Volume 42, Number 09 (September 1924)
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Built on Master Piano Teaching Material STANDARD GRADED COURSE OF STUDIES FOR THE PIANOFORTE IN TEN GRADES Originally Compiled by W. S. B. MATHEWS UNCEASINGLY RE-EDITED, REVISED AND KEPT UP-TO-DATE BY RENOWNED TEACHING EXPERTS The Programs of the Pre-eminent Concert Artists Distinguished Pedagogs Likewise Have Found No Show that They Find Few Substantial Modern Substitutes for the Indi Offerings to Replace the Works of the Celebrated Selected by Famous Educa Masters— the Standard Graded Course. “STANDARD GRADED COURSE” IS AN UNEQUALED COMPILATION OF STUDIES AND ETUDES CULLED FROM THE WORKS OF ALL OF THE WORLD’S GREATEST COMPOSERS AND TEACHERS BROUGHT TOGETHER IN LOGICAL A D PR GRESSIVE ORDER CONSTANTLY RE-EDITED AND ANNOTATED, eS In addition to the imperishable studies and pieces of the Standard Graded Course j set ; s past the entire field of modern thought and inspiration being a separate volume. he tees each grade 1s carefully scrutinized for gems that will add greater cultivate a high development Sf tect, of the work is to value to this foremost of all teaching works for the reading as the pupil Progresses from no taste and sight pianoforte. _The immense popularity of this course stages of grade one to the hig an © most elementary necessitates frequent printings of the different grades, in grade ten. Teachers are favited of virtuosity allowing opportunity to keep this course ““The Last Word or all of the volumes of this in Musical Education.” Dr. Wm. Mason, the Master Mind Among all American Teaching Experts was, f,; Constant Collaboration with W. S.B. Mathews in Co-ordinating His Famous Touch fas sag Beginning, ae Standard Graded Course. Complete Directions are given in Each Grade for the Application cp nic With the be} By DR. WILLIAM MASON TOUCH AND TECHNiC____ THE MOST STRONGLY ENDORSED OF ALL TECHNICAL SYS TEMS “Your Touch and Technic is the best piano “In your method I f ‘ vhethod which I know, and I congratulate to be recommended, "a exercises eoanit you on being the author of so masterly a locking Passages and Ser cefally the ensly 28 Passages,’’ @ z ere I. J. PADEREWSKI ecentual Comprises an original system for the development of a complete technic, from the finished artist. Its distinguishing characteristics are: An active use of the pupil's mind | @ work, with the resultant rapid and thorough development; the application of accents, thacy technical a true rhythm; a discriminating touch that leads to every variety of tone color and dj us de and an effective system of velocity practice that secures the necessary facility and fe ous quantit. all of which is applied to the artistic and expressive rendition of musica] compositions e Te execution” all self-explanatory. Any teacher may take them up and use them at . eb : i P : once without spec; ooks arg The value of the Principle of Accentuation applied to exercises is now so ae training. all teachers and yirtuosi that every book of technics contains more or less of ie Ni recognized }, Dr. Mason was the original discoverer of the principle, no application of it has been 5 evertheless, y thorough as his. © Ingenious and IN FOUR BOOKS—Price $1.00 Each “‘Touch and Technic Part I—The Two-Finger Ex- Part Til—Arpeggios Rhythm is, in my opinion, ercises (School of Touch) cally Treated cae one of the most im- Part 1—The Scales Rhyth- School) portant works of its mically Treated (School of Part IV—School of kind. I have read it Brilliant Passages) and! Biases Playin Octave carefully and have 8 found feorui es THEODORE PRESSER Co, countered in any Music Publishers and Dealers other work on piano playing.” 0, GABRILOWITSCH 1710-1712-1714 CHESTNUT STREET PHILADELPHIA, PA. <<
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THE ETUDE aU! ID SZ CONSERVATORY.9 PHILADELPHIA USIC FORTIETH YEAR A Residential and Day School of unparalleled Facilities for the attainment of a complete musical education in all branches A SCHOOL OF INDIVIDUAL INSTRUCTION (Theoretical and Applied Branches Taught Privately and in Classes) Because of its distinguished faculty, original and scientific methods, individual instruc- tion, high ideals, breadth of culture and moderate cost, combined with efficient management, the COMBS CONSERVATORY affords opportunities not obtainable elsewhere for a complete musicai education. All Branches. Pedagogy and Normal Training Courses For Teachers. Public Performance. Four Pupils’ Recitals a week. Full Orchestral and Military Band Departments. Two Complete Pupils’ Symphony Orchestras. Conductor’s Course. RECIPROCAL RELATIONS WITH UNIVERSITY OF PENNSYLVANIA Courses for Public School Music Supervisors Approved and Accredited Three-Year Courses in Public School Music Super ard State Certificates issued upon completion of Course, without further exa! The only Conservatory 6f Music in the country whose courses for Public School Music Super visors have Been Approved and Accredited by the Department of Public Instruction of Pennsylvania, DORMITORIES FOR WOMEN In addition to delightful, homelike surroundings ina musical atmosphere, the dormitory pupils have advantages not afforded in any other school of Music. Daily Supervised Practice, Daily Classes in ‘Technic, Musical Science, Theory, Psychology, Chorus, Vocal and Instrumental Ensemble. SIX SPACIOUS BUILDINGS A School of Inspiration, Enthusiasm, Loyalty and Success. Mustrated Year Book Free GILBERT RAYNOLDS COMBS, pirector Msgs Studios and Rormitories Administration Building, 1331 So. Broad Street a, Pennsylvania Stand- tion. THE KARL SCHROEDER SCHOOL OF PUBLIC PERFORMANCES Offers the earnest student unexcelled courses under eminent leachers From the first steps to finished performance in VOICE—PIANO—VIOLIN—THEORY—LANGUAGES INTERPRETATION—DRAMATIC ART—STAGE TECHNIC FREE SCHOLARSHIPS ‘ KARL SCHROEDER, Director Formerly Stage Director of the Metropolitan Opera Co. of New York Originator of the Psychological Method of Stage Training and ‘Teacher of many stars now with the Metropolitan Opera Co. For further information address MISS JOSEPHINE BONNIWELL 380! SPRUCE STREET FALL TERM September 8 Faculty of 54. Special training courses for @ @ R®@ teachers. PITTSBURGH MUSICAL INSTITUTE, Inc. 131-133 Bellefield Ave. Pittsburgh, Pa. LEARN PIANO TUNING KING TRIALS TRUE TONE Philadelphia, Pa. Zeckwer - Hahn PHILADELPHIA MUSICAL ACADEMY 1617 Spruce Street Directors: Camille Zeckwer Frederick Hahn Charlton Murphy PENNSYLVANIA’S LEADING SCHOOL OF MUSIC 54th Season Now Open. Pupils may enter at any time. BE too usiness ness Spread the Musical Message of THE of th AL ETUDE MUSIC MAGAZINE and cap- italize your spare time. Write for Premium List and Cash Commissions on subscriptions secured. Subscription Dept., 1712 Chestnut Street, Phila, Pa. THE BURROWES COURSE of MUSIC STUDY Up-to-date in thought and result. Forms habits of Industry, Concentration, Thoroughness. ‘children to think, fecl and produce music. Thorough equipment for teachers. Complete f appliances including text book for teachers. Personal or correspondence study. Write for booklets KATHARINE BURROWES, B 246 Highland Avenue, H. P., Detroit, Mich. Helps built @ SEPTEMBER 1924 Page 581 THE CURTIS INSTITUTE OF MUSIC A National Institution under the auspices of the Curtis Foundation, created by Mary Louise Curtis Bok. HE Curtis Institute of Music is divided into two departments: the Preparatory and the Con- servatory. Beginners and the less advanced stu- dents who are sincerely interested in their work and who possess natural aptitude for music are eligible for admis- sion to the Preparatory Department of the Institute. Entrance Requirements The definite qualifications of interest and musical aptitude are required in order to prevent the useless waste of time and money on the part of the pupil which so often occurs when students study music without due consider- ation. Enrolment conferences will begin Monday, Septem- ber 15th, and applicants may enroll any time prior to this date. Instruction The Preparatory Department is conducted by its own faculty of experienced teachers under the personal supervision of the Director and a Council of the Faculty of the Conservatory. A complete list of the members of the faculties of the Institute, and a full description of all the courses offered, will be found in the catalogue, which will be mailed upon request. The function of the Preparatory Department is to give a sound preparation to students, including beginners, for the advanced and master classes of the Conservatory Department. To this end complete coordination between the instrumental and theoretical instruction will be maintained. The Conservatory Department The purpose of this department is the training of musicians of the first rank. It accepts such’students as evidence marked musical ability and are otherwise able to meet its requirements. A faculty of internationally known musicians and an equipment unhampered by any commercial limitations offer opportunity for musical development that is simply unrivalled. Entrance exam- inations for the Conservatory Department will be held the week of September 22nd. Despite the unusual opportunities of this school, the tuition, both in the Preparatory Department and the Conservatory, is moderate. One free scholarship is offered in each course. CATALOGUE ON REQUEST THE CURTIS INSTITUTE OF MUSIC John Grolle, Director Grace H. Spofford, Exec. Sec’y. S. E. CORNER 18th & LOCUST STREETS PHILADELPHIA, PA. Ploase mention THE ETUDE when addressing our advertisors.
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ia : Page 582 SEPTEMBER 1924 TUE ETUDE DUEPOPT DUO DOP aS wel] Renee is F fourses 9 ve as tuition SCHOOL Of i: isthe rite ge end0. ela student average total immed; , Ww Or all ose AINT LOUIS, MISSOURI pn ; 0 a y yt fi all pur] SAUNE, POUIS MISS MUSIC ae f Iniversit emocrney att ERNEST R. KROEGER ig, eo ¥ Is governed bY ed ¢ dente ™luential mem d for Nts’ a fi (Director, Kroeger School of Music) after a year’s vacation in Europe, will ! Prominent Baritone | GUY HERBERT WOODARD | | Eminent Violinist | | | ALEXANDER SEBALD Director of Chamber Music Profit, Welfare. It 8 ; ADOLPH BOLM j Foremost Russian Dancer Director of the Department of Dancing OR FORTY OTHER DISTINGUISHED TEACHERS | resume his classes in piano playing, harmony, counterpoint and composition, SEPTEMBER 15, 1924. Students wishing to enter Mr. Kroeger’s classes for the coming season, please address etic "fs Sixt situated, forty-four Vitieg 4 of 1s uildings; lars® Ss. » acres; all sports: are h | AM ae uy; T Be Hausval opportunity, SCHER : All| ttee catalog’ Sf, violin, °* ythe Minneapolis School of _ all, y,) "ee catalog Paraiso, Indiana KROEGER SCHOOL OF MUSIC Musical Art Building St. Louis Write for Catalogue of THE GLENN DILLARD GUNN | SCHOOL OF MUSIC AND DRAMATIC ART, Inc, 1254 Lake Shore Drive Wwanoed gourses : A ae hoot Musie Coursey | For seeking or filling a position in the ORATORY AND p — musical world, for selling or securing WILLIAM RA some used musical merchandise, THE 60-62 Et H. PONTI ETUDE'S Special Notice Department is eventh St, So., May i ieee BabtuivEe: of great assistance. See page 636. eves ERE IN and A car Book Ereo on folin, Organ a" Degrees aware! “Phe most beautifully located and ap- pointed School of Music in America. Appleton, Wiseonsi? Minn, meric ON ALtiSE aieg . thers, Requogt, Please mention THE ETUDE whon addressing onr advorti q ers, wit all =e a helpful teaching ows yeil® of “On Sale” : examination
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SUBSCRIPTION PRICE, $2.00 per year _in the Bolivia, Brazil, Columbia, Costa Rica, Cuba, Dominican Re- public, Ecuador, El Salvador, Guatemala, Mexico, Nicaragua, Paraguay, Republic of Honduras, Spain including Balearic Islands, Canary Islands and Pos- sessions in North Africa (Ceuta, Melilla and Tan- In Canada, $2.25 per year. United States and Possessions, Argentine, gier) Peru and Uruguay. All other countries, $2.72 per year. Single copy, Price 25 cents. REMITTANCES should be made by post-office or ex- press money orders, bank check ot draft, or registered letter. ted States postage stamps are always received for cash. Money sent in letters is dangerous, and we are not responsible for its safe arrival, DISCONTINUANCES.—Owing to the educational character of THE ETUDE a majority of its do not wish to miss an issue. Therefore, the pub- lishers are pleased to extend credit covering a Twelve Months’ subscription beyond expiration of the paid- up period. Those of our subscribers not wishing to avail themselves of this convenience of remitting later will please send a notice for discontinuance. MUSIC STUDENT, AND Edited by James readers PRESSER’S MUSICAL MAGAZINE A MONTHLY JOURNAL FOR THE MUSICIAN, THE Assistant Editor, Epwarpo Extswortu Hirsuer ALL MUSIC LOVERS. Francis Cooke Vol. XLII. No. 9 SEPTEMBER, 1924 Entered, ae second-class matter J Philadelphia, Pa., under Copyright, 1924, by Theodore Presser Printed in the United an, 16, 1884, at the P.O. at ¢ Act of March 3, 1879. Co., for U. $A. and Great Britain States of America The World of Music . RENEWAL.—No receipt is sent for renewals. the wrapper of the next issue sent you will be printed the date on which your subscription is paid up, which serves as a receipt for your subscription. On Liberal Premiums and cash deductions are allowed for obtaining subscriptions. MANUSCRIPTS.—Manuscripts should be addressed to THE ETUDE. tributions on music-teaching and music-study are solicited. Although every possible care is taken the publishers are not responsible for manuscripts or photographs either while in their possession or in transit. be returned. ADVERTISING RATES will be sent-on application. Advertisements must reach this office not later than the Ist of the month preceding date of issue to insure insertion in the following issue. Write on one side of the sheet only. Con- Unavailable manuscripts will THEODORE PRESSER CO., Publishers, 1712 Chestnut Street, Philadelphia, Pa. Maseagni is reported to be coming this autumn to conduct the American premiere of “Piccolo Marat.” Six performances. will be given in Brooklyn aad a two week at the Manhattan Opera House, | Nine tors of leading réles of “Piccolo Marat! accompany Mascagni from Italy, The $1000 Prize offered by W. A. Clark, Jr,, of Los Angeles, for an American orchestral composition has not been awarded, because a committee of judges, of international reputa- tion, deemed that uo work submitted was “of substance justifying the bestowing of a prize.” his is strely an evidence of high standards for a Symphony or Symphonie Poem that will be acceptable. The competition remains open, with the date of submission of manuscripts advanced to May 1, 1925, Max Pauer, director of the High School of Music of Stutt has become the Dircetor or the Conservatory of Lei sig. A “Bach Society” has been organized at Geneva, Switzerland, with the design of inter- preting each year some of the one hundred and nine! nine sacred cantatas of Bach. Of these only about ten are commonly known, the others remaining Jn librar The first per- formance, Consisting of two cantatas and a sanctus, Will be given in the Chureh of Saint- Gervais. Three Prizes, Aggregating $1400, are offered by B. Schott’s Sons, for the best “Con- certos in Chamber § for one or more solo- ruments with Mann- bearing a must accompaniment. nom de phe American Orchestral Society, of New. York, hich has been doing such note- worthy wor n the training of young orches- tral players. and of which Mrs, BE. 1H, Harr nan has been such a liberal sponsor, is plan- mie to perpetuate its work by enlisting the niterests of classes of ning’ and intGociate” members, ‘The Society Orchestra, juring the past season, completed the study of duity-five major orchestral works, gave ten thinjams before musieloving children of the proiie schools and placed seven of its gradu- at leading symphony orchestras. Mes in Motion Picture Theaters are obliged, ‘qa decision of Judge J. Whitiker Thompson the Hederal Court of Philadelphia, to pay publishers, who are members of ty of Composers, Authors and Publishers, annual fee amounting to ten cents for n in any theater using compositions -pighted and issued by these publishers. preps and its publishers have not as “joined with this group: and, therefore jositious published in Trp Hrepe or ti Ineodore I er Company may be played motion picture theaters without fee, rther notice, by of com] rhe quarter-Tone Piano has had a stration at Brunswick, Germany. by the . before a large group of that eoun- musical critics. At present the inventor ag the intreduction of these quarter-tones z yecial Melancholy effects, till the ear ; stomed ‘to their use, The nas auity of, keeping the delicately adjusted ficn’tjsm in tune is still a deterrent. from mechih “ral adoption of the instrument. the £ent e $1000 Prize of the Chicago The shore Festival Association, for nort orchestral work by an_ American the Des: offered again this year. Particulars ei tiZe had from Carl D.° Kinsey, 624 8. ma nue, Chicago. yehigan AVE cecil Jumes Sharp, widely known as an Ceciry on English Wolk Song and Dance. author spent a considerable time in reseurch Sho. 8 an { line. in the Appalachian Regions of ong, tea States, more especially in eastern died cently at his home in “it the age of sixty-four, “I en Fue pondon. Paderewski has been decorated by King Albert of Belgium, with the Order of Leopold, carrying with it the nk of Grand Com- mander, the highest of similar honors within the gift of Belgium. During their stay in Brussels, the pianist and Mme, Paderewski were the guests of the monarch at the royal ace; and at the concert given during their visit Mme, Paderewski sat at the right of the King in the royal box. One Hundred “Fellowships” of $1000 Keach, for the study of Singing, Piano, Bow- Instruments, and Composition, are offered by the Juilliard Foundation. Particulars may ‘ be had by addressing the Secretary at 49 East Fifty-Second Street. New York. Studios and teachers for the successful entrants will be provided in New York by the Foundation. The National Association of Organ- ists met for its seventeenth Annual Conven- tion, at Atlantic City, July 28 to Atgust 1, Questions pertaining to the Organist’s pro- fession were discussed by leading authorities, recitals being- given by well-known members of the American Guild of Organists, The American Organ Players’ Club, The Canadian College of Organists, and the Society of Theater Organists, Ferruccio Busoni, eminent Italian ‘pianist and composer died in Berlin, July 27th, at the age of fifty-eight. From 1907 to 1913 Busoni was teacher of composition in the conservatory at Vienna; and since 1920 had been at the head of the composition department of the Academy of Arts of Berlin, Tle will be best remembered for his devotion to the works of Bach of which he was the greatest transcriber and interpreter, among pianists. Gustay Herzberg, for fifty-three years the Philadelphia representative of the Kranich and Bach piano, a record unsur- passed in this line, in America, died recently ‘it the age of eighty-eight. In his youth he was a pupil of Mendelssohn. Toti Dal Monti, the young coloratura soprano from the La Scala of Milan, who has been singing with such s swith the Melba Opera Company on it ian tour will_be heard in the leading opera houses of the United States during the coming season. Louis Victor Saar has been awarded the one hundred dollar prize offered by the Swift & Company Male Chorus for the best musi- eal setting of “The Singers” by Longfellow or “Blow, Blow, Thou Winter Wind” by Shakespeare—Mr. Saar choosing the Long- fellow poem for his composition. “A New Patti” is the verdict of the London Datly News, on the debut of the young American coloratura soprano, Dusolina Giannini of Philadelphia. A curious coinci- dence is that the youthful cantatrice made her initial bow to “dear old London” on the forty-fourth anniversary of the first appear- ance before “our cousins” of Mme. Marcel Sembrich who has been her musical god- mother, An Annual Prize of One Hundred Dollars is offered by the Rubinstein Club of Washington, D. C. The competition is open to composers living south of the Mason and Dixon Line, and is for a composition for Women’s voices. Address Mrs. R. H. Dal- gleish, President Rubinstein Club. The American Institute of Oper Art, founded by Max Rabinof, has pros to where its cornerstone was laid July 15th, Stony Point, New York, on the 145th anni- versary of the battle fought by General “Mad Anthony” Wayne at that place in the Revolu- tionary War. The School is planned with the Purpose of giving to young American singers the training in-repertoire and routine neces- sary to entering upon an operatie career. The general idea is to make of the enterprise a center of American operatic art for singers, composers, dancers, scenic artists and all who have to do with operatie production, r CONTENTS FOR S PAGE World of Musi 583 Editorial 587 Schumann—Master of Chil 4 C. Seott Small-Hands. Pupil. . S. Lovette Making Practice Plc y Phrasing Touch. Practice Hints Velvet Tone. te O6 Runaway Warhorse: sant. R. Keefer Effect of Jazz on Music...” Pp, Giagan Chopin and Metronome......7. L. Krebs Sharps and Flats for Little One: Ure. B. Bates 594 Will You Pay the Price...R. 1. Marmon th Coéperation.... 3 ~, Atlan ‘ots for a Donke , Hanchett mposium—Jazz Leading America (7?) ve Muscles a Thought....R. 2. Carver Instrumental Music in Public Schools. G. WH, Woods 597 Teaching Youngsters Notes, J. Manning = T.. Roche § Pirani 599 Britt 600 Game in Study sistas Helps in Sight Reading. . Targets in Musi . Improvisation ...... *. Maye 600 The Awkward Thumb. . © Wood 600 Bar Training. . . . Anderson 600 Organizing a High School Band, J. W. Wainwright 601 Teachers’ Round Table. .C. G. Hamilton 608 Musical Serap Book. NS. Garbett 604 EPTEMBER, 1924 Read * Dtude Questions and Answers The Violinists’ Btude Master Opera— “Thais de Guichard LR. Braine TUNIOR BRUNE... ..... 00005 Gest MUSIC Chanson d'Autrefois Rogistcr 605 Valse Grotesque . Noclck 606 Red Leaves. ......... . Ancliffe 608 The Faney Dress Ball. M, Bilbro 609 Flaming Stars (Four Dale 610 Danee of the Sprites (four Hands). CO. W. Gluck 612 Caprice .(, Sternberg 614 The Knave of Heart --M, Paldi 615 Happy Hours... -P. Wenrich 616 Dance of the Magician ‘. Bator Dance of the Cossacks Sartorio Pygmies’ Midnight Frolic . Preston Minuet from “Military Symphony J. Haydn G24 Petite. Tarantelle. LM W. Gallup 62: G26 628 Poet and Peasant (Organ) .Suppe-Lemare Moods (Violin and Piano). F. MaeVurray Cradle of Gold (Vocal) .D. Protheroe 620 To Colia (Vooul) -T, Lieurance 680 Driftin’ On (Vocal) : -R. Kountz 631 Some Day Tl Understand (Voeal). Vo a. Felton 6382 Nightingales na Surrey Wood have, been induced to si by sounding on a ‘cello notes resembling those with which they be- gin their song. A sensitive microphone and mplifier transmitted the notes to. a London station, from which they were broadcasted throughout England. f Felix Weingartner, until a short time ago the director of the Vienna Volksoper, is reported to have accepted a similar position at the Deutches Opernhaus of Berlin, Johann Heinrich Beek, noted composer and violinist of Cleveland, Ohio, died May 26th. Born at Cleveland in 1856, he was a pupil of Schradieck, Hermann, Richter, Paul, Reinecke and Jadassohn. He had served as conductor of both the Detroit Symphony Or. chestra and the Cleveland Symphony Orches- tra. symphonic poems have been played by many of the foremost concert orchestras of America. “Belshazzar,” in a scenic production, is to be the principal attraction at the Handel Festival to be held in September at Leipsig. ebele Ashforth, well contralto in the sixth decade of the last century, and later the teacher of Geraldine Farrar, Lucey Gates, Lessie Abbott. and Sophie Braslau, died in New York on July 21st. Mme. Frida de known as an operati ee The “Silver Ju of Spokane Musical College (Washington). a pioneer in carrying the better type of music into the Great Northwest. was celebrated by a_ se of important recitals on June 7, 9, and 11. R. A. Heritage, who founded the inst H still is the enthusiastic moving spirit in all its enterprises. A William H. Humiston Memorial is planned for the MacDowell Colony of Peter- borough, New Hampshire. It is to be in the re of a building to house the valuable of the late eminent eritie who was a pupil of MacDowell. Contributions are being asked for this purpose—to be sent to the Bankers Trust Compan, East 57th Street, New York, st Sonata A $1000 Prize for the is offered by M: Suite for Violin and Piano or KF. 8. Coolidge for. the annual Berkshire 1 tiv r 1926. The Conte open. till Ap al and composition be sont (anonymously) to Hugo Kortschak, 1054 Lexington Avenue, New York, The Covent Garden Season, just lately closed, brought forth seventy-nine Singers in the various roles; and, of these, twenty were British. In the Contest for Appearances at the Stndium Concerts of the Colloge of the City of New York, two hundred young artists entered, Of these Tgnace Tilsberg, Miron Poliakin and Benno Rabinoff, violinis Virginia Rea, coloratura soprano; France Paperte, mezzo-soprano; and Frank Johnson, baritone, were snecessful in winning a place on the programs, Dr. Frederick Niecks, Wmeritus-Pro- fessor at Edinburgh University and authority of international reputation for his. ency adic 1 erudition, and especially for “ h in matters relating to Sehu- mann's Jife and works, died at Edinburgh on dune 24, at the age of seventy-nine. Francesco Berg many inspirational articles to Tap Wropy and other journals, celebrated his ninetieth birth- day recently at his home in London, contributor 80 of Madam Jannaseh-Shorti, a pioneer teacher of the north-middle states, and for the last forty-eight years the director of the Jannaseh-Shortt Musical Institute, died at her home in Kalamazoo, Michigan, on June One of her most treasured possessions s her complete file of ‘THe Ervupp from 583
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Page 584 SEPTEMBER 1024 of -MUSIC No. 1 e Witt Park Ithnea, N. ¥+ [PHACA (CONSERVATORY EASTMAN SCHOOL OF MUSIC OF APPLIED MUSIC Metropolitan Galles of Music Registered with N. Y. State Board of Regents. iano Re \| | Pi Allbranches of music taught. Unusual advantages Ped A in Concert work. Normal Training Classes. Prac- fs ‘ edagogy FACULTY OF > tice teachers available. Master Courses with Th U f R h world-famous artists in all departments. Eleven e niversity O OC ester Courses SPECIALISTS buildings, including Dormitories, Auditorium, Gym- Lead to teachi nasium, Studio and Administration Buildings. Year . . y ing Bak seaton eet. Fall Session Begins September 15th Certificates and Diploms Music in Two, three and four year courses begin with HOWARD HANSON, Prix de Rome. i opening of Fall Term, September 25. oO Appointed Director pe te2s Fall Term = nat ranches opens COURSES LEADING TO DEGREE BACHELOR OF MUSIC | COURSES LEADING TO EASTMAN SCHOOL CERTIFICATE | MASTER COURSE IN MUSICAL PEDAGOGY ~ (ERNEST BLOCH) ¢ MASTER CLASSES IN PIANO (FREDERIC LAMOND) OPERATIC TRAINING (Direction VLADIMIR ROSING) Complete operas to be produced by advanced class in Eastman Theatre : October 1st SPECIAL COURSES FoR TEACHERS For Catalogue ani KATE S.c EFFA ELLIS PERFIELD TRINITY PRINCIPLE PEDAGOGY SUMMER MUSIC SCHOOL. July 1st to September Ist First Session, July Ist, 10 A. M. Open to Visitors MUSICIANSHIP COURSES not ‘do re mi” Sight Singing o Oldest ang iy a i most practical) os ndergart, “sical ff ext opportunity 1 weed ts. Lit en Speciatize in this UOlPe gf illian “ld. Write tor partict om INSTITUTE OF MUSICAL ART OF THE CITY OF NEW YORK 120 Claremont Avenue, corner 122nd Street FRANK DAMROSCH, Director TWENTIETH SEASON AN ENDOWED SCHOOL Provides a thorough and comprehensive Musical Education in all Branches and is equipped to give highest advantages to exceptional talents. Additional facilities available in new extension of building. Faculty composed of artist teachers of international reputation. a che, Affiliation with Teachers College, Columbia University, to provide ideal course for School Music Supervisors. CATALOGUE SENT ON REQUEST, ADDRESS, DEPT. U VIRGIL SCHOOL OF MUSIC corr, 1g pe Mondence courses BE a S€ason 5 Preagroh S Individual j TIAL FREE gcsituction, fF School Building OLARSHTBE Ree at Many Fy Q : Concert aiery Page sses and * Music OR co SEy ER ¥ this Institutio™ * g Lect: Stud, MP E AL pp School Music Depp 48) nigh, “res. py. “ents PET PRE FREQ y Founded by the late A. K. Virgil 8 Dramatin dry Cal D Plo. TION, pelND Originator of the Virgil Method, Inventor of the Virgil Practice Clavier TLLUSTR ory Pertific ates. Public Sruments, publie anguages: ED SPECIAL COURSES Extwest Stubents oF acl. Grapes ek For all particulars address: Mrs. A. K, VIRGIL, 510 West End Avenue, New York. We aay oe Always Consult THE ETUDE for Announcements of the Best Study Opportunities S —See pa Bes Please mention THE BTUDE when addrossing our
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THR ETUDE SEPTEMBER 1924 Page 585 | | | 4 ae * $ : ° Ps ONL « ONL + ONL + Fa LOOT EOL ROOT eee eon ee EOOT: EO : : ay SOE YOO: fe ee 2 Da & Ba What School e Shall I Choose? # The Sherwood Music School is the logical answer to this question because 1. It gives the best instruction foley 2. At tke lowest price & 3. Anc > ..arantees a position to every a F pupil who qualifies Brix Stoney S.:Ber, Dean Renowned Concert Pianist, Pedagog and GroraiA Kossr, President Lecturer, known to thousands of Etude read- Wa rer Kexzer, Director Celebrated Concert Pianist and Teacher of. ers through his many articles in the Etude Eminent Theorist, Organist and Composer, many successful professional musicians. lusic Magazine, internationally known for his Synchronous Prelude and Fugue. 2: SSO SORA: . Faculty of ninety-five teachers of national and international reputation. Instruction in every department of Music, Dramatic Art, Dancing, Languages and Public School Music. All Teachers’ Certificates, Diplomas and Degrees awarded by authority of the State of Illinois. Dormitory for ladies, under competent supervision. FREE ADVANTAGES Weekly Concerts and Recitals given by Faculty and Artist Pupils. Two Student Orchestras. Three Choral Societies. Free Voice Class. Free Theory Classes. Free Employment Bureau. Free public appearances with Symphony Orchestra. Scholarships for deserving students who qualify in examination. The Sherwood Music School Can Positively Guarantee a Teaching Position to Its Students when qualified, through its many Neighborhood Branch Studios already established in Chicago, and sixteen additional Branches to be opened this Fall. Apply now for one of these positions. Send for free descriptive Catalog. Fall Term Opens September Eighth, Nineteen-twenty-four SHERWOOD MUSIC SCHOOL DEPARTMENT E — FINE ARTS BUILDING — CHICAGO EOOLY: BOL ROY BOGT Rear Rood: OS EE Re eer eat EE On OL: BONS : RON : LORMAN + S 2 = ZOOL - FOOL: ta! ia Bd SOO ROS? EOS =
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Page 586 SEPTEMBER 1924 THE ETUDE ‘CHICAGO'S FOREMOST SCHOOL OF -MUSI 39th Session Commences September 11, 1924 Offers superior courses in all branches of music and dramatic art, including Master School. Di : : oo | 7 ; : Degrees and Teachers’ Certificates granted by authority State of Illinois. Thorough Preparation for pee opera and teaching positions. Many special features, recitals, concerts with full orchestra > “ ] 5 Excellent Dormitories Offer Accommodations at Moderate Rates Smee ee UNSURPASSED FACULTY OF ONE HUNDRED ARTIST-INSTRUCTORS cAmong these might be mentioned PIANO-—Heniot Levy, Allen Spencer, Silvio © ORGAN—Wilhelm Middelschulte, Frank Van PUBLIC SCHOOL Scionti, Henry Purmort Eames, Louise Robyn, Dusen. Kurt Wanieck, Earl Blair, May Doelling. MUSICAL THEORY, COMPOSITION— Boe Enrico Tramonti, Clara L, Thurst VOICE—Karleton Hackett, E. Warren, K. Adolf Weidig, Arthur O. Andersen, John A Lele: ART, PUBLIC REA ae Howe, Charles La Berge, Elaine De Sellem. Palmer, Leo Sowerby. mt - Louise Suess, Louise K, Willhowe NS VIOLIN—Jacques Gordon, Herbert Butler, — yyOQOLONCELLO—Robert Ambrosius. NCING— Louise Willhour Adolf Weidig, Hans Muenzer, - Walter d th THEATRE ORGAN scx. Aschenbrenner, and many others. Van Dusen, , SCHOOL—Frank Admission to Teachers’ Normal Training School; Students’ Orches Free Advantages sane Conservatory Recitals; Lectures; Musical Bureau for securing positi THIRTY.FREE SCHOLARSHIPS AWARDED EXAMINATIONS FROM SEPT. 5 TO SEPT. 9. (APPLY FOR EXAMINATIO: Lyceum and Chautauqua engagements secured tra; Vocal Sj by ons, 88 Reading. Admission to all N BLANK.) Examinations Free + Catalog mailed free on application + Moderate, Tae, ne MES _ AMERICAN CONSERVATORY, 571 KIMBALL HALL 5 FOHN 7. HATTSTAEDT, President. . Karleton Hackett, Adolf Weidig, Henigt ee J CHICAGO Associate Direct ors GUEST INSTRUCTORS, 1924—Delia Valeri, Fannie Bloomfield-Zeisler, George H, Gartlan, COLLEGE (e.) OF MUSIC OF CINCINNATI Bias F; 7 Q ruction at the College "ra haat : Because of its liberal endowment you can sauna are 10 rine L York, aa aut of Music under noted artist teachers at, reasonable ¢ Ev aviieuibadhievartents Af jerks S A Heo wind aepiraton n tty note fo Fah whore Clannad siamo fers 10 earnest students inese c Raa Phe colleg adjoin the great Mus! D ncinnati’s fa eaiasee thd May See Fest a ane Symphony Orchestra Popular Concerts are held. nal ci onse Principle. TvVatory j, West concerts and recitals, ‘Yin theWes' rf ic School Courses in Music: ¥ bas Goliegiate, General, Preparatory and Public | Sc cS eahe ed y pera, ‘Theory, Teachers’ certificates iplomas aeuty of g0, UP” the b Opera, ‘Theory, Composition, Modern Languages, Dramatic Art and Public es Reading, Allcourses lead to degrees. Des} D ~ Stude, t modern f van. S1 egrees ents? - ADOLF HAIN, Director ALBINO GORNO, Dean F T Table boardig® conferred orchestra, Write for catalog, terms, ete. all er. oO "8 accomm, COLLEGE OF MUSIC OF CINCINNATI ™ ae ations. 1231 Elm St., Cincinnati, Ohio. UNRIVALED eDs & Jofmn, Latte Unset, Mae » FREE ADE 8, 1924 ardson Baskervill Hf age, G, Mabeth a ee | ardsor erville, Hele, Sc , : + BW leane Doty, Aiaeas Merit’ Rich. (Singing— 9 NTAGE 4 7 q of 1 iS pre ‘ ithelmina Sutz, Laverne Bi Zuidema wo Herming ps: A. W. vis, Jessi? Founded 1867 A COMPLETE SCHOOL OF MUSIC Aldrich. 's A. Mackay: Boog: Vietin— ine Lorgy* W. Davis, Je INSTRUMENTAL—VOICE CULTURE—OPERA—PUBLIC SCHOOL MUSIC—DRAMA t Cello—Jules L. Klein, se Bilbic, M “arly Mex. Send for Catalogue Ideal Dormitories accommodating 200, on tei acre campus. Correspondence Invited Harp—Ruth Clynick-Buysee Wm, H a Ra. ymone Walter iis nN BERTHA BAUR, Director Bouszr ©, Torus, General Mavager CINCINNATI, OHIO Theory, Harmony, €, : 2B d Brown aun, Es work in this department, "Postion—Alie D. Baas » Raymond Dull York, ver idema, _ js ‘ Ost DANA’S MUSICAL INSTITUTE WARREN, OHIO j i i i i: 5 I ha ¢ A University of Music with Daily Instruction in All Branches of Musical Education and Otten Free, “ Alyy Brigg nar. I an SUMMER SESSION OPENS JUNE 16th JAMES H. BEL, i ormation” Cater, n, Address Lynn B, Dana, Pres. Desk E, Warren, Ohio » Secreta, > A Pron, fe t Ven x {2 Conservatory Blas Stroit, Mich = SCHOOL AND COLLEGE ANNOUNCEMENTS — CONTINU, Db Please montion THE ETUDE when addressing our Advertisers, ON Pp AGE 647 EA ei 0 ey Poise ae i RS Geet ey
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Bit lie SEPTEMBER, 1924 Single Copies 25 Cents VOL. XLII, No. 9 The Three Aims of Education He Milton Fairchild Character Education Institution, which has made a specialty of the scientific study of education in relation to Society, states the following as the three great objectives in education. Note particularly the statement as to the training of the abilities and the hands. What trains the hand more than the study of an instrument, particularly the piano or the organ in which both the bass and the treble parts must be interpreted ? Resolved, That there are three objectives of education in a republic, each of equal importance with the others. : 1. The transmission of knowledge from generation to generation. The entire personnel of a nation changes in seventy years. 2. The development of abilities and_ skills, including health. The brain must grow strong to observe, to think, to exercise good judgment, to invent ways and means: the hands and body must learn to do things well under direction of the brain. 8. The maturing of character, according to wise ards based on human experience. The purposes of a citizen must be true, if knowledge, ability and skill are to serve the uid general welfare. “Sampling” Music Lessons from House to House A napio studio recital is a new “stunt” for the modern music school. he E. R. Kroeger School of Music, of St. Louis, has the honor of giving the first event of this kind of which we have heard. This is a unique type of musical advertising. In the olden days it was considered good publicity for the soap manufacturer to distribute samples of his wares to the doorsteps, and even now one encounters on Forty-second Street, New York, costumed employees of a Tooth Paste King handing out trial tubes. By radio, however, the musie teacher may force samples of his work right into the parlor of the home without asking the pater et materfamilias to venture out into the night to listen to a pupil’s accomplishments. Let us hope that those who “listen in” may realize that “making music” and “hearing music” are two different and dis- tinct pleasures. Making music of your own brings many higher and greater joys than those that come to ‘the mere listener. As you pass the florist’s window you enjoy the blossoms exposed for sale; but one poor little pansy that you have raised all by yourself will give you ten times the fun and inspiration. The pansy is yours—the orchids—well, the florist was hired to raise them. When is a Musical Instrument Not a Musical Instrument? Avr a meeting of the Philadelphia Music League recently held, Dr. Edwin C. Broome, the highly efficient Superintendent of Schools of the City of Brotherly Love, presented a letter in which he asked the board to decide whether the humble har- monica might be considered a legitimate instrument worthy of standing with the violin and the other orchestral instruments. The decision of the Board was that “the harmonica is not a legitimate musical instrument but a musical toy which has its place in boy scout camps, or in playgrounds and recreation centers where it might serve a valuable purpose.” Editorially speaking, we feel that the harmonica may have tting certain types of boys interested in making value in music. If it does no more than act as a kind of shochorn in casing a few impossible kids into more serious musical work, it will prove worth while. Just a little while ago your editor acted as one of the judges in the city contest for harmonica players, conducted by Mr. Albert N. Hoxie, who made a repu- tation in wartime as a very able song leader. The Mayor of Philadelphia, W. Frecland Kendrick, was there and went upon the stage to show the boys what he could do with a harmonica and incidentally showed their elders that he was a very human Mayor. Those boys will never forget that day when the city’s chief magistrate wheezed out some lively tunes in true boy fashion. All this leads us to a very important matter in the choice of musical instruments. We have known people to work for years upon instruments that would never fit into. any good orchestral group—instruments without a literature worth men- tioning. The literature of the piano is immense. The literature of the violin is likewise immense. Why take up the study of the zither or some similar instrument with a comparatively re- stricted literature? Shall I Go to College? Suarut I study music at a college or at a conservatory ? al . . . * The answer is—you must have a musical education and you must have a general education. If you do not go to college you must get your general education by far more arduous means. Of course, some yirtuosi in the past have been great successes and some composers have been great successes without a college education. But what of the future? Dr. John M. Thomas, President of the Pennsylvania State College, discussed this subject in The Ledger some time ago, in a striking manner. At first he covered the subject from the standpoint of the great men who have struggled to the top without collegiate help. He says: “One-third of the Presidents of the United States and more than half of the group of fifly persons selected by one authority as the most successful men in American industry and business did not have the advantages of a higher education. These facts suggest the inquiry as to whether or not a college education is essential to success. Of the nine Presidents who did not attend college, four at least are numbered among the best chief evecutives that we hace had, Washington and Lincoln, the only two Presidents whose birthdays we celebrate, and Jackson and Cleveland, whom most historians probably would place among our greatest ten Presidents, were without the back- ground given by a@ college course.” Later he points out the fact that the college does stand very high in producing successes, when compared with the great body of those who never attend college “But some further considerations are necessary. We have not been fair to the colleges. College men comprise but a small proportion of the male population of the coun- try. The wonder is that they have come anywhere near supplying one-half of what we have agreed to call our “successful” business men and two-thirds of our presi- dents. For, after all, a college training need not differ in great degree from the sort of diligent training that Lincoln and Bdison laid out for themselves. Of equal im- portance to an opportunity for education is the receptive- ness of the individual to be educated. Lincaln succeeded because he was Lincoln, in spite of his failure to have any definite schooling and not because of ‘it. And the same deduction has been drawn by one who has made a study of the 23,000 names in the volume of “Who's Who in America.” College men are there in higher percentage by far than their general percentage among all men, ; : , “More and more « college education wilt come to play its part in the life of the man who attains success, The men of the past generation who climbed to the lopmost rung of that difientt ladder without college educations have
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sent their own sons to college. T would not venture to say that one in the present generation, fired by the fine enthu- siaym of « Lincoln, could not educate himself, but 1 am certain that the complexity of modern life, the ramifica- tions of the accumulated intelligence of the world and the tremendous competition in the twentieth century make it increasingly .dificult for one to overcome the handicaps imposed by a failure to secure a thorough groundwork in the elements of language, science, government, history and other subjects of study.” No college possesses a philosopher’s stone which will turn lead into gold or tin into platinum. The natural born fool who manages to wriggle his way through college comes out a fool. In the musie field we have met numbers of them. On the other hand, many of the most brilliant and capable men of affairs in the field of music have never had college advantages. Never- theless—get a college training if you possibly can. Turning Eagles into Turtles Years of close daily association with educational work, winter and summer, have given us a deep and sincere respect for the accomplishments of teachers and leaders in general. We find a great deal to laud and very little to condemn. There is, however, a type of educator who can do incalcu- lable damage to those he attempts to: influence by his failure to realize that some people are born turtles and some are born cagles. You simply cannot change their places in teaching music or anything else. The turtle is a turtle and always remains aturtle. He moves slowly, sleeps a great deal, progresses stead~ ily and at the slightest danger draws back into his shell and waits there until he cautiously pokes out his head again. 5 The eagle soars. His home is in the highest trees on the tallest mountains. He proudly disdains the earth. His move- ments are swift and sure. His eyes are far-secing and bright. He dies in close restraint. If you find that you are giving music lessons to an eagle, why in the name of goodness not realize that he is an cagle: that he cannot stay in a technical shell like a turtle. That he must soar, or pine in captivity. Teach him how to fly, not how to crawl. On the other hand, if you are teaching a musical turtle, remember that it is cruel to expect too much from him. He will never get very far from home. He will never grow wings. Velocity may be impossible for him. He is a turtle. Tickle his shell a little and he will clamber along at a mild pace. Do the best you can with him, but do not be exasperated if he does not soar. He has his place in the world, not as brilliant as that of the eagle, of course, but a sphere of real usefulness. Think over this little editorial. Most of modern educa- tional psychology is based upon the teacher’s ability to diag- nose the student’s musical possibilities and to find out just where he stands in the scale between the turtle and the eagle. MacDowell, The Artist Tere was a time in the career of Edward MacDowell when his parents were undecided as to whether he should become a musician or a painter. MacDowell never received any lessons in drawing, but his gift in sketching portraits of his friends, in making copies of portraits of great American heroes, and in caricature, were marked by such a “professional” finish that those who have seen them readily perceive that in the develop- ment of a great musician America probably lost another Stuart, Peale, Winslow, Whistler or Sargent. The youthful Mac- Dowell once filled an entire sketch book with drawings of a very remarkable character. Skill in the graphic arts has often been manifested by geniuses whose lives haye been spent in other directions. Samuel Morse, the inventor of the telegraph, is widely recognized by art connoisseurs as one of the very fore- most American painters. His canvases bring a very high price and are continually increasing in value. Some are shown in the Metropolitan Museum of Art in New York. Thackery was a very clever draftsman, as was Mendelssohn. 588 The Etude’s Jazz Bomb We expected that Tur Ervpe “Jazz Problem issue in August would throw a bomb into the conservative musical ore D Sometimes the only way in which to wake people up is with bomb. THe Ervpr emphatically does not indorse the mar '. coarse attitudes which have been characteristic to the in his « 2 collection 6 f books,” usr ho : orship,” We wish that musicians would pallized for the ages 7 really mean what it says? realize this more Des Does it desire to do something ca: f ie student & can often get as muel as much, ¢ out of > and sometimes 4 f 1es students sr '®, Of University sluggish es 8 with minds if aa parroted notes over and over ; Raat Profes the. and never freshened Such cea notes prep fed ee ian, ave i ee is level of the: teacher or he gets { either goes a oy oul eS altimately be .Mpatient, dissin “own to the books than with th an d , mie distited a eae , Reais O far . - ; Phe various reading: . “ction, assied times in different parts real student, the fellow his own ship, will not want ; x th the genuine more ‘en he ¢ een em aluable acutand ae Cl dypje. Noug ‘oll around dried Course a to steer in libraries. 7 Le Will pick ries pick es and |} I . book sh Shops Yer poe catalogs "m the most ployed at are y > but the You may not be able to oO Michigan, Oxford \ » OD or Cambridge. no ©! you out of the University of eos but ree Harvard Oberli aetdedly ted you eae To! Books, 'S nothing erlin, is is slight and the a sindy ternity of S. 'T. Ww. fest fe Fis 1. W. (Success Thr a x est fraternity in the world rough Ww Once join t tains ee books to help is , ork d VF a ceboeh tae you m: i hort time. What ; y ‘make i ody? So were thousands ¢ et are bot ® Gua distanced other students « BE by aia ot feat SUCCEss Leulty to-day to work for gee Universit Sople he to kee ¥ no Matric cy UW desire A as loy No mmmens * a i ense, ulation he cost he fra- ulum nd student % f your dj You will never et ¢ ‘ploma fy sate one wh AL get one; but the From the Tpo Uniti Ng ago something infinitely more p le JOY of % Niy rsit S. Start Precious, Yorking ,) of Books ci 7 i Two things keep n to us recently, “Golf a 4 c and exep: ic} The business man who ee €Xercisg VES? Saic at success. Tict me ek, ighs nd musi. busi half e skip m aul Se foy 7, 1°88 man alf # man. No one knoe Solf oy — °° Of mugs, “SPirati hehe ave lets ot fered me wh: MY nus: Isle i, * ation. id Wines - Si¢ « AVE) ing when the real cure is in wsiness Neang ( a tghing ereate.” Yecreat} aking gq Mt a. Galy 10n, 'f do 1s tied Us} PS Gut 5 tried. golf ie bottles “IP to re-
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| THE ETUDE SEPTEMBER 1924 Page 589 Schumann—The Master of Child Music Written Expressly for the ‘*‘Etude”’ By the Distinguished English Composer-Pianist-Author CYRIL SCOTT Why Schumann’s Music Has Had Such a Great Influence on the Education of the Young Ir is a noticeable fact that within the last fifty years a vast change has taken place relative to the educa- tion of children. The first signs of this change were already perceptible after 1836, when Froebel opened his Kindergarten school at Blankenberghe. But that the Kindergarten became a popular institution was in part due to the influence of Robert Schumann's music which began to find favor about that time; while, much later on, the Montessori’ system was, we believe, actually inspired by that influence. It crystallized at last the realization : ‘ (1) That children are all different from one another and hence must be treated individually and not en masse; (2) That children cannot in reality be educated by any- one clse, “the impulse to learn must come from within their own minds”; (3) That children are so constituted that “given proper conditions they prefer educating themselves to any other occupation.” For in these three sentences are clothed the under- lying idea of that system which is more and more obtaining a hold with those who have the interests of children at heart. “Seen and Not Heard’ But, of course, ere it was possible for such a prac- tical measure to be introduced, let alone accepted, a marked alteration in the prevailing attitute towards children was highly essential. During the Victorian epoch not only was the treatment of the young based on a remarkable ignorance of human nature, but also on an equally remarkable, if unconscious, selfishness. Children were to be “seen and not heard”; which meant that they were to afford an ocular pleasure to adults but were not to inconvenience them by asking questions, still less by romping and making a noise. That Nature, in order to develop their lungs and muscles, requires that children should romp and shout, did not sufficiently occur to our Victorian forefathers; nor that they must ask questions in order to acquire knowledge. For young people to behave thus was not consistent with that idea of awe and reverence which ought to be observed before elders and betters! But, of course, children did romp and shout and ask questions, nevertheless; because Nature is more powerful than precept. The result very often was chastisement, justified by the wisdom of Solomon, no allowance being made for Oriental hyperbole. In a word, children were treated after the manner of criminals; they were punished, not reformed. It was for the influence of Robert Schumann to bring about that deeper love and understanding of the child, which is such a pronounced characteristic of the present age. CLARA WIECK-SCHUMANN When a Child Virtuoso ROBERT SCHUMANN From the Famous Bust by Carl Seffner in the Hamburg Music Hall A few years ago one frequently heard the expression, “a literary painter’—it appeared to denote a man who was as much pre-occupied with the subject he painted as with the painting itself. This expression, if we mistake not, has been applied to Burne-Jones, Rossetti, Boécklin and others because they combined poetry of subject with beauty of representation. The analogy of this in the realm of the tonal art: is to be found in the composer of what is termed programme-music, in contradistinction to the composer of absolute music. The one aims at expressing an emotion, a scene or an idea; the other is content to “express nothing but music itself.” Now although Schumann never actually wrote sym- phonic poems, his inspiration was more influenced by literature than that of his predecessors. One may even go so far as to say it was almost entirely nourished on the writings of Jean Paul Richter. So great was his admiration for this author “that he would become vio- lently angry if anyone ventured to doubt or criticize Jean Paul's greatness as an imaginative writer.’”* Nor was Schumann's estimation of him unjustified; for inter- spersed among his interminable novels are to be found, clothed in. the form of dreams, the most remarkable and grandiose prose-poems which have ever been eyolved. They are cosmic in their grandeur; and Carlyle as well as Schumann was enmeshed in their enthrallment. But then Schumann was a dreamer, himself. He was also a poet in embryo; for at one time “his inclinations seem almost to have hung in the balance between music and literature.”* As it was, the two became closely intermingled; he not only adopted the avocation of musi- cal littérateur, but was also the first literary composer of whom there is any record.* With him the title of a piece was, if not an essential adjunct, at any rate an aid to its comprehension. And yet—significant fact— the piece was conceived first and the fitting title after- wards, which goes to show that Schumann, instead of circumscribing his musical inspiration by a literary idea, allowed the former to have fuli sway. Tt was, as it were, the yoice of music which spoke first; it was that same voice which ultimately conveyed to him its own meaning. The Atmosphere of Simplicity And it is just that meaning, or rather multitude of meanings, conveyed through Schumann's vast number of pieces, from which one may gain some idea of the content of his message. That it is not so immediately apparent as that of Handel, Bach or Chopin, must be admitted; but if we approach Schumann's music with a sufficiently unprejudiced mind, jis message is discern- ible none the less. In the first place an atmosphere of simplicity and innocence pervades practically the whole of his works, whether he portrays the scenes of childhood or the sentiments of adults. In the second place he entertained a noticeable predilection for simple forms—the song form, so-called, the theme and varia- tions, and the song proper. Even his larger dimensional works, quartets and symphonies, are mostly composed of song-form sections; as for the Carnaval and the Papillons, each is a series of small pieces placed to- gether under one composite title. It was not that Schumann did not aspire towards the more architectural type of forms in which Beethoven and Mendelssohn had excelled, it was that this inherent simplicity always asserted itself, no matter what he wrote. Indeed, since Domenico Scarlatti and the Clavecinists, never had a serious composer written such a prodigious number of small pieces. If we glance through the thirty-four volumes of Schumann’s works we find Papillons (twelve pieces), Davidsbiindler (eighteen pieces), Kinderssenen (thirteen pieces), Bunte Bliétter (fourteen pieces), Novelletien (eight pieces), and so on. Only now and then do we stray upon an overture, a sonata or a symphony. And then, if we study the titles, there is the same poetic simplicity, as if Schumann were deliberately naming his creations to suit the child-mind. Thus: “Scenes of Childhood,” “Motley Leaves,” “Butterflies,” “Fairy-tale Pictures,” “Fairy Stories,” “Children’s Ball,” “Album for the Young,” “Christmas Album.” Again we have such significant superscriptions for single pieces as “Why ?,” “Happiness Enough,” “Soaring,” “The Merry Peasant,” and so on. Moreover, Schumann takes care to explain to his friends the meaning of some of his titles. He distinguishes the Kinderssenen, for instance, from the Weihnachtsalbum, “on the grounds that the former are the recollections which a grown man retains of his childhood, while the latter consists of imaginings and expectations of young people.”* The Apostle of the Romantic Movement Schumann has been termed the Musical Apostle of the Romantic Movement. The phrase is apt enough, but with him true romance was associated with childhood, not with maturity. Himself a large, overgrown child, a dreamer, he portrayed those romantic sentiments which alone exist in the dreamland of children. Who but a big child, fond of fanciful pranks, could have conceived of and enjoyed such a strange creation as the Davids- JEAN PAUL RICHTER ‘The Romantic Poet Who Inspired Many of Schumann's Finest Works
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Page 590 SEPTEMBER 1924 biindler? Here was a purely fictitious brotherhood, half- humorous, hal f-poetical, which existed solely in the imagi- nation of Schumann himself.? It was but an elabora- tion of the childish fondness for assuming the characters of others, as when children exclaim: “Let's pretend to be grown-ups, soldiers,” or what not. Nor can we fail to see whence Schumann’s idolization of Jean Paul; for the latter “was unsurpassed in depicting the tender emotions with his dazzling and even extravagant play of digressive fancy, his excess of feeling over dramatic power, his incessant alternations between laughter and tears.”* Yet, withal, Schumann lacked the power of Jean Paul's greatest moments. When Schumann tried to be strong, he usually succeeded alone in portraying the strength of a little boy pretending to be a big one. There was always something intrinsically naive about these at- tempts; for if he does manage to invent a bold, clear- cut theme, as the first theme of the Bb symphony, for example, it invariably, after a few measures, breaks off into something either playful or pleading. Another childlike element in Schumann is his predilection for telling stories, or at any rate “for bringing his hearers into a condition of mind from which they could go on romancing for themselves.”* He has also a great fond- ness for musical jokes, whimsicalities and puzzles. Not only did he write six fugues on the name “Bach,” but also a whole set of variations on a theme formed from the letters of a young lady’s name. Further instances of this type of playfulness may be found in the Carna- val, in the Album for the Young, and in other works. A Direct Message In passing at length from causes to effects, we must once again emphasize the fact that music speaks its message direct to the heart—Schumann was, as it were, the messenger from the heart of the child to the heart of the parent. Nay, he was more: he was the true poet of the child-soul, of the child-nature, of the child-life. With his tenderness, his whimsicality and his humor; with his questionings, his fancifuiness, his pleadings and his dreaminess;. he implanted in the mother-heart the true likeness of the child; and she understood. Children were different from what she had previously thought. Her own childhood, though remembered, had taught her very little, in spite of its multitude of joys and sorrows. She had been corrected and punished, and had arrived at what she now was. What had been good enough for her when a child, would be good enough for other children. But no—a subtle influence told her otherwise. Children were not all alike; they were as varied as adults; there was only one similarity between them—that they were all children. It was our treatment of them that made them appear all alike; we allowed them no self-expression, we trampled upon their individualities, we silenced their questionings, we never tried to understand them, to foster their latent faculties, to discover their latent talents. When they were naughty, we punished and put them to bed; but we never sought to find out the true cause of their naughtiness and wisely to remedy it. On the contrary, we resorted to the expedient of frightening, of the rod, of hell-fire, of the bhogeymen. Was there no better way? How Schumann Helped Children So far we have considered the effect of Schumann’s music on adults; but it had a marked effect on children themselves—it helped the child-ego more speedily to reach maturity of mind. There are children born nowadays who astonish their elders by their spasmodic outbursts of wis- dom. We often hear the phrase: “One could hardly believe that a child could think of such things!” This precocity is due to Schumann’s influence, for, owing to the improvement in the conditions of child-life which it brought about, a much higher type of soul is able to be incarnate in the present age than in the foregoing one of blind severity. His music’ affected the subconsciousness of such souls in a manner in which none hitherto had been capable of affecting it. It was the only ‘music’ so far conceived which was attuned to the child-mind and for this reason it was equally the only music capable of educating the child. Handel and more especially Bach were too complicated, Mozart too flowery, and even Mendelssohn and Chopin not simple enough, And yet simplicity alone was insuffi- cient; it must needs be combined with artistic excellence. Such mediocre compositions which, owing to their sim- plicity, are played to or given to children to play, may be useful for musically educative purposes, but they do not Only when simplicity and true art are The musical soul of educate the soul. ; united can this result be achieved. fal has WINTERZEIT, OPUS 28 A Pictorial Inspiration from one of the best known of Sch; Pieces by the German Artist, Thomas M: ° Schumann, so to say, understood the soul of the child, and spoke to it as no other composer could speak and he spoke to it with tenderness and love. Schumann’s Musical Pictures Like Chopin, Robert Schumann has exercised a marked effect on the pictorial art. He was, for one thing, largely responsible for that type which in its first form was known as the Jugendstil, the very word Jugend meaning the Young. It was in evidence in the final decade of last cen- tury; but since then it has undergone development at the hands of a variety of artists. Even more has Schumann been responsible for -moulding the post-impressionist painters. If we examine the spirit of Post-Impres- sionism, we must inevitably notice that its outstanding feature is naivete; and the drawings and paintings in- spired by its influence look as if they had been exe- cuted by children; trees, houses, figures, all suggest the hand and mind of a child. This is already noticeable in the works of Gauguin and Van Gogh; it is even more noticeable in those of Henri Matisse, Picasso, Marchand, Andre Derain and Augustus John, though the latter can- not accurately be described as a post-impressionist, Nevertheless some of his drawings exhibit this same characteristic of naivete and the author remembers one in particular which not only was drawn in a child-like manner, but also seemed to have been “scribbled all over” by a child, This primitiveness, this simplicity of concep- tion, has spread far and wide into all countries. Ty Switzerland we notice it in the paintings of Hodler; we notice it in German, French, English, Russian and Ttalian painters; and we do not hesitate to repeat that this was inspired by Schumann as the Pre-Raphaelites were in- spired by Chopin. That it took longer to materialize, we admit; but then Schumann’s music has never been so ex- tensively played as that of Chopin, whole Programmes being devoted to the latter’s work. It is true there are other elements to be discerned in many of these exponents of “child-likeness,” some of them in fact, like John, being also influenced by those musicians who aimed at the Seah limation of ugliness; but that does not detract from our argument. There are other ways of being sublimely ugly than by imitating the crude naivete of childhood Ferdinand Schumann, son of Robert and Clara Schumann, for whom the master wrote many of the children’s Pieces, Note his fine ideal. istic countenance j manhood. n lumann’s Children’, ue ren’s THE ETUDE Self-Test Questions on Mr. Scott’s Article (1) Give three cardinal principles in the teaching of children, (2) What is a “literary painter?” (3) Who was the first “literary com- poser?” (4) What is the pervading atmosphere of Schumann's works? (5) In what ways did Schumann help children? ‘See The Montess c tisha essori Manual by D. © Grove's Dictionary. ee Hadow, Studies in Modern Musi. ‘We here distingui etwe iter aka ents: distinguish between literari * See Hadow. TSA Reacain. we ° See Grove's Dictionary. Sehumann. * Thid, ‘See Hadow. * See e c “ jel Higher Chanter XII, “Musicians and the * See Chapter X} x. The Small-Hands Pupil By T. S. Lovette “ . an re a child piano pupil inary j i: ti What can T eels he stiffens his very small hands: . to eliminate this tendency ?” goles s a es you “try confining the Stretches at alps pald ne, Dueees without aig ine ee fod that would never ‘cluninate the = Siete » More advanced Studies or pieces will be Tn the first place. your pupil stiffens } the result of clin pressure, ing him to sustaj and if you us, quite rigid, and in attempting to stretcl » May T Suggest that in nds even ir n the s ® the keys im trike the ke all probability allest things and using the wrong Y with his thumb, tell- One ; th s thumb, Property ‘ Ty to remove the thumb; ane You will find that membet e key Se, to differentiate betwee! to | a when yo easily ce n the key fe the thumb as 4 and . Very few of tl ton are acquainted 80, if you fs are g with thie” © amor Principle i C NOSe Who claim a the rine} oe teach relax@” he num “ples of the subjects im: m he subj A Portan Subject, -8¢t thoroughty ainted of the pring @musculac TUS it is Berne © principles x Secular ritvens is but the firs s ents; but applicatio® , pplica' on the extent 6 = “P will depend entirelY Some would ' Practi Say : Cal kk Ay that if is nop ATOWledge of the first Etneees mn in to teach such very aati to be, such intet ience that and weight; but the foe2Shing the Practic a real desire © the following “8P¢d thew! @ situaye "haps many WH Imagin lan tig ie t Uatio; Te : y wh vast th Ourseyg Com hat_unfor ee tate scales and admirin Mou Panag or tunate s composed ises 8 lis Sician — a os 8” to s. > Playing for Meaniy Nas: 2 ow, Tmagi, pa i theta nels a See r hey Mer Fy Sine the «portid Give ae to may nd become 4 Vill zt ances of init days play S Rew 4y,2Ur “pines, yaually tose the slower? them 7" t Actin» CU can even $Y any ,. louder these M8” meee Way e i t
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THE ETUDE SEP. EMBER 1924 Page 591 What Touch Shall I Use in Phrasing? By E. F. MARKS A Much-needed Discussion of an Everyday Musical Problem WE read so frequently about the two-finger exercise in William Mason’s book “Touch and Technic,” that we are apt to deem that this is the only example of value to be found in this admirable book; whereas, the book abounds in copious examples of -valuable technical material, sufficient to cover all grades, until a student arrives at that degree of proficiency in which he is capable of formulating his own technical exercises as needed. No doubt the popularity of this particular exercise, very appropriately termed “the phrasing touch,” received its impetus from the fact that the student of the piano- forte in America was just ready for its usefulness and application. In the old-fashioned singing schools and the simple ballads of our fathers the rhythmic accent of the measure was given prominence, and the phras- ing was done by the voices, while the pianist was sub- ordinated to simple chords or four-part accompaniment with but few opportunities allowed for instrumental phrasing. Consequently, very little attention was given to phrasing by the amateur pianist whose highest ambi- tion at that time was to play the “Maiden’s Prayer” acceptably. Besides, the current literature treated the subject of music very superficially. However, ultimately the amateur musician saw the need of phrasing in his work, and William Mason’s two-finger exercise, giving directions as how to approach and leave a phrase tech- nically, supplied the immediate demand and proved a benefice. One Note Fading Into Another However, the two-finger exercise, as played by the ayerage student (which is to endeavor to change the fingers laterally from one adjacent key to another, thereby repeating one of the keys, and to do this as rapidly as possible) misses the intent and purpose of this exercise, as its mission is to exemplify by the first note the correct attack for the beginning of a phrase, and by the second note the correct touch to end a phrase. Anyone will observe. that from such a standpoint the two touches are not confined to adjacent notes; but that many notes may intervene between the beginning and ending of a phrase, and, likewise, in a phrase of only two notes (the smallest possible phrase) these may be many degrees distant from each other. We realize that the two notes of this exercise should be played somewhat slowly and not rapidly, if we desire to obtain the greatest benefit from our practice. After the first note has been struck we should listen intently to the naturally decreasing intensity of this sound and allow the second note to appear with a lesser degree of power, to that Proportion to which the first sound has diminished. Thus is produced the effect of one note fading Into another, just as one moving picture fades almost imperceptibly into another and newer one, super- imposed upon jt, The following examples show the ordinary familiar forms of the touches embraced in this two-finger exer- cis@: Ex.1 _ 2 8 = J = moO y o ga SO gs gs == === =! = I Ee St ; 0 eee : = 1s i cia In the above examples the nate of attack has been indicated by the > sign, and the rel 1 or diminished note by 0 The > note receives the accented stroke (usually fall of the hand) and the o note a d finger touch finishing the phrase in a soft agrees manner. We must not overlook the fact that a note ending @ phrase is usually curtailed of some of its time value; hence, this last note is soft and short. Example 1. hibits the usual feminine cadence. In the same category may be classed the resolutions of re- tardation and anticipation. Example 2. Gives two ‘phrases from Beethoven of adjacent notes, example 3. Also selected from Beethoven, shows three phrases of leaps, Example 4. In this example from Tschaikowsky an accompanying chord appears between the two tones of the melodic phrase demanding the two touches. The chords of the accompaniment must not be played in a manner to detract from the interest of the melodic notes. Example 5. Selected from one of Kuhlau’s sonatines gives many intervening notes between the two touches. The c (second leger line above the staff, first note in the example) receives the downward (accented) stroke, and the b (second space below the staff, last note of the example) gets the final finishing touch, Notice that we have fourteen notes occurring between the begin- ning and the ending touches; but these notes must not interfere with the correct delivery of the touches com- mencing and finishing the entire phrase of sixteen notes. Perhaps it would be well at this point to bring to notice the true import of the slur as lately emphasized; which is not simply to indicate legato playing as formerly taught, for we are told that if no other touch is indi- cated that legato should be used. Of late years special attention has been given to the slur, and from the former hit-and-miss manner of writing this sign implying almost nothing, even by so great a musician as Beethoven, there *has emanated from this unusual attention an important role of the slur, which is to designate motives, figures and phrases; and this work is sometimes so carefully and accurately performed that we frequently encounter slurs written within slurs, thus clearly exhibiting the sub- divisions of the longer phrases. Among these numerous subdivisions we find many opportunities to use the two- finger-phrasing-touch, as exemplified by the slurs, and the music of such masters as Haydn, Mozart and Becthoven teems with examples requiring this unexcelled touch of attack and finish combined, A Variety of Touches Perhaps it would be well to exemplify still further the difference of the intensity demanded by phrases for this simple two-finger exercise, and at the same time exhibit some of the obscure and mysterious guises under which it appears; and how, as we have phrases within phrases, we must have (paradoxically speaking) touches within touches, or, in other words, we must possess such an abundance and variety of touches that technical ability will show and clarify every phase of a musical phrase. In order to elucidate these differential qualities, we give a reproduction of a four-measure passage from a simple piece, “Auf Gruener Au” Op. 82, No. 1, by Gustav Merkel: Ex.2 we According to the printed copy the phrasing marks call for the two-finger touches on adjacent notes throughout the entire transcript. However, besides this touch we will discover that others exist. If the outline of the ex- cerpt is examined carefully, we will 2casily discern that the illustration naturally divides itself into two imitative sections, consisting of two measures each, constituting two phrases; the second phrase or division being two tones lower than the first with only a slight change near the end. Therefore, in the rendition of this pas technic must show this division. To do this calls for the most careful and thoughtful manipulation of each little segment, consisting of two notes, shown by the slur, and each segment demanding the use of the two-finger touch; for each segment must be delivered softer than the pre- ceding one, and we must augment our idea of one note fading into another, so as to include also the idea of one segment fading into another segment. Having finished the first phrase (the first divisional section of two meas- ures), the second phrase or section must be delivered in a similar manner, yet with the conception that this second division throughout its entire length is a shade softer than the first (model) section, which is evidently the intention of the composer, as it is written lower, hence, is less brilliant, We notice that each phrase con- sists of six segments, each with the slight difference that the first phrase has the addition of a note preceding jt. This single note heginning this first phrase must be viewed in the light of being an introductory note to the phrase, and it should be rendered in such a manner and with such a touch that it will convey this idea to the listencr. In order to do this successfully it must be delivered with a softer touch and less intensity than the beginning of the real direct phrase, yet at the same time show that it belongs to and is a part of the phrase itself. As this introductory note occurs on an unac- cented beat, it is not so important as when appearing on an accented one, and we can easily dispense with it and still have the idea of absolute imitation conveyed in the second phrase notwithstanding its omission, Tt is owing to the introductory character of this initial unaccented note to a phrase that it is frequently omitted at the begnning of a composition, although it may be added on a reappearance of the same phrase. The first tone the ear hears is always considered as accented until this is dissipated by following accent; hence, this omis- sion of this introductory note to a phrase is non-essential to its completeness. According! to the modern idea of phrasing in music, in this last excerpt given above, the composer should have used two slurs embracing two measures, thus defining clearly the phrases, notwithstanding the numerous slurs designating the segments requiring the phrasing touch; and the first slur should have included beneath it the initial unaccented introductory note. Thus we would have had slurs within slurs, and each demanding a different treatment by the touch, However, as the two phrases in this instance are so very apparent, we can readily forgive the writer for the omission of the two phrase-embracing slurs. As a rule phrases in music are not so easily discernible as in the foregoing example of the repetition of a phrase in imitation. However, there is a general principle under- lying the formation of phrases, which if thoroughly understood would no doubt greatly aid in discovering and correctly limiting and defining a phrase. Albeit, imitation, free and strict, figures largely in modern music writing. Identification and Performance of Phrases Music is poetic in construction. If a line of poetry is read it will be observed that it possesses within its bounds syllabic accents (feet) and at the end a cadential inflection of the voice. Music holds similar qualities, rhythmic accents and cadences. However, we will also observe that one line of poetry is not satisfactory to our feeling for completeness, and that it requires at the very least the addition of another line to gratify this craving for balance or entirety. Likewise, in music we find that one tone does not constitute music, as it lacks the inherent qualities (accent and cadence) of poetry; and it requires at least two tones for comparison or contrast in intensity (accent) yet from two tones we are unable to deduce a satisfactory cadential ending analogous to a line of poetry; and we find that it requires at least two measures of music to be effective and give our ear a satisfactory acceptance of accents and cadence. And just as one line of poetry does not convey the idea of repose or completeness, we realize that a phrase of music, even if it occupies two measures, still demands the addi- tion of a second phrase. It is due to this desire for equal- ization that music naturally divides itself into regular rhythmic heats consisting of four, eight, twelve and sixteen measures. If we find a phrase complete in two measures, this phrase must be viewed in the light of ex- isting as an introduction or a coda, and not as an integral part of the verse, Tf we examine the usual cight measure section of any piece at hand we will discover that the phrases in order to obviate monotony and still preserve balance present one of the following basic forms: Two long (four measures each) phrases. Two short (two measures each) and one long (four measures). One long (four measures) and two short (two meas- ures each). Of course these phrases may be shortened or length- ened, or decreased or augmented in number; but there must alw: be a contrast hetween long and short phrases, even if an entire movement is contrasted with another moyement. Tor this reason we sometimes find long phrases predominate in a movement while the next move- ment will abound in short phrases, \lso, we will observe that in these eight measures occur two cadential endings : one in the fourth measure, usually a feminine or half
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Page 592 SEPTEMBER 1924 cadence, and the other in the cight measure, a full ca- dence, thus producing the fecling of repose and finality equivalent to two lines or a couplet in poetry. Such a passage, containing two divisions, is termed from a musi- cal standpoint a sentence. However, in quadruple or compound time, these points of cadential ending may fall in the second, the fourth or sixth and the eighth measures. In rendering a phrase a player should be careful to show clearly its beginning and cadential ending; and in case of an introductory unaccented note preceding it, this note should not be so prominent as to detract from the strong attack upon the accented note beginning the real phrase; as this prefatorial note is about equivalent to the definite article in spoken language. Then (unless other- wise indicated) notwithstanding the various degrees of intensity employed within the phrase, the cadential end- ing should be approached in a more subdued manner and ended with a quality of tone much softer than the attack at the beginning of the real phrase. If a phrase is re- peated it is advisable that the same degree of power should not be used upon the repetition as in the model phrase, this to avoid monotony. However, the same ex- pression may be given to the second appearance. In giving the above directions concerning phrases we, purposely, have adhered to the usual and regular forms as encountered in the average pieces, and in which the outlines of form are clearly defined to embrace eight measures (or the double, sixteen measures) in order to evolve a simple basic rule for general use on how a phrase may be identified and played. Self-test Questions on Mr. Marks’ Article 1, What has come to be known as the Phrasing touch? 2, What is the treatment of the note at the end of a phrase? ; 3. How many measures in music are required, to be effective? 4. What must a player be particular to show in rendering a phrase? 5. What may be said about the interpretation of re- peated phrases? Helpful Hints on Practicing By William Stern Propasty one of the greatest reasons for music students’ slow and poor progress lies not so much in the length of time they practice as in how they practice. Of course a great deal of the fault can be found in poor in- structions and not enough practice, but the wrong kind of practice is really a student’s undoing. The one great fault, By the wrong kind of practice is meant practicing with- out making use of your eyes, ears, and head or mind. The following suggestions and advice will show how to put these very important organs to use in daily practice. 1, Unless your mind is on what is being done your eyes .™may be wide open and still not see. This can easily be proved with yourself as an example. Recall your last lesson. You played wrong notes or you did not observe the proper fingering.or sharps or flats, in spite of the fact that these different signs or marks were in the music, plainly printed, and, in spite of your eyes being wide open and looking right at them. Hence, your eyes will not see unless your mind directs them. 2. Right at the beginning, when studying a new piece of music cultivate the habit of reading the notes and the fingering at the same time. Very few do this. Students do not realize the importance of correct fingering. If you do not observe the fingering marked you will never prop- erly finger music not so marked and will consequently be greatly handicapped, especially in sight reading. 3. In any piece of music certain measures are more difficult than others. There is only one way to overcome these hard places; and this is to practice these measures more than you do the rest of the piece or study. Go over the whole piece carefully. Have a pencil close at hand and as you meet a measure which you find difficult mark these places with your pencil. Then, when doing your regular practice, as you reach the places you marked, stop and give that place separate study. Go over it carefully several times with your mind concentrated on every little detail; then go on with the rest of the musie and do the same with the next place you have marked. In this way these places will soon become no harder than the rest of the music. requires more practice. become easy. 4, Tt is assumed that your teacher has set you right as to the correct position of your hands and fingers; but You have equalized it. That which is harder Practice hard places until they they will not stay right of their own accord, not until they have been trained to do so. To train them you must watch them constantly while practicing until they do not require watching ; then in time you will have a set of tools which you can command to perform any musical task. 5. Another great fault with students is, Fast Practice. This has a contrary effect; when you practice fast you learn slow, Every new piece of music; no matter if it be hut an exercise or a scale, should be practiced slowly so that you will be sure to notice every little detail, such as correct reading of notes, sharps and flats, and natural signs, proper fingering, time, position of hands and fingers and other things your teacher may have marked in your music. No student can observe all this unless he is practicing slowly and has nothing else on his mind but the music. 6. A great many students have an idea that the more frequently they go over the music they are practicing the sooner they will learn it. This is decidedly wrong. Tf the student has been going over a page of music about five times in one half hour, and he would go over the same page of music two or at the most three times in the same length of time he would accomplish much more in spite of the fact that he would repeat the same passages only one half as many times. The reason is quite plain. In going over your music fewer times you play slower. In playing slower you are apt to make fewer mistakes. You uncon- sciously concentrate—that brings quicker results. 7. 1 am quite sure most students have been told many times by their teachers to count aloud when practicing ; but how many do it? A very small percentage it is feared. However, if students would be made to realize the importance of counting aloud, and the reason for it, more would observe the teacher’s advice. To be able to keep good time your ears must he trained to hear good time. By good time is meant giving the notes and rests their full and equal value and playing evenly and smoothly not in jerks. Now when you count aloud and you are not counting evenly (that is, counting one beat faster or slower than another) you will hear it (or should hear it if you are listening to your playing) and will correct yourself of course. In this way your ears are trained to hear good or correct time only. By counting inwardly or not at all (as so many do) you have no way of telling whether it is right or wrong; since both your ears and eyes are untrained, they cannot set you right. The metro- nome answers the same purpose as counting aloud, but do- ing it yourself is best. This is certain; you can not hope to be a good musician without being able to see and hear good time. The Velvet Tone By Joseph George Jacobson Wuat is the secret of a velvet tone in piano playing? How is it acquired? Only through slow practice with a firm touch. A firm touch does not imply loud playing, The majority of pupils practice too loud, that is, with a hard, bangy touch with wrists and arms stiff, It has been said that if you wish to play pianissimo well you must practice fortissimo. This may be true and logical; but the touch must be firm, not hard. A firm touch, with relaxed wrists and arms, equalizes the fingers; while the opposite would never strengthen them but produce a strain. Without delicacy of touch and a velvet tone piano playing will not impress the public. Even if you are al master of giant mechanism, without: heart and singing touch you will build up only cold glaciers of tones which may call for astonishment as would a skillful acrobat but will never thrill the listeners with warmth of a blissful emotion, i When you are acquiring your technic cultivate what the Germans call “Die Tonbildung des Anschlags” (the tone-formation of touch), Exercises without concen. trated thought cannot help. Emotion and intelligence are the strong motors, A mechanical piano player a always beat you in speed. Listen carefully to the play- img of great artists. Compare their playing. Study music for the love of it, not so much for ambition’s sake, if you wish to rise above the mediocre. There is Ara unfortunate tendency now for artists to play more power. fully than beautifully. This “bravura” playing deyel- opes blacksmiths at the keyboard. “Music calls in my spirits, composes my thoughts, de. lights my ear, recreates my mind, and so not only fits me for after business, but fills my heart, at the pres “nt, with pure and useful thoughts. So that when the music sounds the sweetest in my ears, truth commonly flows the clearest into my mind,”—Brsnor Henperson. THE ETUDE Runaway Warhorses By Austin Roy Keefer PIANISTS are sometimes caused intense vexation be- cause a piece or particular cadenza or passage “runs away with them,” so to speak. A possible and practicable remedy whereby security can be gained, is suggested. The cause is primarily a complication of ills, namely, not knowing the text thoroughly in a mental way, and a superficial shallow touch. Here is a good place to 3 that fine pianissimo or a delicate passage is a re- A a al of great strength and control—never of A good way to overcome number of cadenz: ples, and to conce: until they are such conditions is to select a as or short pa zes containing exain- ntrate upon them in an intense manner hine-te ics Cais The cadenzas from Liszt's No B flat Mane Cs ajor, the first cadenza in Tschaikowski’s hands working (e122 and any works demanding the two ae ae pestis as Chopin's Hinde Op. 25, No. 12: < romptu, a x . Ee a8) great pleasuce all furnish splendid studie In a Ses i aan oc hes Mes right hand runs off from the left, hs ee, : ie Case, then exaggerate all the ac- ie ne left hand do the leading. If a piece S away with you, it is be or else because you do not g. The best thing to cure this until the fee play very slowly, bit is overcome, eS Turning Music Noiselessly sas well By Eugene F. Marks Someone may dee during the rendition of unportant Matter ; or orchestra, : 1 : m the turning of the leaves of a book but wae ©omposition to be an ue hears a dist? in lis ening to a chorus Page at re Tustling and rattling 0 ne same time, it becomes # Tn the case of Chorus sj, f i meee reduired to turn the page? the right ee @ good manner is t? Same tir rand and fingers under the until ee oecting the edge beneat! must ao to turn; of course this and 8 assumed well in advance © entir When this Point is reached ic carefully hand, releasing the thumb- music, ice no Noise ¢ MS method of turning th ° mar the beauty of the ats iat op ment almgnnibulatin 4 chestra, where the hand is €™ be Prepared tne Ssantly, jt ©YS or Strings of an inst!” A be , oe clips being advisable that the page ont turning py thumb: Baa edges of subseduert “ia the edge of each leat’ ed about one-half inc? ChDs ma mae ning near tHe ton) ade fr t é | Secured from adhesive tape © M Position firmly F secur, Vilous sition fir , PAgES quick ce 2 Preparation of the leav® a ose Portune Moment to turn the s, ‘me, and there is apt t pe AENG. is pre? Which ; te eye readily catch ie Plan o at Ss alwa § the one to tut! fs Paring the pages for ™ ruse by organists q Ves ae to turn the pas the music are slightly turned M fore beginning NOre pape. US Will obviate tested at the same time: fot © turn pages Dage ¢ Tn pag per When 4 fs as ley hy lips, cae x he leay ny rom the UP 6 ne rformer t0 By Preyj, © EHS ig top of the new page lOus yer 44 eXcitenn’ Prepay, One of the me Ne; u i nt One should nev i Aton ‘i B er Ubite» Whenever he § . a OF the abbreviall? ie “Nables the : De ee er, rd th: healing that s “Ee Ben tal... SMnog 7). al Comers on brin, C uded Mus; Keneq men oy NC doe here dar S not ente! is no intel M ® ray of fight ™ “AYOR Hy. LAN of New york
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THR ETUDE SEPTHMBER 1924 Page 593 What Effect is Jazz Likely to Have Upon the Music of the Future? From an Interview With PERCY GRAINGER Distinguished Pianist, Composer and Teacher in a Conference Secured Expressly for THE ETUDE, Tells Why We May Have No Fear of the Ultimate Results of Jazz on Music Art Eprror’s Note—Mr. Grainger has casily one of the most original and individual minds of the present-day music not been nourished on hackneyed thought paradigms handed down from This marks his vigorous music lodic and harmonic exist- stagnant pasts. He thinks for himself. which seems in a way like a reincarnation of me ences which expired with the England of Byrd, “Wuat is this bug-a-boo of Jazz? Is it polluting the musical art of to-day? Or is it something which will vastly increase the musical interest of the future? These are interesting questions, but by no means of the vital importance that some attribute to them. It was quite natural that Jazz should first bubble up in the melting pot of America, and equally natural that it should spread all: over the world. The fact of the matter is that Jazz differs not essentially or sociologically from the dance music all over the world, at all periods, in that its office is to provide excitement, relaxation and sen- timental appeal. In this respect it differs not from the Chinese or native American Indian music or from the Halling of Norway, the Tarantella of Italy, Viennese Waltzes, Spanish Dances or the Hungarian Czardas. The trouble is that too much fuss is made about Jazz. Much of it is splendid music, Its melodic characteristics are chiefly Anglo-Saxon—closely akin to British and Ameri- can (white) folk-music, —~ The Finest Popular Music “In speaking of Jazz, I have in mind the extremely clever jazz manipulation of popular themes with marked rhythm that has taken place in the last few years. These orchestral arrangements are often made by musicians with unusual experience, To my mind, this form of Jazz is the finest popular music known to me in any country of to-day or even of the past. Its excellence rests on its combination of Nordic melodiousness with Negro tribal, rhythmic polyphony plus the great musical refine- ment and sophistication that has come through the vast army of highly trained cosmopolitan musicians who play in Jazz. There never was a popular music so classical. “One of the main characteristics of Jazz is that taken from the improvised habits of the Chinese and other musicians of the Far East. The seductive, exotic, de- socializing elements imputed to Jazz by musical igno- ramuses have no musical basis. Musically speaking, the chief characteristics of Jazz are solidity, robustness, refinement, sentiment, friendly warmth. As music it seems to me far less sensuous, passionate or abandoned than the music of many peoples. It is what one would expect from a solid, prosperous Nordic race. “What is there new about Jazz? All of the rhythms existed before, Nothing distinctly fresh and original has been contrived rhythmically. Surely the Scotch snap, such as we find in the old Scotch tune Comin’ Through the Rye, is not new, Yet this is one of the elements in the Jazz prescription. Nor is there anything new about the after beat, such as we find in the Hungarian dances of Brahms. “Though the elements out of which Jazz is made are not original when taken singly, yet, no doubt, the com- pination of these widely diverse and highly contrasted elements is new and constitutes the originality and characteristics of Jazz, “The music of all free peoples has a wide melodic sweep. By free I mean those people with strong pioneer elements—people who liye alone in isolated stations. This accounts for the great melodic fecundity of the Nordic race. Folk who live in congested districts can- not be expected to write melodies with wide melodic range. Their melodies are restricted by the group. The group can sing just so high or so low. It has a narrow range. The compass is short, On the other hand, the Scandinavian, the Englishman, the Scotch- man, the Irishman, whether he be in his native land, an American cowboy or an Australian boundary rider, is often wholly solitary in his music-making; and his melodies have, therefore, wider range of melodic line, as, for instance, in such a tune as Sally in Our Alley or the Norwegian Varmlandsvisa. “This strong Anglo-Saxon element preserved in world. His intellect has to-day and to-morrow. in his customarily inter of snobbe Tallis, Bull and Purcell. America was musically mixed with the equally virile rhythmic tendencies of the Negro, The Negro is not natively melodic, in the bigger sense. His melodies are Jargely the evolution of tunes he has absorbed from his white surroundings. His musical instinct is rhythmic first of all. (Note the Negro folksongs collected in Africa by Natalie Curtis.) To this came, doubtless, via San Francisco, about ten years ago, certain Asiatic influences which in turn were to make some of the other elements of Jazz. Oriental music is allegedly “in exact unison.” A great many people play the same melody at the same time, or at least they endeavor to do so. The fact is that they rarely play quite in tune with each other and a very strange effect is achieved. Somehow this got into Jazz as an occasional discordant feature, - PERCY GRAINGER hut one which gives it unlimited individuality, Beethoven, in the Scherso to his ‘Pastoral,’ has satirically suggested a peasant group in Europe doing the same thing. In- deed, it is a characteristic of many aboriginal groups. The Maoris, of New Zealand, when singing in alleged unison, often reveal that certain individuals are a quarter of a tone sharp or a quarter of a tone flat. The effect, especially in the distance, is far from disagreeable. There is always a kind of fuzz around the note. One hears this done deliberately in Jazz orchestras in America— of course in a more sophisticated way. “Tf Jazz had done nothing more than to break down certain old orchestral jail wails, it would be justified. It is in the instrumentation of the modern Jazz orchestra that the musician is principally interested. This is momentous in every way. To me it represents an ad- vance in instrumentation only to be compared in extent with that which occurred in another line between the instrumentation of Beethoven and the instrumentation of Wagner. It has opened up glorious instrumental possibilities. “Tt is amazing to me that the Saxophone, the supreme achievement of the great instrument maker, Adolphe Sax (the inventor of the bass clarinet and the perfector of the bra instruments which made many of the most beautiful passages of Wagner possible), should are Mr, Grainge of a few facts relating to Jass all the more interesting. Grainger's views with those in the “Jasz Problem? issue of last month. He has nade a graphic study of Jase and its influence upon the music of In the following brief notes he characterizes this ing manner. Modesty, frankness, total absence s natural traits; and this makes this review Compare Mr. have to wait until this day and time to come into its own through the popular music of America, The same genius which Sax displayed with regard to wind in- struments, America has displayed with regard to per- cussion instruments, such as the Deagan Xylophones and Marimbas, which I have prescribed for the score of my symphonic poem ‘The Warriors.’ This American genius, taking the instruments from Africa, Asia and South America, has given them reliable * pitch so that they may be legitimately employed, both in vaudeville and with great orchestras, in extremely beautiful effects. Most of the ancestors of these new American instru- ments may be traced in great collections, such as the Ethnographical Museum of Leyden, Holland, or the Crosby Brown collection at the Metropolitan Museum of Art in New York. “The Jazz orchestra has shown us how the percussion instruments edd clarity to the orchestral mass. The instruments of the conventional symphony orchestra have something of a spongy character and lack the sharp, decisive qualities of the bells, xylophones and marimbas which have a clarity and sharpness, yet when well played seem to float on the mass of orchestral tone color like oil on water. The Russians have seen the possibilities of bells in their orchestral music. Bells and the per- cussion instruments I have mentioned cut through the tone mass but do not interfere with it. They seem to be in a different dimension of sound. “Another great achievement of Jazz is the introduc- tion of vibrato in the wind instruments. All wind in- struments should be played with vibrato; at least as much as the strings. Jazz Makes No Impression on Classical Music “Apart from its influence upon orchestration, Jazz will not form any basis for classical music of the future, to my mind, The tendency will be to turn to something simpler. We are now musically located in an epoch which is not dissimilar from that which confronted the world at the time of Johann Sebastian Bach. That is, a vast horde of musical influences of great complexity seem to be coming together. Jazz is one of the mani- festations of this. But Jazz is not likely to prove very fructifying to classical music. On the other hand, it has borrowed (or shall we say “purloined”?) liberally from the classical. The public likes Jazz because of the shortness of its forms and its slender mental demands upon the hearer. No music is ever really popular which is too long or too complicated. On the other hand, length and the ability to handle complicated music are invariable characteristics of really great genius. We realize this if we compare the music of Bach, Beethoven, Wagner, Delius and Tchaikowsky with the music of such fine but smaller musical talents as Scarlatti, Jensen, Roger Quilter, Reynaldo Hahn and others. Therefore, the laws which govern Jazz and other popular music can never gov- ern music of the greatest depth or the greatest importance. I do not wish to belittle Jazz or other popular music, The world must have popular music, We should rejoice that the ragtime of ten years ago has reformed into the Jazz of to-day, but there will always exist between the best popular music and classical music that same distinction that there is between a perfect farmhouse and a perfect cathedral. The more we examine Jazz we see that its entire effect is aimed at short, sharp contrasts, There is, of course, a vast chasm between this and the Bach ‘Passion Music,’ the Wagner ‘Music Dramas’ or the Delius ‘Nature Poems.’ In the education of the child, Jazz ought to prove an excellent ingredient. But he also needs to drink the pure water of the classical and romantic springs. He will get plenty of Jazz in Amer= ica. He cannot escape it in this day in any part of the ized world, Last summer in Germany T noted that
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Page 594 SEPTEMBER 1924 Jazz had made a really noticeable impression upon the scores of the works of many modern composers I heard. The influence was superficial, but it was there, neverthe- less, and it is steadily growing. “My chief impression of the best Jazz is that it is near-perfect and delightful popular music and dance music. It is that and nothing more—and what more should it be?” Why Chopin Used a Metronome By T. L. Krebs In writing about Chopin as a teacher, Carl Mikuli, an intimate friend of the master, and one of his most famous pupils, said, “In keeping time Chopin was inexorable, and it will surprise many to learn that, with him, the metro- nome did not come off the piano.” Mozart said, “The most indispensable, hardest, and principal thing in music is the tempo,” and he took pride in the fact that he always kept accurate time. Ferdinand Ries, one of the few pupils Beethoven ever taught, relates that the great master always played in perfect time, and that he insisted on strict time in others. Schumann says in his well-known Musical House and Life Rules, “Play in time! The play- ing of some virtuosi is like the staggering of a drunken man. Take not such for a model.” Hummel says, “The player must strictly observe the time throughout the entire piece. The soloist is often himself at fault if he is badly accompanied even by a good orchestra.” Chopin himself writes, “The left hand should be like the leader of an orchestra; not for one moment ought it to be uncertain and hesitating.” Surely such men, of the highest musical authority, must be taken seriously. No real musician will interpret the expression “playing in time” as advocating an imitation of the absolute, unwavering rjgidity of a pianola performance, nor the brainless thumping of any other similar reproducing machine. Neither will he favor an habitual adherence to the beating of the metronome. At the same time the truth remains that a teacher who is unable to play in exact accord with the metronome is not competent to teach others to play in time; for, unless a player or singer thoroughly understands the rhythm of a composition and can measure with absolute accuracy the relative length of each note and rest, no matter how long or short it is, he or she cannot possibly perform a composition correctly. It is only when a performer is absolute master of time and rhythm, that he or she can take intelligent, artistic liber- ties with the printed notes and rests—liberties which instantly differentiate the intellectually controlled per- formance of the human player from any device of the pianola type. In order to become more and more firm in properly ob- serving the rhythm of a composition and in measuring correctly the volume of the individual notes and rests (a matter quite different from the regularly recurring musi- cal pulsations), the greatest care on the part of both teacher and pupil is demanded. It is not sufficient that the teacher sits by and drones, “one—two—three—four,” or whatever the measure beat may be. It is imperative that this counting be exact, distinct, incisive, and that the pupil should count and play exactly in unison with the teacher’s counting. This does not mean that a player should always count aloud, but that he should always count. Furthermore, even the greatest players count the time of the composition they are performing, though, perhaps, not always conscious of the fact that they are do- ing so. One of the most distressing things to a musician is to be obliged to listen to somebody wandering and mean- dering through some spineless performance devoid of vitality and meaning, because of inaccuracies caused by defective rhythm. Hang Von Biilow, one of the greatest musicians and pianists who ever lived, said, “Rhythm wrong, everything wrong.” Sharps and Flats for Little Ones By Mrs. Frank Barnes We all know how difficult it is to impress upon small children the fact that so many of the notes read are not 1o be played just as they look, to them, because of the sharps or flats in the signature. I have a little method that has proven so successful that T would like to pass it on, For example, with the key of F Major, I explain to the pupil that in this scale or piece we have one key (B) who is quite above his fellows in importance, as he employs a servant (the flat) to do his work for him. I have found this a great help. The pupil likes to enlarge upon the idea that we are dealing with an aristocrat who always has an assistant. Sight-Reading Without a Teacher By T. S. Lovette Ir you were walking along a pathway and an obstruc- tion confronted you and you were not looking ahead, what do you think would happen? Even if you were looking ahead, and were not thinking ahead, would not the result be the same? But suppose you did both, and did not pre-act, you would still at least stumble. It is possible to look ahead blankly. It is possible to think of the obstruction and not pre- pare mentally for the act of stepping over it. In reading music, the process is identically the same, First, you must look ahead, if only a few notes, Second, you must learn to recognize the notes quickly, Third, you must mentally prepare and must pre-act on the hands or vocal chords, as the case may be. Get someone, if you possibly can, to help you by using a visiting card, or anything else that will serve the same purpose, to cover the notes as you read them, passing the card over the notes as slowly as is neces- sary to permit you to read steadily, yet compelling you to look ahead, to think ahead, and to mentally pre-act, The proper terms for the entire process would be recog nition, precognition, pre-action and action. If no friend is present to assist you, try to compel yourself to apply the same system, always looking ahead Start at a very slow tempo; for there is better mental development when the mind acts at regular periods than if allowed to stop when any little difficulty presents itself, and to travel rapidly when the reading is easy The line of least resistance means no development, where 5: as the system suggested means success, Naturally, the better you know your notes and the quicker your recognition of keys, scales and chords the quicker will be the development; for then you will be enabled to grasp a number of notes at a glance, Persistent and accurate practice in accordance with the foregoing instructions cannot fail to bring success, here-~ Will You Pay the Price ? By Roy Lee Harmon Anytuine worth having is worth a price, We must pay an admission before we are allowed 4 enjoy an entertainment. The music student of tonne who expects some day to enjoy the fruits of ys must pay the price. With the student this cannot | done in the twinkling of an eye. It is a protracted mo ess. Weeks, months, years, of drudgery and self-denial must be given, for money is not the only Sacrifice wit must be laid upon the altar of self-development, ich The modern youngster cannot live the wild, jazz-mad life and at the same time be a successful student. T} & must be long periods of practice, seasons of ole ere relaxation, and regular hours of sleep. asant The really great musician is a poet at heart He is a sensitive creature, alive to the beauties a joys and sorrows which surround him, The viet he of to-morrow is not the “lounge lizard” or “candy ankle” of to-day. He whose social engagements claim i e time will lack the hours for study. A true musical a cation cannot be acquired in a short time. Like a ae a delicate plant it must he cultivated and nurtured carer Perhaps there are some who will say, “Oh, well if ai got to give up a lot of other things in order tt Sie AG in music, I'll let the music drop.” With that as es attitude, the sooner they drop it the better; hee. EEL if love of the art was a part of their being fliey eaulse allow nothing to interfere. Y would It is a saying, though trite, that “You cannot e: cake and have it, too,” and this is but all too true. thing great, anything at all worth possessing a sacrifice and usually demands it. 3 A genius is often considered “queer,” or different. he is. Why? Because he walks the heights: jo. he has sacrificed the foibles of the multitudes soul-satisfying things; and he is living a life just fuller than the person who is nurtured by the sc pleasures. bs The price for a musical education must be paid: dividends will gladden the heart of yourself Ber ae but others, as well as success, as well, at your le. Any. 1S Worth and because for the 4 little called TEE idea peculiar to music, the idea which mus; gives and which the other arts would be incapab] ie giving, is that of immaterial existence, ys fee es sents, in short, the condition of being a being wi ae being an object.”"—Junmn Brenna, snout THE ETUDE Teach Cooperation by the Use of Two Pianos By A. Lane Allan lays you thought of the use of two pianos as a good aun Mm cooperative work ? oe corset teacher has tried the following method Sine ne about a sense of preparation in working wi a method training in alertness it is unexcelled. Sue acéomnianise by the way for successful work as a note or phra 'y keeping the pupil ready for the ™ up with tie: et He knows that if he does not “| Nae Procession” it means “begin again” At the besinn: : Is ain. placed in theese of the musical year two pianos are playing do & music room in such a way that thd is that hes te vie cach other, The reason for this when he sees as Ways someone who begins to pla 4 : eone else feet. ‘Ss made dependent upon hi else begin, In this way he § himse Res Moment to play Tiself © unconscious tes ; Isly acqui to do things, Thi auuKe he has no or whether jy his life, ability of ez ne on his ‘ror in other phases oF _is always well within! Pupils taking part, and is sight we Which they are not familie i N enters here and lends 2 lalf an hour Prove helpful, Ld week 6 TOV Prove a good investr ough ment, . rr) f this kind of work a no charge is made, it Chie... Trots for a Donkey By Siby] Croly Hanchett fair amateur; iani ¢ ~.. Planist, who, for reas” Situation, cannot ‘study willl the lure of 4 7% little Psi Meson | and the carrot. Solved th rotors held istee fe oe “i animals yoq\ihich hela ye Senious contrivance att * ow fast he went Hist lanists, 5 eed mouthful ee hee industry “i © journey’s en “ast = O ar = Rois driving is 1, 2 Combination of ™ Offered S to he q . one at done by whip or ca entice OF Tecra ia leingly iy "ays iy “three ogta Yiew, accent es, wit Carrot hands no a pupil may Keel D-flat scales | smooth rhy ihe each finger. In ‘of Seale. Then D m4 and so on, progte?, Withee Sch major key foll\e Ke ine Stumble, false 2° » Wate anner le > Minor, & Play BAe : ihe s ixth — fourths ep OU me “very fifth note. et! fol] ect your challenge: OWing a f at . © Plan: ant ould hat are one of the ™ it Rdg trouble in pet al at D_ Bee the directions eal C-sharp a Major, Ay, goes "4a & Speeding» Then you Ei NOs, ig beyond your lt iy ® mistake, une xe ved it perfectly fice i ne all of this or eth irae arp a Per, 1, if it takes @ will Pay your JOP Wylinor, 5. {PS this time you rie eu May come t? t0P times . *cident occtt!® io! Perfectly jn succe™ (we Sealeg Ottis, he ca When = Puen : i Weeks in playin sort * C So ’ Nn chy : ces? Xths, ¢ = N uneh Arrive “Lromatic succe gt the hen stings D Deas, 'Sa_very whl aal! Month, ae S or ae There ar? Pag Thue, YOU wi Peggios, if you s ill Sy ) as od ur d ty i ‘ Dowe, YOu Nat 4, +. ha Bg e I Your tec! ha } and yy af an been : pen 1 go * fa, Neey .Suided by © jo Ch t el A ha tha, “@tion has dev’ qi difioan have Beco gh Skene lies under @ spilt Your susceP
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THE ETUDE SEPTEMBER 1924 Page 595 Where is Jazz Leading America? Part II of a Symposium Which Has Already Attracted National Attention The attention of the reader is called to the last issue of “The Etude,’ which was devoted in part to the “Jazz Problem.” were noteworthy contributions from George Ade, Mrs. H. H. A. Beach, Felix Borowski, Charles Wakefield Cadman, John Alden Carpen- ter, Dr. Frank Damrosch, Franz Drdla, Arthur Foote, H. F. Gil- bert, John Luther Long, Vincent Lopez, Will Earhart, Lt. Com. WALTER R. SPALDING Proressor or Music, Harvarp Untversity In reply to your request that I send you a few words concerning the burning jazz question of the hour, it seems to me in this, as in so many other human affairs, that it is a matter of proportion. Everyone, I think, feels the excitement and refresh- ment which has been brought into music by means of the new and stimulating rhythms connected with jazz and ragtime. Some of us only take umbrage when we hear the extreme devotees of Jazz say that is it the greatest modern contribution to music and is destined to supersede all other music. As a matter of fact, Jazz is a development of the rhythmical side of music, which is the most vital factor in music, but which in many ways may be considered somewhat of a negative virtue. It is taken for granted that a normal, healthy man will have a good heart beat; and it is taken for granted that good music will have rhythmic vitality and variety. But good music must surely have many other qualities, such as melodic outline, deep emotional appeal, sublimity and ideality; and if the best that we can say of Jazz is that it is exciting, it seems to me that many of the highest attributes of music are left out. In this, how- ever, as in many other aspects of music, the good features will gradually be incorporated into the conven- tional idiom, and extreme mannerisms will be elimi- nated ; for, whatever music is or is not, it is a free experimental art and has always been developed by composers trying all sorts of new possibilities in the way of rhythmic melody and harmonic effect, the possi- bilities along these lines being boundless. BOOTH TARKINGTON Famous Novetist AND PLAYWRIGHT T wistt I knew enough about jazz to answer your questions with any symptoms of intelligence. I fear, however, that I cannot. I can give you my vague im- pressions only. T should not think jazz music the outcome of the spirit of unrest of these times. I should not think it the cause of much unrest, either. It might be considered an accompanying phenomenon, perhaps. I do not think jazz is leading America anywhere. I do not find myself condemning jazz; that is, not all ja Ihave heard jazz that was mere squeak and boom and holler and bang; and T have also heard jazz that seemed, perhaps, rather sensuous, but it was at least sensuously intelligible, I do not see it as the voice of new America, however. It seems to me to be purely incidental, DR. STEPHEN WISE RABBI OF THE Free Synacocur, New York, N. Y. “I AM Not sure jazz is leading America. I think that jazz 1s one of the inevitable expressions of what might be called the jazzy morale or mood of America. If America did not think jazz, feel jazz and dream jazz, jazz would not have taken a dominant place in the music of America, “T quite agree with you respecting the very great importance of such music as is music, the great music. The substitution of jazz for Beethoven, Bach, Wagner and Handel is no sadder than the substitution of Phillips Oppenheim or Rex Beach for the novels of my youth, George Eliot and Thackeray. Mencken is a sort of literary jazz, though perhaps a little less light-footed than jazz helps folk to be, T would not prohibit jazz or dis- credit it. The fear of which jazz is an inharmonious symptom is far too deep-seated for censorship or inhibi- tions or prohibitions, When America regains its soul, jazz will go, not before—that is to s it will be relegated to the dark and scarlet haunts whence it came and whither unwept it will return, after America’s soul is reborn.” In that issue there DR. LEOPOLD STOKOWSKI DistincutsHen Orcuestra Conpuctor Tue following is reported from an address by Dr. Stokowski, before the Forum in Philadelphia : ““‘Jazz’ has come to stay. It is an expression of the times, of the breathless, energetic, super-active times in which we are living, and it is useless to fight against it. “Already its vigor, its new vitality, is beginning to manifest itself. “The Negro musicians of America are playing a great part in this change. They have an open mind, and unbiased outlook. They are not hampered by traditions or conven- tions, and with their new ideas, their constant experiments, they are causing new blood to flow in the veins of music. In America, I think, there lies perhaps the greatest hope in the whole musical world, “Tn France today there are many clever musicians, most outstanding of whom are Debussy and Ravel. In Eng- land a school is growing steadily, and shortly it will burst into bloom like a lower. But though there is much talent, the world is still in the throes of a big unrest, for which it is striving to find expression. There is no great spirit, no great genius, such as Wagner, dominating the world of music at the present time, “With the very complex music of today, an interpreter is a very important factor. The composer creates a work. The interpreter re-creates it and breathes life into it and makes it a living pulsating, vibrating thing. He it is who must co-relate the instruments, the different kinds of phrasing and the various types of technic and make plain to the public that which, unaided, it could not under- stand or appreciate, “Art is going to develop in the future, speedily and in multiple forms. There will be no prohibition going on in music. There is going to be greater and greater variety, because it is going to reach more and more persons. Music is going to enter more and more into our lives and become a part of our philosophy.” ROBERT M. STULTS Composer or “Tue Sweetest Story Ever Town,” one oF THE MOST SUCCESSFUL SONGS EVER WRITTEN—REPUTED TO HAVE SOLD OVER 3,000,000 copmes pURING THE LAST THREE DECADES I Have expressed myself so frequently on this subject, in casual conversation, and in such a vehement manner, that it will be rather difficult for me to put my opinion in public print, and leave out certain expletives. It is hard to talk about this “mongrel” music and keep calm. For years past I have watched the gradual deteriora- tion of the so-called popular music of the day. In the modern dances this is particularly noticeable. I don't object to the dances as such, for I have always enjoyed dancing; but the infernal racket that usually accompanies them, and the monkey shines of some of the performers, are enough to give even a musician of my type a chronic case of “jim-jams.” One cannot help comparing the dance music of thirty years ago with the travesties of the present day. Think of the stately old Jancers and quadrille the dreamy ; rauss numbers ! And then contemplate that we are obliged to “hop around to” you are old enough, the well-balanced tras of the old days, and then 1 the combination of fiddl banjos, saxophones, and tom-toms that are n¢ aides ! happy are ye that the pandemonium that now reigns This: Ge epidemic has also had its degenerating effect on the popular songs of the day. In fact, nearly every piece of dance music we now hear a re-hash of these often vulgar songs. But I am optimistic! There is every indication that the ballad of the past, with its strong heart appeal, is again coming into favor. This is strongly indicated by the number of love songs that have recently sprung into popularity. T may be pardoned if T mention “The Sweetest Story Ever Told,” a song written thirty-two years ago, and which during the past John Philip Sousa, U. S. N. R. F., Paul Whiteman, Isham Jones, Henry T. Finck, and others. the most comprehensive investigation of the subject ever accomplished. “The Etude” does not endorse jazz, by discussing it. deavor to keep our readers constantly informed upon present day musical topics. Mr. Clay Sinith reveals the sinister origin of jazz. These, together with the following, make We merely en- two years has seemingly taken on a new lease of life, the sales now approaching the 3,000,000 mark, Another happy sign is the fact that publishers are demanding more and more songs of a higher and more refined sentiment ; and publishers are not given to printing music that the people do not want. “Jazz” has created a “malarious” atmosphere in the musical world, It, as abnormal. The air needs clarifying! CLAY SMITH Wett-Known Cuautavgua PerrormMer AND Composer or Many Successrur Sones Tr the truth were known about the origin of the word “Jazz” it would never be mentioned in polite society, I have seen many quotations from active-minded musicians who have guessed at the origin of the term but they are far from the facts. Thousands of men know the truth about the ancestry of “Jazz,” and why it has been with- held is hard to tell. When T was a boy in school, some thirty-five years ago, I played the trombone and it did not take long in those days for me to get the reputation of being a prodigy, At fifteen and sixteen I had already made tours of western towns including the big mining centres when the West was really wild and woolly, Those were hard rough set- tlements and many of the men were as tough as mankind ever becomes. Like all adolescent boys let loose on the world I naturally received information that was none too good for me and was piloted by ignorant men to dance resorts which were open to the entire town. These dance resorts were known as “Honky-Tonks’—a name, which in itself suggests some of the rhythms of Jazz. The vul- gar word “Jazz” was in general currency in those dance halls thirty years or more ago, Therefore Jazz to me does not seem to be of American negro origin as many suppose. The primitive music that went with the “Jazz” of those mining-town dance halls is unquestionably the lineal an- cestry of much of the Jazz music of to-day. The highly vulgar dances that accompany some of the modern Jazz are sometimes far too suggestive of the ugly origin of the word. I know that this will prove shocking to some people but why not tell the truth. “The Truth is mighty and will prevail.” “Jazz” was born and christened in the low dance halls of our far west of three decades ago. Present day “Jazz” has gone through many reformations and absorbed many racial colors from our own South, from Africa, the Near East and the Far East. But why stigmatize what is good in the music by the unmentionably low word “Jazz?” If I were to get upon the platform and merely repeat some of the utterly horrible scenes that were forced upon me at those “Jazz” resorts during those boyhood tours, any respectable audience would be petrified. Do you won- der that the very name “Jazz” is anathema to me! Having played high-class music with the Smith-Spring- Holmes Company, in some three thousand engagements in Chautauqua and Lyceum, which have taken me to the re- motest parts of the country, I have heard so-called modern Jazz of all kinds. Who can help it? Some of the modern Jazz arrangements are strikingly original and refreshing, with an instrumentation that is often very novel and charming, Music of this kind is far too good and far too clever to slander with the name “Jazz.” Tt is very American in its snap, speed, smartness and cosmopolitan character. Why not call it “Ragtonia” or “Calithumpia” or anything on earth to get away from the term “Jazz.” But, even the best of this entertaining and popular music has no place with the great classics or even with fine concert numbers, except perhaps in a few cases where musicians of the highest standing, such as Stravinsky, Carpenter, Cadman, Guion, Grainger, Huerter and others with real musical training, have playfully taken “Jazz” idioms and made them into modernistic pieces of the super-jazz type.
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SEPTEMBER 1924 FRED STONE Famous Comepian-Dancer Present oF NationaL VAUDEVILLE ARTISTS Page 596 Tue following is part of an interview printed in the New York Times. Mr. Stone traces the origin of Jazz to a ragtime piece known as The Pasmala. “LT can’t remember where 1 first heard The Pasmala. The name is a corruption of the French, ‘pas a mele,’ which means ‘a mixed step.’ That is exactly what it was—a step generally done backward, the dancer, with his knees bent, dragging one foot back to the other to broken time; a short, unaccented beat before a long accented one, the same principle now used in jazz and known as syncopation. “I first heard ragtime in New Orleans about 1895. It was in a cafe, and there was a little negro at the piano. He would play one of the standard songs of the day, such as ‘Mary and John,’ and then he would announce: ‘Here’s the new music, the way us plays it, and he would break into ragtime. I'll never forget the way that negro chased himself up and down the keyboard of that piano. He was doing, or trying to do, everything that the eccentric jazz orchestra did three or four. years ago. “Ben Marney, a white man who had a fine negro shouting voice, probably did more to popularize ragtime than any other person. Harney, who was playing in Louisville, heard the new mus nd he gr so adept at it that he came to New York and appeared in the Weber & Fields Music Hall. Of course, ragtime may have started here before Harney ; there were numbers of wandering musicians Playing in saloons and cafes in those days; but credit is due him because he played in a first-class ‘theatre before any other ragtime exponent, ; “Always the dances were done in the new jiggity time, and they influenced clog, straight jig, Irish reel, Irish Jig, soft shoe and the George M. Cohan styles of footwork. Every one was dancing ragtime, and the motif was to be found in the original buek dancing. The dancers worked close to the ground, and few of them would lift a foot the height of the knee from the floor unless they were doing an acrobatic step—a kinker dance, we called “About this time Bert Jor ‘Stepping Stones,’ was regarded ‘as one of the | foot dancers in the country. He used to dev material from sounds. He was at first a snare drummer, and he'd sit in his dressing room thumping an old drum until he got a succession of sounds that pleased him, and then he would work it out with his feet. When he had the original combination going smoothly, he would do it again in doubles—putting in two steps and two sounds where he had originally one. Then he would do it all over again in triples—three steps and three sounds where he had one. ‘The dancers worked to catch the ear as well as the eye. Many of them could dance without any music, making pleasing rhythmie sounds with their feet. “All this took practice, plenty of it, for a dance had to be good. There was no such thing as a pretty good dancer, because engagements were limited, and a dancer who could not dance as well as the best was crowded out. Work was scarce enough for the best ones, and they were constantly traveling about the country. And all of this dancing lasted long after ragtime had its first big flare-up. What caused it to go out was the introduction of foreign stuff, such as splits, adaptations of Russian steps, jumps over the foot and all those things, “Whenever the talk turns to American music and American dancing, I always wonder if there is any music or dancing more thoroughly American than syn- copation and what we at first called ragtime. I do not pretend to say that this music originally was anything but what it was—the creation of illiterates, But it was Spontaneous, and as thoroughly original, though in another mood, as the so-called songs of the South which might have been inspired by negro chants. “If jazz develops into a form accepted as music, there will be interest a century hence as to its origin. That means if it is generally accepted that The Pasmala was the first ragtime song, that Ernest Hogan, an almost forgotten minstrel, will be hailed as the founder of the new American music.” . GEOFFREY O’HARA Weit-Known Community Sone Leaver, Composer Jazz is teaching America new tone colors in orchestral instruments. It is interesting the whole nation in rhythm, in melody, in keeping time. It is establishing the first principles of music in everyone (call it noise—what is music but heautified noise; call it rhythm—what is music hut ordered and beautified rhythm?) Jazz has heen an entering wedge for millions who had not taken the first step in music. Jazz has met them half way. Jazz is a mediator and advocate, a great go- between, a sort of theatrical announcer, a herald of better things, a jester. Jazz is knocking at the door of the Temple of Music. Old Dame Muse will open the door. Even now T hear her shuffling old feet and the creaking of that rusty old door of tradition. Tt will soon open, Jazz will be conducted to take its rightful seat in the Hall of Fame where it will be taught etiquette, PAUL SPECHT Wett-Known Conpucror or SuccessruL OrcHESTRAS Wuere is jazz leading America? I can best answer this by making a reply to the jazz critics and old learned professors and the like, who continually splurge into the press in fits, declaring that music is like whiskey; a powerful stimulant with a depressing re- action.” Another critic s, “the body throws off the poison alcohol, but jazz is lasting,” and so on. Well, briefly, if you refer to jazz of the past, noisy, slam-bang style, the critics have a good fair reason to shout, but if you or I refer to the present-day ja: music, I prefer to think of it as “rhythmic symphonic syncopation,” a particular brand of music fit for the ear and fit for the feet; in other words, it sounds as pleasing as it feels to the feet of the dance enthusiast; something that is elevating instead of degrading. Many letters received by me in my recent essay contest on jazz confirm this, This symphonic syncopation was founded by scholars like Bach and Brahms, and so, by adding a good share of spicy rhythm we define modern American dance music, the greatest of musical educators of the masses our art has ever known. Do you realize that this form of music is a forceful stepping stone to stimulate interest in the study of music; a step of musical development, distinctly American, that is teaching the public to better appreciate our big symphony orchestras? The radio and the phonograph have proven big factors in this development. In our smaller towns and cities where the small five or six-piece jazz band used to be the rage, today they are grouping into ten to fifteen-piece dance orchestras, imitating what they hear from the top-notch dance orchestras who broadcast over radio regularly; or often they take a phonograph record and play it over, observing all the musical arrangement, color, phrasing and detail that some famous orchestra leader has either paid big money for or else he has lain awake nights to think of some new novelty or embellishment to retain his supremacy amidst a competition that is rapidly bringing this unique native development to the fore. In other words, this so-called and grossly mis- understood “American Jazz” has probably equalled the American dollar as the American trademark of no in Europe, Asia and even Africa. to the four corners of the world, Now, then, if this form of music is like that critic’s whiskey, with a lasting effect, then I prefer the stimu- lant, although I am not a drinker, since I am convinced that modern dance music occupies a permanent place in the development of America’s progressive spirit and it has proven a welcome and effective stimulus, taking the place of liquor, banned by prohibition. : toriety It has rapidly spread A Jazz “Characterization” In a recent article, the widely-read music critic, Mr. Gilbert Selden, in Arts and Decoration, has given 2 distinctly clever characterization of Jazz, and from we quote: “Among the lively arts, jazz is at present the most promising. It is hard, precise and unsentimental, It is not sloppy, it is self-assured, it is never dull, abe jazz of ten years ago was impudent and mocking, Whiteman and Lopez preserve the lightness of transferring the jokes to the musical instruments the transformations in tempo which they make. “The orchestra as now constituted exploits the banjo and saxophone, which, it is surprising to learn, were absent from the original jazz bands. In reality the char. acteristic of the modern jazz band is its deficiency in strings, made up by the diversity in wood-wind, exuber- ance of brass, and the utilization of the saxophone family which has the ambiguous quality of wind and brass of reedbell. That constitution is suitable enough for canes ing: If the jazz orchestra ever becomes a concert body, the strings will have to be enlarged. ¢ “Jazz is roaring and stamping and vulgar you may sa: but you can not say that it is pale and polite and dying. The strength, the touch upon common things, aie hold upon common emotions, the almost rapturous free- dom, the carelessness, the lack of dignity, the very vul- garity, if you insist, of jazz are treasures beyond price in a world which is busy with business and a society corrupted by false ideas of politeness and gentility jn the arts. Jazz at least is mastering its machine inste: a it Spirit, and to e St : Me; of allowing itself to be enslaved, Tt will not sens 4 Never ¥ x Your {2d ty 1 ‘ music and it will possibly create se Bae econds. ae ath 5, St the feat you i Ws renga eee Ste SRE fot, OY eXerejg that Newt month THE ETUDE presents the first of ano aoe hile the five pa a ; upon Piano Playing. by the famous Russian Virgaole Rew, « belay? nal 280, Ma Cries 6 4 "k Hams, tant article _ their day, may i. “Ir unpolished state were the “jazz” of THE ETUDE Would Mozart Write Fox-Trots If He Lived To-day? Tur following from Mr. ¢ known Meyer Davis Teorge V. of the well- now ; Orchestra Organization, intimates that jazz is the folk music of Amer At the same time Mr. Davi is widely advertising that he will give a ue of $100 for a name for our distinctive American ae music that will not carry the stigma of jazz. Le me Sreat national schools of music have been built on oe al and dances of the common people. Such folk- sae oe hile a very humble form of art, is the indis~ Pensable raw material from) which masterpieces are — ers have universally recognized x = reates' or ave not considered it beneath thei Unfinished me\ les? yo. PY a heavy streed nae of actiot , dition, } Ur best at the fit aS Ne-quarter of 15 © correct all it
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THE ETUDE FREEMONT HIGH SCHOOL ORCHESTRA Oakland, Cal., A. C. Olker, Dir. SEPTEMBER 1924 Page 597 BRASS SECTION Instrumental Music in Public Schools By GLENN H. WOODS, A. A. G. O. Director of Music, Oakland, California Mr. Glenn H. Woods’ Success with the Orchestras and the Bands in the Public Schools of Oakland, California, Has Attracted Nation-Wide Attention. His Methods Have Literally Brought About a Revolution in Certain Phases of Musical Education Few are the cities that have not responded to the popu- lar demand for instrumental music in the schools. The evolution has been natural, steady and secure, developed by the increasing interest in instrumental music through Symphony Orchestras and Concert Bands. Every city of any commercial importance has at least one Symphony Orchestra listed among its advertised achievements. Instrumental music is of itself its best salesman. It has a variety of tone color in the four choirs of sound that appeals to the auditory senses. Its harmony is tripli- cated in three different sections of the orchestra and reénforced by the fourth; it has height and depth, force and delicacy, tragedy and tenderness, so that no sentiment within the gamut of human emotions is left untouched by the tone color and technic of pure sound that emanates from an orchestra. Small wonder, then, that instrumental music has finally penetrated the confines of the elementary as well as the high school. The boys and girls of today are the men and women of tomorrow; and as taste, culture and refinement become needs of the daily life in mature years, the appeal to these tastes cannot be applied too soon. Music apprecia- tion has acquired considerable vogue in recent years; and those who can perform and participate in musical pro- duction are the more apt to have a highly cultivated degree of appreciation, American boys and girls have just as much innate musical instinct as the boys and girls of any other nation. We of America, however, have been concerned too largely with the elements that provide for “making a living.” Having succeeded admirably in this undertaking, the time is now propitious to add to our accomplishment the elements that presage the tastes we evidence in the life we live. Music for Everybody Music is by no means a subject which only the elect can acquire. The average boy and girl shows marked ability in all phases of musical technic, when that in- struction is available and they are exposed to its myster- ies(?). Their voices are quite above the average and respond quickly and permanently to vocal training; piano and instrumental technic offer few obstacles that they cannot master; harmony is not a closed book nor an un- welcome study; they grasp its principles quickly and need only to be well taught to be able to acquire its use. Orchestration and arranging hold no terrors for high school students, Orchestral tone and instrumentation are already almost a daily association, and this acquaintance makes easy the approach to the goal of thinking pitch in different qualities and quantities. So music in any of its diversified phases can he assimilated by the American boys and girls if instruction is available. Educators have been slow to recognize the educational value of the subject; for few of them have ever had any appreciable training or experience in the subject. Music has acauired some recognition in the educational program; but it has not yet received the endorsement that guarantees the momentum of success it can develop if the endorsement were more of a conviction in its po- tentialities rather than resignation in behalf of an ex- periment. President Eliot (Emeritus) of Harvard stated that: “Music, rightly taught, is the best mind-trainer in the group.” The educational leaders heard but did not heed; for experience in the subject aroused no reciprocal conviction as to the merit of the statement. Music has had to ferret out its own course in the schools and adjust itself to established procedure dating back many years. Despite this handicap it has grown, expanded and acquired a permanency that augurs well for its future achievement. “If the child be more than his information we shall not neglect his taste’—(Developing Mental Power—P. 70—George Malcolm Stratton). Does music develop the artistic taste of the child? Is the element of taste in art, literature and general culture influenced at all by such music as may come within the experience of the child in his school years? Music for so long a time hag been considered a fad by GLENN 8, WOODS the majority of educators that the layman is frequently inclined to question its real intrinsic value. To aid the layman and others who may still question its value, may it be said that music is the most universal of the arts, and those who frequently derive the most pleasure from it have little knowledge of the subject and regret it exceedingly. The child is the man in the making and music should be part of his equipment. It will never do him any harm and may do him much good. This is a certainty beyond a doubt, so let us proceed to the ways and means of accomplishment. Every child spends a large part of his first eighteen years in school. His music and school work must pro- gress simultaneously or one or the other be neglected if not entirely abandoned. If he possesses musical ‘ability’ of a marked degree the school studies are usually sacri- ficed, with a permanent educational deficit to the child. If music be to his dislike he is most certain to face later a regret that music instruction was discontinued at a time when mind and muscle were retentive and pliant. Very few persons acquire facility in any drill subject after twenty years of age. The concert artists now before the public were masters of technic on their chosen instru- ments while still in their teens. It is imperative, then, that music be part of the instruction received during the school years and for that reason it should be part of the curriculum of the school. All progressive school systems have music in some form, but it is more frequently confined to singing. In the last decade, however, instrumental music has attracted considerable attention and many cities have incorporated it in the program. This particular phase of music usually appeals to boys; and music for boys is the theme of this missive. The Teacher Taste in art, literature and music can be acquired. The average boy of average intelligence, with good teaching, can learn to play almost any instrument and produce therefrom material sounds that are quite above the average. The unusual instruments of the orchestra, such as the oboe, bassoon, French horn, string bass, flute and clarinet, fall easy prey to the nimble fingers and alert minds of the bright-eyed, vigorous American boys, and they derive no small pleasure from being able to make the “thing do stunts.” If the boy can do it, and he can, he should be given the chance to do it. The first move in this decision must be made by the Superintendent. If he says instrumental music is to be taught in the schools, the first hazard is passed and the fairway looms clear for a long drive. The instructor is the first consideration. Good per- formers are not always good teachers, and vice versa; but a good teacher must know how to perform on or- chestral instruments, if success is to attend the under taking.
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Page 598 SEPTEMBER 1924 The violin is, of course, the major instrument to be considered; but that does not guarantee that the wood- wind choir will receive correct attention unless the in- structor knows something about that section. Then the brass should not be neglected and most of all the drum section. Let us look at the different instruments in the orchestra and investigate the problem from a practical standpoint. : The string choir has violin, viola, cello and string bass. A good violinist can always play viola; so the cello and bass: are the only two that need consideration. The knowledge necessary to carry pupils to a stage of pro- ficiency on either of these instruments can be acquired by any violinist in a few months. The reed or wood-wind section has clarinet, flute, oboe and bassoon and the “moaning saxophone.” Of these the clarinet is the more complex, as the fingering of the others is quite similar and the single and double reeds are the only additional obstacles. So a knowledge of the clarinet is decidedly advantageous for the instructor, and the rest can be learned by application. In the brass choir are cornets, horns, trombones and tuba; and the most formidable two are the horns and trombone. The technic of each is distinct; yet, with a playing knowledge and experience on the cornet, these two instruments are possible of attainment. The remaining section is the drums; and because of their dominance, especially in the hands of a husky boy, one needs information concerning the execution of the instrument and not of the player. As a summary, you naturally wonder if one man can do all of this and do it well, and the answer is yes. Most musicians play more than one instrument and some play many ; while others know the fingering and general tech- nic of the different instruments well enough to start a pupil and continue his instruction until his playing ability and interest in music urge him to seek a special teacher. Every community has musicians who are so equipped; those musicians not so versatile are willing to increase their professional efficiency by taking up the study of the instruments they do not play. For the teacher, then, find the man who can play more than one instrument—violin, first; clarinet, second ; cornet, third; or any substitutes for these except the ukulele. Many persons will hold that a teacher so equipped is a “jack of all trades;” others will venture that he can- not teach all instruments with equal facility; but the prime factor yet to be considered is the orchestra itself. Each member in a professional or symphony orchestra is master of the instrument of his choice; but school chil- dren are not yet masters and they present an entirely different problem. For that reason a teacher who has a good working knowledge of many different instruments of the orchestra will weld and develop a better ensemble because of this ability. The composite effect of the or- chestra as a whole is preéminently the main objective of instrumental music in the public schools. Equipment No other department in the schools dealing with voca- tional subjects such as manual training, cooking, sewing, millinery, or the trades, has as little of the equipment furnished by the Board of Education as the music depart- ment. A library of music, racks, and instruments are the only equipment needed; but the need of these is impera- tive. To any orchestra, anywhere, in any city, will be brought violins, cornets, clarinets, maybe a flute, cello or trombone; but what of those unusual instruments, the viola, string bass, oboe, French horn, drums and tympani, so necessary to complete the instrumentation? These must be supplied by the school department just as they supply typewriters, sewing machines, lathes and forges. And what of the cost? The money invested in one ma- chine shop alone would furnish all the unusual instru- ments needed to complete the instrumentation of ten high school orchestras and bands, to buy a large library of good music, a grand piano, and still leave enough to start a substantial savings account. Many are the Principals who will escort you through the educational plant and expatiate at great length and with much pride upon the new and modern equipment to be found in every branch of trades and arts, except the music department, This must be content with pianos of dance-hall type and tone; orchestras and bands perform with only ha > complete instrumentation demanded ; and the Pr tisfied “because it is cheap” and the music instructor is dissatisfied “because it is incomplete.” And what of the pupils? Are there boys and girls in the schools who could learn to play these unusual instruments ? How do pupils learn to manipulate a typewriter at one hundred words per minute? How do they learn to cook pies and cake that rival those that “mother used to make?” How do they learn to run a lathe, a planer, a (Continued on page 643) Quick Ways of Teaching Youngsters the Notes By Mrs. R. J. Manning As all teachers of experience know, the beginner needs more careful instruction than‘the advanced student. Good or bad habits in music are formed early as in everything else. How often we hear music teachers say, “If they knew their notes; I would not mind teaching beginners.” Now let us make this much dreaded task easy and pleasant for both teacher and pupil. Jennie and Jessie come for their first lesson—bright and talented twin-sisters. We seat them side-by-side at the beautiful grand piano they are so eager to play on. How simple it is for them to find groups of “three” black keys and “two” black keys alternately! Inside of a few minutes, both can delightedly point out these groups. Then we locate A (in group three). They find it in- stantly, and play a game of “finding all the A’s” and see- ing which can get them first! Such a merry scramble! They “skip notes” all over the keyboard, until A, B, C, D, FE, F and G are often learned in one half-hour lesson, which ends with the location of middle C. The little tots go away with “something to practice ;” for they have had a game of “skipping notes in which each tries to catch the other.” Often they are further equipped with a knowledge of “feeding the musical pigs” at this first lesson—going home with two music games. “Feeding the pigs” is a first lesson in technic. This alluring game is played by placing “five fingers on five notes” (each hand separately) with fingers beauti- fully curved, each one resting lightly on the “ball of the finger.” Now all of these tiny digits must be tilted prettily towards the thumb; when, behold, they turn into igs! : ‘The ball of each finger is a “little mouth” and the feed- ing is done by tapping a note three times with each finger successively, taking great care with the fourth and fifth fingers, which are the “youngest, weakest pigs and need help.” This game is persisted in with many children until an amazing control of the fingers is acquired before learn- ing to read sheet music. Then the next “bugaboo” is the staff. The pupils are anxious to find that something which the “beautiful golden notes Jean upon to make music.” Heigh ho! here it is:— Find your middle C. Skip one note and then press down the second note above middle C (which is E) ; then the second above that, and so on; keep holding down every other note until you are holding down five. It takes both of Jennie’s tiny hands to hold down E, G, B, D, and F on the staff. Presto! another game. Now whilst Jennie is holding down the treble staff, Jessie is told to help her by “playing teacher.” The five notes held down are the lines (E, G, B, D, and F). The four notes “sticking up” are the spaces (F, A, C and E), It takes both lines and spaces to make the staff (in its new dress). Then repeat the old formula—lIst line E, 2nd line G, and so on. One child asks what note is on a certain line or a certain space in the staff; the other names the note and finds it. Then they exchange positions. Jessie holds while Jennie “teaches.” Soon (often in a second lesson) they both’ know this staff perfectly. Have blank staffs with clefs ready. When they know the keyboard notes perfectly have them write them on the staff (whole notes, because easier to make, are best for this), thus preparing a solid foundation for accurate reading. During the mastery of the staff in treble, if the least weariness is shown, divert their attention by playing a “staff tune.” Take each pupil separately and regardless of time make her recognize the old tune ‘Days of Absence” by applying a knowledge of lines and spaces. As the real teacher calls them rapidly, have the child press down the correct note on the piano in staccato fashion, thus : Teacher. Fourth space Pupil. Touching E (at same time) T. Fourth space ° ‘ P. Touching E (at same time) T. Fourth line P. Touching D (at T. Third space, P. Touching C (at same T. Third space P. Touching C (at same time) T. Fourth line P. Touching D (at same time) T. Fourth line P. Touching D (at same ‘time) T. Fourth space P. Touching E T. Fourth line P. Touching D (at same time) same. time) time) (at same time) THE ETUDE T. Third space P. Touching C (at same time). The staff in bass begins with the second G below middle C and is learned the same way as the treble staff was learned. The notes held down are: G, B, D, F, A; those sticking up are: A, C, E, G. ett After both staffs are mastered it is interesting to see two tots; one holding the treble staff, the other holding the bass staff, m a cross-fire of “very hard skipping this time! The real teacher tries to catch them too, with rapid questions from one staff to the other. : ‘ Leger Lines, Note Values, Time, Intervals, Triads, Signa zine ures: and Scales are made equally simple and’ valuable in succeeding lessons or articles. Sparks from the Musical Anvil Glowing Words of Contemporary Music Workers “N ee. 3. ‘ erived from Na- ‘ALL art is, in the T1Ve! a pn first Instance, deriv rom Na-’ “An innate Sense of tone-color yle ! f io) tyled the might be 5s) sa Merce’ Mm creative and interpretativ: Ci ” Week as Pretative musical art. “Fads in techni aoe . im technic or Monstrosities in a passing curiosity ; but little or i composition may wi be Preserved for posterity. 1 Ra nothing of them OLPH RicHTER “The advanced st ed student must, according to the add, accordi AMOND_ ding to in the end, develop his structure of his hand, his own mentality.”— “Tt is alto ee for Be cultivated i tee Sood ‘music is mean riew of the broader.«.:,. V~ are all ve ant r that the general er ded people Ne een ies cause it knows little Ic only submits to h See 2 me Gf the other King qe, tee ee “Musi “ind.”—Joun F, Porte Music should becor and should he 1 sh Ooked Provision of park. ‘ Sa ters of public felt 4 ee human nature, ’ Sm Dan Gor ife of the people, same way as the » anda I @ great j on ee Breat deal to go nfluence It brings pleas- 3 aay other one of the Wider dissemination of ae e re, mination © ENT (Coortngis Barded as a real public The “Ga me” ; obo a Study By Lynne Roche One d: ay a yo ices ung mM = 4 came so engroes, a Walking thr urred and feather, a in the ae ugh a small wood yer e 5B yee ground, flitted oe who sciiies df gtatching arted among the ror tree 6 ried Over the moss ne Pastime, oon ele th ie tree or intermittently Nis see he 3 Wa zi wl quits became alm habit had ero F drawn to repeat com OUTS as stilt Lost daily and po upon him until OmMPanions might lose thy Stump, jus he had tearned © S a . _ Finally he buit live much of th Wo0ds- folk 1 Hs ds~folle Who h Ne Wrote of these 3 thes Moreau one of among naturalists naa NE Music} : mid; + that his woodlan J approaching him - res that he might Ively, Joy, little =o S fra » lovely li SOCiations mad Tlends, The stories amiligg ie name of HentY d most respected E eir a cabin in jan eh Not so diff, > Younes: erent, hold Pends upo, > the «> Ma M the . le t ay hay ie are atti ud © mar aim! a eh ay oe a ae i eae 355 ein, de- 8S interesp ma @ Work = US ame oy yt as = the thtsiog is approache@ with it aieck: to fir Hy, Woods” that 1 a he tri] aly ¢ s of the trity SY - One pets the 4 chasing its hist s aMiligy 1 ets into 5 days when Op’ ory bac x ne can becom tirely new 4 Dera we th et into the spor ) ye ie TT z 3 2 nd then ce 1M its exon et an there vturies to ie eating gy, “St of ay. tion "eC Will be an el Pared with «ther fete Bet into ; The that chet of co has yo Batic if ne thrill of ks tictom, ~ NO sene... With yourse™ an obyioy NOW iy . oy WuSation to be com Sot n¢ : ; S-own past work: accomplished 1 defore gg more row, And the Played every. time —
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THE ETUDE SEPTEMBER 1924 Page 599 New and Practical Helps in Sight Reading Why not learn to read difficult music as readily as you read your Why not you, also? Hundreds can do it. How often one meets pianists of merit, who find them- selves at a loss if they are confronted with reading at sight, even if it may be an easy composition! I have in mind a young pianist who is truly remark- able for her rendition of a quite exacting repertoire, in- cluding difficult works of Bach, Beethoven, Liszt, and others. She is possessed of a brilliant technic and also her interpretation is very artistic and poetic. But give her to read the easiest piece of music and she is likea fish out of water. Rhythm, notes, everything is bungled beyond recognition. She candidly confesses her inability to read at sight. (Confession is an extenuating circumstance, but not an excuse!) There is here a regrettable deficiency in the musical training. A pianist cannot, often times, escape the neces- sity of playing for four hands, or in chamber music ensemble, or to accompany some singer or instrumentalist, without having the opportunity to study the music before- hand, even if he does not make a specialty of this branch of pianistic art. The consciousness of his inability to cope with this eventuality must be very humiliating in- deed. To all those who are eager to fill this gap in their musi- cal education some suggestions are offered which may facilitate the task. Several things must be quickly per- ceived by the sight-reader, viz.: rhythm, notes and the signs of expression. In the case of complex music it is not easy to grasp at the same time these three important elements. daily paper? Faults of Time and Rhythm If one plays with somebody else, like in four-hand compositions, the rhythm, the time have first place. It is of course bad enough if one strikes wrong notes; but this type of errors at least does not totally upset one’s partner, The playing can go in spite of mistaken notes. Much worse are faults in time or rhythm, which compel the partner to stop and to seck a place where the two players can get a new start, Everybody who has had the mis- fortune to play with such an undependable partner knows how provoking, how exasperating these continuous inter- ruptions are. Therefore the rhythm should be the first thing to be mastered by the sight-reader. we have obtained the best results with my pupils by i isolating” the thythm, that is beating the rhythm alone, independently from the notes, on a box or, still better, on a tambourine, One does not really need a tambourine to begin practicing in this manner. An ordinary wooden box and a lead pencil will complete the necessary equip- ment. I prefer however a tambourine as being more pic- turesque and because it appeals more to the phantasy of the pupil, being a regular “instrument.” Use the Metronome If another player for the secondo part is not at hand one could use also a metronome, set at a moderate rate. However the metronome makes matters much easier for the pupil, not offering the contrast of different rhythms contained in the secondo part. Ifa simple box is used, place the music on a rack be- fore the pupil seated at a table. Let him tap the rhythm through the entire piece with great accuracy making a distinction in the matter of weight of the taps for all accents, all fortes, all pianos, and other features. Let us take for instance the N. 19 of the (excellent) Etudes for 4 hands, Op. 97, by Bertini. The beginning measures of the Primo are as follows: ASS On the tambourine the 1 aythm would be beaten as follows: Thus isolated the rhythm will be easily mastered by the pupil. Or, in the Etude N. 12 of the same work: By the Eminent Pianist, Composer, Teacher EUGENIO PIRANI Mr. Pirani’s Allegro Lad 2 a a 2 ee ee: =: x =e was a seems Ee = Esra == Tambourine: 2 tpt pp Or in the Etude No. 25, Primo: No. & Allegro Cae ==: ——— ie z = =e EES: = re Tambourine: ce Se ee The whole “primo” part ought to be “drummed” in similar manner from beginning to end, while the teacher (or the better musician) plays the “secondo” at the piano, as it is written. This training ought to be continued until the student feels himself able to grasp the rhythm at one glance, even if retiring at some distance from the music, so as to perceive only the rhythm without the notes. The development of the time sense itself is most impor- tant. One does not count when one plays in public. Time must be felt. The trouble is that many piano teachers expect the pupil to come by this time feeling naturally, like breathing or seeing. It may come in that way to some very gifted persons; but in most instances it is a matter of careful, attentive building upon the part of the teacher with close codperation of the pupil. It certainly deserves specialized attention. Therefore, after the pupil has developed the rhythm, in a piece with the metronome, as we have indicated, the teacher should hear the pupil tap the rhythm without the use of the metronome and with- out counting. This will call for the strictest aural atten- tion upon the part of the pupil. After that a similar procedure ought to be employed, isolating the notes from the rhythm, in other words, con- sidering only height or depth of the notes, independently from their rhythmical value. Also here a thorough train- ing will be necessary, especially in deciphering the notes with many lines above or under the staff. In fact, how many times one hears the inexperienced sight-reader ask: “What note is that?” He often is bewildered by the great number of lines and perplexed to find out what note is represented. Instead of counting the lines and the spaces, he tries to guess, mostly wrongly ! Don’ts for Sight Readers Don’t Hurry! Take your time. Much bad sight reading is due to the fact that the student has been impatient, that is, has tried to read too difficult music too soon. Don’t read single notes! Form the habit of viewing your work in chord groups. You don’t read single letters when you read a printed word. Don’t despair! Many people who might be good sight readers give up toc quickly and say, “Sight reading is a gift. can never doit.” The real gift is that of “work” and “sticktoitiveness.” Don’t be easy! Sloppiness is unforgiv- able. Concentrate. Form the habit of play- ing right. Play the right notes, the right time, the right rhythm, the right accents, the right phrases, the right expression, the right pedaling. It is marvelous what the human eye can grasp and what the human mind can digest in a flash if one will only persist and “concentrate” and not be easy with oneself. article will prove a real help if you will undertake to try his methods for alittle while. Sight reading is becoming more and more important. A great help in reading at sight will be the ability to identify groups of chords. This is one of the reasons why a thorough study of scales and arpeggios (sce “Mastering the Scales and Arpeggios” by Cooke) as well as an understanding of harmony are so advantageous to the study of sight: reading. Quick Eye Work After the pupil has come to identify the ordinary triads easily, his next step is to the seventh chords. It is not easy for the eye to grasp note groups with four notes quickly and accurately. Good sight reading depends very largely upon a quick eye; and a quick eye means eye training and eye development. Contrapuntal exercises are also good for reading, because they take the eyes as well as the fingers into different paths. For such a purpose Bach is invaluable; “Album of Favorite Pieces,” the “Two part Inventions” and similar books. (Polyphonic Studies compiled by Theodore Presser were published largely because of their value for sight reading purposes at a certain stage of development.) How, for goodness sake, can a pianist read at sight, if he is not thoroughly acquainted with rhythm and with the notes? I, therefore, insist on mastering apart these two integral components of notation. It reminds me of a significant anecdote which will illustrate my method: A famous general, I believe it was Frederick the Great, asked his soldiers, on the battlefield where a carcass of a dead horse was lying, if any one could tear off its tail. Several tried hard to do so, but none succeeded. Fred- erick showed how easily it could be done. He tore the hairs one by one and in no time the tail was completely torn off. Morar: What we are not able to master cole lectively, we can easily overcome separately. Look Ahead! After a sufficient skill in these single operations has been acquired, another matter should be considered. To acquire a certain amount of speed in sight reading, it will be necessary to look a measure or two in advance of the place one actually plays. In other words, the player ought to have always something in reserve for the next moment. “Looking ahead” means to figure in advance what comes after, to feel in advance the notes, the pas- sages, with the right fingering, under your fingers. The quicker and surer you can perform this mentaJ operation, the more fluent will become your sight reading. The moment you lack this reserve your machine comes to a sudden stop and consequently your partner also is again put out of commission. Like the singer, who must always have a reserve of air lest otherwise the phrase will be suddenly chopped off, so the player must be prepared two or more bars in advance. You must have in your bank some funds in reserve for future expenses, or you will find yourself soon in a sorry plight. Do not believe, however, that this advice is meant only for beginners. Also advanced players will benefit from this procedure, namely, giving the first glance to the rhythm and the successive ones to the notes. Of course the two operations must follow one another with the utmost rapidity, but still be distinctly separated from each other. And, furthermore, this method of sight reading will prove beneficial not only to pianists, but as well to other instrumentalists and singers. Resuming: Study first the rhythm alone, perhaps with the help of a tambourine, Try to decipher at a glance the notes, especially those above and below the staff, independently from the rhythm. Continue training, uniting the two elements. Look one or more bars ahead of what you are actually playing. Self-Test Questions on Mr. Pirani’s Article 1. What should be the first thing mastered by the sight reader? 2. Name two good ways in which to learn rhythm? 3. How should notes be isolated from rhythm? 4. State what kind of exercises are valuable in sight reading? 5. How does one acquire speed in sight reading?
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SEPTEMBER 1924 Targets in Music Page 600 By Jessie E. Britt One of the greatest things in life is a target, a definite aim. In the study of music there is too often a tendency to drift with no definite goal in view and with but little to show for time and effort expended. This is especially discouraging to young pupils who are at an age when immediate rewards are more alluring than future fame or glory. “ If some means, however simple, can be used to denote definite stages of progress, then the interest and enthu- siasm are quickened, and a friendly spirit of competition may be stimulated among the pupils. It also pleases the parents by enabling them to judge the musical progress of the child and to co-operate in a helpful way with the teacher. With young pupils, gilt stars, which may be purchased at a trifling expense at any stationery store, can be used very effectively. When a piece of music is perfectly learned or approximately so, and can be played jn a musi- cal manner, with correct fingering time, and notes; then the teacher sticks the gummed star upon it, and there- after it is proudly alluded to as a star piece. For a mem- orized piece the larger sized star may be used. It is surpris- ing how eager and delighted the little pupils are to get a “gold star” and how they hurry home to show “the folks.” As the pupil advances in age and proficiency, other ways may be used for making the study definite and worth-while. As soon as the second grade is reached, each pupil should have an assignment book which need be only an inexpensive note book with durable binding. In this the teacher can write down exactly what is assigned, with practice time for each. The pupil should also be required, or at least encouraged to keep a practice record for each day. To further encourage the student and indicate his progress it is well to employ a system of marking in red pencil on the assignment book. E may stand for excellent, G for good, F for fair, and U unsatisfactory. One splen- did result of this system is the careful supervision which the parents are able to give the pupils in the home practice. The graded courses of study, of which several good ones are to be found among musical publications, furnish a standard of advancement and tend to promote systematic work, when judiciously adapted to the needs of the stu- dent and supplemented by other material. Before promo- tion into another grade a simple test may be given on such elements as musical terms, time values and key signa- tures. Of course the tests should not be so rigid as to be dreaded by the pupil. He should feel, rather, that they are simply a means of fixing important points in his mind, so that he may proceed more rapidly and pleasantly in his musical studies. If he has a real musical target he stands a far better chance of making progress. The Use of Improvisation By Grace Mays Piano lessons may be made much more interesting by a teacher who has the talent for improvising. Something of this kind is needed as a stimulus for pupils who are not especially interested in taking piano lessons. Four drills are suggested here for use by a teacher who can improvise. . First—The teacher allows the pupil to name a key, the kind of rhythm, and a title for a composition to be im- provised by the teacher. Of course the mood of the composition should be consistent with the title. The teacher carries out the idea which the pupil has suggested. Second—The pupil suggests a key and the kind of rhythm, then gives a title to the composition after it has been played. Since it appeals to the imagination, this is more interesting to some pupils than naming the title be- fore the piece has been played. Third—To help develop the child’s sense of rhythm, the teacher improvises, and then allows the child to name the kind of rhythm after the composition has been played. This causes the pupil to listen closely for the accented beat of each measure. Fourth—To familiarize a pupil with the different keys, have him to watch the keyboard while a selection is being played. The child can easily distinguish whether it is in a major or minor key, if the teacher has explained that minor keys are suggestive of something weird, gruesome, or melancholy ; and that major keys express bright, happy or exciting ideas, These drills appeal to pupils and are a real pleasure for them, They are also enjoyable work for the teacher and are means by which one who hasn’t time for more extended composition can use his talent for improvising, in a beneficial way. THE ETUDE Training That Awkward Thumb By Wendal C. Wood Tue thumb is the awkward member of our family of digits; on its action more than on anything else depends the speed and evenness of our scales and other passage work. All too often it fails us, preventing the acquire- ment of the desired qualities; so special training becomes necessary. Technic specialists insist on preparation of the thumb’s note; that is, that the thumb must always be in readiness above its next key before the time to play the latter. The following little exercise was designed to make the thumb form this habit of finding its next key at once after being used, and serves to facilitate greatly the thumb-under movement in scale and arpeggio playing. It also enables us to concentrate our attention on the thumb movement itself. A Simple Exercise Play any scale in a skeleton form, using only the thumb and forefinger, leaving out the 3rd and 4th fingers and their keys, thus : CD (E) FG (AB) C Ex, 1, Cimajoriroh:, 1 2 eZ 1 etc. The notes in parentheses are to be omitted. Use the same fingering in descending the scales. Ex. 2, Bb minor C Bb (A Gb) F Eb (Db) C Bb 2 Le? 12 etc, Use the same fingering in ascending. As soon as the 2nd finger touches its key, D, (Ex. 1) slip the thumb under it by an quick easy motion and let the latter drop lightly on F, and so on up the scale. Play in even rhythm, very slowly at first and always with but one hand at a time. (Notice that “slowly” refers to the length of time the key is held down—the thumb movement itself must be quick.) This skeleton scale may be played up and down the keyboard through as many octaves as desired, like the ordinary scale; but it is better to practice it a number of times successively in the same direction. os of the Scales in the piano literature are “one way” ae = Eo thumb-under” should be practiced more than and-over" movement; and the left hand more than the right. The followi ay suit most pupils: Owing schedule of repetitions should LH, descending, 10 times R.H, ascending, 8 times 1 Deas ascending, 5 times R. H,, descending 4 times. Play thus i <eYs ; y in all keys; the thumb’s first note will not be the key: i (see Ee. 2) ar scales which begin on a black key the thumb’s n anne the scale fingering is determined by means of | otes this exercise furnishes an excellent carning the various scale fingerings. Keep the arm ligh i tl 24 : held up nor should its wake it should neither be sti bend: If the arm is well bala: i ne 7 He 48 Tn playing a scale the hand should be well rounded, in oa ees and the (ata Seiln , €r to allow the thumb to swing under d be played very slowly, until atten: Then the variations Plenty of other exercise. Whe? The Necessity of Ear Training By Arthur Olaf Andersen — Lack of proper ear training is one of the greatest draw- backs in the progress of the average American music student. This deficiency is especially noticeable in the pupils of the private teacher who rarely, if ever, takes the trouble to determine just how much or how little each individual knows regarding this most important branch of an all-round, general musical education. Ear training, to the music student, is what rudimentary knowledge of English is to the literary scholar. It must be acquired in some way before one is capable of any de- gree of mastery in either subject. In studying English, the necessary elements of grammar, phrasing by punctua- tion as well_as rhetorical construction, must first be acquired. In ear training, an equally careful mastery of all the primary factors pertaining to the language of sounds must be attained. The first thing the teacher should do is to ascertain whether or not the student has perfect or relative pitch, The necessity of perfect pitch in the student has been a matter of much controversy among teachers of theory, The majority insist that it is an indispensable requisition in the success of a composer, singer or performer of a string instrument, but not so important in the case of the pianist or of the performer of an instrument where pre- determined pitch exists. This may or may not be true in some instances, but we argue that perfect pitch is not necessary in any case! The delicately sensitive ear of the musician might save him a great deal of hard work, but what has perfect pitch to do with the inspiration that gives us an exquisite melody, a ravishing sequence of harmonies, a well balanced, symmetrically designed com- position? True, perfect pitch will be of great assistance in the setting down of the musical expression; but perfect pitch never was and never will be the inspiration of com- position. Tn the matter of the instrumentalist or vocalist, the per- fect ear is undoubtedly an asset of extreme importance; but the fact that one does not possess this gift of nature need not discourage or disconcert the young musician, for he has it in his power to develop his auditory faculties to the point where they will serve him in every emergency. Ear training should be seriously considered by every student, no matter whether he has perfect pitch or not Ear training does not alone mean the ability to hear tones but a small factor in ee hese may sok “Readin’,” « aC. implies the three “RS, music audibly aterpreted asco n” and “Rithmetic : Constitut: T inaudibly Senet the ability to re mental pring; ’ Ciple: sa ay - Progression, ian of notation chord ences the funds t also includes cen Spelling anim a Modulati € ability to er sae and ornamentatio™ Various simple, « m with distinct clarity » Compound and comp Oveted Prize at the Pp. Usi Hi (a) que is the Medaille de sot ce M4 Solfege and eas, riya all the aris Conservatoire a he winner of th! Sreatest all roum : hed ho; musician in Hie Ot iS consi . in onsi which the pis Class fo, dered the ingly thigh’ §5 to } year. The final contest # chosen fr, £ a cite % om a ~. RB °n, results n exe! among tt Or this oe deed : event the juds of the French Rept! { S “ll, in orde pro” can if + nex + In order to P. 5 and, finally 45 1° adm} ae Student body, which ance a Presentat: Scially jny: the portals, rs at . DVI H e ON of inyj “C Suests are allowed ? tense to thej . NVita; 7 ie tk a ce reign free Pointed seat Cards, being theres ‘ou ies . Place, J igh the ees, writ Moment ep a in Ur ths ge unti] i the first contest! ; : al recitat; take candidate Pandemo, e) eee borne from ¢t on th breaks doe nes Hom fi 3 he at 5 of Bravos ae Fall ay id Shoulders ma 7 pe d F, hus it will be Moroug applat soning shot Les i 4 ause and $ USicians pa ma all, is cay ie SOnsid, ormousty, important “ he . raining jy + Study ; Pore te course Fea e Daead ats raction| of solfege, whe Music student Ainin epi or Semonstie gig ive v m a @ hens his trainj ‘ he ji estimay comprehe™ ie DOossesso ®Y not disc] Ntalist, yo, Mle value 1 ers fain he Der fect he #, OCalist or compos s it & fac i ie Relative 1 to sae Os in ‘ that he is the oro ale any 5 thought and 1 may be Te serve in petal: cok all the pra vata ured nage te a y ae laty ugh proper sO anta, bode es, ive ps of erfecs” Will bring t@ Ditch,
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THE ETUDE SEPTEMBER 1924 Page 601 How To Organize A Boys’ High School Band By J. W. WAINW RIGHT Music Supervisor of Fostoria, Ohio, and Director of the Fostoria High School Band, Which Won the Championship of the United States “Always Begin Music Study With the Piano’’—Read Director Wainwright’s important words on this subject on the next page Ir was evening of the memorable day when the happy news came over the wires to the Fostoria home folks that their band had won first honors at the National Contest, the occasion a social gathering of Fostorians where naturally the favorite topic of comment was the band and its victory, that the following conversation took place: “Well, I suppose this will make your boy anxious to join the band—or isn’t he musically inclined?” “Not particularly so, But, of course, you don’t have to be musical to belong to the band.” The first speaker, a trifle taken aback, adroitly avoided an argument by observing that it “helped some” to be musical. My informant was boiling over with indignation when he sought me out upon my return home to tell me of the insult, as he chose to term it, which had been hurled at the personnel of his idolized company of musicians. But I told him we had been paid a rare compliment. For what seemed to my friend an unjust statement contained more than a grain of truth. My commentator might have gone a step farther and said, “Of course, one doesn’t have to be musical to direct a band,” with- out deviating yery far from the truth. And there you have in a nutshell the reason for the unmitigated, unprecedented, unquestioned success of the boy band movement, The from-pioneer-home-to-White-House story of the organization and advancement of the Fostoria High School Band is doubtless already familiar to many readers of the Erupr, so I need not review it here. Musical or unmusical, I doubt if my fortitude would permit me to endure those first rehearsals and programs again. The terrible tension of the first five beats of the “Day in Venice Suite,” when I trusted madly that my young amateurs could and would “hit” the sixth; the sour soarings of the clarinets a little farther down the score; the uninvited augumented chords (my apolo- gies to the horns); the basses ploob-ploob-ing along, perhaps a measure ahead or behind; the drummers sullenly slinking behind their cymbals if they were caught off guard and received their inevitable reckoning for such an offense—jt was not musicianship that counted then. Oh, no; it was pure, unadulterated grit. Thanks to many fortunate circumstances, the per- centage of the unmusical now in our band is exceedingly low, while the number of those who are naturally en- dowed with musical talent, who undoubtedly will reap a rich harvest from their training in the band, whether or not they choose to make music a profession, I could place at twenty-five, or about fifty per cent. of the membership, But I am serious when I say that, at least at the outset, not so much depends upon a boy’s accurate sense of pitch as upon his enthusiasm, and not so much upon a director's knowledge of phrasing as upon his under- standing and love of boy nature. Earl May, in his treat- ise on “The Silyer Cornet Band,” drives straight at the heart of the situation when he tells in his humorous way how even the most uninspired, unwilling student of the piano or violin, when fired by the prospect of a parade or a concert in uniform, will seize a horn and blow himself into a frenzy of enthusiasm. First and foremost, let there be a band! Then let time and tide cut down the hills of cornets, fill up the valleys of clarinets, weed out the saxophones, set up drummers and basses as invincible as the forest pines and throw over the whole a shimmering veil of color, delectable and undying. Time and tide are personified in the director whose baton is the magic wand which may make or break the destinies of his organization. It is sad to say that there are in the public schools many teachers who are trying to teach instrumental music to school children ‘who know not what they are doing. In most cases it falls to the lot of the already overworked supervisor of vocal music to try to build up the band and orches- tra; but, most emphatically, teaching instrumental music is a job all by itself and should not be attempted by anyone who has not been especially trained for it, who does not know every instrument, including its different combinations of fingering, who cannot unearth technical mistakes in the playing of his pupils and then correct them. The lack of well-trained supervisors, or, to place the blame where it actually lies, the lack of funds to secure well-trained supervisors, is the greatest draw- back to the progress of instrumental music in our schools to-day. A Leader of Boys But paramount in importance to his knowledge of instru- ments is the director's faculty for becoming a leader of boys. This implies that he must understand boy nature, must be able to mingle with them and cultivate their con- fidence and yet retain poise to stand before them and issue instructions with no thought but that they will be carried out. He must be able to break through the barrage of excuses which they sometimes build up to keep from shouldering their duties. There is the boy who cuts and pastes music in order to pay for his lessons, whose grand- mother dies every time a new piece arrives to be pasted; the boy who is invariably ‘‘ill” on ideal days for fishing; the boy who in all seriousness walks up at the beginning of a rehearsal and says, “I just came to tell you that I can't come to-day.’ A director who could not disclose such camouflaging would soon become the laughing stock of any group of wideawake high school boys. What has helped me to know and understand my boys better than I could have otherwise, is the opportunity of being with them when our engagements took us on trips out of town. I once knew a band that went on the rocks because the director was too disinterested or too unaggres- sive to accept any out of town engagements; so I determined that whatever faults I might have as a band leader, I would make it a point never to cheat my boys out of the joys of a trip away from home. As a_result, we have travelled and tramped ourselves haggard many a time; but the opportunity of really getting acquainted with them and the spirit of good fellowship which arose haye more than repaid me for any personal sacrifice. It is amusing to observe how their natural characteristics sprout out as rapidly as mushrooms after a warm spring shower, when they are thrown upon their own resources. Some of them are like the proverbial sailor with a sweetheart in every port; some consume enough food at meal time to supply a small-sized army; a certain few can be depended upon to keep us in a hilarious state of merriment with their jokes and antics; but the boy I shall never forget is the one who stocks up with five-cent Hershey bars and then, when the car is safely out of the city limits, sells them two for fifteen cents and earns spending money for the coming day. Some time he can truthfully say that he “got his start” in the High School Band, The trip home usually witnesses the new band members as victims of a certain ceremony of initiation (four degrees) which only fun-loving high school boys could invent. The boys who have graduated and have been away for a year or more never come back for a visit but they saunter into my studio, ostensibly to pay their respects, but in reality to spend a little time recalling the incidents that occurred when they belonged to the F. H. S. band, These pleasures of reminiscing will probably mean more to them as the years go by than the technical training which they received. In many respects the director’s knowledge of boys may have a very direct effect upon his work. How many precious hours are wasted every year—every week—at rehearsals, not alone on account of tardiness and absences, those two bugbears of music teachers which, like the poor, are always with us, but because the leader does not know how to get the most out of his boys. Our band might still be working on “Our Director March” and “Iron Count Overture” if I had chosen to accept what my boys chose to give as their best effort; but I knew what I wanted them to do, guessed at what. they were able to do, and tried to awaken them to the fact that they could do more than they were doing. Someone very truthfully has said that we are all as lazy as we dare to be; and high school boys are no exception. They have to be startled out of their state of dormancy once in a while—sometimes twice in a while. They have to catch the vision. (My own indi- vidual means of “waking them up” may not always coincide with the best recognized pedagogical principles; but it gets results.) Then again, why do so many directors content them- selves with the A, B, C’s of band literature? What would happen to a’ violinist if he never attempted Kreutzer because he knew he could never master it? We were playing at the aforementioned “Day in Venice Suite,” “Peer Gynt,” “Dwellers of the Western World,” and “William Tell,” when we probably should have been playing things much less pretentious. But we did not give them just the once over and then lay them up on a shelf—WE WORKED. The boys knew when they came that they might not work on more than one num- ber during the whole rehearsal; but I have heard many of them declare that they would rather practice two hours on something very difficult than one hour on some- thing easily within their comprehension. Our orchestra worked for twelve consecutive rehearsals on one big overture without having anything light on the bill of fare. I admit that is going to extremes; but at the end of that time we could do it creditably and had gained enough technic that the lighter numbers came just as easily as though we had been spending most of our time on them, Some time ago a well-known band director, after hearing our boys play a concert, said, “A band like that may happen once in a generation,” but I say it can “hap- pen” any time, anywhere, when a director and his boys hitch their wagon to a star and:then get behind it and push. THE CHAMPION BOYS’ HIGH SCHOOL BAND OF THE UNITED STATES: The Band of the Fostoria, Ohio, High School, Which, Under the Direction of Mr. J, W. Wainwright, Won the Highest Honors at the Last National Contest
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Page 602 SEPTEMBER 1924 , I believe the same principle holds good in private teaching. When a boy comes to me with a cornet, after a few initial lessons (to be explained later) we begin with Arban and we live with Arban until he has reached the place where he is ready for something big. Then we take that som thing big and wrestle with it, a limb at a time, if necessary ; and before we know it he is playing “Carnival of Venice’ and other time-worn old standl which seem to be neces: sary evils of a cornetist’s caree Then we have the sati: faction of knowing that, even if he hasn't masticated evel morsel of technical food with which they abound, at least he has plenty of time to digest it later. If violin and piano teachers would aim a little more directly at their final goal they would see faster progress in their pupils. They are many times so engrossed in making out a well-balanced course of study—left-hand studies, bow- ing studies, double stops; or for piano, pedal studies, in- dependent exercises for staceato, legato, drop arm, and on—that they defeat their own ends, technically speaking. I think Musin came very near to fulfilling a long-felt need in the violin teachers’ sphere when he invented and com- piled a set of instruction books consisting of. series of daily exere’ designed to put the pupil in shape for his real day’s —his etude or concerto as the case might be. Usually it is left to the teacher to map out daily dozens for his young aspirants, but how many are too indolent or too unforeseeing to do it. And this reminds me of the preacher who told the farmer how to plant his corn and the farmer who told the preacher what to preach about. So if some violin or piano teacher will give me a few pointers on how to develop my band I have no doubt the benefit will be mutual. And now, in the belief that many readers of the Erupr are men and women with the ability and the personality to develop successful bands and orchestras, if they knew where and how to begin; and in the hope that, by relating some of the facts which it has taken me some years of experience to learn; I may map out a shorter cut for some who are just about to undertake this fascinat- ing work; I am going to set down on paper a few of the most important steps which I would follow if I were to begin again with new material to try to organize a group of boys into an efficient high school band. Bear in mind that this is not intended for those who are already well advanced in the art of band making. Far be it from me to inflict my ideas and opinions upon anyone whom experience has given well-seasoned methods of his own. But in the spirit of sympathetic co-opera- tion with the novice who is about to do his bit toward making America musical, I am contributing the follow- ing suggestions: Physical Qualifications First, examine the applicant for his physical adaptation to the instrument. If he has good teeth, lips not too thick, he may play a cornet or flute. If his lips are rather thick give him a larger mouthpiece, such as bari- tone or tuba, or better still, one of the reeds. A reed player must be unhampered by any defective fingers; but sometimes a boy with a disfigured hand may be taught one of the brass instruments. Our solo cornetist, who won the Grand Prize for soloists at the Ohio State Band Contest, is a left-handed player because of an injury sustained to his right hand when a very small boy. Have regard for the balance of the band. Be sure there will be as many reeds as all the rest of the instru- ments combined. It is best to have all the reed players to begin with the B-flat clarinet because it is easiest, and then pick the E-flat, alto and bass clarinets, oboe and bassoon players from them. Do not put in a C-melody saxophone to play the oboe part. It is not a band instrument. As soon as possible get an oboe and teach some boy to play it. A quartet of saxophones is sufficient. A leader who allows more is doing an injustice to his band. Insure a strong bass section: For a fifty piece band there must be not less than three basses, two E-flats and one BB. When the instrumentation has been decided upon, the boys should have about three or four weeks of individual work, after which the regular band meetings may begin. The psychological: yalue of this can easily be understood, and any director, by spending a few hours with pen and music paper, should be able to supply his boys with simple material to hold their interest until they are able to play somé of the easy marches already in print. Perhaps a few words here regarding the individual train- ing of the different pupils would not be amiss—the very first steps to take and the instruction books which have proven most satisfactory in working with pupils of school age. Cornets, French Horns and Baritones For cornets, French horns and baritones, let the first tone which is to be produced be G, second line treble staff, not €, many instructors give it. At the first lesson the pupil will learn merely how to hold the instrument and 1o blow correctly this one tone, The second lesson it is sufficient to teach him ¥, one whole step below, and A, one whole step above the starting point, giving him a yocabulary of three tones. The third lesson he will learn E below and B above, and so_on until he has encompassed the tones of the € scale. Now he begins with a most valuable exercise, that of playing the scale up and down with «@ loug sustained tone on each degree, the teacher harmonizing at the piano. This should be continued as a preliminary drill for ¢ months or a year, increasing the range and changing key as the pupil is able. In swer to the oft made query, “What shall I do to ve my tone?", assuming that the pupil already knows how to blow cor- rectly, the above exercise is the best possible expedient toward developing a clear, round tone, no matter what the instrument in question, Any teacher who does not insist upon such an exercise is not giving his pupils value received. Meantime introduce Herbert Clarke’s “Elementary Studies for the Cornet,” and after he has played the first twenty pages and is able to finger and blow cor- rectly, let him take up Arban. Do not give pieces too soon; for often it gives boys the impression that they already know all there is to learn about playing and simply places a stumbling block in their path. One reason why we have so few artists is because young players get an inflated idea of their ability and stop working too soon. Their ensemble work in the band should be enough of an incentive to hold their interest during the first months of their study. For trombones, the first tone to be produced is F, fourth line of bass staff. Never teach a trombone player to read in the treble staff. He may be asked some day whether he plays in the “town or city clef,” a favorite joke among bandsmen. Spare him the em- barrassment of discovering that he is out of date. The plan of procedure is the same as for the cornets. The second lesson he learns E-flat and G, the adjacent tones to the given one, and increases the range in the same manner following the B-flat scale line instead of the C. Pure Tones Always By all means teach him to put the slide in the right place; and never allow a tone to escape that is not absolutely in tune. The practice of finding fourth posi- tion by extending the fingers and touching the bell of the horn is in very bad taste and should not be tolerated. Do not use the supplementary positions too soon, Blodgett’s “Foundation on Trombone Playing,” with the exception of the last few pages, is very practical ; and Arban’s method, which is now written in the bass staff especially for the trombone, is, of course, excellent, The trombone is a greater test of a boy’s musicianship than almost any other band instrument and is certain to give pleasure to the serious student because of its inexhaustible possibilities. One of my boys, a fine fellow who has been a conscientious student for five years, said to me the other day, “I am just beginning to realize what a wonderful instrument the trombone is.” It is well in choosing a trombone player to select a boy who shows very marked musical ability, preferably one who has had a year or two of piano lessons, Always Begin Music Study at the Piano And here I am tempted to deliver a lecture for the bene- fit of parents on the value of launching children into their musical meanderings with an hour a day on the piano bench. It is better to have a seven-year-old begin on the piano, and then to give him a band or orchestral instrument at nine or ten than to let him begin at once with his horn or violin; for he can cover the ground three times as rapidly after having this introductory work at the piano. The practice in reading notes, in learning to decipher rhythmical values, in aceustoming the ear to correct melodie and harmonie progressions, is gained much more readily and in most cases more cheaply in the study of the piano than in the study of any other instrument. If possible, in- duce the child to continue his piano work indefinitely, eyen after he takes up his chosen instrument; for his progress jn the one branch will go hand in hand with his progress jn the other. Study the lives of our successful artists of today and how many do you find who have not been thor- oughly grounded in piano before they found it possible to seale the heights that overlook the promised land of fame and fortune? For, with an adequate knowledge of piano, one has the magic key whereby he may gain access to ali other kinds of musical literature; and nowhere more than in the field of music does one’s success depend upon a jiberal acquaintance with the products of the master minds of every century. rf The ‘arinete; the most useful of the reed instruments will begin on C, first added line. below the treble staff— not the open tone G, because it is thin and hard to play in tune. ‘The instruction book best suited is the “Lazarus Clarinet Method,” by Paul DeVille. A great many of the difficulties of the clarinetist would be minimized if composers and those who arrange for bands and orchestras would not write anything above high D, or better, high C; because those tones are very hard to produce and when played by any but the most professional of professionals, are shrill and disagreeable, They should be used only to obtain special effects. Wagner’s “Foundation to Flute Playing” is exception- ally well adapted to the needs of the young flute player, If we had for every instrument a text-book as com- plete as this, the task of preparing beginners for actiye band work would be much more simple. When something more advanced is required, “The Indispensable” is all that its name implies and is an easy step forward. The Complex Saxophone Of the thousands who try to learn to play the saxo- phone, the number of those who attain any degree of artistic excellence is smaller than that of students of all other instruments combined. Many young people, when they discover that playing the C scale and reading the melodies of popular songs is a comparatively simple matter, reach the conclusion that a possible six weeks THE ETUDE of lessons will teach them all there is to know about a saxophone. But this strange cross between the brass and reed instruments is more complex than one would at first imagine. I dare say that ninety per cent. of our twentieth century army of saxophonists do not know how to finger it correctly. Take, for example, the progression B to C, or C to B—C should not be played with the second finger of the left hand but with the first finger of the left hand and the middle side key of the right. No matter how clever a performer, “this mistake may easily be detected in most players. Then again, about ninety-nine per cent. do not know how or do not care to know how to produce a bearable tone. A mistake of fingering is easily forgiven, but the. bar- baric tone whi vhich comes swaggering aggering ou of most saxopho: lg} out-of the hans me players strikes murder or suicide into ey 7 y aol musician. The saxophone family, = ee oo alto, when properly handled is @ bn Meee ee ane but few ever learn the first nen gear etn It correctly, If studied intelli- A nscientious teacher who insists upon ngering and good tone quality, ey swell mastered in three or oor 7 sal Method for the Saxophone,” by Paul Proven to be very satisfactory, ’ might take time to de: ; DeVille, has I wish I nt certain prominent. bang dine ue to my readers, oa ‘ described to us at the M. T. N. A. me are. fou. i, eting this yi mers for "el wis year, how he traine P ee Sufice” ete say’ that eatled te oe in Dense ses of a band loaqrety that here, ag j other part of the leader Uo’ 8 Work, originality avq ay ; facts. Wee enter, Counts for make UTS, And, tact. on the ooHals NA Accessories” With Modern Method for Drum, : » yes, the tubat very satisfactory results. are me i hitsa BEG born, not m opinion tuba playa t r rn to finger and_blov a bie avert when it eoiies to building ure, expressing those subtle can le o any maste, 5 ding w divine sparien heeGes OU basses mire meas, Hike or death mood of the ¢ hey succeed SU be gifted with “the Titical listener i Satisfying the expectant As soon as . : Possibl. poe ig te wee S_tor sectio; the band into most effective S. Thi A dey : is has proven 4 and a finishe 4 ing about : le Product a good ensem : ion H oe have been too aia aa number which might nae devanced for our by he Divide the bay stormy hour sale cea ‘. Ss Mee he jai fa the following ie an ae manner: eo » Dass and alto clarinets Raritones and trombones ubas and Fr, e aera! nch horns And don’t for play the Set the drums, Parts as wri Thsist ¢1 Ss 6 z : s ha snare: lot of “fancy an instead of try; at the ae : nation, he Product ying to put ms of their own imagi R Gene; i From the beginnin: ral Hints cially the Cornets, ¢ fault and detracts the whole band. Be Particul rehearsal habits dir that boys i : clarinets held ti i thete arched, corne: Parallel to ¢h tiers of © overblow This ; vey sone Pilea his is a very common “i ©m the tone quality ° ar about ¢} and in Concert, ; €ctors allow. a Sit str; : appearance of the boys at is aie y ig § Surprising what slovenly cae little effort to insist Comfortahle. » feet flat on the floo® trombones 1 pnsle, fingers slightlY Ser and so on eld straight out almos F ar, i : : und the semi-circular oO ne hundred per cent. to a ts and ef On the mare Sees two tro; very bad tag; major, PF » eVen in mb Professj ones held at heonal bands, one rarely te on e th NC sa *. 48 : Tom the art Of bot] me angle, This ® Trombones at the ae et director and drum they will - 410 the: bays theif ake pride ; ys to hold 0 © whe not al ina § €N on th h, an low the ne PPearance ie march, wmM-ma ° Olay ‘ he Srotesque °verdo his part © to your ae 4 ble pout hoys, by filling tell een : a Sting in music, Udicrous and in@! evidence ole > Mental or mor unishi, ir T th the D ishing thej instry, eG ae. With he Noises character jg: Missing linle Som training, = Sica] amo" Kinds of cone parade § WW e, stealing Sons Pelt wails, awalelis Jazz, such und J musi ig forefatherg ™ and. travelll Boaded by 4 ny put the 10% oe by the Thy ne to the sufi ust for 7 Whe pie natures, 2! Nan our Dr reains reef their chieft io! ny SPurred to 8) air Stirred up Animal in | ves ‘rough the to stific,
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THE ETUDE SEPTEMBER 1924 Page 603 The Teachers’ Round Table Conducted by PROF. CLARENCE G. HAMILTON, M.A. This department is designed to help the teacher upon questions pertaining to ‘How to Teach," ‘‘What to Teach,”’ etc., and not technical problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. Infantile Paralysis ht arm has been A little fellow of nine, whose ri 0 affected by infantile para is having trouble in striking chords with that hand. Wor instance, if he attempts to strike e-g-c, his fourth and fifth fingers cramp and stiffen so that he is able to strike only ¢ and ¢ clearly, He says the only way he ean play the chord is after his hand has been’ put into hot water for a few minutes, Is there a remedy for him? His playing is good otherwise, and he has no trouble with his left hand—a, BE. M. Ir is difficult to prescribe for such an abnormal condi- tion as you describe, without secing the patient and find- ing out by experiment what he can do. The trouble may be partly traceable to that bane of pianists, a stiff wrist. A useful means for learning to play a chord evenly and clearly is to sound cach of its notes in succession, from lowest to highest, holding them down until the entire chord is within one’s grasp. Then play the chord several times staccato, keeping the elbow low, and allow- ing the wrist to rise suddenly an inch or so at each stroke. This upward jump of the wrist will prove that it has not stiffened in the process and will also result in a clear, bright tone, caused by throwing the hand into the keys. For instance, taking the chord which you sug- gest, the pupil plays as follows: Ex.1 ——aa ———~_ = = = =— = 3 $ $ - Continue this treatment with each of the following chords : These chords may then be transposed into other keys. and may be similarly studied with the left hand. Beethoven’s Sonatas in Gree of olan of cities “WR which ones would you advise me to begin? What are some of the more pleasing ones to play in public, and which are among the less difficult? Dp. M. R. _1 will list the sonatas which seem best adapted for either playing or teaching. _In an easy Grade II we may place the melodious little Sonatinas in F and G. Of about Grade III is the sonata (or rather sonatina) Op. 49, No. 2, and its somewhat harder twin, Op. 49, No. 1. Next in order comes Op. 79, with its naive, folk-song lilt. Considering the above group as introductory to the greater works, we may classify the latter under three heads: (1) those of Beethoven's earlier manner, in which he emphasizes the formal structure, on the lines of Haydn and Mozart; (2) those in which, while still observing conventional forms, he gives free rein to his personal ideas and moods; and (3) those in which he breaks loose from all tradition, Of the first of these groups, the most pleasing are the energetic Op. 2, No, 1; the compact sonatas Op. 10, Nos. 1 and 2, and the two numbers of Op. 14, both of rare beauty and workmanship. All these sonatas are of moderate technical difficulty. Under the second heading, the leader is easily the Sonata Pathétique, Op. 13, a rival in popular favor to the dramatic Moonlight, Op, 27, No. 2. Unique in structure is the Op. 26, with the graceful variations of the first movement, the majestic Funeral March, and the final Rondo, a masterpiece for technical drill. The Pastorale, Op. 28, is intricate and not so pleasing; but the three sonatas, Op. 31, are all valuable, especially No. 3, which is g marvel of concentrated thought. We now come to that magnificent pair of sonatas which demand a pianist of expert technic and deep musical insight: the brilliant [aldstein, Op. 53, which bubbles | over with the joy of life, and the strenuous Appassionata, Op. 57, which sounds the depths of human experience. P Sing over Les Adieux, Op. Sla, as of secondary importance, we come to the capricious Op. 90, with its “conflict hetween the head and the heart.” The average pianist will fight shy of the five sonatas of the last period, difficult for both player and audience. Most pleasing of these is the Op. 109, in E major, with its graceful arabesques; and most diffh- cult of all is the mammoth Op. 106 (for the Hammerclavier.) A generally ascending scale of difficulty is followed in the above list. As to their order of excellence, who shall venture to say? Play the sonatas over from the complete edition—which every pianist should possess— and judge for yourself! A Music Teacher’s Education A correspondent who signs herself Aj, writes that she has a large class of pupils whom she is teaching along conventional lines. But she feels the need, on both their acccunt and her own, of a broader outlook on music than that of mere technic, and a 3 What do you consider should be the education of a teacher before students are entrusted to her care? Let me say immediately that I like the spirit of the writer in propounding this question, for it shows that she has ideals which are not contented with simply pro- ducing pleasant sounds out of the piano; that, in short, she places musicianship before technical display. I wish every teacher might have similar ideals; for we should then have more appreciation of music as an art, and not as a mere acrobatic exposition. Proceeding now to the equipment of the piano teacher, I list the following items: 1. The ability to play well, music of at least the fifth or sixth grade. 2. Experience in playing for others; in public, if possible. 3. For this purpose, a repertory of pieces, preferably memorized, kept constantly on tap. 4, An historical perspective, gained from the study of various histories of music and biographies of com- posers. 5. A thorough knowledge of music notation and ter- minology. 6. Familiarity with at least the fundamentals of musi- cal theory, including scale-structure, intervals and the structure of the simpler chords. 7, Acquaintance with the leading principles of peda- gogy, as applied to music teaching. These items to begin with. But do not stop here, by any means! For there is no better opportunity for ad- vancement than that involved in the very act of teaching. New problems will constantly arise, new vistas will open for continued study; so that the teacher should con- stantly seek further enlightenment from books or other sources. Every teacher, in other words, should be at the same time an earnest student, otherwise she will fall behind in the race. Practical Pointers Miss Anna E. MelIlhenny, of Chicago, seuds a list of “Practical Pointers,” which she gives to the mother of each child under her tuition, and which she describes as a wonderful help in her work. For the benefit of the Round Table I give these in somewhat condensed form. 1, Have a regular practice time for the child, and do not permit anything to interrupt it. 2. Remember that 15 to 20 minutes of practice twice or three times daily is better than an hour at one sitting. 3. Do not enforce extra practice as a punishment. Music should always be regarded as a pleasure. 4, Sit with the child, whenever possible, during the practice hour, even if you do not play. It will prevent careless work. 5. Do not omit a lesson for a trifling reason, since such a procedure means loss of interest. 6, Coiperate with the teacher in every way possible. 7. Never criticise the teacher or the music which she gives, in the child’s presence; for advancement is in proportion to the child's faith in his teacher. 8. Ask the child to play for your friends who call, as it will increase his confidence. The piece which he plays, however, should he one that he has well mastered. 9. Allow the child to pick out pieces that are not in his lesson, provided that he does this outside of his regular practice time. 10. Always display a sympathetic interest in his work. A bit of advice, a word of encouragement, a friendly Full name and address must accompany all inquiries suggestion and a little praise will be helpful and stimu- lating. 11. Last, but not least, do not complain about your inability to get the child to practice. That reflects on the parents, and not cn the teacher. If parents, who are with the child daily, lack-the power to enforce obedience, how can the teacher, who sees the child but once a week, be expected to do so? The Form of Music I explain to my form, and so on, bility ; but just How should I teach music form? pupils the dance forms, the sona as they occur, to the best of my how should this be done ?—L, G. P. Stvce the understanding of form in music is abso- lutely necessary to intelligent interpretation, I consider that the teaching of the principles of form should be a prime factor in any musical instructions, whether of voice, piano, violin or any other instrument. Such teaching, too, should begin much farther back than with the forms you mention. From the very be- ginning, the child should be initiated into the nature of measures, and how these are grouped into phrases; how phrases, too, are based on figures and motives. From these he should prcceed to the complete sentences and sections, and so on up to the larger forms such as the dance, rondo, variations and sonata. All this instruction will be more effective if it pro- ceeds naturally out of the music he is studying. Let him realize from the first the meaning of each motive and phrase—how it grows gradually up to its climax, just as does a line of poetry. How, too, phrases follow one another in symmetrical order; and how, for the sake of variety, they are often extended or curtailed. The result should be that the pupil understands just as intimately the structure of each study or piece that he learns as he does the notes of which it is composed. For unless these notes are invested with real meaning, they are a valueless hotch-potch of sound, As preparation for this work, I suggest that you study one, at least, of the following works: Goetschius: Lessons in Music Form, MacPherson: Form in Music. Hamilton: Music Interpretation. Music of Popular Appeal Can you suggest a few pieces that would please the young people of the ji age, and still not be of the popular type? Then there are the older people who cannot ‘seem to understand classical music; what of them? I have found that the latter class appreciate folk-songs, or still more, the variation type of pieces.—A. Mcl. It is quite possible to find music that is pleasing to both old and young, without descending to the jazz level, What the young people like about jazz is its strongly- marked rhythm—a rhythmic swing that gives it a pro- nounced vitality that is lamentably absent from the play- ing of many lackadaisical performe The trouble with the great body of jazz music is that rhythm is everything and that the finer qualities of melody and har- mony are sacrificed to it. Supply these qualities, and we have music that will appeal to all. As examples of such music, try these pieces, all of which are rhythmic and playable: Grainger: Country Gardens. MacDowell: Hungarian. Rachmaninoy : Polichinelle. Poldini: Marche Mignonne. J. A. Carpenter: Polonaise Americaine. For the older people, you may add: Coleridge-Taylor: Deep River. Nevin: Narcissus and Barchetta. Moszkowski: Guitarre. Cyril Scott: Danse négre. These are modern compositions, of real musical merit. Properly performed, they should be enjoyed by everyone who has any music in his soul. ———S—— eee “I usep to think of music as T thought of lace upon the garment—a very desirable thing if one could afford it, but T have come to believe that music is one of the essentials in our community life and that we cannot afford to neglect its development.”—Grorce Eastman,
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Page 604 SEPTEMBER 1924 THE “RADIO” VOICE A press clipping informs us that “Radio is developing an entirely new type of vocal artists,” according to Miss Eleanor Poehl- er, director of Station WIAG, Minneapolis and St. Paul, “who formerly was a so- prano soloist well known in western musi- cal circles.” “Thousands of voices that have not the volume required to fill even small halls have a sweetness rarely found in voices of greater carrying power,” Miss Poehler declares. “Before the advent of radio broadcasting the range of such voices was limited to the confines of a small room and persons possessing them were known as ‘parlor singers.’ The system of sound amplification made possible through the development of radio has supplied the volume and power necessary to make these sweet voices heard in every nook and cor- ner of the globe. ‘Radio’ voices they are called; and they are heard nightly in thou- sands of homes.” At present the singer for broadcasting purposes is unpaid, a great pity; but this cannot last. Soon new possibilities will open up for singers cf the kind described above. The writer recently had a most interesting talk wit Mrs. O’Brien, of “KPO” San Francisco; a new kind of im- presario engaged in securing broadcasting artists. It was curious to hear her speak of “radio-artists” as though they were a class apart. So they are. Radio music has to pass twice through a diaphragm, once at the transmitting end and again at the receiving end. Just as some voices “record” better for the phonograph, so some “radio” better than others. All very interesting, and fraught with possibilities. Incidentally, a broadcasting station im- presario apparently needs an infinity of tact in weeding out the fit and unfit from the multitudes of singers eager to make their debut on this new concert stage whose limit is the world’s end. THE WRITING OF SONGS “Fortunes in SonG-writrne,” rtn the guileful advertisements, wherefore we re- print the salutary advice of Charles Vil- liers Stanford in his book, Musical Com- position (a book which all should read, composers or not) : “The first attempt of a tyro usually takes the form of writing a song. This is prob- ably because the lilt of a poem suggests a musical phrase, stirs the lyrical feeling, and perhaps appeals to the dramatic sense which composers must possess in order to be composers at all. But the tyro does not know, what in course of time he will in- fallibly find out, that to write a good song is one of the most difficult tasks a com- poser can set himself. Song writing is miniature painting. The detail must be perfect from the first note to the last, capable of being examined under a micro- scope, and standing the test without show- ing a flaw. It demands a power, which is perhaps the hardest of all to acquire, of suggesting large and comprehensive ideas in a confined and economical space, and expressing small and dainty ideas without overloading them on the one hand or un- derestimating them on the other...... “First attempts, then, ought to be in the direction of melodic writing for an instrument, and preferably for the violin, which can play them in the pure scale. Write a melody in intelligible sentences, which is logical and clear in tonality, and to that melody write a good bass. Do not trouble about the intervening parts; they will come of themselves, and to any one who knows his technic, with the minimum of trouble...... when a song was brought to Brahms for criticism, he invariably covered up the right-hand part of the pianoforte accompaniment before he look- and primarily judged it by its The rest, he said, were ed at it, 4 melody and bass. ee; a ‘erimmnungs- The Musical Scrap Book Anything and Everything, as Long as it is Instructive and Interesting Conducted by A. S. GARBETT THE ILLUSION OF PIANO TONE In his book, “The Artist at the Piano,” George Woodhouse reminds us once again that the tones of the piano begin to die away the moment after the hammers strike the strings. “Pianoforte tones,” he says, “are characteristically evanescent. From the moment they appear they begin to dis- appear, regardless of the player’s wishes and intentions. Yet the pianoforte, de- spite its shortcomings, has received more favor at the hands of great composers than either voice or violin. “We certainly cannot attribute this pref- erence solely to the greater harmonic pos- sibilities it affords. Jts limitations are compensated by the great factor, illusion. “The pianoforte crescendo and dimin- uendo in the hands of an artist are as convincing to the ‘listener as those pro- duced by other instruments. Yet this crescendo is a sequence of diminucendos, and a diminuendo a broken succession of ever-decreasing crescendos. The illusion would be more vividly brought home to us were it possible to arrest the movement of music and register the actual sound effects so that the eye could perceive them, “All lovers of the pianoforte and its music ought to be truly thankful for the illusion which shields their musical sense from the actual facts. It is no exaggera- tion to say that more of the great composers would have regarded the pianoforte as a medium for their expression were it not that the rhythmic sense so subordinated th other faculties as to cause the limitations of the pianoforte to pass unnoticed, There is sufficient evidence in the markings of their compositions to prove that composers are conscious only of the illusory effect and not of actualities, i “Beethoven evinced suprem i for the instrument's reseictea pete actually wrote crescendo signs to semibr _ (whole note) pulses! But any one ae cares to search will find that Pianoforte music presents many such appar anomalies.” Me HOW SCHUBERT LOST A JOB How the impoverished Franz Schubert lost a.position as Vice-capellmeister of the Imperial Court in Vienna worth 1200 florins (about $600, and of high purchas- ing power compared to the dollar) be- cause of his high artistic principles, is recorded by E. Duncan in his life of Schubert. “The candidate,” he says, “was to set some operatic scenes, for which the words were provided by Duport the manager. This was of course quickly accomplished and placed in rehearsal. Then the hitch occurred. Mdlle. Schechner, the great prima donna, called upon Schu- bert to alter the principal air, by shorten- ing it and simplifying the accompaniment. Schubert refused, and at the first re- hearsal Mdlle. Schechner broke down. She sank exhaused on a chair by the side of the proscenium, Schindler continues as follows : ‘There was a dead silence through- out the house, and consternation in every face. Then Duport was i one to another Of the age cussing matters with the singer and the chief musicians present, Schube t i through this painful scene like a i) a figure, with his eyes fixed on the et as fore him. Then after a long ried ec, Duport advanced to the orchestra oy, politely addressed the composer in Hene words: “Herr Schubert, we will Dost: ee the rehearsal for a few days, and I ae beg of you to, make the necessary Soe in the aria at least, in order to m: ee easier for Mdlle. Schechner.” Seyas T the musicians in the orchestra jean : begging him to yield. But Schubert a listened with increasing anger to the a and shouting out, at the top of hi sneech “I will alter nothing,” he shut fe es with a loud bang, placed it under e wee and marched home. Thus there ee end to all hope of the appointment bi in THE YOUTH OF FRANZ LISZT A virtuoso is not necessarily an apostle of virtue; and certainly Liszt was not; yet one wonders what the outcome would have been had his father not died while Franz, who idolized him, was still a sixteen-year- old boy. His mother also, he adored, but she was indulgent. “After his father’s death (in 1827) he was left perfect free- dom in arranging his mode of life,” says Raphael Ledos de Beaufort in his book, The Abbe Li. “His mother refrained from interfering in all that did not relate to household affairs; and yet, with his artis- tic nature, he had no idea of a suitable division of one’s time for attending to ones various duties or occupations. _ His father's experience and guidance were sadly missed now. The division of the day Was now merely accidental, depending sole- ly upon his humor at the time. One day he would practice on the piano; the next he would neglect to do so; sometimes he would study in the mornin; he would do so in the evening: ; felt inclined. His time ie as he vided for his.lesson, which Wouldvene ate short to-day and long to-morroy often be suit his convenience or whim, He Just to most unpunctual, arriving somes also early and other times too Raw imes too also, he would not put in Be eee Ue His want of method and order Sp atance, able in the way he took his Heine would often come home late at ni iz S. He out having tasted solid food aly a With- whilst waiting for his food to ba aa and, would take a glass of spirits or a nee he wine, by way of staying the foie of ing from his long and voluntary a aris. He himself often deplored in after ie ie’ fact of his having been left so a e the life sole master of arranging his ae in he thought fit, and sole judge ee as course he was to follow.” What i; at other times THE ETUDE ZIMBALIST’S “TITIAN” STRAD “In the beginning of the eighteen hundreds,” says Samuel Chotzinoff in Vanity Fair, “a shipment of Stradivarius violins to a dealer in London was returned because of the prohibitive sum stipulated as the selling price. This was four pounds a violin! A hundred years later, Mr. Zimbalist, sojourning in Paris, pays after proper haggling, the sum of $33,000 for a Stradivarius violin which had never, since it left the Master’s workshop in Cremona, been heard in a public perfor- mance anywhere on the globe. ; This is the ‘Titian Strad’ which made Pee appearance in concert at Mr. "The years 1710 to 1720 were sadn ive cs <0 were, according - Connoisseurs, the finest period of Strad- qart’s long and productive career; and the de made in those ten years show @ pon of both the artistic and scien- ne genius necessary oo and delicate an instrument. le ee ist's ‘Titian’ was made in the eee ri the very peak of that amaz- te ilies Tt is not on record whether five, wee commissioned by the Count Ste ty S frst owner; but it is reason- Tae ae that Stradivari, at the ‘a he his fame, would hardly have se ae for any work but. commis- Tit aa the record has it that the fae a M Possession of the d’Evty Sekey, the end of the eighteenth elt 4 < Grane ci how long the ‘Titian’ it came into ye Count d’Evry, nor how datas ss N€ Possession of the Count 1872, it ae oe ae its next owner. J? eka hough the violin dealer asc Monsieur Bakel: a certified history of the for the production who receiy Violin and on Titian’ ; (are explanation of the name Titian because ren benuiaae! Me its suberb red varnish is class se thaps the 4 or 5 finest existing S “Mr. Zi with pe radivarj uid an astonishing pric and eee but the 5 eal €rvation are ey, its splendid state of pres” pia More astonishing. Th® Cover the sliene ection has failed to Mis A ack or imperfectio 7. Scroll is gracefully i” noble and solid; the ‘f hole rounded, Whe. oars the belly chastelY at Carnegie Halt it appeared on the stage sistehee ter a quiet and tenderly outwardly. ; two hundred: yea! left the han in the condition ™ ds of Antonio Stree It was, Which jt Wari? ae A some REE STEPS yp Of Sorrace ae “MUsual book js Musicialls rence, in whicl omance, by Frederic Law” Self in term ch the author expresses hime romantic philosophy, wit and insight, with rea” ann, he points out that ceasions in the yout influence externa esi a direct action, te ch had its place 1 i sed esonality, The fe loka into the office of inju a epee seer vir’ to his hand, 1 iti WD became closed ne ae remaining. ‘ ak mat age, nen Sven the. direction _ ta had broke alone seeped ‘ Woman's hand ae nth » Of Wept + she Ose y,1, WPWward which § ‘ Vv im) den, ang 2 had known wn Obert § b ar ciel "3 e ife homann had pen, Breater life o™ Deg ith,” “Ty TE seep man to ,, eto : ° Success ; e it be rea \cess in fife is for th het r : Disragry, 'S SPportunity ©
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THE ETUDE : \_ SEPTEMBER 1924 . Lage 605 CHANSON D’ AUTREFOIS — Nink, A Song of the Olden Time, in classic vein, quaint and delicate. Grade 3. JEAN ROGISTER tte M.M. d=108 or Pe eee aS ee ee Ee a Se el Sa sic4 ep Pe ee Bagi At : i= A 1 et See eee a eee a ae pea = Heo me 46 qo hie ot gi gto en —| — a tempo Copyright 1924 by Theo. Presser Co. British Copyright secured
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: Me | all (el BAe THE ETUDE =b4 AUGUST NOELCK, Op. 243 aa without jerkiness. Grade 4. ? A: I & Ee. 3 1 Pc Dp = } on || A 5 3 es : iO da i" ae —Hilhe] ad = g (aay = = a (. 5 O : : tlie] rg co & Ros Hf Tall a N& q 2 eg iP: } milla [S$ Q = z | : =e | Jaan he ud Be | SS oO ny a < 4 ah
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Page 607 tranguillo al SEPTEMBER 1924 oco aceel. poco _& Moderato Qs & i) Lh === I $4 aT Tita fel == fi Lacie Gi Pueialy —~wo G7 oS See -;}——— [aes] a0 o rf . ae e 8 ote Fer cAe7 sl a Wl eet I aaa” Ne a Sos —_——__ —_——_ Sy ST os scherzando THE ETUDE
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THE ETUDE Pal a tempo 2 = 5 poco raul. m = moderato =120 RED LEAVES An Autumn Impression 4 -~ Da SEPTEMBER 1924 Andante moderato con grazia MM.d A very graceful inspiration in the style ‘of a modern Gavotte. Grade 3 Page 608 + From here go back to % and play to Fine; then play 770. Copyright MCMXXIII by A. Hammond & Co.
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THE ETUDE SEPTEMBER 1924 Page 609 Avery good study in independence THE FANCY DRE S S BALL of the hands in two-part writing.Grade 2. MATHILDE BILBRO Tempo di Valse M.M.d=144 i : Oe ae era 5 He a: 5 a! poco cre 22: Copyright 1924 by Theo. Presser Co. British Copyright secured
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THE ETUDE SEPTEMBER 1924 Page 610 NORWOOD DALE (oD) an a: M only ti Copyright 1924 by Theo. Presser Co.
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Page 611 NORWOOD DALE SEPTEMBER 1924 CONCERT GALOP FLAMING STARS THE ETUDE ke He | ; a Tm ic mn} ( ( E ( ( a see - TINe 3 as . = - # | es : on LE | ( oe ale ER a Ee | % er PRIMO | 19 ——_ 4 tae euer CP» Pe ee santeteteeeccncnencnegeane (Gp 3 il oO f IH 7 ear = $ el . Ll Hl : = : oY LH % z= Hal | 22 = ) ( i I e' fe ath H a - g rs MT} iAw Wall A tt il] | eal ( : ; & oe i eel \ . | LD) aA ( x N I - ‘ | Bi ea 3 j : iy “iil Hl = & H % iill shit nm H @ fele Né 0 L bA —_—Voaa
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SECONDO 24. 4 SEPTEMBER 19. ky S & ee 3 1 — > “ORPHEUS” SECONDO FROM DANCE OF THE SPIRITS ts. = 72 J melody. Play in the manner of an One of the classic gems of pure orchestra of stringed instrum Andante M.M. 2 ae
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THE ETUDE Page 613 — SEPTEMBER IAS 5 Bt 1 A 2 4 ee Or a 1 piers ae =——e— a bt? He p = 7 tote 3 phe rn 4 e [a [a 3 Bt: i Ae, Ho | | a) \ i it a in Hi “i MY i en HR LL \ yt PP] PP i i He 1 OR MW Sh tei SPIRITS amet k ‘i af ee ee-eee ge rs DANCE OF THE igltel lel “ORPHEUS” FROM Cc. W. GLUCK 24% 7
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THE ETUDE ' CONSTANTIN STERNBERG, Op 121,No3 Modern, but with classic tendencies: a master work in this style of writing. Not to be hurried in the execution. Grade 6, : CA PRICE SEPTEMBER 1924 Page 614 Allegro con molto energia —_———— ———~ gentile 3 2 marcato la melodia a tempg a2 4 5 Fa r Br i itish Copyrigh secure | Copyright 1924 by Theo. Presser Co.
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THE ETUDE SEPTEMBER 1024 ase OL poco rit, | ee da ee is eet eT ret oer eer eee ee . Serer : sae wer! te —| ae Cotte fs baa il revi 7 sos Sees 3 aac we Pp gs : . | : Le = am C. ral. nie fa =e 4% From here go back to the beginning and play to 4A; then go to D. From Dit rc) opuerts Wein THE KNAVE OF HE ARTS Wonderland; aff di stice in the Mi- To eee etd inthirds, IN WHICH HE STEALS THE TARTS Grade2%~ Moderato M.M.¢=108 Copyright 1924 by Theo.Presser Co. British Ccpyright secured
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THE ETUDE SEPTEMBER 1924 Page 616 HAPPY HOURS A“graceful dance” in modern style.Very useful as a study in rhythm. Grade 3. PERCY WENRICH =108 Moderato mm. d 4% From here go back % and play to Fine; then play Trio. Copyright MCMVIII by Brehm Bros. Copyright transferred 1923 to Theo. Presser Co.
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THE ETUDE SEPTEMBER 1924° Page G17 Will the young beginner love or hate practice? NLESS one thing happens. the little be ginner in music will never like practice —will never be a real musician. Unless she discovers music for herself she will never put her heart into her practicing. Before she can produce music she must love music and want to create it. T° love it she must know it—and to know it she must hear music, good music, constantly. When she learns what music is, when she grows to listen with her peart as well as with her eats—then she will understand that prac tice is only a step toward creating music with her own hands. Think what a difference an Ampico can make in the usical life of the little girl who is me fea on the study of music, Through the ‘Ampico, the world’s greatest pianists can tell her how beautiful real music may be. Rachmaninoff will play for her—austere melodies of snowbound waste lands, Lhéyinne will charm the strings into telling her a joyous story of sunny lands and laughing children. The little girl who hates to Practice will discover that music means somethin, { In a few days practice will seem new and interesting, She yyill know what practicing is for. She will he learning to make music! What is the Ampico? The Ampico is frst of all a fine piano—one that any artist would like to play. But the Ampjco is much more than a fine instrument. Concealed within the piano is an almost magical device that brings the great pianists of the world to play for you whenever and whatever you like. So, in an Ampico, you have the piano, plus the artist —the combination that must be effected before music can result. The music of all the world is yours to command, through the Ampico. Sonatas, hyms, ballads, dance music— you can have any ©°Mposition you know or want to know. Modern concert music is included i the AmP%o library almost before the “titics have decided what they think of it- The latest dance tunes are recorded fot the AmPico even before Yale juniors fave leafed to whistle the choruses. Then ate are *€ musical treasures of generations an #€xhaustible store of melody. I The Ampico is found exclusively ” Be pia®°S: It can be had only with pianos °°" ing “se names of enviable fame °°” which, for generations, have stood for in- struments of quality: Knabe Chickering Fischer Haines Bros. Marshall & Wendell Franklin In Canada the Willis also Note that the Knabe and Chickering are two of the four great pianos in general use onthe American concert stage. A few of the famous artists the Ampico brings to you Erno Dohndnyi - Leopold Godowsky « Phillip Gordon Mischa Levitzki - Josef Lhévinne + Alfred Mirovitch Benno Moiseiwitsch - Mieczyslaw Miunz + Leo Ornstein + Sergei Rachmaninoff + Moriz, Rosenthal Henry Souvaine * and Playing Popular Music : Adam Carroll - J. Milton Delcamp » Edgar Fairchild - Henry Lange * Vincent Lopez * Ralph Reichenthal. Exchange your piano for an Ampico Your present piano will entitle you to an allowance in buying an Ampico. The dealer will also be glad to arrange convenient terms of monthly payments. Foot-power model, $795, Electricmodels :uprights, $985 to $1800; grands, $1975 to $5000, With freight added. Where will you first hear the Ampico? Perhaps you will hear the Ampico for the first time in your neighbor’s home—or at your club—or, just as freely, at the store of the dealer nearest you. Wherever you hear it—the Ampico will mystify and delight you. If you are not near a store where the Ampico is sold, or if you want to know more about the Ampico before hearing it, write to the address below. You will receive a booklet descriptive of the Ampico and information as to where you may hear it. THE AMPICO COMPANY ‘ 437 FIFTH avENUE - NEW YORK
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Page 618 SEPTEMBER 1924 Lilustrating Brunswick Radiola No. 360 in the home See now at Brunswick dealers so as to be sure of delivery Advance models are now on display at your local Brunswick dealer's. To be sure of getting one of these instruments, choose now. Special demonstrations, day and night, at the “Sign of Musical Prestige” your Brunswick dealer. Combining the world-famous Brunswick Phonograph THE ETUDE with the superlative achievements in radio, the Radiola Super-Heterodyne and Regenoflex—_an entirely NEW conception of the musical possibilities of radio ERE isa musical instrument worthy of distinguished place in the world of musical art. An instrument you can buy with positive assurance of lasting satisfaction and permanency. For years, music lovers asked Brunswick for radio. And this is the result .. . an instrument worthy, by international test and proof, of the name that it bears. For it combines the Brunswick Method of Reproduction with the notably out- standing equipment of the Radio Cor- poration of America. What it is [1] The world’s outstanding radio com- bined with the supreme in reproduction. Hence—radio with a new depth of tone, with the musical quality ofa fine musical instrument. You have enjoyed the thrill of radio. Now, in addition, you get the orchestta: the artist performing miles away, inabs0’ lute and amazing musical clarit ; not a subtle tone nor shade of benny antl [2] A radio and a Phonograph in one At a turn of a lever, all the wedi Gi music, entertainment, the mysteries of the air, brought into your home Anothet turn, and here are your iB srorte oo tions, your favorite Fecordg ae ? s only a Brunswick can play + Daye 4 em. Not a makeshify The Brunswick Radiol joint achievement of t laboratories —those laboratories in music, Corporation of Ame: 2 represents th? WO Noted research Of the Brunswick those Of the Radio "Ca, to whom the
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THE BLUDE SEPTEMBER 1924 Page 619 TU UL aviv The Brunswick Radiola Super-Heterodyne Door contar Rapiowa Surti —some remarkable features: GRE raced 5 1 Requires no outside antennae—no simpler ground wires. Put it in any room— i t Drawer B / cat EL contain " lays wherever you place it. ge ; A is on Moderate prices— Bays ge | NFA) Sorex. aT. Be ech most noteworthy ad- Tad } = aie Liberal terms of payment— 2 Amazing selectivity, permitting you to vancements of radio Eistoor”™ \ Instruments now on display “cut out” what you don't want to hear aretraced universally. It is not a makeshift instrument, not an experiment. Not simply a radio receiver set into a phonograph. But a scientific and pick out instantly what you do. Con- So as to bring this instrument within the sider what this means in big centers. means of every home, many different types and styles have been developed— 3 Combines the superlative in radio with and liberal terms of payment provided. the superlative in phonographic repro- : . a e Z ion — peri os jointly a _ Some are priced as low as $190, em- baka h wi panies to attain the superlative. bodying the master craftsmanship in qq i a fain It means that the Brunswick Method of cabinet work which characterizes mC Reproduction, the unique method that Brunswick. 4 brought phonographic music into the Some embodythe noted RadiolaSuper- realms of higher musical expression, has Heterodyne. Others, the Radiola been subsidized to do the same for radio. Regenoflex, the Radiola Nos. 3 and 3A. Boe, tunica Brunswick Radiola No. 160 THE BRUNSWICK-BALKE-COLLENDER Co. Manufacturers — Established 1845 The Sign of. “Musical Prestige Q So PHONOGRAPHS - RECORDS -: RADIOLAS “” ere.
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Page 620 SEPTEMBER 1924 [OVE TOUTCUTAT CTT COACH COLT COCO COO CO COCO POET ile THE ETUDE AC UUAVUUATNATAAE IEA EATTNTT TE TUNA TTA TTA TTTTUTTTTIC An unequaled array! Schirmer’s Educational Music (A few suggestions for the new season WRIGHT, N. LOUISE net PIANO METHODS AND STUD. Eight Little Pieces for Little Folks 30 ORGAN COLLE y Spring Flowers (Four Descriptive Pieces) -40 CTIONS AND STUDIES AUGIERAS, PIERRE net — ZILCHER, PAUL ‘ ‘ BO Twenty-five Studies for the Left-hand Alone (SSS.. | ieble er Pieces. For the First Year on the Piano. 4 ay Bho ARLES N. net 149 sl . r e 5 UM Koc tat DILLER-QUAILE BOOKS BILBRO, matumpeS* ay Book, of sna Re First Solo Book (S.S.S., 51), 60 The Woadeutee os eMAGH ‘ales (S.SS., 34) 1.50 Second Soio Book (S.S.S., 72) 75 The Busy Saw-mill 30 FY OUGALL, H. c. Third Solo Book (S.S.S., 105) SMe eee ees ; Drasgg20ns in Extemporizi First Duet Book (S.S.S., 52) ‘90 DREPIGED CECI one ramatic Pedal Studies (SS.e Second Duet Book (S.S'S., 73) 1.10 aying. Op. 63, No. =25 PFITZNER, HEINRIC SS a Third Duet Book (SSS., 106) 110 DUTTON; THEODORA The Art of Pedalling ts KINSCELLA, HAZEL GERTRUDE ree eee +40 -S.S., 21) 1.00 FRIML, RUDOLF First Steps for the Young Pianist (S.S.S., 63) 75 Now's the Time to Play? 25 Second Steps for the Young Pianist (S.SS., 84) 190 Pee ene came to Plast ea Third Steps for the Young Pianist (S.S.S., 110) ‘90 Whee duns World ae VOCAL Fourth Steps for the Young Pianist (S.S.S., 145) 1.10 We are Strolling Along ae COLLECTIONS Velocity Studies for the Young Pianist. “10 Exercises ¢) INES GABRIEL ANTHOLOGY -S.S., 148) 5 * OF AME The Wind. Op. 2, No. 1 f AMERIC, ‘ , LEIGHTON, GEORGE A. : : ened. Op. 25 30 ANTHOEDY well-known Aneta SONG (A collection of 0 40 Miniatures in Etude Form. For Piano (English- Valetta: On10, Now 1 30 selected fr, F SACRED § Nemmpasers) ; u Spanish text) (SSS. 163) 1200 (And the others of “Ten Musical Bonbons”) (Edited by Mrretorios by old and’ maqlebrated arias, LINDQUIST, ORVILLE A. ‘ f LOTH, L. LESLIE ol. I, Soprancs picker) n compe Whole Tone Finger Technics (English-Spanish text) Holiday Waltz 135 Bass + Vol. IT, Alto; Vol. 111, Te Jol. IV (SSS., 161) 75 Sparkling dewdrops (Valse-Caprice) 40 OPERATIC. ANTHOLo Each, paper fish ith a0 MASTER SERIES FOR THE YOUNG ORTMANN, OTTO {rom operas by ol OG,’ (Celebrated “arias selected Selected and edited by Edwin Hughes Little Princess 25 by Max Spickes) and modern composers) (Edited Biographical Sketches by Carl Engel Fairylight aS I~Soprano, Tate rs) (Edil 1 Bach 2 Handel 3 Haydn PARLOW, EDMUND —Bass oto MI—Tenor. Tv pantonel 4 Mozart 5 Beethoven 6 Schubert Out in the Field 25 i — Baritone aod 7 Weber 8 Mendelssohn _9 Schumann At the Woodland Spring 30 a 10 Chopin 11 Grieg 12 Techalkowsky SMITH, HANNAH ; B SMITH, HANNAH SS ae Humoresque. Op. 47, No. 1 30 OYS’ CHORUS BOOK The Little Pianist SMITH, JOSEPHINE BERGOUIST Part I—To Begin With (S.SS., 113) “75 Dance of the Flower-girls +30 The CList and PROBST Part II—Steps Ahead (S.S.S., 114) 5 The Pied Piper 30 “horus Book for Boys 0 WILLIAMS, JOHN M. ‘TERRY, FRANCES 1.0 Child’s First Music Book. A Modern and Practical The Sleep Fairy 125 Instruction Hoole for Calan te Rhymes by Nina = WRIGHT, N. LOUISE V. Wright and Mrs. John Wright ; nit Waves i ; Nothing Easier. Adventures of Ten Little Fingers in Boat-song. ae TEXT-BOOKS Mother Goose Land. Illustrated by Nina V. Wright .75 MEDIUM. DILLER RAPOPORT, RUTH First eANGELA Schottische 25 WEDGE Gat Book co PIANO SOLOS (All new) TERRY, FRANCES Bar-TrainigRGE A. : 2 Saenite bance. in 40 tary Must end Sight-Sing; easant Wedding Dance is ical Ty is ng: 2 EASY Fancles piower (M F ; at anced Barren, Re as Applied to Elemen- 5 59 BILBRO, MATHILDE e Lotus Flower (Morceau de genre! ‘ Cu ning and Sight. Dance of the Moon Sprites 30 25 Yo€ Harmony “8ht-Singing: Applied 2.50 ‘The Bells 125 Shamrock +25 DICKIE, ESTHER Snowflakes +25 $ March of the Dwarfs oP | HERRMANN] Specie aor the aludy, ct posit THE Hom DILLER, ANGELA Twelve Violin-Etudes. For the study of positions. Op, in meOME NORM Gassig Joa 25 37 GSS, 192) 60 in music.) ‘By Octave COURSE, tree eae uiatis ar 25 © LEVENSON, CHARLES : ) Geen Th sige Geen eae Morning Song -25 First Scale Studies (English-Spanish texts) (S.S.S., 119) .75, AN cate ols. T to VITy oe Volumes (S.S.S.; 1.75 Come, Sweet Lass 25 SVECENSKI, LOUIS 3 F for teachect? Normal conre Sct in ning ole e28s, Vol, IX ai00 Dumble-dum Deary 25 Preparatory Exercises (For the trill, the vibrato and end fae OF little chigurse of studys Volumes, complete 10+ Slumber-song +25 the staccato; preceded by corrective studies for the F Sbecial 24. nqgrh Presented in detail The Lazy Man 25 first and fourth fingers) (S.S.S., 118) i 1.10 8¢ illustrated ang descri pti DUTTON, THEODORA Specialized Exercises (In shifting and in crossing the escriptive booklet. A Game of Tas, a5: strings) (S.S.S., 137) 75 ‘The Mountain Bugle 225 TROTT, JOSEPHINE ae es KENT, JULIAN Daily Scale Studies for Violin (English-Spanish text) In Happy Land (Waltz). Op. 5, No. 1 -30 Huse es 1.25 KROHN, ERNST C. eee Bahia Baplehe Spanish, te St SCH A Morning Song (Valsette), Op. 12, No. 1 25 ih Complete, Sction! of SARS ACae mea penialy text) été : graded compositions ORCHESTRA spR LYON, ETHEL Foundation Exercises for Fingers and Intonation ~ bowing by prwged yasy and modenneis iment Bedtime Tales +35 English-Spanish text) (S.S.S., 132) ei nstrumentatey';’ itor L, wr? Langey. “yately difficu ( 0 feat: entated f + Reb Fingering an MANNING, KATHLEEN LOCKHART stake Which permppg about 25 ingeomann, ye Little Sketches of Fun 35 ard works by olga st Violin nts, With an original PALDI, MARI VIOLIN (AND PIANO) ENSEMBL ES pow Modem marvats. and: offering ae yi ening Hour 25 d Editeq is ca NG ae a "Lantern 25 rk. py Victor LE. CHES PRATT, HARRY ROGERS RIEGGER, WALLINGFORD _ a —Gni 12 Suitgs,’ Rebmann, as Easy Opera Classics (For beginners on the violin; e es: | Arranged Marching Song. Op. 18, No. 1 25 pay Opera, Cle Peete int ar- | V—Cla, —Schuma ee tranged for elementary ensemble playing in the follow. chub Me D ann, 1 SCARMOLIN, A. LOUIS - ing combinations: 2 violins—violin and piano") alts Xx Hast Glssot Ty_V Weber The Birthday Party (A collection of five short pieces) 40 violins and piano) 1.00 toappear ah (Oniy, Aydn II. WARD, FRANK E. Graded Studies in Ensemble Playing (For violin and 2.25) Dian snortly.) pune’ Sweet Brier Rose 125 piano) 1.50 1g AWRERtation 7 wie ge. Ot £8, On1.50; F, 0 BE STUDY BUR PULL &Coher parts, 200% F: On nN * : By ~ SCORF Petts, 20c. ‘, ri Send for Complete Lists and Descriptive Litey RPOSES, for abe, FOR CONS TOTORS ature Ut 25 j, SCHIRMER’S LIBRARY IHIRTY-FIVE years ago, the house of Schirmer published the first numbers of Schirmer's Library of Musical Classics. This edition has been constantly aug- mented until it now contains nearly 1500 volumes, covering the choicest literature TEs Sreat Series em of classical music, much of which is not available in any other edition. Schirmer’s Library. A complete assortment of Schirmer’s catalogs constitutes Your local dealer will supply you free if you ask hi G. Schirmer, Inc., Order All Schirmer Publications of Your Regular Dealey SCHIRMER’S “Material for vocal and i; and in the not dist an invaluable aj r © aid 4 ™, or write to us, “VEY educ; very easiest to {penal st, c tdy~ Faces only cy the most di dy Nstruments. mst, SERIES Ricuip “2M the a BH he Per regularlys World-famous id ator, New York
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Page 621 SEPTEMBER 1924 DANCE OF THE MAGICIAN Must not be hurried. Grade 3. THE ETUDE In real oriental style. Very characteristic. S. BATOR z > 1 2 1 he + a 5 =108 Allegretto m.m. d I 3.1 tat eh oa eT rr 3 - 3 2 ey 22. ° Se = O— |e Oo e 2 3
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THE ETUDE DANCE OF THE COSSACKS A very taking characteristic, affording excellent rhythmic practice. Grade 4, SEPTEMBER 1924 Ny _ Sa) Sb Xx A,SARTORIO = 4 ny L? scherzando . = 4 al as 108 Allegretto M. Md lhe tid | —_—}-—-—_4 eee 0). ee SS SS ee ee Copyright 1924 by Theo. Presser Co. Inter National Copyright secured .
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THE BTUDE SEPTEMBER 1924 Page 623 3 PYGMIES’ MIDNIGHT FROLIC Reminding oue of the “movies:’ Very good chromatic practice. M.L.PRESTON Allegretto scherzando M.M.d=126 i 2p ee a h 4 EEE 3 Ss 4 Bee 4, Ae aa j sgn, ie fe eS = rae —— ———= as to tee be 1 tt ———————_— 2S SSSmc = ==> eee ‘fe = i 6 p a) fi is b o a aa —S Ut fi # | pare SS — =a [47+ 4 at —a —al Ca cs a. | ra 1 Tet Lg a b i, | TE ae ae hm Ua THe be = i By BSS Copyright 1924 by Theo. Presser Co. British Copyright secured
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THE ETUDE J. HAYDN == page poHses se: 2 Boe Se Tm mH RS! as from “MILITARY SYMPHONY” t. 3. 108 d= Bore o |. . her mn a of <x SEPTEMBER 1994 One of the finest examples of the classie sine’ rato M.M. 4& cise and dignified manner, Grade Mode Pagé 624 Play in a pre;
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Page 625 D.O.al Pine SEPTEMBER 1924 THE ETUDE a a aT iT FRE e aA Ba, ty 4 41 PETITE TARANTELLE A good number for light finger work. Play as swiftly as possible consistent with clarity of execution. Grade 24 MINER WALDEN GALLUP, Op.16,No.2 Allegro con spirito M.M,¢-=144 => asso staccato sempre Fy [ \ey = usser ( 924 by Theo. Pr right 1 opy c
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THE ETUDE SEPTEMBER 1924 Page 626 Introduction from POET AND PEASANT Transcribed by EDWIN H. LEMAR F. von Suppe OVERTURE 66 a> > > 5 g Lal o © o me o o i>] a =o) 80 r=] date a Be = oon ot A a yee ee = wo 26 © 6 ig pre ge. oH & Buy o oo n &§ 8 iM a a8 © Ho ae 8 EE Oe See See oo agi F F Bene ey S Sy S a Rises se 2. > a .os & POE aie esse ons on & OS 4 Ho Bunt ese See es ° Steet seea > tt nns Op 2 = Pea Nee A] @ (Strings) SS ow cA a 7 3 ae x o} a) fay & i) n Ro 4 i= (reduce Ped) > ° = i) ° o == ~) NES /INH l y if az, It te)// (stom |r Copyright 1924 by Theo. Presser Co. of British © opyright goot™
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THE ETUDE SEPTEMBER 1924 Page 627 rae “FE Gl pax atempo (add Sub.) i aS LR ee poco is err PP (Strings in) = stace; (Harp) (¢ = S—_—
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THE ETUDE , _ SEPTEMBER 1924 Page 629. CRADLE OF GOLD (CELTIC HUSH-SONG) Andante molto con espressione nif HS ee I'd rock_my own sweet child-ie to rest in a cra-dle of gold on a ALFRED PERCIVAL GRAVES | DANIEL PROTHEROE SSS —— eS SS SS the wil - low, To the ‘sho-heen ho’ of the wind of the west, and the ‘ul - la - lo’ of the = * = Se S Ez = = __ mottoratt, se | sea bil - low. Sleep ba- by dear, sleep with-out fear, Moth - er is here be-side your eee = “iow ae 4 nf. SS Saas put—_ my own sweet child - ie to sleep in - ver boat on the SSS SS Ee ea beau - ti- ful riv- er, Where a ‘sho-heen’ whis - per the white cas-cades, and a ‘lul - la - lo’__the green flags shiv-er, eee SSS => = 1 —— LP er is here a= you for - ize 2S Sa irl Sleep ba - by dear, sleep with-out fear, Moth Copyright 1924 by Theo Presser Co. British Copyright secured
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THE ETUDE TO CELIA SEPTEMBER 1924 Page 630 ' J.C. LINDBERG ’ THURLOW LIEURANCE new, a Allegro moderato Now mist - Allegro =a ing dawns _morn bg en wares + ily Allegretto bdrn joy, with new — - dent =. ‘ ES oe a | Ig @ aa | a aaa eae I tT ree aa tto the earth, all for - ingdawn Allegre i=] y= 2 2 - ea But morn TH) ES eal | ll Andante ihe erato Pr 1 - lures f ights the queen - ly rose n= eS ey lee ll] dir an ay — - li Rie Se : ao ’ a Hl y il a I : = & mn aa 5 B 4 a ral & IF : p el £ D F rl 2 |e . z 2 ° © Isat] | es 2 a oe = @ ee 2 ||/Me Salis a0 4 ee i) l] = etl |= ary foot SF R a Pp | g) ay cf e, S IS is Copyright 1924 by Theo. Presser Co. ed . Pytight secul
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THE ETUDE : SEPTEMBER 1924 Page 631 Allegro moderato Moderato = =e ‘ aS ieee areca a SD a OO | _ a er ere Maestoso moderato a t ta sings for me. [aN CAMERON FIELD RICHARD KOUNTZ Very slowly; lazily 1. been drift - in’ on Son ls - zi - ly, M roam + in’ fora “Not a sin-gle pe Ve see, 3) Till the = — [4 é pate ey a} =~ — oe i A 7 — ary wag = = = — 2. While.a=> Mega m< A - drift-in’ on with me? Jone-seme as eat. be. j 3, age Tift -'in’ on wi pl = ; ee rr j = 1 LP eno MOSSO = 5 is oo a Hl ROS = oer British Copyright secured Copyright 1924 by Theo. Presser Co. e |
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THE ETUDE SEPTEMBER 1924 Page 633 finely made the tow Cost COMES AS A cyurprise EOPLE WHO HAVE WANTED A BABY GRAND, but hesi- tated on account of the cost, have learned with delight that so fine an instrument as the Brambach could be had at so modest a price. And they have been no less surprised to know that the Brambach Baby Grand requires no more space than an upright. You should know more about the Brambach’s tonal and physical beauty, developed during 101 years of good piano making—more about the ease with which it will fit into your home. Simply mail the coupon for de luxe brochure and a paper pattern showing the Brambach’s exact size, and the name of the nearest music merchant who sells the Brambach. aT BRAMBACH PIANO CO. Mark P. Campbell, Pres. 640 W. 49th St., N. ¥. City Please send me paper pattern show. ing size of the Brambach Baby Grand. Name
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SEPTEMBER 1924 HE following article is taken from a book recently issued by the Oxford University Press, made up in part of lec- tures delivered at Oxford University by Mr. Hermann Klein, a well-known voice teacher of London and a former pupil of Manuel Garcia. The title of the book is “Bel Canto.” “Tt is not easy, of course, to grasp and co- ordinate the various factors that make up the true art of singing from the printed page alone, nor can they effectively be put into practice save under skillful and ex- perienced guidance. Art is a thing of imitation, and in the study of. singing you require the aid of the living model and critic as absolutely as in the study of painting or dancing. Nevertheless, a clear record or statement of facts is essential, and the printed page may therefore be re- regarded as a valuable accessory to the work of the teacher. “Garcia recognized this when he published in this country an English translation of his famous Traité complete de VArt du Chant (Complete Treatise of the Art of Song) which first appeared in Paris in 1840; and again when he supplemented it fifty- four years later with his Hints on Singing, which embodied all the subsequent expe- rience garnered during a life time of suc- cessful teaching. “The main essentials of the Italian sys- tem are the mastery of— (a) Breatuine (b) Resonance (c) VoWEL-FORMATION AND ATTACK (d) Tue Sostenuto (Sustarnep ToNE) (e) Tue Lecato (Stow Scare, Rec- ISTERS ) (f) Tue PortamMEeNnto (g) Tue ‘Messa pr Voce’ (ih) Actirry (Cotoratura, ORNAMENTS, ETC.) “This order of progression is natural but by no means invariable. For example, the formation of a vowel shape must neces- sarily precede the attack of a sound, but the study of its manifold variations would have to come later. So the slow scale will naturally proceed simultaneously with the legato; whilst the quick scales form part of the acquisition of agility. Page 684 (a) Breathing “Although scientific Breathing stands both at the base and the apex of the whole vocal structure, it is, nevertheless, the thing most neglected and most misunderstood in the average modern practice of this art. Cor- rect instruction in respiration is, I think, the feature which chiefly differentiates the good teacher from the bad, the efficient master from the charlatan who misleads, cheats, and defrauds the innocent and un- wary pupil. We cannot too frequently repeat the familiar saying of Maria Celloni: ‘Chi sa respirare sa cantare.’* “But commonly the novice is told, if told anything at all about respiration, to take a ‘deep breath’; to fill the lungs with air as though crowding the chest with ozone or inhaling the perfume of flowers; to breathe in or out ‘from the waist’ (where- ever that may be), or even to expand the abdomen with a vigorous outward push of that obscure muscle, the diaphragm. “Obedience to these familiar rules must inevitably tend to guide the student in the wrong direction and lead to bad habits which, once acquired, are exceedingly hard to eradicate. The breathing taught by the old Italian masters entirely reverses the order and changes even the physical charac- ter of the usual processes of inhalation and exhalation which form part of our daily life, Singers proceed differently ; hold their bodies differently; train their muscles and organs to act differently. And yet from first to last the whole procedure is normal, ie who knows how to breathe knows how fo sing. The Singer’s Etude Edited by Vocal Experts It is the Ambition of THE ETUDE to Make This Voice Department “A Vocalist’s Magazine Complete in Itselt”’ Factors That Make Up the True Art of Singing By Hermann Klein beneficial to the health, unfailing in its accomplishment of the right result. “One seldom hears talk of abdominal breathing. It is this filling of the lowest part of the lungs by the expansion of the stomach which not only flattens (and there- with locates) the hidden diaphragm, but prepares for its contraction when _ the stomach is drawn in and the ribs are raised, thus giving the necessary impetus for the expulsion of the breath by muscular pres- sure from below the middle of the body, not from the region of the chest. “This mode of inhalation is doubly ben- eficial: (1) because we are only able com- pletely to inflate the lower part of the lungs by slowly introducing the air there first and filling the upper-part during the same inhalation afterwards; (2) because, where we feel the breath go, thence shall we expel it; and, inasmuch as steadiness and purity of, tone are only to be obtained by this upward pressure from between the lower ribs, just above the stomach, we thereby learn how to avoid all superfluous or ill-directed pres- sure, we learn how to control our breathing action from the region of the diaphragm ; and how, finally, to keep the chest high and firm, utilizing it as a receptacle for air not inhaled directly into it from without, but pressed into it from the lung spaces underneath. “Thus concentrated, the breath, virtually becomes ‘compressed air’, that is, air pos-, sessing an inherent force of its own. Hence its greater power, moving always by mus- cular contraction in the upward (the neces- sary) direction, and so doing its work of creating tone in all degrees of loudness with the minimum of physical action or effort, and with a total absence of strain. “This I believe to be the old Italian system of breathing, as it was taught by Manuel Garcia, and as I have taught it myself for many years. The secret of its success lies primarily in the controlling power of the abdominal support and action. Much de- pends, however, upon a correct attitude of the body, the capacity for retention and expulsion of the breath in any required volume or degree, and the ability to per- form the mechanical functions of the breathing apparatus either slowly or quick- ly, as may be needed, with the same sub- conscious, automatic accuracy, smoothness, and noiselessness of operation. (b) Resonance “The old Italian teachers had no trouble in obtaining a bright, ringing tone. ‘Reson- ance, therefore, may not have entered very largely into their theory, but was far from ng ignored in their practice. Thanks to their ‘open’ vowels an easy ‘for- ward’ tone came naturally to the majority of their students, especially the native ones. Tf it did not, the masters opened their pupils’ throats (temporarily at least) until the sound-waves had learned to find their way to every facial cavity or space (besides the mouth) that was capable of ‘reflecting’ a vocal tone. The idea seems simple enough. “The voice, in order to acquire its full vibrant power, must have the aid of a ‘reflector,’ just as surely as the light burning in a lighthouse. The singer can no more dispense with its aid than the performer on the piano or the violin could dispense with that of a sounding board. “As the act of singing is a natural organic function, common to the majority of civil- ized people, there is no need to discuss here the physiology of tone production, The point is, rather, whereabouts is that tone situated or sounding when it has left the larynx. The answer is that a clear note is at the moment of its utterance, instantly ringing clear and true in its ultimate po- sition, projected and maintained there by steady diaphragmatic breath-pressure, and enhanced in strength and color by shape and other influences. To the singer the - resulting sensation is that the tone is com- ing not from the throat at all, but existing ready-made in the area to which it is re. flected. “Free, unobstructed access to these ‘for- ward’ cavities can alone enable the voice to obtain all the advantages of complete resonance. Properly directed and well supported by the breath, it can entirely escape the danger of a nasal quality and attain increased beauty of timbre, diversity of color, and penetrative power. (c) Vow el-Formation and Attack “The formation of some vowel sha necessarily precede the attack of sound—an act which involves the of the mouth. If we sing with th shut we hum; but the act of hummi is not without its use as qa Means for ; ae cating where the vibration. of the 5 nt waves may be felt re-echoing in the ee resonators when unable to make thei aca by the ordinary route. ort exit “When we open the mouth it must be done by dropping and without moving the head. mains erect and still, The tor as the jaw descends, whilst th space at the back of the as the soft palate rises of the mouth into a d shape thus created g ther preliminary action, for the formation of th sound ‘ah’ that is, the Ttalian alphabet, “The formation of other Vv what the language, j = on this fundamenta eae sense of their ae : to : different with diff reality vowel soun E to the extent i ioe all Feel ali speak them, Only, - more naturally De must 4 vocal Opening © mouth to sin ga the lower #.” Wer jaw, + Which re. Aue fla ome or Rone e S us, Without fur the naturs r vowel S simply ; do correct Not treatment, equal degree o IMilation ie and Vowe THE ETUDE pinging upon the same identical facial area, that is to say, in the ‘mask;’ and there alone, will their union be made perfect. In no other fashion and by no other mechani- cal means can ‘speech and song’ be resolved into a single function. “Garcia says (Hints on Singing, p. 12) that ‘the Pharynx ought to be considered the real mouth of a singer.’ The idea is not an easy one to convey in words, but I understand it to mean that, just as the mouth contains the organs of speech (with especial reference : to consonants), so the right place for forming vowel shapes and originating tonal character is the pas- sage leading from the throat to the nasal cavities. I also believe the idea in question to have been an essential feature of the old Italian method, “Another idea was the utterance of ‘open’ nig vowels ma natural manner en- sured a free, elastic movement of the jaws ae the least muscular stiffness, leaving ee limp and motionless,’ yet not era a Ja covely Wide opening of the ae ee a favors neither low nor Sy us, the true singing position, is a matter of the . 9 . utmost jr it 1s peculiarly as. mportance, and # socia st Fi Manuel Garcia crated with the teaching of “The a . a8 a mental wwe Of the singing position Ponds to — Physical attitude corres speaker, aneous gesture of the S with the inhalation 0 immediately followe tion or attack of the ans were right in theif Source of attack whet Poi appoggiare; inhale, » and by the act of Ttali le true rare, ated air-cishig. With the breath, An in” cned, affords my once the screw is tight for the whole firm and resilient supp ilarly, ole weight of the body. Sim the y, fortabig diaphragm takes 7 vellca Upwards i - irroat, Where j ards the us Tesona var e lators, yolce, The Whole 7 fr herewith, not im With any - perceptible actio® " he ultimate ‘fora - een projected, does Ps : cnt tone call begitl. siately add thatthe mist? bs 48) te a definition, coup 4 i "ger tolerated by the pes 5 i he intensity of ie according t? he largely upo? utte gely 0 €rance or the emotio" 8 Y vary Nature oF t © depends 3S not ir : Percept} ic impe : ea tible ¢ imp SMeey pee Cases hi ate For i . Pre. as atever its zines is ton 1 shal sound neutally and physically: P Sct from the start: (2) Th i te e So In the Stenuto (Sustained Tone) ink ol of singing 9°'ihaM a and cultivate’ M1 i ¢ s one. To-day eY) nal fie, Dretop eto or a quivering oreo Se “maostt, Consequently the ©” encourages it: pie ig tone can ever iu ye 0 q tali 7 an se ore adm eto ‘ady Years attor it had SH yas | dn the iniqway of eB ¥ a od hs SS) ! eip Gitber, anc of tego a ie ; iL Zits onary per soe LEO lity Pe ig of Te to the eat i Method of bt hylus Wy obviates a " Ustinet for the ©
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THE ETUDE right amount of breath-pressure should be natural to the good singer and made reliable by practice and experience. It contributes, moreover, to the liquid purity and clearness of timbre resulting from an undisturbed adjust- ment of the vocal cords. “This economy of breath and this adjust- ment are interdependent, since the muscles of the throat respond and resist automatically in exact proportion to the varying degrees of pressure from the lungs. Yet the need for care does not end there. The singer intent upon the tone must not think of the throat, but of where and how the tone itself is being re- flected or placed; that is the true point Wappui. “Tt follows that a perfect sostenuto can only be obtained when the singer has the sensation of direct and uninterrupted breath support extending from the region of the diaphragm to the area of resonance. “The gradations of strength and varieties of tone-color, like the cultivation of the mezsw voce, are things that cannot be wholly ex plained or taught in books. They are best quired by careful listening and clever imita- tion. “The value of a beautiful mezza voce (‘half voce’ never seems to convey the same idea) cannot be over-estimated. Every singer ought to possess it; but, like the old falsetto, now happily discarded by most singers, it comes more easily to some voices than others. Learn- ing the mezza voce is not unlike acquiring the knack of a stroke at golf or lawn tennis; and the ear must be kept upon the tone as the eye upon the ball, “The art of skillfully graduating a erescendo or diminuendo (dealt With later under the head of ‘Messa di Voce’) should be associated with a constant endeavor to purify the tone. It is the pure sound that travels farthest, not the merely loud one. The delicate mezza voce of a soprano or a tenor ean provide an in- stantancous contrast not less delightful than that of the most exquisite yariation in nuances of color. These are things that must be studied and worked at, for years if necessary, until they are definitely gained. (e) The Legato (Slow Scale, Registers) “It is one thing to sing a single note well. To sing a group of notes all equally well, with a clean, direct transition from the middle of one to the middle of the next involves a good deal more than appears upon the surface, “Tt means, to begin with, command of the pure Legato, a term more readily wnder- stood on an instrument than in the human voice. The singing of the scale in the legato manner has often been compared to the stringing of a row of pearls. When they are perfectly matched they form the per- fect necklace. The act of uniting notes identical in quality and color with un- broken smoothness constitutes the perfect legato. “The first step is the management of the breath, Every note must be supported from the region of the diaphragm with the degree of pressure that it demands, not for itself alone, but in its relation to its neighbors and the true gradation of the entire series, The higher the pitch of the note the greater the degree of pressure Te- Guired, and vice yersa; the ear and the sense of volume must combine to secure and pre- serve the even gradation of the scale up or down. The great point is to make sure of the identity of the tone. It is not necessary to begin either at the top or the bottom of a scale. The old Italians were wise enough not to enforce an arbitary rule on this point. Their plan (adopted also in Paris by the great singer and teacher, Faure) was to find the best note in the middle of the voice and use it as the ‘pivot on which to balance the two halves of the scale lying above and below it. In this way they had less difficulty in obtaining an even scale and a smooth legato. “This device is so effective that many years ago I invented for the study of it a form of rhythmical slow scale in three sections, each commencing on the dominant. The key must be varied so that the dominant in every case may afford the safest model for the succeeding notes: ie eee me “This slow scale must be stung with the dark or ‘closed’ tone (voix sombre), where- as quick scales and runs are best executed in the bright or ‘open’ tone (voix claire), which lends itself more readily to passages requiring flexibility. “Just as the dominant or initial note sup- plies the model for the others, so must the breathing of the descending scale be im- itated in the ascending scale (not the reverse). The legato is always easier, neater, and to be employed with better gradation on the down scale—certainly at first. “The point is that, whether the voice be mounting or descending the scale, the same note shall always be sung in the same manner; that the ‘pivot’ tone, when re- turned to or sung in passing, shall invari- ably sound quite the same. “The ability, however, to manage this depends upon the correct blending of the registers, an important matter upon which I can only touch briefly here, Unless the differences of sensation and changes of mechanism which characterize what are known as,the ‘registers’ of the human voice have so merged into each other as to create a harmonious whole, smoothness of scale or legato singing is out of the question. “The provision of registers, with their three different mechanical actions, enables the same vocal cords to produce a succession of sounds of extensive range. They thus add to what might otherwise be a relatively limited compass and provide for an in- finitely greater variety of timbres. Until Manuel Garcia discovered and invented the laryngoscope, the nature of these different mechanisms was not understood; the effect was known, but not the cause. From close observation, however, one fact appears— that we must not alter our manner of sing- ing because we feel the mechanism to be jn some subtle way altering its automatic procedure. Interference is bound to entail disaster. “The solution of the problem lies in uni- formity—uniformity of breathing, of ‘sing- ing position, of resonance—the last is perhaps the most important. So long as the voice is securely reflected in its ultimate forward position and is sustained there by the breath, supported from the diaphragm, the vocal cords will enjoy the elasticity and freedom essential for modifying their action, without sudden change or ‘break’ which is commonly heard. Otherwise the modification cannot be made imperceptibly, and the abrupt transition from one register to another will become audible. The blend- ing tone, if properly graduated, extends over three or at most four notes, to which the French give the name of voix mixte* “with the aid of this voir mirte, the union of the ‘chest’ and ‘medium,’ of ‘medi- um’ and ‘head’ tones, proceeding either up or down the scale, the voice can be brought into line throughout its whole compass. Once the uniformity is achieved the secret of the legato, elusive as it may appear, becomes comparatively clear, The eclectic ear of the singer must do the rest. (f) The Portamento “The portamento resembles the legato, only in its execution the carrying of the yoice is made audible over the interval sep- arating the two notes. “The mastery of the portamento is not more elusive than that of the legato; but its application to a musical phrase, the 2Both formations are shown with diagrams and described in Hints on Singing, p. 11. 2The finest exercise I know for obtaining clearness and uniformity of tone in the me- dium register is that which Garcia gave to Jenny Lind when she went to him in Paris in 4841, to ‘mend her worn and uneven vo! g It will be found on p. 16 of Hints on Singing. It is not to be used merely as a remedy, but as a study for maintaining a ringing quality of tone on the descending scales, and at the same time preparing the way for a natural pure legato. 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E-6 West Newton, Mass, COURSES Plosse montion THE BTUDE when addressing our advertisers, choice of a right mode of executing it, and various other considerations which musical feeling and experience alone can satisfy, combine to make it the more subtle and difficult device of the two. In the singing of Mozart both play an exceedingly im- portant part. “The English word ‘slur’ is capable of too many interpretations, and has not the same precise significance as the Italian porta- mento or the French port de voix, These imply a mode of carrying the voice which, if employed gracefully and in the right place, always adds character, elegance, force, or intensity of expression, to the delivery of a phrase. Without one of these purposes in view it had better not be used. But, correctly to fulfill the traditions of the Italian school, it cannot be dispensed with. “To enhance the elegance of a phrase, the portamento should as a rule be lightly sung. Merely pushing the voice up or dropping it down from note to note deprives the device of all charm. The tone must be delicately poised and supported by the breath; it must likewise be carried without jerk or interruption over the whole of the interval, attaining its goal with perfect intonation and quality. Correct breath pressure and intelligent anticipation f resonance will alone make this possible i “To import the declamator f or of sentiment, the portamento should b employed with an energy and direct : that leaves no doubt as to its Shee yet always with the greatest diser ae The intention of the composer mi cae carefully studied, and this in the peas Mozart will scarcely leave room oe es taken zeal or choice of the Wron, Gin The portamento is not invariably ee but where it is not, tradition i ee enable us to mark the spot ne taste y force or vig. or addin, “As an ordinary device £, aes ment to the music, the Portamento fi ad exaggerated and overdone to an exte renee has created a prejudice a; ainst its nt that any point. That, of course, is ane useiat most objections that go to a = | like Sixty years ago the excessive us, ‘xtreme, portamento was unknown The of the singers used it in just the afiaie ie and no more; they made it F me: for the ear to be gi are @ 1 rateful never ‘slurring’ two or a Sreat ‘asure . Chough its charm ually set in, eighties were as aie portamento, a hen began a r i tivated English ee bent with the Passion-music Baaleee familiar Bach, and learned to appreciat Cantatas of reticence in this matter, TI eile Proper enjoy a final cadence without a began to upward or downward glissad rn cluding note. Musicians ne ie t artistic singers were imitatir ea that the perception, and restraint of a ue violin or the violoncello oie of the asate, Ysaye, Lady Halle, H rechitn, Sar. mann, and Piatti, who were a Iman, Haus. from whom to More cyl. e (g) The Messa aj Voce a Sone nee meaning of thi is naively but accurately domes Curious 8 on Singing, elfined by Gus ter says, stands for the essa di yin’ swelled sounds,’ which Biecess ain issimo and by deg ne till they arrive at happen at half th should be revers “The apparently diminishing tone Toe but on sentences or ae characteristic of the mastery of the ‘strai as it would preced drawing, But one nits inerey« fete loudest, yee S force ength ; then ihe Shoulq br OGegs, Act of sie Ne on Phrases, ‘i rst does not Bufflee wigttve’ 4 the THE ETUDE other—above all in the singing of Mozart, who demanded the messa di voce at nearly every turn of every piece that he wrote for the voice. “Were, once more, it r is. di breathing that enables the cpesenrie: plish the well-directed support of a steady tone while swelling or diminishing the Strength and volume with perfect evenness and regularity of gradation. . The action of the messa di voce becomes, vith practice, mechanical and subconscious. Fhe utmost care is therefore needed in the esencig’ of a dynamie force that is liable to exes peat: tion and to produce a certain monot- ony oi _ Style. It may be constantly used, but nly Re guided by ease and economy © RU DEESSURE, coupled with musical intel- giro aOnart singer who does not possess this » in my judgment, be an anomaly. (A) Agility, Coloratura, Ornaments, Ete. “Tt is a common belief that only light Voices are fitted by nature for the execution of florid or coloratura music, That is 4 misapprehension which has only grown UP Mm recent times, and did not prevail among the old teachers, because their pupils, eve" those with the heaviest organs, were col tinually demonstrating the opaosite Bact and Handel, Mozart and Rossini, wrote many passages that are tours de force, a0 Poe but, generally speaking, the former the not write their runs and ‘divisions’ eee his _ brilliant passage ai cnzas, for what they would a them j eae) voices, They wr0t cali iseriminately for singers of evel! Oar ie for basses and contraltos a Or sopranos and tenors. The basis of all flexibility is the pute Vocalizati, Pees of the quick scale upon ie t One, or voix claire, In order t? able to sin, : Sas ei dcarly, evenly, and rapidly ; tole ie ‘oO of notes, one must be eve notes, Th me thing on two, three, oF Practice hi Means careful and const!” ism, adequ ie Correct breathing and mec a rom ane tnesonance, a true ear, free larynx ae ar rigidity of the throat , imparts eas, the natural impulse Ww" effortless nd and abandonment to the st¢@©’ The: Ow of tone, ree oscillation of the tone from Note to not, © necessary al {e} . sary ar f the quick y for the prep: right } beginning for ¢ are ie attempted the lary: Hoe. Blides With q slight No matter Singing 6 flexible, a smoothly over the erat accent upon each note, 8° ne ©W rapid the movement, ie Ne scale becomes clear, de oy of even Strength hrousl : pa in the attainme is » Clasticity, cures Working ne Controlling cetion of the bre Sane Tcsin ©mplete accord with mind Ve & scales crisply and clearly r = think them in perfectly haus apply to the practice f° Bens) which form Pettegt « : acteristic and pers! itl hteenth an music of the sever of : Centuries, The mastet fib to every branch of vt { Provide the grou! ‘pail ma lity, for the ease af 3 “ring which alone iv this class of music. ney cal agi fn Tor tone, a c ™ smoothness and peattl is thythms Accentuation of the Vt" iy Xtremely ; ‘ a : accent F, rely important. a oup ” UPon the first note it the singe our, pe . er must X, or eight note ye Witho, in Bras be able to i it any e larity ; the MS with the rhyth™ ay han triples Tun. Nothing can be worn Stingt mp SS with a sturred alg JUMbleq edie te, oe har? i Ot ay tury’ a except pe ote! “y ‘dibl Which the final ™ N tt larke, SMing o¢ sect . f WV “cos! 2 dina, ythms— ie Mozart, tri eat Tety of ¢ Nas such an ©” aft” > on Nem—¢, itute ® it of h s Otably th tt constitu! 4 8 eras ang «.° concerté tite M the play on
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THE ETUDE solo voice and orchestra. The ability to observe peculiar or divergent rhythms, in addition, is frequently essential in passages where agility is also called for. The study of one should therefore go hand in hand with the other; though naturally the scales and runs have to be mastered first. “With Mozart’s special ornamentations, the point is that he treats the various types of ornaments, not as mere embellishments, but as integral parts of the composition. He thus enhances their dignity and makes their faultless execution of equal importance with that of the main melody. “The master had his favorite ‘ornaments.’ Grace notes simply abound in his music: turns (gruppetti), appoggiaturc, repeated and staccato sounds, shakes, slurred notes (notes coulees) constantly arrest the atten- tion of the student. One and all demand the utmost purity and flexibility of voice and delicacy and finish of execution. “Mozart was especially fond of notes, couleces which are very difficult to sing really well. They belonged rather to the technic of the violin or the ’cello than of the voice. Two gliding notes to a single ‘up or down bow’ are comparatively casy to play (compare the semiquaver passages in the Tannhauser overture) ; but two notes to a syllable for a few bars in succession present a greater difficulty: to: the singer because of the certainty, smoothness, and grace that are demanded of the executant, who should here closely imitate the violin. “At the root of the matter lies the com- mand of agility, and every student of this art who works diligently enough can be trained to become a more or less accomp- lished singer of florid music.” Interesting Letters A Stage Fright Episode To tHe Erupe: I was much interested in the different opinions on “Stage Fright,” as presented in the Erupe symposium of some months ago. Its “cure,” if there is such a thing, had a special appeal. There was brought to me an experience which might be at least amusing to others who may read. Several years ago, having accepted a position in a prominent church attended by many celebrities and professional people, I suffered severely from stage fright, or its equivalent, One beautiful summer morning the church was packed, and among the con- gregation came a handsome, distinguished- looking man accompanied by a charming woman, As the service progressed, I noticed in the mirror that the man never took his eyes off the organ, off the organ, E don’t you know that is Mr. J—of the very prominent family of that name? Jost his mind, and the lady is al- Ways with him, as he is not allowed to 80 out alone,” My tumble Was big, but effective. Need- ess to say, my cure was complete. orA Cassapy, Connecticut. A Musical Party Surprise To tne Erupe: For a novel entertainment at a Pupils’ Party, I found this feature a great success. One of the smaller girls came early and was enclosed in a very large pasteboard box. Any chain store will have one. She was seated comfortably and then the top enclosed with crepe paper glued tight to each side. Also, sides were decorated with the same, When all the pupils had arrived and were in their seats, conversing at ease, t “That we are on the eve of a great no doubt, and in this ‘New Way’ the Wilder Keyboar To-day's progressive Teachers i inevitably be the leaders in the “New Way. A postcard will bring you interesting and convincing rea Dept. E-6 The Wilder Keyboard Company, THE WILDER IMPROVE ‘swing’ to Piano and Students, through from Our Readers clapped my hands and the girl in the box broke through the top and recited this: Hello, everyone! I’m glad all are here; I offer to each one a lot of good cheer; You sce here the spirit that hovers around If no one is near to observe how you sound When you practice or study or even sight- read; And that all scales are given the care that they need. Always have patience, and always go slow; The more that you do this, the more you will know. Don’t forget I am near to note all that you do, And that if it is wrong the hurt falls back on you. So good-bye, now you've seen me; take care, if you please, To do pieces right and you'll get them with ease. § R. Duranp, Philadelphia. Wants More Recognition for ’Cello To THE EtupE: In the last Erupe appeared an article by Mr, Alterman, lamenting the small part the ‘cello plays in the phonograph world, Violin records are there in profusion and of the most-brilliant kind. Contrasting with this, just please take up your talking machine catalog and see what is offered you for the ’cello; not one concerto in the lot; and only about thirty in the whole book. Of these nine out of ten are of a very sombre character ; and not one that makes any serious pretention to real a eat is not dependent upon tone alone; just as wonder ful : things can be done with it as with the violin. When some ‘cellist wakes up to the fact that people will not buy this dull, uninteresting stuff, and give us what we want to listen to, there will be no trouble about the buying public appreciating ‘cello records, and this the moment they are worth while. Ww. A. Wuson, Arlington, Nebr. D KEYBOARD Class Instruction there can be dis sure to play a most important part. their vision and initiative, will sons, West Newton, Mass. SEPTEMBER 1924 Page 637 Today and Tomorrow”’ ROFESSIONAL APPROVAL of Kimball pianos has been con- tinuous throughout the years they were first manufactured. Today increasing numbersofeduca- tors enthusiastically praise the new Kimball scale, the latest develop- mentin scientific piano building. These principles are embodied in the“‘little” Grand or the“tiny” Up- right, both especially suited to the studio or home of limited space. They possess beauty of tone with a volume usually associated only with larger instruments. See and know the Kimball these small styles to the largest Concert Grand. If you are interested we will send catalog and paper floor pattern to show exact space re- (Established 1857) Factory and Executive Offices: CHICAGO, U.S. A. KIMBALL “The Instrument of Yesterday, W. W. KIMBALL CO., Dept. KE. 306 South Wabash Avenue, Chicago, Ill, quired. Askfor pattern Style29 | COME aha? mail catalog and information on instru- ment marked X: KIMBALL Gand Pianos KIMBALL Phonographs W. W. KIMBALL Co. | E KIMBALL Upright Pianos G KIMBALL Player Pianos GF Also mail floor pattern “Style 29"— free Name... I Address .. since 29 Y KIMBALL Grand Pianos Music Rolls Upright Pianos Phonographs Player Pianos Pipe Organs Reproducing Pianos from O KIMBALL Reproducing Pianos All You Need to develop and keep a clear, soft, smooth skin is Ingram’ s Milkweed Cream Used by discriminating women for more than thirty years. It is a thorough cleanser, and yet light enough in body to form a com- fortable foundation for powder. Butit has certain remedial properties that subdue redness, roughness, tan, freckles and such imperfections. It is distinctive. Whether you use it as a cleanser, a protection, or a powder base, its nourishing and _ healing properties will bring fresh beauty and new life to your skin, A little scientific care now may save months of effort later on. Get a jar at your druggist’s today; the dollar jar is the more economical for you. Or send ten cents (coin or stamps) for a generous sample with the Dermascope, which will prove to you its beneficial effect. Frederick F. Ingram Company Established 1885 Tn Canada: 343 Tenth St., Windsor, Ont. Detroit, Mich. I Pleage montion THE BTUDE when addressing our advortisers, “Mum’’ is the word! No girl can be popular unless she protects herself against the unpleasant odor of perspiration. “Mum” is the word! “Mum” prevents the odor of perspiration and other body odors. : It is also used with the sanitary pack—it is so safe. “Mum” is 25¢ and soc everywhere. SPECIAL OFFER We want you to know of two other important toilette essentials, so we make this Special Offe *Mum’?;25¢‘*Amoray’’ Talc, the Powder Perfume rich in rare and costly fragrances and 75¢ Evans's Depilatory Outfit, the quick, safe way of removing hair— $1.25 cvorth for $x postpaid. Or ¢* Mum” and ‘‘Amoray’’— 50¢ worth for oc postpaid, Please give your dealer’s name and address, Mum Mfg. Co, 1119 Chestnut Street Philadelphia
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Page 638 SEPTEMBER 1924 VERY organist should be a leader or a leading factor for the advancement of music in his community, independently and outside of his church. While his position in the church should have a certain value to any musical work in which he may be engaged on the outside, he should aid the cause of music through other channels besides those within the church. What can be done and what is the way to go at it? There are so many things he can do and so many ways of going at them that only a few can be mentioned here by way of suggesting others. He should, in co-operation with other enthusiasts, organize a chorus or singing club. It matters not whether it be of men, women or children, or all three combined, so long as it is of value to the community, as it naturally would be. To organists and pianists who have never done this type of work, and are not sure they could, I would say, as you play music in three or four parts on piano or organ and listen to each voice in its cor- rect relation to the other for the proper blending of all the parts, you can do the same with voices. If you haven't done it and want to learn how, go to it and you will soon learn. A Men’s Singing Club If the field in your own community is only partly covered by having a mixed and a women’s chorus, then organize the men into a singing club. If there is no women’s chorus and there is one of mixed and male voices, try that or a children’s choir, If you find the field fully covered in your immediate community and you feel it would be unwise to organize one of the kind already established, go outside and find a place where there is no singing club and stir up one. If there is any com- munity anywhere, in city or town, without a singing club of some sort, such a place needs stirring up. There should be a male, a female, a mixed and a children’s choir in every community. Its value to all con- cerned is too obvious and needs only an enthusiastic musician to bring it about. Why not be that one? Some organists may feel that they cannot give the time or have not the time to give to it. To such I would say: You have the time if you are only willing to use it that way. Few, if any, are so crowded with pupils as to ‘be obliged to teach morning, noon and night. If there are any such, my advice is to cut out some of the teaching before your health or your doctor tells you to vary your activities more by engaging in some work of this kind. Now Let’s All Sing The work requires just the sort of training and knowledge an experienced organist is supposed to possess, with cer- tain other qualifications that require only exercising for development, and not the type of leader whose only qualification is a good singing voice. There has been too much of this type of song leading in community work since the world war, and the need or excuse for it ceased with the war. This is one of the reasons community singing has not reached a higher standard and commanded the respect and support of more of the best musicians. Any singer with a robust voice, possessing little or no knowledge of music, with the right per- sonality, can get away with a certain type of “Now let's all sing” community song leading. During the war one of the duties of the government song leaders was to make assistant song leaders out of certain picked men in a few wecks. While this was done, after a fashion, and met a cer- tain contingency, no high standard could be built on such a foundation. Such work requires far more than a voice and the abil- The Organist’s Etude It is the Ambition of THE ETUDE to make this Organ Department “An Organist’s Magazine Complete in Itself’’ Edited by Well-Known Specialists Value of the Organist to His Community By Herbert Stavely Sammond (Paper presented by the well-known Brooklyn organist and choral conductor at Conven- tion of National Association of Organists, Rochester, N. Y ity to “jolly” people along. Therefore, I say to all organists and pianists, and par- ticularly to those who may have some knowledge of the voice, which all expe- rienced organists should have: Do some- thing that will elevate the standard of music in your community or adjacent town along the lines suggested. If it does not add directly to your income, it will pay in other ways. How to Begin A good way to start a singing society or club is to begin in your own church, taking as a nucleus those of your choir or others in the church who may sing. Do not, as was said at the outset, confine it to that church, but invite from all the churches those who love to sing. You will find many waiting to be asked. Perhaps a better plan is to get together a committee and send out a letter, signed by that com- mittee, calling it a committee on organiza- tion, to all in the community who are known to sing more or less, asking them to come together for the purpose of form- ing a glee club, oratorio society, a Schu- mann, Orpheus, St. Cecilia, Apollo or what- ever name or type of club you may wish to start. If the club or choral society is representative of the community, as it should be, it is likely a rehearsal room can be obtained without charge from some church that has the community spirit, or through the courtesy of a chamber of commerce or some fraternal order, or per- haps a public school auditorium might be secured, You will wish to give at least two con- certs a season, the expenses of which can be met in part by the dues of the active or singing members, but largely by an associate membership called subscribing members or patrons. Aside from the wonderful and inspiriag work of elevating the musical taste of the community indirectly, the club should have a direct influence in molding the taste of its singing members, While some of the singing members may be studying music seriously, the largest part at the outset may not be able to read music at all and their highest ambition may have been to sing nothing beyond the “Dear Old Pal of Mine” or “The Sunshine of Your Smile” type of song, or perhaps some ragtime hit. In a short time you will have them sing- ing and enjoying works of the great mas- ters, as well as songs of the best modern composers, arranged for part singing, in- terspersed with light and humorous num- bers that are a part of a well-arranged program, One cannot realize, without hav- ing tried it, the joy that such work brings to conductor and singers alike. A fine work for a community can be done by organizing a Sunday-school or community band or small orchestra. Tn- cidentally, one might obtain a practical knowledge of orchestration while doing it. Music and Business Another branch of musical work still in its infancy is the organizing and devel- oping of choral societies and glee clubs in industrial plants, commercial houses and department stores—a work that has wonderful possibilities of development Such work is waiting only for the right person who will go at it in a manner that will appeal to the heads of such con- cerns, and who is able to show to all concerned. An eminently success- ful work of this kind is being done in the great department store of Marshall Field & Co., in Chicago, where they have pre- sented most of the great ora! large chorus, full orchestra and noted solo ists. Some of New York's stores hava choruses, but their work is not generally known to the public, y the value torios with The Organist’s Duty Just as we have a bankers’ why not an insurance men’s brokers’ glee club? Industrial fiecks ee their ball teams for Saturday and Sie day games during the summer, so Bea not have glee clubs and bands? Tr E could meet in friendly competition (y afd each other) on Saturday and Sunday ao : in the winter and once a season ive s festival concert with the combined i The possibilities are so tremendous Te I marvel at our indifference to the Sita tion and the smug way we sit back. Bae think how terribly busy we are just ae cause we may occupy a position ag a - ist of a church and perhaps a syp, con and have a class of pupils. Theatre Sanists do not come under this indiet, ee as their afternoon and evening Work anc nq sometimes morning rehearsals do not mit the adjustment of their time pet slee club, Distribute Your Energies , I know from personal is possible to be organist Synagogue at the same tir three choral organizatior of private Dupils, be an a committee of an organizati anization to wh: may belong, spend a night at i ina while, read the daily pa a zine article or two, aoe . a few r cations a month, attend the pe experience that it of a church and me, direct two o. ns, have : or concert now and tt missy per ed Z ~ then and q, ied other things that might be mahi Various still be well and happy Ts toned and a life should keep one well and | er) be ni yoa Senera] rntalents : adhereng, one S; such as ae one’s time to concert orp - composition, as some of Sit Ya or: ic y organists do, and do well, it ; would call the attention ‘of ms bore neglected and a endeavor, the devel ee pea ie the development of w 4 rela of xe the community happier a - vould and rig} - “her, THE ETUDE The Place of the Voluntary By E. A. H. Crawshaw As the name implies, a voluntary did not form part of the regular service of the Church and it was optional for the orgall- ist to play it or not. Others believed that various preludes and interludes were thus called because they were improvised. It is to be feared that too often little thought is Siven to-day as to what shall be the volun taries chosen for public performance. If Preacher Were to come as unprepared to the pulpit as some organists to the organ loft, we should not wonder if our congregations Sradually diminished, : As Mr. Harvey Grace so ably expresses it: “The organ prelude is the first soul heard by the congregation, and it ought 1? bea Worthy breaking of the silence, how ever simple it may be.” At one town where lived, Sunday by Sunday, the organist appeared without a single piece of music if his hand—he did not keep his musical libratY on Church prer mises—and we were com Pelled to listen to futile improvisation Feral carmel yp wih sei Preacher then diminuendo, until i eecomne ascended the pulpit stairs to a cure for ent, Of the tremulant. AS # or such improvisers Mr, Grace SY te fone efforts should be recorded ? fe} mi Delled to hear’ oy tey should bejg ear on M hal Perpetrated on Sa what they ene that the palmy period of the yoluti 1720 to coe English composers) was ft Were c 30, and that the best specimel® mposed by Cro ft, Beckwith, Keeble: ‘Oyce, as i a Greene, Battishill, Kelways Zh West has “ssell and Adams. Mr. Joht ae Tescued some of these from 6 di id English Otesa wee the series of “0 2 © giv conchidin, another personal experience! © 4 voluntary was always chosen 6 eee One nearly related to 1 ice. This ‘ a nymn-tune sung at the § Bs y grati¢ i) excellent idea, and 18 af exceedingly > U8 to those who, having © frequent mt SMe of pitch, object ih Which perh “gentlemanly modulat? y abs ollows the final Amen. | es whi Some of the extraordinty Would write ch have been played th? d ound a new one. against “yr. it necessary to PIO. and Jigging 1) Pilogues after Tradged™ 1g Voluntaries,” in The Specta” of farch, e — Addison ftit® is not In 172 S. to the effect that : af ed his disapprov® ig Somebody atti ow W ody by putting (1g up a eda’ jidit! iD and Sustaining ae pee: puil rdo if > Whe tial i fet amazed nah elling in Ita Vie . ral musi = Tiantises “y e itian’s «yp “i Urch show Ne poorness 0 g the tells us he was!" at at Venice, gaZine ie Service Ttyrdom of St roel pi, Carnesty, . > Sin oh and a he we i ‘or - a Sid s ei” ne scape” MPlating the wondrous & els 1 its trees, and 2? ed he organ comme” ih luite in harmony i 2€ second, third, 4" cor! » Wick e thei S$, and re kly roused m j 333 t atrical , ored me to my Must he = 3 St soy ny feelin aes Was ¢ Sebeall the ce t a g “alities, 4 Ranist ,., 8 a ere- of ele Wi DOt to ir “reat temptation to ie &etioy MDrove the occasion By 50H ®udiens, Music whiet he gure we Van wa CCORnize ho he is Sura iti Rays x D. . Pition of 4 ViN& the fe * The - Gane h so: gout Was fixed for 1008 08 all i t arrive Tet derstanding the BP ay the 4; Mone, o. a of tHe time Sullivan had ', "je Mtrody t one: 4 eed amMongs oy 0005 ott one Of his aited a Stes de i apprapes 7H Sitges om the Lord’ oil 4 by the Waitre®® OF these tl He Come nde Aiting Eo, -, ese being appre” NE opea gs 8regation,
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THE ETUDE When Charles Santley was in Italy his experience was not more happy than Men- delssohn’s. In his Reminiscences he says: “Passing the Carmelites one day, in Milan, T heard the sound of the organ, and entered. About twenty-five girls were receiving con- firmation; the organist enlivened the pro- ceedings with selections from La Traviata. In the country places all attempt at pro- Priety was discarded; the organist simply Played whatever he could get through, sacred or profane. I have heard the favorite galop from the last new ballet and the last movement of the overture to William Tell played as voluntaries. At Baveno a few years ago, on the occasion of a wedding, Mass was being performed. At the Elevation (the most solemn part) we were regaled with ‘Largo al factotum’ from Il Barbiere di Siviglia!” Dr. Schweitzer mentions in his J. S. Bach that in 1548 an organist in Strassburg was dis- missed from his post for having played French and Italian songs during the offertory. Dr. Henry Coward in his Reminiscences tells of a former organist of Leeds Parish Church, Mr. R. S, Burton, a man of strong will and firm Convictions, with a large share of combativeness, He displayed all these qualities by playing, at the conclusion of what he considered an unorthodox sermon the chorus from St. Paul: “Now this man ceaseth not to utter blasphemous things,” which was, doubtless, the opinion also of a good many in the congregation. Mr. Harvey Grace, in his excellent book, The Compleat Organist, has two chapters on the subject of yoluntaries which one wishes all “who handle the organ” could read. He pleads for making a feature of the organ music before the service. He argues that then people have time to listen, being most of them “in their places some ten minutes before the service begins.” Happy Mr. Grace, if this is his usual ex- perience! His advice as to the choice of suitable voluntaries, both before and after a service, is most valuable. But in some churches the officiating minister is not musical. To him the only important part of the service is that when he can have his own say—the sermon. If he should be in the pulpit (I refer now to Nonconformist usage) and the organist dare to finish his voluntary, woe be to the unhappy man! I was recently told by an organist, a Mus. B., and a most capable musician, that he was playing the “Angel's Farewell” from The Dream of Gerontixs before service, and kept the minister waiting a short time until he had concluded Elgar's lovely music. The result was great anger on the part of the minister that he should have had to wait, and an apology insisted on from the poor unfortunate organist. I would cer- tainly prefer to hear that organist’s volun- taries than the minister’s sermons ! If the ministers take this attitude and give no encouragement to their organists, music will never occupy its rightful place in our services. There are many of us to whom the voluntaries, well chosen and well played, mean a great deal. They may be as distinctly helpful as the spoken sermon, and we echo the words of the Psalmist: “Praise Him with the harp and organ,” Organ Extemporization By S. M. F. EXTEMPORIZATION may be considered to a certain degree as a combination of the arts of composition and interpretation. It differs from Composition in the same way that ordinary conversation differs from literature; but is not the conversation of a brilliant man far more interesting and in- structive than a book which may be the studied product of a dull and uninteresting mind? Many famous composers have been noted for their skill in the branch of their art; Beethoven and Mendelssohn being two gifted examples, In our own time stands the eminent Marce] Dupre, weaving into massive symphonic form the themes pre- sented to him, Two phases of extempore playing deserve Consideration ; that of form and that of color, In regard to the first mentioned, it would be advisable to begin with a Period, forming an imperfect cadence on the Dom- nant at the close of the fourth measure and ® perfect cadence at the close of the eighth measure. Later this could be extended to a Double-Period, reserving the imperfect cadence until the close of the eighth measure and the perfect cadence until the end of the sixteenth measure. Before long the Dlayer’s musical instinct will show how this can be further developed, and where extra Measures may he interpolated or intro- ductory chords added. A fugal composition should not be beyond the powers of a Player, provided a short and Simple subject be chosen to begin with, and a knowledge of its construction be Possessed, It is important that a sense of melodic Outline be cultivated, Intimate acquaint- ‘Nee with melodies of Mozart, Beethoven, Cchubert and Brahms will most assuredly “tm and refine the melodic taste, just as sociation with cultured and well-bred People refine the manners. In regard to color extemporization much depends on the mechanical and tonal re- sources of the instrument. Variety in tona) texture is important. For instance, it is more interesting tonally to use gamba 8-ft, with flute 4-ft. or flute 8-ft. with gamba 4-ft. than the same quality of tone 8 and 4-ft. Sixteen-foot stops played an octave higher or 4-ft. stops an octave lower often yield interesting contrasts of tone to the 8-ft. registers. Flutes modify reed-tone, although modern reeds do not require flutes to modify their asperity. Diapasons and gembas or reeds and gambas rarely agree. Four-foot open flutes often have a pleasing quality of tone in their lowest octave which may be effectively used in arpeggios against chords on soft reeds or violas. When playing a solo, do not always couple the manual used for the accompani- ment. Tf, for instance, an 8-ft. flute is be- ing used on the Choir, accompanied by a delicate string tone on the Swell with octave couplers, the top note of the accompani- ment, if uncoupled, will lie above the sola. The effect is pleasing, the ear heing intrigued by the apparent conflicting claims of the more powerful toned solo stop and the delicate but more highly pitched accom- paniment tone. ’ Use the vox humana as a timbre creat- ing stop. Its tone, combined with the celeste and 4-ft. flute is arresting. Care should be taken not to fatigue the listener by too constant a use of the tremolo, : The 8-ft. stops on the Pedal organ should frequently be used without any 16-ft. The constant hooming of the 16-ft. frequently becomes wearisome to the listener. Great are the resources and possibilities of the modern organ. It is in their use that one proves himself to be an artist or an artisan, SEPTEMBER 1924 Page 639 “I think your boss is a peach. He seemed to have a good time, didn’t he?” “Yes. But why didn’t you play the piano when he asked you to?” “Tcouldn’t. Ttwould have Spoiled his whole evening if I’d played on our jangling piano.” “Why didn’t you play when he asked you to?’ Write tous for the name of the Weaver dealer nearest to you and ask for our catalog. Convenient terms are easily arranged, and a liberal allowance made on your former piano. Weaver Piano Company, Inc., Factory and General Offices: York, Pa. Weaver, York and Livingston Pianos and Player Pianos. Had they only owned a Weaver Piano, she could have been proud to play. For the beautiful tone that marks the Weaver when new, stays beautiful through years of use, a source of pride and enjoyment to the owner. And its mechanical per- fection never fails to arouse enthusiasm and praise, no matter who the player. WEAVER PIANOS AUST CHOIRMASTERS ! Ana IN ORGANS tne ard arian occasions hating COLLECTION the Church Year Selected Anthems by Harry Rowe NEW York, Pidephia Sn Fin cisco, cago, it a Richmond, Atlanta, Charledign, Niece Shelley Gaston Borch Lucien Chaffin “The Church apolis, Cincinnati, Seattle, Troy, Wor- i cester, Baltimore,andmany otherlaracesn: Year” Fae ters are possessors of notable Austin organs, ae Sent on Approval—Price $1.25 jae Rogers Order from your dealer or and many others HAROLD FLAMMER, 57 W. 45th St.,New York Over twelve hundted are now in'use, Tepresenting an average output, since active operations a quarter-century ago, of about one organ a week, .__ The list of Austin éwned patents runs into scores, AUSTIN ORGAN CO. 165 Woodland St. Hartford, Conn. RS of develop- TWENTY fon universal ne- PER “ORGOBLO” dy—E fficient—Qui of the largest and in Organs are bl FOUR FREE SCHOLARSHIPS Guilmant Organ School Dr. WILLIAM ¢, CARL, Director ‘The ORGORLO has won the Mighest award in every exposi- tion entere Special “ORGORLO JUNIOR” aud Student Organs, THE SPENCER TURBINE COMPANY 0 y Department HARTFORD : CONNECTICUT STUDY HARMONY and COMPOSITION under the persona! by MAIL {Instruction of Dr. Alfred Wooler, winner of Interna: tional unthem’ competition, 1911. A simple, concise nnd practical courge. Send for prospectus ind rates. Composers’ M88. correcteil. ALFRED WOOLER, Mus. Doc. A171 Cleveland Ave.: Buffalo, N. ¥. Fall Term, October 7th == ADDED FACILITIES WRITE FOR CATALOG 17 East 11th Street New York City Surely every Piano player would like to MEMORIZE EASILY, READ WELL, ACCOMPANY CRED. “Nothing comes ITABLY, INTERPRET MUSICAL. without effort, "* but LY, and PLAY WITH GOOD RHYTHM, and with the you will find these Courses eo direct and clear that “‘effort" will be least possible effort. reduced to the minimum. You will be inter- ested, surprised and delighted for thereis real joy for the person who has wanted to “Memorize” for years, and fi- nally discovers that he can. A postal will at once bring you informa” tion concerning our Introductory Offer, The Wilder Publishing Company Of course Dept. E-6 West Newton, Masa,
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Page 640 SEPTEMBER 1924 The Choir Master Each Month Under This Heading We Shall Give a List of Anthems, Solos and Voluntaries Appropriate for Morning and Evening Services Throughout the Year. Opposite “a” are anthems of moderate difficulty, opposite “b” those of a simple type. Any of the works named may be had for examination, Our retail prices are always reason- able and the discounts the best obtainable. SUNDAY MORNING, NOV. 2nd Sliis gapangonn tsar Doniszetti-Browne ANTHEM a. O, How Amiable are Thy Wellies: aaj ccrcitem steer ciate West b. Father of Mercies.........-- Stults OFFERTORY Jesus, Lover of My Soul (Duet Siwand) #5)! Gan tasasen dae Solly ORGAN Anniversary March SUNDAY EVENING, NOV. 2nd ORGAN Meditation .......ssssseeseeees Stults ANTHEM a. In the Light of His Face Wildermere b. Saviour, Breathe an Evening IBICSSING sisiest sciesmn gigs Gata Pike OFFERTORY ae Evening Shadows (Violin Obb.) Williams ORGAN ue Allegro Con Spirito ......... Warner SUNDAY MORNING, NOV. 9th ORGAN Allegretto in E flat. ANTHEM a. We Lift Our Hearts to Thee. Borch b, O Love That Will Not Let Me Go), .. Ssjcja'atsistsrsyetss teers Eggert OFFERTORY In Heavenly Love Abiding (Duet S. and A.)..... Rockwell ORGAN March in C.. . Read SUNDAY EVENING, NOV. 9th ORGAN TRERCEUSC we sats. feia01y) sn'is'a Slee ase Godard ANTHEM a. I Long to Be with Jesus.. Williams b. Day is Past and Over...... Stults OFFERTORY That Sweet Story .......... Widener ORGAN Allegro Pomposo ...........Sh2ppard SUNDAY MORNING, NOV. 16th ORGAN Ave Maria Schubert-Nevin ANTHEM a. Hail, Gladdening Light ....Nichol b. Praise to God Immortal Praise Stults OFFERTORY How Amiable are ;}Thy Dwell- ings (Duet S. and A.).Roberts ORGAN Bestival Match) J... cassia Teilman SUNDAY EVENING, NOV. 16th ORGAN Twilight Devotion ..........+++ Pease ANTHEM a. O, Jesus! Lord Most Mer- (bir PEE peerenobanenac roe Marks b. Jesus, the Very Thought of HEC areas ttaeicisiterinmse 20) Shelley OFFERTORY 4 TOO LACE sss ciainsiisie eoraisiaie oe e:siere Bird ORGAN : Minster March ..........-++ Wagner SUNDAY MORNING, NOV. 23rd ORGAN Offertoire in F......eeeeeee sees Read ANTHEM aa a, Prayer of Thanksgiving Netherlands b. Now Thank We All Our God), Base seewsiere .Huerter OFFERTORY . ests: OMY, jyere saccieraracsie laren ois O’Hara ORGAN Festival March ........-.-.000 Lyre SUNDAY EVENING, NOV. 23rd ORGAN Homage to Grieg........-+++ Whiting ANTHEM a. To Thee, O Lord, Our Hearts We Raise ..........+-+ Dressler b. Awake, My Soul, to Sound His Praise .... «+. Pike OFFERTORY ] In the Hour of Trial (Duet SPandtAs) Wis scsteis se sissies Stults ORGAN Postlude in G......-.ese eee e ee Read SUNDAY MORNING, NOV. 30th ORGAN FAC AIDEN TNR aig ad aa Raabe Zimmerman ANTHEM a. Lord is Exalted...........-+ West b. Hark! Ten Thousands Harps and Voices .. .. Stults OFFERTORY Hymn of Thanks .......... Protheroe ORGAN i March) inp © ascites tsjaieleslel> Williams SUNDAY EVENING, NOV. 30th INGETSIO: Gaucueuogne Beethoven-Whiting ANTHEM a, Holy Art Thou ..,.......++ Handel b. Come Holy Spirit.....Zimmerman OFFERTORY The Day is Ended (Violin Obb.) ...Wolcott ORGAN Church Festival March ........Stults SUMMY’S CORNER _ The Piano works listed below have proven themselves a pronounced success, Their worth has given them widespread popularity and the demand for them is constantly increasing. They furnish vital material for the basis of a thorough knowledge of music. THE VERY FIRST LESSONS AT THE PIANO. 90 PRELIMINARY STUDIES FOR THE PIANO... HOME STUDY BOOK FOR BEGINNERS—Parts 1 and 2 GRADED STUDIES—Books 1 to 7—Grades 1 to 5 ‘The aboye group of Mrs, Crosby Adams’ books servo as a complete course of study for the piano, They can be used to form a course for school credits, PIANO TECHNIC FOR CHILDREN—by Julia Lois Caruthers Important for presonting the system of early training for the child's hand. THE CHILD AT THE PIANO—Meta Zarbell Steele 75 A logical manner of conducting tho first study of the Staff, Keyboard, Rhythn THE FIRST MELODIES FOR THE PIANO—by Lillian Sara Jackson ‘Pho melodies are onriched by an harthonic background played by tho teacher. FROM THE VERY BEGINNING~—by Phyllis Lucy Keyes Characteristic first pleces with words, giving the pupil a full knowledge of the entire staff. SYNTHETIC SERIES—Book 1—By Florence A. Goodrich Arovelation In the teaching of the first steps in memorizing. THE LITTLE HANON—by Robert J. Ring Important finger technic for beginnors, patterned after and preparatory to the Hanan Virtuoso Pianist. Two Practical Accessories for Teacher and Pupil THE TEACHER’S LOOSE-LEAF JOURNAL-LEDGER S Binders—Full Morocco, 2.25 nt book which doos away with the weekly period of book-keaping. Loose Le: kg. of 50, «3! A handy Imitation Leather, 1.25 THE MUSIC STUDENT’S LESSON RECORD—by Leola Arnold .... .35 entage system Tt sim} ing o full yeu 429 South Wabash Avenue n record of the quality of work of the pupil and the time spont on practice, cover- SUMMY CO., Publishers Chicago, Illinois We are making no change in prices or discounts on our publications. The Birth of the Organ How old is the organ? No one really knows. There is a very interesting carv- ing of an organ upon an obelisk erected by Theodosius, who died in 393 A. D.; but it is certain that organs existed long be- fore his time. The organ was in general use in the churches of Spain as early as 450 A. D. In 666, Pope Vitalian at Rome realized the advantages of the organ in church singing and advocated its use. This pope, however, had the habit of changing his mind and soon thereafter abolished con- gregational singing in the church and ad- vocated the use of canonical singers. Organ making was introduced in Eng- land in the eighth century. It was intro- duced in France just a little later. Pepin, the father of Charlemagne, im- ported an organ from Constantinople (Byzantium) about 757. It was a pneu- matic organ and its pipes were made of lead. It was played by an Italian priest. The first organ introduced in Germany was one erected by Charlemagne in Aix-la- Chapelle. It was a copy of the organ his father had imported from Constantinople. In 825, the Caliph Haroun al Raschid presented Charlemagne with an organ by an Arabian maker. This organ was also erected at Aix-la-Chapelle. Waiting at the Church “Wuen I was organist of St. Michael’s” Sir Arthur Sullivan says, in Arthur Law- rence’s biography of this genial composer of “H. M. S. Pinafore” and other such works, “my friend Cranmer Byng was ap- pointed vicar of a new church, and T dee signed the new organ for him and under- took to find an organist. When the da: arrived for the consecration, I hadn't a tained the organist for him, so I volur teered to play for two or three Slinda, wh until I could find someone else, with ae result, however, that I played there for two or three years. I remember that r the consecration of the church by the th at Bishop of London, the hour fixed ee twelve o'clock, and by some misund as) standing the Bishop didn’t arrive untit ler- Consequently, I had to play the Cee whole time, in order to occupy the ate e@ tion of the congregation. As the mij stil went by and the Bishop didn’t arrive ee gan to play appropriate music, Fir De- played ‘I Waited for the Lor@ (in e I land, it should be explained, a Bisho ng- member of the House of Peers, ag Pisa the ‘Lords Spiritual’), and then eine of with a song of mine which js eae on ‘Will He Come.” The appropriate ntitled, the piece was perfectly appreciated kro of congregation.” by the Handel—Adapteq In the preface to an editio, “Messiah” written by Dr, Bae Handet’s the following amusing eve ae Iven : “Being on a visit to a fri i place, the inhabitants of aS see unity primitive than scientific, Dr Ba piers his way to church on a Sunday Usby, on overtook one of the chorister: ae bundle of music books under hi ya “‘What have you got there ya a said the doctor. “Zam of Handel’s we're going to zing at ¢ the rejoinder, “‘Tandell’ said ti i astonished; ‘don’t a Thea Somewhat difficult 2 TE) Music “Why,’ said the countr furst, zur, but we altered goes y well now.” Considering how freely W- took the musie of a Re himsetg “altered un a bit,” the treatin the “Messiah” by the We . scems only fair. » MY man? music, zur . hurch today, that Was yman, ‘we qi ay di una hy d at it, and he Posers ang est pens to St countryman THE ETUDE A Thought for Choir Directors By A. Lane Allan AN organist-teacher-choir-director has worked out a satisfactory plan to help pupils to pay for their lessons. She is organist and director of the choir in one of the large churches in an eastern city. Upon discovering a pupil whose voice seems promising she suggests a test to see if arrangements can be made for him to sing in the choir. If the voice is satisfactory she allows the pupil to apply the fee which he receives from this source in payment of his lessons on the organ or piano as the case may be. ; A little assistance of this kind makes it Possible for a pupil to continue his lessons, reece or pay for the music he uses: fae ae have been fortunate enough to y T the work in the choir are of fowee receiving valuable training, free ° arge, in the control of their breathing: Adjusting Hymn Titles To THE Erupe: Your issue last few eect ERE Eruve have, in the months, contained articles ffo™ jee teghd who have fallen into erfof Beis i tunes, calling them by eRe e first lines of hymns. I re@ the tune aa such. The proper name f! “Bethany a which we sing the words Thee.” Sy, and never “Nearer My Go by pPose Wwe sang these words 1 the Sullivan, the words “Now I Ha’ Friend,” would you call the tu" by the words “Now I have fon such j is simply absurd to 20. cone tactes, Another thing in thls compose the mttat_ Lowell Mason did ie om Mo © music: it is taken bodily “hy Night” core’s ballad, “Oft in the SHE them fo fa anyone can see by compart 3 3 lmself. Another tune misnamn enigna” to which we sing “Lea ght.” But the tune should 1 L Y from the words ? hymn, é nother matter in connection A yea a addreseed i Mous preacher of NeW i tried to ime 2880Ciation of organist’ 8 Fess on them the importante ans funn in better style. 1 iat ganisty © Preacher and suggest S never play hymns, but ® “pe hymns are wo" fe he gentleman ans was : Y wrong and tha ight. It does Seem strange bad habits of inaccl! f hymns to tunes: Te is ay ion o Jor ae. Everson, Pittsburgh si Musical Av. HE reg ee Ambassadors if Ss Ag, Maseagni-Mocchi trot : Was the occasion fOF one inh Gitty, i uk by the eminent big d, 2 Londen” Musical News a AScussj, 2 MPresario og TS the necessity of . 1°) i Opera it 1,o ting his public the 89” It is : Mr. Gilly continues? fat Music is infer? Partial truth to, $9 Ape tition national, There is cori pinch, having remacy, and the ie @ adverti B ‘the go wre Dro tise them bee 8o0ds,’ knows we a Pagand; est and can ofS ay any % t ound ¢ ® Which put. Not be qr OMe out sth S nationalis™ a i rive) ut best, Artists & 10m Seek 18} oe foreign aN their own cout ti 4s the ti nitio® 5 Should ye SS'Mtry has dented te Md aby Uw oy “i propagand® 5 nl be tational Tain support pro auch hie oS Rot an artist 094 7 ‘Mm? Did noe saPation as any commit al ernhay, b @anwehn Gy , Sale ardt, 8ruso’ mean Italy? io a Nee, and ‘Hans vor
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‘THE BTUDE I Have Found Out How to Get Rid of Superfluous Hair At Once Here’s the Secret I had become utterly discouraged with a heavy growth of hair on my face and lip. I tried every way to get rid of it—all the depilatories I had heard of, electrolysis, even a razor. I tried every advertised remedy, but all were disappointments. I thought it was hope- less until there came to me the simple but truly wonderful discovery which has brought such great relief and joy tome and to other women that it really cannot be ex- Pressed in words. a My face is now noi only perfectly free fromsuper- fluous hair but smooth and soft asa baby’s, all by use of the simple method which I will gladly ex- Plain to any woman who Will write to me. This amazing method is different from anything you have ever used—not @ powder, paste, wax or liquid, not a razor, not electricity, It will remove superfluous hair at once and will make the skin soft, smooth and beauti- fully attractive. Its use means an adorable ap- pearance. And you face the brightest light—the most brilliant electric Jamps—even the glare of sunlight joyously. With this method, used according to the simple directions I will give you, your trouble with super- fluous hair is over per- manently, You will never again appear with that ugly growth to disfigure your face, So overjoyed was I with the results this discovery brought tome thatI gaveit my own name—Lanzette. Send for Free Book A book that tells just how this wonderful method ets rid of superfluous hair is free upon request. jon't send a penny—just a letter or post card, Address Annette Lanzeite, Dept. 1073, care Hygienic Laboratories, 2048. Peoria Street, Chicago, Il. VS WHO WILL PAY THE DOCTOR, THE NURSE AND THE BOARD BILL WHEN YOU ARE SICK OR INJURED? The Teachers Casualty Underwriters is a national protective association of teachers for teachers. For a trifling cost, it will as- sure you an income when you are sick, accidentally injured or quarantined. It also pays operation and hospital benefits. I to have a friend iike the T. C, U, in eae va need, Send a postal for full information. TEACHERS CASUALTY UNDERWRITERS 913 T. C. U. Building Lincoln, Nebr. MUSIC PRINTERS RS wT HOGRAPHERS ae IN MUSIC BY ANY PROCESS WE PRINT FOR INDIVIDUALS tsiasuisieoioxe REFERENCE ANY PUBLISHER THE orto & SON COjns: CINCINNATI OHIO wood-wind SEPTEMBER 1924 ~ Question and Answer Department Conducted by Axvitur DE GuUICHARD Always send your full name and address. been neglected. No questions will be answered when this has Only your initials or a chosen nom de plume will be printed. Make your questions short and to the point. arding particular pieces, metronomic markings, etc., not likely to be of interest 1c of ETUDE readers will not be considered. Questions reg: to the greater numbe How to try a new Piano. @. Please mention a few points to notice aohen trying @ new piano—any chords or runs or tests that would make an opinion of some value, not mercly @ case of “it pleaacs me,” or the contrary.—X. Y. Z., Montreal, Canada. A. Start from middle C, play every note of the chromatic scale, ascending firmly, slowly, in order to learn if the tone is round, has depth, that its quality is. equal throughout ; then examine the descending seale similarly ; next, play a little faster the scales of C, B- flat and B ascending and descending, to test the weight and evenness of the touch, the singing quality or sostenuto; now play some rapid scales, roulades, arpeggios, not forget- ting prestissimo repeated notes to discover if the mechanism responds immediately to the touch, even the lightest. Examine the pedal action. If the instrument be second-hand, be sure to see if the sound-board is perfect, no erack, no repairs, but as perfect, as new. Read “The Story of the Pianoforte,” by A. J. Hipkins (Novelio’s Music Primers), and Noble Art,” by Fanny Morris” Smith (pub- lished at Steinway Mall, New York City). Whence comes the name “Hornpipe?” “ec always thought that a@ “Horn- pipe” eae sailor’s dance; but recently I saw it mentioned in a book as an instrument. Is it not a mistake? Please tell me something about it.—aA. C. D., Philadelphia, Pa. A. The Suxilor's Hornpipe is the most “modern” (1!) of the dances known as Horn- pipes. It dates back to the late seventeenth century period and is probably related to the Dutch “Matelotte.” Before that period, how- ever, the Hornpipe was a most fashionable dance all through the sixteenth century, in the reigns of Henry VIII and Blizabeth, and each county in England had its special form of. Hornpipe. Thus the dance ealled for ap- propriate tunes, and we find them among the compositions of the best musicians of the times: Hugh Aston, Henry Purcell and others. This dance took its name from the instrument which originally accompanied it. The antiquity of the Hornpipe as an instru- ment is difficult to determine. A vocabulary of the fifteenth century translates the Latin Cornubium with “Hornpipe” and another early dictionary includes the word about 1440. St was a wooden pipe with finger-holes and a bell or horn, played with a single-beating reed which was also covered with horn, | Ben Jonson speaks of “the nimble hornpipe,” and Dryden, in_his translation of the Aneid, says “The shrill hornpipe sounds to be chanala, Thus we have: first, the instrument; then the dance accompanied — by it; finally, the yariation known as the Sailor's Hornpipe. Bombard and Difference between Bombardon. Ale ale it) Vhat is a Bombard; what is a bom- nation ?—_Theresa, Milton, Mass. A. A Bombard (Bombarde, Bumbarde), a jod-wind instrument, of conical bore, having nelonging to the b t a double reel aim). or early Hantbois family. Tr is ancient, found frequently in the records of Henry VIII's time, and must not Be eOn: fused with the modern brass instrument w yalves called the Bombardon. About “Covered Tones.” Q. In singing, what is meant by a “cov- I ic ced work ered tonc?? What kind of voices nee on it? How would oer AS Ss change which occurs in voices ain the “open” tone ig no longer employed ; by “open” is understood the vibration of the vocal chords in their full length and thickness, It is also applied to the resonance cayity or cavities employed, as, for example, when in singing the low notes the sensation seems to be entirely in the chest cavity and the tones are full and round, the voice is said to be “open,” All voices should acquire the ‘“coy- ered” yoice, most particularly, contraltos, tenors and all male voices. It is absolutely impossible to give any kind of yocal lesson in print or by correspondence, The teacher must hear the voice to recognize the kind of fault in order to apply the proper remedy. You would do well to take some lessons from a really competent male teacher whose chief aim is to make competent singers. Diction—Bnunciation—Vocal Bibliog- raphy for a Pianist. Q. Please recommend a bibliography for a piano teacher and theorist who wishes to appreciate songs. What ia “good diction’? IT know what good enunciation is in speech. Please recommend evhauative teat—F. §., Akron, 0. A, Interpretation in Song, by Greene; The Art of the Singer, Henderson; How to Sing « Song, Yvette Guilbert; Pour Ohanter, Léon Melchissedec, Paris; Songs and Song Writers, 11. T. Finck. “Good diction” in song is analogous to good enunciation ech rather, to perfect articulation ¢ s 8. Consult The Art of Singing Words, Arthur Guichard (The University Society, New York). Prima Donna—Lillian Evans Blauvelt. . Is there a prima donna named Lillian Evans Blauvelt, and what is her nationality? —Tenor, Troy, N. Y. Evans Blauvelt was born at Brooklyn, N. Y., of Welsh and Dutch parents. She exceptionally gifted in music, making er debut at Steinway Hall, New York, as a violinist at the age of eight. She made her operatic debut at Brussels, in Gounod’s “Mireille,” in 1891, after which she has had a most successful operatic and concert career in Rome, Munich, London and America. Grove says she has a pure soprano voice of exquisite quality. A. Lillian Cadence and Cadenza. Q. Will you please explain about cadence and cadenza? TI always get so confused about them. Is there only one form of each, and how should they be wused?—Herbert W., Broadway, New York. A. A cadenza is a running passage at the conclusion of a vocal piece. In instrumental compositions, also, space was formerly left for the solo performer to add a suitable ca- denza, displaying his technie and brilliancy. Clementi wrote cadenzas for the whole of Mozart's concertos. A cadence is the end of phrase, formerly called a fall (cadere, Latin, to fall), either in melody or harmony. There are four principal forms of cadence in har- mony: the whole, or authentic; the half, the jnterrupted and the plagal. When the Jast chord (the major or minor chord of the key) is preceded by the major chord of the dominant, such cadence is called whole or perfect. If the last chord is the dominant and is preceded by the chord of the tonic, the cadence is called half or imperfect. When the last chord of the phrase is other than the tonic chord and is preceded by that of the dominant, the cadence is said to be inter- rupted, false, or deceptive. The cadence called plagal is that in which the chord of ,the tonic is preceded by the major or minor chord of the subdominant. The chief Factors in Memorizing. .Q. I find it very dificult to memorize my piano studics and pieces. As long as there is a melody, not too intricate, I can memorize fairly well; but when it comes to technical studies Czerny, Cramer, Bach’s Inventions and music of a similar kind—classical, that is—I am quickly at fault. What do you sug- gest to overcome the difficulty?—A. W. M., Denver, Colo. A. Chief consideration: the power of memory is proportional to the amount of attention ; therefore the chief thing to be cul- tivated is the power of concentration—appli- cation and will power must be concentrated upon the study to be memorized. It is easy to prescribe and just as easy to do, provided the student possesses WILL—without it there will be no memorizing. THis will power and concentration must be put into operation (1) to educate the eye to muke a mental picture of the printed page; (2) to educate the ear to retain the melodic and harmonic sequences ; (3) to analyze the structure of the compo- sition, in order to fix in the mind the mental picture ; to remember by the touch the various peculiarities and combinations of fingering, If the student concentrates on these points he will soon find that his mem- ory awakens and responds, To play or Not to play with the Metro- nome, Q. Ought I to study my pieces and ewer- cises with the Metronome beating the time indicated in the music? My teacher says that I should do so, but I find it makes my playing incoherent and_a scramble, What do you advise?—Pianist, New York City. A. Your playing is “incoherent and a scramble" for the very reason that you_try to play according to the metronome’ indica- tion; Whereas that indication is for the pace that you will finally play when you know the composition thoroughly, Would you run or Tow a race by starting your ve quickest, leaving nothing for the “last lap When you start your motor do you not usually begin on low, then on two, finally on high? Practice slowly. Let all’ your scales, ar- peggios, technical studies and “pieces” be practiced slowly until you have mastered them sufficiently to inerease the pace; then by degrees succeed in playing aceording to the MM. mark. Remember: Pvery day begin your teohnical studies and pieces slowly, in creasing the pace very gradually, propor: tionally to the good tone and the degree of ragtity that you have acquired in that special work, Page 641 Mickey Daniels 1s one of the juvenile stars appe in “Our Gang Comedie: duced by Hal E. 1 distributed by | EO AMUSE YOU IN THE MOVIES But it’s not so funny to haye them in real life. Mickey Daniels can afford to let others laugh at his freckles—he’s paid for it. You can’t. Your freckles always attra no matter how well you dress. of them! _, Quickly and surely they will disappear if you use Stillman’s Freckle Cream. Double action—not only are your freckles dissolved away, but your skin 1s whit- ened, refined and beautified. Guaranteed to remove freckles or money refunded. Most widely used preparation in the world for this purpose. 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Please send me “Beauty Parlor Secrets” and details of your perfume offer. attention, Get rid ae ane “I Can Teach You toDance Like This” —Sergei Marinoft You can study classic dancing in all its forms, Greek, aesthetic, intrepretive, Russian, baller — underthe direction ofthe famous Sergei Marinoff, ‘This remarkable home study system, endorsed by well known dancing teachers and ‘dancers, en- ables anyonetomasterthetechnique ofthe dance, Marinoff makes the training easy and fascinating, You have a complete studio in your home. The epbipment es asiating eh practice costume, slippers, phonograph records, an: ncing bar, are furnished free with the course, aaa Write Today § Everyone interested in dancing ehould write to Sergei Marinoff at once densing complete infor- mation about his splendid system of home in- struction in Classic Dancing, This information isfree, Write today Sergei Marinoff, School of Classic D, 1924 Sunnyside Aven, Studio Geb ChiCTS
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Page 642 SEPTEMBER 1924 IOLIN teaching is a growing profes- sion. There has not been, in the entire history of music, such a rapid development in the popularity of an instrument, nor in the number of students studying it, as that which has taken place in the last ten or fteen years, in the United States, in the study of the violin. We have no way of knowing what the percentage of increase in the number of violin students- has been; but there are towns and cities scattered all over the country where it has been 1,000 per cent at least. The cause of this wonderful increase in the popularity of violin playing and the number of people studying this instrument has been the wide-spread introduction of the class system of teaching, making the cost of instruction very cheap, and putting it within the reach of the masses. This class instructio® has manifested itself in two forms, one the introduction of violin instruction into the public schools, and the other the establishing of numerous private violin schools, where a season’s term of class lessons, including a violin outfit, is offered at a very cheap rate. Violin Instruction in Schools Hundreds of towns and cities have intro- duced violin instruction in their public schools. The classes range in size from two to twenty-five pupils; and where a fee is charged, the price of lessons ranges from ten cents to a dollar, the fees going towards paying the violin teachers. In some schools the teachers are paid by the school board, and the violin instruction is entirely free. The violin pupils of the schools, as soon as they are sufficiently advanced, are formed into school orchestras which play for the marching of the pupils, for school entertainments, and other events. Besides being complete in themselves, these school orchestras are often combined into one large orchestra for special occasions, such as concerts and musical festivals. In cities of from 50,000 to 100,000 we often hear of these combined orchestras numbering from one hundred to three hundred violins, or even more. Nominal Cost Owing to the nominal cost of the instruc- tion and the pleasure of playing in the orchestras at the schools and in their public performances, violin playing has become extremely popular in the public schools, and the number of violin pupils in the country is increased many thousand each year from this source alone. I know, per- sonally, of moderate-sized cities in the middic-west, where the number of violin students in each town has increased from approximately fifty to five hundred within the last ten years. The establishing of hundreds of private violin schools with the class instruction system, is also swelling the number of pupils by thousands. In these schools violin teaching is commercialized and reduced to an exact business proposition. I recently had a talk with a traveling representative of a violin house which makes a specialty of selling cheap violin outfits to these schools. His story was really illuminating, as showing the tremendous growth of violin instruction now going on. He said, “It will be a surprise, even to many musicians and professional violinists, to hear on what a large scale many of these schools are operated. The plan has been in general use on a large scale in the United States for only about ten or fifteen years. A course of thirty-six to forty fifty) taken weckly, is offered ive cents to one dollar per les- from lessons (or in some case! at seventy: son. As an inducement to the pupil to en- roll, he is given a violin outfit entirely free, to become his property as soon as he has completed and fully paid for the full num- ber of lessons in the term. The pupil, or his parents, signs a contract setting forth The Violinist’s Etude Edited by ROBERT BRAINE It is the Ambition of THE ETUDE to make this Department “A Violinist’s Magazine Complete in Itself’ A Growing the terms of the bargain, and the lessons are started at once, “Our firm sells these violins to schools of this character at three dollars each, bags and bows at seventy-five cents each, the entire outfit thus costing four and one-half dollars. Some schools pay a little more for the violins than this, but not much. The pupil who gets the outfit is, of course, under the impression that it is worth from twenty to twenty-five dollars. hae “The classes in such schools range in size from ten up to twenty-five pupils in some cases. Where the charge for lessons is one dollar each it thus appears that the school gets from ten to twenty-five dollars for a single class lesson. It is very apparent that the school can easily afford to give away to each pupil a violin outfit costing only four-and-a-half dollars, since it receives from thirty to forty dollars for the term, according to the length of the term, and the price of the lessons. The schools also have other sources of income, as they arrange in many cases for private lessons, to be given when the teachers are not busy with the class lessons. They also have ex- cellent opportunities to sell more expensive violins, ranging in price up to two hundred dollars as well as bows, cases, strings, and general musical merchandise. Many of these schools also have classes in mandolin, guitar, banjo, ukulele, and other instru- ments, which are operated on the same plan of a term of lessons, with a free in- strument included. Two Hundred Violins a Month “Pupils are secured for these schools by putting out agents who make a house to house canvass, ringing each door bell like book agents or vacuum cleaner canvassers. An effort is made to round up all the chil- dren of a neighborhood, and, to try to in- duce the parents to send them to the school. Almost everyone is interested in music, and where the door would be quickly closed in the face of an ordinary canvasser, the representative of the violin school is usually invited in, and an animated conversation ensues; for people never tire of talking about their children. A violin outfit free, and a season’s lessons, all for thirty or forty dollars, looks like a bargain to many; and the canvassers bring in hosts of pupils. “To give you an idea of the scale on which some of the violin schools are con- Profession ducted, I might mention that in one of the larger western cities there is a school which we furnish with two hundred violins every three months. There is hardly a city in the country, of over 25,000 population, but what has one or more of these schools, and the number is increasing all the time, as it is found to be a money making proposition.” Only Crude Results Of course all this increased interest in violin playing and wonderful increase in the number of pupils, must eventually re- sult in a wonderful impetus to the art, For the present, unfortunately, the develop- ment has been more in quantity than quality ; that is, there has been an enormous increase in the number of violin pupils who have acquired a smattering of the art, but a much smaller increase in the number of really artistic players. Under the class system, at least where there are many in the class, only very crude results can be looked for. To learn the violin in a really artistic manner a pupil must have individual instruction, at least once or twice a week It is the most that a really competent violin teacher can do to teach one pupil, let alone a half dozen, to say nothing of twenty or twenty-five. It is very difficult for most pupils to acquire the proper motions of the arm and wrist in bowin, and here is where the guidance of = good teacher becomes absolutely necessar : Where there are so many to teach at ane it is quite impossible for the teacher to give every member of the class a go bowing. However it is quite certain that if j is increased in an art or science to od Interest aeaen » a greg evolution is bound to take place in Ree a or science; so, if interest is increased in violin playing, by multiplying by times the number of players, even though their attempts are crude, the number of artistic players also will he increased, Tk will be more pupils for the artistic teach, As the art of violin playing becomes yy diffused among the people, there will more pupils with talent for violin plavin : a greater number of geniuses of the ae tuoso order, and more composers Of vic tin This has been the experienc din countries like Hungary, where Vv . ing is so common, and the result same here in our own country, many ere ers, nore music. é Sue in lolin play- Will be the Hints in ’Cello Bowing By Caroline V. Wood It may sound ridiculous to tell a ’cello student to keep his bow moving, but some- times this injunction seems necessary. A new student, lacking self-confidence and ability as well, is apt to be over-cautious and bow in a very cramped way. He is so busy locating the notes on the finger- board that he forgets to keep his bow moving freely, and the very atchy sounds. The ’cello student should be taught to bow freely, that is, with a free arm move- ment. Only in this way can he produce even, smoothly-flowing tones, The ‘cellist result is should learn to feel at ease when i —he must have confidence in hints oe course this does not mean that carelecc oF should be tolerated, nor that a - Ts should race across the strings, i the bow moving freely, without necessary hitches or Stops. Rey it is only by moving the bow iid strings that any sound at all igs Shey and this sound should he music svete, in long, slow bowing, which given attention, bow But keep any un- This need not interf erfere any any way ) Yow ith Must also he THE ETUDE Ensemble for “String”. — Students By Alfred Sprissler Nearty every musician when making the first step into ensemble playing, finds himself considerably at sea. The routine 1S new, so new that apparently all he cat do is to sit fast in his chair trying to look intelligent. Everything seems vague and hazy; nothing is understood ; and the other musicians are seemingly doing things entirely differently from what is order in the notes, His crowning bit of wormuvood is swal- lowed when one of the seasoned wat horses approaches, smiles balefully and ob- sery “Your trouble is th: long at you play alon too much.” — _ The worst part about this observation is that it is correct. The student has beet So immersed in acquiring the fundament technic of his instrument that he has arrived at a strange condition. Whe? oivins selection he will, unless an & I Diary student, accelerate the tempo wh! ie Comes to a portion of small dificultyi and conversely, should a part of extfa pes) difficulty appear, he will ret! us time to suit his lack of ability. ‘ Onsequently, after years of playiné Hee the Student has lost his perspective fe oe eee such a mental state th? es €ration and retardation are Bs ae ah So much so that he would res playing a him of it. But the first tim? The ee others proves his delinquen’* BE the Sot ene pupil exercises for 'ce t to insure ¢ eauet-Schitle are not sufficiel! ite. The oe Pases for good ensemble play the pupil's eacher’s part is so meagre, 2 quite uunsatier elaborate, that the result # Of such he ing Besides, the playit The eaten Is uninteresting. a Was happily solved whet Volume comp; mpil , discovered, muled by my grandfather W® of such as Seby Contained violoncello cu reval and Ky Stan Lee, Felix Battanch0l last compos ummer, The duets by Peculiarities initiate the student into stages, and se the tenor clef, by eas. fozart and as Written upon themes fro! dious and giv aydn, hey are very me ensemble Veniently h & re an Opportunity for as ie Work ag the yc handle at this teacher : 0 fact. that aE ung pupil can cot time, the violin mentioned seen what results W° oO a this departure: He ae © Of his advanced stude” ‘ar for the purpose of duets My library coe arted Selections and Dane a On the six selections i ; arhiers ese on themes !), € Gi sien? “Der hn = igha, d “pon ici Ne part Schiitz” an Musicians with S were loaned the ¥' Z Practicing of N the understanding that ig thethem Was in no way to it 4 Sular routine, One les " supervision et in working at tl om r "my friend and 1 alle ter 7 i x ac* this combination, va Many teachers, i8 Me d three very fine Y; en a for lar: Compose alec credit many 5°" o¢ mn. Wiehtel . _, Me, has a large Tet ‘le aN Viol; “hough they are lit n Concerti with ’cello a Dart is excettent sons 4 «ot hh ie x 2 eRe tig. Cellist’s wrist i aS Wri an also contributed Bio's Myered ~ Multitude o¢ “ais, WS Whie de sasy duets, ch instil a of easy be: int? a sense o ad , na ‘ but Not least, Hay 5 Dosthy which AMous wh study. us duo “ast,
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THE ETUDE The results of this training are manifold. In the first place, it gave the young persons under my notice an insight into the pleas- ures and profits accruing from concerted practice, aiding them in time and the pro- duction of tone. Then it made them look with interest upon the string trios and quartettes which were to follow when their proficiency made such possible. Above all it gave poise and ability to listen and un- derstand what “the other fellow was do- ing” without becoming nervous and trying to “catch up.” Instrumenial Music in Public Schools By Glenn H. Woods (Continued from page 598) forge? Not on equipment furnished by their parents, In Cass Technical High School, Detroit, the Board of Education has placed $7,000 worth of musical instruments in one build- ing, with an annual budget of $3,000 for maintenance. A concert band, two orches- tras, seven full-time instructors with seven half-time student teachers, give ample opportunity to many students for special musical training. This is the way Detroit does things. The Plan Children enter the public schools at six years of age. By the time they are in the third grade—or at nine years—it is pos- sible to begin their instruction in instru- mental music. The choice of instruments is usually left to the decision: (1) of the parents; (2) of the child, who wants to play ‘cause his nearest friend has begun lessons; (3) of the parents and the teacher, who, upon request, can usually advise the best instrument for the child to study, taking into consideration the hand, the lips, the teeth, and the musical attitude of the child, not overlooking in- the final equation his mental caliber and the home supervision of study. The instrumental teacher usually visits one building every day, depending upon the number of pupils enrolled. Pupils are excused from regular class by consent of the Principal and his classroom teacher, who determine the period he can be excused with the least retardation in his studies. In some schools the “sliding schedule” is in operation and the child is not taken out of the same class but once in every eight weeks. This system is hard to establish, but it has much merit after the pupils have learned to follow the jumping plan. In the elementary schools the orchestra rehearsals usually occur before school (from 8 to 9 o'clock) ; then the individual or group lessons are continued throughout the regular school day, being given in school time. If the school day has eight periods the instructor teaches an average of four per period, or thirty or more pupils per day, Sometimes it is possible to group four or six violin pupils in one period, or three clarinets, or four cornets, but rarely More than six studying the same instru- ment in a period A child is not taken into the orchestra until he has had about one year or more of individual instruction, de- pending somewhat on his aptitude and prog- ress, The instruments most in favor are the violin, cornet, clarinet, flute, trombone and cello, as they represent the solo or dreds to-day. From “individual” to “class” as in practically every other branch of learning. THE WILDER IMPROVED KEYBOARD “Opportunity Knocks at Every F A ji i ear peg eS There will be thousands studying the lane Nee Fe history will repeat itself in plano playing “aloo . The Teachers who realize the possibilities of Class t to benefit fomorraun A postal will bring you interesting information. i . n, Mass. The Wilder Keyboard Company, Dept. E-6 West Newton, home instruments, So the orchestra in the elementary schools is incomplete in instru- mentation. The viola, French horn, string bass, oboe and the bassoon are left for the junior and senior high schools, Here the pupils are anature enough to make rapid progress, Either by making such a transfer as from cornet to horn, or making a fresh start on a uew instrument, however, the instructor is able to keep up and continue the complete instrumentation of the orchestra. This is where the school department must furnish the unusual in- struments. In the junior high schools the enrollment is usually sufficient to employ a regular full-time teacher for the building. The plan holds good in the senior high, except that it is often necessary to have two teachers to instruct the large number of pupils en- rolled in the classes. Here the bands and orchestra rehearse daily on school time usually the afternoon periods and receive the same credit for the subject as they do in other studies. If more cornet pupils enroll than can be accommodated in the orchestra, the instruc- tor induces two or more to transfer to French horn; saxophone players find the bassoon easy; flute players like to learn the oboe; and piano pupils find the string bass helps to strengthen the fingers of the left hand. By this process pupils are en- couraged to learn to play more than one instrument and the orchestral instrumenta- tion is kept full and complete. At the present writing there is no educator of any renown who distinctly champions the cause of music. Much has been written and spoken on every other (Continued on page 644) Examine our superb collection : ve have all kinds o! y fe os all kinds of , “ready for the You ean have or. more for tea days’ trial; also outfits. Let us demonstrate to you that we can sae your with 2 violi fl ill give y mter- violin that will & ror ae jiolin Makers and Experts Exclusively 1250197 West 42nd St. Depl.E New York ” one’s Door Once 3 from to-day where there are but hun- SEPTEMBER 1924 Page 643 ‘The Pleasantville High School Military Band, of Pleasantville, New York, John E. Morgan, Principal and Director. __ There are 41 instruments, 32 of them are Conn, Conn equipment gives us the complete satisfaction that it has for the last ten years, and as long as I am Director Morgan says: “As long as the both manager and director, the percentage will always equal or exceed the above.’ For School Bands and Orchestras THE CONN NATIONAL SCHOOL OF MUSIC 61-66 E. Van Buren Street, Chicago FREDERICK NEIL INNES Director ‘The summer resident course for school music supervisors has been eminently success- ful. The school offers both resident and home study courses in all band and above. ties encourage young players, enable rapid progress; their perfect scale and beautiful tone quality produce a striking ensemble effect. Sousa and the other foremost concert band directors use and en- dorse Conn instruments for the same reasons which make them preferable for amateurs. We can supply instruments to suit every purse. can be obtained at surprisingly small outlay. special booklet and complete details. TWO BOOKS FOR SUPERVISORS “THE UNIVERSAL TEACHER" by J. E. Maddy and T. P. Giddings ‘The song method for instrumental music—a book for each instrument. ¥ _ ‘BUILDING THE SCHOOL ORCHESTRA” by R. N. Carr Detailed information for the supervisor on the organization and conduct of instrumental Both books published by C. G. Conn, Ltd. C. G. CONN, LTD., 913 Conn Bldg., Elkhart, Ind. Name. Street or R. F. City, State .. Please mention THE ETUDE when addressing our advertisers, THs is the year to make your band a prize winner! If there is no band in your school now is the time to start one. There is nothing like a band or orchestra to arouse enthusiasm. Contests arranged under auspices of the Band Instrument Manufac- turer’s Association afford the competitive opportunity which arouses and sustains inter- est. We'll gladly give complete information about these contests. The value of the band as an educational, cultural and character-building factor is recog- nized by all leading educators. Conn. Ltd., as the world’s largest maker of band instruments—the only maker of every instrument for the band—has been a pioneer in helping to organize and equipping success- ful school bands. Our Band Service Department is at the service of everyone interested in school bands and orchestras—whether the problem be a new organization or development of an existing band. No obligation; write us freely. Every experienced band director realizes that good instruments are “half the battle.” That is why Conns are used in so many suc- cessful school bands. Their easy playing quali- Complete outfits Send coupon now for classes, orchestras and band, Write for further information. WORLD'S LARGEST MANUFACTURERS OF HIGH GRADE BAND AND ORCHESTRA INSTRUMENTS
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Page 644 SRPTRMBER 1924 Now, you can have the advice of the most conspicu- ously successful organizer of school bands in the United States. Realizing the tremendous and growing importance of music in the schools, the House of York determined to make available to every teacher and band leader, an exact and proved method for the organization and training of the school band. G.C. Mirick, of Chelsea, Iowa, was chosen to write this book, which is now ready for dis- tribution. A limited edition has been printed. If you are now or- ganizing a band, Mr. Mirick counsel will simplify the undertaking to an astonishing degree. If your school 1 has not already made plans for a band or orchestra, hl you will find in this booklet many helpful suggestions } as to the easiest ways to stimulate the interest of | Pupils, parents and school officials. ; | | Simply fill out and mail the coupon below for this I interesting booklet. Send immediately, for the small | edition will soon be exhausted. i i J. W. YORK & SONS Dept. 1024-1 G | J. W. YORK & SONS, Dept. 1024-1. Grand Rapids, Mich. is Please send me a copy of ‘‘School Bands.” This does not obligate me in any way. IN ame sai eaieinoe Address City ind Rapids, Mich. lin Mention here your connection as a school teacher o: band instructor (__) Check here if you want catalog sel of instrument you are interested in eee ee 1 1 1 1 1 asking. I 1 instrument, mention same and special | literature will be mailed you. | 1 1 1 1 | spread over a long period. Free trial privileges. ALSO FREE The York catalog—showing the complete eof York instruments is yours for the If interested in any particular Under the York plan old instruments are taken in exchange for new ones. Payments can be You can have We offer a large lection of rebuilt instruments, and can equip full bands at a reasonable figure. Write at once. Che most tmportant | VIOLIN, DISCOVERY | since Stradivarius Wh NSPIRED with the traditions, zeal and devotion of | the masters of old Cremona, two master craftsmen | of Naples, have developed a structural principle in violin it} building which artists and scientists alike agree repre- sents the greatest advance since Stradivarius discovered the true geometry of the instrument! - The Virzi Tone Amplifier, embodied as a structural unit ti in every Virzi violin, viola, cello and bass, adds a rich- M1) ness, singing resonance and volume of tone which aston- ishes and delights the most critical listener. World-famous artists use the Virzi violin, fréquently in preference to rare old masters. Astonishing, perhaps, but true, we'll gladly prove it to you. Virzi violins, violas, cellos and basses are made in Italy by master craftsmen; carefully graded and definitely priced. Look for the purple ribbon which every genuine Virzi instrument wears; it’s your assurance of violin value, Write now for catalog and complete iriformation. Gibson Ine. EXCLUSIVE DISTRIBUTORS OF WVirzi VIOLINS, VIOLAS, CELLOS, BASSES Mud in Ftaly— 932 Parsons St., Kalamazoo, Mich, * What Artists Say. 1, Fritz Kreisler: ‘The Virzi Tone Amplifier has a great value to improve the violin.” 2. Albert Spalding: ‘I am de lighted with the Tone Amplifier in my violin. The tone has been greatly improved both as to clar- ity and in quality,” 3. Erica Morini: “‘Thave purchased a Virzi Tone Violin. It has wonder- ful tone and great car- tying power—good for concert work,” $700,000,000—since comes with mature years—has never had subject. Much time and study have been given to program making to accommodate the new subject; much thought has brought forth these subjects into popular approval and prominence; yet Music—upon which American adults spend annually over music —_ appreciation a champion before the educational court. Do you know of any city that has: (1) Made a distinct effort to learn the real educational value of music? (2) Experimented on methods in the grades to ascertain the real mental activity that the child must use? (3) Given consideration to the Junior High School music, where the changing voice of the boy should be so carefully dealt with that the men of the future can- not lay upon the American Public School the blame for their inability to sing a man’s part? (4) Made music in the Senior High of such distinction that pupils can carry their academic studies and also secure a good musical education at public expense? (5) Considered the “leisure-hour” prob- lem with its craving for amusement, ex- citement “something to do” or “somewhere to go?” (6) Learned that musically trained hands are rarely “idle hands” and for them the Devil has little use? One might go on and ask why the educa- tors have not yet discovered what the musician knows can be done with music in a school system and accomplished by it. Did you ever drop in to a rehearsal room and watch a band or an orchestra at work? Do you know of any other subject that can hold the interest and attention of a class of fifty to seventy high school students, get thirty-five minutes of work out of a forty minute recitation and secure real effort from every individual for the entire recitation period? Some educator will discover it some day and make a Conservatory out of the High School. May that day come soon! A good citizen is a value to any community. A boy is the man in the making: teach him to do and you have less to undo later. California spends $33,000,000 annually to maintain her penal institutions aud reports state that sixty-five per cent of the inmates are under 25 years of age. One tenth of that amount of money invested in music instruction, teaching boys how to blow a horn, might keep them so busy that they would not have time to learn how to blow a safe. Just look about you in any city and see the number of little orchestras that can be found in lodges, clubs, churches, and other organizations, and you will realize that people who can play would rather play than he idle. Tf for no other reason, then, instrumental music is of value if it accomplishes no more than the occupation of time, or the consumption of leisure. The Boy is worth while. Music can reach him. He can be taught to play any instrument and enjoy the sport. Educational systems can well afford to buy all the instruments that are needed to (Continued on page 645) While these Courses are new, and in many ways radical, they are long past the experimental stage, for they haye proved successful with hundreds of students in the author's private teaching and in his classes at the New England Consercatory of Music, Our Introductory Offer will be sent upon receipt of 9 Tho Wilder Publishing Company Dept. E-6 Teachers always fin, with which te Posteard, West Newton, THE RTUDE ATLANTIC CITY Hospitable, homelike. In the y 1 things. On the Beach and the Boe on For more than fifty , years, these two delightful hotels have been the natural choice of cultivated, in- teresting people—bent on happy, ealth- giving days by the sea. American Plan Only. Always Open. Illustrated folder and rates on request. LEEDS ee LIPPINCOTT COMPANY WORK... $69 a week RETOUGHTNG photos. Met elling or ca: i We tench you A cae plosinent and furnish WORKING, OUE STUDLVS, Dept. Dat 00 Set: Writetoday, ARTORAFE hertdan Road, CHICAG Makin A Re OUR pj Y lasting Pane Satisfactj, “pon an in on ij the Wessel, Nickel greet equipped with & Your Piano al Investment Purchase will bring you _ insist * Gross piano action. famous tone Oey in instru 1% r he Highest stand- crite yp i craftsmanship, M4 essel +3 5 ad ys Baile by ek, & Gross. piano a e % le C Hg iy gpremost! made, the Target , é piano ac- Tt is the highest BYE pool for the y shown above) TOs er Hf C \ TOSS equipped ike Wessell, Nickel & ‘ument, WESSELy, Established - N ICKEL & GROSS Se1874 New Vouk Git dit a Ni res ne to have New Ideas sisy Tealize ens work, because to new ang bis look forward of on sressive ways faining results 88 well as to new music:
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THE ETUDE VEGAPHONE The Artist’s Choice The Versatile Instrument “THE banjo is an essential in every dance orchestra and is the ideal instrument for entertainment. It is easily mastered and can_ radiate pleasure either by itself or when har- monizing with other instruments. It is welcomed in every social gather- ing andnever fails to winadmiration. The Vegaphone banjo represents the highest achievement in appear- ance, tonal beauty and brilliancy. Write—there is a catalog for you. me VEGA ©. 155 Columbus Ave., Dept. E-9 BOSTON, MASS. | You can organize aKinder Symphony TL music i; sic into the schools i spbit do it with practical ine fj uments, especially designed vr the school room needs. ‘The | } U2aviz Juvenile Symphony In- Arrumnts aro designed for the si purpose of encouraging music in tho schools, Write Sor this mictorialty ustrated | cineghlel® thin pictorialty iustrated are doings Ledato you nothing. LUDWIG & LUDWIG Drum Makers to the Profession 1614 N. Lincoln St. Chicago, Il. VIOLINISTS who read the “Etude” are without exception the class of Musicians who need and appreciate | Violins and Accessories of high professional qualities Send for our large exclusive Violin Catalog No. 23 and learn why and how you can obtain your requirements under the quickest service, est discounts, and most reasonable prices for | High Quality Goods (enclose professional card for rates) (largest exclusive Violin House) WM. LEWIS & SON) | 225 S. Wabash Ave., Chicago, I. | complete the instrumentation, with the solo instruments which the pupils furnish. In- strumental music has a definite and digni- fied place in the program of any high school; and those that have not already in- corporated it among the stbjects offered to students are already far !ehind the “Band Wagon.” Education is for boys and girls. Music is one factor in education and one means of approach to reach these young people while their tastes are being formed to live their lives as men and women of culture and refinement. Fed musical cul- ture, they assimilate it as they do all other information. When leisure hours, which for mere lack of accomplishment have caused many to seek amusement which they were not equipped to improvise, the boys and girls who have had instrumental training can amuse themselves besides be- ing able to entertain others. Violin Questions Answered Toot the horn; it spells :-— Schools should furnish the unusual instru- ments. Any pupil can learn what a good teacher can teach. Famous composers, performers and con- ductors are men. Every pupil can learn music. Teach Boys to play an instrument. Youth and culture prepares for effective citizenship. Future culture is mature taste now being implanted, Invest in music for it unifies the mass. Rhythm is the grace of poetry and music. Seldom is music an unwelcome guest in the home. Teachers of music help parents to guide the young. Personally by Mr. Braine Concert Pieces. J. I. B—Concert pieces for the violin vary greatly in length. If you are planning to compose such pieces it would be a good idea to examine carefully a number of the most successful violin compositions and make your compositions of similar length. 2—The positions which you name are all masterpiece and haye had an enormous yogue all over the world. Acquiring Velocity. W. J. S.—If you have a real talent for the violin, as regards velocity playing, you ean work the studies you name up to the proper speed by playing them slowly at, first and gradually increasing the speed. If you find you are playing wrong notes at the higher. tempo. reduce the speed until you can play the study correctly. A metronome is a Peat help in. working up studies of this character, Set the speed a little faster each day or two or as you are able to play faster. Maybe you do not practice enough, ‘Try putting an hour a day on just one of these studies, and see if you get results, Some people ‘do not have the gift of velocity play- jing and are never able to play very fast pas- sages on the violin, no matter how much they practice. Slurred Notes. 7. p.—The upper slur in the passage yeu send means that the last note in the passage send pe included in the same bow with which you play the first four slurred notes. The tow makes a minute stop, of a fraction of a second, between the last two notes of the a geage; otherwise, these two notes would pass as if tied, 2—Pupils should take up the studies you name when they have had sufficient preparation for them. This is where the teacher's skill comes in—to know just when a pupil js ready for a set of studies, No set rule can be given. te Beginner. He W.—yYou hi too late a start to become thorough violinist, but if you drop every. thi co to a good teacher or conservatory tnt practice five hours a day, you might nae aes a successful teacher. However, I prowl not like to make any predictions as Ae uur success Without a personal examina- to yous ey could not tell how soon you would tion. 2 Jor the compositions you name with- be rearing you play. 8—There are, many out heats for, teachers of music in the opp schools, ‘There is no “average” sal public Schoo tries so much in different parts Arye country and according to the work of te done. Possibly it might range from to be doirds, Supervisors of music in cities $800 upworsget from $2,500 upwards to pos- of any SG 0 or $6,000. 4—Opportunities for a erking one's way through conservatorie in a, Jarge cities are scarce. Still, it is fre- ently ne, though usually through work qaenty a musical character, yd -If your i annot teach you “wrist” bowing you teacher © should try. to find, practice this, bowing on Kayser, whieh you say rou ate A oO eadh) note foun! times, when, 2a) Wweluten. play ean get a good toned old violin for ooo and d, but not one by one of the eon ipwar y als $250 and kere. An old Mittenwald violin would no doubt be what you want. one who can. You could the first study in ou study. At. first ible Virtuoso. id ame might be possible for you to aene Virtuoso violinist, starting with your san Re if you have. talent of present, foundations Toon, Lam doubtful you were pronounced the highest order. nbout it, sine we you Sity VIOLINS Deep, Mellow, Soulful Wo wre makers of high-grade violiticy instruments of tlie finest tonal qualltyy appreciated by the st artiste, “Rasy terms, if desired. Cet detaily today. GUSTAV V, HENNING — 2424 Gaylord Bt. Denver, Colo, “tone deaf" by your teacher at the start, although you say you now play in tune. 2—By all Means change your instructor, who is a ‘cello teacher, to a violin teacher. The violin and ‘cello have much in common, but a ‘cello teacher is not fit to develop artist violin pupils. Go to a first-class violin teacher and after a few lessons he can advise you as to how far you can hope to advance in the profession. %8—Would advise you to keep on with your viola studies. Three Meinels. G. M. R.—I could not advise you as to what you could hope to accomplish without hearing you play. You had better go to the nearest large city, near your home, play for some good violinist and get his opinion. 2— There were three Meinels who _had_ some reputation as violin makers, but I could not say whether your violin is genuine or an imi- tation without an examination. The only way is for you to send your violin for: ex- amination to one of the firms who deal in old violins and who advertise in the Erupp. “Strad” Marketing. .W. R. F.—There is not one chance in a million that your violin is a genuine Stradi- varius. Before you try to sell it at a price which such a violin would bring, if genuine, you ought to have it examined by a good expert. Cramped Bow-Arm. BE. K.—It would be better to see a physician about the n in your arm and side. The tense state of the muscles of your right arm when playing comes from lack of relaxation. Try dropping your arm perfectly loose before you take hold of the bow, and then, when bowing, try to continue the loose, relaxed state of the muscles which you felt when your arm was hanging limp. Bow very lightly, without pressing on the bow at first, to learn this relaxed bowing. Your best course would be to take a few lessons from a good teacher. He could show you more in a few weeks than you could learn by yourself in months, and the chances would be that what you learned by yourself would be all wrong. P. Leak. BE. L. C.—Sorry I cannot trace the violins of P. Leak, 15 Hi€ name does not appear in any of the lists of eminent makers. Your violin mayiie a sot one for all that, as obscure violin makers often tur t As- ae € urn out a mas Moritz Glase. FB, N— Sorry T cannot trace the violins of Moritz Glase. There are thousands of violin makers, unknown to fame, however, who often have done creditable work. Violin Bowings. _ J. EB. MeN.—The little work, Violin Teach- ing and Violin’ Study, HBugene Gruenberg. describes the different kinds of violin bowings and how to execute them. Tt would be much better, of course, to stu olin bowing under a good teacher if one is available. THE IMPORTANCE OF HAVING THE BEST AT THE START Harry Pedler & Co.,Inc. Elkhart, Ind. MAKES FINE CLARINETS CATALOGUE ON REQUEST Ploase mention THE ETUDE when addressing our advertisers, SEPTEMBER 1924 Page 645 TRADE HARK REG. EMZER | THE| WORLDS in the little 200 Years Ago ip, the litle of Shoeneck lived Hans Adam Warlitzer, Master Violin Maker. ‘His shop was a gathering place for musicians of the time, for he was a true craftsman. ‘When he died his shop passed into the hands of his eldest son, and for even generations, down present day, tho Sescendanta of Hans Adan WWarlltzer bave carried on bis work, In every Worlltzer Instrue ment vou will find a quality, acharacter, that could not come from mere excellence of manufacture. it is. tho Rerltazo. of these poven generations o Sraftsmanshlp. Warlitzer Instrument in your \s Own Home| ‘OU may now have any Wurlitzer in- strument for a week’s free trial in your own home. Examine the instrument, show it to your friends, play it as much as you wish. No obligation to buy — no expense for the trial. We 23 make this liberal offer] because we want you to try for yourself these wonderful instruments, the result of 200 years’ experience in musical 4 instrument building. Easy payments are ar- ranged to suit your con- venience, This is your opportunity totrya famous Wurlitzer instrument in your own home, Send for NewCatalog The greatest musical cata- log ever published! Over 3,000 articles—every known instrument described and illustrated ; many of them shown in full colors. Gives § rou lowest prices and a Yetails of Free Trial, Easy Payment plan. All sent FREE—no obligation. Send the Coupon Special Otier To Teachers and Supervisors Ifyou are a musio teacher or supervisor, pin the coupon to yourletterhead and ask for details of the special service we Sher to help you In your work with pupils. We have organ- feed hundreds of bands aud orchestras, large and small, and can tell you the quickest and easiest way to do it, FREE Organization charts, membership blanks, charter forms, eto. Speotal offors on complete band and orchestra outfits, Free Book “How To Organize a Band oF Orchestra.” Outlines all plans for organization, gives correct instruments for every~ thing from 4-piece orchestra to 40-pieoo band. ‘Tells _how to taise money (o pay for instroments and uniforms. Just mark Band’ of “Orchestra” on last line of coupon and send it today. THE RUDOLPH WURLITZER CO., Dept, 2646 -A2ndSt,NewYork 117 Eth St, Cincinnati Foe teats Ne eago 250 Stockton St, Sanfrancisco new Illustrated catalog, with Be ttt ob évery iatown maunieat instrument, Algo it and bay Se tana monthly uma, No obligation. Co Name ——a——— == — Addrese City. Instrument saacramant ta whioh pou are taterdated) ‘Copxright, 1924, Tho Radolph Warlitzer Co,
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Page 646 SEPTEMBER 1924 SCHOOL BOOK I. First Studies and - Familiar Melodies Splendid for A practical piano book for beginners based on the principle of teaching the Bass and Treble clefts at the same time and supplying sufficient exercise material to lead into easy arrangements of old familiar songs and classic melodies. A short biography of the first six great composers is given in the book with a simplified arrangement of a melody by each. PRICE, 75¢ also Epperson’s Beginners’ Combination BAND and ORCHESTRA Folio, 25c and 50c Beginners’ Exercises and 21 Tunes VIOLIN SCHOOL, Studies and Familiar Melodies, 3 books, @ 75c Educational Music Bureau 64 E. Van Buren St. Chicago MUSICAL TECHNIQUE, WITHOUT PRACTICE Reading music at sight, rapid fingering, flexibility of wrists and a fine Vibrato for pianists, violinists, and ’cellists acquired by a few minutes’ daily prac- tice away from the instrument. NO WEARY SCALE PRACTICE DURING SUMMER EVENINGS Write for FREE Illustrated Book (State if a teacher) COWLING INSTITUTE 500 FifthAve.,Room 432-B,New York City McNEIL CHORD SYSTEM for TENOR BANJO By CHARLES MeNEUL (5 years with Isham Jones Orchestra) ROURTH EDITION of this Wonder Hook now ready. One bun- dred pages of real Bunjo information; chord charts showing 400 chords—a chord for every melody note; lessons in simplified harmony; Jaze Strokes, Hreaks, Solo Endings—many other unusual features, Students of this nystem can readily read from Plano, ‘Tenor Banjo, 2nd Violin parts, Adopted by hundreds oftenchers. | Endorsed hy prominent Recording Banjolsts. Nothing left undone in this wreatinn, To qualify for ai orchestra iuvest ONLY THREE DOLLARS. sore information gindly given. Write today! ‘ent C.0.D. on three days" approval, tf desired CHORD SYSTEM, Dopt, 10, 1414 Argyle St., Chic Kill The Hair Root My method Js the best way to prevent the hair from grow- Ing again, BMasy, painless, harmless, No scars. Booklet free. Write today enclosing 3 stamps, We teach Beauty Culture, D,J, Mahler, 149-A Mahler P’k, Providence, R. S MoNBIL 0, OVER 2000 NUMBERS LISTED BALLADS - NOVELTIES ~JAZE, 2AND 3 PART SCHOOL SONCS QUARTETS FOR ALL VOICES. ALL ENTERTAINMENTS xsl Secon Devoted Nea rs OPERETIAS-PLAYS-SKEICHES \MINSTREL S SHOWS AND EVERYTHING FOR \ MINSTREL SHOWS A Ficlose 2¢ postage, for either or 4 cents for both M-WITMARK € SONS - 1650 BROADWAY - NEW YORK THE WITMARK TAINMENT | PES TALOG PEDODYNE, tho on ro pt in Apes ae ESHAPELY FEET. SENT ON TRIAL h ny yous box qf Solvent to try. Simply welt ana to agndyon a box qf Salven ce ery. Sirpply write and say, * WAY LABORATORIES Dopt, K-606 Chicago, Illinois 106 N. La Sallo Ste As a means of contributing to the development of interest in opera, for many years Mr. James Francis Cooke, editor of “The Btudc,” has preparcd, gratuitously, program notes for the production given in Philadelphia by The Metropolitan Opera Company of New York. These have been reprinted extensively in programs and periodicals at home and abroad. Believing that our readers may have a desire to be refreshed or informed upon certain aspects of the popular grand operas, these historical and interpretative notes on several of them will be reproduced in “The Etude.” The opera storics have been written by Edward Ellsworth Hipsher, assistant editor. Thais Although “Thais” is not regarded by all critics as the very greatest of Massenet’s twenty-five operas, it has, nevertheless, become the work by which the composer is best known in America. The oppor- tunity it affords for a prima donna of dramatic ability and physical beauty has made it a favorite role with all singers who aspire to something more than the operas of the trill and cadanza type. Massenet was born at Montaud, near St. Etienne (Loire), France. He was French in all his instincts, and his highly polished réles, fired with deep emotion, but without evident pedantry, are char- acteristic of his nation. He was a pupil of Laurent, Reber, Savard and Ambroise Thomas. In 1863 he won the Grand Prix de Rome at the Paris Conservatory. From 1878 to 1896 he was the professor of com- position at the conservatory in Paris. His later “years were devoted to composition and the production of his works. Like Wagner, Meyerbeer, Verdi, Donizetti and some others, he is essentially a composer for the footlights, although some of his other works have received recognition. “Thais” was .written, originally, to pro- vide a rdéle for the very beautiful Ameri- can singer, Sybil Sanderson. Since then the opera has always demanded a singing actress of great physical beauty, to insure The Story The libretto is by early Christian Bra. ‘Act I, Scene I. returns from Alexandria. fired by the s advice of his supe of returning to Alexandria to win Thais from Scene II. House of Nicias in friend Nicias who scoffs at his plan the coming of Thais. To Athanac ways of salvation, Thais replies that she be vified by the Place, Alexandria and Camp ‘of the Cenobites of Thais. Apartments life AU for the higher affrighted and then defiant, Seene IL, reet_ in Alcwandria. ire and di v where ¢ plea she will follow her earth convivial Companions arrive, They see 7h conduct, and threaten to hang Athanael. and in the ensuing scramble 7 Act III, Scene I. An Oasis Athanacl supports her. Thais into their keeping because of the ea 8 he, happy with a Louis Gallet and founded on the novel of Anatole France, tory of the beautiful courtesan Thais, or, Palemon, Athanacl announces to his brother monks h Alewandria. 1 Nicias has Athanael garbed in rich robe: declaration Jans of the evening, Athanael leaves, declaring he will see her at her Athanacl declares she will repent, Thais approaches A y posse sions, Thais allows Athanacl to set fire to her palace. i aig and Athanael escape. On their way to a convent aint Albine and the White Sisters meet them. hly love awakened in his heart f success. The libretto of “Thais” is vir- tually in a kind of rhymed prose, “Poesie melique,’ the librettist called it. When the opera was brought out at the Opera in 1894, it was called a lyric comedy —comedy despite the fact that the heroine dies at the end. It was Hammerstein who first brought the work to America, with a premiere at the Manhattan Opera House in New York, November 25, 1907, with Mary Garden in the title role. It was presented at the Metropolitan in New York in 1917, The richness of “Thais,” as with other Massenet works, lies very greatly in the notable orchestral treatment with which this extremely gifted composer virtually costumes his characters. His style is characterized by the most exquisite finish flowing melodies and charming and aise tinctive orchestration. In the final duet between Thais and Athanacl, and in other parts of the opera, the real musical values from the standpoint of composition, rise to heights of creative originality. Apart from the Meditation, the bari- tone solo Voila donc la terrible cité (That Awful City I Behold), and the soprano solo, “With Holy Water Anoint Me” are among the best-known numbers figin this vivid and passionate score, of Thais Time, Desert. Bgyptian Athanacl, a Cenob' near the Nile. ite mont Against {he is intention her ways of life. Athanacl is warmly greeted by his ola has S to await that he come to teach her lieves only in joy and love and pleasure nee STANI ‘ t . D. IC Resisting the seductive charms of ome. NRE Oe AMER and love to come. Though Thais is at fret ees i : 0 Tuning, Pipe an thanael, venounces her j ( S her life To his urging that she aacnet : Nicias and hig omber robes, become incensed at her rs gold coins to divert his followach he leads. in her as seatt Thais is almost exhaustea Ath spiritual peace; he, troubled at her. and anael gives the part ing S Scene If. The Cenobites Camp. Tis former peace dissipated, Athanacl thinks ony of Thais. In‘a vision he sees her as the courtesan, then as a dying nun. Awaking 4 rushes into the night to seck her retreat. Ps Act III. Gonvent of th White Sisters. Thais, exhausted by pe nee, Is x as a dying saint by the White to return to the rthly lif With a vision of heaven 1 happin aglow in her face. ster Athanacl, with DARKENS and BEAUTIFIES EYELASHES and BROWS INSTANTLY, makes them appear naturally dark, long Lt . Adds» wonderful beauty and oxpression to any fac Perfectly harmlesp, Uned by millions y women. BLACK or BROWN, w id. 76¢ at your deal- or'a oF direct postpaid. MAYBELLINE CO. CHICAGO Athanael arrive: . evere YT and in frenzied love implores fat ‘ f heavenly bliss deafens her to his Sada f 1 Fe ee OR Oe teevee gale’ winge about hora es itteatios, Take ady 16) usICc love and faith gone, falls despairing. Ss With 0.M, antage of the THEO, PRESSER » Mail Ord, EO. PRES. er § ly y Short (co Adult Fourne required ul Pianists, Leark or ‘ » Blue Harmony, Orient ick Endings, Clover Bronk ax Sura, Triple Bass, Wicked Harmony, Bye 7 other subjeots, including Bar Play n Jazz, 25,000 words. Rute of REAL apeolal offer: Waterman PinnoBshoo!,241Superba TheaterBldg, LosAngales, Cal, A postal brin Please mention THE ETUDE when addressing our advortisers, THE ETUDE What Every Piano Teacher Should Know About School Credits for Outside Music Study rd ¥ HE importance of the cultural value of music is so widely recognized by America’s leading educators that there is a widespread movement to accept the work done by piano pupils, with | outside teachers, as an equivalent to one of the school academic subjects. To gain full advantage | ei ne important that the teacher ¢ to the school authorities a comprehensive, logical course of study employed in the training of her pupils. ‘The information necessary to the preparation of such material is contained in our new Extension Department Bulletin E16, entitled: A Comprehensive Syllabus, Outlining See ene for a Course in Piano laying as a Basis for § i ‘chool Cred for Music Study. a One copy of this syllabus will be sent free to applicants who enclose 5c in postage stamps. National Arademy of Music INCORPORATED Carnegie Hall, Nem York, N.Y. Sects ess 200 Sheets — 100 Envelopes EA sper ally reached.” te. Your N; op every entice aud Addres genter of hock BEES,4 y Grent bor of e Money returned if, National St | ° Bad, aching teeth! regularly wate eee® tohealth. Treat them does four hinge tase Toothache Gum. It for bad teeth. DENTS or harmful i dients, Cy or by ag? like liquide Atal years by Cg, ‘Bee, receipt of pricey nt & Co,, Detroit. Reed Organ “and Player Nano. Year Book Free 27-29 Gainsboro Street BOSTON, MASS. Teach or ontemplate Teaching ny Branch Cc ervy, . Prompt, ¢, Vice to Music Buyers Tices, -PUrteous S onga, Liberal Be Servi i Convenient tat Examince; Best Possible en are harge ation Privileges: Chjoyeg SCounts and other rong, 74 by thousands o! Hel; r eal Catalogs of Music Publi oF the Branch 8 of re Indore Which You ERC nag t, PHILADELPHIA, PA Sstnut Stroct
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THE ETUDE New Fngland CoNSERVATORY conn cme OF MUSIC Director BOSTON, MASS. Year Opens September 18, 1924 The Free Privileges ; Of lectures, concerts and recitals, the opportuni- ties of ensemble practice and appearing before audiences, and the daily associations are invalu- able advantages to the music student. Located in the Music Center of America It affords pupils the environment and atmosphere 80 mecessary toa musical education. Its complete organization and splendid equipment offer excep- tional facilities for students. Dormitories for women students. Complete Curriculum - eee Offers advanced pupils in pianoforte, voice, organ rses in every branch of Music, applied an: and violin, experience in rehearsal and public ap- theoretical. pearance with orchestral accompaniment. Owing to the Practical Training mn . In our Normal Department, graduates are much in Dramatic Department demand as teachers. Practical training in acting. A Complete Orchestra Address Ralph L. Flanders, General Manager DUNNING SYSTEM “"*e'isses Endorsed by the Leading Musical Educators of the World Endorsed by the Leading Musical Educators 0 NORMAL CLASSES AS FOLLOWS: MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th St., New Yorks Citye Mrs, Zella E. Andrews, Leonard Bldg., Spokane, Wash. Allie E. Barcus, 1006 College Ave., Ft. Worth, Texas. Elizette Reed Barlow, 48 George St., New Bern, N. Car. Mrs. Jean Warren Carrick, 160 E. 68th St., Portland, Oregon. Dora A. Chase, Pouch Gallery, 345 Clinton Ave., Brooklyn, N. ¥. Luvenia Blailock Dickerson, 327 Herndon Ave., Shreveport, La. Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio, September 8th. hs Basile S: Eikel, Kidd-Key Cons., Sherman, Teste iss Ida Gardner, » Tulsa, me Gladys Marsalis cies The Be hccanlls, Texas, October, 1924-Februars, 1925, Mrs. T. 0. Glover, y Waco, Texas. : Mrs. Travis Sedberry Geen Manne "Tenn. For information address 5839 Palo Pinto Ave., Dallas, Tezas. Ruby Frances Jahn, Dallas Academy of Music, Dallas, Texas. j Maud Ellen Littlefield, Dunning School of Music, 3309 Troost Ave., Kansas C Be Mo. seer Carrie Munger Lung, 608 Fine Arts Bldg., Chicago, Ill. Classes held monthly # rou 7 Lota "eer Harriet Bacon MacDonald, 825 Orchestra Bldg., Chicago, Il., Dallas, Texas, Sept. 15th an a Mrs. Kate Dell Marden, 61 N. 16th St., Portland, Oregon. Mrs. Wesley Porter Mason, 5011 Worth St., Dallas, Texas. Virginia Ryan, 940 Park Ave., New York City. Isobel M. Tone, 469 Grand View St., Los Angeles, Cal. Mrs. S. L. Van Nort, 2815 Helena St., Houston, Texas. Mrs. H.R. Watkins, 124 East 11th St., Oklahoma City, Okla. INFORMATION AND BOOKLET UPON RE! WANTED Cellist, Cornetist, Flutist and Clarinetist wopeD 708 DTYDDUAuRan¥NG for dining room orchestra Brenau College. Buceess of our ayeiem of ace Young women who desire a college educa- mal ene a EFM | | ion or to specaize in music, can earn i gradu- about one half, in some instances more, ates in bi itis attention to thoke wit on : i siti of their expenses by filling these positions. Apply to fession as teachers, Tin plete couservato H. J. PEARCE, Pres. BRENAU COLLEGE Gainesville, Georgia QUEST “isville CONSERVATORY oF MUSI¢ forts Si ane BP ERIO A. COWLES, Director cadway — Lon’sville, Ky. _—_—_—— Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH Advantages Equal to Those Found Anywhere- Students may enter at any time. Send for Catalog. GEO. P. LINDNER, Director Peachtree and Broad Streets, Atlanta, Georgia WN . ; : W Wi i HE id KX oy ESTABLISHED 1857 )PEABOD HAROLD RANDOLPH, Director ——— f the oldest and most noted Music Schools in America. SEPTEMBER 1924 An Open Letter from CLAYTON F. SUMMY Co. Page 647 Changes made at the request of the Federal Trade Commission with the system of pricing music and in the trade customs common to the music business has created much disturbance in music publishing circles. The requests made by the Federal Trade Commission have led certain publishers to use the occasion to change their prices on music to a point which denies any discount to be given even to the music teacher. We have always acknowledged that the success of our business was made possible mainly through the recognition and support that has been given us by the music teachers through whom our publications have been distributed and used. It has always been a custom to recognize music teachers as being entitled to a discount on their purchases and we are not willing to abandon that recognition. We cannot conceive it to be possible that the laws on our statute books can, by any possible interpretation, be so construed as to prevent any person to whom music is sold for distribution, from selling it at a profit if he chooses, nor as to determining how much of a profit he shall make. We look upon this whole proceeding as a most unfortunate and grievous mistake. We believe that circumstances will bring about some better and fairer adjustment of the whole problem and we have therefore thought best not to make any change in our system of pricing nor in our custom of allowing discounts to those who are entitled to them. We are therefore continuing to allow the regular discounts on our publications and on those of others whose prices still make discounts permissible. Very respectfully, CLAYTON F. SUMMY CO. 429 So. Wabash Avenue Chicago Mr. and Mrs. Crosby Adams Annual Summer Classes for Teachers of Piano CONSERVATORY BALTIMORE, MD, 2ist SEASON—1924 In_Montreat In Asheville June 17th to July ath August 5th to the 22nd. Address Montreat North Carolina THE WILDER IMPROVED KEYBOARD “A Wilder Keyboard should be in every Piano Studio in the country,—é simplifies so many teaching problems, and standardizes so many pianistic essentials.” Whether Teacher or Student you cannot afford to let others get ahead of you, through its benefits. The ability to grasp truly progressive ideas at the psychological moment is one of the marks of the successful man or woman. Descriptive circular sent at once upon receipt of address, The Wilder Keyboard Company, Dept. E-6 West Newton, Mass.
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Page 648 SEPTEMBER 1924 THE ETUDE | Piano Instruction Material Bilbro’s First Grade Book By Mathilde Bilbro Price, $1.00 OFFER. Ax. instruction book especially No. 1 designed for young beginners z above the kindergarten age. The Introductory very first lesson presents both Cash Price the Treble and Bass clefs. The pupil is not confused, however, 40 cents by too much to Iearn at once in notation and only five notes up- ward from middle C and five notes downward are presented in the first lessons. After this much is learned then time is introduced and so on each step is presented in logical order in an attractive manner until pieces in two flats and three sharps are being played. First Piano Lessons at Home Vol. II By Anna H. Hamilton Price, $1.00 OFFER. The first volume of this success- No.2 il work was on “Introductory Oe Offer” last Fall. It is a work Introductory that guides the teacher in ap- Cash Price plying the instruction material presented. In fact, this is the 50 cents feason for the title, mothers or elder sisters with musical knowl- edge can start the children in the home in the study of the piano. Just as Vol. 1 consists of a Piano Book and a Writing Book, so also there is a Piano Book and a Writing Book to this Vol. II, which takes the pupil into that interesting’ stage of study where pieces are an important part of the study material, First Year at-the Piano By John M. Williams Price, $1.00 OFFER. A progressive and modern begin- No. 3 2efs book that many teachers O- adopted immediately upon _ its Introductory appearance. Some of the salient Cash Price features are—the introduction of the Bass Clef from the begin- 50 cents ning; the five finger position. is held to while the pupil is being well grounded in keyboard work; rhymes are used to give the correct idea of phrasing and scale passages are not introduced until the pupil is prepared sufficiently for them. |Favor- ite folk song, operatic and classic airs are utilized in the pieces introduced. The Amateur Musician By Russell S. Gilbert Price, 75 cents OFFER An interesting, little work that No. 4 introduces music to young stud- y ents through the medium of the Introductory piano, striving to awaken the Cash Price creative consciousness and so to 40 quicken progress and maintain cents interest, It well succeeds in this 4 and brings the pupil up to the point of scale study and where further study can be undertaken with a clear understanding of “what it is all about.” First Lessons in Bach Book 1 Compiled by Walter Carroll Price, 75 cents OFFER As the compiler puts it in his No. 5 introduction to this little volume H tthe appreciation of Bach as a Introductory tremendous force in the progress Cash Price of music has heen growing steadily,” and this is because 30 cents the practical study of Bach cre- ates. a taste for good music, therefore these “First Lessons” become a step- ping stone to the study and appreciation of the classics. Young people will play with keen delight the 16 short, melodious and rhythmical pieces in this collection. The Modern Graded Course— Three Grades Compiled by Henry E. Earle Price, $1.00 each grade OFFERS (fier No. 6 is Grade One, No. 7 Nos.6,7,8 Grade Two and No. 8 Grade eon - Three, In taking over the Introductory Brehm Co, Catalog this course Cash Price was acquired by us. The grad- 35 cents ing is well done and the mate- each rial, selected from standard ex- ( ercises and compositions, _ is pleasing. Both clefs are used from the be- ginning. Album of Trills A Gollection of Pieces Price, 75 cents OFFER This is one of a series of Al- No. 9 pane of Study Pieces for Spe- 9 cia i is an fetroduclory “Album and an ash Price = “Album of Arpeggios” in prep- aration for this series, There 40 cents are 18 pices in this 5 Trilis,” cach containing the trill in some form. chers will find no better method ‘of perfecting the use of this technical device than through these pieces which pupils in the medium grade can take up, 3e Kindly Order by Offer No. These are genuine Bargain Prices and we bear trans- portation costs. Remit- tance should accompany each order. No exchanges or returns permissible at these prices From My Youth By R. Krentzlin Price, 75 cents OFFER A collection of 12 characteristic No. 10 pieces for the pianoforte, by a O* talented writer of teaching sIntroductory pieces, cach about two | pages Cash Price long. They are very serviceable to the teacher looking for pieces 30 cents that will serve to. develop style, rhythm and technic in pupils in the second year of study. All are tuneful and effectively harmonized. Twenty-five Melodies for Juveniles By Mana-Zucca Price, 75 cents OFFER. These delightful melodies, by one No. 11 of the leading woman composers oO. of ‘ today, present piano study Introductory material for little tots beginning Cash Price with the easiest kind of a piece and progressing nicely into 40 cents tore pretentious numbers for the embryo pianist. Clever texts accompany a number of the pieces and serve to hold the pupil’s interest. Stories Notes Can Tell By Frances Terry Price, 75 cents OFFER Six charming early second grade No. 12 piano pieces. Although there are but six pieces the variety is good Iotroductory ond will more than please young pupils. The pieces are in the 35 cents keys of C, G, F and A minor. Piano Solo Albums | Contemporary March Album Price, $1.00 One of our most successful re- Ore cent publications. It answers oO. the demand of schools, gymna- Introductory siums, churches, lodges and Cash Price other organizations needing march numbers, There are 40 cents grand marches, parade marches and military marches, all ef- fective numbers in their group and all within the ability of the cverage pianist. Thirty marches make up the contents. Young Folks’ Opera Gems Price, 75 cents The aim has been to present in OF fe BR this album playable piano solos NG: of famous operatic airs, Keeping Introductory in grades two and three. It is Cash Price a comprehensive collection, sev- enteen composers and_ twenty- 40 cents three. operas being represented in the selections in this album. twenty-seven Program Pieces Price, 75 cents A collection of 33 recital num- bers for the pianoforte. Nor- OFFER No. 15 yyally this album is a bargain, Introductory but on this special offer one Cash Price receives bound together in con- venient form all these numbers AO cents 2t almost one cent apiece. There are no trivial numbers, yet al are attractive. There are a few in grade three, are attracryjority ‘are about grades four and five. Holberg Suite This Op. 40 book of Grieg’s is 2 OFFER Auteiot five ienlendia’ piano com No. 51 jositions that have been gaining Introductory favor with pianists more and Cash Price more in recent yea They about grade five, and are v 35 cents tseful in hing andr work, ‘This is a fine new edition. M. L. Preston Album Price, $1.00 OFFER A compilation of 22 favorite Wo. 16 ithe, compositions by Matilee 02 Loeb-Evans and M. Preston Introductory (one and the same composer). Cash Price. Mrs. Preston’s compositions are favorites with many teachers be- 40 cents cause they are melodious, play- able numbers that hold the in- terest of students and aid in teaching the mas- tery of the keyboard. The numbers in this collection are in grades two and three. Album of Six Compositions in Modern Style By Charles Huerter Price, $1.00 OFFER Some of the world’s great pian- No. 17 ists have programmed = and o. highly commended the six com- Introductory positions here offered. They Cash Price are fresh and original in their modern harmonic _ treatments, 40 cents which are quite likable. The melodious strain is present in all and, in addition to giving proficient pianists ai ecam novelties, they answer Well a3 teach- ing pieces for fourth, fifth and sixth grade pupils. Piano Duet Album | The Two Players Price, 75 cents OFFER. Thirty-three _ attractive piano No. 18 Pieces for four-hand entertain. 0. ment are in this reasonably- Introductory priced album. A good variety is Cash Price presented and all tastes are sat. Rsfied,. The intermediate grates 40 cents are adhered to and teachers can utilize the numbers in this alban for the study’ work of, their pupils “or for diversion from straight technical material, | Piano Album—Six Hands The Three Players By A. Sartorio Price, $1.00 OFFER Many publishers would hesitate No. 19 about producing a collection of o. six-hand pieces to be sold at a Introductory nominal price, because it is not Cash Price to be expected that there would be as much demand for such an 50 cents album as a solo album. Tow. ever, we have found that many are glad to purchase such an album at a rea- Sonable price in order to have it on hand in anticipation 0 hand playing when oppor tunity presents 1f, None of these pieces a dificult, staying around grade three. ‘There are three original numbers by Sartorio and Afteen fine arrangements of favorite melodious pieces. | Vocal Literature and Studies | Lee ec UIE What the Vocal Student Should Know By Nicholas Douty Price, $1.00 OFFER Some of the best voice teachers in the country are recom i : nan } No. 20 ing this book to their BEE cE Introductory it is a sensible introduction ¢S Cash Price the art of singing, The purnoee of the author has bee 60 cents ciate a few of the D ’ of this. a concert untry and and oratorio Tete we the es xiven that Mr. Dowge Some Dozen for Singers? well q ANNUAL FALL) ON NEw PUB These Special Introductory Cash Prices Vocal Studies for Low Voice By Geo. Whelpton Price, 75 cents OFFER A course of practical, progres- No. 21 fixe exerci for the cultiva: Introduct on and’ development of the Cash Price. heaps This work is designed 9 aid those amateurs who wish to become intellige 0 nt, table 40 cents Soars, yet ie fe not designe y Solely for self-help, i ing a work that teachers will ‘find “most desiteble ahere Bespoke: for High and Medium Voices Tee ee seniea by {Att Whelpton, but only the this bargain price. ~°Y \oice, is offered at | Vocal Collections Favorite M Usi ; Pianolog cal Readings and nee of Coyla May pring Written and Compiled by Clay Smith Price, $1.00 OFFER in i teresting i No. 22 forvsinger: gbireram novella Introductory vari; te, but_nine numbers, the ash Price ¥ of styles is all that coul ¢ desired, ther, i oc desired, there being the philo- 50 cents fiitis readings’ that ‘engage, the is eee isteners, then there sheer cutenea. Vet» cunning type that t always cro, scveral humorous offer- to round at®,,2 laugh, and a love out the compilation, Forgotten Trails B ¥ Thurlow Lieurance Price, $1.00 OFFER s NOC Som No. 23. America! ,the most genuinely Introd OF Cheat SonKs are the offerings matty Lieurance, Xe0S_and Thurlow 5 tice is a group of prsotten | Trails of our ach. 0 cents of, which? rat OU, SRE, oS friend. beautiny tting poetry of the and F The range of potitdoors and its d these songs is betwee" i Adley ings wi every loy 1 8S will be pleased (vet Of artistic song offer to have them, Songs for Girls OFFER friges $1.00 ie. donate No, 24 tractive MPilation of thirty, a Introductory 22Y romantics dees, not include ‘ash Price ¢Xts. rhe’ emotional or love D son . ass 50 cent: Feet nature (birds, ae S humoreys 3. then some are cluded. ayy 2Pd severay thers are lullabies Young Voices “Te Within. pialect songs are in Proper range fof No. 25 In gianckets Will pass. this bY} Tntroduct, the 59 ciM8 through the list of Cash Pav’ iS to pe 28S in this album there 40 i of ecenthy et, Some of the bess ce Sacred goo, bUblished secular ane mts ic SeourgiiSs. and here they my in a convenient bind Tess 17h, Convenient olereas in < individually, Meet mu volume. s Songs in an one cent cach orm they would co ere ar Much as ‘the price a Medium par, c2ered songs in [oe ee Price, $1.0 the Placed eatanble 35s t was aly that ed- We O ve Ute cond yolume we # be ® Binal Introdtclre in Continues upon ties ia o Method, all stares ak technic. in atts, training thosé 1. Wwe 4] fnsenible while develeh, the thirg (ese Stops, itd posit helyphonic studies inty shifting and dou 0 ple THEO. PRESSER CO. — Mail Order Supply House for |
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THE ETUDE SEPTEMBER 1924 BARGAIN OFFERS LICATIONS Good Only Until October 15, 1924 Everything in Music Publications, Twenty-five Selected Studies for the Violin By H. E. Kayser, Op. 20 With Second Violin Accompaniment in Score By Chas. Levenson Price, $1.00 The Kayser studies long have OREER been abvaladble aid to those No. 27 geaching violin and. their value Introductory has been enhanced by the man- Cash Price ner in which Mr. Levenson here 50 t presents them. With Bhs Rey mts playing the second violin par ce hiey al is aided in time and rhythm and_ gets some, experience in ensemble playing while developing technical ability in fingering and bowing. Concerto No. 1 (A Minor ) By J. B. Accolay Price, $1.00 This famous concerto for Violin OFFER rt Viano is now available ina No. 28 fine new edition by Thaddeus Introductory Rich, the concert-master of the i Philadelphia Symphony Orches- Cash Price a. After Kayser and Kreut- tra. AO cents zer the violin’ student should have this concerto. Scene de Ballet By Chas. deBeriot Price, 75 cents Violin and er favorite OFFER yy number for students, that No. 29 jas" been carefully | edited | by Introductory Thaddeus Rich. It is a pictur- Cash Price olin number and because i so much of the re- 35 cents sources of the violin is a stand- School of Violin Technic By 0. Sevcik, Op. 1, Pt. 1 Price, $1.50 edition of Sevcik’s An excellent OFEER Op 1) r. Otto Meyer, for- No. 30 syery ‘assistant to Prof. Sevcik, Introductory prepared it. These studies are Cash Price given to violin’ students. whi they are completing their Hee 50 cents mentary instruction, as i ey. familiarize pupils with the first Position and lay a secure foundation for a succeeding work, Four Melodies for Violin Alone or with Piano Accompaniment Cain MacMurray posed and Arranged by Be 75 cents OFFER Novelties for the programs of No. 3] concert artists or excellent teac if ing pieces, since they are, in Introductory: double stops in the first an Cash Price third positions. ‘There are fwo Peer ribed welkldown melodies transcri 50 cents fen cAfurray, into. excen- tionally fine, violin, solos and there are two very attractive original compo- sitions, ee MA A Mt a ta Orchestra - Crown Orchestra Book Be sure t ti arts desired Piano Acc. Price, 6c cents, e Parts, 30 cents OFFER Av orchestration collection, that No. 32 can be used very successfully ot ' Church, Sunday School | an Introductory other amateur orchestras: desir: Cash Prices Piano Ace. ing attractive numbers, yet frivolous or “jazzy.” There are 20 selections in the collection, 0 cents 7 of which are hymn buns Instrumental About eight arrangers assis in yj eparing this collec the sty is good. ‘The instru- iety is good Lane Parts 20 cents mentation is as follows? s wi Violin, Violin Obbligato 4, Violin Obbligato B, Solo Violin, Second Violtn, Viola, "Cello (or Bassoon). Bass (or, flat Bass), Flute. First Clarinet. in ore Second Clarinet in B flat, C Melody Sax aphone (or Oboc), B flat Tenor Saxophone First Cornet in Bflat, Second Cornet in B. flay Phind Cornet in B flat, Trombone (Bass Ciel B flat Trombone (or’ Baritone) Treble Ctl, Horns in, F (or E flat Altos), Drums a7 NOTE— 1710-12, CHESTNUT ST., -14 PHILA., PA. Pipe Organ | Lemare Organ Album OFFER No. 33 Introductory Cash P-ice 75 cents melodies and Price, $1.50 A very worth-while offering to organists since it is a well- bound volume of 21. transcrip- tions and, original compositions by the master organist, Edwi H. Lemare. Mr. I taken a number of, favorite folk song, hymn, operatic and classic made’ very useful organ solos of them, enhancing their beauties in’ the trans- cribing. Two original Lemare numbers are included. Every theater organist has need for such a volume. Pedal Studies for the Organ By Ernest H. OFFER No. 34 Introductory Cash Price 40 cents Sheppard Price, 80 cents Twenty-four pedal scale studies that pedagogues and students in the organ world will find val- uable, Each scale is given with the proper pedalling and is fol- lowed by an appropriate short study piece in the same key. Operettas and Cantatas The Castaways Operetta for Women’s Voices By Fay Foster OFFER No. 35 Introductory Cash Price 50 cents Island. The tuming of the natives giv touch. Price, $1.00 An operetta in two acts. The libretto by A, Foster = cellent and furnishes delightful entertainment combined with the charming. melodious music by Fay Foster. The stdry is of a group f American women. ship- wrecked and cast on a South Sea attractive ing and the cos- an added pleasing x Knight of Dreams Musical Comedy in Three Acts By May Hewes Dodge and John Wilson Dodge OFFER No. 36 Introductory Cash Price 50 cents these characte ean and lively an Grecian char ig d the music ‘catchy. $1.00 This has been appropriately sub- titled “A Modern Pygmalion and Jatea.” A young sculptor, his sweetheart, friends and a “rube” and his wife, desiring to buy some statues, are presented in the first act and it is quite a humorous situation when all rs are dreamed into Shakespear- characters. The action is Price, Mon-Dah-Min A Cantata for Treble Voices By Paul Bliss OFFER No. 37 Introductory Cash Price 40 cents choruses Price, 60 cents This cantata would make a splendid novelty for any wom- an’s club program and ambi- tious school supervisors will find it acceptable for advanced school choruses. The music is fresh and melodious, the story is a fas- cinating wa legend. The are in two and three parts. Four Seasons Cant: By Richard Kieserling OFFER No. 38 Introductory Cash Price 40 cents Seasons. ata for Three-Part Chorus of Treble Voices Price, 60 cents ally a cycle of four About 25 present t Thi. three-part, chor ; minutes is required to it. ‘The work is eflective can be presented with, fe = fen ; ’s choral hearsals, Any women's ¢ organization or [High School Chorus will enjoy doing Four Offers Nos. 1 to 61 Are ready for delivery Offers Nos. 62 to 82 Are ‘‘Advance of Publica- tion Offers,’’ these works being in preparation, and delivery will be miade when published. ONLY ONE COPY OF ANY OFFER AT THESE PRICES In Foreign Lands Cantata for Two-Part Chorus of Treble Voices By Richard Kieserling Price, 40 cents OFFER Quite a delightful offering for No. 39 art chorus work, ‘The four (b choruses in this work are easily Introductory sung and are satisfying to the Cash Price singers and the audience. An one using two-part chorus mate- 30 cents rial should see this cantata. The Dawn Easter Cantata for Two-Part Treble Voices By Williams Baines Price, 50 cents OFFER The. chorister who has. been No. 49 handicapped through not having a vood male, voices at command Introductory will appreciate this cantata. It Cash Price also is appealing to school su- desiring _ someting 35 cents s i r Easter, It melo- E dious while there some solo work this may soloist is available. Bobolinks Cantata for Children’s Voices By Carl Busch Price, 60 cents and be sung in unison if no OFFER Two solo voices are called for and a three-part chorus is re- No. 41 ited. It. is, possible to sacri. Introductory fice some of the effectiveness of the solo voices and parts in unison with a Cash Price 35 cents group. This is a brill cantata for children’s voices, and while it has been given most successfully in different parts of the coun this past year we are adhering to our final introductory policy in here offering it at a low price. Rainbow’s End An Operetta for Children By Cynthia Dodge Price, 60 ‘cents OFFER $A cunning, musical playlet for No. 42. fhildren in three short’ scenes. 4 While it is based on an interest- Introductory ing story for children there is lendid moral the end. Tt is. easily learned and children will delight their audiences with the charming work, Kansas City Spirit Cantata for Solo and Mixed Voices By Carl Busch Price, 50 cents Cash Price s 40 cents OFFER Phe rendition of this cantata in Nan » No. 43K : Introductory very city. While the text is Cash Price applicable to Kansas City, it is possible for an ingenious person 35 cents to revise the wording ad pting the cantata for use in any civic festival. Hymn of Praise Cantata for Thanksgiving, Festival or General Use By Frederick Wick Price, 60 cents OFFER The soprano, tenor and_baritone No. 44 solos in this cantata will not tax . the ability of any soloists, al- Introductory though they are good, effect Cash Price 40 cents solos. The chorus work for mixed handled by the choir, Requires about 30 to 40 minutes. Alleluia! A Choral Cantata for Easter By R. M. Stults Price, 60 cents OFFER Beautifully tells the story of the Surrection, nd ow be used No. 45 with telling ‘effect for about 43 Tntroducloes munintiheevanian ; a te Cash Price usual h Mr. § Gallia Motet for Mixed Voices By Charles Gounod Price, 50 cents OFFER his is « new edition of a choral “No. 46 work that belongs in every choir- avO master’s library and in the reper- Introductory all worth-while choirs, Cash Price It is a classic in sacred music, but. theschorus work is not too 25 cents dificult for the average choir and : the solo work is entirely for one voice, soprano, Anthem Collections Organ Score Anthem Book No. 1 By Sweney and Kirkpatrick Price, 75 cents OFFER This is a successful collection of anthems that, has been taken over No. 47 Grom the original publishers’ be- Introductory cause in our judgment, its merits Cash Price warranted the offering of it to our patrons. It is called Organ 40 cents Score, because the four parts are printed on 2 staves with the words between, the same as usual with hymns. This allows putting in one book a generous lot of short, attractive anthems. Organ Score Anthem Book No. 2 By Sweney and Kirkpatrick Price, 75 cents OFFER Jokn R. Sweney and Wm. J, No. 48 Kirkpatrick, are “names ‘well = known to those in church music Introductory and a goodly compilation of their Cash Price attractive, y anthems, is in this second Organ Score ‘Anthem 40 cents Book. Adam Geihel is also well represented, and the names of Sawers, O'Neill, Clark and others, are. affixed to some of the numbers included. Sweney’s Anthem Selections Compiled by John R. Sweney Price, 75 cents OFFER Choice anthems and other set No. 49 Pieces for use by the church bt choir in public worship. The Introductory contents are not confined to an- Cash Price thems by Sweney, several other cessful writers of melodious suee 40 cents and easy church music. being represented by good numbers. Theory Theory and Composition of Music By Preston Ware Orem Price, $1.00 OFFER This is the book that thousands No. 50 have been looking for, a book to oO. follow Orem’s Harmony Book Introductory for Beginners. ‘This is the work Cash Price for anyone who has had one of harmony, Every point is cov- 75 cents ered in a clear, engaging manner and it supplies a good working knowledge of form and the practical applica- tion of harmony to compositio: It makes the subject as fascinating as possible instead of holding toa dry, didactic method, Every music educator should know this new publication. BONUS OFFER on $3.00 Orders OF OFFERS Nos. 1 to 82 Each $3.00 order made before October 15th of any of offers Nos. | to 82 will entitle the pur- chaser to ANY ONE of the following books without additional charge. Be sure to slate it is a bonus when naming your choice. YOUR CHOICE OF ANY ONE OF THESE WORKS FREE WITH A $3.00 ORDER. STANDARD GRADED COURSE OF STUDIES FOR THE PIANO (Mathews) Any one of the ten grades of this successful course may be selected. POPULAR SALON ALBUM 35 brilliant intermediate grade piano pieces, STANDARD SONG TREASURY 48 good secular and sacred songs, medium range. VIOLINIST’S POPULAR REPERTOIRE. 29 Melodious Violin and Piano numbers, See Next Page for Bonus on $5.00 or Over Page 649
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Page 650 SEPTEMBER 1924 THE ETUDE shea Mose fre | ALN FOX CELLENT GROUP Following the procedure of gaining an audience for our new book publications, we have in the last several years presented In- troductory Offers on some of our recent sheet music issues. These have been wel- comed enti ally. One is sure to get i his money ve . No returns or exchanges can be made at these low prices. OFFER No. 52. Six First Grade Kindly use OFFER NO. when Ordering—Offers Nos. 62 to 91 are in Preparation- Introductory Piano Pieces Pri h ; ; 60 cents ‘Tetel Retell Price, $1.75 The Bonus Offers Should Interest Many. Note on Preceding Page RICE Quoted Are for Cas : . : Bonus for $3.00 Orders, also Bonus Offer on Next Page for $5.00 Orders. with Order, We to Pay Little Soldiers.... -By Wallace Johnson 2! The White Horses. ....By G. L. Spaulding Transportation Costs mie Fairy Queen.....By G. rege baulding eA f Scales for the Pi T Inette Waltz. By W. Aletter ; ii um of Scales for the Piano- unes for Tiny T, Quiet Evening 'By H. D, Hewitt or liny Tots Wigwam Dance. .. By Daniel Rowe Piano Study Materials forte ORE By John Williams 54 ; A volume of “Study Pieces for ER \ most interesting and valuable OFFER Album of Arpeggios for the on) F Bee Special Purposes." Many know No. 73 _ little volume: aehich Teads little | F ; . z ii ; is ones S: 2 i No. 53 Hive recobd Grade Piano Advance of Shiga OER Ole Hsien ae Panes of first. lease i rhe een ae Intreductory NS, P P . seatz euecessfuls Phe Alb eo ublication attractive j air’ tex ypo- Cates, Piano Pieces | | omPER This is th third volume jp the fabian suspen he Heume/ Seales Eure rapt git thei text and 0% 7 60 cents 7°t#! Retail Price, $1. No. 62 je APO LT Barposes, 3 cents. te,tetium of scale practice. The 30 cents f¥ Fears. is. beguiled into. the So far, we have published the seales are. introduced either in fame of, feeding on their com Album ‘of Trills, and the Album TigGeas Crate Stuties AVINCDIRAVE- “Fieedss apith thee The little studies an of Scales, We come now to the the character of pieces. ‘They appear in vari; tating to. the Gaqtenocisted rhymes, are stim: bers ‘i » ous rhythms and in connection with interest- os © Imagination of youngsters, and eu oh eens an teen. ing harmonies, This book may be classified '¢ teacher looking pie So | or new materials should tionally attractive collection of Hunting Wild Flowers...By H. D. Hewitt Old Lace and Lavender... iy Wm. Baines Myrtle Schottische By John Martin Mac Plays the Bagpipes. By Heller Nicholls Let’s Play Soldiers. -By Adam Geibel .in the early Third Grade. not fail to see this book. i ‘ intérmediate grade pieces all based chiefly LO | OFFER Four Medium Grad upon various forms ‘of arpeggios. No tech- Rhythms for Young People Pian Alb No. 54 our Medium Grade nical equipment is complete without facility By Blanche Fox Steenman oO ums on oe Piano Pieces ae Cecil esa SHES PINE: OFFER A work that can be used by the s . asi rice ates 23 — . . Nothing Riches etl our new collection OFFER Three S Six so Feces in Thirds No. 69 tical manner aw & of extreme difficulty will be ineludel No. 56 ree Songs or Piano Advance of sa R 5 A : Publication €verie Alb . Introductory for High Voice By Carl Moter Con Pa um for the Piano Cash Price ash Price OFFER A ‘ Total Retail Price, $1.40 Th ieces are so good that A_ collection ‘of drawing-roo™ 50 cents Tet#! Retai OFF Ee they imuke a, real pleasure out 20 cents Qf a writing-book are ma No. 75 Pieces of intermedia qyiieultY Mother Calling aacngcaB Altre Hall | NO. 64 of'peaticg, “Dette Rae ae ioy he mem me Hn hae atte Amen at aRl*SHS In omand” Thee You Came to Me with Love i Advance of an essential department of mod- MI y E aving to write ublication Guts Of Reverie Album will if By Robert Braine Publication crn technic uel Cited especielly it. ash Pee pieces awe foun ee other col Robin Sing a Merry Tune Cash Price are in continual use. oter The Gat'\Goncert 35 eat ons of this nature. ere By Ernest Newton has made_ thes 1 the cents “ abe no flashy numbers, Be OFFER 25 cents fort of acs, : aeonel ve By Russell Snively Gilbert used f Gea auiet and more refine! ; student becomes accustomed ti ae i 2 sed for Sunday placwch Dieces as might! No. 57 Three Songs sorts of groupings and fingerings. ‘The OFFER, This is a set of little teaching ings whee ay, Dlaying or ats ruiierone meet Introductory for Low Voice ‘are of intermediate grade. NO. 0 ee et gato inter. delighttut yay iane is used. “Ie will prove Cash Price Total Retail Price, $1.40 Advance of is characteristic of some faneiful tegel®, Pet contempaas Playing also, | Many 50 cents Crossing the Stile. . The Song of the Thr . c : S resente € ape noes s 2 Musical Moments for the Piano- Publication incident in connection with our o°™ted- mporary “writers, will Demi r Cash Price household pets. |The pieces are [———————_ ns Reena ne forte well constructed and” easy “4° | " cents = y_are ¢ ae . At Twilight........- M By D. D. Hughes By Mrs. H. B. Hudson - 35 play they are, of course very. | Musical Literature a Book of First Grade large sized note with generous spacing, they OFFER , OFFER pls ia. Weces, Most ‘of the «ait prove easy to read. ney What to PI No. 58 Three Sacred Songs No. 65 jieees. are original but_a num lay and to her of th lapted and Jingles for Littl 2 ql ‘ ke of ber of them are adapted and ar- f les for . Inbeeductory for High Voice Patincics caiped: frout wanieus. sour Jolly Jing’ ittle Fingers ay i 50 cents Total Retail Price, $1.45 Cash Price . Hudson is particularly well By Helen L. Cramm OFFER x1; arriette Brower known through er fe Few composers for childre. ha < Is It For Me?.........-- By R. M. Stults 35 cents 4,8, C of Piany Music. sinew OUEER nso happy in. ‘ete soe eys No. 76 I Heard the Voice of Jesus Say. By A. Hall book, howe _in the regular No. r the child music student ay Advance of Pardon and Peace...... By R. §. Morrison | Notation. The present w intended to Advance of | Miss Cramm. ‘These Tittle; Publication accompany or supplement any ruction book. Publication aid in vanquishing the techn: Cash Price The material is exceedingly at e. Cash Price problems by “sugarcecn OFFER he 7 them so that the deararatns” 75 cen ed end j. ‘Ss No. 59 Three Sacred Songs Ten Busy Fingers 30 cents complished iby 2 chariting _p; t Introduct it 7 % ; _ Strategy. The catchy rhythme Pieces fr = Cash Price for Low Voice Nine Melodious Studies with Rhythmic and melodies of this collection make ‘it an espe ng reeitaty Pe AY 4 i " 45 cents 7°t?! Retail Price, $1.25 Verses cially attractive first year teaching help, °* these es A ork City Tavs describe orm, and arrang, » has descr am a i . . ed the progr’ Spirit of God... By Mabel Madison Watson Six Study Pieces for the De. Pyinc: ‘ Nem in 1 aviour Breathe ; : inc OFFER - 4 velopment of the Wrist Iples of 5 i : : ee i xpression 10 Lead On, O King Eternal!” .By arz NOS (66). * Feccea he. mean By Carl Mote iano Advance of / ve! for each study. ; ee et By forte Playing OFFER h Au Publication ¢ are mainly in two-part OFFER Thijs sort iy puusical, metogie OFFER A | F. Christiani h Price: harmony, but they are not con- 7, 9 and not at all difficult.’ a y. : f No. 60 T ree Violin and Eee ate, NE isan DE No. 72 Who has finished the sec cul No. 77 lib Arp e gthtat should be in the Introductory Piano Pieces 25 cents jjeves in what may be termed Advance of third would be able to. take Adv; bE every piano pliers ash Price Gyn “Key-board Geography.” ublication these studies and win k® Buby riging as ‘one of the 7 60 cents Tt! Retail Price, $1.70 | studies do not remain in the middle of the Cash Price benefited by them, “White in MS Caan pti™ pina, Works. on the arto a , . ans hoard, but they work forward 25 cents “illed Studies for the Wrist, a © Sidered 2¥ine: in fact, it is CON Romance in A minor...By D. Williams An opportunity is given for e ce the same time the work will he $1.50 Hitions “Authority for the 3% Au Berceau.. ......By Jeun Rogister | time or other, to play in cither the treble or excellent as a preparatio a student he active A 1 T on for id t : Sirens..... By J. Rogers (Arr. Hartmann) | pags clefs. Bravura study and also for exp a Fin making g ,book to hel There jg no betty OFFER Mneroduetary” yi edition Hae than this ones fh . be S offer it a 50 cents Tote! Retail Price, $1.60 ties for Securing Meritorious : 3 ’ ecke d Useful Publicati t r Creamer Maui’ he Cee || | Brose Well Beto) Regular 1710-1712-1714 CHESTNUT S ¥ Evening Meditation..By W. D, Armstrong Costs. No. 61 Three Pipe Organ The Final Introductory Offers Introductory Numbers on Preceding Pages Present Casi Frice some Exceptional Opportuni- e S E R C QO: STREET g! nd cee EVERYTHIN Prompt, Accurate a Urteous ServiC?
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THE ETUDE or ADVANCE OF SEPTEMBER 1924 AN ORDER SENT IN NOW SECURES ANY OF THESE WORKS AT PRICES CONSIDERABLY BELOW THE PRICES AFTER PUBLICATION Delivery will be made when work comes “‘Off Press” { Tj | eee here for the first time. Reflections for’ Music Students By Sidney Silber OFFER ‘This is a work of inspiration for the serious student. It very often No. 78 happens that the entire career of Advance of a person is changed by a single Publication maxim that has struck root. Cash Price ‘This work will contain a fund of { wisdom which should be broad- 50 cents casted and translated into many : languages. It is one of those little books that should be on the studio table of every piano teacher that the pupil can read it while waiting for lessons. Basic Principles in Pianoforte Playing By Josef Lhevinne OFFER Mr. Lhévinne is one of thelerent: No. 79 &t authorities upon technic and ao interpretation of the present day, Advance of and the cing of his presenta- publication tion of 1 principles in piano- ‘ash Price one’s 1g. Notturno—A Musical Romance By Carl Schmidt OFFER Thi y attractive novel on a musical theme by a well-known No. 80 teacher of ‘New York, make Advance of attractive work of fiction, Be- Publication cause it is musical from hegin- Cash Price ning to end it will appeal to our patrons and this new addition 80 cents {iy opportunity for advance or- a dering at a bargain price. Little Folks’ Music Story Book By James Francis Cooke OFFER This history, with little cutout No. 8] _ Pictures to be pasted in the book id by the child, is probably, the sim- Advance of plest “and. the Publication music ever prepare ie ‘ash Price tended for very small children. 50 cents 2M! has been written with the idea of making every lesson real delight. an Ee rT Violin (els Fiorillo’s Studies for Violin OFFER Vhese studies have maintained No. 82. their, place among the class 4 in violin literature for _ ove Advance of hundred years; a genuine evi- ‘Publication dence of their universal and con- ash Price tinued acceptance as an essen 35 tial vart of the. violin student's cents training, and their m ‘y_ means i in that the student is well along ™ the work of becoming a virtuoso. This is # fine new edition we are preparing. 7; Cantatas and Operettas Pieeoees and: Opera Day Before Yesterday Operetta for Children By Cynthia Dodge OFFER The ‘pages of history really No. 88 Advance of {<8 Publication ers Cash Price; in the it 40 cents fully eseribed, the action i 01 given and in the usta Ine Be)Cony only Ter of the author, The, mus € charmingly written for children * ime required is about half an hour. Pry LA., PA. MUSIC PUBLICATIONS 7 "il Order Patrons umbe: ‘hose who follow our Advance of Publication Offers Each Month will be interested in knowing that Offers Nos. 62, 63, 64, 65, 74, 83, 84 and 90are Barbarossa of Barbary A Musical Comedy in Two Acts Book and Lyrics by Frances Bennett Music by David Brinton If you are thinking of providing OFFER anything of this character next No. 8£ Spring, send in.an advance order Advance of for this forthcoming — musical Publication comedy. You will get your Cash Price hefore the first of the y it will win you immediately. The 40 cents, fro: Ya geal and: the’ midaies is One Copy only co attractive and singable that amateurs can “put it across” with ¢ success, Three baritones, one bass, two tenors, two so- pranos are required for ‘the main. characters. There is another male character with speaking part only, ‘The plot_is based on the adventures a U, §. Naval Officer and his colored servant, h Algerian pirates. Of course the renegade ireek Pirate Chief “has a lovely daughter that figures. The. inducements that reform the pirates are plausible, yet exe edingly funny. Pageant of Flowers Operetta for Children By Richard Kountz nts are in great demand for Advance of — tremendous h Publication js sparkling, and the dialog and Cash Price Jyrics by Elsie C. Baker, are ad- mirably suited for the purpose in- 35 comts rey. aullidiventicie ave givel One Copy only ithe hook for production’ and esented by a large or small company, ether presented by or small ¢ , te result is bound to be satisfactory. Time for performance, one-half hour. The Fairies’ Revelry Operatic Cantata for Treble Voices P By Richard Kieserling rith a few exceptions, this work OFFER Wise proverly staged and made No. 86; lent Vehicle for, acting Advance of and dancing by a cast, of young Publication jadi Its musical worth makes Cash Pi it possible for it also to be pre- 30 cents sented simply a8 a can We recommend this wor! y ies ic clubs as w One Copy only naries and music clubs as w f their best efforts. The time for pre of thet pout 30. minutes. The Promised Child Christmas Cantata for Mixed Voices By R. M. Stults In this new cantata we have Mr. Stults at hi te omnis at No. 87 gan. pastorale, with which the OFFER Advance of = cantata op until the finale Publication = choru’ 1 splendid or Cash Price J,uther’s hymn, All 0 Thee, Eternal Lord—there is, not 30 cents ii ‘age. in this work. me One Copy only yequired for rendering, minutes. The Awakening antata for Treble oices By William Baines We haye had in mind the great es hristmas C. A Chris Vv R ‘an easy, melodious work Orr. Ef need of an ungo Moe at fills the bill. need j and alto pull pace volte ee ce Uther ‘Ck or Sun School 25 cents fresentation. The solo are rage © in the ability, of the Copy only within the ability I ae put can be taken as unison jp s if ig fer somethi to Tf you are | for, somet | jinior choir for the coming the jumervhich will be ready soon. Vision of Deborah ° Cantata for Mixed Voices By Richard Kieserling Mr. Kieserling has. ‘taken the story of Deborah from the Bible, for the subject of this cantata Advance of nd has given us-a musical work Publication f power und importance. Its Cash Price ayailabilit a splendid ae tween season production 1 30 cents mii ic sttmnctive te chet uiveee One Copy only tors who are looking for: novel- ties. The music is excellent, with an exotic flavor, and the solo possibilities will appeal to artists of ability. Anthems and Glees New Anthem Book OFFER From time to time, we have pub- No. 99 lished volumes of Anthems suit- p able for general choir work. We Advance of have now a long series of s Fublcaton volumes, every one of them We have now na new collection in m to equal, if not these previous suc- proven 20 cents an preg One Copy only Sc cesses. The Anthe é been selected on ac- count of their qualities and their adaptability to the needs of the average choir. They are such Anthems as,may be learned read- ily and yet be sung with excellent effect. Glee Club Songs for High School and College. By Hollis Dann and W. L. Wood OFFER This is a book which is just what its name implies, a collection of Not 91, lee songs for high ‘schools. ar Advance of eces by two well-known mu ic Nan Work score Roe Rablication © work comes tou from another publisher, and in 40 cents this sition: quite a number of ew songs have been added ani One Copy only some of the old:ones eliminated, making this volume quite up-to-date. BONUS FOR ORDERS OF OFFERS Nos. 1 to 91 Amounting to $5.00 Your Choice of Any One of the Valuable Publications PLAYER’S BOOK School for the Pianoforte Vol. 3 By Theo. Presser Teachers will appreciate this superb offering for pupils progressing in the second and third grades. ORATORIO REPERTOIRE Selected and Edited by Nicholas Douty Choice of soprano, alto, tenor or bass volume of this excellent compilation of standard solos. CELEBRATED COMPOSITIONS By Famous Composers Contains thirty-three compositions every proficient pianist would delight in having. FOUR-HAND EXHIBITION PIECES Good pianists will find this a most satisfying piano-duet album. ALBUM OF FAVORITE FIRST POSITION PIECES FOR PIANO A generous number of violin and piano numbers are in this popular album. For Bonus on $3.00 Orders of Offers Nos. 1 to 91 See Preceding Pages These Fall Low Priced Offers to Music Buyers Form but one of the ny features of the Mail Order Music Supply Service Conducted by a . 9. Presser Co. The aim is to give every Possible Convenience and the eo. Economy to Patrons. Assistance to Teachers The “On Sale” Plan is of Great Value and -Send Postal for Details of it and for Catalogs. Page 651 Etude Cover Design Contest $250.00 Prize THE ETUDE Herewith Announces a Prize Contest Open to All for Cover Designs Suitable for Our Publication. REGULATIONS . The designs must have distinct mu- sical significance with an appeal to as large a section of THE ETUDE’S widespread body of readers as pos- sible. The design should be attractive from the News Stand (the selling stand- point), but must also make an effec- .tivecover for the music lover’s home. Designs with a historical, educational or humorous trend will be considered with interest. Designs that are mere- ly allegorical, purely idealistic with Grecian, Roman, or essentially an- tique grounds are not solicited. THE ETUDE is a practical paper for music- lovers, teachers and studentsof to-day. Designs may be for two- or three-color reproduction. Designs must be drawn in proportion to reduce to the standard size of THE ETUDE, 101% inches wide by 1314 inches high. The design must not bear wording or lettering. . Avoid the introduction of lyres, pan- pipes, lutes, antique instruments, banjo, guitar, etc. If an instrument is used employ the piano, organ or the instruments of the symphony orchestra. Any contestant may submit as many designs as desired. . The ownership of the copyright of the winning design will rest with THE ETUDE. 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‘Page 652 SEPTEMBER 1924 THE ETUDE I WHAT SHALL / Use To INTEREST MY PUPILS “ 8 4 i WM. BEROLD'S, || PIANO | Ss j COURSE Ht Ib I BACH } & 5 | b I iG f j we \ BEGINNERS i | t | : 7 ‘i H-VINCENT for Beginne ' MUSICAL ABC's by Marston ‘THE THREE MAJORS by Blake BEROLD'S PIANO COURSE BACH-VINCI 3 rs : A progressive note-speller_sim- Teaches the elements of theory Fundamentally sound, simpleand ee Seomplstion of conv ansterial 5 ANGERS by Schmitt ‘ plitying those little problems of | | beyond the mere learning of notes. progressive. Full of variety an gelect -book of Joie £95 the develop- ' beginners. A delightful book. easy pieces. ig lependence. hnger in- Price, 75 cents Price, 75 cents Price, each Vol. 75 cents Price, 75 centa "Price, 75 ia * Ss a a a Famous Methods for Beginners é Pleasing Collecti : ginners ———— hections for Beginners National Graded Course, 7 Vols, and J 5 SP First Grade Favorites Special Supplementary ‘Prim. Grade. i Fa. Vol. $1.00 ; Jolly Tunes for Little Players Coulson-Spofford, Guide for Beginners . 4 Six Graceful M (B. M. Co. Ed. 361) 1.50 i : , Bs INGryetar elody Pictures -TYs s Bilbro’s Very First Piano Lessons .75 * ‘al Stream of Folk-Lore 2 at Blake’s Melody, Book I ure Pletures by Mayor = " zo ve : er taal Sy. Plano Pictures by Mayor “ae \ First Melody Lessons by Bilbro prac ve i = Six Tone Miniatures by Rehen y ann Second Melody Lessons by Bilbro ETE PI ; aS Tuneful Rhymes by Krogm : . hi +s emann Diller and Quaile, Tunes from Many + 7 The Children’, ag { Lands 23 ; 4) : eee, 8 Hour by Burnham | 4 J Ictol Diller and Quaile, When All the World er Sunshine by Toodrow was Young : Five Tuneful Tunes by Th j yD Adult Beginners Book by Bilbro Children’s Treas me ' 73 ‘asure, Ever. ig Beginners Lessons.in Music Land by % Wee Folk. Very Measure Bilbro . Sin Music Land s Little Etudes for Little Fingers by Pilbro - Model First Grade Pieces Study of the Bass Notes by Bilbro 4 PETERS’ MODERN METHOD BILBRO’S HAPPY HALF-HOURS Nine Little Playti The most successful American pianoforte _A beginner's book bubbling with de. | |, Yelme Duets, by Keyes Scales and Arpeggios at Play by Terry. method for beginners. lightful inscreee $1.00 ance Carnival by Hay oa : Price, $1.25 cE ers ‘ annah Smith Twenty-two Easy Pieces, Each Having Some Definite Teaching CG Major on Parade: A scale recreation by Fox...... 30 In the Tulip Fields. For girls by Bartlett P. urpose Skating. Arpeggio waltz by Krogmann. . Among the Flowers. For girls by Mundhenke, Old Mister Jack Frost. Words ad lib. by Bithyo Heather Bloom. For the Adult beginner by Hy At the Ice Carnival. For the Adult beginner by 7; n In Hanging Gardena: © a tpeatio by Darie: A B13 F i ‘The Purling Brook. ‘Triplets by Dore... , fhe Jolly Sailors Pe : Dream of an Hour. Left Hand alone by Fray ‘The White Cavalry. For boye by Tracy : ; Belfry Echoes. Left Hand alone by Franklin. Rocking-Horse. Vor boys by Maxim... On the Blue Lagoon. A Valse Lente in Arpega; Dancing Teddy Bears: Both hands in treble clef by Wilk Crisscross. Cross hands by Smith This material for sale at all MUSIC STORES or will be sent “On Approya)» by ey CG EE _——_— These helpful booklets will be sent FREE upon request From THE BOSTON MUSIC CO. 26-28 West Sr. BOSTON, MASS. THE WILLIS MUSIC CO. 137 W. 4th gy. CINCINNATI, OHIO
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> THE ETUDE SEPTEMBER 1924 Page 653 Musical Terms (No. 9) Tuts is the ninth list of musical terms. Have you copied them all in your note- book ? P Obbligato—An indispensable solo part in a concerted composition. Fs Octet—a composition written for eight in- struments or voices. os Opus—abbreviated Op. A composition. ~ Used with the number of the composi- tion in series; as, Sonata, Op. 9, means the ninth composition of that particular composer. Oratorio—A large composition for chorus, orchestra and solo voices, to be given Without scenery or costume, the words being on a sacred subject. Overtones—a series of faint, high tones, produced by an instrument or. voice when vibrating to make any tone. Overture—an orchestral introduction to an opera or other large work. Passionato—in an impassioned manner. Patetico—pathetically. Pastorale—a composition describing oF suggesting rural scenes. ause—prolonging a beat beyond _ its rhythmic duration. Thoughts IT used to think ,, When I grew up I'd practice nothing mores But sit and play The pretty things That I had Warned of yore. And then T thought That would not do Because T soon found out That practicing Is something that One cannot do without. And now you sec »;, My mind's made up V0 practice every day. Whether I Am young or old TU always love to pluy- Question Box Pran JuNion Brvpp: s ow do you pronounce “Humoresaut ro noguswer. Pronounce Humor as it is P Heed in English and add esk. BAR Junior Wrepe: / ‘it i you give me names of some ¢asy 48 which T can play ? re anger. As a rule, sonatas do not bart ee names” but are compositions writ tenis Wis? If not, look it up or ask 3 feacher, Some of the best-known oven, iagitts for you to play are by Beethoven, ¥dn, Mozart and Clementi. The Waterfall The waterfall flows ever on a ts the rocks and stones, (ever so, and even so It musically moans. ye et Son- Tr changes not from year to yeut 8 But gives forth all it holds}, ometines in winter, stops awhile Til melt its frozen folds. And then in spring it dashes forth And sings its happy song; has its little work to do And does it atl year long. I pe that Timay do my work nh just this happy way + rear And when Tye done it several Years Tm sure that I can play. CONDUCTED BY ELIZABETH A.GEST True Knights of Labor By Rena Idella Carver Iv was a beautiful September morning. Rosalia had begun practicing but she soon grew tired and walked to the open window with a sigh, “I almost wish I were a dumb animal and did not have to work.” Outside a_ hee buzzed angrily, “There you stand watching us gather our winter store and you say we do not work. A bee erself to death for the sake of E v but the bee sisters she has never seen, teased drones—are put to death. Just os ose that human drones were put to aa 1” Then, after drinking deeply from d : ’ ul flowers, she vanished. heautif : st robin alighted on the window ledge i mbered the painstaking a eae doit in building their nest. We ees brooding of the mother and the a Hees of the father and mother birds Tr iacite those crying baby mouths. attle of the milkman’s bottles ike think of the cows 1 the country ey. heir work. A heavy dray horse ae ee a wagon load of trunks came up ete and Rosalia could not but ad- ve oe animal toiling so faithfully. ees down she noticed the ants at ease story of the ants and the ers came to her mind. A family 3 5 hard at work filling the cellars derground house with food for will work h work. grasshop of ants w of its un winter. Some grasshoppers stopped to watch them, they laughed at the ants and called them: foolish creatures to spend the beautiful summer working, instead of dancing and enjoying themselves. When the summer was over, the ants went into their snug little house and they were nice and warm all winter with plenty to eat. But the grasshoppers had no house and no food and they soon died. A voice called, “Come, Rosalia, We are going to see the parade now.” Rosalia skipped out of the room answer- ing, “Yes, Mother, I am coming.” As Rosalia watched the big procession, the beautiful floats, the huge wagons, and listened to the stirring band music, she began to feel that it would be interesting to be a Knight of Labor. Then the lecturer told about a good worker who was honest and earnest and ready and willing to work. He said we find pleasure in doing work if we do it well. We must care for the work for work’s sake, if we are going to be true Knights of Labor. As she went home she remembered how happy she had been when she had finally conquered a hard phrase, or played a scale ten times correctly, or played her piece perfectly. When she sat down to her piano again, she breathed the hope that she might be- come a true worker. The Sound Fairies By Edith M. Lee people believed in fairies. happened which they especially if they he people said that Many years a0 "i ything When anyt could not understand, s, th heard strange 200 for good or ill. the caper if the young folks went For ins = aad in a quiet moment heard ou oan spine sound they thought teat a tT ete the cobbler fairies at work they 2 king shoes: cd ia other common belief et little red cap the was that by wearer ing on @ $ e. putting | yjsible to world people became Mmvis airies of our ce. some f Suppose Hea, Boas Fairies ; and let own and ca Ls on good sound fairies, us try to a af be made with a mechani- Sound ae | instrument like the harp oF et ee ‘vith ‘the yoice. There are many piano, © beautiful sound fairies in nature if our cars are tuned to hear them. Suppose you begin by making good sound fairies the next time you practice. Every perfect note will be a good fairy. But if you let mis- takes creep into the practice hour, then the bad sound fairies, in ugly colors, will go tumbling and shrieking among the beautiful sound fairies and spoil all the music which the good sound fairies have made. You cannot remember the first sound that you loved, but I know what it was, It was your mother’s voice. Once a little hoy was very much hurt. When the little fellow could speak he said, “Please talk to me, mother.” And when the mother saw the big tears running down his face, the loving sound fairies came quickly in a me lan “once upon a time” story, that started like this : “Once upon a time a little boy was lost in a big wood, and the tears began to come and to roll in great drops down his face. And the little wood people all - dressed in brown and green ran out from behind the bushes and played ball with the big round tears, and by and by the little boy forgot that he was lost and began to laugh.” But it wasn’t the story that made the little lad forget his troubles as much as the sound fairies of his mother’s voice. There are so many harsh, ugly and unkind sounds in the world, so many of the shrieking, jazz music fairies that it is going to keep you little music lovers very busy with voice and instru- ment to make enough beautiful sounds to drown the others. Dear Junior Ervpn: I sent you a letter some time ago from Australia and have received many answers from America. There are very few aboriginals in Australia, and I have never seen one, Eng- lish is the language spoken here and there are any number of schools and colleges here, These ure answers to so many questions my American friends ask. T still keep up my three hov daily ‘cello practice, Some time ago T passed my exam- ination in the higher division and was the only ‘cellist in Victoria to pass with honor. The examination was held in Melbourne, «and was given by the Royal College of Music of London. TI have earned about forty pounds since last Christmas. (I don’t. know how much that would be in American money.) 1 hope to have a better ‘cello than the one 1 now own. I would like to have an old Italian one, but don’t suppose I will ever be lucky enough to possess one, From your friend, Jean SuitH (Age 13), Frankston, Melbourne, Victoria, Austr: Summer Time No. 3 Summer time is nearly over, and before the end of the month most of you will be back at school and starting music lessons again. Have you had a nice summer? Did you keep up your schedule that you read about in the Junior Ervune for July? And did you fix up your music ac- cording to the plan in the Junior Erupe for August? If you have, your summer has not been a wasted time. Now before starting your lessons again, get a blank music note book, and in it write all the major and minor scales. Do not say that you do not know them all; for if you know how to do one, you know how to do them all, for they all fol- low the same model. Then write the chords at the end of each scale. Then in the back of the book make a list of all the pieces you have memorized, with the names of the composers. After their names put the dates of the birth and death and what country they lived in, You will be pleased with yourself for having spent your summer this way; and your teacher will be a great deal more than pleased with you, and your work in the winter will he far superior than it would be if it followed a summer of idle- ness and wasted time. _
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Page 654 SEPTEMBER 1924 START THE NEW SEASON WITH THESE FOUR EXCELLENT NEW STUDY-BOOKS _ SPECIAL INTRODUCTORY PRICES CHARACTERISTIC STUDIES FOR THE YOUNG PIANIST— FOR THE ATTAINMENT OF ARTISTIC PLAYING— by Frances Terry These ‘‘studies” are really remarkable on account of the fact that each one is based on a separate technical ‘‘problem’’—has a definite educational feature—and is very melodious. They will prove most delightful ‘‘pieces”’ for the enjoyment of the pupil or for the Recital program. Seldom indeed are such real musical values combined with such attractive melody. Special Introductory Price—cash with order—.57c Postpaid. These two books by Frances Terry have been most highly endorsed by many of our leading musical educators and printed testimonials will be distributed in a few weeks. RECITAL ETUDES FOR THE PIANO— by Frances Terry : These most excellent Etudes—like the Characteristic Studies— are unusually melodious and of areal musical value much desired. Of intermediate grade only—the separate defining titles are: Vigoroso, Giocoso, Agitato, Grazioso and Appassionata. Special Introductory Price—cash with order—.57c postpaid. ELEMENTARY THEORY AND PRACTICE BOOK by Robert Bartholomew Designed for use in normal schools, high schools, colleges and for private teaching. A combined text and work book. THIS METHOD IS THE WORK OF A PRACTICAL TEACHER It is simplicity itself. No complexity. No ‘‘research.’” Just “boiled down” facts. Bartholomew knows what he wants to say and says it in plain English; concisely, briefly. He writes from an experience covering many busy years. “ { HERE IS A ‘“‘THEORY AND PRACTICE” SIFTED DOWN TO ACTUAL ESSENTIALS The several pages of perforated music paper incorporated will be found a great convenience for written exercise work. Special Introductory Price—cash with order—.57c postpaid. FIRST STEPS IN HARMONY by Chas. W. Landon Here is practical and sensible foundation material presented in simple language easily understood by young pupils. EAR TRAINING EXERCISES OF GREAT IMPORTANCE WHICH MAY BE SUNG OR PLAYED—AS DESIRED Private and class teachers—both will welcome this book. ALL THE UNDERLYING PRINCIPLES ARE FULLY DESCRIBED AND PROFUSELY ILLUSTRATED— Special introductory price—cash with order—.57c postpaid. HOW TO ORDER Your local dealer will supply these books at the special introduc- tory cash with order price—if you will mention this advertise- ment. You may order direct from us if you prefer. This special cash with order offer expires October Ist, 1924. THE JOHN CHURCH COMPANY CINCINNATI NEW YORK 109-111 W. 4th Street 318-320 W. 46th Street Please mention THE ETUDE when addressing our advertisers, THE ETUDE JUNIOR ETUDE—Continued Junior Etude Contest Tue Junior Erupe will award three pretty prizes each month for the best and neatest original essay or story and answers to puzzles. ’ Subject for essay or story this month “The Value of Musical Puzzles.” Must contain not over one hundred and fifty words. Any boy or girl under 15 years of age may compete whether a subscriber or not. All contributions must be received at the Junior Erupe Office, 1712 Chestnut St., Philadelphia, before Sept. 20. Names of prize winners and their contributions will be published in the December issue. Put your name and age on upper left corner of paper, and address on upper right corner of paper. If your contribu- tion takes more than one sheet of paper do this on each shect. Do not put puzzles and essays on the same sheet. Do not use typewriters. Competitors who do not comply with ALL of the above conditions will not be considered. Contests are resumed this month, after Summer vacation. Puzzle Corner WHO AM I? Lucretia Laurence SHEFFIELD (Each “I” or “me” is a term found in : music.) I'm used by the fisherman ; And I'm the fish he catches. I'm an army officer, s And I unlock the latches. I flow adown the valley, My mistress sews with me; I grow in the garden, I’m the nicest way to he, tm a broad and level pl T dig the coal you burn. I'm a common piece of soap. I'm what the tired folks carn. ain. I'm wound around your I'm the knot that’s made. Tam a real unkind remark, I’m found where pe packages. ‘ople trade. T make 4 sum three times it's size: Ona Kitten me you'll find. Tam a little letter While I'm the name that’s signed. Dear Junior Erupe: I want to write and tell how much T enjoy you. About a year ago we organized a school orchestra and have engaged an instruetor to train us. I am the pianist in the orchestra and we have good times together playing in public, There are about twenty in it. I have Jearned a good deal out of THE Ervuppe and my teacher gives me some pieces out of it. From your friend, GLEA BEISTEL, (Age 13), Pennsylvania. Dear Junior Ervy We certainly enjoy THe Ervpp and look forward each month to the new issue. I would like an explanation of the Com- posers Square Puzzle in the March number. The instructions were “Start any place in the square and move in any direction, skip no letter and do not move diagonally.” Now the names of some of the composers cannot be spelled without moving diagonally. From your friend, Byptyn Laver, Penna. N. B.—Evelyn seems to be the only one out of the many who sent in answers to the March puzzle who noticed this discrepancy in the directions. As the directions say “mo in any direction and do not move diagonally they certainly contain a contradiction. This was an oversight and a mistake, as “move in any direction” “and. everybody evidently moved in i ion in working out the puzzle. Dear Jexior Brur : ee I have not been taking Tue Ervupp very Jong. but enjoy it very much, particu § the Violinists’ Hrupn, as T play the violin, My brother plays the ‘cello and my sister the piano. I think this month's puzzle was par- ticularly good. ; From your friend, RACHEL SLAYTON, New Ilampshire, Dear Jusior Ervpe: Your page yery good and it helps me fo do better. T study music with my mother, who is 2 teacher; and T study dancing, too, My brother and 1 danced at my mothe: f pupils’ recital. My brother plays the phone in an orchestra. From your friend. HWeLen Srarnur (Age 10), Ohio. Dear Juxiton Brupe = . Recently we had tv wusic memory econtogt in which all the schools of the county took part. Two pupils from each school were so lected to go to the fina My brother and 1 were selected from our school and we tied for the banner with another school whose representatives were brothers. Twenty-four schools took part. From your friend, Reuru Wave, California, Drar Try 6 lessons Sees an i musi teacher. Wy eqme day to play Vike. my we have pictures jpa¥e & Music studio where ©US composers on the a musical library with pyereat musicians { 'Y pupils, ever seu music anges fey aver » We meet 2 to thirteen, j the Bach cy and our our flowe dren may Indiana. eleven d HE Rr old, ane U vet, I use T want £0 tel it for nee While my mamma is Just a toy YOU of re club. op etiy, Studio there Le $ leacher's, is going to tayund after a on the ‘yw: put great hi he wall of, ¢ thoven on cture, of six of the and we «ya Mondelegoy, Schubert, — Bee: our club Pretend’ ey Ssohn and = Taydn— Once a Marth, Mat makegheS are members ef _ Nth we in, o From your leo frien Marinty ‘A ANDERSON, % Miss. Died, Venice, 1883 Drama the world hig hens Well as the muy Dern cy SS known works at Brn eR araifal” and
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SEPTEMBER 1924 Page 655 THE ETUDE EARN A DIPLOMA : (0) . eacher’s Certificate A Recognized School Do you realize that there are hundreds of openings for trained musicians and with the vigorous movement for developing Public School Music the demand for organizers ic es Jeaders is beyond the supply of qualified musicians? Everywhere there is 2 deena for Ane, teachers. You can fit yourself for a good paying position without the expense of leaving wae yo have a music class you can continue teaching at the same time you study WE BRING THE CONSERVATORY TO YOU You Study with the best Teachers in the Country Special Certificates Awarded Our Graduates to Teach in the Public Schools without Examination Mr. George Clarke, of Wilson, Okla., writes: “Thank you for prompt delivery of Di- plomas. They have been recognized by the State University and a life certificate issued me. Through them I have secured a posi- tion with an increase in salary of $50.00 a month.” Another graduate writes: “T have just been selected as director of the voice department in a Music College as a re- sult of my lessons with you.” From another one we learn: “T was elected assistant supervisor of the grades and junior high.” One studying in New York City states: “T seceived full two-years’ credit for my work with you.” A teacher who has had four courses with us writes: “The instruction in your Extension Courses is the best possible for one to obtain. The person who knows and can use his kno well and just a little better. usually method by which he received his infor with a book by an*open fire-place, or dv the written direction of a teacher at third year in charge of the Music Dep I have nothing but praise for your courses, timable value to me in my work.” University Extension Conservatory LANGLEY AVENUE and 4ist STREET DEPT, B-90 wedge to enable him to do as id—regardless of the whether in college or iring his spare moments under housand miles away. This is my gets ahez mation Study in Your Own Home with the Best Teachers in the Country No longer is it ss necessary for the ambitious i i 5 : ‘ 1s musi § 3 i dovatade atiehuempanciracetieitenecrien i cal student to incur the expense of leaving home mietitore ararereettiin te Homme Be a By oe University Extension System the masters’ The Piano stud Deas iderstood lessons sent by mail. hiv doped antes ae Ry ee teacher Sherwood to demonstrate just how he secured af ecto ie 2a ie ornetist studies with the master Weldon; Crampton trains the voice fiodon eee cas Bill hier te to interpret the soul of music on the Violin; Rosenbecker and Pro- tatge ee eNean Gh Chorat’ Gat ke phase of the study of Harmony; Protheroe gives his author- Danie Seieaiitaces Sedat 7. cae Frances E. Clark gives the most practical methods in dallatee aaa William Foden aoe acon, the great banjoist ; Samuel Siegel, world-renowned man- The Eistary. (Course eae een guitarist, give their methods for mastering these instruments. Advanced Composition by Herbert a es and Appreciation of Music by Glenn Dillard Gunn, and fa Hae Tiatiinevand! Sigil neue in ps are the most advanced courses we offer. The course = bd = ts + o€ i - ey * & LY . . 1 cae tnleer eats ging by tiven, Director of Music at the University of Illinois, More than 200,000 ambitious of masic by the Gaia peuiae We have gained proficiency in these various branches piven to then d. And to you we offer the same advantages which were This Is Your Opportunity—Mail the Coupon TODAY! Fill in the cov om i gee fl Rae ea sage eee oy four lessons and our late catalog. We will give ans ea rs and stu a Par iealle ae By Peas of the courses. Get the catalog and ee a the offer calls for samples from one UNIVERSITY EXTENSION CONSERVATORY, Dept. B-90 Langley Avenue and 41st Street, Chicago, Illinois Please send me catalog, four sample lessons and full inf i eeaeete ; H s ormat regarding course I have marked with an X below. _ artment in the Normal School. -|Piano, Course for Studen ioli i ts DV! i i which have been of ines- [ JPiano, Normal Training A Mion iotin Hvaiee of DEN Cornet, Amateur Banj CJ al u _|Banjo | |Harmon Higomniets Brofessional (Organ (Reed) [J]Choral Condustin ar Training and Sight Singing ~JAdvanced Composition Name Pe re SY Tee \ I i \ i \ \ i) t ' \ \ C. . ourse for Teachers C)Guitar (Public School Music 1 i) I 1 ! | I 1 Street No. ee uw ! CHICAGO, ILL. | _“ ———— State. we Please mention THE ETUDE when addressing our advertisers,
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Page G56 SHPTEMBER 1924 A DEPARTMENT OF INFORMATION REGARDING New Music Works AND OTHER MATTERS OF INTEREST The Fall Bargain Offers of the Theo. Presser Co. On other pages of this issue consider- able space has heen given to the presenta- tion of final introductory offers on recent publications. These are genuine bargains, the profession having an opportunty to purchase works at quite a saving from regular prices. A careful perusal of each and every item‘ in the offer will repay anyone using music publications at anytime. The main pur- pose in sacrificing the fair profit regularly necessary in the sale of these works is to gain a wide acquaintance for them, vir- tually advertising them upon their own merits solely. All works offered as FINAL INTRO- DUCTORY OFFERS are ready for im- mediate delivery, those offered as AD- VANCE OF PUBLICATION OFFERS are in preparation and as soon as ready will be delivered to those who have sent in orders in advance of publication. Don’t neglect looking over these offers hefore the special low prices are with- drawn. Mail Order Buying a Boon to Music Teachers A tremendous portion of all the business of this country is conducted through the mails, and a great majority of the music teachers of the country secure their teach- ing material by mail orders. The mails have made it possible for teachers in all parts of the world to have ac to the most complete collection of music publications; to have the advice and suggestions of experts upon teaching mate- rial; to secure desired publications with a minimum expenditure of time; to enjoy the privilege of examining new publications right in the studio; to have a stock of music in the studio all season (paying only for that used), and to have a convenient charge account upon music supplies. The Theo. Presser Co. has originated and perfected the conveniences and econo- mies of mail order service to music buyers, and for forty years has been serving through the mail thousands of patrons in practically every village and town in the United States where there is a music teacher. Eyery member of our organization is instilled with the idea of rendering prompt, accurate and courteous attention to each and every transaction, and the policy of the company is to give the teacher every advantage in prices and every possible lib- erality in service. Teachers everywhere are invited to test our methods. Open a pleasant and profit- able business relationship by sending now for teacher's catalogs, details of “On Sale” plan, ete. These will prove helpful to any teacher. The Value of New Music on Sale to the Profession While this is being written we are send- ing to many far-sighted teachers packages of New Music on Sale. Some of this material will be utilized for summer classes, but there are many teachers mak- ing a choice out of these new music ship- ments of material for use in teaching during the 1924-25 season. Teachers who as yet have not given attention to teaching material for the teaching season about to open will find it a great help to secure a package of material for examination. This the Theo. Presser Co, will he glad to send upon TO MUSIC BUYERS receipt of advice as to the kind of mate- rial desired, the number of pupils to be cared for, and whether ea intermediate or advanced pieces or stu are wanted. Such service may be requested by teachers at any time. Another help to teachers is the regular delivery of pack- ages of new music during the teaching season. Packages of new piano music, for instance, are made up each month and sent according to our “On Sale” plan. Such music may be kept on hand by the teacher all season, returns being made at the close of the regular teaching season in June. If you want further details upon the New Music on Sale packages these will he sent to you cheerfully, The first pack- age will go out in Oatober and we already cheduling progressive teachers’ orders these packages during the 1924-25 season. We would like to have the opportunity of proving to you that this is a valuable service to teachers, and we would be glad to place your name for packages of new music in any of the following classifica- tions: Piano, Vocal (Sacred and Secular), Pipe Organ, Violin and Piano, and Oc- tavo Music (Sacred or Secular for Mixed, Men’s and Women’s Voices). Advance Offer of a Master Sacred Song On October first a sacred song that sur- passes any sacred offering we have seen in recent years will be placed on the market by the Theo. Presser Co. The title of this sacred song is “Eternal Light” (Lua Eterna), by A. Buzzi-Peccia, com- poser of “Gloria,” a song offering similar to Stephen Adams’ “Holy City.” During the month of Septeinber singers and voice teachers have an excellent oppor- tunity to make sure of a first copy of this splendid song. Orders will be taken in advance of publication, delivery to be made October first. There is always a pleasure in being among the first to use a number that is destined to become a great favorite and a “standby” of leading vocalists for many years. “Bternal Light” opens with a full, rich instrumental introduction of but a few measures leading to a short recitative that is effective and singable; then the voice awaits the instrument, going into A flat major and leading into C minor. The whole atmosphere of the accompani- ment and vocal part is true to the import of the text, and when the song returns to G major, the key in which the opening chords are struck, there is a strain of beautiful melody that gives the singer opportunity for full, rich and expressive singing that makes this an unusually satis- fying supplication in song. There is plenty of opportunity for the singer to gain the appreciation of listeners in the inter- pretation and contrasting presentation of different phrases, and this is a point that will recommend it highly to voice teachers. Throughout the accompaniment is most suitable for the organ. ‘The vocal work lends itself to practically all voices. The range of the high key is from C to F (optional G). The low key range is B flat to ff flat. In registering your order in advance of publication for this song, remit 25 cents net, postpaid, for each copy desired. It is safe to predict that when you receive the copy ordered that you will feel satis- fied the foregoing deseription is a meagre presentation of the exceptional merits of the song. Moving Picture Organists and The Etude The music in Tur Evune and the pub- lications of the Theodore Presser Company may be playéd until further notice in moving picture houses and elsewhere with- out special permit. This also applies to radio broadcasting. Hundreds of moving picture organists find Tue Erupr invaluable in their work. Here is a specimen letter just received from an organist: “Have taken Tue Ervupe since 1900 and have saved all my numbers. I find Tux Ervupe very helpful for my programs. In fact, I was playing at the Le Claire Theatre this spring and my entire pro- gram for: the picture “The Rendezvous’ was taken from Ture Evupe.” When one considers the fact that the many interesting articles in Tim Erupr keep the profession informed upon vital musical subjects and that the twenty-four- page music supplement in each issue fur- nishes so much music that theater pianists and organists can utilize it, it can be real- ized readily that there is no better $2.00 investment for anyone in this field than a year’s subscription to Tur Erune. September Low Price Magazine Offer Note our advertisement on the inside back cover showing splendid combinations of high-class magazines with Tux Erupe. These prices are exceptionally low and will advance about the end of October. Here your opportunity to stock up on your reading matter at a substantial saving in money. We do not guarantee these prices longer than sixty days before the advance takes place, Flower Lovers, Attention! For fall planting we have been fortunate in securing the following two groups of plants. Three grand Peonies; red, pink, white. The Peony is truly a noble flower, rivaling the rose in brilliancy of color and perfec- tion of bloom, while greatly surpassing it in size and stately grandeur. They are the easiest plants to cultivate, of most vigorous habit, and free from disease and insects. The foilage is rich, glossy and ornamental even when plants are not in bloom, but they make a grand show when in flower and are gaining in popularity every year. Plant the roots any time be- fore the ground freezes, and if put in this fall should bloom next spring. _ Peonies are hearty and may be left undisturbed for a number of years. One root your selection for only one new subscription; all three for three suh- scriptions, postpaid. Tris; blue, purple, white, yellow, pink. This is the improved Iris, gorgeous in effect and wonderful in color. Tt is well entitled to the name of the “orchid of the hearty garden.” Tris is adapted to almost any condition in climate and it is a magnificent, hearty coronal. We have made arrangement with a reliable and well-known specialist to supply our sub- scribers with blooming size roots for fall planting. Two roots for only two new subscriptions. The entire collection of six for three new subscriptions. Postpaid. Swindlers Daily receipt of complaints from dif- ferent sections of the country make it necessary for us to again warn everyone against placing subscriptions for Erupr with strangers. Try and give your order to our local representative. Tt is safest. Tf you prefer sending your subscription direct, do not send currency unless it is registered. The best way to remit is by personal check or United States Post Office Money Order. Change of Address Subscribers returning from their sum- mer vacations will help us materially in requesting change of address by giving us both old and new address. Our ‘files are arranged geographically, and unless we h hoth addresses the name cannot be located on our I THE ETUDE Attractive Rewards for Premium Workers Webster's Dictionary A : splendid Webster’s new, modern English Dictionary, bound in seal grain leatherette, flexible back. This dictionary is profusely illustrated and is one of the most desirable volumes which we have ever been fortunate enough to offer to our friends. Two new subscriptions will bring the dictionary. Gold-Plated Pencil Be inh ee gs Bcd the music teacher or scription. an attractive gifts one new sub- Shears An eight-inch fine steel; only Fountain Pen For ladies 5 S or gent] choice. Pe spring tension Shears of one new subscription. AY 5 Indicate your A splendid self-filler of standard FE h reasonable care our new subscriptions. make which will last wi for years. sais Professional Directory CARL. VIOLIN Ly: ‘ l <p VIOLIN INSTRUCTION ALBER 139 West 97th Bure ee ee York City Telephone 1620 Riverside B concer ee EECHWOOD Pea 7 intown, Pa., suburb of Phila: CO M B S ie Seuneneery atory of Musle 827-21 5, eon Ste el Gp D ben nd \dy for U NN | N G Deginners, Gaproved Music Stadt ‘stre Louise Dunning, 8 W. 40th, NS G U | C ARTHUR de—sINGING, y (trom RuaeNGING, MUSICOLOGISY, LECTURER, zo ,, ,FFofersional Excellent » #2 Huntington Ave., Boston; 2a H AWTH 0 RB Plano School Leachetizky Method, M Potadam, N+ 0 U LTO ze: SeietgPlane Anstructo® NE S08 atst sty Bualadelohle School of M Je and Arts NEW 0 R K Rate: Lecen Btecnant Diecto? ¥, delves! ue Rl ESB R G arora 980 Instruction base! oe ‘ANO Schagwensl instruction by Relneks, N.¥. School ot Music 824 Murray Hill, N, ¥. 0. T R ENTON: MOSERV ATORY oF MUSIC 540 F, gieittition with a strong facull7* VE ON cuaRte; - State Street, Trenton, Neds 8 Musteat Pyegz0"€sPondence Instructiom Tuition for en @#erpoine gun Larmoni Hinds nayae tere sack eae aint and Musteay peeeY Wi Plan Teo heol and Conservatory est T2nd Bey New York GIL = 35 Sone 510 LOOL oF Weat Eng Qe Musre, ew Yor! ————— AM E WESTERN Con: R | CAN tiane VATORY 70 Instructor mene Holee, Organ, Violin, ete. 0 ndergar Prim! orgarten and p. a CHI CA ~———_ Detroit, ation, Mustoa, og oc Bohoce! College, ding Bites co, sus sa oh. "Avg ay, Theory, P. 8. ‘Br. 030% » Chicago, ae 00 See) a agg AEORY OF MUBIO HAMILTOW se ANNA Jisnnn Ae Comp ttEUE N, author achers, a eetons in reattosition foe Seo eee a Pecialty, nd Cees Rives practical COs Aux Agge, Bvsition, Coaching 3" KN X Conservator issourl. ‘¥ of Catalog ¢_, Gale; TOMLI oe ees Rae ay leet NSON an cn Pupil of Lesobetls i. mn Asse mie or Papita’ Lesson ASHE Nout Aud Record Book. Tee ania 800 PAM Training Classes WESTERN See Anformaty lon and of roular, OF muUSsIO all, Director ad Bt, Denver, [0let® SOUTH : CONVERee eee NVERSE COLLEGE Race Spartan! yn! Ove TUDE won aaaressi™
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NOW! SEPTEMBER! ,,,2°25%.., SAVE MONEY! Immediate Club Orders CUT Your Annual Magazine Bills FROM 10% TO 40% BRIGHTEN YOUR FAMILY READING CIRCLE WITH ONE OF THESE GROUPS ETUDE MUSIC ETUDE MUSIC ETUDE MUSIC meee NE 0) Rant GEEINE sot 200°) perce URGRPINE re EADY | Ror of the world. for M c I's for ¢ for American Magazine....$2.50/° All 9 elt Ee eae $1.00 All Modern Priscilla ...... $2.00 All Beautiful and engraved needle work, fiction and economical hints on housekeeping. Christian Herald....... The world’s best fiction gives you new slants on yourself, your family and your job. 5 2 5 5 Pictorial Review........ magazine; sparkling fiction, supremacy in fashions with suet velously priatel seniors, 50 ° Youth’s Companion....$2.50 America’s greatest magazine Fifi eres fee cee eee Fieopo ies frend and SAVE ee eae wives and mothers. 75c. family weekly. $1.00 es Total Value....... a Total Value...... $5.50 Total Value...... $6.00 ETUDE MUSIC MAGAZIN -$2.00 Both ETUDE MUSIC MAGAZINE..............000005 $2.00 Both Pictorial Review ....... 1.50, $2.75 Modern Priscilla £2 $3.25 Regular price... ...1-10 sss. $3.50) Save 75e Resular price: sisccxctssastaest enannveumnrssaees $4.00) Save 75¢ ETUDE MUSIC MAGAZINE ...................+: $2.00 Both ETUDE MUSIC MAGAZINE...............005 $2.00 Both Youth’s Companion ...........:::eseee erences 2.50 $3.75 McCall’ sete eal ie $2.25 Regular price .......:..-:eceee $4.50) Save 75c¢ * Resular price .. $3. Save 75c ETUDE MUSIC MAGAZINE ......... .--------++ $2.00 Both ETUDE MUSIC MAGAZINE $2.00 Both Christian Herald (52 issues)........-..---:+10+ 2.00. $3.95 Pathfinder ......... $2.35 Regular price .......--..::ecet $4.00) Save 75c Regular price ....ccscscscesseus seuss os Save 65c ETUDE MUSIC MAGAZINE...........:--:200+ $2.00 Both ETUDE MUSIC MAGAZINE ...$2.00 Both Success (the human interest magazine)... + 2.50 $3.25 American Magazine .. sor 2.505 $4.10 Regular price.......---.: $4.50 Save $1.25 Regular: price. c.cisccassaecocsesnsiteuesrent ees Save 40c ETUDE MUSIC MAGAZINE +++ $2. Both ETUDE MUSIC MAGAZINE 1 $2. Both Today’s Housewife..........-:ss secre 1.00 $2.25 People’s Home Journal ................. sseesee $2.40 Regular price......-...-+:1:e Save 75c Regular price ......cccccccssesccsee ceeeeseeeees $3.25) Save 80c ETUDE MUSIC MAGAZINE : Both ETUDE MUSIC MAGAZINE aesdes Both Designer ........0cessscceeeeeesseeeesernreterss cones 1.505 $3.00 Delineator evctasst siete. tees ootese acdidectnesanees sv 2.005 $3.50 Regular price... Save 50c Regular price ............cccc000eessesssses sose-$4,00) Save 50c MAGAZINE .. : Both ETUDE MUSIC MAGAZINE ...... .. $2.00 Both BrUbE Meee Companion......------::0 Lai $3.10 Sunset (the great Pacific Monthly)............ at $3.50 Regular price ..........1c $3.50) Save 40c Regular price .............ccceeeeeeeeeenteeeteees $4.50) Save $1.00 Teak gsgycsst ant 4 Both ETUDE MUSIC MAGAZINE....................5. $2.00 Both ETUDE MUSIC MAGN re eacaecs 200 $3.35 Collier’s (52 issues) The National Weekly ... 2.00 $3.25 $4.00 Save 65c Reeular price: sessccsneteccegcestesesn wien. ss $4.00) Save 75¢ Regular price .........::::00 An Extraordinary Combination! ETUDE MUSIC MAGAZINE .. .. . $2.00 PICTORIAL REVIEW ..-- +--+ + 1.50 ALL —A Fiction-Fashion Magazine for PAGEL Smart Women:and Smart Dressers . . 1.00 $ 3:50 Regular Price $4.50 Above Prices do not Include Canadian nor Foreign Postage For Everyone Interested in Music Musiane, Ateciten ETUDE MUSIC ty th als Tale subsctiptions fax) Price $2.00 a Year FOR THEO. PRESSER CO., PUBLISHERS, 1710-12-14 Chestnut ena Philadelphia Write to us for prices on any magazines not listed. ETUDE and add to your income. Send postcard for particulars.
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TEACH THE INSTRUMENT EVERYONE WANTS TO PLAY if Bese modern Saxophone is the most popular instrument in America today. Thousands of beginners—boysand girls— young men and women—arebuyinginstru- ments and learning to play. They are teach- ing themselves, because there are few teachers. But this great class of beginners can go only so far with home study and printed lessons. The faster they advance, the more they see the need of personal instruction. Hundreds of others, musically inclined, would eagerly take up this easy instrument but for want ofa teacher. In every town—in your town —the Saxophone teacher is in demand. If you teach music—or if you are a success- ful musician—thisis your opportunity. With your fundamental knowledge you canmaster the Saxophone in a few weeks. You'll find it the easiest instrument you ever tried to learn, Even kids, who have never played any instrument, learn scales in an hour and play tunes in a week, Think what you can do with an easy instrument like this. It won’t take you any time. It’s So Easy to Teach And it is just as easy to teach, because it is so easy tolearn. You get such quick results You can soon make a reputation for your- self as a Saxophone teacher and you'll enjoy it. Itneedn’t interfere at all with your regu- lar work. In Los Angeles, Kathryne E. Thompson,now Director of the Southern California Saxo- phone Band, has become nationally known through her skill in teaching the Buescher Saxophone, particularly to boys and girls. She is one of many who started from your position. You, too, can succeed as a Saxo- phone teacher, if you will only make thestart. * * * Say “I'll do it Today’’—There’s no obligation in asking for more information. If you don’t want to clip the coupon, just write a postal. We want to tell you all about this opportunity to greatly increase your income by teaching the Saxophone. We'll tell you just how to start and send you free a copy of our book, “The Story of the Saxophone,” illustrating the first easy lesson. Do this today. Remember there’s no obli- gation. And you want to know all the facts. BUESCHER BAND INSTRUMENT Co. Everything in Band and Orchestra Instruments 167 Buescher Block, Elkhart, Ind. Town