigorates the entire system. A strengthening tonic and nerve food. Music Typography in all its Branches —Dudley Cc. Limerick- No. 10 South Dicks Street, Philadelphia ( Market above Fifteenth ) mention THE ETUDE when addressing our advertisers. ec TWO PIANOS EIGHT HANDS CT HE following list is a selection of the best literature for this urrangement. We shall add other numbers constantly, in- cluding new compositions by the best foreign composers. Pieces of all grades are represented, so that teachers can take advantage of the usefulness of ensemble playing with even bezinners, Tine Mist will be found particularly rieh in brilliant and effective pieces for recital and concert Work, Suitable selections will be made and sent ON SALE. The same liberal discount allowed as on our own sheet music publications ———— B BEETHOVEN, Turkish Burchard § BEHR, Op. 443, Mitzi K 1 -Blasser 1 5O BELLINI, Norma, Fantas Alberti 1 25 BERLIOZ, \M 2 00 BOCCHERIN 00 BOIELDIEU, 200 CHEVALLIER, Kinderfest March 75 ENGELM 85 “ 85 “ 1 00 “ 85 GOUNOD, March Schubert 1 25 GOUNOD-BACH, Ave Maria -.-Herbert 116 HEROLD, Zampa, Overture. : 2 00 HOLLAENDER, ‘Op. 39, No. 1, March. 75 KELER BELA, Op. 73, Lustspicl, Overt... 15 KONTSKI, DE, Awakening of the Lion. “ Op._369, Persian March. KOWALSKI, Op. 13, Hungarian Ms IKRAMER, Op. 9, Jubelfeier, Polonaise. KKUECKEN, Op. ‘72, Fest-Polonaise.. LACHNER, March from Suite Op. 113 LISZT, Op. 12, Grand Galop Chromatiqu 46 Rakoczy March . Le Second Hungariai arch, ie Hungarian Rhapsodie No. 2.- LACOME, Impromptu a la Hongroise LVOFF, Russian Ely init iataiete choral : MATTEL, Tourbillon, Grande Valse, A flat... Wolf MENDELSSOHN, Midsummer Night's Dream, Ovt. sei Op. 95, Ruy Bias, Overture -Kleinmichel BORD CO es a S A ansen a5 Spring Song ....... «Wagner ti War March of the Priests. Jansen 25 oe Wedding March Jansen 15 MILDE, Op. 10, Galop de Concert. .. see MOSZIKOWSKI, Op. 15, Serenata. «Blanc MOZART, Magic Flute, Overture... Burchard NICOLAT, Merry Wives of Windsor, Overt... Enke RAFF, Op. 174, No. 6, Polka....... -Brissler «Valse Impromptu 4 la Tyrolicnne..- Herbert larch. from Leonore Symphony , RATHBUN, Festival Procession March ROSSINI, Barber of Seville, Overture “ Barber of Seville, Fantasy “ Semiramide, Overture “ Tancredi, Overture “ William ‘Tell, Overt RUBINSTEIN, Trot de’ Cavaleric, ST. SATENS, Op. 4o, Danse Macabre SCHMIDT, Op. 9, Polonaise No, “ Op. 32, Polonaise Ni SCHUBERT, Op. 51, No. 1, Ma “ ndré Alberti - Burchard » Burchard Schmidt Brissler Guirot Wagner Op. 51, Three Marches Militaires ark dl le a lead Mal Lt Dodo d TC CY oTOTON SS a x 6 Brunner a5 P. 78, No. 3, Menuet....., Wagner “ Rosamunde, Overture Jansen 3 00 bd Rosamunde, Ballet Music. ‘urchard 7S SCHULHOFR, Op. 6, Valse Brillante, E flat. Horn 40 Op. 20, Valse Brillante, D flat.Horn SCHUMANN, Op, 82, No. 8, Hunting Song Bristor : Op. 124, No.'16, Slumber Song : Brisler 00 SPINDLER; Op. 140, No. 3, Charge of Hussars Herbert +. .Riedel SUPPE, Light Cavalry, Overture. “ . Brunner Poet and Peasant, Overtu THOMAS, Raymond, Overture. Herbert WAGNER, Lohengrin, Prelude F » Roques Be March and Bridal Chorus, “Lohengr WARS SONS RS hab fiat a e singer, Overture De Prosse 40 ss Ride of the Valkyri .Chevillard 00 ae Spinning Song, “Flying Dutchman’ Pe Keller 2 50 Bs er, Overture ....... Burchard 8 25 user, March & Chorus. Reinhard Euryanthe, Overture... WW Preischiitz, Fantasy ... ation to the Danec Oberon, Overture . Oberon, Fantasy ... mobos hi =) We have just as large and valuable lists for Two Pianos, Four Hands One, Two and Three Pianos One Piano, Six Hands Lists on application, Discounts the same. THEO. PRESSER 1712 Chestnut St. - Philadelphia

Page 70

> 68 THE ETUDE TEACHERS’ ROUND TABLE. (Continued from page 21.) two teachers would be likely to separately appor- tion the work alike, although they might to- gether reach an agreement. Allowing credit for work done in music is Prevalent in schools. becoming more and more As to how closely the re- - spective courses f i its may agree, BHSOSSSOOHOOHOOOHHOEDSS) I am unable to pha Se ee pec Clean, white, sparkling teeth, | a SURE however, this matter will ium Nature's priceless gems, are | - pecome fixed in a manner that will be a assured by early and regular s antidlly the same for all. As an approxima’ i use of Rosifoam, the pearl- | equivalent to the course you mention, I should ee making dentifrice. periey the ordinary English studies must es : Rupifoam is liquid, antiseptic, - ts any music course. A good knowle 4 dainty, fragrant, delicious. While ae ish 1s absolutely essential for the i. cleansing and preserving the teeth, “Sop. In fact, the true appreciation of mode ; music requi ae ae of it sweetly purifies the breath and music i ome Be: ic refreshes the mouth. ; Many modern musical one are founded on an / _emberless WILTOSSES, ch He pion emotional and literary backgroud that is practically 4 oD ROBL OAM pearls, testify that loti book to one devoid of considerable Re g, =| 1 Ow ca ; t ITIS WISE Rite mithout knowing seoeresat® he composer a H {') USE f SPiration ? = . = Stantly kept termed Prog into vogue ever: he rea : € y decade. Perhaps because the s pees between music and an emotional bags = nd is becoming bett d As an apy fas - ig er understood. As ° S pei oat Proximate musical iv. course yOu q A Musical Novelty in Jewelry pele mentions y mrusical equivalent to. the ‘ay six grades of the Standat! 7 i jects ith supplementary etudes and pice ; Fi yest Stick Pins, Breast Pins, Collar or Cuff Pins and J) ey . should be compl. t le H , Classes and an 4 pleted, one year of harmony, a! Micoye eatabis aaa, aye Present fo Breastpin, 50¢ Baca through dominant seventh chords, am 7 creschers or Pupils. Made of Sterling Silver pe is History e Music ant seventh (eet enameled in black and finished in natural silver or oman terete ae Gold finish. Notice the three good strong sentimente i “ al vais a Q. As a patron and subscriber I wish to ask Prices question to be answered i Tur ETUDE ha answered in E k Pins i y one sentiment 25 lat am I tg do with upil who plays Stick Pins in any o e 5 ai i er Te Se { everything yi i ith the non-legato touch? Collar or Cuff Pins in any one sentiment . . . 25 Seems natu ©: ral and without remedy.” Set of three pins of either kind or assorted (con- ef: fea ; taining all three sentiments). . . . . . + od en z re only ee oan draw tras Breast Pins . - «1 1 + foe ee ee ; ; that ae Set of Men's Cuff Buttons and Stick Pin. . . 1.00 + rec Pupil has never acquired cof st Or inattentic, whether from lack of proper teaching ntion, cannot say—but has been 11 i abi A For sale by all leading jewelers or can behad direct from the manufacturers it of Playing everything with a hand motion. Bato mea 4 Sod Theodore Presser 1 J.G. Rosengarten Co, action sansyfrst of all. supple finger action. rae 1712 Chestnut Street, Philad’a 3725 Fairmount Avenue, Philad’a 1tres that the fingers move freely with 1° nue! : ae pene Serving as hinges, receiving 10 a Perience om farther back in the hand. Many it of pushin difficulty in getting out of the BG fingers Bie! and punching with the hand towards ine aware of condition they seem to be completely aa Carefy] descr that it requires much patience é Pupil ® onle on the part of both teach ar i it. M; “em understand what is m a neget absolutey, pees have declared that their hands We" ‘OLIs, MINN. 'Y free Je » an : to th © come fro; every motion seemed tion N CONSERVATORY OF MUSIC, ART AND THE NORTHWESTERN ( occupying good positions. Instructors educated under Godowsky, ) EXPRESSION Bispham and other noted masters. Violi fe ‘ ExtGnded Courses in Voice, Piano, Violin, Composition, 11 Catalogues free, OLIVE A. EVERS, President. STUDIO ARCADE BLDG., 804 NICOLLET AVE., MINNEAP: only Tevea] i the fingers alone, while investise With the pv 4the fact that every motion was ™4 ; sic bility of ching from the hand. But every pss : oe i tion © List Out of t © Tapid and legato finger action 4 and Samples re he (Westion until the defect is eliminated an U IC Pp RI N I F * The. Motions established d NY Vote en you mention should be induced t© Columbia Ave. and Randolph St. AND - Philadelphia, Pa. ENG ie R x A his finger actio Xclusively to the acquirement of aie AV ERS Being, even pe.oPPing everything else for the be “1 UL, aa Se the table Ghee @ special set of exercises Hoy to i to the moy, N€ can devote his entire atte? eMent of ¢{ 1 willing, © ACARI. Concent = Ot the fingers. Unless t, HAVE you A COMDO | LON vou DESIRE and fs Mind directly upon this one pe if T a doubt ; = ong slow trill, p PUBLISHED? i ary: a time as may seem net fhe able to overcome his fault. i tion f Wo fineetCed with every possible combinall’. facil; agers, gradually ; arhaa spe : WE PRINT ¢ PUBLISH ti urna ase ee cet wee len : actice with one note on 4 COMPOSERS ¢DEALERS VO, he other te aend finally four, one. fer followin aly after a tp, em yccession. This latter, howeve™ ae With ih study of the motions has bee?” ce send for our price list @) MUSIC PRINTERS Estimates prompt}. UAATS j of t Motion oy tic prac it ighers f ly furnished to ¢. “US exere 1a count. An automal terden" ENGRAVERS lishers Sree Min. Masi Books, MBOACr , Paying ire "S28 is so often the case, the : : i PRICES. Copyrights secured Pay WORK ay Renestta and Motions, y.1) ‘tention to the correctness £ fia 3 a i e BAS 5 S, ow: CINCINNATI, OF ected “Scripts hims 1 CH :. i neunt to nothing, and he wil otk ; an whe; “tT off at the end of a month jon ‘ . nh end of < oti0 Pipsee exgntlon DEEP ODE when addressing oly advertisers, 'S absolute] © began, bsolute correctness 9 ge it "PY observatign cMtial. T emphasize this bec Braud experience I find it is raf

Page 71

i i i f five Professional Want Notices are inserted at a cost 0: cents per word, cash with order. Business pretleees as cents per word, cash with order. Do not hav directed to this office. TWO MAZURKAS, 50c.; Sample Copy, gc Horace Hills, Jr., 1610 John street, Baltimore, Md. position as pianist or ac- REFINED LADY desir (ete of Lue ETUDE. companist, Address, N. V.; WANTED—Young men of talent and refinement who can play piano, violin, viola, ‘cello, flute, clam net or brass instrument, and also sing part in Cll semble; cultivated voices preferred, but Fed; | long ural, untrained voices will be considered: (logs asons on road in lyceum work. a . Ry good salary ‘and all expenses. Address D. M. R care of Tue Erupr. THE EARNEST STUDENT will be interested 19 the “Tausig,” Hand lxpander and BUD Ger 9 play= for Shaping and Enlarging the Span of Piano fate ing Hands. Price, $1.00 by mail, with instrecuo ny Address, Essex Publishing Co., 853 Carnes: ew York, , diserim- inMING MODO MARCH is being played Py diserim- ici rywhere; yi re Mailed tort? cents, M Bart Clark, Monroe, Wis. oF MUSICAL Newark, N. J- iat= ) contemplat- tHE METROPOLITAN SCHOOLS SRT, Carnegie Hall, New York, and ° eet; a thor- Study, ‘They reach through a deep subject Oey, rash course of study, eliminating the wor the art; pading the student to a mental sTasP The Practically, theoretically and as to its itussell methods cannot be learned rH Winter term ‘*Y represent no royal road. pee Will open 7 opens Mar, The sing term opens from ye Summer Normate FWweek daily sessionforma- tly 6th. s at any ti Seng pnegle Hall, ion Aq New York. TESTIMONIALS. s by Liebling T haye used your Selected Czerny Studie: fine.—Harold Painuen vi i they are Funkhougedentage, and I think y Kk for urtdike “Tunes and nhymes” better than any boo children's use,—Currie B. Jennings. what Tha “ » in Flowerdom.” |W! tt clang *peelved the work ADS eS very. pleased with —Kist, , g * for two pupitave used “First Steps in Piano-forte Sm iting to » and am delighted with a order another copye filian M. Hall. sie eth at “Chopin's Nocturnes” received. It is a fine Wot, We anticipate ue Measure from it.—Chas. I. sae “p Tuning, received the ork eam After care: of great of piano 1 hay, and Repn % and will prove tuning.—2. © acquire the art epirst Sonatinas,” and it ung aspirant IT have 2 rece; work Should be fi ved the Jable work indeed. vee the s of every yo 2 honors, he hands of : » Tt fb very commend ruman Bpane is a very ns. 1 haye ey e received the work eeelder it of sufficient value to © with my pupils.—Jirs. Crippen. ; Studies,” Hew PAve received the work “Melodious °° mv 1; and am well pleased ee ed more Drice of or the left hand alone is so 88 ayers,” oung Duet Mae copy an¢ rder apo! oan the the hook.—B. A. Noonan. ing the past I ene find during toe in fouy Personally rejoicing, that y am_ living oF find a ur yetrs of my BU seg Ms Hy experience many of the principles pb Erupe. aie fated in your excellent magazin ils in three monty time ently doubled my number of pul to the b Pes is due to th t feel sure some my success » walker. and induence ty oot Onn —Olivette A. te i at. ¥ find ; S singer. hs Na eppe School Singe ia. gain bank very pees phe should thle Mceived the work, The, Snot aoNle avor with teachers and students alike.— sae “First Sonatinas, © fine—Alice Straw Bagley. “ory Young 1 The Yonniis will Minn, T have recoj i received the work Blder th vere fre coe Players.” take lots ceived the work. much pleased with shall, St in them.—'rom sha T have y rorvk “Young Due i received the work “YOunE cssiv the Splatthan, and find it suitably Drow © “Duet Hour,” published by you 7 and Tam trying to Ta ie . “Pi ‘lige Teceived the work 1 lighted with it, ia two ¥ Something along that line. “Young Dix is giving et Play 8} y Bulls, and tam played with “Easy *amined.— jf igy J, H, Harbison. ao -gung Duet players. have recelyed the work “The young PD ust whit a (imeful and harmonious oe eT as for Junior Club wo! Miragone conclus mth them, F course that . Kydd. Tegards ‘any! woul of Dr. Harthan—sanct A much pl Sonatinas THE ETUDE I have received the work very much. It is just what I ha that line—easy, melodious sonatina: matinas.” It is a and one children very F ; varied’ a ¢ fail to unde! enj being varied in cannot ee k in the Presser fine edition. ‘L. Hope Thomson. joyed Tun Ervpe for years and for ave taken and enjoyed Tun Ercpe for years and - see four years have bought all my music from you. T take this opportunity to tell you that I have always been perfectly satisfied with your plan and have found much good miterial in all the hew music J have had trom you—lrs. Warren Hull, This is my sixth year as an Erupe subscriber. many could ‘know its worth.—Violetta G. Vaylor. 3 # vorshi ink it is splendid. ceived the “Anthem Worshiy think it is sp) gust what I want.—Vhos. 7, Smith. K BrcpE very much and take great interest in 1 like, the otyer as well as music, all AL. The best Sanat ‘of its kind in the English language.-—Jacob Leo ae sig ic and my pupils ik *, bleness’’ of your music a y pt Ri Uke EE saints extra good work I am giving orem this year—Mr. Frank B. Wilder. Harthan’s book entitled “The Young Duet Players” and I am well pleased with it. The eS qnish Dance” alone is worth the price of the book.— I wish 7 7 inspection of “Baltzell’s Musical His- ¢ ana ut orale Beane impressed and shall adopt it teaching.—Fred Harwood. Am delighted with my “On Sale” selections just re- A celyed.—J osephine Debhanty. PROMPTNESS IN ACCOUNTS. TEACHERS should always remember that a ee a is much easier to collect than a large th. pi ae have an account with a patron who fails to If you ‘i pills or delays payment, it is very likely Bay bee have increased difficulty in collecting a you my int. Only too often these little sums are larger a mount up through the rush of the bus mittee eee of the year, and before the teacher oe eee is a large outstanding account which +. difficult to collect. Very few teachers have any- is di like business-like habits. A good business thing. ee -¢ most insistant upon his bookkeepers man 15 @ “iieie accounts at stated periods. If the pa s not strike a daily balance, one should teacher hea least once a week. If there is an out- be take eequnt it should be looked after at once, Se permitted to go to the next Brees : a hers should also form the habit of paying eae eiTie promptly. It gives one a sense of their © ss: that is, to say the least, salutory. Tt Te the feeling that you can demand one payment from your own clients. naking out accounts be extremely careful that ee overcharge. A dollar over the account there 15 ae te loss of the pupil at the end of the may Tass diserepencies usually come about term. f lescoris missed. The teacher should be par- nee oats in this respect, and when a lesson ticular J sarhconeh any cause, a note should be made 15.409 eee cher’s books, stating the cause and dats, inthe tf ihe matter should come up for dispute at so that} in the future the teacher will have suffi- any ae to support his position. Moreover, it is cient gate = ne have the matter of payment under- a good Plate time the lesson is missed. Most stood ce as a strict rule by which no lessons are teachers cent in cases of illness or in cases where made Ue has had ample notice in advance and ule ieee ae for time in which to make up a lesson. can es a teacher to make good a lesson lost To co arte other cause than genuine disabling throug” is an imposition upon the teacher, No SCE ael permit this imposition unless there fence! 1 and sufficient reasons for doing so. The ae Eee ieais with the most perishing stock in the teacher pene! After his stock is once gone he world t it ‘back. It is not as in the case of the e° who is able to use goods returned or ex- The period the pupil has reserved when -ced is gone. as far as the teacher’s professional passers are concerned. ‘here is no more reason ser e yeachier should be obliged to make good a why 4 lesson period than there would be for a an ae at to restore to a customer the money paid oe Seles the customer has ruthlessly damaged. ‘or # perm ne ; knows it cannot merchant, changed. who have been afflicted with pupils who abuse the good-will and good nature of by missing lessons and then expecting sacher to y for the pupil’s failure ‘to meet a the tere sbligation would do well to purchase a ber of copies of this paper and circulate them see her pupils, so that the justice and estab- precedent in such rnatters may be made ap- Teachers continually the teacher business among lished parent to her patrons, Practical - Teaching Helps First Studies in Reading, Rhythm and Expression for the Pianoforte M. L. BROWN A book for beginners, giving special attention to foun- dation work, correct fingering, equal facility in reading and playing with either hand from both clefs,a clear knowl- edge of note and rest time-values, a right forming of the hand, and touch, Price, $1.00 Writing Books for Music Pupils By CHAS. W. LANDON A Complete Course of Writing Exercises for Acquiring a Knowledge of Musical Notation This work is a great advance on anything heretofore published in this line. It abounds in new and ingenious features. Any pupll who faithfully works out its exercises will be a correct and rapid reader cf music, instrumental or vocal. Blank paper, with lines for writing music, is in- cluded in the book. Price complete, 50 cents In two books, 30 cents each Ear Training ARTHUR E. HEACOX Ear training, perhaps the most important subject in music study, is at the foundation of the very structure of all musical education. This work begins With the ele- mentary stage, and proceeds by gradual steps to the higher cultivation of the ear. Mr. Heacox has been teaching this branch for many years, so that the system has been thoroughly tested in Practical every-day teaching. Price, 75 cents Landon’s Reed Organ Method The method is superior in many practical points. It is carefully graded; everything is fully, clearly and concisely explained and illustrated. The book treats the reed organ asa reed organ; the music all being arranged on that basis. Many new and charming effects are shown. Every piece is fully annotated, fingered intelligently, effectively phrased and the expression indicated. Price, $1.50 Childhood Days Instructive Pieces for Four Hands HANS HARTHAN A duet album for beginners. The work is divided into two portions: in the first part, the pupil plays the Primo; in the second part, the Secondo. The pupil is thus famil- iarized with both clefs. The material is most attractive throughout, Price, 50 cents —— eS ee The Pedals of the Pianoforte HANS SCHMITT This is a most important work, exhaustive and instruc- tive. There are pedal effects pointed out in this work which are never dreamed of by the average pianist. It is the best work in the English language on the subject. Price, $1.00 Lessons in Musical History JOHN COMFORT FILLMORE A comprehensive outline of musical history from the beginning of the Christian era to the present time: es- pecially designed for the use of schools and literary institutions. The work has been adopted as a standard in many tm- Portant schools and conservatories. Price, $1.50 A System of Teaching Harmony HUGH A, CLARKE, MUS. DOC. The object kept in view is how to enable the pupil to grasp, in the easiest, most interesting and comprehen- sible way, the mass of facts and rules which make up the art of harmony. FOR CLASS OR SELF-INSTRUCTION Price, $1.25 Key to Harmony, Price 50 cents Counterpoint Strict and Free HUGH A. CLARKE, MUS. DOC. Dr, Clarke has based this work on the plan used in his very successful text-book on Harmony, and aimed to make the instruction practical in its application to modern music, Unlike the older works on the subject, strict counterpoint is not dwelt upon almost exclusively, but modern free counterpoint is made the subject of exyaust= ive study and its relation to modern harmony clearly indicated. Price, $1.00 Mail orders solicited and filled to all parts of tho country, Any of our works sent on Inspection to responsible persons. THEO. PRESSER, Philadelphia, Pa. 69

Page 72

70 THE ETUDE Intending purchasers of a strictly first-class . Plano should not fall to examine the merits of RECITAL MUSIC Duets, Trios and Quartettes for Organ (Pipe or Reed), Violin, Piano, ’Cello, Etc. THE WORLD RENOWNED SOHMER Ibis tho special favorite of the refined and cultured mua- feal public on account of its unsurpassed tone-quality, une equaled durability, elegance of design and finish. “Gatas The following list represents a compila- tion of the best compositions, no matter where published, presenting unique com- binations of interesting and attractive material for use in making programs for School, Recital and Church purposes, as well as for Ensemble playing. Great care and research haye been necessary to get together all the worthy literature for these combinations. Below is only a partial list. CABINET ORGAN and PIANO logue mailed on application. THE SOHMER-CECILIAN INSIDE PLAYER SURPASSES ALL OTHERS Favorable Terms to Responsible Partica SOHMER & COMPANY Warerooms, Cor, 5th Ave. 22d St., New York amy Oy En 2 lax 5! P Gade. Romanza, Op. Eons 165 2 ONTISER TICK . Hassenstein. Abendirieden ‘60 THROAT PASTILLES Tm Maien oe. 0... 90 ahr ee Haydn. Adagio, Op. 77, No. 1 65 Koppelhofer. Gondelfahrt aes. 350 Kuhne. Sacred ‘Transcriptions...., .90 Leybach. Souvenirs and Regrets. . 25 Liszt, La Regatta Veneziana.... Low. Souvenir de Mozart Beim Scheiden .. dmprompin elt a “YDRUGS ACT. JUNE 30,1906. Q oa eh = > Gondoliera ny » COUGHS, BRONCHIAL TROUB' SCT ahizee ones 3. 83 eR Ss. Alr Passages, producing Perfect ELE sy OPS: BS) 8S “40 Mme. Johanna Gadski hink these Pastilles are excellent Preverpeee: | usnenots PE tirerers ay By mail 20 cents, _‘T. ME'TCALF CO., Boston, Masa. from Magic Flute 15 Pergolese. Stabat Mater .. 2.50 RISES adores re 408 Schmeidler. Concert Rom ‘0 Lscorairsiea tn BSS Sclumann,” Bilder ans Osten 100 THE NATIONAL shale fh or juppé, oceaccio March 65 by Sp Act ofCon- Verdi, Traviata Potpourri. 75 CONSERVATORY OF ees ‘agner. Meistersinger Se’ 3 M. THURBER, Pound: Lohengrin Selections 1.50 MUSIC OF AMERICA S2cihtertoune Winter. Requiem ......... 2.00 WASSILY SAFONOFYF, Director ARTISTIC FACULTY. Wassily Leopold Lichtenberg, Eugene Dufriche 1, Hugo Riesenfeld, Bruno Osear Kl Finek, and others Semi-Annual Entrance Examinations SINGING, PIANO, ORGAN, VIOLIN CELLO AND ORCHESTRA CABINET ORGAN and: VIOLIN Album of Fourteen Pieces..... net $1.00 Bach. Andante from Italian Concerto .65 Beethoven. Andante from Op. 109.. .40 January 6th (Monday), 10-12 A.M.,3-5 P.M, eink: Aria pos Orpheus... - ae For further particulars address errmann. Larghetto + . 75 THE SECRETARY ONLY ante religioso..... 250 E oe. Base gugente ae 5 150 47 West 25th St., New York City Raff. | Cavatina cnet 70 Reinecke. Introduction / , King eS Manfred igisioucite. SeO8 Wagner. Prize Song, Meistersingers 1.25 en HUMBUG MEMORY SCHOOLS EXPOSED” AND ADDRESS ON DEVELOPMENT OF THE ‘To introduce a series of valuable educational works, the above will be sent to all applicants JAMES P. DOWNS, 14 Park Place, New Yorlg CABINET ORGAN, VIOLIN and ’CELLO Beethoven, Wargo, Op. 10, No. 3. Miiller, Andante serioso ... PIPE ORGAN and VIOLIN CLASS PINS Adag’ Brees a date eae Special designs for musical clubs and classes Mengewein. Cavatina ... Write for illustrations to the manufacturers REE ee ue BENT & BUSH inberger. astora See canela 15 School St = - Boston, Mass, Overture Then Abend! Gigne Soring. Andante religioso An Album of Flowers Piano Pieces by John E. Campbeli D seerins darters meet t ha the atylo of Grieg. nteteinone volume, Price, $1.50 For introduction copies are offered for 75¢ OMA for The Dincent stuste Companys Ee TD ST ON These lists will be continued. THEO. PRESSER 1712 Chestnut St., Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. ._FHE symphony orchestra recently: estab: lished in’ Seattle, Washington, is under Be direction of Michael Kegrize, a pupil Reinecke and other noted masters. guarantee fund of $4,000 has been raised for its support. ,. A FINE organ has recently been installed in the St. Martin’s church in Chicago. Mr. Wm. Middieschulte played at the oP Services dedicating the organ. Recent reports from London indicate, the continued popularity of Albert Spaulding: the young American violin virtuoso, WHO been creating such a sensation in Burope. ae Miss A. C. Quinvan, pianist, Mr. rer fuck Hahn, Violinist and Mr. 'B. 8. Vat: Leer, recently gave a very commendable © z cital in the New Hall at Sharon Hill, Peat PLETE ass PERS THE WORLD oF MUSIC. At Home. Dunne the latter part of N ‘almer, a well-knowy November, HW. R, S¥lvania. musi¢, writer upon musion ete pteacher of 4, nt the Plier a Seweral chogal works. ‘qiegd com- aiorigeel W,S4¥AGE, who has brought ty Pal: % sf es wer was born in 1834 at Sher He studied in York puceesstul operetta and Florence, : bourne mete Jurne, New City, Berlin In 1877 he of the “Summer "sd became the Dean Poser, dwar, : yard Germ taugua and served ereeat, Music” at Ghat Jones), whe’ ds better ean tion. Chicago Universi Years in this posi Works" written for symphony _ orchestras: Gree of Doctor of Muse @mferred the de- ‘Tom Jones" is a mest oaentful, musical Galmer rendered vaiuable UPO him. Dr, treatment of a libretty tate in part £60 cause of musical educatica Services to the the famous moveprgtt> taken vile it he willl be greatly missed” pip, AMericn ang cannot be sald to bY Rielding, | Wane Music is very extensivel, pe Catechism of Merry Widow,” in ane sense ot the word, the Sively known and used, musiclanship ‘of the ‘piece and its fine oid Pel oe the most interestin tnglish favor end it to all lovers ¢ ule ‘or p a ane & novel: atre and music. ‘ Karl Muck and tence in Boston by les m chestra is a Charles Martine’? for Abroad. Loefller, f ond concert mast ‘the Cluny years sec- Iv ts said that Italy ermined 10 raul, A Basan Poonn otra. Tey exeatela Niouatty Unf Ctenael and is based eositions, it ‘is prosead@ost of Toate o,2f, tat at Bayreuth. The Sop a on one of Virgil's Beloguegeusie by ne Kenice. at Venice, has been a is Mr. D. A. Cripp: Promoters of the enterprise. y ‘ hoped th; action invite i. INGER, of Chies refine. the necessary reconstructi Glove SGaitge "M° Teeabrohip SPP nssybaen Fkneniting win! be" completed by 2008: : ELsa Ru reellist, 88 Srokanrp, 7 rived j,UEGGER, the well-known cel a to have Ay in the State of W: fngived in Berlin with the intention 0 for capital of the west. $60,000.00 ington, tg iNe that city’ her th ject, SQ@Pany’ or ill be'the the present.” § vi yarmly Bree Dressei The “direetor wid © SUppore When’ she reappeets “tpon the Werlin concer ' be Hang Prattorm, where she bas not been eat ork Mynox é . years. In addition to her concer’ he pleted a success CiTTNEY, Jr, has j she will devote a part of her time to tee. sful concert tour in Busha oo cate Pegusoxical services, having a CoB Berra Morena, who { and. Servatoey, the Kiindworth Scharwenka Wane ebably “the foremesPUPll of Torn Pees aenerian roles amosremost inter: ina, yreuth Fensen COMBS, Will appere YOURge the example set by jig Company!” the Conried Ateat, America cors the moment the OFF coms ompany, eC Metropolitan, Oper EE eS bh ‘ in for not only are t 4 TrFopoRn Vax Yox the plan, but also the © Ge slven in New h Th nicipality Chemnitz has ho Young composer 4 4 Fecital of song (cently that in" future. At ca the theatress Ne larly “successtut! Haile, wnien qs, singe hag S2all be admitted acter the perform = bs efun, - cordinw,, AIL the German newspape stop tocetding ‘that decision, ask for a. like 3 wri ans: a that ya fis New Yorn © be taken in their own ‘town or districh ; at fore ; nor soivlgn art provid? wonera by Hermann Zampe, ener 3.000. ; % a8 Yecenkle pPwards Ooo Students pe ually and tg recently haa its se ate expendieae e ingens aD re can ae oe musical paper, the AMO” tye cians, singers ne gtumberea, fy th enormous Zeitung, speaks very highly © more and aa teachers are te! ican meee 4 port they desere he recognition getting svn, 2S ours shoudl 2 sucha nd SU our aq Ms va 2 0 We shower PeOval to musie 89 long bere BOTH GAINED. i cen statesmen and. author? scientists tos © Man and Nuts '» har i ers Miss Karner ‘d to deter, ay Well-known Ame: Wife Fatten on Grape- F 5 ‘of Foors, The notion that meat is necessaty ih a daught, recently gy 4 composer, weiter of : < in Boston witha WrY, SUceesstiy st thur Foote eal strength and the foundation of SOas mann and ] 2 pera ranging rou recital “esh is now no longer as_prevalen rahms to d'Indy aah from Senu. Marin Denya, ebus a singer and asda essive wn in 3 to the operati bas recente ™etlca ag sluge? meat eaters are i atic stag 5 a as 1g) : hey Appearing mighty eee in Paris, agg’ stumed be Ssish a part of the time because t i VivandiensoPtt theatre Fey | Success NOY Bo ae able to fully digest their a In th pen int the undigested portion is che N the fifth © what j . f f po} for thew, Wi™2Ual competit ‘CIs practically a kind of P! 5 . Pais c fon j tha nee id Sy offered Ch Co. prigust closea, tl ‘tacts upon the blood and nefY award y Madvig. S106 "hus getting all through the system San Francige it EE » the “oT wa gs q hrough the syst writes as a 2 a of an Ills ys envy meat eater, Pe ago in the Methoai Was i, JU’) “and up to two yea vith On, Ohio, ¢ M very poor health, I suffered ™ 3 sisted by Ko yr J: Sisso: Yalline, Indigest : Servatory of mee was Pounds. eer! only vel “Then T he and - Carr. : at Iving an j oct kL G. Se decide. ard about Grape-Ne L Iecttne recitals. ath, Series ye? pave bee ae ot fe try it. My wife taughed * Programs range it Brooklyn efor at firs vhen i 2 Race range from Bago! lyn. stumee Bound Tst, but when I gained {0 DRNest §, © Mendelg: would at Gilt 80 fine, she thous 4RNEST Scupniqy, Cat Grape-N ton 28s, LING, z irape-Nuts too. s which Wil play ‘his his 4 Now she is & ; hg Tandy egeb led with grile, Fangasiiean gained She is fat and well and i Conductor, Mie {itection ort gftecess digestion’ Pounds. We never hav » Mengelberg. © noteq Sestion any more and seldom fee TUE Phitadeipny Te fo \ neigh E ] adetphiy 4 4 r meat, / 2 r of our. the direction wprwie QPeratic Soot, ars ol leat A neighbor of © esti? Riven 2 sucessful’ po Behrens Bae for d, was troubled with indi d a. 8 rforman in tas Years: ow, ater © ormance “og “Yeently oer ace a heavy meat eateh ats Ir is pce he has been eating Grape has been on Miss Kathept Tegularly he save ae: n never Mumber of 4d to piggtRering as ing: of Says he is well 2 tot of seen gthan hag tras a this piv person iBestion, T could name @ © of romineees Wil piggy other ptannatrs 20ns whe really heen cure prominent orchest ay ith eleven st digestion : nie Seally beag ¥ heavy 8. g 7 : calif Rony Gang Meat diet e Grane Nite Neher’ ‘alifornin, hag pcENS8, a pty €ason.” 7 pee S cessful reeontly elu esid tram. Name give Postum other parte 4! Germany “42 highiy™t 1 Battle € ck, Mee ea Parts of the old countetzeria: “4 Suc. Rea reek, Mich a te ry. an Xead the 4 " Con Roa Wellyin nt’, little book, “The Ville,” j Im pkgs. rica, has recently produced # — le

Page 73

Tue string quartette, headed by the well- own yiolin virtuoso, Meeting with unusual success in Germany. QUE si Lorenzo Prnosr, the Capellmeister of the ee Chapel of the famous + Peter's at Rome, has emerged from his pparent retirement and announces is an oratorio, : will Shortly receive its first per- constructed concert athedral of ormance at the newl chamber in the Vatican. atat ot oe Sa estlons & ar Questions should ‘ meee Harr or Dovaxas,” a new work for dak chorus, by Hegar, is receiving a great il of attention in Germany just now, and conten given by over fifty leading singing Wi . les in the Fatherland during the coming and not w on the same sheet. must be given in every, cas writer's name be printed. Questions that ear have no general Max Recer has been made a Royal Pro- oy in Saxony. " ae are much sought in ( ty with them a distinction unknown a Iteger is without doub Guo %f the most intellectual composers of the His comprehension of the inner prin- of composition, counterpoint, etc., is 3y many he is hailed as eotiied Bach with the advanced tenden- es of a Brahms. must seem yery ubinstein was a brother nd while not so widely lebrated brother, he an enormous amount for ‘ ssia. He was born June 14, 1835, brother showed precocious apti- While a boy it is said that L. P.—Nicholas R of Anton Rubinstein, a our republican land. tude for mus all comprehensive, he learned quicker, devoted himself entirely to mu abstruse to most hearers, but THE ETUDE sang in churen, d singing * and made studier Br the a in “La Traviata.” she was engaged h other things 1 i ter’s full address frequently in later In_no case will will not receive cer and afterward in a tour throughout America the Handel Haydn Society and with Thomas’ Orchestra, At the age of nineteen and sang with Gilmor she went to England A Pupil’s Program This program is arranged with the view of presenting an interesting variety of in- structive piano pieces, the numbers afford- ing a pleasing contrast. ‘itable songs are interspersed to lend additional attractiveness. ia_at the age of twen After singing in Germany, Petersburg, when twenty-two years old, and in the following year sang in “Faust” and “Hamlet,” having studied her roles under the composers’ direc- cal experts is employed to tion. After a_ varied ent in by Erupn readers, d e writte ne side of Beyreuth in 1894, an) a Wot sith, other 1898, 1899 and 1902 she turned to Wagnerian oper She has also sung ears. at Bay Sr the questions general, it is difficult to fix the exact period of study of the most famous singers. ly education has been interrupted, or con- tours have intervened, preparation has usually ranged from one to two years and a half. always ever, is al acquired in y ed more talent The true artist, how- studying, but what has been outh can only be maintained by dint of constant application in polishing and perfecting the first studies. interesting book which will give you much ‘ormation on the tars of the Opera” hed by Funk & Wagnalls, New York, It consists largely of interviews with Dolly’s March Mamma's Sewing Machine Fe Perley Dunn Aldrich 2.4 Piano: The Three Bee owe CI The Whip-poor-will The Flock of Black Birds, Elsa E: 3.¢ Piano: The Dance ofthe Brownies The Sleigh Ride An extremely E. Swart: Elsa E. Swartz Helen B. Lawrence Merry Little School Girls’ While the latter james, Calvé, Lilli jossons in piano playing Another interesting We are glad to ‘lin, and ali Tecognized durin, ae ‘As a student and even later, he see that his talent is being ig his lifetime. y LBERT Coares, an Englishman, has ing by tea been appointed assistant conductor He is a pupil of led to give up playing f the attitude of his @ Dresden Opera. jn public on ace has recently completed a new “Bacchus,” which is soon to be i e Paris Grand Opera, and also Espado,” to be produced at Monte exerted a pow life of the example of pera entitle d Waduced at th institution in St, EN D'Atnerr has now been before the as a concert He made his. fir twenty-five ye eee he became the Cour and Duke of Weimar. twenty-five pianist for first appearance journal says that among the achim’s papers there have been * set of documents showing that Ta music drama on the Buddha le- Treen made by Wagner after he co i It was already known th a brief sketch of which Buddha was to be figure, harmony at comp) Tapper, who died in Berlin late a8 one of the most volum aN critical writers upon = best known gner Lexicon.” ntly been placed AMous “Wo, tablet has rece at the Moscow After his mare greatest bass January 12, 1854, he founded the Elmer A. Todd - Mrs. Crosby Adams Rose M., Eversole The information Nicholas Jarrar, and Nellie Melba. authoritative, c. education; he studied at thus obtained should Finger Solfeggio Song: Daffodils. Colonial Days March - Louis Meyer E. R. Kroeger on brought so far up to date, is “Famous Singers of ‘To-day and Yesterday earned his live Lahee, published by L. C. Page & Co., Boston. Squirrel’s Chatter, Fairies’ Music Box Nirvana (Valse Gracieuse) - Geo. Dupont Hansen Blind Man’s Buff - Supscprper.—Pol Plancon, $ now on the stage, was born in Moscow, which France. He_ studied niluence on the musical Sprigiia in Paris. 364, following the debut at_Lyons as St. Bris in “The Hugue- aes Who had ots “He was engaged there for two yea Peters: and sang the roles of Joseph “Cing Mars,” | Eustache Anton, Moscow Conservae ed the director until qoput in Paris in Duprat’s a pianist, possesse musical successive season, other, ons. in's health began consummate actor. C. E. Seeboeck Come Away to Dreamin’ Chas. W. Cadman Reapers’ Dance -_Leo Oehmler Romance in CMaj, - Emil Liebling Gondoliere-G.A.Grant-Schaefer Hubbard W. Harris The Wanderer’s Dream In the Moonlight (Waltz), John H. Davied Japanese Maiden - Minuet (The Stately) Robin Redbreast - (Valse Brillant) Mrs. C. A. Boyle opera. He sang there in Gounod's Massenet’s “Le Nf canio,” ete. In 1891, he made his d Mephistopheles in and so great was his popularity that he ap- peared from that time until 1904 in each From 1893, when he made is as his debut at the Metropolitan Opera House leted. Modest jn New York, he has sung every winter in translated America up to 1906. oresting aC- ously flexible and well trained in every de- gs. At the tail of vocal technique, ‘om “Children’s Pieces,” by Perley Dunn His voice is marvel- ” by Elsa E. Swartz. From ‘Five Short Ile is equally at home in The above piano pieces grade from I to n the hope of operas of such different schools as “Aida,” q ied there in the “Romeo and, Juliette,” y opera singers be. to circum: the basis chor IV in difficulty, the easier ones coming first Huguenots," on the program. “Tannhauser,”’ “Lohengrin,” Singers’ and Massenet’s “La Navarraise.” - sa Allare the publications of Clayton F. Summy Co. A. B, .—In playing octaves and repeated technique consists her_ debut at fn the’ strength and _flexib' first important at the ThéAtre de 12 the fingers is the use in Karlsbad where Benius breaks down the barriers D are 4 oi P ji al ogitlally advised that the Best again nsist of seven erformances tickets May i jast from ing,” and five P Application for The festival wi © August 20, 1 singing he Reinharat UND You Tats gs taken the ipellmeister mA ‘philadelphia chest LOW direct only when she WS jt low at fi 4 in he has given re- ‘avalleria Rusiti- jnterpretation of is best known. at an rly age gained, it is perm 's only f ility of the wrist, just as in most passages the strength fundamental to ared for $21De0 icalesent the back of ricep muscles a he back of the upper arm After SOE Oo are used to increase the tone. ne at Paris the flexibility of the wrist, it is well to hol fi that no assistance 2 reuerite in May be derived from the upper arm, of Margu some degree of independence has thus been ", ible to allow the weight of the upper arm and even the shoulders to sesist an the Broduetion of more tone. i is well to remember in wrist as well as and others e finger training that the simpler pala i combinations must be They will be sent for responsible parties. and even the LOVE IN A COTTAGE The song composed by Rudolf Ganz to James P. Whedon, and MADAME SCHU- NK in her concerts throughout is now publishe In cultivatin in sheet form, For sale at all sto: ELEMENTS OF MUSICAL ‘She made her de- Control is obtained over great success as : jen in London, ful in “Lohengrin,” Shain re eS_ published ona 5s succes 0 smatly to her reputation and special studies. urpry, who died on Octo- » WQS one of the best vificing of contemporary Nottingham cd Capt. A 0 ee not until after Countess in Two years vo erhe Me panne G. B, L.—Messrs. ‘Madame recently of v yorke! 1 Y en she was five t the age ce seven- she was twenty- Pt gue Wimstrong), tion of these prec i her as in the interpr yp a_musi- for them. ded to tae ondon in province of Muive, Gtlzens of Lille, Wrance, Opa, Lilo, erection of a * “Roidy; he composer of the RAN nN Unnan, Conyig Success fin Ve omeo 2nd : nat the cout rtm cudy with 1858. His mother a te study onths father German-S 1 accurate she was pro i he aking ‘her piano construction. de ia Monnal ¢ de in Mon Wer where he studied i yordi “Rigo- in the iat, Juliette Alway 1 erite bh Michacla Valois. in In Melba’s — vic @amore, an syerance old music, until, her Pi trait oy dominant supplemented country, as_ far , conducted nfort.. She was lect nn O'Neill at the He EXPRESSION A Manual of Ear Training By JESSIE L. GAYNOR his excellent work is now ready for de- when twenty- perimenting with more complicated adjust- 4so1, when she was ments of arm and wrist. You will find use- second book of Hi s in. MacDowell’ “School of O most comprehensive as well as Ss of the masters : idore Phi founod’s, opera .2f Playing.” ‘The last is in Yerd’S gna contains original exercises, n the fol many examples from wor It is designed to meet the n teachers in the Kinde’ arten and the first four grades ofthe Publ ii chools, It is undoubted! the most teachable work on Dictation and Ear Training yet published. bound in full cloth, A book of 108 p rears old, now in their second rare, but facture of clavichords, gina supervision of Mr. Arnold Doimetsch, undoubtedly one of the foremost living ex- ponents of all that concerns the ¢ wsors of the pian ation of the mu born at Le Maus in the LILTS AND LYRICS ‘The new book of notes, songs, games, ete., sichords and more arten and Primary. by ALICE C, D, RILEY and J IE y ges, bound in full cloth, hook ‘is meeting with re- As a boy he served as apprentice in a piano factory, thus the foundation of his intimate knowledge of He became interested in and went to 4 under Vieuxtemps. Her most he accepted a position as teacher of the Sulurch College of Musie in Bn: interested in the early violin cl turned his attention to the Wnglish c enry Purcell, and gave a concert of his He next turned his attention to the instrument that enomenal coming obsolete, and also studied the litera- ture for this instrument, capacity came gradually more and more engr ELEMENTS OF ENGLISH VERSE Correlated to mus A Manual for teachers, By ALICE C, y. Bound in full cloth! lation even to one who err every school book of note for twenty one high authority. ° e in the violin, however, ynor Calendar will he mailed to anyone sending us a request for the same The above works are all published by CLAYTON F. SUMMY C0. 220 WABASH AVE., - CHICAGO In this way, he be- What specialty. He has traveled isco in illustration ng and giving concerts ow preparing some unique programs in Boston, She for presentation this winter. Ploase mention THE BTUDE when addrossing our advertisers.

Page 74

THE ETUDE SEEDS of = . cost but te Durpee-Quality fixe nt ——$_+_~____ = than the usual kind, but are worth much more! To convince you that this is true, let us have a talk together, We have spent months of labor and thousands of dollars on— The BEST SEED CATALOGUE we have ever issued It is abook of 174 pages, with new illustrations from photographs, and beautiful colored plates. Shall we mail you a copy? It will cost you nothing, if you will kindly give a fair hearing to our claims for your patronage. Write TO-DAY! W. ATLEE BURPEE & CO., Seed Growers, . THE NORMAL INSTITUTE OF MUSIC NORMAL TRAINING for Teachers, RESULTS PROVE T1U THE RUSSELL METHODS Are now in use in upwards of 100 Schools, Conservatories aud Studios throughout this country and Canada. Progressive stu- dents and teachers are invited to investigate the Russell Meth- ods and the opinions of those who know their value. Send for Literature. Music teaches ost exquisitely the art of development, —D' Israeli The School of Music-Education 225 Newbury St., Near Fairfield St- Summer School and Normal Courses Portland, Oregan, June 22 -July 33 be sent in 'enrly to CALVIN B. Applications whury Street, Boston, Mass. CADY, Principal, BOSTON SUMMER COURSES, GIVEN BY LinpA ExMAN, HELEN HowarD WHITING June 1—July 31 Subjects: Music Education of the Child, Pianoforte, Voice in Song and |. (Especially valuable to Grade Teachers.) VOR PARTICULARS ADDRESS SCHOOL OF MUSIC-EDUCATION 225 Newbury St., Boston BOSTON SCHOOL OF PIANO TUNING All students receive factory experience at Chickering’s. We successfully teach by mail in all parts of the Globe. : Catalog B Free 837 WASHINGTON STREET SPRINGTIME A SONG CYCLE FOR CHILDREN’S VOICES. WORDS AND MUSIC BY MRS, E. L. ASHFORD Price, $1.00 This cycle consists of five very pretty and well contrasted songs, intended to be sung by children’s voices in unison. As the songs are connected by interludes, the work may be used complete, or any of the songs may be used separately. Should it be deemed advisable to produce the cycle in costume and with ‘action, complete directions are given for this purpose. Both words and music are such as will prove appealing and interesting to chil- dren, besides being of genuine artistic The titles of the songs are as fol- “Voice of the South Wind,’’ ‘*Iwo Robins,’’ ‘‘Buttercups_ and Daisies, “The Bigotty Bumble Bee,’’ ‘‘Away to the Woods.’’ é on The songs are all highly characteristic, and the accompaniments, while admirably supporting the voices, all are showy and pleasing. PRESERVE YOUR COPIES OF THE ETUDE The Etude Binder Tt_is simple but complete, cheap but durable, and beautiful in appearance, Tt hi a solid wooden back, which al- ways keeps it in shape, and it does not mutilate the contents. The copies are instantly but securely bound by the thin slats which run the length of the periodical, and yet can be removed. at pleasur Each ’Binder holds twelve copies, or a full year’s sub: ption, of The Etude. Price, postpaid, $1.00 —= THEO. PRESSER, 1712 Chestnut St. - Philadelphia LOUIS ARTHUR RUSSELL, Director An Amerlean Instltutlon, with Modern Processes of Mu le Study: PIA SUMMER_NORMAL CLASSES Send for Press and Professional Comm ‘Address the Seeretary, CARNEGIE MALL, PHILADELPHIA, PA, METROPOLITAN SCHOOLS OF MUSICAL ART NOFORTE, VOICE, THEORY sors and Professional Students VALUE OF METHODS Offer no ROYAL ROAD. CANNOT be mastered in a FEW DAYS. Y REACH from the foundation to the top. SO SERLOUS and de: udy us music fs a, f ‘ork. ‘The Russell Methods teach the student to know to know nt and its “ musie’ the three in iouship to each other. NOW BOOKING te Send for Records of it NEW vor Cred NCCords Of Ttewults. => BEETHOVEN Conservatory of Music St. Louis, Missouri. The oldest, largest and best music school in the State. All branches of music taught. Send for handsomely illustrated catalogue to the BROTHERS EPSTEIN, Directors, N. W. CORNER TAYLOR AND OLIVE Dunning System of Improved Music Study for Beginners “From out of the fullness of the heart the mouth speaketh” is the feeling which prompted a class of teachers who were highly equipped musically to write— GREETING TO SISTER TEACHERS :—To those of us who have recently completed the cour. ¢ of the Dunning System it has been a revelation of clever and beautiful ideas presented in the most logical and psychological manner, carry. ing out the most advanced ideas of instruction That this System has no peer is evidenced by the fact that none of the other systems in exist- ence have been able thus far to obtain such marvelous results. ‘The teachers in this class having studied with noted teachers, both in this country and in. Europe, most heartil recommend the Dunning System to our sisters in this important educational department. It in many points—one especially, it ig unlike any other System or plan of teaching as it is possible and teach the same subject Join us without fail and help us to cee better and higher standard of music wae, in America. (Signed) ep TEACHERS OF THE DENVER CLAss The only system endorsed b: 6 nowned musicians such as Leschetizky, Sch. wenka, Carreno, de Pachman and many oth Booklets with letters irom these representnay musical educators sent upon application eye ne ——— Conceive ie eee of musical forms jp OPular ee Importance of the fot In which niz i oll to e Mater the subject j Selmes anal gees er extent by the 8 treated second f OF entire works, suo a tical Tugue (in C minor)’ po 88 the chord” of J chapters of ne to Beethoven couraged to . - Bach. he book a, can most ie é St heartil to stu y comme aH dents Pursuing ¢ nd Study, but to Courses of tain more ‘ Materi Chats with J Patterson (P; Gone apes y Annie vy, 'PPincott by J.B. This littl for Enel interest a 7 eS aay ery little ha « try, op s Mery Practical” genie, Author tac" out. neh, fn it is Meet hings = their pie wh F Ww € ao subjects 5a oy fetermining aden give Mees be an Or sees to Cong How Musical Enter Sanist,” uct. garded in G be a Grae “nments? : cree ts Secure this we a : I rk, a &nag cee Jan Paderery Bi ee OY Tene ot Oe ei y J : . ane) A tt hought raphy of) vig appre the Most i Sreat up ere ates Musica] a ows s ianie xe Gis : US Polish 2? mich of igus Virtus Senerg] ddr, PLAYING AT SIGHT. Playing at sight is such an im- portant element in the every-day work of the teacher that it should never be neglected. It depends very largely upon the methods of instruction em- ployed at the start. A carelessly taught child rarely, if ever, develops inte a good “sight-reader.” Much of (ne carele sight reading we com- tinually observe is due, in a measure, to the efforts of teachers to “get over the ground at the start.” This is most untortunate. The pupil is hurrie through the foundation principles % notation in its application, the expres” sion of music and the sight reading capacities of the child are likely to be forever hampered by faulty early conception. _ Considering sight reading from the higher musical and educational stand: Point, the basis of all thorough wo" should be laid in insisting upon havin? ile child sing at sight. Only too ofte? Sight reading means to the child ability to press down certain keys f" resented by the printed symbols 0? the music page. This is al! wrong: The Symbols represent sounds and si keys, and the child should comprehem™ os Sreat truth from the start. we bone to bring about this compe rension and the discrimination belie the sound the music represents and wery and ebony keys is to start $18: Singing before any piano instructio® fe attempted. The sight singing instr hon the child receives in public s¢ on, : e . often worse than useless. ) apt poker in ten thousand ating Saching sight singing before St! he Planoforte instruction, and yet it mast only ideal way leading to good Fh “anship and fine pianoforte play’ = = oe MEMORY IMPROVED Since Leaving Off Coffee: ory , ment Many persons suffer from poor ! thing who never suspect coffee has a” to do with it, : The drug—caffeine—in coffee acl us JUriously on the nerves and hea". she ing imperfect circulation, too muc? ‘ thet rain at one time, too little in an pic? Part. This often causes a dullness _ iple- m, jmp akes a good memory nearly “Tam nearly 7o years old and a the know that coffee was the cause | som Stomach and heart trouble [ suffer® yet? or many years, until about four ° 880,” writes a Kans, woman. ait “A kind neighbor induced ™° a pee™ coffee and try Postum. aly rer Suffering severely and was rea ne duced in flesh. ” After using P vis? little while I found my) my heart beats became 1 veular aM oo e Seldom ever notice any eymmptore ac My old stomach trouble at all. My sded are steady and my memory ees better than while I was using ©° tly as “T like the taste of Post™ ne SG well coffee. My sister told “ vit Years ago that she did not like ie am when I showed her how to cording to directions, she thous: clicious, yet «a A satel ath : Tt is best to pour cold Weal mre bt Postum, let it come t? es ut | oil 15 minutes. That bring flavor and full food value- ‘There's a Reason.” pall Name given by Postum cane Creek, Mich. Get the booklet to Wellville,” in pkgs.

Page 75

THE ETUDE RECITAL PROGRAMS. Pupils of Louis P. McKay. Water Nymph (4 hds.), Ethelbert Nevin; The Merry-go-Round, Goerdeler; In the Smithy, Hdm. Parlow; Nocturne, Reynald; Mepoll, Nevin; Printemps, Lack; " Valse Brillante, Engelmann; Diayolina, Bendel ; By the Brookside, Tou Invitation to the muring Zephyrs, Dance, Von Weber; Mu Meyer; On Jensen-Niemann; — Polon: Blooming Meadows, Rive-King. Pupils of L. G. Heinz March, “Lohengrin,* (4 hds.) Prelude, Invention, Bach: 2 Chaminade; Violin Trio, Moffat; dolie! x (4 hds.), Reinecke; Mondschein, Ma cDowell ; Halling, Grieg; Adoration (violin), Borowski 5 Berceuse (from Jocelyn) (violin), Godard; Concerto (A minor), Grieg. Wagner; Sylvains, io Pupi iss BE. A. Lugg. upils of Miss E. ieceenne in Moy, Bet: Evening Song, hi In the Corn Field, Lange; Mocking Bird, Fantasia, C. W. Kern; Clover Blossoms, 108 G Rathbun: Little Fairy Waltz, Streabbog; Wits Sonu and Mirth, Bohm; Alpine Scenes, IL, Karoly; Silver Stars, Bohm; Forge by the Brooklet (4hds.), C. Kolling; Rondo Brilliant, Op. 62, C. M. Weber. il Miss Parry Bundy. fs Buttle ot Bohm; Barearolle, Rubinstein 5 f rand; Song of the Woodman, Nene aan triumphal March, Kunkel; Barearolle, Caprice, Gade; Song of the Suitor, Song of a Hero, National Dance, Grieg; Spinning Song, Hollaender ; junge an March, Delioux; Fant ¢ Etude, Kullak. Fupils of F. A. Ballaseyus. ower teers from Septuor (4 hds.), Beethoven ; Sonata, Op. 27, Ni Beethoven ; Charge : ii Militaire (4 hds.), humann ; Theme ond Variations, § > Polacca (two pianos and strings), H. Mohr; The Lawn Party (Waltz Song), Ch. Lecoca. Pupils of Weiser School of utusie. Pieces for the Left Hand Alone. ' Abendlied, Hollaender; (Hunting, aoe Hollaender 5 Melody in F, Horyath; Pe St Foote ; ze, Op. 156, No. Yalse, Op. 6, Foote; Romanze, iD itrendar: To Pi Melody in A. Wantzen i, Mealy rollaender Menuet Ja *) 1 , eo apger neme, ye 113, Rheinberger oe rand Ung, oO Lie! Ri ae * Mobile, 0 Perpetua, No. 3, Spi ette from “Lucia Di, Lammer- Leschetivk, Pupils of Miss MM. 8. Colvin. a Moskowski + gj) SPanish Dane nds.) Sane wnplette (Valse Tyrique), Brown i oa Sehumet Mendelssohn; ‘Traumerey ‘Allemandes (4° bas. Nirchner : inade; Chaminade «, 5s $8220, a jon, Lichner: Serong Contemplation, Song na iy . r p; Song f yte d'Amour (4 hds.). Von Be Gott- Seal’ »SWallow; Orta, Grand + Tannhauser (4 hds.)+ Wagner-Beyer P "DUS of Gustav L. Becker. Second : + Allegretto Scherzana, } Brahms; * Brahms 3 Etua dena Inter in f° Sharp cane Bendel ; Toc: t from Raff ‘ann arin, Son 2’. Hols on Th ety ; ower, We rettntelle, Smith; Boute, en rrain, ch . ‘ali- Heel: ees itolft; La, Ca ne Pinning Song, ae frien | Aimee, sig mClZ; Valse a 3 * Salut a Pesth, Kowalski. Upil Th! of Miss Baker, : mann; The he Arena (4 } 4 : hds.), Enge 15 (4 hds,) ngelmann + fe (4 hds.), Streabbog ; Return (4 hds.) ‘tine (8 hds.), M i (itl Heins ; Wiugelkleide | (6 ij hase, Scotson Clark 5, Polis! Is.), Secharwenka ; Minuet, i. ea Mozart; Sounds of Spring, Prolic of the Buttertlics, Tohm Olonaise (Gg 'has.). Kramer; DY Wolff; March and 08 ae ng » Deceyee ay 3.) Phiten: seijus Animam Rossini; Caprice Brillante. Sehumann ; Rondo petit Carnt- Byening, ! pinguet Whispering hds. lish » Novellette, » Mende ning, Lows. Solemn Song, Gurlitt i The engel; A Lawn Party. ninguet ; W hds.), Rinevo Wlowers {Hin Suntlower Dance ( bee by Alb ; Cipehner “bum Leaf, sven ioreat, He Lake (4 hds.) CG revessfonn! March HENS Spiny ec], Schmoll ; 70, No '45binning Wheel, S¢ No, 1, Chopin. STACCATO AND LEGATO. Andrew Carnegie tells of an ol Scotch lady who had no great liking for modern church music. One day she was expressing her dislike of an anthem, when a friend said. “Why, that anthem is very ancient. David sang it to Saul.” “Weel, weel,” said the old woman, “I noo for the first time under- stan’ why Saul threw his javelin at David when the lad sang for him.” There was a young boy in a choir Whose voice rose up higher and hoir. It reached such a height It went clean out of seight; They found it next day in the spoir. Boy—“Beg pardon, sir, but I heard some one say you was a Doctor of Music.” Herr Vy?” Boy—“Well, will yer please see what’s the matter with dis trumpet? It won't blow, and it was new only yesterday.” = Jones—“That young man who plays the cornet is ill.” ; ; Green—“Do you think he will re- Paganinni—“Vel, so I was. oo cover? ; Jones—“I am afraid not. The doctor who is attending him lives next door.” The kindergarten children are strug- rith the alphabet. tell what comes after G?” asks the teacher. Silence reigns. Again she questions, Doesn’t any one know what comes after G rs Then Carleton ral his hand. _ I do,” he says. “Whiz. Gee whiz. = [Woman s Home Companion for November. time Paderewski lived in lition of extreme poverty. point of his career ign Princess engaged performance at a fee gling w “Who can At one aris in a conc But the turning came when a for him for a private of twenty dollars. There was a fa: Paderewski playe hionable audience and d his best. His efforts were successful, and the congratulatory remarks of some members of the audi ence were crowned by the Prine request that he should use her cart to ride home in. But though Pad was proud. ais 4 b “Madam,” he said, “my carriage is at the door.” ge Jerewski was poor he s, the French com- boasts that, like Mozart, he his relatives with the greatest His mother was an artist, his aunt an accomplished SS The child showed very early oo, jnary susceptibility to s ee aad he delights to tell how, eee vas a tot of three or four, his pa ee e wattd eet all the clocks in a set them striking, mak- t differences in the Camille Saint-Saé poser, chose f grea the house an ing im tell the z 1e ee and imitate them nt nd Site To this early trang a Hee = qe on His setae kable tributes 1 faultless ear. memory anc hat two ladies were to their seats at the Biilow finished his It so happened t making their ee ie ee the first movement of ent “Sonata Pathetique. This See cred ta that he purposely com- poe h an absurdly -d the allegro at suc mence as to make the guste in low pace as “tly 2 time ae is correspond exactly to the as » pass C a 5s may be tee ladies’ footsteps. As may of the imagined, they mo on as fi Ss Von Biilow ac gene sympathy with their ae Barnes Vusical Reman on thorns and hur- as they could, while lerated his. tempo in asing pace.— ried Learn Piano Tunin ‘‘The Parlor Profession ”’ IT PAYS Phone in Use, ‘WHAT DO YOU EARN? Our graduates m: from $5 to $10 per day the year round. We can quickly teach you to do as well. If You Can Hear, You Can Learn to Tune. The Tune-a-Phone Guldes You. We teach by PERSONAL correspondence Instruc- tion. Each student isq@ class by himself. Euch student is under the direct, personal su- pervision of President Bryant. Our course 18 simple, complete, practical. It thoroughly covers every branch of the tuners’ art— Tuning, Voicing, Action Regu- lating, Action Repairing and Case Repairing, Including Polishing, Freneh Polishing and Staining. By the ald of our clear lessons, our personal Instruction and our exclusive, patented M N. {CAL AIDS, a few weeks’ lel- sure-hour practice at your own home will fully equip you as an expert to earn the splendid re- wards of “THE PARLOR PROFESSION Read what our Graduates say : “T have earnedashighas nasingle day at tuning.” Ben ARK, Beaumont, Tex, Niles Bryant, President. “T have advised scores to ta (Rey P Ric Aurora, Il, g, Pa. in your MM. 0. L. Price, Dixon, “My best day's work tuning was 82 thorough and complete.” (Rev Pastor FI E. Chu i “Tam a Juntor Law Student. Tcleaned up 8180 in two yacation montis this summer.” J. E. Bura@y, Iowa Clty, Iowa. r where I could earn only s1 ng 1907, my cards will read “Tean earn ateacher. A ‘Tuner,’ not “J . Linpsay, Chicago, Ill. “Since Jaa. 1, 1907, T haye tuned 456. plane md my income was over $1,000." (Dated Oct. 18, 19 J.B. Scuwtererr, Grinnell, Iowa, LET US MAKE YOU LIKEWISE PROSPEROUS, We Supply free to each student a Tune-a-Phone, a full-sized model of a modern, upright piano action, also all necessary tools. The action model, repeatedly regulated and repaired by the student under our direct per- sonal supervision, teaches the student how to regulate any piano, and how to repalr every mishap that may occur to a plano action. We grant our graduates a diploma, accepted the world over as proof of proficiency, Send today for our free, descriptive booklet, containing an Illustrated address by President Bryant, entitled, Wina + INDEPENDENCE.” = The Niles Bryant School of Piano Tuning, 15 Monument Square, Battle Creek, Mich., U.S. A. ‘Tho Action Model. Taught vy Mart, successfully, practically and rapidly. — 2-cent stamp for trial lesson. Turns Tra Lessors F If not convinced you Hl sueeeod, You Ow ‘You must \N Know the sadiments.o Busivess, otherwise don't wri Wilcox School of Composition, C. W. Wileox , Dir. Dept. “E," - 225 Fifth Ave., New York Oity- Cc. W. Wilcox, New York. ‘Great Oaks from little acorns grow.’”? Beginning only a few short years ago to teach com- position and arranging of music by mail; to-day he has erected a college for the same, and has his offices in one of the handsomest buildings on Fifth avenue, in this city, Surely no greater proof of the success and efficacy of his method could be desired — Zhe Dominant, Sept., 1907 PROGRESSIVE SIGHT READING mriséroitee = By CHARLES VINCENT, Mus. Doo, OXON, fu four books designed to facilitate the portant subject, Hook L, comprising 10 sand the author's rules “How to bec ow ready. Fingering aud phrasiy omiely printed, = Pac 5 conts for a copy at Introductory prlee THOMAS J. DONLAN, 881 Colonial Bldg. Boston AGUNT POR THB VINCENT MUSIC COMPANY, Lite, LONDON MUSICAL VALENTINES For the Young and Old; for the Vocalist ; for the Pianist—for EVERYBODY a captivating innovation Crosby Apans, Love’s Postman " \ The Postman’s Ring Sending Valentines Receiving Valentines These sim i rei admired long f Feb human touch i rs. These unique, acharming remembrance for They are ten cents each, postpaid THE CROSBY ADAMS PRESS Write for Circular. Oak Park, Ill. TWENTY-SECOND YEAR Affilleted with the University of Pennsylvania Combs Broad Street Conservatory GILBERT RAYNOLDS COMBS, Director 1329-31 S. Broad Street FACULTY and BRANCHES of INSTRUCTION Private post-rad Dept., Piano ation ‘with the Univer: supplement their work at 16 courses at the Univer various departments fy drinking water ‘ . receptions and dances in our sullicient unto itself, providing the young women with tertainment at hom aud musickan- ship to For free year book and information address J. H. KEELER, Secretary ir Church voc Organist St. New York Ci Longacre Studios, Send toc for booklet “How beautiful Sing- ing Voices Are Made” Plain answers to typi- cal questions about Voice Culture and the Art of Singing. nth Ave, Aver- +-20c LENA DORIA DEVINE TEACHER. Lamperti Method of SINGING NEW YORK, Winter Term PARIS, Summer Term Sousa'y Ba MARIE HUE Opera C Soprano, Dramatic Soprano, M Opera, 1 olitan Grand Opera Ci M. HAMMER, Coloratura nd Opera Co.; MARIE LOUISE G DELANOIX, Coloratura Sop! MINNI First Pres! atura Soprano; STUDIO, 186 Fifth Ave. RESIDENCE, Prince George Hotel, New York and many oth Modern Teaching Ideas » a teacher and would be interested in the nd circulars, they will tn How to Breathe for Singing (with exercises) Voico-Placing (how to “Place” the Voice—All Voices) Training the Tonor Voice (Hints and Exercises) The Child’s Voice (Hints as to Training) Seo The C. & C, VYOICE-BOOK. 50 CENTS Address the Author, F. WW. WODELL G12 Piorce Bldg., Coploy Sq., BOSTON Please mention THE ETUDE when addressing our advertisers.

Page 76

THE ETUDE ing THe ETupDE not mentioned below will be furnished upon request. is a modern, practical household magazine. It The Housekeeper is a bright, vigorous, handsomely illustrated periodical containing fascinating stories, special departments of in- terest to women and forceful articles appealing to every member of the home. With “The Etude,” $1.70 Regular Price, $2.10 Add World To-day or any Class “‘A’’ Magazine, Value $3.10, Club Price, $2.35 or add The Designer and one Class “A” Magazine, Value $3.60, Club Price, $2.70 Lippincott’s Magazine #ccleh*{uly ait plete novel in every issue is really first-class fiction—full of plot, action, character and distinction. The short sto- ries are told by masters of the craft. Every issue contains a group of terse, timely articles of absorbing interest. With “The Etude,” $3.10 Regular Price, $4.00 Add Pictorial Review or one Class “‘A’”’ Magazine, Value $5.00, Club Price $3.75 or add McClure’s and one Class “A’’ Magazine, Value $6.50, Club Price $4.40 The Burr McIntosh Monthly, @ magazine of pictorial perfection printed in duo tone ink on the finest enamel paper. Each issue contains a splendid collection of superb pictures, many of them printed in colors and all of them works of fine art. With “The Etude,” $3.35 Regular Price, $4.50 Add Harper’s Magazine or Weekly, is Value $8.50, Club Price, $6.85 or add American Magazine and one Class “A" Magazine, Value $6.50, Club Price, $4.65 The Etude, World Today, Designer, Success, CLUB PRICE $3.00 Regular Price, $4.50 “Two Magazines for the Price of One.” ° ° jodical | Review of Reviews, 3,morhly periodical best that is contained in all the. most important monthlies of the world. Public events and issues are authoritatively and lucidly explained in every issue. The unique cartoons de- Wi ing current history in caricature are of great interest. i ith “The Etude,” $3.00 Regular Price, $4.50 CLASS “A” The Etude Pictorial Review 122221 publications issued z for women in the Distinetive- ness, Elegance and Chic of its style attractions. Woman's interests along home and social lines are care~ fully considered. Home Dressmaking, Millinery, Em- broidery, Crocheting, Housekeeping, Household Economy, Home Decorating and Furnishing, Money-making Suz- gestions, Entertaining Stories. Free pattern tc each subscriber. Se The American Magazine #71, illustrious group of editorial workmen that has yet been assembled to make a magazine. ‘oiling together with heart and soul and mind, they write the best that can be written, and get from other pens the best that can be gotten—literature that lives and breathes and spurs to better living—illustrations that are true to life and nature. ————— Cosmopolitan Magazine Nomstterbow zines you tale, Cosmopolitan is the one you eannot afford todo without, Its subscribers last year are subscribers this year—with their friends. “The Best no matter what it costs”’—the motto which has made Cosmopolitan re- semble no other magazine. —— _ next year will enter upon the Harper’s Bazar forty-first year of its career. It will continue to be the magazine of the up-to-date ‘woman who wishes to be abreast of, or a little ahead of the times. It will still be the court of final appeal in all questions of fashion, entertainment, household decora- tion, and good form. “The Etude” must be included in every Club. We will duplicate any offer made by any reputable magazine, agency or firm in which @ subscription to beautiful illustrations. particular interest to women. With “The Etude,” $1.70 With “The Etude,” $2.00 > : — McClure’s Magazine, 3 Perisdical of qual- serious articles giving actual facts regarding the nani problems of the day; refreshing and charming fetheg McClure’s appeals keenly and intimately to every reader in the home. 7 With “The Etude,” $2.00 — Regular Price, $3.00 Add Harper's Bazar or any Class “A” Magazine, Z Value $4.00, Club Price, $3.00 or add Review of Reviews a7d one Class ““A’”’ Magazine, Value $7.00, Club Price, $4.35 New Idea Woman’s Magazine, an up-to-date monthly containing the latest fashions as well as valuable and helpful articles on many subjects of celled in style and attractiveness, dd Woman’s Home Companion o7 one Class “*A” Mag., : Value 0.0), Clb Pee SS3s or add Review of Reviews ad one Class “A” Magazine, Value $6.00 Club Price, $3.70 The Home Magazine, the home, containing delightful fiction; special articles and essays of serious import and timely value; instruc- tive and informative departments that do much toward solving the vexatious problems in the home and out of it. Add Cosmopolitan 07 one Class “ .. Value $3.50, Club Price, $2.65 or add New Idea Magazine a7d one Class “A” M: Value $4.00, Club Price, $3.00 SPECIAL CLUBS OF INTEREST TO EVER Cooking, etc. ered below, ity,containing strong Events. A m: is said and dor illustrated. Add The Garden Magaz Pearson’s of our construc: Its patterns are unex- Regular Price, $2.00 With “The Etude,” $2.35 Add Good caterer ah: : a periodical for every member of The Reader ., Regular Price, $2.50 ‘A”’ Magazine, Add Success or one Class “A” agazine, lass YONE, The Etude, CLUB PRICE | Th Woman’s Home Companion $3 30 Revi Etude, : American Magazine, ° M ‘view Se Reviews, Pictorial Review, 1 Sever ad Aiea 8 Magazine, With Free Pattern . » $4. arper’s Bazar, “GARDEN MAGAZINE and FARMING,” value, $2.00, The Delineator World’s Work, With *‘The Etude,” $4.06 MAGAZINES with any one of following, value $2.50 « © « « © © « with any two of following, value $3.50 » © o © © o « Good Housekeeping, byreneralactnow- most practical of the household magazines. ceeded in raising its subject to the plane of placing domestic life in its true light, that of afasciating It never preaches, but records ach The product of this policy is a bright, vigorous, hari. pursuit. somely illustrated periodical. The World To-Day are the foremost men and women of the day. method of treatment it makes fact as entertaini fiction. The reader will find in it hour, and best of all—something worth while. $1.50 per year. Success Magazine, Tis great influence and prestige the principles upon which of the public. Tis far-reaching: influence fs being: felt more and more strongly—in business, in polities and in the social life ore a power for good and’a force for building of the American home. Woman’s Home Companion ¢ortains intimate things for women, delightful stories and and many useful departments of ii of the home. Add § cents to any of the above Clubs for a Students’ Pronouncing Dictionary of Music and Monn Add 10 cente for a cloth bound Pocket Biography of Becthoven, Mozart, Wagner, Chosinnne pausicians, All offers are for yearly subscriptions, Subscriptions may be new or renewal and th “The Whole Family Group.” McClure’s Magazine offered. Reading mat- sold singly for less than the retail price, describes accuratel, editorial and business policy of Success. ly the , _it is conducted, enormous editorial and business organization, ployed exclusively in the interests of its subscribers may be added to any of the above Clubs for 90c additional. nal, The greatest. maga- zine combination ever Century ter for every member ac of the household. The magazines cannot be Regular Price, $7.00 for $2.00 for $2.65 edgment, is the It has sue- literature, ievements. isa monthly world re. view. Its contributors By its ‘ ne as recreation for the idle Price “In the Public Service” throughout the country, and its are em= and the protection and up- helpful, articl interest to every member a or Liszt, ‘© various magazines may &© to sop arate addre: Sas Postage is charged additional on all Canadian and Forei meiee® included, THE ETUDE, 1712 Chestnut 8” subscr iptions, Street, Current Literature, Magazine F structive men and word pict £ the times by leading writers. Its fiction has a distmetive auali = di lity an appeals to every member of ete neti quality Regular Price, $3.00 or one Class ““A"’ Magazine, $4,00, Club Price, $3.00 Value oF add World Today and one ! agazine, lub Price, $3.65 Class “A” Value $5.50, Ch or add Pearson's and one Chas" Value $7.00, Other Clubs of Value (eee ee an attractive monthly . ; World's o lagazine of timeliness that appeals to in- telligent men and women who wish to know the best that review ” Mi M: “THE ETUDE: MAGAZINE BARGAINS Take advantage of the following Special Magazine Offers yourself and s your friends and acquaintances to subscribe for any of these combinations. . The offers contain only magazines of the highest merit, specially selected for their general value in the Home and Studio, be found represented in this list—Music, Fiction, Fashion, Literature, World’s Events, Outdoor Interests, Our regular premiums are allowed on every Erune subscription sent in at the Special Club rates off of character gaz. ice, pread Musical Culture and Good Literature in your community by inducing The needs of everyone will Quotations on combinations contain- ne in all fields of human activity. Profuse With “The Etude,” $3.60 Regular Price, $4.50 ‘ine or one Class ““A’’ Ma: Value $5.50, Club Pri or add Appleton’s Magazine aud ma Oe eA anioesine Value $7.00, Club Price, $5.25 ine, $4.35, contains inspiring stories qhenext twelve issues of The Reader nae ~ Will contain 1344 , filled from Friune to end with the best work of Awurieaa foremost ‘very page maintains its record as the the American spirit—the most enter- sae ‘agzazine in the United States. ith “The Etude,” $2.7 Regular Price, $4 Magazine, CLUB PRICE ‘ $4.35 Regular Price, $7.00 PHILADELPHIA, aie w NOD SS°3ssas 5.50 38.75 2.35 2.65 2.95 5.50 3.35 2.35 3.25 3.00 50 , Club Price, $3.35 agazine, Club Price, $4.35

Page 77

THE ETUDE 75 THE FLETCHER MUSIC METHOD 2S it as perfect as possible. It is the hardest to obt It is the only Musical Kindergarten Method with apparatus upo: ical Kindergarten Method with an association editing a Bulletin for its teachers. the respect of the most thorough educators as well as musicians. t but is invaluable when practically applied, even by the most mature students, analyzing memorizing, transposing (not merely tactually), modulating, It is the Original Musical Kindergarten Method. It is the most expensive Normal Course because i It is the only Musi It is the best endorsed Method, commanding it is not only preparatory for the instrument’ teaching them to play with intelligence, etc., etc., etc. Send your address ane © tive booklet will be ™4! FINEST CONSE! DETROIT C OF COMPLETE MUSICA 50 Expert Instructors L 18g FRANC! Unsurpasse It is worth any sacri lines which, as a rule, are absolutel. —————————————— FVELYN FLETCHER COP RV ATORY I N ONS ES THE WEST ERVATORY music a Advantages for EDUCATION 15 L, YORK, L Dver 90 P; Students Recelve Fospectus Free on Application. 6580 Woodward Ave+ TAUGHT BY MAIL. Tncluding all instructions auc ‘muslo, games, koy ILLIAN PRUDENC Lenox Avenue Detro! EC Violin NORTON Voice DENNIS public Selioo! RENWICE Theory: Organ ) Students fice to the teacher, for her own pi R 0 PRIMARY—INSTRUCTI ATH ARINE ly neglected. It was the FIRST—it is the FIRST. t is the best and because no expense has been spared to make ain because it can be studied only with the originator in Boston. n which original and basic patents have been granted. ersonal advancement, as it supplies thorough instruction along —————————————————————————————— ——or——_ P. RSE 0 URROWES, F MUSIC STUDY. ON FOR TEACHERS BY HOME STUDY. B APPLY FOR CIRCULARS TO ————————— xX Home Address, 107 THORNDIKE ST., BROOKLINE, MASS. 0. BOX 1336, - = - BOSTON, MASS. All music teachers are urged to inyestigate this method, BASTERN ADDRESS, F 502 CARNEGIE HALL, NE WESTERN ADDRESS, F 47 PARSONS ST., DETROIT, ent herwood Music School 725 FINE ARTS BUILDING, CHICAGO Courses of Instruction in Piano, Organ, Harmony and Composition, Dramatic Art. OF EMINENT INSTRUCTORS SneRwoop, Director, Arthur Beresford, iitne De Sellem, Walter Keller, Grace Mjameia Kober, Daniel Protheroe, Joseph vorsrig’ Tqja Serven and others. beEwe Hemethods at moderate cost. Pupils enrolled at any ) Offers thorough Voice, Violin, Elocution and FACULTY Includes WM. H. Shirley Gandell, Nelson Stensland, Chapek, Eleanor fS) Best modern advantages an Graduates in demand as teachers. time. For Catalog address L. G. HUMPHREY, Manager ood, Pianist, available for Goncerts and Winns, Hs SHAW Lecture Recitals MR. D. A. CLIPPINGER’S School of Singing Voice Building Interpretation Repertoire i anship which lays a founda- Wisinger, teacher, or director The author of the following books and pamplilets por- Te BO + 100. + BGe. Correspondence Sollelted CLIPPINGER Chicago, Il. te May Begin at Any Timo : Address De A. all Hall Studen 410 Kimb: ERICK MAXSON NIst FIRST BAPTIST CHURCH H Pe cei St., above Walnut, Philadelphia, Pa. ven fi PS iano & Harmony of Organ, Piano Teacher 1 pupils i otatned abt poten gt One Hundeed Tre gsred thee ve qntion of the Awerioun Gulld of Organs have nuccessTully E ETUDE when addressing our advertisers. Please mention TH NORTHWESTERN UNIVERSITY == EVANSTON-CHICAGO SCHOOL ef MUSIC music, either as a profession or as an element of culture. | Located upon the shore of Lake Michigan, in Chicago's most attractive suburb. University Professional School, for the com- prehensive study of practical and theoretical I. Course in Applied Music, leading to th De; of tee Si ry of Muste, Bachelor of duate Course. usient Course, TY. Litera: V. Course in Publie School usic Methods. Courses I, Il and V include literary studies in the College of Liberal Arts or Academy without extra expense, A thorough Preparatory Department is maintained. The environment is perfect and social advantages superior. Catalogue upon request. P. C: LUTKIN, Dean, Evanston, Ill. ‘THE INTERSTATE TEACHERS’ AGENCY GODCHAUX BUILDING NEW ORLEANS - . LOUISIANA Recommends Directors of Music, and superior teachers, foreign and American, for all Departments of Musical In- struction in Schools, Colleges and Conservatories of Music, HUGH A. CLARKE, Mus. Doc. LESSONS BY MAIL In Harmony, Counterpoint and Composition The Sherwood, ~ Philadelphia, Pa.

Page 78

OBERLIN CONSERVATORY OF MUSIC THE OBERLIN CONSERVATORY OF MUSIC offers unusual advantages for the study of music. 926 Students last year, Faculty of 30 specialists. . , Tarceeg menuel Roosevelt pipe organ, two vocalions, and 10 pedal organs avail- able for organ students. 125 pianos. : Te be gear It aoa department of Oberlin College, and enjoys its intellectual and social life. Send for descriptive catalogue and musical year-book. Address, CHARLES W. Morrison, DiREcTOR, OBERLIN, Onno, TAPPER’S GRADED COURSE PRACTICAL CORRESPONDENCE LESSONS FOR TEACHERS AND STUDENTS These Lessons are prepared and conducted under the supervision of the Author THOROUGHLY PRACTICAL IN PLAN AND PURPOSE Analysis of Material, Questions and Outlines for Home Study Written Work to Be Sent in for Correction Also Courses in Harmony, Music Theory, Music History, etc, For particulars, address Mr. THOMAS TAPPER, Care of ARTHUR P. SCHMIDT | 120 BOYLSTON STREET, BOSTON, or 136 FIFTH AVENUE, NEW YORK CITY I INSTITUTE OF MUSICAL ART| AN ADVANCED OF THE CITY OF NEW YORK SCHOOL OF MUSIC H ENDOWED and with preseribed courses assuring a Frank Damrosch, Director INCORPORATED | thorough Musical Education Address, SECRETARY, 53 Fifth Ave. Public Performance VIRGIL &- PIANO SCHOOL and CONSERVATORY MRS. A. M. VIRGIL, Director Catalogue on request Fall Term Sept. 16th, 1907 Literature Sent Specialties Art of Teaching 19 West 16th Street, New York THE AMERICAN INSTITUTE OF APPLIED MUSIC ) (THE METROPOLITAN COLLEGE OF MUSIC EDGAR 0. SILVER, President. 212 West 59th Street, THE FACULTY AND EXAMINERS Ans Kare 8. Ouirrevpun Wrortas 8 New York City, Many Fr eae Bunr iB Riweny Greene “mena Tearitane Woonnure, and others i it Moprsr Avrscuutan Sear he Faculty Please mention THE ETUDE when addressing on T advertisers VIRGIL SCHOOL A.K. VIRGIL, Director JOHN MOKREJS, JOSEPH J. KOVARIK, Head of Piano Dept. Head of Violin Dept. EDWARD HAYES, Head of Vocal Dept. Fall Term Begins September 9th, Send for Prospectus giving full detail. Address: Broadway Studio Building, Broadway and 80th Street. New York Telephone, 2432 Riverside. Elevator on 80th Street $100 Term INCLUDING BOARD CONSERVATORY St. :: NEW YORK 2 West I2Ist J. HARRY WHEELER VOICE PL ACEMENT, Yolce DEVELOPMENT D THE ART OF SINGING 2 W. 16th Street, New York City TRAINING OF Boys’ Special a Vo C and choirmasteret ‘Tpttustion for professional teachers Salted choirmasters and’ field is enlarging and the supply of end for booklet and foc wont, i9p sna for the demand ‘fessional pupils. DR. G.ED WARD STUBBS, {iV Ost St, New York City BECKER Pianist, Composer and Teacher. _ 3 :—Combines broadening er see private les- A s original endeavor. : 3 Tem t_Meal_ Musicianship and Particulars; STEINWAY HALL. 109 EAST 14th ST» NEW york city. MAITLAND GRIFFETH Harmony METHOD 133 Carnegie Hall NEW YORK CLAUDE Pian Crane Normal Institute of Music Traini 7 OQ scho, Sight-reag; Ol for sg, . en reading, Car-traieg ee Visors Of music. Voice cultures T eetdticting. mance: Batmony, form, tusie History hold impor othods, practice tions in, Colleges, cit: OTSDAM, N tant posi teaching. Graduates y and normal schools. 'NCORPORaTED ise T HE PENNSYLVANIA COLLEGE oF Music DEGREES ° IRARD road MUSIC CONFERRED ig K. H. CHANDLER, Prost

Page 79

CASH DEDUCTIONS RATES FOR CLUBS One Subscription, no deduction. $I. Two Subscriptions .... Three w Fifteen Twenty Qpaee With cash deductions no other premium fs given. MUSICAL PREMIUMS FOR ONE SUBSCRIPTION We will send, postpaid, any one of the following premiums to persons sending in ONE subscription not their own: Album for the Young. Robt. Schumann. Anthem Repertoire. Anthem Worship. 20 Selections for the Choir. C. Ozerny, Op. 299, School of Velocity. Children’s Pieces. (Kinderstucke.) F. Men- delssohn. Dictionary of Musical Terms. Barrett. Ear-Training. E. A. Heacox. Easy Dance Album. First Dance Album, ; 7 First Parlor Pieces for the Piano. First Steps in Piano Study. Presser. Tho Intest, Bast and most popular method. First Sonatinas for the Piano, Flower Ballads, Senour. Four Hand Parlor Pieces. Game—Musical Euchre. Gibbon's Oatcrhism of Music. Gurlitt Album for the Piano. Heller Studies, Op. 45 or 46 or 47. Handel Album for the Piano. Juvenile Duet Players for Piano or Organ. Loeschhorn Studies, Op. 65 or Op. 66. Lyric Pieces for the Piano. Mathews’ Standard Graded Course. two grades.) ‘ Methodical Sight Singing. Part I or II. F, W. Root. Model Anthems. H. P. Danks. Modern Dance Album for the Piano. Musical Game—Great_ Composers. Musical Pictures for Piano or Organ. Popular Parlor Album for the Eianoy ioe Portraits, life-size, any one of the follow: ing: Bach, Beethoven, Wagner, | Sty deissohn, Schumann, Schubert, Mozart, Rubinstein. ’ Selected UT, Se Any one book. Selected Studies from A. Loeschhorn. Sheet ‘Busic from our awe Catalogue to tho retail value of $2.00. La ositions for the . Standard Git? Beoond, or Third Grade.) A vol. to each grade. Raeeinne: ct Ktudes for the Piano. FE MBDR THEE Caney apne Duets.) The Little Preludes. Bac). = Ths Musician. Widley Prentice, Te ax . (Any one y ’ Tree epla{ned to Piano Students. Olarke, Three months’ Subscription to arene Tunes and Rhymes for Children. Inst. Geo, L. Spaulding: Piano iversions. 4 Youthful Divermaneng Well-Known am Favorite Children's ¢ ers for Piano. ah Te Be puet ee Great Masters (Platino: 1sRE op Metand Se Boat Gege Per re r Por- Se ae arene, Composers With Birth. places, in Nine Colors. tl ee VALUABLE PREMIUMS Not Musical Subscriptions, 8 for Fountain Pen. f d Album. 3 a Fe Ting Cards_and late: 4 “ 80 Gards and Plate an aa 98-inch, ey Bi prella—26 or, 28 7 Bae Oo pen Face Watch, Gun Metal Case. lack French Opera z Morocco. White re paenahs Opera @ Pearl. tch. un “ adies’ Open Pace, Water 1% tal Case. Meta! Guaranteed. me e Box Film Camera. Pramo Bos press.) Ladies’ Open Hace Watch. Gun Matél. 1 inch. Guarantees Ladies’ Ch atelame Ladies! Qhateiea Case. red. Pal span rie Same with Chatelaine Be Ladics’ Gold Filled ‘Watch. ‘Caso anteed 5 Years. Hunting or Open Pac muaiprit. Ladies’ Doak, a Pinta 1) Ont a a ‘bien given and all Guar Stainer & (Any Three Books. Two Card Glasses. Glasses. Chatelaine Diameter hn. 10- ae Guar- n Clock. Mipy xpress.) Send for complete P' PREMIUMS Gifts of Value Easily Earned by Securing Subscribers to THE ETUDE THE ETUDE is of positive worth to musical people. A sample copy is, therefore, the best solicitor; the best argument to use. Samples are FREE. : The most lucrative field is among music teachers, music students and musical homes (those owning pianos). Leaving a sample over night often obtains a subscription without other discussion. Let us send you our premium pamphlet which gives talking points for solicitors to use, setting forth plainly the merits of the paper; also as many copies of a descriptive pamphlet as you can distribute to advantage. DIRECTIONS: Send subscriptions as you get them; premiums may be claimed at any time All combinations of premiums are allowable. All goods are sent prepaid by us, unless ‘‘by express’ or ‘‘by freight’’ is mentioned ; receiver in such cases pays the transportation, Cash must accompany all eorders. Use Post or Express Money Orders, Bank Draft or Registered Mail in sending remittances, Subscription Price, $1.50 per year; Canada, $1.75; Foreign, $2.22, To any subscriber sending us TWO sub- scriptions with $3.00, we will send any one of the following, postpaid: Album of Instructive Pieces. ‘Album ef Piano Compositions. Chopin_Album of Piano Compositions. Class Book for Music Teachers. Classic and Modern Gems for Reed Organ. Comprehensive Scales and Arpeggio Man- Felix Mendelssohn. Songs Without Words. Standard First and Second Grade Piéces. Mathews. Standard Graded Course of Singing. Greene. (Any one of four volumes.) Standard Graded Songs for the First Year. FOR TWO SUBSCRIPTIONS Theo. Presser. Ed. Grieg. pintdaed Graded Songs for the Second ear, Standard Third and Fourth Grade Pieces. W. S. B. Mathews. Leason & Mec- The ‘Choral Class Book. ual, Macferran. | = Granahan. Concert Album—either Popular or Classical. The Two Pianists. Medium Grade Collec “Etude’’ Binder. tion of Duets. ert Duets for the Piano. Dictionary of Musical Terms. Dr. H. A. Clarke. ‘ First Recital Pieces for the Piano. Friendship Songs. ny. anton valuable and liberal premium. ‘ony and Composition. Harmeictory Lessous in Voice Culture. P. W. Root. Laus prose 3 Vols. ighter O D Lee Album for the Piano. Master a iaces for the Piano. ws’ St Mathews. (Any five grades.) Modern Drawin Touch and Technic, Dr. Wm. Mason. In four volumes. (Any one volume.) Waltzes. Frederic Chopin. 80 Selected Studies from Op. 45, 46 and 47. Tod B. Galloway. Heller. A Text-Book. Dr. H. A. Clarke. FOR THREE SUBSCRIPTIONS For THREE subscriptions, with $4.50, we will give you any one of the following valuable works on music or literature: Anecdotes of Great Musicians. W. FP. Gates. Celebrated Pianists of the Past and Present. Ehrlich. Chats with Music Students. Thos.. Tapper. Choir and Chorus Conducting. F. W. Wodell. Damm G. Piano Method. Giffe. Class Reed Organ Any One Volume. ompositions for Piano. F. Chopin, Organi. High andard Graded Course in Ten g Room Pieces for the Piano. ‘Chopin. Nocturnes, _P. ; na Method, ; School Marches for the Piano, Descriptive Analysis of Piano Woks, E. B, Pedals ard ne Planoforte. Hans Schmitt. _ Perry. ae pst-card Album, (100 pages.). European Reminiscences. Is. C. Elson, ae [bum of Piano Compositions. First’ Studies in Music Biography. ‘Thos. 5 A Y Eaeraee ‘Op. 68 and_15, Combined. School of Seven Memory Songs. ft See Stail value of $5.00. Six Months’ Tapper. History of Music. W, J. Baltzell. How to Understand Music. W. S. B. Mathews. Two volumes, (Either vol- ume.) Lebert & Stark Piano Method. Books I, II or III. san Playing. Landon. Reed regs. ‘Tod B, Galloway. Music from our own Oatalogue to the Subscription to ‘The Etude.” Sonatina Album. Kohler. Subscriptions. Subscriptions, ‘ ission Clock. 6 ft. 2 in, High, 9 for English Oxford Bag. 16 in. Cow- Mose Mission “Hour and Half-Hour hide Leather, Lined, Inside Strike. Guaranteed. (By Pocket, Russet or Brown Col- a ors. (By Express.) 7“ Morris Chair. Onk_ or Mahog- PR ee a en = any Finish. With Velour Cush- Leather, Brass Fittings and jon (BY rei Heavy ‘Leather Straps. (By “Music Cabinet. Oak or Mahog- Hepresa) a any Veneered. ey qreiehe ‘ in hine. Full Size, 23 Sewing MoT Bearing, bight SOLID SILVERWARE Running. Guaranteed 5 Years. 5 8 remium pooklet; (By Freight.) LEATHER GOODS 4 for Sugar Shell, Gold Bowl. . 4 ‘* Bonbon Spoon. Gold Bowl. 6 ** Butter’ _Kmifes... 00... : 6 <; Grenm Ladle, " Gold Bow! Leather; Black 10 ‘* Cold Meat Fork........... : for Card Gare ret Hiei os! Gentle: 12 ‘ Berry Spoon, Gold Bowl... 7.50 man. a Pocketbook—Seal . Leather: Black CUT GLASS Brown, Ladies. ij j « Gnvelope _ Pocketbook — 6:inch 8 for Olive Dish, Fae aep’ choice of, Alligator Grain 8 Bonbon Dish, 5-inch, Size; Corican Seal Leather in 4“ Vase, 8 inches High. or, Americ 4 “ Pickle Dish. Star Out. ¥ color. 4 4 “ Peep Hand Bag—8-inch Size; fc a ‘Alligator Grain or American 5 “ 5-inch Comport. A very attrac- Seal Leather in any color. tive Table Piece, « afusic Roll. Seal Grain, Black, 5 “ Sugar and Cream. ‘A very heavy ‘Brown or Wine Oolor. Un- and attractive” Set. Sumburst lined. jut. , nee ned 6 “ Water Bottle—1 quart Size § fie, Saute Smaak Leather, 6 “ Celery Dish—11-inch Music, Satellite Size. 6 “ Berry Bowl—8-inch $i Halt She burst Gut. (By Expr ame, Lined. « The giving fall 1712 Chestnut St., Philadelphia, Pa. Leschetizky Method for the Piano. Majestic Collection for Mandolin Orchestra. Masters and their Music. W.S. B. Mathews. Mathews’ Standard Graded Course of Stud- ies. (Any seven grades.) Merry Songs for Little Folks. Gottschalk. Musical Pictures for Studio Decoration—Im- ported Photographs and Photogravures. Size 8 x 10, with Large Margi Bee- thoven Playing a Symphony. ‘Bee- thoven: Adoration of Nature.” “Song Without Words—Mendelssohn and His Sister.’ ‘Rich, Wagner,'’ Portrait. “Jos. Joachim,” Portrait. ‘Child Han- del.” “Saint Cecilia” (Volz). Pianoforte Music. J. C. Fillmore. Piano Tuning, Regulating and Repairing. J. ©. Fischer. Reed Organ Method. Chas. W. Landon, Sheet Music from our own Catalogue to the retail value of $7.00. “The Etude." One Year. The Organ Player. Pipe organ collection. Unbound Volume of ‘The Etude.” FOR FOUR SUBSCRIPTIONS For FOUR subscriptions, with $6.00, we will send any one of the following, postpaid: Musical Essays in Art, Culture and Educa- ion. Sheet Music, selected from our own Cata- logue, to the retail value of $9.00. Songs Without Words. Cloth. Mendels- sohn, Theory of Interpretation. A. J. Goodrich. Touch and Technic. Dr. Wm. Mason, Four volumes, 19 Sonatas. FOReFIVE SUBSCRIPTIONS For FIVE subscriptions, we will send, postpaid: Maelzel Metronome. (By express.) Piano Scarf. Plain or mercerized ground, or silk flower. Damask. (By express.) Sonatas, Complete. L. van Beethoven, Two volumes. Standard Graded Course. W. S. B. Math- Mozart. ews. Ten Grades. (Any ten grades.) The Musician. Ridley Prentice. In six volumes. (The six volumes.) 19 Sonatas. Mozart. Cloth. Dictionary of Music and Musicians. Rei- mann, FOR SIX SUBSCRIPTIONS Piano Stool. Hardwood, any finish. (By freight.) FOR SEVEN SUBSCRIPTIONS Maelzel Metronome, with Bell. (By ex: press.) FOR EIGHT SUBSCRIPTIONS Guitar, Mahogany, highly polished, orange front, inlaid edge and sound bow, rose- wood finger-board. (By express.) Mandolin, “Rosewood, 11 ribs, white holly edge, inlaid celluloid guard’ plate, rose- wood finger-board, (By express.) Piano Stool. Hardwood, patent cushion seat, (By freight.) FOR NINE SUBSCRIPTIONS Complete Piano Works, Frederic Ohopin. FOR TEN SUBSCRIPTIONS Piano Bench. XVI century style. Polished hardwood, Seat, 1414x837 inches, 20% inches high. (By freight.) Liberal arrangements can be made with any one desiring to obtain either a piano or an organ as a premium. COLONIAL GLASSWARE Subseriptions, 8 for 13-Piece Set. Two % Doz. of Glasses or Goblets ‘and Water Pitcher or —_ Bottle. B Freight.) : oe 5 “ 81-Piece Set. Five % Doz. of Glasses and Goblets and Water Bottle or Pitcher, (By Freight.) PLATED SILVERWARE 2 for Sugar Shell. 8 “ Berry Spoon. jms isi and Forks Each), Tea Spoons (Doz). Table Spoons (Doz). MAGAZINES. (All For 12 Months.) for American Magazine, “The Designer (Fashions), The Housekeeper. “The World To-Day. Review of Reviews. Woman's Home Companion. Harper’s Bazar. The Musician. The Century Magazine. Harper's Magazine or Weekly. Current Literature (World's Bvents). & (Halt Doz, Anna mmerowe information, and a descriptive book catalogue explaining all of the above works

Page 80

NO OTHER FOOD PRODUCT HAS A LIKE RECORD AKER’S Cocoa SO Highest Awards in Europe and America AS A CHAMPION My ia, Cees protector of the skin and complexion of particular men and women, first comes ! pg ‘ ears oO onstantly MENNEN’S 2oRATED ih TOILET POWDER a iE Increasing a safe and pure healing and protective Ponder te merits of which have been rec- S 1 i y di rofession for many years, Winter winds ales Cah evens couse iy aitctenwuere Dletnedeeeee daily, after shay- Registered U. S. Pat. Office ing and after bathing. In the nursery it is indispensable. For your protection—put up in non. efillable boxes—the “box that lox." If MENNEN'S face is on the cover it’s genuine and a guarantee of purity. Guaranteed uulase the Food and Drugs Act, June goth, 1906. Serial LT fo. 1512. D Sold everywhere, or by mail 25 cents. Sample Free. . y . Gerhard Mennen Co., Orange St., Newark, N. J. PNNEN S Violet (Borate) Patou ‘Toilet Powder, [EsTABLISHED 1780] D (eo) RC H ESTE R, M ASS - . for 2-cant stamp to pay postaze, one set MENNEN'S. ridge Whist Tallies, enough for six tables. Thousands of Testimonials From Prominent Teachers Everywhere, Attest to the Practical Value of the Standard Graded Course of Studies Ha 4 | fy FOR THE PIANOFORTE y. Held ne ers By W. S. B. MATHEWS The leading musical writer and educator of the present time Ivers & Pond Pianos 10 Grades 10 Volumes $1.00 Each The Beautiful Florentine G Sheet Music Form, Our usual Discount Allowed. There may be under your musical buyers of Grand Pianos who appreci rare grace and beauty as Standard studies, arranged in progressive order, selected from the seine aainetcn y as well best composers, for the cultivation of To such the Florentine red dLicarie cans TECHNIC, TASTE, and SIGHT READING in being the best piano musically and the Pidiocee: ands S| architecturally that it will be Possibi . Sstble for you to ree ; carefully edited, fingered, phrased and annotated, with complete Our pianos are largely sold by first-class ine te directions for the application of Mason’s “System of Touch and throughout the United States, but should they at i oan 10. IC SOlC Technic” for the production of a modern style of playing. hear you we can make the psets ‘bel prices our pianos for their personal use or to be sold to tn e a, ‘ heir pupils. the same liberal aeceomn: _ nodations i s that we extend to purch Ons In Our pianos are r asers in the e are so fine thy e toship them anywhere sul © that we do not . F . i Yect to approve ing entire satisfaction. Full information’ Tan guarantee. you THEO PRESSER PUBLISHER, Phila., Pa. Ivers & Pond Piano Co., 141 Boylston | aoe t., Boston, have been established over 55 YEARS. Ry sai every family in moderate circumstances can eR a Vous’, Payments take old instruments in exchange and deliver the new e Piano. We home free of expense. Write for Catalozue HD and ¢ eplananny eo voM VOSE & SONS PIANO CO., 159 Boylston Street, B : a oston, Mass. ec ——_—__. rand. Supervision possible P ate case designs of a8 musical qualities that tis unique SEND FOR ANY OR ALL OF THE VOLUMES ON INSPECTION We allow distant buyers the way of time payment When ordering, mention the PRESSER edition, as of Boston, there are other works with similar names on the market.