The Etude: Presser's Musical Magazine (October, 1924)

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pec +p, ry me dese. 2% : TM i iii TT) The Greatest Collection of Piano Music in the WorPrld! MASTERPIECES OF PIANO MUSIC This book is established beyond question as the most important collection of piano music in the world for teacher, student or amateur music lover. It comprises 536 pages of the best classical, modern, light, sacred and operatic piano music, containing 218 compositions by the greatest masters. Recently purchased for $10,000 hy. the Mumil Publishing Co., and republished on splendid paper with durable and attractive paper and cloth bindings, it not only appeals to the musical desires of everyone, but it is officially used in musical memory contests all through the U.S. as the most authoritative collection of piano music in the world. Be Sure to Read This Complete Contents of 218 Musical Masterpieces TTETETETwTiI0«*t iit lin: ATTA 1 Classic Compositions Medern Compositions—Cont’d { Modern Compositions—Cont’d Light Compositions—Cont’d Adagio “Moonlight Sonata”. Beethoven | Crescendo ............-.--e eee Lissoe + perenne | kas Corsa woe eeess Pierné | Secret, Le ....... Daas eee Gautier fe CAP LE Oo A OT Sat ea Vouferoff | Serenata «1... see cesses, Moszkowski | Simple Aveu ................. Thomé ES oi. Peeps ee ees FiWmnel.+ Ba errant... ee Commer pamouette OD: Gweini ees’ es Dvérak | Song of the Robin........... Warren ¢ chutt : Andante €Oried) Panish_Dance .......... Mosskowski | Sylphes, Les ..........+... Bachmann MRE ee eS re eo Kjerulf | Flow’ret, The ............ MacDowell | 2Pring Dance ...........++.. .++Grieg | Thine Own .............0.005, Lange Siamebimet ro ete Rk il ae DMR PR ae 8 ee fags wan, The roi ee eG Sasnt-Saéns.|:Tutkish’ Patrol... . ss sies os Michaelis = ns so Gt ee eee aCe ere Handel | Humoreske Op. 101, No. 7..... Dvérdék | Toreador et Andalouse..... Rubinstein | Under the Leaves ............ Thomeé = = Caorice, (Alceste) 6.4.6... 56 4 saa Gluck | Humoreske Op. 10 ..... Tschaikowsky | Tratimerei Op. 9........... R.. Strauss |. Valse Blette*.., .. 5. sen seed Margis [= = Confidence ............-. Mendelssohn | Hungarian Dance ............ Brahms | Valse Gracieuse Op. 54........ Dvorak | Warblings at Eve ........... Richards = = EC GOOIEIGET INOS. Oss wiieie ed dees o> Paget} a0 AME WO0d vi. ke ee ce Poldinet V llanesca’ so. oss i iy eakin Granados | Waves of the Ocean ........... Blake = = Consolation i+... Mendelssohn Fnpaie Vg boa ee Boks = = Evening Song Op. 23...Schumann ake = = Pie Bese es foes Beethoven Sacred Compositions = = Scartee et. Sucka a Ran? Gossec ae eae ee ena Vilbac = = eee ee Te asa ay aS NACE: Lully AMIE os. s As veo es Pierné = = Giesy Rane kis os ao Haydn Andante Religioso ........ Thomé -—& =|. Gondola, La ............ Henselt Feng merenade (see's Ps ihc = os Happy Farmer, The... .Schumann bikalt + 30 tea a ee ounod |= = SARS Oa eae ay beh ay SZ ) Ave Maria .. vette sees Schubert = ae SO aes ane gereae J. S. Bach i | MASTERPIECES But the Lord is Mindful = = Love: Dives, Ao Soc3. 656 68k. Lisst digs Mendelssohn = = Love Song.,........0...-- Henselt ar Me OF Cujus *Aftimam ©... .is ose. Rossini = = Marche Militaire ....... Schubert i a PIANO MUSIC Dead March (Saul)’ ...... Handel E£= = Mazurka Op. 7, No. 1..... Chopin |; d aaa — Purteral March: si. cj ss Chopin == Ee ouch in Aeacalea a a el ye: Ma Bs ES Glory of God, The.....Beethoven |= gee. > me nuetin Gs of... ee as thov Re: iS Daly See = ey Boccherini : a 3 Hallelujah Chorus ....... Handel |e = Thee awe anaiee Chopin 6] THE WORLDS LARGEST COLLECTION bie ! Heavens Are Telling ...... Haydn = = Moment Musical Op. 94..Schubert IG] OF STANDARD PIANO MUSIC, CONTAINING Inflammatus ........+-.-, Rossini = = Nocturne Op. 9, No. 2..... Chopin || Eee] MORE THAN TWOHUNDRED CLASSIC. #8 | oe ON PRIANOE 4 co vane pie eae Hebrew .. |= = Nocturne Op. 55, No. 1....Chopin Bega) MODERN.OPERATIC AND SACRED COMP" SITIONS i i 7. aero: { Kerxes) of. ov cK Handel = a= Nocturne in. D Plat: ....... Field 4) a ES Last pope, hae. i.5's.% Gottschalk = = Prelude in C ......... J. S. Bach Last Dream of Virgin...Massenet = = Prelude Op. 28, No. 4..... Chopin Lost! Chord, The .% oe Sullivan = = + ea oe an i ot -. hee Monastery Bells ........:.. W ely = = -hs oon yshcpees. te tect aeiiaaradat i te Lael tad Palms tie |v. ocagiue veo Fauré = = Remembrance ......... Schumann : | Pilgrim’s Song of Hope...Batiste [E = Rondo Espressivo ..... P. E. Bach Paper Edition $2.00 Cloth Edition $2.50 Pleyel’s' Hymn ....... Westbrook. = = SS ee a Handel | , Prayer ....++eeeee eset Beethoven |= = Serenade PPE gl aS baa edie) Seve Haydn Shepherd Boy, The is ok Coe Wilson = = OEE GE tan eae ire Schubert | Mazurka Op. 54............... Godard |: Waltz ‘Op; 83.3°45...05 65 seuss Durand ‘ eas = = “emu aone ee eeeeeens EF sap scien acaba OR AEs 65 Meyer-Helmund | Waltzes Op. 39 (Selected) ....Brahms Operatic Compositions = = Oning aoone 62... 5% Tendelssohi Brareee: CD. 20 k oe Saint-Saéns ‘. ai = = Spring” SOUR). 6 ice can Mendelssohn | Melodie .:/.............645- Massenet Light Compositions hy os lamer a yok Bike goa 5 ici ler, = = POMOOUTIN, “LE sia he Rameau | Melody Op, 18 .......... Mosskowskt | Ajp Litats .3i3 Circhn . = = CUR ocak oP We reae eG eleads Heller | Melody in F,.............. Rubinstein | Aj ”M id's. Dette re ppitiee, J PT ERTOHE: hes yet oat Tales of sotaiag = Base t ; . p-Maid’s Dream .......... Labitsky | Bridal March “ey Lohengrin = = emme- On. Bano: 56°. oes ees Scarlatti | Minuet VAntique ......... Paderewshk1 ee , : map men ett Cte. Sp) ees - == = 2a Gn Oana ae Schumann | Moment Musical ...... Pu Sendewoenttt | SEM Many Ae PE OPGR CaS 2 Benes Ceecns an Me tel ae Le Pr hate = = Unfinished: Symphony ....... Sihuher hebattt COO 00s cob TNS cat's Poldini Canzonetta DED .d esse wats De Hollaender Rate Cr ak He vache + To Gioes en = = f i: urmuring Zephyrs ...... ...Jensen | Chinese Serenade .......0.200.: Heder a ee salts snail = = War March “Athalie’ ...Mendelssohn . ea sie Lin ciety SSO yi6s v5 o's wc ctuns La Traviata = => Weddi PRS Mendelssoh PPC AR iy ibs os wees ssn bes Borodin | Cinquantine, La ........ Gabriel-Marie = = wed ling > aa 5 Saadeh Worweelaw Dante (200 oe. Grieg | Com Amore... i19:f 5. 4 paces Beaumont ee A Ree Rosamunde = = Bee rape aie atre Wie canary ® He 98° 2 0 Ot SPER SOONERS base's sg Gps ote _»¢Hatser | Evening Star ............ Tannhauser = = ty REE Se EES he Geely Cag a : ° — = Modern ecmadillens id TAaachices ee Nee Four Cet EB ee peat a Ganne ony te CaF SB eae tek ee OM, EC UIN CRN ey eh = = Petite Valse’Op..10......... Karganoff | Dying Poet, The .......... Gottschalk | Gtand March ......6-....-..+-04 ida = AAa Bien Aimee 2.2.6.5... 7. Schitt'|;Polish Dance’ Op. 3..:.X. Scharwenka | Entr’acte Gavotte ......... Gillet Grand March ........ ded diiet etn Norma = = POSS ES ae a eee ae Nemerowsky | Poupée Valsante ..:.... pane Pld Ganka ee Mesdutia Grann” March ¢ 2) ¢: 5.0 Tannhauser = = Angelus PRU Fao Ley ci ates, Massenet | Prelude C£ Minor....... Rachmaninoff Se Me hres, , Flabanera ve. eedens e aces ol Carmen ee = reer S PIGNCE. ws oa ee ties Pres de <1 aus: ooo i. hs Blumenfeld Fifth Nocturne .............. Leybach | trtermezzo ...... Cavalleria Rusticana = = PXTADESKE «vine viv see's oe ves Rr Maven eke ek oo Debussy damebe Ia pnd are neat Gai Boi Minuet .......-. witless ee ees Don Juan [2 = reise age Sy op knee Ma esl: POE VEEIO CIO OF. phils eis od a odio Schiitt Gaus Nich Sok ae Sets See Miserere iy. g.28) eee Il. Trovatore |= = ee Heit aye une Ctr he Re © Godard pats (Gipsy Suite) ...... eh famed oe pets a cata need ithe Loeschhorn | My Heart at Thy Sweet Voice.Samson [= = : ie rae ey a Ff EN Se RL BN ig ensew | SNteErMeZZO TRUSSE ss va ks os ce ete Franke ‘ = = OR ge A Si Be ca Delbruck i Romatice ) is. sea. Rachmaninoff Joyous Life Spindler esha Scat KG ag Poet and Pasa: =2 = Berceuse (Jocélyn) .......... @atara | Romance Op, (226 0: 2 in ceaiad Raff tain Uae aR (Strid) Ming py a th osetia ea oy hs eee ies —hivben = = PeerCGeee ee Pe ee Schytté:|.Romance Op. 44............ Rubinstein Foie ou Bal .... ss eee eee ee tes rs Gillet Sa a Re Re 7. Hanset aG shir = = Ren ey PS Tac pomance: Op. 5... ..... ['schaikowsky pred ye NOs (eed are Sees id oe Roni in a ee = = ry eS, Oa a a ee oe Cuz | Romance Sans Paroles ......... Rowe Py Oe PROMG 5 tae Jungmann | Quartet. .. ae. Je ae en gees Rigoletto = = Eonianeest oie th: gta ieee eee Ot OPTING 3 cas ay. Sa Se ee eT TEENS ees Catbulka | Selected Melodies . ... . William Tell [= = 5 HC TRS, ee Tschaikowsky tl A ie ss et Bilger Maiden’s Prayer Hennes Badarcvesska | Sextetté ©... oe Oe av Soe Lucia = = Chant Sans Paroles..... Peinarowsry | cart. Dance. .:. ova... Chaminade | One Heart, One Mind......... Strauss | Siciliana .....-... Cavalleria Rusticana = = Pensnieite oa Fey ce: Leschetizgky | Scotch: Poem .............1 MacDowell | Paloma, La ....3:00.24% eee Yradier | Valse Lente ................. Coppelia = = Cee Oe a Pe ae eae « Ilyinsky | Serenade ..... Bp sia ghee” ee Olsen.) Pure. as: Snow 2. hc.0e ee Be E | SAAT iss Mas OCT: Ph wes Woe Oe Faust = = | For Sale at all Modern Music Shops throughout the United States (Not Sold in Canada) = = CLOTH BOUND $2.50 ———__—— or sent postpaid on receipt of price by ——____——- PAPER BOUND $2.00 [|= Tl nn Ht | i = RA | il TH EF. MUMIL PUB. CO © 207-217 West 25th St., New York City §@ Send for free illustrated catalogue of books for piano, violin, voice, saxophone, ukulele, etc. “@a TT min AHHH KoA cca =a

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SUBSCRIPTION PRICE, $2.00 per year in the United States and Possessions, Argentine, 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- gier) Peru and Uruguay. In Canada, $2.25 per year. All other countries, $2.72 per year. Single copy, Price 25 cents. REMITTANCES should be made by post-office or ex- he money orders, bank check ot draft, or registered letter. nited 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 readers 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. Felix Weingartner recently conducted a performance of “Die Meistersinger” at the Charlottenburg Opernhaus (Berlin), his first A Harp 38,700 Years Old has been dis- covered near the Euphrates. oldest known to be in existence and has been PRESSER’S MUSICAL MAGAZINE RENEWAL.—No receipt is sent for renewals. On 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. . Liberal Premiums and cash deductions are allowed for . . obtaining subscriptions. MANUSCRIPTS.—Manuscripts should be addressed to THE ETUDE. Write on one side of the sheet only. Con- 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 A MONTHLY. JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS.” Edited by James Francis Cooke Assistant Editor, Ep>warp E_tswortu HIpsHER Vol. XLII. No. 10 OCTOBER, 1924 Entered as second-class matter os, 16, 1884, at the P.O. at Philadelphia, Pa., under the Act of March 3, 1879. Copyright, 1924, by Theodore Presser Co., for U. S. A. and Great Britain Printed in the United States of America The World of Music The Vienna State Opera Company is reported to be engaged for a series of fifty Mozart performances in the Wnited States It is one of the 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. THEODORE PRESSER CO., Publishers, 1712 Chestnut Street, Philadelphia, Pa. appearance in thet city as an operatic con- ductor since he left the Royal Opera twenty- six years ago. ‘“Nerone,’’ for its nine presentations at - La Seala brought in receipts to the amount of $125,000. The house was sold entire for each performance, the advanced prices charged for the first two being abandoned for the following nights. Rimsky-Korsakoff’s farm-home near Leningrad, where the composer lived in his later years, has been allowed to remain in the possession of his children and grandchildren, contrary to the general practice of the Soviet government. of confiscating all lands of the bourgeoise. Because of the ecomposer’s serv- ices to Russian music, this was a _ special concession in answer to a petition of his descendants. A Music Conservatory in Palestine is to be established as a memorial to the Jew- ish soldiers who died in the World War. Dr. Joseph Silverman, rabbi emeritus of Temple Emanu-El, New York, has been chosen as chairman of the directors. Mrs. Jack Gardner, the “lady bountiful” of many a young aspiring musician, died at her home, “Fenway Court” (Boston), on July iW. The Olympic Games Music Medal offered by the committee in charge of the event which took place in Paris this summer, drew but a small response from composers. “That quantity alone was not invited is clear from the fact that one of the manuscripts received was Un Projet de Divertissement pour Jeux Olympiques (A Scheme of Amuse- ment for the Olympic Games), for which were required a chorus of 4000, 600 trumpets, 300 clarinets, 100 doublebasses, 200 tubas, and 50 bassoons. Unhappily for the composer, who is nameless, the jury ‘estimated that there is very little of music in this composi- tion’—which is quite nice.” The Oldest Chickering Piano in pri- vate ownership, has been found in the posses- sion of Lewis Herreshoff of Bristol, R. I, a member of the celebrated family of yacht builders. The grandfather of the present owner purchased the instrument personally from Jonas Chickering, on December 18, 1823. Raoul Laparra has received the coveted prize offered by the Institut de Nicolo. The Harrisburg (Pa.) Civic Opera Association is the last to join the ranks of these promising organizations which are springing up throughout the nation. Italy, at the present rate we shall soon have as many as you! Carl Busch, veteran musician of Kansas, City, Missouri, has been decorated as a Knight of the Order of St Olaf, by King Haakon VII af Norway. Leopold Auer, the distinguished violinist and teacher, married in the New York City Hall on June 24th, Mme. Wanda Bogutska- Stein (for twenty-two years his accompanist). The groom is seventy-nine years of age, while the bride is thirty years his junior. Frank H. Shaw has been called from his position as director of music of Cornell College, Mount Vernon, Iowa, to a similar one at Oberlin College, Oberlin, Ohio, of which he formerly was a student. Galli-Curei established a new record for the Hollywood Bowl, if not for America, when she sang on June 5th to an audience gathered from one hundred and sixteen cities and pay- ing admissions to the amount of twenty-five thousand, nine hundred and_ twenty-five dollars. A College of Music costing $600,000, with an endowment of two millions, is a part of a new university to be established at Burbank, near Los Angeles, California, by a gift of $11,400,000 from an unnamed altruist. Eugéne Ysaye, the favored son of Liége, has been honored by having a portrait of him- self, by che eminent Flemish artist, Richard Heintz, presented to him by the city. shipped to the Louvre, The Organ in “Old Peach Church,’ near Mechanicsburg, Pa., said to be the second pipe-organ built in America, and installed in 1807—with six stops and three hundred pipes —is still in use. Igor Stravinsky is announced to conduct in the next season a series of concerts by the Philharmonic Society of New York, the oldest orchestral association of America. The North American Saengerbund celebrated its “Diamond Jubilee’ at its meeting in the Chicago Coliseum, June 11-14. Instituted at Cincinnati, in 1849, by three sing- ing societies of Cincinnati and one each from Madison, Indiana; Louisville, Kentucky, and Columbus, Ohio; it has grown to have one hundred and fifty-one affiliated. organizations with a total membership of three thousand, seven hundred and eighty. Along with this it has been, directly and indirectly, a mighty influence towards making America musical. The 204th Three Choirs Festival will be held this year at Hereford (England) Cathedral. The festival is held for the benefit of the widows and orphans of the clergy of this and two neighboring dioceses, deriving its name from the union of the choirs of their three cathedrals. Mendelssohn’s “Blijah,’’ Handel’s ‘‘Messiah,’”? Elgar’s ‘‘Dream of Gerontius,’ Rossini’s “Stabat Mater,” Brahms’ ‘Requiem,’ Bach’s ‘‘B Minor Mass,” along with several minor works, will consti- tute the musical fair. A regular Lucullian feast! But does it not whet the appetite in these Jazzified times! The “Grand Old Organ” of Albert Hall of London is to be restored and modern- ized at an expense of about one hundred thousand dollars (£20,000). Princeton University is to increase its musical equipment by the installation of a large modern organ in its new Chapel which is to cost one and a half millions of dollars. This is to be one of the finest church buildings in the United States as well as one of the most imposing college edifices in the world. ‘Hamburg. next season. Pureell’s “Dido and Aeneas” has lately had its first production in Germany, at Thus do the works of genius gently percolate! “The Passion of Christ,” a pageant with its musical score made up from the works of Don Lorenzo Perosi, was recently given on a grand scale at Milan, on a _ specially con- structed stage in the Palace of Sport. “Juliet and Romeo,” based on a French play and having but a slight resemblance to Shakespeare’s work, is the latest opera from the pen of Zandonai whose “Francesca da Rimini” is familiar to America. The Chicago Civic Opera Company will begin its season on November fifth, by a production of Ponchielli’s “Gioconda”’ with Raisa, Meisle and Rimini in the leading rdle and Polacco conducting. “The Echo,” an American opera by Frank Patterson, will be presented- at the fourteenth biennial convention of the National Federation of Music Clubs, at Portland, Ore- gon, in June, 1925. Richard Strauss, on his recent. sixtieth birthday anniyersary, received the order “Pour le Mérite (For Merit)” from the Prus- sian government. Giovanni Sgambati has been memor- ialized by a tablet placed on the house where he lived for thirty-seven years in the Piazza di Spagna (Square of Spain) of Rome. Robert Burns is to serve as the central figure in an opera to be produced in England in the autumn. The music, in which Scottish traditional airs figure prominently, is to be by Frederic Austin. . Eighty Percent American Citizens, in four of our leading orchestras—the New York Philharmonic Orchestra, New York Sym- phony Orchestra, Philadelphia Orchestra and Cincinnati Orchestra—is the answer of their managers to an accusation before Congress that “more than ninety per cent are for- eigners and only about seven per cent in the New York Symphony can speak English.” PAGE SE SIO iy eid a Oy ateie whe bwin 657 EE re ata a ene es ae a 6 Be oe ae 8 661 Recollections of Master Musicians, Mark Hambourg 663 Sparks from the Musical Anvil........ What the Music Lesson Should Contain, HE. 8. Hilton Some Effects of Music....R. 8. Gilbert 664 Pranks on Parnassus....Henry T. Finck Finding the Right Fingers.7. L. Rickaby Creagsing FLGNGS. 66.4. ..% aes 8, ree § Study Stimulants...... R. L. F. Burnett Wonderchild to Diva, Mme. Marcella Sembrich Mirrors for Hand Position, Mrs. N. D. Wells 668 Syncopated Pedal......... E. H. Pierce 668 a i) i S. M. OC. 668 How to Study the Well Tempered kn Cs See Se gee E. H. Pierce 669 About Accenté..".. 2. 64s beeen 708 TRS: OTRAS LUO sas » eke: e 90a ws) wm 712 Questions and Answers, Dr. Arthur de ‘Guichard 715 The Violinists’ Etude, Edited by Robert Braine 716 Pupiener’s Notes oc scsdnenke bees 720 MUSIC MPIITRAS (6 eiad ¢ Sze wes kao Le EB. Kronke 679 PUR. Fis bi bic we a Ob oo Rae A. Prince 680 Johnny on the Spot........... W. Rolfe 681 Lay BOUriIiG iis ise vice vas we G. D. Martin 682 Largo from “Sonata No. 7”...J. Haydn 683 Danse Grotesque (Four Hands), W. Berwald 684 Violets (Four Hands).....G. Ff. Hamer 686 Bagatelle, Op. 33, No. 4, L. van Beethoven 688 Morning Song........... W. A. Johnson 689 Nocturne in F, Op. 23, No. 4, R. Schumann 690 Danse Piquante............«..P. Maurel 695 Tiles: tiethe: POM wc o:ci4 is is ikes 0s L. Renk 696 Spring Flowers............ W. A. Smith 696 Autumn Fragrance......... R. R. Perry 698 Circus Day (Violin and Piano) .D. Heins 699 Marcia Pomposo (Organ)...R. M. Stults 700 Eternal Light (Vocal)...A. Buzzi-Peccia 702 Michaelmas Daisies (Vocal) ,.R.. Coverly God’s Love is Above the Night (Vocal),. . . HH. Tourjee 706 Unavailable manuscripts will “Aida,” with Pietro Mascagni as Conductor, was given in a Vienna arena from July 25th to August 10th. The leading artists were from the La Scala Company, and were supported by a chorus of one thou- sand singers and an orchestra numbering one hundred and twenty. The production Was on a lavish scale, creating an illusion of ancient Egypt, with horses and camels intro- duced to lend realism. A Barrel Organ js still in use in the services of the parish church of Trottiscliffe (Kent), England. This is probably the last church of Great Britain to make a similar use of this instrument. It has a repertoire of sixty hymn tunes and the sexton officiates at the handle. Deems Taylor is reported to be engaged on the writing of a musical score for a screen production of ‘Janice Meredith,” for the Cosmopolitan Theater. Camille Zeckwer, widely known as com- poser and teacher, died in Philadelphia on August 7th. <A pupil of Dvofaik and Philip Scharwenka, his compositions have appeared on programs of the Philadelphia Orchestra and Boston Symphony Orchestra. Perhaps his most notable achievement in this line was the winning in 1922 of the One-Thousand- Dollars Prize of the North Shore Festival Association, by his Symphonic Poem, “Jade Butterflies.”” Among others of his works are “A Swedish Fantasy,” ‘Serenade Melancho- lique,” and the “Symphonie Poem—Sohrab and Rustum.”’ An Assyrian Musical Tablet, dating from about 800 to 2,000 B. C., has been de- ciphered by Dr. Kurt Sachs of the Berlin High School of Music. It had long been lying in the Prussian State Museum and shows that the Assyrian scale consisted of five notes nearly approaching the sounds of the five black keys of the piano, and that the music was played on a harp of twenty-one strings. Municipal Opera in St. Louis is among that city’s most popular enterprises. One hundred thousand dollars in advance sales of tickets were in the office before the curtain rose on the first performance of the | present season ; and subscriptions to the 1925 series already amount to $35,000. A Beethoven Festival was held in Bonn this summer, for the first time .in several years. It was organized by the Beethoven- house Society; and the proceeds are to be used for the building of a Beethoven Museum where all of the master’s works are to be exhibited either in manuscript or in photo- graphs of manuscripts. The National Association of Organ- ists met at Atlantic City July 28th to Aug- ust 1st. An unusually large attendance marked the meeting and esnecially of the more notable performers of the country. T. Tertius Noble, of New York, was elected President for the ensuing year and Cleve- land, Ohio, was selected as the next place of meeting. Mme. Emma Hayden Eames, mother of Emma Eames, the celebrated operatic so- prano, is still, at the age of eighty-eight, a prcapinest teacher of singing, in Cleveland, io. Nineteen Native Composers will con- duct their own works during the coming sea- son of the Queen’s Hall Promenade Concerts, by invitatien of Sir Henry J. Wood. When will the conductor of one of our leading or- chestras give similar encouragement to Amer- ican composers ? Darius Milhaud has composed the music for “L’Inhumaine,” the first film play to be produced in France with a specially written score. The Premier Prix de Rome was won | ie year by Robert Dussant, a pupil of idor. ; Seventeen Thousand Persons heard Beethoven’s “Ninth Symphony” when it was given at the Lewisohn Stadium of New York, July eighteenth, by the Philharmonic Orches- tra assisted by the Oratorio Society of New York, under the baton of Willian Van Hoog- straten. (Continued on page 721) prin 657.

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Tage 658 OCTOBER 1924 ae THE ETUDE NTN NG NON NO NOD NOD NOTNOD NO NOT NO NLNG LN) SELIG) NON NONO) NONE NOON VTNONGINO NENG ODO NONONONONONONO NOON A Sadard for over I wenty-five Yedes | “The National “The National §& Peaded Graded Course” Course” za Spel Super MPI. is NOT a one man course. pews fs om |g It is the product of such has been the favor uae OEE’ eminent minds as Wm. EMIL LIEBLING L wp, \ ) : é ARTHUR neces Ta bs = M as on ’ e S * B » M a a ite plano course ot Ae alll] cell thews, Sherwood, Foote, ROBERT GOLDBECK ~ } WAWANE \ i = y < ) Kou ) nv thousands ame 8 E § Chadwick, Kroeger, Corey, Many usa eres mm I Maedougall. Wilson. ae THOS. A'BECKET B, J. LANG asitan ebete — Y 8 s ; Smith, etc. : = § §=Published in 7 Vols. (7 Grades) and a Special Supplementary Primary Grade. of teachers, schools DGD CIITA, and convents. WING) NE)! LLACHERS PRICE 50 Cents 1 TWENTY MELODE SORES LECLEESONY ADULT BEGINNERS : oe aes NN On the Panofrte : Very First Piano Lessons : WA \. 0 by ie OMIA SSS ’ . o_a\ ~ Mathilde Bilbro b ATHILDE BILBRO : THE WILLIS MUSIC COMPANY Little pieces planned to teach the letter-names of A work present- The very first steps for the staves. Teaches treble A phenomenal suc- ing excellent lesson a beginner. Really of and bass’ simultaneously, cess. Brings genuine material free from kindergarten simplicity. beginning with middle C accomplishment by childish limitations Introduces pianoforte a tone at a time in both means that gostraight in title and sub- study in the cleverest form directions. to the point. stance. in print. Price, 60 cents Price, 80 cents Price, 80 cents Price, 60 cents Try these First Grade Pieces: Try these Second Grade Pieces: A Love-Letter to Grandmother................... Bilbro Butterfly Chase RPTL, SE ee ee ee Spaulding Dance of the Kosebuds ND an ase a a ey Adam Geibel Harpist Ak Cpr B LIS Sg a tte: s Cid pe wenn he Mattingly Hallowe’en Sa RR a DE OO RE Se Kraemer Pa APAATCD) 6b cic ce Sect ee wea wees Sutherland In a Cozy Cor EE Da SEER eA re 8 Ps K O’er the Ruldbow Bridge ate disses io cs engeimann I a get ee a sa et Bilbro minnie rn re NE TT These helpful booklets will be sent FREE upon request "Te Te INTEREST Tach From THE WILLIS MUSIC CO. $137 W. 4th St. tM bets CINCINNATI, OHIO A aad Sa Oo THE BOSTON MUSIC CO. | 26-28 Wesr sr. (Proprietors of the Hatch Music Co. formerly Philadelphia, Pa.) BOSTON, MASS. s 8 he { rt ¢ fname i Tue Wittis Music Co. | 1 Onio (! ATT { = = = - = 7 ~eh a Ss ES stent SS —_—_— Ee TO. ee DANA AIAN AVAVAVAN WATATAAS

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THE ETUDE The Success of the “ON SALE” System This system, originated by the THEO. PRESSER CO., has proven Of Paramount Importance to Music Teachers T has been successful over many teaching sea- sons because by it teachers can secure most satisfactorily just the type of teaching materials needed for each pupil. It requires a minimum of trouble for the teacher to achieve this, since it is unnecessary to leave the studio—a letter is written and a few days later a package of music of the type and grades requested reaches the studio. THIS MUSIC MAY BE KEPT THE WHOLE SEASON, NO SETTLEMENT BEING REQUIRED UNTIL THE END OF THE TEACHING YEAR. As frequently as the teacher needs new material, another lot will be sent and thus a stock of music may be kept in the studio throughout the entire teaching season. In June the unused music from ‘On Sale’ packages may be returned and settlement then made for the music that has been used. No Guarantee is Asked as to the Amount Kept Our experienced clerks give each ‘‘On Sale” order individ- ual attention and the aim is to satisfy the requirements in each case, but the final judgment as to how much of the material sent is usable rests with the teacher receiving it. WRITE NOW AND GIVE US INFORMATION AS TO THE NUMBER OF PUPILS FOR WHOM YOU DESIRE MATERIAL—TELL US WHETHER YOU DESIRE PIECES OR STUD- IES AND THE GRADES TO BE COVERED, THEN YOU CAN DETERMINE PERSONALLY THE MERITS OF THE ‘‘ON SALE” SYSTEM. ‘“‘On Sale’’ Examination Privileges Extend to Piano, Vocal, Violin, Organ, Choir and Chorus Music. Ask for Catalogs. THEO. PRESSER CO., Gitsmcrs: PHILA., PA. MUSIC PUBLISHERS AND DEALERS—ESTABLISHED 1883 — Mail Order Supply House for all Music Publications OCTOBER 1924 Page 659 'Have You Faith In Yourselj 2 Are you satisfied with your outlook in the profession—don’t you feel that you could establish yourself in a position of great- er responsibility and incidentally enjoy a better financial future if you had a good, practical musical education instead of mere- ly knowing how to play one instrument? If for instance you understood Harmony; Counterpoint, Composition, Orchestration—if you could play some other in- strument like Piano, Cornet, Violin, Organ, etc. Have you sufficient faith in yourself to try to improve musically and at the same time financially as well? Will you take advantage of our free offer for four lessons which we offer to readers of ‘THE ETUDE absolutely free of charge in the hope that they may be the means of starting you upona career which will pay dividends in in- creased cash earnings, earnings which you couldn’t possibly obtain under your present condition? We are purely selfish in offering them to you gratis—We have started thousands of others the same way—many wrote out of curiosity—became intensely interested when they saw how practical and how extremely valuable they were—and before they knew it they were proficient on another instrument or had a fine, practical knowledge of Harmony and— they were MAKING MORE MONEY IN THEIR PROFESSION. A graduate writes— “T am indeed proud of my diplomas from your Conservatory. They have been recognized by the State University and a life certificate issued me.. Through them I have secured a position with an increase in salary of $50. 00 per month. I will be glad at all times to endorse your course in Public School Music.” (Name and address furnished on ‘ies e Piano Students’ Course by William H. Sherwood. or Teachers by Normal Piano Course Witlien 1 Shecrood. By Adolph Rosenbecker and Dr. Daniel Prothe- Harmony roe. This course includes Counterpoint, Com- position and Orchestration. Public School Music by Frances E. Clark. by F. B. Stiven, Sight Singing and Ear Training yii5°‘oii.c sity of Illinois. Choral Conducting by Dr. Daniel Protheroe. Cornet Amateur or Professional Courses, by A. F. Weldon. Violin ‘by Dr. Arthur Heft, noted European violinist. Mandolin by Samuel Siegel, eminent mandolinist. Banjo By Frederick J. Bacon, America’s renowned banjoist. Guitar by the greatest of guitarists—William Fédew: Reed Organ by Frank W. Van Dusen, noted teacher. Voice by Geo. Crampton, noted English baritone. GOOD FOR FOUR FREE LESSONS UNIVERSITY EXTENSION CONSERVATORY, Dept. B 93 Siegel-Myers Building, Chicago, Ill. Please send me FREE without the slightest cost or obligation on my part four (4) Lessons of the course mentioned below. Also quote me your Special Limited Price for Complete Course. eee ee eee sere ee eeeeF sees FHF eSSe- SHH SHEET EE HEHEHE EE EEHH i seseeseseseese Cee re eee eee HOSTS HEH SEHSEHEHH HE EEE SHES SESH HEE HEHEHE HILAL Ss CSRS SEE HEHEHE De EHEE EH EEE SEE EHH Eee eeeeeee ee ee eee eee ee eee ee eee eee eee eee eee eee ee ee ee ee Please mention THE ETUDE when addressing our advertisers.

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Page 660 OCTOBER 1924 THE ETUDE “The Best Piano Method I Know’’ Ignace Jan Paderewski Ignace Jan Paderewski, world-famed pianist-statesman, after a careful examination of the master work of DR. WILLIAM MASON wrote— “Your ‘Touch and Technic’ is the best piano method which I know and I congratulate you on being the author of so masterly a work.’’ Permission of, LISZT, GABRILLOWITSCH, J OSEFFY, and scores of great pianists and teachers, have praised this distinctive and original technical system in the strongest terms. This, perhaps, is the highest achievement in American musical educational work. TOUCH AND TECHNIC (IN FOUR VOLUMES) By Dr. William Mason Selling at $1.00, each volume represents the basis of the artistic and technical success of numerous famous pupils of Dr. Mason and countless disciples. THE SYSTEM REQUIRES NO SPECIAL TRAINING COURSE TO UNDERSTAND. IT IS SELF-EXPLANATORY. Dr. William Mason realized that the finest possible preliminary training was needed in combination with his Touch and Technic, and for this reason he was in constant collaboration with W. S. B. Mathews in the preparation of the original issue of the ten grades of the STANDARD GRADED COURSE OF STUDIES FOR THE PIANOFORTE Designed to accompany Touch and Technic, although each work may be used independent of the other. These ten interesting, melodious, practical volumes, selling for $1.00 each, have been the backbone of a very large part of the musical educational progress of America. “THE STANDARD GRADED COURSE” IS. UNCEASINGLY RE-EDITED, REVISED AND KEPT UP-TO-DATE BY RENOWNED TEACHING EXPERTS, INCLUDING FAMOUS VIRTUOSOS OF THE PIANO IT IS ALWAYS THE LAST WORD IN THE MOST SENSIBLE, PROGRESSIVE TEACHING MATERIAL Kindly let us send you with our compliments our desired for supplementary material. This guide is in- 24-page ‘“‘Guide to New Teachers’’ telling just how to valuable in many ways. It is entirely free. Just send . use these world-famed methods also listing some three your name and address on a postal to-day and say hundred pieces, studies, etc., which may be used as ‘‘Please send your 24-page ‘Guide to New Teachers.’ ”’ THEO. PRESSER CO. ‘iioinzi74 chestnut st. PHILADELPHIA, PA. MAIL ORDER SUPPLY HOUSE FOR EVERYTHING IN MUSIC PUBLICATIONS

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ST yee Ss SRE Weis se at .. en aaeerre as ean ote ete ee ee 1 ' 2 ' 4 ie % OCTOBER, 1924 “Piano Compulsory” Many years ago, your editor made a tour of several thou- sand miles in Europe for the express purpose of visiting the great conservatories of music. In this way he had enviable opportunities for observing their methods and the resulting degrees of success. The thing which impressed him most was the fact that in nearly all of the great conservatories the study of the piano was compulsory. No matter if the student was studying voice, violin, French horn or what not, his musical education was con- sidered deficient if he did not also acquire a good working knowledge of the piano. The little line in the catalog “Piano Compulsory,” meant a great deal to every teacher who saw it. The wisdom of this is apparent to any instrumentalist who after having made a beginning with one instrument takes up the piano. In addition to opening up the world of harmony and counterpoint, it compels the player to juggle with from two to ten different voices or parts where he has hitherto only concerned himself with one thin line of melody. The intel- lectual training resulting from this is incomparable. Many of the greatest singers and performers are also excellent pian- ists. Kreisler, Galli-Curci, Sembrich, Melba, are only a few outstanding examples. No matter what other instrument you may study, if you miss. the piano you miss the most consequen- tial step in musical education. This is particularly true of the thousands of fine boys and girls in our schools studying other instruments. They will never get the best from the violin, the trombone or the saxo- phone until they back their work up with a good solid training in piano playing. It was Mauritz Hauptmann, the famous theorist, who said: ‘‘The Pianoforte is the Modern Foundation in all Musical Training.”’ A Scrap of Paper “Is there any law to prevent my giving a musical diploma or certificate?” Scores have asked this question. It all depends upon the kind of a diploma or certificate. You give away all sorts of things, but never forget that a diploma is merely a piece of paper, no more valuable than any other piece of similar paper. The value is not in the printing or in your signature. The value is in what stands behind the diploma. There are thousands of colleges and conservatories issuing diplomas which do not begin to have the value of a simple little note from a real master, such as the following: To whom it may concern: ‘“*Miss ——_——- —————— has been my pupil for four years and has displayed remarkable ability, fine interpretative sense and great intelligence. I recom- mend her highly as a teacher. “THEODORE LEescHETIZKY.”’ The paper such a testimonial was written. upon might be worth thousands of dollars to the teacher who had earned it. A Dollar <bill is printed on paper. So is a Mark. The difference in value of the two pieces of paper depends upon the world’s estimate of the ability and the intention of the nation issuing the currency to stand back of its money. By all means use diplomas. (There are excellent en- graved blank music diplomas which may be purchased at slight cost.) But do not lead the pupil to believe that a diploma is anything more than your way of recognizing and stimulating the pupil’s progress. ‘The importance and value of the di- ploma depend entirely upon your reputation in the profession. Single Copies 25 Cents VOL. XLII, No. 10 The Fashion of Being Business Like Tue power of fashions, race, habits or mores, as Prof. Sumner, of Yale, called them, is committed irresistibly. All the sins of the decalogue have been by peoples at the behest of fashion. Lies, murders, thefts, arson, all known crimes have been done by poorly balanced people who have been willing to sacrifice everything to keep in some silly fashion. Fashion will lead both the male and the female human animal to resort to all kinds of bodily distortions, ridiculous clothing, war-paint from the skeleton stripes of the aborigine to the lip stick of the flapper. Only the very superior mind is able to hold aloof from extreme fashions and adopt rational, beautiful attire that does not excite attention. The fashion of music, particularly with those musicians who like to call themselves artists, has changed entirely. The old-time fashion of dressing and acting in eccentric manner relegates the “artist” to the antique class. Mr. Edward John- son (the Metropolitan Opera Company tenor), whose name in other days would probably have been Edoardo Figlio di Gio- vanni), recently remarked :— | | “YT think the successful artist of to-day has a great deal of business sense. The dreamer type is gone. He is out of style for one thing; a mis-fit in the keen, active age. One will often hear the comment, ‘He doesn’t look like a singer (or an actor, painter, whatever it is), does he?? Whatever may be accepted as the old-fashioned standard of how he should look, I am quite sure ‘he,’ whoever he is, is glad he doesn’t look that way. Art is for all of us; and so are the more practical things of life. I believe in specialization, that is, on concentration upon a definite goal. But in attaining that goal each should not overlook the fact that he is, except perhaps for a special gift in one direction, pretty much like everybody else.” Are the Great German Conservatories Doomed ? THe war has been over for six years. Germany is still in a tragic condition in so far as her arts and professions are concerned. A handful of active men and women have been. working bravely to save what they can from the wreckage; but Germany is paying for the game of war in a way that can not be forgotten in generations. That they have been able to do so much under the terrible conditions during the last ten years is notable. One of the leading pedagogs of Germany recently wrote to America describing conditions among the average music teachers in Germany thus: “Conservatories which used to have from 600 to 800 pupils now have from 60 to 80. This is surely a sign of the breaking up of music. At the time of the discharge of the State em- ployees by the Government, the competition became keen. Every one who was able to play the piano or the violin a little, gave lessons for very little money, so that the professionally trained musician could not exist. |The impoverished Germany will have to bury its culture. The large orchestras are disappear- ing gradually. Private orchestras cannot exist any more. The musicians are returning from the health resorts because they can not exist on the money they receive. This is the real condition of the music teacher of Germany. It is a sad one, but it is true.” | One might think that this was the voice of a solitary calamity howler. Listen, however, to a few quotations from a leading editorial in the Berliner Tageblatt, the leading publi- cation of the German metropolis. The editorial is called ‘““The Death of the Conservatories.” THE ET 661

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“In Berlin and in other large cities of the country numer- ous private music schools and conservatories have vanished during recent years. ‘This is a fact that many circles have tried to conceal but the real truth remains and must be seen. Not merely the small and inconsequential schools have suc- cumbed in the fight for existence, but many famous institutions long established and with large student attendance have been unable to keep up. During the past six months a celebrated German conservatory, with three hundred students before the war, was suddenly obliged to shut its doors.” The editorial continues with a correspondingly pessimis- tic outlook. Meanwhile America, which was the fruitful field, which for years sent large cargoes of students to Germany, _has been building incomparable schools with faculties of inter- national eminence which actually draw students from Europe. Notwithstanding the fact that we rejoice in the triumphs of musical education in our own land, we can not view the musical situation in Germany with anything but dismay and sadness. Art is international. An artistic collapse in one ‘country hurts all others. What good would it do the world if all of our leading American schools, which we have taken years to build, were to be suddenly demolished. The loss to Germany is a catastrophe in some ways greater than the devastation’ of cities. Music is Germany’s pride and soul and it lies dying in the land of Beethoven, Brahms, Mozart, Schu- bert and Schumann. Some day, of course, it will rise again. Let us hope that day may be soon. There are many active and earnest workers in the music field in Germany, with eyes set upon the spiritual vision of the real greatness of the coun- try, not the military Frankenstein which dragged it down. These men are now undergoing virtual starvation to keep together the remnants of musical life in Germany and trying to rebuild those vanished castles of musical greatness which were among the proudest possessions of the German people. Concentrate on Something Worth While “Lapres, we have with us for our Heliotrope Luncheon, our distinguished fellowtownsman, the Hon. Hascom Binns, whom we all have learned to call ‘our own Has’ Binns.’ Mr. Binns has come to us out of his busy life to say just a few words on music. It gives me great pleasure to introduce Mr. Binns.” | ; The eminent Binns arises, wipes his firm jaw with a nap- kin, exercises his larynx with a few coughs, smiles genially at the jewel incrusted wife of his most lucrative clent and begins: “Ladies of the Calliope Club: It gives me great pleasure to be with you at this delightful luncheon of the most de- lightful group of ladies in our State, if not in the United States (Applause). I have, as your accomplished President, or should I say Presidentess (giggles from the President), has just said, come from a busy life with many important problems (more calisthenics with his larynx). I must confess that I know very little about music. Your honored President has just asked me what instrument I play. I told her that I once played on the linoleum when I was a child (Great laughter). I haven’t very much to say; and I can say it quickly. I think music is a wonderful thing (etc., etc., until his ignorance of the subject is more completely exposed). And now, ladies, I must close by thanking you one and all for giving me one of the most delightful hours in my experience, an hour that I shall find a constant source of inspiration during my coming campaign for Congress where I shall hope to serve those prin- ciples which are very obviously so dear to all of you.” (Great applause). The President rises, overcome with the distinction of having had so eminent a guest. She says, modestly: “Ladies of the Calliope Club: It is indeed an honor to have learned so much about music, from so very great a man whom we shall hope to have as our next Congressman. (Ap- plause, during which one trans-Balkan waiter exorcises a trans- | Aegean waiter for permitting a chicken patty to fall down the back of the little music teacher obscurely seated in a far cor- ner. Such a waste of good chicken!) Ladies, we all now real- ‘dependent upon character. ize what our club means to us. We have decided to raise our dues five dollars for the coming year.” Does this sound familiar to some of you? A great many so-called music clubs are nothing more than “gobble clubs,” and “adulation” clubs. The musician plays a minor role to the Chef and the Modiste. ‘The music club movement fostered by the American Federation of Music Clubs, has been of im- mense value to our country; but it is a dismal spectacle to see many clubs drifting away from the real purposes of a music club to become a kind of glorified Kaffeklatsch. The study of music, the promotion of music, the higher enjoyment of music should be the work upon which the music club members should concentrate. All over the country thou- sands of Etude clubs and Music History Clubs of young peo- ple have been formed and have been of incalculable value in the musical development of the land. They concentrate on something worth while. We believe enthusiastically in the de- lightful social side of the music club; but the main aim must be Music, Music, Music. When a club minimizes music and devotes itself to other things, it ceases to deserve recognition as a music club. 3 Character in Music Dors the composer’s real character show in his music? We have always felt that it did in very patent fashion. Dr. Percy C. Buck, late Professor of Music at the University of Dublin, has confirmed our attitude in the following nicely phrased paragraph which should be read more than once by teachers and by students. “Character is a moral question, and art is fundamentally The work of an artist is a pro- jection of personality, in spite of the fact that the phrase has been discredited, owing to the insistence on it by those who pretend that art is nothing else. His work must change if his character changes; so that character must be a function of his work. And from the non-creator’s standpoint character is involved no less, for what we appreciate depends upon our own character. You will remember the saying of Ruskin, ‘Tell me what you like and I will tell you what you are.’ ” The Secretary of Music For years there has been a turbulent clamor for a Secre- tary of Education in the Presidential Cabinet. Education has become such an immense undertaking that the call for govern- mental regulation of some phases of the problem seems reason- able. On the other hand the question arises as to whether it is wise to cast the brain building of our children into the hug- ger-mugger of politics. What would the Secretary of Edu- cation do? Where would his powers end? How would he help? All significant inquiries. Having a Secretary of Edu- cation, might we not also have a Secretary of Music. Richard Strauss has just been appointed General Music Director of Austria. If we could be sure of having a man correspondingly great in our Cabinet, might it not be salutary to the interests of the art? Community Opera Who said that opera is un-American? All over the coun- try small operatic companies are springing up, largely as a species of safety valves for the hundreds of students who have studied opera enthusiastically only to find that there have hitherto been only a very few large conduit pipes for their talents. If they were squeezed out of the metropolitan chan- nels, they were squeezed out of a career. Much of our taste for opera is artificial, alien in the ex- treme. We have swallowed opera with its preposterous fiddle- faddle plots, partly because it was fashion, partly because of the lure of the imperishable tunes of Bellini, Verdi and Doni- zetti. Wagner gave us drama, but drama in Teutonic doses. The new Italian realismo comes nearer to our conception of opera and thus we may account for the great success of ““Madam Butterfly” and “Pagliacci.” But many silly operatic conven- tionalities will have to be abraded before we come to opera such as Americans will genuinely adore.

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THE ETUDE OCTOBER 1924 Page 663 Recollections of Master Musicians and Master Pianists Whom I Have Known “The Etude” takes pride in presenting herewith the first of a scrics of noteworthy articles by Mr. Hambourg, whose similar series several years ago proved of very great practical help to our readers. Mr. bourg was born at Bogutc har, South Russia, May 30, 1879. thre pianoforte with his father, and with Leschetis chy. first with great success as @ prodigy. His tours of all countries have been [lis repertoire ts enormous. to have continually at his finger tips no less than 40 concertos and over given over 1500 recitals and concerts. sensational in their success. &00 other compositions. He has IXvER since the age of five, when I began my career as a pianist, 1 have met and admired Master Musicians and Pianists of every nationality and every school. The first one I can remember at all vividly was Saf- onoff, who was one of the principal musicians in Mos- cow, when I was brought there as a boy of seven, by my father. I recollect that I played a piece of Hummel’s to Safonoff, which had a great many jumps and thrown notes in it, and he said to my father, when I had finished: “Here is a child with a remarkable ‘treff talent;’”’ meaning that I had a good eye for catching the Heh notes from a distance. At that same period there was an artist there, forgot- ten now but well known in those days, called Schossta- kosky, who was director of the Moscow Conservatory of Music. All that I can tell of him is what he was by way of giving me pianoforte lessons; but that he Was never ready for me, and I was never ready for him, so that between us it was a sort of farce, and what I learned from him was purely nominal! My real teacher during all that time was my father, Professor Michael Hambourg, with whom I learned the whole of the Forty-eight Preludes and Fugues of Bach, and ruined my eyesight, but improved my technic and knowledge of music. For there is no grounding, in my opinion, to be compared to the works of Bach, for the young pianist. A Master Mentor Later on, when I was nearly nine years old, my father toox me to England, where the first pianist I heard and saw was Paderewski, then at the height of his successes in London. His great flexibility of technic, and his dramatic power appealed to my imagination; and he was my example and hero, as a small boy. He also became a great friend of my father who admired him very much, and Paderewski helped me with advice, and with both moral and financial support.. For when Felix Moscheles, the painter, and my best friend, started getting a sum of money subscribed to enable me to go to Vienna to study with Paderewski’s master, Theodore Leschetizky, Paderewski himself contributed a large amount to the fund collected in my behalf. I can, therefore, never for- get what I owed to his generous interest and early | friendship. Leschetizky told me afterwards that the first time he saw Paderewski, he realized that he was destined to become a remarkable man, outstanding in the dramatic force of his playing, and in the romance of his personality. Even in those days, in Vienna there already existed legends about the enormous numbers of hours per day (some people declared as much as fifteen), that Paderewski spent in practicing. Whether it was true or not I never had an opportunity of verifying. Joachim’s Poison To return to the years that I lived in London, from the age of nine till twelve, I there met Siloti, Pachmann and Sapellnikoff, who were already mature artists. I was very keen on bicycling, and one day I nearly ran over the veteran, Alfredo Piatti, well-known as _ the greatest ’cellist of the day, but already very advanced in years. He lived quite close to where I did in London, and when he saw who it was who had so nearly terminated his existence, he said, gravely: “Boy, boy, learn to ride your bicycle more slowly, and to play your scales more rapidly.” At that time I was engaged by the firm of Chappell to play at one of the Monday “Pops,” with old Piatti and Joachim. It must have been a funny sight to see us playing together! I was ten, and they were both well over seventy. Joachim was then very gouty and, as it affected his fingers, he often had great difficulty in his performances. He was very fond of port and cham- pagne, both of which were very bad for him in his state. But when his friends said to him, “Master, how can By the Distinguished Piano Virtuoso MARK HAM BO U RG ory and technic. Mr. resides in London. Mackenzie. Ham- He studied He appeared at Fle is reputed Students and teachers © F. A. Swain, London MARK HAMBOURG you go on drinking these, for you, poisonous drinks ?” he would answer, “What will you? I am used to it, and | cannot start something new, now.” It was through Felix Moscheles that I was introduced to Hans Richter, who was a wonderful friend to me all through my student years in Vienna. He used to take me with him to his rehearsals and performances, and would insist on my sitting hidden in the orchestra all through the Wagner and other operas at the Vienna Opera House, where he conducted. For he said that to be a thorough musician, the student must know the orchestra through and through and be aware of each instrument and its peculiar powers and sonorities. What I learned under Richter’s auspices in this way has proved invaluable to me in after life. I once nearly lost my Paradise, however, as, being very young (only twelve) and very tired, I was discovered fast asleep in the second act of “Tristan and Isolde,” for which Richter was furious and declared that if he ever caught me asleep again, he would never allow me to set foot in his orchestra. Later, when I was fourteen-and-a-half, I made my first appearance as a full-grown pianist. (no longer an odious prodigy!) under Hans Richter’s baton, with the Philharmonic Orchestra, in Vienna. Before, the concert, Richter asked me to play over all the passages of the concerto (it was Chopin in E minor) to him; for he said that when pianists played concerti with his orches- tra he always felt it was like washing linen in a quick flowing brook, everything got rushed away before he could get the hang of it. He desired to hear exactly what I had to play so as to realize how to keep us all _ together. Edouard Schiitt, the composer, was a great friend of mine during these early years and wrote several pieces containing these articles. so Much *Piano Playing Dull and Uninteresting to Listen to?” object lesson in distinction and elegance. I He is frequently compared with Rubinstein because of lus feats of mem- Hambourg ts a naturalised British subject and In 1907 he marricd the dau ghter of Sir Kenneth Muir Mr. Hambourg able writers upon pianoforte playing, treating his problems in big, human fashion and never going over the heads of * the majority of our readers. may look forward with pleasure to coming. issues is one of the most practical and understand- Mr. Hambourg’s next article will be “Why 1S for me. He had a great reputation in Vienna as a highly refined piano player and composer; and his style was an met also Johann Strauss, the elder (I mean the man who wrote the famous waltzes), a jolly old fellow, full of the zest and peculiar Viennese gaiety which he so well imparted to his music. I remember playing to him Schiitt’s para- phrase of his well-known “Kuss Waltz,’ out of his operetta, “The Gipsy Baron,’ and Johann Strauss was delighted with it; which shows that there are composers who enjoy transcriptions of their own works, in spite of all paraphrases being so despised by present day musical critics ! Brahms’ Apology Johannes Brahms, of course, was one of the most in- teresting figures of Viennese musical life at that time, and one of my greatest treasures is a small cigar cutter which he gave me as a present when I first started smok- ing—that alluring soother of nerves—which I am afraid I did very early in my career. Brahms was present at a festival of his works conducted by Felix Weingartner, where I played when still no more than fifteen. After the concert there was a banquet given for Brahms, where the organizers proposed his health, and then he got up — and proposed the health of the “Youth”’—that was I! I thought it was most kind of him, and was immensely gratified. I remember also, before one of the Sunday concerts in Vienna, that at the rehearsal with Richter, a lady pianist was playing the Brahms Concerto in B flat major, and the composer was present. He got dissatis- fied with the lady’s performance and at last lost his temper, and cried out: “Why, in God’s name, do horrible women play my music!” He then rushed out of the hall. The next day he was extremely sorry and wrote the most charming letter of apolog y to the lady, accompanied by a large bouquet of flowers, a touching gesture for so great and rugged a man. Bruckner, the composer, was often with Brahms, at Richter’s rehearsal, where Brahms used to sit with his hands crossed under his chin, leaning over the sill of a box, and resting upon his elbows, his eyes staring into space—a characteristic attitude which we, who reverenced and admired him almost as a god, used to watch for and love. Of course it was from that great teacher, Leschetizky, that I learned most everything, not only appertaining to piano playing, but in regard to every aspect of how to live. He was a mentor of every possible kind, and a real father to all his pupils in whom he was really inter- ested. As for a pianoforte lesson with him, it was a life experience, if one was capable of understanding what he wanted; and he had a wonderful way of. explaining every detail with the utmost precision and care. He was not only marvellous at developing facility and brilliance of execution in his pupils, but also focused his teaching enormously upon the quality of sound produced. Every- thing had to be beautiful and polished, with him, and alive with the right kind of expression and feeling. He never allowed anything to pass his judgment that was dull, monotonous, or harsh in tone production. He used to urge us to go and listen to the great singers, to see how they phrased and brought out melody and cantilena passages, and to take them as our models in this branch of our studies. | I. remember Leschetizky being present at a concert where I was playing, and where the “Symphonie Pathétique,”’ of Tchaikowsky, was being performed for the first time in Vienna. Leschetizky sat together with. the well-known musical critic, Hanslick, who was as old a man as himself, and whose ear was not yet attuned to the chromatic counterpoint of modern orchestral music. Both the old men hated the symphony and said

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Page 664 OCTOBER 1924 of the end, where the composition dies away: “So begrabt sich dass Werk.” (Now the work has buried itself!) Their prognostication turned out to be false, as the sym- phony lived to be extremely popular and is still very much alive, though whether it or other of Tchaikowsky’s works will achieve absolute posterity is still on the knees of the gods. However, Leschetizky’s dislike of it just shows how even the most experienced musicians can be mistaken in their estimate of music, in the way of what will become acceptable and what will not. When I re- flect upon the immense enjoyment thousands have ob- tained from the orchestral and other works of Tchai- kowsky, especially the “Pathétique Symphony,” without which at one time can remember it was almost im- possible to complete an orchestral program, I often think of that dictum of Leschetizky about its early burial ! Whilst I was studying with Leschetizky, where I was very much trotted around as being still an “infant prodigy,’ who should arrive but Anton Rubinstein, King of Pianists, and Master mind of Music! I was brought to play to him, and after my performance he introduced me to Moritz Rosenthal who had just entered. Rosenthal was at that time the most brilliant of the young pianists who had been fostered by Liszt and our friendship, begun then, has remained unimpaired ever since. Rubinstein was asked by Leschetizky to give a private recital at his house for the pupils. Rubinstein’s Power The thing I remember best about that recital was that I was sitting so near to Rubinstein, close up to the keyboard, that I was in perfect agony every time he lifted his hands, which he used to do so tremendously. For I said to myself: “If he misses his note, and hits me, | am a dead man!” But when he did miss, he did not hit me; but he did turn round to us and say: “That, young men, is how not to do it!” And his wonderful purity of sound—how it impressed me! I have never heard anything to equal it, so little effect of pedal, everything transparently clear. Yet he did take a great deal of pedal; but, like all the best masters of pedal playing, he made it sound as if he scarcely took any. It was just natural and perfect tone production. Luck- ily for me, he took a fancy to me and considered me as a kind of mascot when he was playing his favorite card games. So I used to sit beside him on a stool, while he and Leschetizky went on playing cards far into the night. By nature Rubinstein seemed to be an awkward and silent man, compared with Leschetizky, who was so much the charming, elegant Pole. But Rubinstein had a force of personality which held one fascinated as to a magnet, and even I, a little boy, felt compelled by it. When he left Vienna all the Lesche- tizky piano students came and gave him a big send-off at the station, with a dinner beforehand. Since my recollections of Rubinstein, I have met no great master of music from whom I learnt more as a young man than from Eugene Ysaye, the great Bel- gian violinist. I had occasion to be thrown a good deal with him at one time during my early manhood, and was inspired by his beauty of phrasing and his broad and noble conception of interpretation, to a degree which had a very great effect upon me. Busoni, the great pianist, is also an artist whose renderings have pro- foundly interested me, especially in his ideas about the works of Liszt. Many Influences To sum up the impressions and what I have admired in all the artist pianists I have mentioned: I was in- spired through Anton Rubinstein, by his majesty, purity of sound, and overwhelming personality; through Pachmann, by his polish and elegance; through Lesche- tizky, by his immense knowledge and understanding of the piano as an instrument; through Paderewski, by his dramatic force, and charm; through Sapellnikoff, by his brilliance; through Busoni, by his Byronesque mental- ity and his massive effects; through Moritz Rosenthal, by his demoniacal facility. . Through all of them, by astonishment at the variety and manifold capabilities of my wonderful instrument, the modern pianoforte, which has brought into existence so much talent and so many fine artists to give pleasure and “uplift” to the world. ) “We do not find the students interested in music are likely to have a lower academic rating. Indeed, the men’s glee club, which tied Columbia for second place in the national contest in New York, is unusually good. Out of the fifty-two men, only two were ineligible at the end of the first semester.” _ —Pres. Cuaries W, Fiint, of Syracuse University. Sparks from the Musical Anvil Bright Thoughts of Thinking Musicians “Music is like life; there is no limit to its expres- sion.”—Mmner. GABRIELLE LESCHETIZKY. * ok Ok “Development must be melodic, I believe, and the secret of all successful form is freedom of melodic invention.” . —ARTHUR HONEGGER. x Ok Ok : . “The artist’s chief aim is to bring out all the meaning hidden behind the notes, and to make this expressive and telling.”—-MMe, GERTRUDE PEPPERCORN. x ok Ox “A good musical critic is a man who has a considerable literary gift, and-at the same time has from childhood been brought up in a musical atmosphere.” ) —BERNARD SHAW. em he “The brain and mind are one thing and technic is another. You may cultivate the fingers, the throat, or whatever else is used; but without brain and heart there is no musical education.”—-Grorce W. CHADWICK. x ok Ok “America has produced an architecture, not by trying to invent a flational style, but by building the sort of houses that the conditions of life demanded. It may pro- duce a music of its own when the conditions of its musi- cal life are sufficiently strong to make demands of its artists.”-—H. C. Coizss. ae “Music is not a static thing. It is in a state of constant evolution and development. That is a matter of history. Musical idiom is constantly changing. It is desirable that it should. So it becomes incumbent upon the teacher and student to know some of the developments taking place in the present age, and, not the least, in this coun- try.’.—AsHLEY PETTIS. * ok Ok “The supreme function of the creative artist is to seek new forms of expression and to place them in new and beautiful settings; it is the quality that marks all progress in art and differentiates the seer from the imitator.. ite A new technic should be invented which will combine a knowledge of tradition and the modern ex- periment, if for no other reason than to avoid the pitfall of imitation.”—Lovuis GRUENBERG. What a Music Lesson Should Contain ane EEaEnaTnEna By Earl S. Hilton me Recitation Tue pupil should play the material of the last lesson. First, the Studies, then the Pieces. Dictation and Correction Three trials (or recitations) should be allowed. In the first trial, the teacher has the pupil play the work through—mistakes and all—without himself interfering. This gives the teacher a clear understanding how the pupil has been practicing. It also shows what the pupil has remembered since the last lesson. The second trial may be broken with interruptions by the teacher’s dicta- tions and corrections. In the third trial, the pupil is sup- posed to play the work as nearly like these corrections as possible. Grading In the three trials the pupil has been given an oppor- tunity to play correctly. If he has done so, a grade of 100 per cent. is marked upon the work, or, if nearly correct, 90 per cent., which permits the pupil to pass up the work and take new. If more than three trials are given the pupil to let him have an opportunity to get the work better, then, one point is taken off the highest grade for each trial more than three. __ Assignation, review work or new studies and pieces. After all the percentage grades are marked, then the material for next lesson should be assigned. The amount to be assigned is judged according to the manner the pupil recited the last lesson. Brief explanation of new and review work. New work must be carefully explained and the teacher should question the pupil about the new as well as the review materials which are to be studied during the fol- lowing week. “What is important is that the music be played in the right way, with the proper spirit, style, life, emotion and enthusiasm, whether it is with the notes or without.” —Ernest BiocH. THE ETUDE Some Effects of Music By Russell Snively Gilbert THE two fundamental chords in music are the Tonic and the Dominant. Their effects upon the hearer are directly opposite and thus a proportion is kept. The Tonic, or first chord of the scale, gives a feeling of complete rest and finish. Children usually describe it as the home chord, because it is like reaching home after school. They feel that it is a sort of safety rock, firm but comfortable, where they can pause to catch their breath. All the old masters finished their compositions with the. Tonic chord. Musically uneducated people find no trouble in recognizing it. Repeated softly, it gives a very soothing and relaxed feeling; repeated loudly, it gives a broad and-pompous sound that arouses the imag- ination dnd creates life as in the opening bars of most marches which make one impatient to start. The Dominant chord on the fifth of the scale requires movement. to a following chord. This desire is like the law of gravity ; it cannot be avoided. The following little story will illustrate the idea. Once a friend went to call upon Mendelssohn, The great composer was dressing in the room above the one in which his visitor was waiting. Hearing how slowly the master moved, his friend became impatient. Going to the piano he struck a Dominant Seventh Chord in the most enticing manner, and left it without resolving it into the following chord. A mo- ment later Mendelssohn rushed half-dressed down the stairs and flew to the piano where he played the needed Tonic chord. He had heard the Dominant chord and its impulse to move to the Tonic was so strong that he had to hear the Tonic after it. The first prelude in C major by Chopin is a favorite of everyone. Much of it is composed of Dominant and Tonic chords. Some times there are two Dominants before a Tonic is reached. Thus such a desire to move on is created that to many people it says, “Onward! On- ward!” Successions of Dominant and Tonic chords played very softly and rhythmically give a soothing and sleepy feel- ing, as in the Magic. Fire Music, from “Walktire,” and Schumann’s A Child Falling Asleep. The old masters built their music on the simpler chords. It is recorded that the wounded soldiers in the hospitals preferred Beethoven. Possibly the Dominant chords gave them the moving desire to fight for their lives, while the Tonic chords may have made them feel more solid mentally. Everyone likes. major keys. Some love and others hate minor keys. Some children ask for pieces in minor keys and others cannot endure to practice them. People in bodily distress are depressed by the minor; while those in mental trouble are inspired by it. Foreigners often satisfy their homesickness by singing in the minor key. The songs of the colored slaves are filled with minor harmonies. It can be mysterious and spooky and cause all sorts of false things to rise in the imagination. Rapid two-quarter time usually creates life; that is, movement, both physical and mental. The desire to dance is aroused by it, with a feeling of freedom and joy. All bounds of restraint are loosed by it, and children will go the speed limit in playing it. Three-quarter time, as in the waltz, gives the same feeling, but with restraint added. In the former days people waltzed rather quietly in this time; while they abandoned themselves to the rollicking rhythm of the old two-step in two- “quarter time. Four-quarter time is also definite and controlled as in marches. Played slowly, as in funeral marches, it is both impressive and depressing. Played with spirit it is most inspiring and gives a solid feeling to the hearer. Six-eight time gives a very flowing and smooth effect. Very beautiful and sustained melodies often flow along in this time. It can give calmness and peace as in Bar- carolles, or joy and dancing as in the Tartantelles. It is no copy-book maxim, but sober truth, to say that to have appreciation of, and understanding for, art is to to have one of the most genuine and remunerative forms of wealth which it is given to mortal man to possess. I measure my words when I say that not the most profit- able transaction of my business career has brought me results comparable in value to those which I derived from the investment of hearing, in my early youth, let us say, “Tristan and Isolde,” or seeing . Botticelli’s “Primavera.” Moreover, the dividends which we receive from the appreciation of beauty and the cultivation of art are wholly “tax-exempt. ” No surtaxes can diminish Orto H. “ye It expresses action and demands movement.

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a ee. THE ETUDE Pranks on Parnassus OCTOBER 1924 Page 665 How Great Composers Have Seen the Humorous and Joyous Side of Life Amonc the most interesting concerts given in this coun- try are those of the Beethoven Association in New York. To this association belong all the great singers and players of the time! There are no membership dues, but it is ex- - pected of the members that they will be willing, once every few years, to appear without any remuneration whatever, at one concert together with half-a-dozen other artists of the same high rank. There are no other musical entertainments at which one can see and hear so many celebrities at once, excepting an occasional all-star performance at the Metropolitan Opera House; hence these concerts always draw large audiences. The proceeds are devoted to promoting the cause of music in various ways. For example, the receipts of one season were used to defray the expenses of bringing out, in three volumes, Thayer’s standard Life of Beethoven in the original English, with additions by Krehbiel and others. “The Carnival of Animals’’ Usually, it is needless to say, the concerts of the Bee- thoven Association are dignified as dignified can be; but on one occasion the musicians “came off the perch” by playing the amusing “Carnival of Animals” by Saint- Saéns. In this piece the eminent Frenchman plays all sorts of tonal pranks—some of them almost jazzy—and the performers also indulged in pranks of their own. Harold Bauer, President of the Association, apologized sarcastically for not being able to offer the audience better pianists than Walter Damrosch and Arthur Bo- danzky; whereupon Mr. Damrosch jumped up and, with mock-indignation, declared that while he and his compan- ion ‘might have modest doubts now and then as to their being great conductors, they knew they were great pian- ists. The audience was tremendously delighted by all these pranks on Parnassus; and'I could not help thinking that if humorous episodes like these were frequent at con- certs, men, in particular, would be more apt to attend. Does not Shakespeare introduce humorous episodes even in his most harrowing tragedies? It is well known that when musicians get together at their clubs they are more prone to indulge in tonal pranks than in serious playing or singing. They feel the need of relaxation, of something to rest and refresh the jaded mind. Jazz consists largely of tonal pranks, and to jazz our musicians are turning for amusement more and more, those who dwell on the highest peaks of the Parnassus mountain chain as well as those who occupy the foothills. Richard Wagner in Gay Mood Among the dwellers on the summit of the musical Par- nassus none is more conspicious for his indulgence in pranks than Richard Wagner. In his case it isn’t so much musical capers (although Beckmesser’s serenade in “Die Meistersinger’” and Hans Sach’s interruptions of it by hammering on the shoes he is mending is a classical case of tonal fun) as personal exhibitions of animal spirits. Ferdinand Praeger relates that one day in Triebschen (Switzerland), when he was with Wagner discussing various things, the great man suddenly rose and stood on his head on the sofa. At the moment when his feet were in the air the door opened and Madame Wagner entered. She hastened forward, exclaiming ‘‘Ach, lieber Richard! Richard!” Getting back on his feet he reassured her of his sanity, explaining that he was only showing Ferdinand that he could stand on his head at sixty, which was more than the said Ferdinand could do. When Wagner was only seven years old his uncle Albert complained that the untamable boy left the seat of a pair of trousers hanging on a fence ’most every day. Through- out his life sight of a tree aroused his inherited monkey instincts. Judith Gautier, after visiting him in Switzerland wrote: “One of the most remarkable things about Wagner is the youthful gaiety which so frequently breaks out, and the- charming good humor which his tormented life has never been able to quench. -At Lucerne he surprised me by his skill in bodily exercise and by his singular agility. He climbed the highest trees in his garden to the terror of his wife, who besought me not to look at him, because, she said, if he were encouraged he would commit no end of follies.” Hans von Wolzogen relates that one day, at the Villa By the Noted Critic and Author HENRY 7: FINCK Wahnfried in Bayreuth, when Liszt had been playing as he alone could play, and every one present was deeply moved, Wagner suddenly got on his knees and hands, crawled up to the great pianist and exclaimed: “Franz, to you people should come only on all fours!” His droll wit often was exhibited at rehearsals. Once when “Rienzi” was being prepared, the trombones played so loudly that he stopped them and said, with a smile: “Gentlemen, if I mistake not, we are in Dresden, and not marching avoid Jericho, where your ancestors, strong of lung, blew down the city walls.” At a rehearsal of “Gotterdammerung,” when the Hagen thrust his spear into Siegfried’ very awkwardly, Wagner snatched it from him and shouted: “Fellow, have you never yet stabbed a man from behind 2” Elsewhere I have related how, even in the darkest hour of his life, when he fled to Stuttgart in fear of his pur- suing creditors, his sense of humor was not subdued. On the evening before he intended to leave the city in order to hide in the mountains, he went once more to his barber and, after he been shaved, remarked: “Yes, my friend, it’s no use, I must go; you are alto- gether too exorbitant.” The poor man took this seri- ously and begged him not to go on that account, as he was willing to shave him for less. Frau Wille, who relates this anecdote, and who had frequent opportunity to note the humorous, sarcastic and playful moods of her guest, quotes the apt remark of an English writer that “there is nothing so pleasant as the nonsense of men of genius; but no fool should be present.” Beethoven Unlike His Music The discrepancy between Beethoven and his music was extraordinary. About the time when he was composing the Ninth Symphony and his great mass (Missa Sol- emnis), two of his most scholarly, dignified and impres- sive works, he was arrested one day as a tramp in the outskirts of Vienna. He had left his house without his hat and wearing a very shabby coat. He was observed peering into windows and behaving strangely in other ways. A crowd gathered and a policeman was sum- moned. The supposed tramp kept on shouting “I am Beethoven! I am Beethoven!” but nobody believed him. Finally someone came along who knew him and he was sent home with apologies. Was it the touch of insanity which is supposed to be associated with genius (“great wit to madness nearly is allied’) or a crude sense of fun that made the great composer do such “stunts?” Who can tell? He certainly was wont to deal in pranks. Summing up the details given by contemporaries, Grove says: “To tell the truth he was fond of horse-play, and that not always in good taste. The stories—some of them told by himself—of his throwing books, plates, eggs, at the servants; of his pouring the dish of stew over the head of the waiter who had served him wrongly; of the wisp of goat’s beard sent to the lady who asked him for a lock of his hair—all are instances of it. No one had a sharper eye or ear for a joke when it was told on another. . But it must be confessed that his ear and his enjoyment were less keen when the joke was against himself.” His letters, like those of Wagner, are full of droll things. “Swift or Shakespeare himself never made worse puns with more pleasure, or devised queerer spell- ing or more miserable rhymes, or bestowed more nick- names on his friends. He lived in a world of nick- names and jokes.” Beethoven knew that genius ranks higher than “noble” birth or money and he never lost a chance to show that he considered himself a» good as anybody, be he em- peror or millionaire. “I, too, am a king,’ he used to say. Among the most familiar anecdotes is one relating to his brother who one day left his card “Johann van Beethoven, Gutsbesitzer” (land proprietor). The com- poser returned it after writing on the back “L. van Beethoven, Hirnbesitzer’” (brain proprietor). Schubert Was a Merry Young Soul Although Schubert, throughout his short life, always felt the pinch of poverty, he was as jolly a fellow as you could find in a week’s search. Many were the boon companions attracted to him by his joviality and love of pranks. They had frequent gatherings which were called “Schubertiads,’ and these fellows did not hesi- tate to help him spend in food and wine what little he was able to earn. Nothing gave him more pleasure than a chance to sit at the piano and improvise waltzes by the hour for gay dancers. One evening, when the jollification was inter- rupted because of Lent, he exclaimed petulantly: “They do this just to annoy me!” Schubert often played and even wrote down things he soon forgot completely. No doubt, when thus impro- vising dances by the hour, he often played melodies as enchanting as any of those that have come down to us. Readers of Tur Erupre who do not know these dances should order them at once, either in their simple original form or in the more difficult versions made by Liszt. As for those “Schubertiads,” one can imagine what gay musical pranks were played by these tonal vaga- bonds at every one of them. One evening Schubert took a comb, wrapped it in thin tissue paper and hummed through it his Erlking, with grotesque exaggeration of expression marks, turning a tragedy into farce. It must have been excruciatingly funny—a sort of - forerunner of jazz. Mozart and Liszt Mozart, like Schubert, was generally happy in spite of his poverty. His sunny disposition is reflected in his music, which is as cloudless as the California sky. He. was so poor that sometimes he could not afford to buy wood for a fire in cold weather except a stick or two which he and his wife carried up and down Stairs to keep their blood in circulation. Concerning his doings when in particularly good humor I can recall at this moment only one incident pertinent to my subject. He is said to have made a bet that he could push down five C’s at once onthe keyboard of the piano of his time. He won it by striking the middle C with his prominent nose. That nose must have been more or less of a trial to him, although it wasn’t a Cyrano de Bergerac nose—or like that of the American millionaire who, arriving for dinner at a place where the doorman did not know him, was told: “You'll have to take off that nose, Sir; this isn’t a fancy dress affair.” When Mozart was censured for his alleged “manner- isms” he used to say “I cannot help those any more than I can help the shape of my nose.’ | Liszt loved dearly to indulge in. pranks of all sorts. One day, when he had been persuaded to travel from Weimar, in company with some other notable persons, to another town where great preparations had been made for their reception, the committee was dumfounded when the honorable guests, obedient to Liszt’s whim, stepped out of a fourth class railway pie kind used for cattle! As everybody knows, Liszt was the kindest man that ever lived. He taught hundreds of young women and men, but never accepted a cent in payment, even when he was by no means rich, for he ceased playing in pub- lic thirty-nine years before he died. Altruism—helping -others—was his ideal always. He even subjected himself to the irksome task of reading and commenting on manuscripts sent to him by ambitious young composers. Once in a while he had his reward, as when he played over the Greig piano con- certo and promptly proclaimed that Norwegian a genius. At other times he didn’t have such good luck. One day a conceited-looking young man came to him with a manuscript. Now Liszt himself was a “bold bad man” so far as dissonances are concerned, but he knew the limit. Glancing at the manuscript he shook his head and said, pointing to a certain line: “Young. man, this cannot be done.” : “But it can be done, for I have done it!” the young fellow exclaimed impudently. Liszt walked to his desk, took the quill out of his ink- stand and flipped the ink on his visitor’s white vest, saying: | “This, too, you see, can be done, but it mustn’t.” _ Afterwards he gave the youth a new vest. If he lived now he would have to buy whole carloads of vests for the cacophonists whom he would condemn and be- spatter with ink,

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OCTOBER 1924 Let me tell you one more Liszt anecdote. Like all great geniuses who were ahead of their time he suffered much at the hands of conservative critics. He was fond of playing whist. One evening he suggested a game. One of those present said he was very sorry he could not join them as he didn’t know anything at all about the game. “Very well,” said Liszt, “then you can be our critic.” Page 666 The Witty Brahms There are still music lovers who do not: care for the compositions of Brahms, but no one with a sense of humor could fail to appreciate his wit ani laugh at his pranks. In the matter of reading and judging manuscripts he was not so altruistic as Liszt. One afternoon he left his house and walked up the street. He was presently accosted by a young man who had a roll under his arm. “Excuse me—can you tell me where Herr Brahms lives?” “In that house over there, third story’ answered Brahms and hurried on. | On another occasion he consented, after. much coax- ing, to play the piano to accompany an amateur violin- cellist who was anything but a Piatti or a Casals. After a few bars Brahms began to play fortissimo and kept it up to the end of the piece. “How loudly you play—I could not hear my own playing,” the amateur exclaimed. “Lucky man,” answered Brahms. : _ In some ways Brahms was as eccentric as Beethoven. Being very temperamental, Beethoven often flared up and said disagreeable, nay positively insulting things to his best friends. As soon as he cooled down he bitterly re- gretted this and wrote letters contritely apologetic. Brahms was less apologetic but he excelled—thanks largely to his biting wit—in the art of rubbing every- body’s fur the wrong way. It is related that at an evening party, when he was going home, he turned round at the door and Said: “If there is anyone here whom I have forgotten to insult, I beg his pardon.” In this instance his wit came to the rescue of his manners. It reminds one just a little of the naval offi- cer who, returning from a cruise among the islands of cannibals, was asked about their manners and customs. -His brief answer was: “Customs beastly; manners, none.” , Yet Brahms was one of the kindest of men. He was particularly fond of children and always ready to de- vote himself to their amusement. When He Got the Worst of It It may be said that there is as singular a discrep- ancy between the. music of Brahms and his personality as in the case of Beethoven. While Brahms bubbled over with wit in conversation, his music is always seri- ous. His friend, the poet Mosenthal, once complained about this excessive seriousness with which he took his art. On Brahms’ declaring that he was sometimes in a joyful mood, Mosenthal retorted: “I agree with you. When you are in a right merry mood then you sing ‘The Grave is My Delight’.” Another time the witty Brahms was outwitted was when he called on his friend Leschetizky and found him composing. He liked this famous teacher personally but didn’t care for his pieces. Looking over the teacher’s shoulder he said: “Ha! What kind of things are you writing this morning? I see—quite little things, little things of course, yes.” “Little things?” replied Les- chetizky. ‘Yes, they are that, but ten times more amus- ing than yours, I can tell you.” Still another time when Brahms got the worst of it was when he and the pianist Epstein were going home late, amid rain and snow, and came across a well-dressed man lying in the street apparently very ill. He was able’ to tell where he lived, in an adjacent street, so the two men carried him to the house and started for the fourth floor; but before they reached it, a woman with the mien and voice of a fury appeared above them and shouted: “Aha! So you are the fine fellows who seduce my husband to drink and carouse with them through half the night! Are you not ashamed:of yourselves? Wait, I'll show you!” With that she hurled her broom and another volley of abuse at the two musicians, who took to flight precip- _ itately. : | oo Self-Test Questions on Mr. Finck’s Article Who wrote the Carnival of Animals? Which composer set a cobbler’s tapping to music? Which great composer was given to horse play? How did Mozart win a famous bet? Which great composer went out of lis way to amuse children? | | un fe Oo DD - must be correct, convenient and, above all, ‘but once in each octave.” Finding the Right Fingers at the Right Time ————- -— - By T. L. Rickaby FINGERING seems to present a very considerable obsta- cle to the progress of the average pupil. Yet fingering so firmly established as to be practically automatic. In deciding on the best fingering, the character of the passage to be played, the size and shape of the hand and fingers must all be considered. The conventional fingering of the scales and arpeggios is more or less fixed, but outside of music for the earlier grades and the general run of salon pieces, scales and arpeggios are seldom found in their fundamental or primary forms. Furthermore, rules for fingering are like rules in gram- mar or counterpoint. By the time one has mastered all the exceptions the rules have been forgotten or have lost their power. For example, in playing scales in flats a rule is given thus: “In the right hand place the fourth finger on B flat.” Yet innumerable instances could be cited in which the fourth finger must carefully avoid B flat. Another rule often given is: This holds good in straight scale playing, but in many compositions scale runs can be found which can be played more smoothly and cer- tainly by using the first four fingers in succession throughout. After all, it is a matter of conveniencé—not the editor’s convenience nor that of the composer or the teacher, but the pupil’s convenience. In theory, a particular fingering may be logical and right and may suit some—but it cannot suit all. The short, stubby fingers—which have been known to do some fine playing at times—must receive different consid- eration from the long, shapely ones. It is in matters of this kind that the teacher has a shining opportunity to use his judgment and common sense; and the pupil (who has passed the earlier grades) has an equally luminous opportunity to use his brain. Individual thought and the use of some sort of initia- tive are positively indispensable in music study if results are to be adequate and permanent. This one phase of musical activity—fingering—gives an abundant oppor- tunity for the exercise of whatever initiative either pupil _ or teacher may possess. Where no departure is made from primary forms, all scale and arpeggio passages will be done by means of the conventional fingering as taught in the earlier grades. When variations occur the fingering will de- pend entirely on what has to be played. It might be said that good fingering consists in having a finger conveniently ready for any key that is to be depressed. To bring this about some thinking is necessary. Except in the slowest of music—and then usually only in polyphonic music—one finger is never passed over the other ; and yet young players do it, or try to, over and over again, in spite of its awkward uselessness. It is never really necessary—and it is always inconvenient—to use the thumb or any finger on successive keys. It is no uncommon thing for the player to find his right thumb on the last note but one of a descending passage. They then simply lift the thumb down to the last note. They are not thinking, and so it does not occur to them to turn a finger over the thumb. Another pupil will find himself at the end of a downward scale run with a black key for the last note and only the thumb to play it. In both cases the inconvenience could have been avoided by correctly fingering the earlier part of the passage. Let us look at this example: If the thumb comes on the first note, ordinarily the second note “F” would be played with the third finger. But to have a convenient finger for the third note, it is obviously necessary to place the fifth finger on the sec- ond note. This is the simplest of all examples, but music is full of such places, for which the various rules of fingering make no provision. This is where initiative and individual thought come in. , Sometimes a passage may be fingered in more than one. way. Try all. After deciding which is the easier one, adopt it. To do otherwise is to cause uncertainty, and there must be no uncertainty if piano playing is to be satisfactory to those most concerned. It is recorded that Chopin taught his pupils to play similar passages with the same fingering, even when it caused the thumb to be used on the black keys. It is a good rule, provided it is not easier to play the passage in another way—and it usually is. Many years ago Joseffy taught his pupils to play all scales with the satne “Use the fourth finger — THE ETUDE — fingering as the key of “C,’—not to establish a new scale fingering, but to make the fingers equally at home on both white and black keys. Such players as followed his suggestion will find it useful now, because in modern music the thumb is used freely on the black keys, both in scales and chords. In the fingering of chords and arpeggios some judg- ment is necessary. Let us take for example the common chords of “D,” “A,” and “E” in the left hand. In each of these chords the second key (playing upward) is a black one. The invariable rule for fingering these chords (or arpeggios) is to use the fourth finger on this black key. Yet only one player in ten can do this conveniently. The third finger should be used. In the minor chords of “C,” “G,” and “F,” the second key is also a black one, but it is quite convenient to use the fourth finger in these chords, and that finger should invariably be used. A famous American piano teacher said at a state con- vention that if pupils. could only be induced to use a little common sense, it would not be necessary to finger whole passages, disfiguring the music and adding to the teacher’s work. But teachers seem to be obliged to write in the proper fingering for all passages that are out of the ordinary—and for many that are not. A little of the time consumed in this way might be used in trying to develop initiative on the part of music pupils; that is, where such development is possible. They then may gradualiy learn to depend more on themselves for the many things for which they now look helplessly to the teacher, who has enough to do to teach those things that the pupil could not reasonably be expected to learn by himself. Crossing Hands oy By S. M. C. To young children a piece which requires crossing of hands is often a source of wonder and delight; and the eagerness with which they try to master it shows what importance they attach to this simple but showy device in piano playing. The one important thing to impress upon them is that the hand which crosses should move in a graceful curve from the treble to the bass and vice versa; for in this way the distance can be more accurately measured than when the hand moves in a straight line. This will also prevent the striking between two keys which so often occurs when the crossing is not properly and carefully done; and there will be no danger of one hand interfer- | ing with the other. As a preliminary exercise these curved movements may be practiced to good advantage without striking any keys, merely measuring the distance from one to the other with relaxed arm, thus forming a habit of accuracy which will be a distinct gain to the pupil. Rapid crossings, in particular, form a stumbling-block to little pupils, who often strike one or two keys short or wide of the mark. A good way to overcome this difficulty is to have them memorize the passage so that they can give their whole attention to the keys they wish to strike. When the eye is forced to travel from the piece to the keyboard and back again there is always danger of losing the place and making mistakes. Study Stimulants | By R. F. L. Barnett A LITTLE talent plus a nes will accomplish wonders ; but a very small amount of indifferent practicing will not develop even extraordinary talent. ) To the careless player the pedal covers a multitude of sins; but to the discriminating listener it merely adds one more to the collection. Talent, intelligence and ntuuiee form a wonderful mix- ture; but they need a great deal of careful listening as a preservative. Temperament makes an excellent seasoning for the fruits of labor; but for a steady diet nothing can take the place of hard work. “BEAUTY in art is a relative result obtained from a ‘mixture of different elements, often the most unexpected. Only one of these elements is stable and permanent and must be present in any combination; this is novelty. A work of art must be new and may be recognized as new if it gives one a sensation never before experienced.” —~-REMY DE GOURMONT. ne et “Tue Secret of Success is constancy of purpose.” —lLorp BEACONSFIELD.

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ree”. > THE ETUDE Seven years ago. Madame Marcella Sembrich retired from the operatic and concert stage. Few singers have ever had anything like her experience. As a child she was a “wonderchild,” playing the piano and the violin and making numerous successful appearances before the public. Deciding to become a singer she appeared with: triumph at the principal great opera houses of the world. Since her withdrawal from the public, the singer has trained a number of the younger and foremost singers of the day. Mie. Sembrich is now a member of the Fac- ulty of the Curtis Institute of Music. “NEVER do I recollect the time when music was not the chief interest in my life. Indeed, when a little child I thought that music must certainly be the chief interest in the life of everybody. I was born in the little village of Wisniewezyk in Galicia, Poland. My name was Praxede Marcelline Kochanska. My father, MKasmir Kochanski, had a great natural gift for music. He never had any regular musical instruction of any kind, but he played several instruments excellently and played mest of the instruments of the orchestra sufficiently well to give instruction on many of them. My father taught my mother to play the violin after they were married. Her maiden name was Sembrich, and this name I adopted for my career. Symphony Copied by Candle Light “We were a most musical family. We formed a quar- tet composed of my brother as violinist, my father as cellist, and my mother as second violinist, while I played the piano. At the age of four I started to study the piano with my father. At six he taught me the violin. Nat- urally with music as his main source of livelihood and with a growing family, our means were extremely mod- erate. But we were gloriously happy with the joy that music brought into our simple little home. : _ True, we had to work very hard for some of the ad- vantages we wanted, but there was a beneficial side to that. My father, for instance, coveted the scores of the symphonies of Haydn and Mozart. They were too ex- pensive to purchase and therefore he borrowed them and set me to work copying them part for part from the score. Thus, when I was a little girl of ten, I had copied by the light of a candle many great symphonies note for note for all the instruments. [ thought it rather an ar- duous task, but nevertheless was absorbed in listening in imagination to the instruments as I copied each line. You see, music took the place of dolls for me. When my father made me my first violin I was one of the happiest children in the world. I loved it dearly and fondled it with unbounded pleasure. “Wonderchild” to a DOS oy vo ofits Mme. Sembrich to-day, withher pupil ” Dusolina Giannini,in her garden at Lake George An Interview Secured Expressly for the ‘“‘Etude’’ with Madame Marcella Sembrich, World Famous Prima Donna Early Successes “At the age of twelve, being considered a wonderchild, I made many public appearances as a violinist as well as a pianist. My father, however, wisely realized that I still had ‘everything to learn.’ Accordingly he took me to Lemberg, Galicia, where I studied the piano with Prof. W. Stengel, who was’ also of Polish nationality, and at the same time became the pupil of Bruckman for the violin at the Conservatory. I continued the piano for four years with Professor Stengel, little realizine that one day he was to become my beloved husband. He felt that if I was to go on with my career I would re- quire additional instruction. Accordingly I was taken to Vienna, where I continued the violin under Josef Helmesberger, the director of the conservatory, and the piano with Julius Epstein, senior. When Liszt heard me play one of his Rhansodies on the piano and Wieniaw- ski’s arrangement of Polish themes on the violin, he was greatly pleased, but when he heard my voice he said: «Sing, sing for the world, for your voice is that of an angel.’ “This determined my career. Thereafter I began study- ing singing with Rochitanski in Vienna, and at the same time continued the piano and the violin. After one year I went to study singing in Milan with the younger Lamperti. “In 1877 Professor Stengel and I were married and went to Athens where I made my debut in Bellini’s ‘Puritani, and later returned to Vienna to study my repertoire with German text, and then followed a two- year engagement in Dresden at the Grand Opera. My debut in London at Covent Garden was in ‘Lucia’ in’ 1880, thereupon followed directly my season of Grand Opera in Madrid and the first of my fifteen seasons in St. Petersburg and Moscow. My debut in New York. was in 1883, also in ‘Lucia.’ Diva of rdles and thorough knowledge of the score. Page 667 axl Ve ws ij ; yy — Gj a LF, - SSS LP ins —S OG FZ VEN ey ares —\ RS) oy (IE SANTA Ns LATS “FS = ~ u Study in Holidays “Despite the unbounded enthusiasm of the public and my ever increasing success, which placed me although so young on the plane with the great and already famous singers of that epoch—I thought that still finer results could be created, and so went for several summers dur- ing the holidays for a few weeks’ study with the elder Lamperti at Como. ‘ “In 1909, after a career of about forty. years, I decided to retire from the operatic stage and continued for several years my concert tours in America and Europe. Gradually I began to feel the desire of trans- mitting to the young generation of to-day the art that I had learned so thoroughly and practiced so long. After the death of my husband in 1917, I withdrew entirely from the public platform and began to devote my tim and energy exclusively to teaching.” Singers Must Have Musicianship “Many students and singers come to me for advice and instruction, naturally more than I am able to kelp. The American girl, intelligent, industrious and with great ambition, expects to perform wonders without proper preparation. A girl who has the good fortune of being able to begin studying when she is eighteen to become a singer but has no previous sound musical foundation, as well as lacking a knowledge of languages, starts her study of singing with a great handicap, especially in these days when music has so advanced in complexity. The piano is literally. indispensable for the proper study I found the violin invaluable as a study of. intonation, legato and phrasing. We learn from violinists and they learn from us. With some the matter of pitch is inborn, with others it must be acquired by painstaking study. Importance of Languages “The general lack of knowledge of languages among many, many young students is greatly to be regretted. If one sings ‘parrotwise’ how can one have originality or feel inspiration. To understand the spirit of a language one must be able to speak it fluently, and at once acquire the habit of using clear vowels, rather than some hor- ribly garbled sounds, and in like measure realize the im- portance of consonants. Itis necessary, of course, to have grammatical knowledge but that must be supplemented by real speech. The careful study of languages trains the ear for quality. This 1s necessarily of immense value in learning true musical style and increasing one’s power of interpretation. Sufficient stress 1s not laid upon speak- ing the beautiful English language with agreeable quality of voice and clear enunciation. When I do find real talent, it is a great compensating joy. Such a pupil

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Page 668 OCTOBER 1924 realizes that voice is not everything but that brains and work are indispensable. _ “Tt is an unspeakable help to the fine looking American girl when she also has assiduity, musical intelligence, good health, good carriage, a true knowledge of lan- guage and perhaps most of all when she knows how to listen and to hear. Those who earnestly entertain the thought of becoming artists should realize that it means sacrifices,.as nothing worth while can be attained with- out readiness to give up amusements and willingness to make the most of each day, not only with vocal prepar- ation in the company of Concone, Bordogni, Marchesi, etc., but also by studying harmony and languages. For instance when a young singer longs to have a career, and wants to study the Wagner rdéles, how long will it take her if she has merely a superficial idea of the Ger- gman language—she knows nothing of the poets, has never read a single book or ‘play—how can she possibly sud- denly. acquire the deeper meaning of the text of an opera or the.atmosphere of a song. I have studied all my life, I have sung with the great singers of my time, and still feel that.as‘long as I teach, I am learning all the time as I study*new problems with every pupil. It seems difficult ‘to: put the understanding of all this into the hearts of the pupils; they are so easily satisfied. pi Mad - . Lamperti and Legato “When I went to the elder Lamperti for further study I knew that the great Maestro realized above all the value of legato. He was then seventy years old and living on the Lago’ di Como. He used to get fervently excited, and when I was singing I have seen him on his knees with clasped hands, appealing begging: “Da molto olio, per Carita, da molto olio.’ (More oil, pray, more oil.) “What he wanted was that rich smooth quality, the un- surpassable legato, which gives warmth, youth, color, freshness, elasticity—and without which the most promis-_ ing voices’ must suffer in comparison with the voice possessing the real legato. Lamperti was insistent upon expression and used to say to girls who were without it, ‘You sing like a frog,’ but ‘he said it with a kind of disgust which made the young women do a lot of thinking, “The ability of creating dramatic, tender, joyful moods, -and of coloring the voice accordingly, lies entirely within the penetrating power of the voice, mind and soul. Lam- perti believed that genuine temperament belonged pri- marily to a magic quality of magnetism in the voice itself, supplemented by the talent of acting. With this in mind, overacting can never replace true temperament. The Singer’s Life “The singer’s life, however, is by no means one of in- cessant drudgery, or lacking in high lights, many of which are exceedingly humorous. At the outstart of my career there was an amusing incident in London which no one forgot who chanced to see that particular performance of ‘Dinorah’ at Covent Garden. Dinorah’s pet goat, called by opera singers ‘the second Prima Donna,’ is usually very demure and well-trained. The one that was assigned to me had a reputation for sobriety and good stage de- portment. To make sure that the goat will leave the stage at the proper time, a property man usually stands in the wings with carrots or a cabbage. When the goat sees these they are supposed to be so irresistible that she will at once leave the stage. On this evening, however, the goat was evidently of another mind. They called and coaxed from the wings in vain, one of the actors at- tempted to drag her off, but the goat resorted to her nat- ural means of defense and rushed towards the prompter whose every effort could hot induce her to budge from the glamor of the footlights. She was determined to be the first prima donna for once, which put the audience and orchestra in an uproar, and the performance could not go on till this impertinent diva was driven off the stage.” Mirrors for Hand Position —___—___ By Mrs. N. D. Wells Prano pupils will understand what is required to obtain a correct position of the forearm, hand and fingers, if a small mirror be placed at each end of the keyboard for the practice period. The mirrored movements reveal the correct position in an impressive manner and save much reiteration of teaching along that line. AND now comes the inevitable question. Is there, then, one right interpretation for a musical work? Of course there is. But the responsibility of assuring that one, contrary to popular belief, rests not with the. per- former but with the composer.—EoL1an REVIEW. . “Syncopated Pedal” — By E. H. Pierce Aone the numerous little technical details which, taken as a whole, distinguish really artistic piano-playing from that of the crude and common sort, is the judicious use of what is known as “syncopated pedal’—that is, the use of the pedal just after a note or chord is struck, but before the fingers release the keys. Rightly done, this produces a tone of purer and sweeter quality, and at the same time fully as strong as if the pedal is depressed at the same time as the keys. There is a well-understood scientific reason for this. When a piano key is struck and the little felt hammer flies against the string, the tone begins with a percussion involving unavoidably a small, but none the less, appre- ciable degree of noise, along with the musical tone. Im- mediately after this percussion comes the loudest part of the tone, which in turn diminishes rapidly until silence follows. Tones in the bass last much longer than those in the treble, but all go through the same routine. Now the .damper pedal has two purposes: first, it prevents the dampers,.from falling back when the keys are released, thus prolonging the tone; second, as the dampers are lifted at the same time from ail the strings, it allows the other strings to vibrate sympathetically, thus reénforcing and enriching the tone. (It is this prop- erty, in fact, which has gained for the damper pedal the common but incorrect appellation of “loud pedal.”) When the pedal is used either before or exactly with the striking of the key, the slight degree of noise above referred to is reénforced along with the tone, and the whole combined effect begins to die out about as rapidly as when no pedal is used. On the other hand, when the pedal is used, just after the. percussion of the hammer, the sympathetic vibration of the other strings begins to fill up the tone just at that point of time that it is most needed—namely, when it would otherwise be dying out rapidly. This serves to equalize matters, producing a tone of more smooth and singing quality. Incidentally, it gives no chance for the momentary harshness of the blow of the hammer to be magnified by the same sympathetic vibra- tion. We have spoken of the sympathetic vibration of the “other” strings; but this should not be understood to apply to them all. Those which are chiefly affected are the octaves of the notes struck, along with the twelfths, fifteenths, seventeenths and nineteenths; the octaves be- low also may respond slightly. The best exercise to acquire this use of the pedal is as follows: Ex.4 Correct Effect and Make use of only one finger, say the second, and listen to the effect carefully. If there appears to be a break in the perfect legato of the tones heard, your pedal has been lifted too early; if the tones overlap and blur, your pedal has been held down too long. Practice it until it becomes instinctive to do it exactly right. When Not To Do It The syncopated pedal can be used only on notes of at least a moderate length. If attempted on very short notes, the first note will fail to be sustained at all. On figures of the following sort, the pedal must be put down with or even before the stroke of the first key. Pupils who have spent considerable effort in acquiring the synco- pated pedal sometimes need to be reminded that there are places where it cannot be used, such as These call for the use of pedal promptly with the stroke of the key, or better still, just beforehand—the very reverse of the syncopated pedal. THE ETUDE A Lesson on Stems | ——__—_ By S. M. C. “Why is it,” said Ethel, “that some stems go up and — some go down, and some notes have double stems ?” “The reason is very simple,” said the teacher. “Notes placed on the third line or any line or space above extend downward from the left side of the note-hand, All notes below the third line have the stem extending upward from the right side of the note-head. In piano music we often find two or more notes attached to one stem, extending either upward or downward. In writing in two or more parts, however, where each voice is a separate melody, it is customary to keep the parts distinct by having the stems of the higher voice extend upward, and those of the lower voice downward. For example, here is a passage from ‘Bach’s Passion Music :’ Ex. 1 using single stems except where it is necessary to distin- guish the voices, as in the last measure. The double stem on the note D shows that the alto and soprano voices com- bine on that tone. The dotted half-note in the second measure is held for three beats by the soprano, while the alto sings°D-C-B. Piano pupils are often careless about holding the long notes. A few lessons on the organ would show them the seriousness of this fault which is so often disregarded by piano pupils.” “T admit that I have often failed in this respect,” said Ethel, “simply because I did not stop to think. Now, there is one more question I should like to ask. Sometimes two notes are written on the same degree of the staff, one with the stem upward, the other downward. Why should there be two notes instead of one?” | “This is because one voice requires a note with a hollow head, that is, a half note or a whole note, and the other voice has a note with a solid head, a quarter note or an eighth note. In this case we cannot use a double stem, for a whole note with a stem would no longer be a whole note, nor would it be possible to write a half-note with a solid head. Therefore, the two notes must be written side by side, as shown in the following example: “The C is held while the D is being played. These double stems also serve to mark important tones in the melody, as in the following example from Grieg’s Dance of the Elves: “Here the double stem notes must be held while the next eighth-note is being played. Careful pupils need not be reminded that a quarter-note equals two eighth-notes, and should be held for its full value, except when marked staccato; yet, as a matter of fact, pupils are often remiss in this respect. They forget that attention to details is of the greatest importance in learning to do anything worth while and especially in mastering the difficult art of music.” “It is not until the artist knows and is face to face with his feelings that he can find a right form for their expression.’—RuTLAND BOoUGHTON. O Music, sphere-descended maid, Friend of Pleasure, Wisdom’s aid! Collins “THE roadway to the mind is shorter through the ear than through the eye. Relieve the mind of the impres- sion that notes are important and the learning of the most intricate music becomes comparatively simple.” —Franxk La Force. : eae ee ee a a ee ee ee eee

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THE ETUDE OCTOBER 1924 Page 669 How to Go About Studying Bach’s “‘Well--Tempered Clavier”’ Every piano student who pursues anything like a thor- ough course, sooner or later becomes familiar with Bach’s Inventions—a book of very improving but rather dry studies which train one in polyphonic playing, but give little hint of the composer’s real genius. Some also study a few of his more melodious lighter works, such as Gavottes, Bourees, Minuets. His real genius, however, is most evident in his sacred music—the “Passion according to St. Matthew,” the “Christmas Oratorio,” the great “Mass in B minor,” and some of his Cantatas—and next to that, in his organ works, some ‘of which have been transcribed in a masterly manner my Liszt, as piano pieces, but need a virtuoso to perform them properly. But the most available and widely known work wherein the pianist may arrive at a true appreciation of Bach is his “Well-Tempered Clavier,” a collection of forty-eight preludes and fugues, published in two volumes. So uni- versally is this known that even beginners have usually heard it mentioned until the name begins to have a familiar sound to their ears; yet too often it happens that they never progress so far as to know it at first hand; for, frankly, many of the pieces are extremely difficult, although, if one will but pick and choose a little, there are several numbers which may be studied with pleasure and profit by pupils of moderate. attainments. Bach has been called “the musician’s musician,” for it has been by other great musicians that he has been most keenly appreciated. Beethoven, Mendelssohn, Schumann and Liszt all studied the “Well-Tempered Clavier” until they knew it practically by heart, and this not with a mere purpose of improving themselves, but because they liked it—much as a religious person reads devotional books. One great misunderstanding arises from the fact that we are apt, at the present day, to regard a “fugue” as a form of composition too much the product of the intellect —a sort of musical mathematics—to be a means of emo- tional expression, This would often be true of fugues written by modern composers, but we must remember that in Bach’s time it was such a commonly used musical form that the form itself offered not the slightest obstacle to a great composer’s fullest personal expression. Schumann would never have been attracted by them simply as clever examples of good fugue-writing, for he had a most pronounced hatred of all that was dry, formal or mechanical in music. To him they were wonderful little pieces full of strong emotional expression, running the whole gamut from grave to gay, from profound to playful. We have no doubt that Chopin regarded them in the same way, and for the same reason, although he may not have expressed himself in the same words. Origin of the Work Ruskin, somewhere in his Modern Painters, remarks on the fact that occasionally a great artist will produce a real masterpiece as the result of what seems a merely accidental or trivial cause. A painting intended to cover a mouse-hole behind a door might turn out to be some- thing wonderful, while a huge historical picture intended for a public building might chance to be “as dull as a Dutch grammar.” One is reminded of this when consider- ing the origin of the “Well-Tempered Clavier.” The words “well-tempered” have reference to the system of tuning—in fact, the system now universally in vogue— which differs from the system used in Bach’s youth and before his day. In very early times, it was customary to tune the piano (or rather, the harpsichord, clavichord and organ) as perfectly in tune as possible in the key of C, letting other considerations take care of themselves. The result was, that these instruments would be in fairly good tune in the keys of F and G, less so in the keys of D and B flat, and very disagreeably out of tune in all keys having many flats or sharps. Bach did his own tuning, and either invented or was the first prominent musician to adopt, what is now known as “equal temperament,” in which all keys are equally good. To illustrate the advantage of this system of tun- ing, he wrote twenty-four preludes and fugues, represent- ing every possible major and minor key. These were completed in his 38th year, while he was living at: Céthen, the date being 1722. Tradition says that he wrote most of them while’on a journey in the company of his prince, the Grand Duke of Anhalt-Céthen. If so, they were probably written away from any musical instrument. A few of them were borrowed from earlier works of his own. One in particular, the A minor Fugue, bears By EDWIN HALL PIERCE Progressive Order in Which to Take Up Each Number marks of having been originally intended for the organ, as it contains some long sustained notes which would not be as effective on other keybord instruments. The same is possibly true of the Prelude in E minor. The second book, likewise containing one prelude and fugue in each of the twenty-four keys, was composed twenty-two years later, and bears marks of being more carefully worked over. The fugues of the second book embrace possibly less variety than those in the first, but. impress the critic as smoother in certain ways, The first book contains fugues in two, three, four, and five voices; those of the second book are all either three-voiced or four-voiced. Hints for Study To explain the structure of a Fugue would demand an article by itself. At the present writing it must suffice to say that a Fugue is a composition built up on one mu- sical subject (in rare cases, two or three subjects) which appears first in one voice, and then by turns in the other voices, governed by certain accepted laws of imi- tation. It is one point of good fugue-playing, that wherever the “subject” appears, it should be distinctly and expressively heard. Bach left almost no directions at all as to the tempo or other nuances—those found in modern editions have been added by various editors. A good musician will not bind himself to a strictly me- chanical regularity of tempo, but will endeavor to follow the proper expression. To be sure, the tempo rubato of Chopin would be very much out of place, but there is room for occasional ritardandos, accellerandos, crescen- dos, diminuendos, and in some cases even for a real change in tempo in the course of a piece, though this last remark would apply only to certain of the Preludes, (for instance, the second Prelude), not to the Fugues. We shall now make a few observations on several num- bers found in the first book, which is the volume most likely to be found in the hands of the young musician. The First Prelude, in C major, is, as it stands in the original, a charming little piano piece, of no great depth | or difficulty. Doubtless very many of our readers are already fa- miliar with it in Gounod’s transcription, in which a soprano solo part is added to it, with the words of the Ave Maria. The same has been re-arranged again as a violin solo, a cello solo, a trio for violin, harp and organ, as well as for other combinations of instruments. The Fugue which follows this is among the more diffi- cult ones, and had best be reserved for more advanced study. The second, Fugue in C minor, is one very com- The Vogel Portrait of JOHN SEBASTIAN BACH monly used for the first study in fugue playing, although the tenth, Ex.2 4 Fugue in E minor, is easier, having only two voices to manage. It is about the same grade of difficulty as the Two-part Inventions. The third Prelude and Fugue shows Bach in a very joyful light-hearted mood, and should be played buoyantly and at a fairly brisk tempo. The Prelude is among the easier ones; the Fugue is somewhat more difficult. In some editions this prelude and fugue are in D flat, in some, C sharp, which sounds the same, but is a little harder to read, with its seven sharps in the signature. It may interest students to know that in Bach’s original manuscript there were ten sharps— Ex.4 This did not mean that the notes E, F, G were “double- sharp” but only reminded the player that the sharping ap- plied to both octaves. In the fourth, Prelude and Fugue in C sharp minor, we find Bach in an entirely different mood—his soul ponder- ing over all the sorrows of the universe, and oppressed by their mystery. PRELUDE One is reminded of Hamlet’s soliloquy, in Shakespeare’s immortal tragedy. The technical student of fugues will be interested also to observe that in this grand five-voiced fugue there is not only the subject given out at its begin- ning but also two other subjects which enter later. £x.6 ‘ . ; Tie NRA ARS A TE OS A RS I ENE I Ra ns Le — De a , SA TL Ce In the fifth, Fugue in D major, it will be necessary in some places, though not in all, to execute the figure Ex.& - The double-dot was not so written in Bach’s day, but had to be inferred by the player, where the context re- quired it. Prelude VI, though in a minor key, is playful or even joyous. It should be rendered lightly and gracefully, and is not beyond the powers of any good player of the Inven- tions. Prelude and Fugue XII, (F minor), though of masterly construction, show Bach (especially in the Fugue) in a very morbid and pessimistic mood. In spite of the vast difference of style, there are a certain few compositions of Chopin (not his best) which reveal exactly the same spirit. We are glad to be able to turn ahead a few pages and refresh ourselves with the gayety of number fifteen in G major.

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OCTOBER 192) - Page 670 Prelude XXII (B flat minor) is like the cry of a wounded heart. In the Fugue which follows it, we feel him recovering a manly equilibrium and a sort of sad courage. It would be easy to carry out this appreciation in fur- ther detail and comment on each one of the twenty-four numbers, but enough has been said, we trust, to give the reader an insight into the treasures which lie concealed in the “Well-Tempered Clavier.” Space will not permit us to do more than barely men- _.tion the second volume. To those who feel inclined to study this also, we recommend beginning with the Fugue in E flat. Self-Test Questions on Mr. Pierce’s Article (1) Where is Bach’s true genius most evident? (2) Why is Bach ‘The Musician’s Musician?” (3) What was the origin of the “Well-Tempered Clavier ?”’ (4) Should a Fugue be played always in strictly reg- ular tempo? (5) Which one of “The Immortal Forty-Eight” had ten sharps in the original manuscript, and why? Something About Accents By F. L. Willgoose AccENTs are the means by which we maintain a firm grip on the rhythm. They are of two kinds: Those which give the measure its ordinary pulsation, and those the composer uses to give added expressiveness to his music. These latter are the ones which add to the emotional intensity of a passage. Sometimes the writer indicates them by certain familiar signs (sfz, - >) but very fre- quently the performer introduces them to increase the effectiveness of a phrase whether indicated or not. Now regarding these latter accents. Did you ever realize that there are five ways of emphasizing a note— of making it stand out from among its immediate neigh- bors? Here they are: 1. By applying additional stress or force (the obvious Way). ‘-2. By clipping a little off the note just preceding (very effective in light, graceful, airy themes). -3. By holding the note back the smallest fraction of a beat, thereby bringing it in a trifle late (a powerful em- phasis in music of an emotional character). 4. By a slight ales ae of the note (has a tender, caressing: effect). 5. By a combination of any of the foregoing. As a little exercise in the application of these effects, and to prove them to your own satisfaction, try them out on the phrase below, making the note marked with an asterisk the one you wish to emphasize. You will be almost startled by the change in character produced by the different methods. “It is characteristic of true works of art that they often seem to create their own demand, the fact being that ae arouse latent desires to wakeful life.” —RvuTLAND BouGHToN. THE ETUDE The Immortals Protest Against Jazz Brahms, Grieg, Mendelssohn, Rubinstein and Schubert Strike for Their Rights By Ernst Felix Tschudi Tue following amusing satire was translated for The Living Age from the Swiss Neue Ziircher Zeitung. It is interesting to imagine what many of the great masters of the past would think of the jazz of to-day. The International Modern Dance Composers Society was holding its annual assembly in the Jazzband Hotel in the city of Irgendwostadt. During the course of the official proceedings several highly interesting addresses had been delivered, which dealt with the special pur- poses of the society. A prominent member had expressed his hope that in the dance music of the future some hitherto unknown but highly effective musical instru- ments which he had discovered by chance in a Negro shimmy chapel during a journey of investigation in the interior of Africa would come into more general use. In addition, the society had decided to establish a prize competition for a new and more effective final measure for the fox-trot, because the customary old tam, ta-ta, tdm-tam, ta-tdm, ta-tam had begun to wear out. A composer from Argentina complained bitter- ly of the English neglect of the tango and proposed— every other effort to popularize this dance in England having failed because of the conservative spirit of this race of islanders—-that during the next dancing-season tango compositions should be. sent out from English broadcasting-stations, in order to force the dance on the public. The list of addresses had been finished and the Pres- ident rose to say a word of -farewell. Some impatient and thirsty members had already left their seats and were on their way. to the American bar, when suddenly a crackling sound from the rattle which the President used instead of the customary. gavel of earlier days called them back from their goal and forced them to return to their seats. A telegram, the first glance at. which obviously bewildered the President, had just been handed to him by a chauffeur; and, his astonishment only in- creasing as he got further into the text, he had decided to communicate his amazement to the members before the. official session closed. When the big hall had once more grown completely quiet, the President rose and, after another glance at the contents of the dispatch, addressed the assembly as follows :— : “Ladies and gentlemen: although I am quite aware that the time has come to close our session. and begin dinner, [ am compelled to ask the indulgence of our honor- able members for a few minutes longer. This telegram, which has just been received from the Marconi radio station, is worded in such an extraordinary way, and comes from such an incredible source, that I feel com- pelled to read it at once. “You will understand my amazement when I tell you, its point of origin. The dispatch was filed last Sunday evening at.the telegraph office in the Milky Way in Heaven .(murmur and astonishment through the. hall), and is signed by the following persons: Johannes Brahms, Edvard Grieg, Felix Mendelssohn-Bartholdy, Anton Rub- instein, Franz Schubert. “IT see from the surprise in your faces that, ‘like myself, you have never heard of any of these names; and yet— from the very first moment it seemed to me that I had heard one of them somewhere; and I remember now that on the title-page of a book of music that had belong- ed to my grandmother I once read the name of Felix Mendelssohn-Bartholdy. This leads me to believe that he—and quite probably the other; gentlemen as . well— belongs to that curious group of old composers whom we call ‘the classic school,’ all of whom, of course, died long ago. I shall not keep you waiting for the tele- gram any longer, but shall read it at once.” i) ; i With these words, which threw the whole assembly into the highest pitch of expectancy, the President lifted the telegraphic blank and bea to read. The dispatch ran as follows :— Milky Way Telegraph Station, Heaven INTERNATIONAL MopERN DANCE ComposERs SOCIETY Jazzband Hotel, Irgendwostadt We, the undersigned five composers, herewith enter formal protest against the desecrating use of our divine music for fox-trots, rag-time, and so forth. We have, perhaps, no right to broach the question whether modern dance-music can properly be called music at all, or whether it is a mere concoction of noises. It may be quite appropriate to the decadence of your age. The memory, however, of the beautiful dances to which we devoted ourselves in the bygone days when we were on earth compels us to look with regret on the path which dance-music has since followed. : The chief object of our message is to protest against the theft and desecration to which our works have been subjected. In order to protect our own dignity, we find ourselves at length compelled to give expression to our dissatisfaction and to warn you against further offenses. These are the crimes of which your members have been guilty :— Among modern dance-orchestras the custom—-and a ’ very bad custom it is—has grown up of playing the Fifth Hungarian Dance of Herr Johannes Brahms as a fox- trot. It stirs the depths of the soul to hear this delight- ful little dance shattered by banjos and punctuated by the clacking and shrieking of jazz instruments. It is enough to make a Hungarian, in sheer despair, howl himself—if he did not have the blessed recourse of flight. Other jazz bands delight to play Ase’s Death from the “Peer Gynt’ suite of Herr Edvard Grieg as a syncopated shimmy; and without the faintest sign of compunction they have added effective accents to these profoundly melancholy strains by introducing strokes of the gong and blasts from the trombone, besides accelerating the tempo. Among the dances that met with the greatest success in your last season was one called When the Leaves Come Tumbling Down. The composer has been lucky enough to remember the Spring Song from Mendelssohn-Bar- tholdy’s “Songs without Words” and made use of this melody for his popular hit. No wonder his newest crea- tion was such a success. These three examples are enough to show you how much is amiss in your modern dance-music; but we have still further grounds for complaint. In your dance-halls one often hears a wonderful dance called the Boston, which can be unmasked as nothing more than Herr Anton Rubinstein’s Melody in F, with its two-four time trans- formed into three-four. Many of your dancers have been delighted with the lovely introduction to the fox-trot called Romany Love, without the least suspicion that this comes, note for note, from Franz Schubert’s Moment Musical. Good old Franz himself would never have dreamed that his work might one day be twisted into a fox-trot. It takes a fair share of shamelessness to do our work over into dance-melodies and give it out as a product of your own brains.... At this point it became absolutely impossible for the President to read further, for he was interrupted by hisses, hoots, and catcalls which were loudest in the. corner of the room where the American composers had their seats, and where the shrieks and whistles and howls of protest reached a deafening pitch. Things for Which a Music Student Can Work By W. L. Clark 1. To play with facility. 2. To comprehend the composer’s meaning in each selection that you play. a: 3. To play in such a way as to obtain beauty in tone production. i 4. To observe good players, | te) sik you yourself may see wherein lie their strong'points in execution. ~~ 5. To maintain. correct time. - . © 6. To read notes rapidly and accurately, 7. To obtain correct position of the fingers and wrists in playing. 8. To become a good player—not satisfied to remain mediocre. 9. To master gradually more difficult compositions. 10. To maintain the dignity of the musical profes- sion, both by stressing the study of the best music and by becoming capable of constructive criticism both of your own and other people’s playing.

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rom y se middle West. PPP OOPN GS PON EE, SS EE © vee eer | EN, nT THE ETUDE OCTOBER 1924 Page 671 Getting the Most from Your Lessons Mr. Sidney Silber, Dean of the Sherwood School of Music, has been for many years one of the most active of the pianists and teachers of the Mr, Silber was a pupil of Jedliczska, Barth and Leschetizky. What Do You Bring into the Studio ? You do, of course, bring yourself—that is, if you are on time, or even late, either because your teacher is not punctual about giving you a lesson or you were delayed or detained for one reason or another. But the physical phases of taking a lesson or of receiving instruction are not to be discussed. Rather, we shall consider some of the things which have to deal with those phenomena which almost invariably end in a tacit or expressed com- ment, in such meaningless yet far-reaching words as “T did it much better than that at home.” While such remarks are doubtless true, they are never- theless aggravating to pupil and to teacher. To the knowing and sympathetic pedagogue they speak volumes ; and it is his duty and pleasant responsibility to eliminate or modify, as far as is humanly possible, all the condi- tions which seem to make such remarks necessary to excuse or explain short-comings, defects or failures. It is precisely this phase of taking a lesson which will occupy me during this heart-to-heart talk. Why Do You Fail ? Assuming that you love your music, your study, and also that you like your teacher; assuming, further, that he does nothing to inspire fear or embarrassment (which is only one of the many forms of fear) nor self-consciousness (the worst form of fear), there can be but a few reasons for your comparative or total fail- ure. They are: 1. Inadequate, unintelligent, unscientific preparation without definite objective and goal. 2. Lack of the feeling of responsibility and gratitude for the opportunity to develop your divine gifts—or, in other words, laziness, shiftlessness and attendant evils. 3. Lack of understanding of the inner import and purport of the music which has been assigned to you for assimilation. 4. Unwillingness to “make haste slowly” in mastering the various elements of study. It is, of course, assumed that there is no fault on the part of your teacher, that you are one of those fortunate creatures who has found the right teacher (for you). And by the “right teacher” is simply meant a competent, conscientious, painstaking, persevering, patient, inspired and sympathetic pedagogue, who ever exults in telling you pleasant things about yourself and your work only when they are true and who does not mind telling you the reverse, though it cause both of you pain and dis- comfort. Destructive and Constructive Criticism It is obvious that destructive criticism has no practical value when it depresses and defeats further aspiration —when it is offered only in comment upon work done. There is nothing bad in such criticism except when the teacher fails to back it up immediately with construc- tive comment and criticism. How is this done? The Teacher’s Constant Duty Tf he is the right teacher for you he must: i, Be able to discover your defects and shortcom- ings, their first causes, and suggest proper remedies for overcoming them. ‘2. Be able to demonstrate practically how your music (scales, exercises and compositions, in part or totally) sound to him. 3. Be able to demonstrate practically how such music should sound to you. /If you*have understood him in all things, then, in the words of the Good Book, “Go and sin no more.” You can do this only by trying—trying—trying; again— again—and again! If you try intelligently, you simply must succeed as far as you were intended to succeed— nothing more, nothing less, ‘ If you have understood your teacher in all things, “make no bones about it,” Prod him with questions and never let up until you have learned all of the truth as far as he knows it. Remember that, if you follow these Suggestions, you will inspire him and he will then be your debtor; for the only real teaching comes from those who Nive to teach and not from those who teach to live, By SIDNEY SILBER A Chat with Serious Piano Students Interesting Piano Lessons A successful and interesting lesson is a fifty-fifty proposition. It must be mutual and reciprocal. Unless it is, either you or your teacher has not done his fullest duty to the other or to himself. I once asked Godowsky where and how he learned everything he knew. His answer was: “Everything I know, I owe to myself, and to my pupils—but especially to my pupils.” Think over these words of a great master and: 1. Go and sin no more. 2. Seek and you shall find. 3. Leave only your worst self at home, if you have such a “fairy” in your home or if that is a part of your “make-up” (your spiritual “make-up,” of course) and, 4. Bring only your best self to the studio. If you will do this, you will leave from each lesson refreshed, inspired and a better student, possibly a better pianist, musician and artist than when you first opened your teacher’s door and—it is hoped—greeted him or her with a smile and bade him the time of day. If you have had “rainy,” that is, tearful, days in the past, you will without doubt find that you will henceforth have only “fair and clear weather.” What Do You Take Out of the Studio ? We will assume that you have taken, and received, an inspiring, stimulating lesson. All the conditions have been as they should be; that is, you have done your part before entering the studio, have adequately prepared your lesson, and that your teacher has not only corrected all literal mistakes, but also has dwelt upon your technical defects and imperfections by not only analyzing but also demon- strating them in practical manner. Lastly, that he has shown you just how to proceed in order to improve upon your offerings. Forming Correct Habits At this point, you will find, upon reflection, that it is necessary to proceed along certain well-defined lines, if all that has been discussed and demonstrated may take proper effect and thus become part of your sub-conscious activity. For it is the sub-conscious mental activity which really counts in’ the student’s development and education. It is this department of mental activity which alone makes for the permanence of habits correctly formed, so that everything done becomes so well defined that good playing, as well as good study and practice, become truly habitual in the best sense of the word. Good Habits and Bad Habits Does it not seem strange that most individuals go to so much trouble to form bad habits when experience proves that good habits are easier to form than bad ones? Take, for example, the contracting of a bad habit, such as smoking tobacco. The system does not crave nicotine; yet the young man (and nowadays even the young girl) goes to a great deal of trouble and through a great deal of physical discomfort to contract this habit. The first effects of tobacco smoking are discomfort and nausea. It is true that with each successive smoking the sensation becomes less distasteful, and after a while the first signs of a certain pleasure become noticeable. This pleasure (?) goes on a crescendo until a point is reached when the system craves the weed. At this point “it is up to the individual” to decide whether he shall control the habit formed, or whether he shall become a slave of what, before long, will prove a consuming passion—in some cases, even a fatal passion. This is not meant as an argument against tobacco smoking, for the writer is himself an addict of the weed. But he did not begin until his nineteenth year, and even to-day (as he has again and again proven) he can dispense with and dis- continue the habit which has never become a passion and can never become so because he still insists upon using his will power. In other words, he is not a slave of the habit or the passion. Inasmuch:as his physical or mental health shows no deterioration of efficiency, he sees no reason for terminating what is now and has always been to him a real pleasure, a comfort and a sedative. Now, instead of speaking of smoking (a more pointed case might have been made against the indulgence of He has appeared with the Berlin Philharmonic and with the Vienna Ton- kiinstler orchestras, as soloist. interpretative work his success as a teacher has been notable. While Mr. Silber is best known for his - alcoholic liquors), let us speak of what is ordinarily looked upon as beneficial; that is, the “habit of eating.” Even the partaking of the best and most nutritious food may become a curse instead of a blessing, for which latter it was undeniably intended. The system, when exhausted or run down, craves food (fuel). Just enough of this should be consumed (masticated, digested and assimilated) to satisfy, the bodily wants and needs. Any- thing beyond. this spells excess and waste. The conclusion then is: Anything, whether good or bad (viewed only in its effects upon physical and mental life and health), if indulged in to excess (which can be measured only in individual terms) is or may become a consuming passion, ' and is, therefore, deadly in its ultimate effects. Apply this to piano study, practice and playing, and you have a’ perfect analogy. After Your Lesson—What ? Now, what do you do immediately after such a lesson as above described, or, for that matter, after any lesson? You wend your way homeward. What do you think of during this period? Do you revolve in your mind what has been said and done? Or do you, like so many other well-intentioned but by no means self-directed individ- uals, merely throw your music roll into a corner to be opened a few days later when you feel the necessity of practicing in preparation for your next “treatment”— your next lesson? Does the proverb, “Out of sight, out of mind,” apply to you as soon as you have bade your instructor “au revoir” and closed his studio door? If that is your procedure—your method—it may possibly account for your slowness of development, or even for your stagnation, which always spells retrogression. For when you stand still, it means that you are content to watch the procession of more serious and better directed students to pass you in the march towards achievement and success. Follow these suggestions for a change and you will find wonderful changes and, without doubt, improvement : 1. Try to find a reason, or reasons, for vest that has been said and done during your lesson period. 2. Make up your mind to follow the definite directions of your mentor—for every good instructor, teacher, peda- gogue, is more than a guide; he must, indeed, be your friend and mentor—if you are to scale the greatest heights of which you are capable. 3. Compare what you have done with that which you are expected and should do, and profit by the demonstra- tions. Insist always upon practical demonstrations, as this is clearly the duty of your mentor. Solvable and Unsolvable Problems Only clear understanding of problems ever facilitates their proper solution. There is assuredly nothing more discouraging or heartrending to the young student at school to whom, for example, a problem in mathematics is assigned than, after repeated efforts, to find the answer incorrect, or, worse still, to conclude finally that. this particular problem cannot be solved. On the other hand, while this particular student may not be able to find the correct answer, he will, if sufficiently determined, persist until he does find the correct answer if only he knows that the answer can be found. The only consciousness which will compel him to persist, if he is sufficiently in earnest, will be the knowledge of the principle whereby the problem is to be solved. It is the duty, then, of the “mentor” to show him the principle, for there is a prin- ciple underlying every soluble problem in piano playing from the rechanical standpoint. In this realm it can always be stated in words and can also be demonstrated. In the realm of interpretation, however, which is not an absolute science, but dependent upon a multiplicity of individual attributes, it can be indicated vaguely in- words, but can always be demonstrated through sound, provided the pedagogue is an artist. The Inner Urge The great governing factor in the solution of all prob- lems, whether mechanical or interpretative, is the Inner Urge. Blessed are they with initiative, for they shall

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OCTOBER 1924 have success. Without this attribute (I was almost tempted to say “beatitude”), all study is more or less futile. Without it, the student is in the same condition as the mechanically perfect, well-adjusted automobile, which, even though it is supplied with high-test gasoline, well greased and clean, stands in the show window, waiting only to be sold and to be driven. To further elucidate: The student and his equipment represent this automobile which requires four wheels in the running: good health, physical as well as mental; good playing mechanism, devoid of physical defects, such as crippling ; intelligence, and musicianship. But just as the automo- bile will not run until a well-controlled, intelligent driver sits at the fifth wheel (the steering mechanism) ; so, without the Inner Urge—the Joy of Communication— feeling, thoughts, moods and emotions—the student's efforts are of no earthly practical value or use. Finally, make up your mind to go “pleasure-riding” instead of “Joy-riding.” Page 672 Resume 1. Meditate on what has transpired during the lesson. 2. Seek to find a way, or ways, of solving your prob- lems (one at a time, please!) from the time you have left your teacher to the first opportunity (as soon as possible!) of approaching the piano for purposes of experiment and application of principles advanced. 3. Never become discouraged. If at first you fail, try, try, try again. A Parting Word To ‘the chronically discouraged: Directions: Take the following internally, and shake yourself thoroughly after “taking.” A little cork fell in the path of a whale, Who lashed it down with his angry tail; But, in spite of his blows, It quickly arose, And floated serenely before his nose. Said the little cork: “You may flap, flutter and frown, But you never, never can keep me down; For I am made of the stuff | That is buoyant enough © To float rather than drown.” Keep this always in mind—and become a “corking” good piano student! Competitive Recitals By A. Lane Allan To stimulate the interest of her pupils a certain teacher holds a “competitive recital” at the end of the term. All the pupils of a certain musical ability, or of those that have been playing about the same grade of music, are given the same piece and have lessons on it during the same space of time. Judges are then selected to choose the pupil that has played the selection in the most satisfactory way. : ' Just here is the point at which the recital differs from those usually given—the judges do not see the perform- ers! Each pupil is given a number. The pupils are in the music room, the judges and the audience in the next room. Thus age, attractive personality, and other discriminative features do not enter into the contest at all. It becomes just a test of musical ability. When the decision has been reached by the judges, the: pupil chosen is allowed a number of lessons free of expense as a reward for good work. ; This plan has been found to be a wonderful stimulant for pupils that are otherwise but mildly interested in doing better than someone else. Incidentally it brings excellent results from the point of view of the teacher. “A PERFORMER with a sense of musical integrity, when he believes that his interpretation is a faithful rendering of the composer’s idea, will never venture to change the least retard, the least diminuendo, the least thirty-second note. “But this relegates the art of interpretation to mere mechanics!’ will exclaim my Chopinic friends. Well, dear ladies, is not life a perfect machine? And do you not consult your physician when your body, another machine, does not function with the perfect regularity of a Swiss watch ?”—Cartos SALZEDO. increased by expert knowledge. THE ETUDE Music’s Higher Pleasure By Francesco Berger Hon. R. A. M., London, and F. G. S. M., London Not long ago I read a review of a book, then recently published, by a well-known musician. I have not seen the book, nor am I personally acquainted with its author, though I know him to be a man of standing. The review in question quotes the following as an extract from the book: “If you like music in an unthinking and sensu- ous way you are only like a cat basking in the warmth of the sun, without regard to the source of satisfaction.” I have also noticed in other writers about music that they maintain one cannot enjoy music as it should be enjoyed without technical knowledge of the art. This dogma (I have difficulty in refraining from writ- ing “catma’’) I beg leave to dispute. I do not believe that acquaintance with the theory of music or familiarity with instrumentation adds anything whatever to the pleasure we derive or may derive from hearing a finished orches- tral performance. J believe in the exact reverse. In my opinion, to know how a thing is done, and why definite results are the outcome of definitely prepared arrangement detracts from enjoyment. I do not deny that some pleasure may be derived from scrutinizing a score; nor do I deny that for the music student such scrutiny is an essential part of his education. What I deny is that our pleasure is Expert knowledge yields a different kind of pleasure, but it certainly is not keener, nor deeper, nor higher, than that which can be and is enjoyed by persons of average culture without technical acquirement. Although I claim to be a musician, when I go to hear an orchestral work I wish to receive a general impres- sion of it as a whole. I do not want to listen to it piece- meal, to find pleasure in discovering whether this effect is produced by horns and ’cello or that one by viola and bassoons, and to measure my enjoyment accordingly. Such considerations bore me, irritate me, disturb my original purpose, which was to lay myself completely open to the impression and appeal of the entire work, apart from detail. After I have heard it, I may derive additional pleasure from examining the score, at my leisure at home, and I may discover bits of beauty, rare combinations, fresh ingenuity, which, at first hearing, had escaped my notice. But I cannot admit that this sort of pleasure is comparable to the other. The sensuous way of the cat is, to me, the higher, the fuller way. If you look at a splendid building, does it add to your delight to be told how many tons of iron went into its construction, how many loads of wood, how much stone, where the materials came from, how they were conveyed to the site of the building, how much they cost, how long the edifice took to erect? I say “No, it does not.” These details interest the architect and the builder, not you or me. What the general public demands is a handsome building, well suited for its purpose, com- modious inside, elegant outside, well lighted, well venti- lated, and, if possible, of novel design. The how, and why, and when of these matters do not affect your judgment. Take another illustration. We dine together at a fashionable restaurant and you find a particular dish exceptionally delicious. Do you (unless you are a restaurateur yourself) want to interview the chef to ascertain what ingredients went into the preparation of that dish, what quantity of each, where he obtained them? I do not think so. I think the less you know about these matters the greater will be your appreciation of the excellence of its flavor. | - The cat enjoys the sensuous pleasure of basking in the sunshine. Do you think it would enjoy it any the more if it knew all about the sun; knew how far it is from our earth, what its size is, or its weight, how many other planets besides ours are lighted and warmed by its rays? Would that cat be a better cat or a richer or a happier one if possessed of this information? When we read Shakespeare it does not materially enhance our enjoyment to know all there is to know about him. It is not necessary, in order fully to appre- ciate the beauty of his thoughts, the philosophy of his plots, the poetry of his language, his pathos or his wit, to know what was his personal appearance, how often did he change his linen, had he any amours, had he any debts, was he a gross eater, what were his vices. Our delight in “Hamlet,” in “Macbeth,” in “Romeo,” in “Merry Wives” would surely not be heightened by such knowledge. I do not believe that biographical, critical or traditional lore can in the least alter our estimate of his genius or augment our enjoyment of his plays. I cannot help protesting that too much attention is be- ing given, too much importance is being attached, to matter, and too little to the spirit of music. New orches- tral combinations, fresh harmonic progressions (often inharmonic), unusual chords (very like discords) and bizarre rhythms (often extremely barbarous) are paraded ostentatiously and are allowed to monopolize too much of the hearer’s time. Much modern music has little else to recommend it than obtrusive “manufacture.” In the manufacture of it the present race of composers is far ahead of its prede- cessors. But it is in the spirit of their work that they are sadly wanting. What does their music convey? Does it convey anything at all, or is what it does con- vey worth conveying? To tell us the same old tale, but in a different language, is but a slight achievement. What we ask of the composer of every age is that he shall produce music that gives us fresh feelings, fresh emotion, fresh stimulus to fresh thought. In _ other words, “spirit’—and blow the means by which he does the trick. To exalt the means above the end is to invert the most elementary object of all art. Technicalities are for pedants, or for scholars, and the majority of men are neither the one nor the other. Our lives are short and often gray and solemn, and the mission of music is to relieve us from gloom and sor- row by carrying us into realms of fancy. But we don’t want to be taken there by omnibus labeled “violin,” or “flute,” or “trombone,” nor by train labeled “speed,” nor by motor car labeled “noise.” Music is emotion—and emotion is not created by any- thing tangible. It cannot be acquired in the classroom, nor can it be controlled by the foot-rule of analysis. The emotion which music engenders comes to us from another world, and to hamper it with technical shackles is to kill the goose that lays the golden eggs. New Brains, New Faces, New Ideas, New Conceptions, New Plans, New Inspiration The ETUDE editorial cupboards have been undergoing a thorough housecleaning. All of the old and valued contributors, whose articles have helped our readers for years, have been invited to continue; but in addition to these we have secured a number of exceedingly fine articles from musi- cians of note and high achievement, who have not hitherto been persuaded to put their ideas into print. You will find a great ‘‘freshening’’ in THE ETUDE during the coming year—a new spirit of elevation which is especially necessary to all music workers just now at America’s greatest hour of musical expansion.

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THE ETUDL How Song May Save the Purity of the By HAROLD RANDOLPH Director of the Peabody Conservatory A Little Symposium on English Vocal Diction, in which Many Famous WHAT is to become of the English language in this coun- try unless we establish pretty soon something equivalent to the French Academy, a tribunal to which disputed points may be. referred for authoritative settlement? England, though not so well equipped as France, would probably feel safe in regarding the best usage of Oxford as suff- cient guide but where shall we poor Americans turn? Even if by chance we should happen to agree with Henry Mencken’s theory that the language spoken in these United States is not English but American—or, to be more exact, “Amurrican,”’—we should be hard put to it to hit upon a satisfactory linguistic Capital. New York certainly would not do, for there neither English nor American is spoken, but “Newyorkese.” New England is not only harried by a supposed duty (in- herited probably from the Puritan fathers) of pronounc- ing words as they are spelled but is cursed by a nasal twang and a flat a (culminating in the “Baar Haarbor” of Maine, in which the a more nearly rhymes with bat than tar.) The South drawls its vowels, has no R’s worth mentioning and never, in fact, crisply enunciates any consonant. Worst of all, in a way, is the middle West (beginning big end foremost with Pennsylvania) which uses habitually— not accidently or apologetically but deliberately and even conscientiously—a final er which inflicts almost physical pain upon a sensitive ear. This sound (as in the verb to err) has so tainted American speech as to have become the chief feature in what is called elsewhere the “American twang.” Whether it is to a dispassionate listener as objec- tionable in speech as it sounds to me personally may be partly a matter of heredity and environment—plus idiosyn- ‘crasy—but its unpleasantness in singing would seem hardly open to question. If you doubt this listen to the next ama- teur sing “In the land of the sky blue waterrrr,” or the Ukrainian Chorus (which has been out of luck in the choice of its English coach) in “Way down upon the Swanee Riverrr.” Where then shall righteousness be found? If we are not soofi provided with some sort of a court of last appeal to which we can carry our linguistic grievances are we not in serious danger of ceasing to speak any one lan- guage and lapsing into a group of dialects? As I myself, in the capacity of musical educator, am thrown with students from all parts of the country it has been impossible for me to escape a certain sense of respon- sibility as to this whole matter of “vocal diction,” and I have sought in every direction some thing or some one whose decisions might be accepted by all, from whatever part of the country, as final when, for instance, I discuss the subject of the poisonous er with—lIet us say—a Penn- sylvanian I can see in his eye that he is saying to himself: “But he comes from Virginia where they talk like the negroes. Of course a properly enunciated er sounds wrong to him.” The answer to this ought to be merely the cita- tion of the best English authorities, but for reasons be- fore mentioned this usually fails to persuade. It is vain to refer to Dora Duty Jones or Clara Kathleen Rogers, both of whom have written authoritative books on the subject, especially from the singer’s angle. They are both, although long resident of this country, English by birth. I then mention Mr. William Tilly of Columbia University, who has been carrying on of late a crusade against this mispronounced—or at least greatly overpro- nounced r—and Mr. Windsor P. Daggett who writes so _ convincingly upon such matters in his “The Spoken Word” ‘n the New York “Billboard.” This helps a little, for the latter two are both Americans (at least I am told so) and Northerners; and certainly neither could be accused of having learned his mother tongue at the knees of a Negro mammy. After having pondered the thing for some years I finally determined to send out a little questionnaire addressed to a few of the “acknowledged aristocrats of American Song”’ and to try to find what their views are upon some of the disputed points. In doing so, not merely fine artists were chosen but also those who might justly claim to have made a special study of English vocal diction; and the list was limited to those of American birth and, as far as possible, of American training. As only about eighty-five per cent. found time to answer, the list from which I shall quote manifestly lacks the names of some whose opinions would have been at least equally valuable. I should have been particularly glad, for instance to hear from George Meader, Herbert Witherspoon and Mme. Alma Gluck; but we failed somehow to connect. I purposely did not call upon Miss Mabel Garrison or John Charles Thomas as, both having received much of their training at our Conservatory, I might in so doing have laid myself open to the charge of having “stacked the cards.” There were five questions, as follows: 1. “Mother o° mine.” When the second syllable of this—and similar words— is prolonged, what vowel sound do you give the er? and how do you treat the final r both in this sentence and in one ending on er? 2. People. When the second syllable is prolonged how do you manage it? 3. Pretty. If the first syllable must be prolonged how would you sing it? 4. Righteous. Give your exact pronunciation of this. 5. Sat, that, etc. Where this vowel sound is prolonged do you modify it at all or sing it as you would speak it? There are many questions that I should have liked to add, but feared to make the list too long. Naturally, the first is to me by far the most important, and it was no little relief to learn that all but three of my correspondents agreed with my own view (of which, be it distinctly understood, I had given no inkling whatever in the original communication) that in this, as in all final ers, the vowel sound is that of « in but and the final r should be given a slight trill with the tip of the tongue. It was perhaps most concisely expressed by Emilio de Gogorza and Mme. Emma Eames, who wrote: “continue the first vowel sound unchanged.” Arthur Hackett, Percy Hemus and Miss Edith Mason give ah as the nearest equivalent, and Mmes. Florence Easton, Lucy Gates and Louise Homer, and Messrs. Orville Harrold and Reinald Werrenrath give either u, as in but, or 0, as in some—which is of course the same thing. All agree as to a slight trill from the tip of the tongue in the final 1. The dissenting minority consisted of Mme. Hulda Lashanska (who, however, protested that she could not properly explain what she meant on paper), and Messrs. Frederick Gunster and Francis Rogers. The first-named thinks it should be sung ere (meaning, I suppose, air). I must take the liberty, however, of doubting if in prac- tice she would actually do this, for her “vocal diction” has always seemed to be particularly good, and only the con- firmed habit of studying singing with foreigners should have made her imagine that she ought so to pronounce it. The other two claimed that it should rhyme with her. MR. HAROLD RANDOLPH OUS ¢. ® OCTOBER 1924 Page 678 English Language Singers Give Their Opinions (Mr. Gunster in a subscquent talk showed a disposition to modify some of his written views.) Mr. Rogers, how- ever, was quite unshakable in his conviction, even going so far as to say that ihe English sound of u in but is fit only for sea-lions and other grunting animals! This would ‘seem to cast discredit on the first syllable of mother.as well, to say nothing of love, dove, and similar words that have always seemed to me rather particularly mellifluous. But then perhaps I may have something of the “grunting animal” in me. The other four questions, though of less importance, were by no means without interest. To number two (“people”) several returned somewhat evasive answers, as for instance, “as it is written.” This is manifestly impossible, for in speech the actual vowel tends to disappear around the tongue, which has its tip touching the roof of the mouth, and to make a long resonant tone in this position is simply out of the ques- tion. It can of course be sung in this way on a short or unaccented note, however. The real point is, should the second syllable be given the sound of uw in dull or in pull. My own vote is unquestionably in favor of the later. All agree in answer to number three that the first sylla- ble of pretty should be sung prit. For my part, if I were called upon by a composer to dwell on the first syllable of this word I should simply choose another song. It is strange how careless the average composer is in setting English words to music. Few, probably, would be guilty of the enormity just mentioned, but how few, on the other hand, would be wary enough to avoid pro- longation of some of our notably unstressed syllables, such as the last in “certain,” “sudden,” “subtle” and “listen.” It should be held as a high misdemeanor. to dwell upon the second syllable of “patient,” thereby forcing. the poor singer to choose betwen “pashunt,” which, though perfectly good usage in speech, sounds just a bit clumsy in song, and “pashent,” which is school- mastery and bookish and sounds unnatural under all cir- cumstances. Question number four opens up a wider field for dis- cussion; as there is clearly something to be said on both sides... Most of my correspondents (dividing pretty much as in question number one) prefer “richus”—as I do also, but it-is not quite so obvious that this pronunciation should. be applied to all similar words. ‘“Richus” happens to have’a mouth-filling, biblical sort of sound, whereas “righteeus” seems prim and anemic. One can hardly feel quite so sure of “sichuate” or “gradjual,” so perhaps the tendency towards “prunes and prisms” may in this case, and especially for singing purposes, be in the right direction, always provided that a wide margin of safety be maintained before turning “sugar” into “seeugar” and “initial” into “initeeal.” Question number five seems to approach more nearly to number one in importance; for it is in this matter that the foreign singer—and those of our own who have care- fully studied other languages, but assumed that their 6wn required no special consideration—most often offend. Many of my correspondents show a disposition to side- step this point also, saying “we have no right to alter the English language.” The plain truth is that our flat a sound is quite intolerable when prolonged, and every singer above the level of “musical comedy” does in actual practice modify it. The Italian a (ah) is of course not to be recommended, but there are many gradations bhe- tween that and our a, as in hat. It is doubtful if this latter sound is ever permissible in singing except in a “pater” song. In a serious song it darts out at you like fireflies on a dark night. Of one thing I am very certain. If I were looking for a soprano for the “Messiah” [ should never choose one who sang “a—and He sha-a-a-ll sta-a-a-nd” with the same vowel sound which she would used in speech. To return for a moment before closing, to the pestifer- It is not merely in the final r that so many persist in pronouncing what should be a silent consonant. An even more prevalent fault is to make such words as “morn” and “part” sound as though they had two syllables : “maw-run” and “par-rut.” To say that all rs should be definitely articulated either in speech or song seems about as reasonable as to require it of the sound of / in “would,” the k in “knife,” the uw in “circuit” and “conduit,” or the p in “pneumonia.” As Mr. William Tilly said quite squarely in a recent lecture at Hunter College: “When American school teachers tell their students to

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OCTOBER 1924 ® sound every printed ‘r’ they are not asking for the old trilled ‘r’ that was standard once upon a time, they are not asking for the modern untrilled ‘r” They are ask- ing for the inverted ‘r’ which was never standard in cultured speech. If this curled-back ‘r’ has become somewhat widely planted in American speech it had its origin in the common speech of common people who brought the sound from common surroundings in Eng- land.” So there! Perhaps to the general reader—if indeed any such shall have followed me thus far—all this may seem the mere splitting of hairs and “much ado about nothing;” but does it seem so to you singers? If so, perhaps you may have stumbled upon one of the reasons why you have not as yet achieved all the success of which you have dreamed. Page 674 Self Test Questions on Mr. Randolph’s Article 1. What consonant do Americans greatly over-pro- nounce ? 2. How do you pronounce the following words: “Mother,” “people,” “pretty,” “righteous,” “sat?” 3. Should vowels be modified, when singing, or sung with the same quality as when spoken correctly? 4. Have we any tribunal by which we may judge cor- rect English pronunciation in singing ? The Value of Persevering Habits By Leonora Sill Ashton “No great thing is created suddenly.” This is a truth expressed by Epictetus years ago, which should be cheer- ing to the conscientious workers of every age. It should be an especial help to the music student, who is endeavor-. ing to keep and build up his musical knowledge and skill by his own personal efforts. Music lessons cannot go on forever. Financial reasons; the passing of the years; the pressing duties of life; soon sever many an earnest music student from the in- spiration and help of the music teacher. Rubinstein’s words so often repeated, that “Genius is another name for hard work” may well be hung with this older adage, over the piano of self-teaching musicians, and be resolved into the practical expression of the “Value of Preserving Habits.” These I would enumerate somewhat as follows: One-half hour every day during the morning, devoted to technical exercises: and one-half hour every evening to repertoire. The half hour in the morning should be divided into three ten-minute periods. } 1, Five finger exercises. Hanon, if you have them; Czerny, or any collection that may be on your music shelf. These should be practiced slowly and deliberately, with the wrist low, and the fingers held high, and falling with the weight of the whole arm concentrated on their tips. 2. Scales. Practice one scale a day, playing slowly at first, in the manner of the exercises; then increasing in velocity. Change the accent from time to time: First, two notes to a count; then three; then four; listening always for a smooth unbroken sequence. Attend very carefully to the correct fingering of the scales, which is given in nearly every book of technic. 3. Arpeggios. Ten minutes unbroken practice of these, at first slowly, as in the two cases mentioned above; plant- ing the tips of the fingers deep down in the keys then ac- celerating the speed, so that they sound more like the beautiful instrument for which they are named; and fi- nally playing them with as much lightness and rapidity as convenient. This daily habit would not be a difficult one to form. Once formed it would become part of the pleasure of the day. You would soon begin to know results in the firm strength and skill of your hands; you would realize more and more how this daily habit would lead to the increased ability of forming the second one—that of actually play- ing for another half hour during the day. You will not be discouraged with your pieces if your fingers grasp the notes surely and firmly, if your muscles are supple and responsive enough to bring a beautiful quality of sound. ; “No great thing is created suddenly.” Not all of us aim to do great things; but with perseverance in these “habits” of practice something very fine and beautiful is sure to develop. “WHAT is difficult or impossible for a contemporary to determine is the relative stature of an artist, the in- trinsic or permanent value of his contribution to experi- ence. A century ago men had far from made up their minds as to the respective merits of Mozart, Hummel, ae ei and Rossini.” —Dr. GrorcE Dixon, English Critic. Coloring the Piano Tone By George Hahn WITHOUT exercise of the imagination art would be as exact and as lifeless as a mathematical deduction. When applied to the pianoforte, this inductive faculty of the mind turns an otherwise cold and colorless percussicn in- strument into an artistic marvel. It requires more imagination than digital dexterity to color the effect of keyboard manipulation. A really fine imagination, such as a genius might possess, is a gift; but almost all musicians possess some imagination. Otherwise they scarcely could attain proficiency in an art requiring so much of it. When a player of high technical attainments lacks the power to impart requisite tone color to his playing it is at least partially due to a lack of imagination, that subtle quality of mind which in pianoforte playing penetrates the outer crust of notes and yields the pearls of artistic values lying within them. Imitative characteristics are inherent in the piano, A semblance of flute and bell-like effects is obtainable in the upper octaves; imitative horn effects lie in the middle octaves; the lower octaves suggest the lower notes of the ’cellos and basses, or the 16-foot organ pedals. Von Bulow used the terms, “quasi bassoon, quasi flute, quasi clarinet and quasi oboe” in the editing of Bee- thoven’s Piano Sonata in C, Op. 53. In an explanatory foot-note he added, “There are more modulations of touch on the modern pianoforte than is commonly supposed. ' Hence a practiced, sensitive player is able to impart to the individual imitations in the subsequent episode quite a variety of coloring. This can be promoted especially by means of a vivid imagination of the peculiar tone-colors of the different wood-wind instruments.” — The human voice furnishes an ideal instrument for imi- tation because of its natural tendency toward expressive- ness. By humming the melody of a movement, audibly or mentally, in as expressive a manner as possible, and then attempting to transplant a semblance of such ex- pressiveness to the keyboard, improved playing from an artistic standpoint will usually result. It will also be found that such analytical treatment will be a guide to the touch, nuance and dynamics, and to every other element that enters into beautiful playing. Those who have been identified with vocalizing know that one way to gain improved vocal tone is to use the imagination. “Imagine the tone is coming from your fore- head,”’ said one teacher, “and try to get the resonance there.” Of course, the tone is com‘ng from the chords in the throat, but the exercise of the imagination in this way is expected to show an improvement in its produc- tion, and usually does. Again, imagine the strings of a good orchestra singing the magic intervals of a beautiful legato, the ’cellos penetrating the mass of sound with pointedly acute inner themes, with the horns or other brass instruments adding an emphatic turn here and there. To imitate the singing characteristics of the violins is most important; and to do so will tend to eliminate the bangs and thumps to which the right hand seems a natural heir if not curbed by constant watchfulness or training. Melodies played on the horns or trombones usually come in the middle register of the piano, and there are innumerable opportunities in piano music where the best effect is to imitate their customary combination of vigor and legato by just the right touch to produce that effect. To imagine how such instruments would sound when playing such passages will help in producing this tonal characteristic. But, it may be asked, what about purely pianistic music such as Chopin wrote, much of which is neither orchestral nor vocal, even with the use of a vivid imagina- tion? A goodly portion of pianistic music is characterized by broken chords or variations of broken chords. Such arpeggio effects are usually termed pianistic, but they are also harp-like. The harp is a constant attendant in sym- phony orchestras, so that arpeggio characteristics rightly cannot be considered exclusively pianistic. It is fre- quently advisable in playing music of this character to imagine how it would be accomplished on the harp and to attempt a similar crisp effect; in most cases the ren- dition would gain rather than lose. There remain a minority of passages that are so charac- teristic of the piano that it is well nigh impossible to exercise the imagination in coupling them to any other in- strument. But it still requires imagination to render them perfectly—a mental picture of the effect they reasonably ought to produce. THE ETUDE Making a Game of Practice By Beatrice Imboden WHEN I began the study of piano, I had a very fine teacher. She had many clever ideas for lessening the tedium usually attached to music study. One of these utilized the “play-instinct” which is strong in us all, even though we have left behind the days of play. A part of our practice equipment consisted of a large ruled note- book, and pencil. Across the horizontal lines were drawn vertical ones, thus making rows of little squares. A goodly margin was allowed at the left for name of selection to be practiced, notes and other features as below. STANDARD COURSE - GRADE I Page 5— Exercise 3. XTXIX [XXX [XXX [XX X |X| X1X] X] XTX |X |X| X[X be X|X| X[X|X|X] xX] xX] X] Xx] X X |X| XX] X |X] x1 X| x] X] x 7 |X| XX] X|X] x] X1X[ XX UE ESS ES a WU Hin iZr5 The “game” was to fill these little squares with x-marks, each one representing a certain number of times a selec- tion or measure had been practiced. If the passage was easy, it was divided into several sections of several meas- ures each, these numbered 1, 2, 3, and so on. The num- ber was placed in the margin opposite the row or rows allotted to it; and when it was played once, or five or ten times, as the casé might be, an x was put in one of the squares. If a measure was difficult, it was played singly, five or ten or a hundred times. Each technical study and each “piece” was thus dissected and practiced. After each section of a passage had been practiced thus, in detail, the whole passage was played a certain number of times and more squares were filled. with x’s, the x-standing for five or ten times it was played; and so on. Finally the whole study or “piece” was played through many times. The teacher always examined these practice records very carefully ; and we tried to show a well-filled page, the visible sign of our week’s work. This wise teacher never said “practice an hour or two hours’—that bugaboo of students. She said “Fill so many squares ;” and, in trying to fill as many as possible, we lost count of time, and the practice periods passed all too quickly. It became a fascinating game. My own small daughter is about ready to begin the study of music, and I shall adopt this “game” for her practicing, whether I teach her, or some one else does. To this day, if I am practicing seriously, I use this method to regulate my own study. And I still treasure many old note-books with pages and pages filled with x- mark, the signs of my past studies. A Musical Accelerator By Aletha M. Bonner THE greatest accelerator to be used in speeding up musical activity is Praise. The pupil will appreciate words of approbation and be incited to greater efforts for the sake of continuity. When teachers mark only the faults, how discouraging to the child. Its viewpoint embraces only the failure which is emphasized. As a natural consequence the sub-conscious mind is influenced into making greater mistakes. Why not call attention to the smoothly-rendered pas- sage, the careful fingering, the good pedaling, or place penciled stars on the page of a well-played exercise? The pupil’s lesson can never be so bad but that some small feature worthy of praise will be found therein. Build on this as it may prove to bé the foundation stone of a worthy musical structure.

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THE EVUDE OCTOBER 1924 — Page 675 Bringing the Music of the Community and the Music of the The Curve of Educational Progress PROBABLY at no time in the history of formal education have school and community been more closely interwoven than they are at present. Education began in the home. Our modern educational system traces its parentage to the monastery and the church school of the middle ages. The training for the learned professions, principally that of the priesthood, produced a type of education which was far removed from the ordinary affairs of life. Through several hundreds of years school and home represented two distinct and but slightly related educational influences. Within the past fifty years these two have been coming closer and closer together until now we have a condition stated in our opening sentence. This condition is due to two sorts of influences. First, the school has come closer to the home. It has recognized that education is not a thing apart from life, but a part of it, and that the more closely education is related to the community, the more effective it will be. On the other hand, the home has gone to the school and asked that the teachers assume the responsibility for many activities and types of training that formerly were given in the home. This movement has been particularly true where the highly developed city life has taken away from the home the tilling of the field and the duties around the house which were formerly a part of the education of the child living in the small town or the rural district. As a result of these two types of approach, the school is constantly talked about at home and the home is subject to constant review in the school. In no field has this interrelating of the two educational agencies been so marked as in the cultural subjects, especially music. The school is attempting, by the standard it sets up, to influence the type of music that shall be used in the home and in the community at large, The wise music supervisor says to herself that unless the songs of the class-room are carried to the father and the mother there is something wrong with the music instruction. On the other hand, the great increase in instrumental instruction in the schools and the granting by the schools of credit for private outside lessons in piano, voice, and other musical studies indicate that the home has already gone far toward abandoning that supervision of musical education which up until a few years ago was entirely the responsibility of the parents. It, therefore, is unnecessary to advocate the close relationship between school and community music. It is already an existing condition. The only question now is, “what can be done to make it better?” . Suggestion No. 1, Recognizing the Immediate Values of Music The first essential in bettering present conditions is the recognition that music, to a peculiar extent, is valuable to the average boy and girl, not so much as a preparation for future living or livelihood, which are the main claims of grammar, spelling, science, and most of the subjects of the school, as it is for immediate use in developing an attitude toward life day by day. The little songs and musical exercises of the kindergarten and elementary grades are not primarily the basis for music study which is to come later. They are rather the food for the emotional life of the child during those early and impres- sionable vears. When we apply this same idea te the nigh school we find that we are not so much interested that the young people who play in the band and orchestra should be preparing themselves for future professional use of this material as we are that we should fill their hours with a worthy leisure time occupation. It is true that we hope they may carry this music on into their adult life; but again it is for the purpose of making those particular hours pleasant rather than getting ready for something beyond. If this conception is true, it follows that there should be warm codperation between the school, home and community, that the music should flow in a fairly even stream, meaning thereby that there should be much greater uniformity of standards of music used in study time and leisure time than now prevails. Inter-relations Already Established That great improvements are being made along these lines is evidenced from several instances which may be cited. Songs for little children in the school are drawn very largely from books which are sold for use in the Schools ‘Together By PETER W. DYKEMA Professor of Music, University of Wisconsin home. The Music Supervisors National Conference for years had a standing committee on community music which prepared two collections of songs for community singing which are used widely throughout this country and Canada by community gatherings of various types and are found in thousands of schools. The music memory contest is carried on most intensively in the schools; but it is frequently initiated by public-minded citizens who seek and obtain participation not only from schools but also from the rest of the community—the women’s and men’s clubs, the Y. M. and Y. W. C. A., the churches, theaters, and the concert series. It is not at all uncommon, even in the regular music appreciation work of the schools, to have a theater’s orchestra, the city band, and visiting artists, or, in the great cities like Chicago, Philadelphia, New York, St. Louis, San Francisco, and Cincinnati, to have the symphony orchestras to present programs made ' up entirely of material which is being studied in the school listening lessons. The “Music Week” movement which in May, 1924, for the first time, assumed national proportions is another example of this close interrelationship among the various musical agencies of the country. The music of the schools flowed out into the community at large. The boys and the girls in vocal and instrumental groups appeared at noon-day luncheons, afternoon teas, theaters, and special public occasions open to the entire community. The adult musicians of the town likewise reciprocated by sending talent into the schools, industrial establishments, and various other places. This interchange must inevitably work for a raising of standards because all of it is based upon an educational conception. As soon as music is considered as an educational agency, the standards of performance immediately are raised. No one can comply with the request in the slogan of National Music Week, “Give more thought to Music,” without immediately bettering the music to which he gives attention. Poor music is almost always music to which little or no thought has been given. Suggestion No. 2, Better Prepared Music Supervisors A second consequence of this desire to improve the relations between school and community music is the necessity of a much finer type of music supervisor than we have at present. The past twenty-five or thirty-five years have witnessed many changes. At the beginning of that period, practically anyone who could play the piano or who could sing, was considered capable of teaching school music. Then there came the conception that there must be some special preparation for teaching school music. This was stimulated by the large publishing houses which were putting out series of school music books. In order to make their book stand out from those of their competitors, novel features were introduced which needed to be presented in a special way. This meant the prepar- ing of teachers who understood how to make this presen- tation. Thus there arose the book company summer schools, which were usually about three weeks in dura- tion. These have practically disappeared because it soon became evident that they could give only a smattering of the preparation needed for the best teaching. Such book company schools as now exist attempt to give only the brushing up in the particular method employed in their special series. The teachers who attend must have ob- tained their main musical training from other Sources. The successor to the three weeks summer school was the one year course for supervisors. This has likewise prac- tically disappeared, having been replaced by two and three year courses in special music schools and general normal schools, and by the three nd four year courses in universities. The ever widening and deepening sep- aration plan for the supervisor school of music is evi- denced by the fact that already one institution, Teachers’ College, Columbia University, New York, is offering courses in school music leading to master’s and doctor’s degrees. What Has Happened in School Music ? Let us consider the reason for these developments. School music at first was little more than note singing. This is a valuable feature and one that always will play an important part in music education. Its weak- ness lies in the fact that it leaves the children depend- ent upon the teacher for the acguisition. cf new material and greatly restricts the opportunities for anything beyond single voice or unison singing. The same rea- sons that led to the establishment of the old-time sing- ing school caused the introduction of note reading into the school system. It is in connection with this problem that the great advances in school music have been made. These steps are to a great extent paralleled by those made in the teaching of reading (literature). Starting with the old alphabet or isolated note plan, developments have led to the so-called song. method of to-day. In this chil- dren start the acquisition of technical or sight-reading ability by an examination of some connected whole, such as the song or a natural division of it, and gradu- ally with the power gained through commanding parts of the familiar song proceed to the conquest of parts of unfamiliar songs. With this gain in sight-singing came great extension of part-singing, until it is not uncommon now for high school students to attack and render creditably material that a few years ago was known only to the adult choral society. The next widespread movement was the introduction of specific training in listening to music. . Before the | advent of the phonograph and player-piano, school chil- dren had few opportunities of hearing music other than what they themselves produced. Valuable as concerts by the adults of the community are, these would neces- sarily be infrequent and hardly suited for intensive study. The advent of the mechanical music producers, with their vast repertory and their willingness to repeat any selection as often as the needs for careful study demand it, made possible the great attention to music appreciation which is now sweeping through all schools with increasing force. . Another great movement in music education has been the spread of instrumental performance and instruction in the schools. Small oddly assorted groups of instru- ments have sporadically appeared for many years in quite a number of high schools throughout the country, but these were always the haphazard contributions which the home made to the schools. Only within the last ten years have the schools definitely assumed the task of training their own instrumentalists and forming their own bands and orchestras. Now no school system, even if it has but a single supervisor for high school and grades, is complete without a high school orchestra. In the most highly developed systems each high school has an orchestra of symphonic proportion with an auxiliary or feeding orchestra, one or two bands, and one or two chamber organizations. In every grade building there will be an orchestra, and in several there will be a band. Opportunities will be offered for instruc- tion free of charge in violin, ’cello, cornet, clarinet, trombone and practically every instrument of the band and orchestra, including oboe and bassoon. Piano classes of from eight to twenty in a group will take care of children from the third grade up. In the lower grades, preliminary work with toy instruments will have devel- oped a sense of rhythm and the ability to come in at the appropriate places in the music. The whole school music system is built around the idea of making it profitable for every child to learn at public expense to play upon some musical instrument as a normal and necessary part of his education. , The Flower of the Training—The High School Music Contest The results of this stimulation of musical talent, both vocal and instrumental, are already evident in those remarkable high school music contests which are being held in various States. In the spring of the year the high school students of Michigan, Wisconsin, Indiana, Ohio, Illinois, Minnesota, Kansas, Nebraska, Missouri, Iowa, Oklahoma, and doubtless other States of which the writer has not heard, come together in’ centers of their respective territories and compete. The piano, violin, flute, cornet, cello, trombone and vocal solos of all voices, the female, male and mixed quartets and choruses, the bands, orchestras and chamber music groups including string quartets and wind ensembles present results that astonish musicians who are unaware of what has been going on in the schools and give promise to © everyone of a great musical America.

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Page 676 OCTOBER 1924 A Great Field f.r Highly Skilled Toiiers It is evident that the supervisor who is to guide the musical program of such extent and of such high quality as have been hinted at in this review must be a person of unusual power. He must have the general educa- tion which will enable him to see music broadly so that it can be fitted into a general scheme of education. He must have the natural equipment and the training neces- sary to teach wisely and happily the wide-awake youth of to-day. He must have the musical equipment which will insure a recognized standing, not only with the children of the school, but also with the musicians of the community. with whom more and more school music must establish harmonious relationships. General knowl- edge, teaching skill and musical ability—these form a trio of accomplishments which will have to be refined to a greater and greater degree, if the school music. instruc- tion is to bring about that intimate relationship between school, home and community which means a unifying and integrating of all the music forces in these three institu- tions. The supervisor who has these qualifications and who, through constant study and experimentation, can continuously keep apace of this rapidly developing subject has a rich reward in store. Salaries are constantly ris- ing, until now the income of many supervisors is equal to that of the superintendent of schools. Social status has already been granted until the supervisor is often recognized as the most important single musician in the community. Above all, the satisfaction is present of being engaged in the most potent means for bringing about a musical America that exists or ever can exist. In music, as in every other field of education, the future of our country rests mainly with the schools. The ‘‘Key-word” By Henry L. Richardson THIS is suggesting no “open sesame” to all things musical, but simply a help to the optical element in reading. The “key-word” has proven its efficiency in developing remarkable speed in the identifying of tones located out- side the staff. By the “key-word” is meant a word which may be shifted about on the staff and used as a means of fa- miliarizing the names of the degrees thereof. The common method of teaching the treble clef spaces as “F” “A” “C” “E” becomes broadened into a working standard for spaces and lines consecutively. Take, for instance, the treble: Ex.4 becomes and the leger lines above and below are read at sight, while the intervening tones are the letters that precede or succeed the lines. Thus, to read the third line above the staff means simply “F-A-C-E,” “E” being the tone sought. To read the fourth space above means “F-A-C-E,” and the space above this “E” is “F.” Another and equally useful application of our “key- word” is to show the relation of the lines and spaces in the bass as compared with those of the treble clef. “By the accompanying diagram we find that the “key- Ex. 3 word” still shows the way and simply drops a whole space in position in the bass register, then takes up the fourth and fifth lines, the intervening middle C line and the first line of the treble clef, showing that there is one line, and one only, between the two staves. “Growth is attained generally by industry, the exer- cise of patience and a willingness to accept constructive suggestions recognised as valuable. Nearly every one, who has made a lasting impression, has developed under trials and disappointments. They have served as upbuild- ing factors, just as they always will. On that account it is the wise person who welcomes obstacles which must Le overcome, for easy sailing never promotes fibre in a man.” | THE ETUDE Schubert’s “My Dream’ ——— By Walter Dahms A Poetical Autobiography of Franz Schubert ONLy a small number of letters and personal documents of Franz Schubert have been handed down to posterity. His life was so full of music that he had little time to spare for the production of other written records of his life. He lived with his friends at Vienna, ignorant of the onerous duties of fame, an easy-going Austrian. When he wished to vent his grief or his joy, to give utterance to his experiences and hardships, he naturally resorted to the medium of tone. We, however, read the gigantic volume of his musical productions and endeavor to shape out of its treasures a picture of Schubert the Man. Still, the more we learn to love the Musician, the more we long to know of the Man. And thus we cherish every available record helping us to attain a better and more clearly defined acquaintance with His life and thoughts. Unknown for a Century A document that has remained unknown to this day is Schubert’s short story called “My Dream.” This story is as shown for the first time in my biography of Schubert, closely interwoven with the man’s own life. The master presents us a poetical description of his struggles for a life of art against his father’s will. He had begun to compose when he was still a pupil at the seminary. But, as he neglected his duties at school on that account, his father forbade his return home. After his mother’s death, a reconciliation was brought about between father and son that lasted until the time when the choice of a profession renewed the conflict. Franz Schubert was to be, like his father, a schoolmaster. He entered upon this career, as a matter of fact, for a couple of years, in order to evade compulsory military service. Later, however, the man’s genius proved triumphant and broke through all impediments. His father, once more, shut his house against the son until the time when he finally understood that he was not born to be a schoolmaster and that genius demanded unstinted freedom. They remained on friendly terms thenceforward. It was in 1822 that this reconciliation with his father took place. Schubert already had attained complete mastery of his art. He had produced, in the course of this year, with sundry other works, the B minor Symphony (the “Unfinished,” as it is called) and the “Wanderer’s Phantasy” for the piano. It was then that Schubert, striving to give utterance to his joy, wrote the following poetical autobiography : My Dream “T was brother to many brothers and sisters. Our father and mother were kind. I bore deep love to them all. Once upon a time my father took us to a banquet. My brothers had a merry time indeed, but I was sad. Then my father, turning to me, ordered me to partake of the delicate fare. I was unable to do as he bade; whereupon \ my father flew into a rage and banished me from his pres- ence. I took myself away and wandered to distant places, my heart being full of infinite love for all those who would have none of it. For years I felt my being torn between the greatest pain and the greatest love. Then I received the news of my mother’s death. I hastened to see her. Nor did my father, softened by affliction, hinder my en- trance. I saw her corpse and the tears flowed. She lay before me like a picture of the cherished past in which she wished us to live, as she lived. : Pain Changed to Love “We followed the corpse, mourning our loss, and the coffin disappeared. Thenceforward I remained ‘at home once more. After a time my father took me to his favorite garden, again asking me whether | found it to my taste. I, however, had taken a great distaste to this gar- den, without daring to-utter my thoughts. Then he asked me a second time. the color rising in his face, whether I liked the garden. Tremblingly I replied I did not. Then my father smote me, and I fled. I turned away once more, and wandered forth to distant places, my heart full of in- finite love for those who would have none of it. Songs did I sing now, for many, many years. When I sang of love, it would turn to pain, and when I was fain to sing of pain only, it changed to love. “Then I was told of a saintly virgin who had expired not long ago. A circle was drawn round her tomb, Within it a number of young men and old were ever wandering as though in ecstasy. :And they spoke softly as if careful not to awaken the Virgin. “Heavenly thoughts seemed to scintillate from her tomb unceasingly, like feathery sparks, upon the surrounding youths and to emit sweet sounds while they were moving. I was then seized with a great yearning to walk in their company ; but I was given to understand that nothing less than a miracle might allow me to step within the hallowed circle. Yet I strode slowly with lowered gaze, devoutness and strenuous faith within me, up to the virgin’s tomb, when lo! faster than I had deemed it possible, I beheid myself within the circle which emitted a wonderfully sweet sound. And I felt as though eternal bliss were pressed into a single moment. I also beheld my father tenderly reconciled; and he folded me in his arms and wept. But my tears flowed even faster. Franz Schubert.” . Schubert, speaking of “the banauet” and the “delicate fare,” meant the sciences. His father’s “favorite garden” stands for the profession of a schoolmaster. The “Virgin’s Tomb” is the sphere of Music, where all things are changed into blissful sound. The reader will readily recognize, behind these touching words, the experiences Schubert actually met with in his father’s house. ee ES Expression and the Inner Melodies > By Caroline V. Wood So mucH beauty is lost by always playing piano pieces through in the conventional melody-and-accompaniment style (without much emphasis on the melody). Many of us do not seem to realize that the composer had a soul which he has tried to express in his compositions, When it becomes a mere matter of just so many agree- able-sounding notes, intervals and chords, it is time to stop and do a little thinking, and feeling as well. A great deal of expression can often be brought out in a piano piece by seeking inner melodies and giving them judicious emphasis. Sometimes we find inner melo- dies that were probably never thought of by the com- poser himself. Do we not remember reading about how pleasantly surprised Schumann was upon hearing one of his own compositions played by Liszt in a way that he had not conceived when composing it, but which he declared greatly added to its beauty. We are free to interpret music as we please, and probably no two musicians would feel it in exactly the same way; but the great crime is that so many do not interpret at all; they just play the printed notes in front of them. Of course this is not music in its real sense. The writer well remembers how Josef Hoffman put new life into Chopin’s Walts Op. 64 No. 2, by bringing out a hidden inner voice in the Piuw mosso part. The effect was something like this: Piu. mosso Rae re eeR etc. Amateurs so often lose the best that is in & piece by playing it too fast. They hardly glance at the title, practically never glance at the tempo, and as a result they do not get into the spirit of the thing at all. They are too apt to pass by the pieces that do not have an abundance of black, interesting-looking’ chords. Iljinsky’s Berceuse, Op. 13 is not even considered—yet what tenderness can be put into it by one who really feels its simple charm. | If you have a phonograph and want to see for your- self the reason for all this “preaching,” get Paderewski’s record of his own Nocturne in B-flat, Op. 16, No. 4, or the Rachmaninoff record of his own Prelude in G Minor. Nothing can better illustrate the exquisite beauty that lies in the inner melodies. One could write volumes ‘on the subject and still not say as much as the beloved tone poet has done in th’s one composition. pre, a

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THE ETUDE OCTOBER 1924 Page 677 The Teachers’ Round Table Conducted by PROF. CLARENCE G. HAMILTON, M.A. — sat ea This department is designed to help the teacher upon questions pertaining to ‘‘How to Teach,”’ “What to Teach,’’ etc., and not technical probiems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. Full name and address must accompany all inquiries Studies and Assignments (1) What studies would you suggest for a upil who has completed the third book of the Mathews Graded Course? She plays carelessly and will not take time to study out the trouble- some phrases. She will practice scales and arpeg- gios when I assign them, but in the same slip- shod manner. If I give her a piece which is not marked ‘Third Grade’ she seems insulted. Please Suggest some pieces for her. (2) Of what should an assignment consist for the average second or third grade pupil? (3) Name some good studies for the second grade, (4) How many lessons should it require for the pupil of average ability to compiete the Beginner’s Book and the Student’s Book? a (1) <A careless pupil may sometimes be brought to her senses by a course of rigid polyphonic music. Try the Little Preludes and Fugues by J. S. Bach; and follow these by Bach’s Two-part Inventions. Let her spend a whole week in playing each one with the hands separately before putting the hands together. Beethoven's Nel Cor variations; Massenet’s Aragonaise from the Ballet le Cid, and Cui’s Cangonetta are promis- ing pieces for her. A pupil of this sort needs to be driven with a tight rein, Give her music that will interest her, if possible; but don’t let her dictate to you! (2) Such an assignment may well consist of: (a) Some purely technical work—a few scales or arpeggios. (b) A study in which this technical work is applied, if possible. (c) Part of a new piece. (d) Memorization of a piece or part of a piece already learned. These are essentials, to which may be added, if there is time, review of a former piece, and sight reading of specified material. (3) Burmuller: 25 Easy and Progressive Studies, Op. 100. Brauer: 12 Preliminary Velocity Studies, Op. 15. (4) It is difficult to answer this question definitely, since so much depends on amount of practice, ability of pupil, and other considerations. I should say that each book, with extra material in the way of pieces and studies, might well occupy a season’s work of. thirty to forty lessons. Awkward Fingers I am teaching a boy of fifteen who plays the scales well—in thirds, sixths, two and three notes against one, and so on. His arpeggio playing, how- ever, is stiff and awkward, and he often misses the notes. Is his trouble due to his hands, which are large and have broad-tipped fingers; or am I expect- ing too much from one of his stage of advancement ? He plays third grade pieces and also the three arpeggio studies in Duvernoy’s Op. 120. He is a_ brilliant and careful student; and I would be glad if you would suggest some exercises to overcome this. MRS. G, W. H. Fingers with broad tips are often difficult to manage, as they are apt to spill over from one key to the next. I suspect, however, that the chief trouble lies in stiffness of wrists, which can be helped in the following two ways: (1) Insist on a considerable amount of forearm rota- tion, especially with slow practice. Particularly in play- ing with the thumb the right hand should roll well to the left and the left hand well to the right so that the hand-weight is in either case balanced on the thumb. Then, in playing away from the thumb, let the right hand roll to the right and the left hand to the left. (2) When playing with the thumb, let the wrist fall to the level of the keys, but in playing with the second, third and fourth fingers, let it gradually rise so that the wrist describes a series of up-and-down curves as here illustrated (the wrist falls in playing with the fifth finger ) : . Right Hand ‘A Wrist movement The above motions are, of course, reversed in playing with the left hand, Slow practice with an exaggerated observance of these motions should free the wrist from all muscular stiff- ness, and, will at the same time furnish an opportunity for extreme accuracy in tackling each key. After all rigidity is thus eliminated, the tempo may be quickened, and the motions gradually diminished, until they are only slightly evident to one who is watching the hands of the performer. Loose-Jointed Fingers IT have a pupil fourteen years old who has a good piano hand and can reach an octave with ease. But the first joints of her fingers are too limber, since the fingers are inclined to bend outward, and in playing the scales or any other quick passages the fingers apparently get in each other’s way. I have shown her the correct position of the hands and have given her such exercises as a slow trill to be played with each hand alone. I am giving her Czerny, Op. 299, Clementi’s Sonatines, and so on. Will you kindly advise me if.such work will remedy the condition of her fingers? Is it right for me to encourage her to study music as a pro- fession—to teach music ?—L. You are, in my opinion, dealing wisely with the pupil in the matters of technic and music. I should place un- usual emphasis on the curvature of the fingers. Let her hold her fingers firmly, as though grasping a ball; and give her some five-finger exercises to perform on a table, so that her mind may be concentrated on the finger-positions. These exercises (such as the slow trill) should be played so slowly and carefully (perhaps with the metronome) that each finger-tip hits the table-top without allowing the finger to bend outward as you describe. Care should meanwhile be taken to keep the wrist loose. I should not worry over the case, since her fingers, if properly guided, will probably take on more stability as she grows older. As to her becoming a professional musician, there are many other items to take into account. Does she really love music? Has she natural gifts of concentration, patience and good taste? If so, you are justified in en- couraging her, despite the disability which you mention. Apt fingers are desirable for the pianist; but apt brains are even more important! The same teacher asks also :— Should I insist on the eorrect position of the hands of the small children, and is the age of seven too soon to begin their study of the piano? The best way with young children is to lead them unconsciously into correct habits, without elaborate d?rec- tions or undue nagging. An occasional suggestion as to the betterment of the hand-position or the use of the fingers is more to be desired than a long haratigue on the subject. If the fingers are unmanageable, try some simple exercises such as those which I have suggested above, making these as short and pithy as_ possible. And so be contented to remedy each defect as it appears A bright child ought to be ready for piano lessons by the age of seven, or even earlier provided these lessons are short and frequent, and that his practice is properly supervised by parents or devoted relatives. A sane course of kindergarten work, in which he associates with other children, is a good preparation for regular private instruction. Variable Piano Actions In giving lessons at the homes of my pupils I find that the action of the keys of a given piano varies. At times the action will be easy, so that the child ‘has no difficulty in pressing down the keys Then again, observing that the child plays with apparent difficulty—on the same instriment—I try the action and find it hard. What is the cause of this variation?—L. T. There are two possible explanations of the phenomenon you mention. One is, that of climatic changes. During the winter, when a piano stands in a room in which the air is very dry from furnace heat, the wooden parts tend to shrink, so that the action loosens up. During the dampness of summer, however, the wood sweils, so that the joints become clogged, and the keys often stick; with - the result that the action becomes apparently “thick” | and “muddy.” But I suspect that much of the trouble is purely psycho- logical. Perhaps you have just been playing on a piano with especially easy action, so that the new one seems stiff, or vice versa. Then, too, our personal feelings often have their influence. On a bright, snappy day, when one’s blood is active, the touch of the piano seems to respond to our mood, and to take on a new resilience; whereas a dull, heavy day will have just the opposite effect. Sometimes, too, a piano is draped and decorated until its tone sounds muffled and its action consequently seems hard. Try, in this case, opening the top, con- signing photographs and plush scarfs to oblivion. Or, if the piano is an upright, pull it out a little from the wall, or free it from deadening rugs and hangings. You. may get into trouble with parents who dote on lavish ornaments; but it is part of your job to convince them that a piano, like a person, cannot be stifled and yet carol joyously! When to Use the Metronome Do you recommend the use of the metronome for piano practice? K. Under certain conditions, yes. Everyone should culti- vate an accurate sense of time-proportions; and there is nothing like the metronome to effect this object. Es- pecially in the practice of technical exercises may the metronome be employed as a balance-wheel and as an index to one’s growth in expertness. Try, for instance, using it in the following scheme of scale practice: _ 1. Beginning in the lower register of the piano, play a given scale through one octave, one note to a beat. 2. Similarly, extend the scale to two octaves, playing two notes to a beat. 3. Increase to three octaves, with three notes to a beat. 4. Finally play through four octaves, four notes to a beat. The scale should be played at least four times in each of the above ways. At first, set the metronome as low as 88; a rate which may gradually be in- creased to o iM. All sorts of variants may be ap- plied to this work, such as different degrees of force, different rhythmic figures, scales in thirds and sixths, in contrary motion, and so on. Arpeggios may be similarly treated. | Technical studies, such as those of Cramer and Czerny, are also profitably practiced with the metronome. But the danger of acquiring a mechanical style makes it advisable to use it sparingly with pieces, or wherever artistic interpretation is the prime object. Even here, however, it may be applied wherever there is a tendency to vacillate in time-values. Studies and Fugues Mrs L. D. L. asks for advice regarding the work of her pupils and of herself. First, as to studies which may follow Kohler’s Prac- tical Method, Op. 249 Of the technical type, I suggest Beren’s New School of Velocity, Op. 61, of which the first two books are most useful. These may be followed by the 50 Selected Studics of J. B. Cramer. More poetic and interpretative studies are those of Stephen Heller, Op. 47, followed by Op. 46. It seems to me from your description that you are tack- ling too difficult music. If you find Liszt’s Etude in D flat and Mendelssohn’s Prelude and Fugue in E Minor, Op. 35, No. 1 beyond your powers, work on simpler materials until you reach the required grade. Since your left hand is technically weak, give it some . special drill in scales and arpeggios. Also practice dili- gently studies that exploit the left hand, such as Czerny’s Op. 718—Twenty-four studies for left-hand develop- ment—and from Cramer’s 50 Studies Nos. 4, 7, 16, 18, 31. Chopin’s Third Prelude, in G major, is an admirable study for the left hand. ; Finally, before working on the Mendelssohn Fugue, you should conquer at least representative Preludes and Fugues from Bach’s Well-tempered Clavichord. 1 sug- gest the following examples from volume 1, which are here listed in progressive order: Nos. 3.2.2); Tcl, 6, AS a gerd,

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Page 678 - OCTOBER 1924 THE SPANISH MALAGUENA CONCERNING that languid song of Malaga, the Malaguena, Arthur Symons, the poet and prose rhapsodist, has the fol- - lowing to say in his charming Cities and Sea-Coasts and Islands. You cannot walk through a little town in the south of Spain without hearing a strange sound, between crying and chant- ing, which wanders out to you from behind barred windows and from among. the tinkling bells of mules. The Malaguena, they call this kind of singing; but it has no more to do with Malaga than the mosque at. Cordova has to do with the soil on which it stands. It is as Eastern as the music of tom-toms and gongs, and, like Eastern music, it is music before rhythm, music which comes down to us untouched by the invention of the modern scale, from an antiquity out of which plain-chant is a first | step' towards modern harmony. And this Moorish music is, like Moorish architec- . ture, am arabesque. It avoids definite form just as the lines in stone avoid definite form, it has the same endlessness, motion without beginning or end, turning upon it- self in a kind of infinitely varied mo- notony. The fioriture of the voice are like coils which spring from a central point of ornament to twist outward as in a particu- lar piece of very delicate work in the first mihrab in the mosque at Cordova....The passion of this music is like no other pas- sion; fierce, immoderate, sustained, it is like the crying of a wild beast in suffering, and it thrills one precisely because it seems to be so far from humanity, so inexpli- cable, so deeply rooted in the animal of which we are but one species.” BEGINNINGS OF “BORIS GODOUNOFF” “Harpiy had Mussorgsky finished work- ing at “Mlada’ when Stassof proposed to him a new subject for musical drama,” says M. D. Calvocoressi in his book, Mussorgsky, writing of the origin of the most famous opera that has yet come out of Russia. ing of the Old Russia with the New Russia, the passing of the former and the birth of the latter, afforded a rich subject.....He started on the work enthusiastically. To study the history of the Raskolniky sect of Ancient Russia (The Old Believers), and all the general chronicles of the 17th’ century, was an enormous task. The num- erous and lengthy letters which he wrote me at that time are full of details of these studies, of discussions on the composition of the opera, of the characters and the scenes. The best parts of the work .were written between 1872 to 1875’ “In February, 1873, three excerpts from Boris Godounoff were given at the Maria Theater (for the benefit of the manager, K. Kondratieff), the inn-scene, the Boudoir of Marina Minishek, and the scene at the Fountain...... “Some months later, the rehearsals of ‘Boris Godounoff’ were commenced at the theater, and on January 24th, 1874, the first public representation took place. “Tt was the greatest triumph of Mus- sorgsky’s whole life.” | ~ “There is no doubt as to the complete- ness of the success which. Mussorgsky scored at the performance of ‘Boris Go- dounoff.’ The younger generation entirely recognized its deep significance, the great originality of the work; and they were ac- cordingly full of enthusiasm. Twenty con- secutive performances took place, always to full houses. Late at night, groups of young men were heard singing the choruses a‘ong the streets and on the Neva Bridge.” human:y. . “Tt seems to me,’ the biog-— raphy says, ‘that the contrasting and clash- . THE NEGRO In a vividly written, comprehensive little article entitled “Jazz; A Brief Outline,” appearing in Vanity Fair, Mr. Samuel Chotzinoff traces the origin of jazz to the Negro spirituals, which, he says “are in their way comparable to the folk-tune of any European nation. They are the musi- cal expression of a great group of Amer- ican peasants, who became identified with the native soil through a century of com- pulsory labor upon it.... “The negro spiritual has two character- istics: one, an insistent and lively two- four rhythm which, being started, is car- ried along by the momentum of its start. This almost living beat is the base for every kind of sentiment the negro ‘slave felt and expressed.... It is this relentless pushing onward of the music that carries swiftly over sentimentalities and strength- ens extravagant ecstacies. His confused reaction to a complex and alien religion is borne with pathetic dignity on the stream of this throbbing mingling of time and sound. “The other characteristic of this music, of course an outgrowth of the first, is its physical effect-on the listener. In the ne- eroes themselves it produced a sort of rhapsodical epilepsy of which the lingering effects may be observed in street-corner The Musical Scrap Book Anything and Everything, as Long as it is Instructive and Interesting Conducted by A. Bes | S. GARBETT SPIRITUAL negro revivalists, and indeed in the antics of our own Billy Sunday who not un- wisely adopted the negro idea. The effect of this rhythm on the white race is not less marked, though less extravagantly so. There is an irresistible inclination to bodi- ly time-marking: a lifting of shoulders, a rolling of eyes, a swaying of the head (the latter a conspicuous feature, I believe, of what is known as ‘collegiate’ dancing). There is an inevitable longing to let this extraordinary rhythmic force take posses- sion of one’s body and work its will—like the devils that were believed to enter the bodies of sinners in medieval or Puritan times. The reaction to this rhythm is universal and as compelling as a natural force.” In conclusion Mr. Chotzinoff thinks that “The negro genius has been responsible for whatever musical development Amer- ica can boast. It is that genius which has produced the American jazz, the only distinct and original idiom we have. It and not the music of MacDowell and Foster, and a host of imitators of the German and French, is the musical speech of this country.” Some of us may agree to this only with wide reservation, but the point of view is interesting nonetheless. MOZART GIVES A PARTY “Or all amusements, Mozart was fondest of dancing, and found in Vienna ample opportunity for indulging his passion, where dancing was at that time an abso- lute rage,” says Otto Jahn, in his Life of Mosart. “His wife confided to Kelly, who saw Mozart dance on the occasion of their first meeting, that her husband was an enthusiastic dancer and thought more of his performances in that line than in music. He was said to dance the minuet very beautifully. His letters have many indica- tions of this partiality, and he gives his father a merry and complacent account of a ball at his own house (January 22, 1783) :— “Last week I gave a ball at my own house, but, of course, the gentlemen paid two florins each. We began at six o'clock in the evening and left off at seven. What, only one hour? No, no; seven o'clock in PADEREWSKI “THe musicians of Vienna had _ hailed with joy the founding of the Tonkiinstler- verein, which gave an opportunity of hear- ing not only the best products of their fellow-townsmen, but also those of for- eigners, who, when possible, were always invited to take part, says the Comtesse Angéle Potocka in her biography of Le- schetizky, who was, of course, Paderew- ski’s teacher. “I remember the night that Leschetizky brought out his brilliant pupil, Ignace Paderewski. His performance of an original theme and variations was: not greeted with special favor. Indeed, some local musicians were heard to remark that - the ‘young man did not seem to promise Cre't minds are the lighthouses of much.’ But his keener master opposed envious criticism with the now unanswer- the morning! You will scarcely believe that I could find room for it.’ “He had lately moved, and had taken apartments with Herr von Wedzlar, a rich Jew. ‘There I have a room a thousand paces long, and a bedroom, then an ante- room, and then a fine large kitchen; there are two fine large rooms next to ours, which stand empty at present and these I made use of for the ball.’ ” Apparently conditions in Vienna, 1783, were not very different from what they are in New York, 1924, except that not many modern dancing enthusiasts of Mo- zart’s financial status can boast an apart- ment a thousand paces long, let alone a “fine large kitchen.” Mozart to-day would be lucky to get a mere “anteroom” in the largest and richest city in the world. Happy Mozart! AS \A. PUPIL able statement, ‘Ah, my dear , you will have to get used to hearing that young man’s name.’ Yet, as he stood nonchalantly in the passageway, his tawny head resting against the wall, thosé who foresaw his great future were probably few. “He came to Vienna to study with Le- schetizky in 1885. Of all his pupils the master claims that Paderewski was most docile. There was no remark so _insig- nificant, no detail so small, as to reserve less than his whole passionate attention. In his two modest rooms in No. 46 Anas- tasias Grungasse (rooms which, for mo- tives of sentiment, he retains on a life- lease), with a slender wardrobe and scanty comforts, he patiently laid the foundation of his brilliant career.” THE ETUDE THE INDIAN MEDICINE-MAN AND MUSIC THERE is no greater living authority on the music of the American Indian than Miss Frances Densmore. In an article ap- peafing in Hygeia (Chicago) she tells us something of Indian methods of employ- ing music in the cure of disease. “The Indian medicine-man treats phys- ical as well as mental or nervous disorders with the aid of music, but there is no ap- peal to the emotions in his method. In- stead, it appears to be based upon the ac- tual power of rhythm. For about fifteen years I have been associating with the old. medicine-men of several tribes, in con- nection with my study of the music of the Indians for the Bureau of American Ethnology of the Smithsonian Institute at Washington. “Some of the medicine-men of the various tribes administer herbs and say that they sing in order to make the herb effective. Others sing without using ma- terial remedies. I have recorded : phono- graphically more than one hundred songs used by Indian medicine-men and women when treating the sick, with descriptions of their methods of treatment. Sometimes a medicine-man uses affirmation as part of his method. Thus, a Chippewa medicine- song contains the words, ‘You will recover, you will walk again. It is I who say it. My power is great.’ This was sung for a person unable to walk. A Yuma medicine- man said, ‘After singing my fourth song, I always ask the patient if he feels better. The sick man has always said that he felt better.’ | “The Sioux medicine-men have songs for various ailments—a song to be sung when adjusting a fractured bone, a song for headache, and a song for diseases of children. The Papago of Arizona have special songs for every imaginable ailmen: and, like the northern Indians, they believe that healing scngs are given them by cer- tain birds and animals. There is nothing in the words of these songs to arouse any associations in the mind of the patient.... The song is usually sung four times, then follows a pause, after which the song is sung again four times.” MUSICAL EPIGRAMS AND APHORISMS A RECENT issue of Schirmer’s Musical Quarterly contained some interesting “Thoughts and Reflections Anent Music and Musicians” collected by J. G. Prod’- hor.me, fiem which we select the follow- ing : “The language of music is infinite; it contains all; it is able to express all.”— Balzac. * ok Ok “Tone is light in another form; both move through vibrations which end in man, and which he in his nerve-centers transforms into thought.”—Balzac. * kK OK “Music is the vapor of art. It is to poetry that which revery~is to thought, that which the fluid is to the liquid, that which the ocean of the clouds is to the ocean of the waves.”—Victor Hugo. KK os “TI loved music till the age of thirty— a veritable young man’s passion. I loved her as long as she was my mistress; but since.then she has become my wife.”— Auber. . Kok ok “Those only make light of difficulties who are unable to overcome them. Vir- tuosity triumphs in all the arts, in liter- ature, and above all in poetry; in music we owe to virtuosity all the marvelous effects of modern instrumentation, which: have become possible since it has pene- trated into the orchestra.”—Saint-Saéns.

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Page 679 OCTOBER .1924 THE ETUDE Aneffective modern song without words. To be played in the singing style. Grade 4. AVOWAL EMIL KRONKE Op.185_ AVEU Con moto tranquillo M.M. ¢.-=52 dolce con antma i DC.al Fine emis Dh . A) | : “N i * | : IT : i Mama Ut / 3.3 Mh , : ( hs fF alll te : ~ hy, : | : | it tT mie it \ J 5 | is ob RS SE. EY. A eo NE Sa OORT OF “SS 40 SIE See Sh. ER WD AS) hed, A - aS eR 5i- ats ag IL | hea mi Nl lly — RRS RE eee Puptics= 0 a temp f 4 Tee fh ‘ 4 YY t ey 2 | wa iat International Copyright secured Copyright 1924 by Theo. Presser Co.

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THE ETUDE OCTOBER 1924 Page 680 ALFRED PRINCE SONIA POLISH DANCE é 5 _@ Fe - ~ | if Bie | ee —h © 4 ay Es _| ait val = ow "HE cs i 4. «elle ~n # ik ~ #i ~— st = a ' gee or el ces %: j © ret t be : : J | ~ j R ‘3 E ~ “I TH | a = = « s* = | ~ ag Of + + | BOD TT S D mgr ( onan 5 oD ¢ tat | bp 2B a # ae & a3 PF = as tn IE RF a Se (ry Hh HH he AN = a 2 4) ~ i: = we 4 ° re iN _ of (1 = ae uD me (an) ~ = Sa 2 bop |. ri im ag a S es ' : o B oe ‘ ; ° i : fx, LD 4 , Rein- le, characteristic in rhythm. In play = , j ‘ Ee 4 ily ¢ Ping Se ‘ a . \ \ 2 eS A =P it Pa Let | __L ble pay =% vt} | im HT] pan zs : fn | sa. a ect 3 ‘ WE : a5 > hs iN S2 | oh ey IN ie i —— oe 7 32wPGe OCS 8 cae | sae v tee Hh Nes ° (4 Be, ET: tlh. ER STEER ERTS EEE IE TTT, ger with the thumh, if necessar Molto meno mosso RG AY OS RAS OT ORD TTS RE RES ow CRS oe 1924 by A.Hammond & Co. ** From here go back to the beginning and play to Fine; then play 7770 //. a ee ed wae ee So jr 2a ee ee, *

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Page 681 OCTOBER 1924 THE ETUDE WALTER ROLFE British Copyright secured ee) a ee ee ee ee ee | 3 i ( 2 fr a te : “ + ih i ae aii G ayia i ! ri il ui ) pte 7 it | S AY a} Hy SHE PD ma Hh | AN ALT ie Hy I Th | ils ii aI m : it | il its = im i nay ; Te De : -—N | : ie | A: ) A , ~ © t Bue POs ol m iy = 3 sk . gretto con an Alle “n a Coal <i 2h NY o MIN OLY ‘ To be played in po/xa rhythm, Copyright 1923 by Theo.Presser Co.

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THE ETUDE OCTOBER 1924 Page 682 GEORGE DUDLEY MARTIN LE SOURIRE VALSE An idealized waltz movement to be played tastefully andinacapricious manner. Tempo di Valse Spiritoso M.M.¢- =72 QR a ET: eRe Bias x ee Re "ha = Je XO | Ban Ped. stmile British Copyright secured Copyright 1924 by Theo. Presser Co.

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Page 683 THE ETUDE OCTOBER 1924 i (lee eee 1D il . ie is ilies : : | i ‘ < 2 | Z » i iit \ | i. = th ee :. gas . | iN : uf rye i AT] he Ok iy} | LS? | Me OG ee ee i eg ee A GEM FROM HAYDN LARGO from Sonata No.7 Written in the classic polyphonic style. Grade 3. J. HAYDN Adagio sostenuto M.M. @=69 Ee ee re te ee ee ee ~ = 2 az Ky AS hac: NT rr eh a el

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THE ETUDE W. BERWALD SECONDO DANSE GROTESQUE An original four-hand piece. A daile# movement in modern style. Very characteristic. OCTOBER 1924 Page 684 ‘ Ty we WA Mi ‘, : ALA lt a a il a 2k OE ENE RL RS NE Last time to Coda => hal ati eR 2 ill (U i T a Ell (M A H helat & hi ts I ha s r Ih 49 i Al | on oh ; ~ Copyright 1924 by Theo. Presser Co.

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Page 685 OCTOBER 1924 THE ETUDE DANSE GROTESQUE W. BERWALD PRIMO (ut lf it Coda oO a Ce a 3 ie “eee Last time to, ig i «AW! | Nai g | ee ce . | ft « iN ou [ SL “|f iH | Ii ee \ w|| } I “it ) | I T} | | oe | : ! , ae | T n ‘|| | “i { +eip 1 lt , a To <i f : 2 | i i al (Sm ct H ° } |) =A H aNall A i “ : et si it Mt! | a T 1 i T if st 'e 1 eee i Nall ml | Mi ¥ nl | a) / ; a A He = ll al ye! ~h a | i fy . Ean Pell ! Hn < a oe I . wa /\ naif F 3 es her] ~ _r TRY ees awe go ares

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THE ETUDE SECON DO OCTOBER 1924 ilk st ears Ore il ia oa ba ia VIOLETS INTERMEZZO = eth (him Rican = tl (HNL z ' ail E ih .: H a HL SIAL E O al : TT k 7 “LTA i : " I | an ali i ; al | E TT i. sr | | i N a : I eS ly A il y| fen : — : eta a {I ; t | HI att AL | adel ad —Sal [| J ait it il ‘ S pany rans | ; ; a : Tt) © serch I ; = wall ih D ath HHT | lech Tre veg! HT eal OS |] | - th st i iL 3 + caus + ; iil tr MW : aa |i ie a | | ae see i is a al | | - == ulin mnt : = il lll : = e2ER pu ae: van rt : Et BO. ay | err = a euny all. b 3 i ann : 3 re a | Tt R = oo ily Ih z AL ay i : ie |) oh BNI BN a ee ee ee ee O

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Page 687 OCTOBER 1924 THE ETUDE it A-wdes ih 4 i i¢ iin , We i Y I A VIOLETS G. EF HAMER INTERMEZZO PRIMO 8, 259 BD Rel eS Ee J | ae PP ee ee 4 ite) R es Ce m2 1 5 SS 4 21. SB A aes ae Parton fila ides oI Bi rt al ey ii =a == - @ e 2 -@ ih ¢ e¢ T coe - = = ° > — wes of ' @ — < 3 4 4 5 4 a» 8 4 aS Sle A BE I Ae iA Ld 2 28 8 5, - a DD AD eee. eee eee Ree So JOC SS a re “AL Pf 4 5 WS rae oe Sats 2 & iad SS A APRA alee atin GER Rn aE ae 0 2 A dd ne AP ES ee He

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THE ETUDE BAGATELLE pieces, Grade 4 ‘ OOTOBER 1924 Page 688 L. VAN BEETHOVEN, Op. 33, No. 4 One of the finest of Beethoven e , n ( ’s shorter piano = oe Andante M.M. “g mL et pe CrTéesc. 7 all iN es many © weer hkl aun +f —| S41 i ad | St al Of ts aie nal SS Of | Oa a ef eee fe EN

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SS AST SY SG CNT GER ee HT ft Page 689 OCTOBER 1924 poco ritardando WALLACE A. JOHNSON, Op. 105, No. 2 MORNING SONG A tuneful little study in the sustained style of playing, Grade 13. = 72 nenemacrecter km poeta te eonipheemenaal ra ‘. Andantino M.M. , seh we an €) In these three measures, the upper voice in the left hand must be brought into prominence THE ETUDE eet h aan ye a British Copyright secured Copyright 1924 by Theo. Presser Co.

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mh ~ THE ETUDE NOCTURNE IN F OCTOBER 1924 Page 690 R. SCHUMANN, Op. 23, No.4 NACHTSTUCK A playable transcription of one of the romantic masterpieces. The original is adapted onl Arr. by W. P. MERO 2 2 y for large hands. Grade 33. 2 RE ei a a a ee Bae ‘Y ts fpr M.M. sds =63 Se CL OL "A |” RR OT I oY SY SS a) a a oe : : : : : Se ne a Me MORES O° Nhl a Aiea eRetneals SP" Sh Ati Hl ¢ a ee os r 8 . w, a eee | eS 4 5 Le Gi 4 a EN BRE dene etd, ER ee 8 RR BE A ¥ ' , ARS). 5 LF AOR iaioeiel | OF |, SUSE: Sh wl Rien Os ee Ae BREST ee eee is he N\3 EK CRE NS EY Fea CHUAN CR Aik Pipe ete 5 4 2 Nino PR eS RSME HON OTN, = 2. ae ey OE RAE ——_ ++} ae ot —— * -—_}—__ oS, se 5 — eet ee eae ao a Some ae a AIMEE y, 2 SS” SRN GS Ee RINE SR | A. MR aed A be | __a_o 2 oe eee ee § 4 Noe a i cee _ | EPEC Nh Ag DE SLSR Se a a" I EE EE Ps? 8 SIL OSS SS i a, 2 Te a OS CR | A cc ee SE Ge . .. |} 0) 72 Gear" ey 7 2 2 ee 2 eee Gee ..n ES ee STO. ee Se GER of A | OR EL a ee 5 5 Trt. "S00 RRR eRe Copyright 1924 by Theo. Presser Co. on i) A 2" AT BAY Bot TS = Ane ea AG ie AE el

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THE ETUDE OCTOBER 192; Page 691 O teaches the music teacher: IN MUSIC, AS IN EVERY PROFESSION, THE LEADERS ARE THE LEARNERS. THE GREATEST TEACHERS ARE THOSE WHO NEVER CEASE TO BE STUDENTS. ET whatopportunity forstudy has the busy music teacher? His days are filled with lesson hours. His own practice time is barely enough to keep a precarious hold upon his hard-won repertoire. Ten years ago, these difficulties were insurmountable. Today, the Ampico has made it possible for every music teacher to be as thoroughly at home in the world of music as the well-read English teacher is in the world of letters. What the Ampico is In appearance, the Ampico is sim- ply a beautiful piano— bearing one of seven famous makers’ names— Chickering, Knabe, Fischer, Mar- shall €& Wendell, Haines Bros., Franklin; and in Canada; the Willis also. These are names of enviable fame. For generations they have stood for instruments of quality. (For example, note that the Chick- ering and the Knabe are two of the four great pianos in general use on the American concert stage.) But the Ampico is more than a fine piano. Within the piano case is concealed a mirac- ulous device. At the pushing of a button, the strings will sing beneath the touch of great artists. In your studio, perhaps hun- dreds of miles from the famous concert halls, Rachmaninoff will play his own Prelude in C Sharp Minor; Artur Schnabel, an author- ity on Bach, will give you his celebrated interpretation of the Italian Concerto; or Lhevinne may reveal the poetry of a Chopin nocturne. Yet this same piano is not altered in any detail of its construction. When the playing device is not in use, it does not touch the strings, or even the keys. What the Ampico can do for you The inspiration that an Ampico can bring to a music studio is limited only by the vision of the teacher himself. THE AMPICO CORPORATION ° “esoye Though hundreds of miles from concert halls, the teacher may yet be close to the great music of the world The teacher may study the methods of the masters—for, through the Ampico, they will play for him, whenever, whatever, and as often as he likes. For the study of special points of technique—pedaling, phrasing, touch—he may retard the tempo and gain exact knowledge that can be had by no other means. Just as slow-motion pictures reveal the secret of movements too rapid for the eye to catch—so does slow-motion music on the Ampico make scientifically clear tech- nical details that the ear finds difficult to catch otherwise. The teacher who owns an Ampicocan offer his pupils a wealth of musical experience WLAMPICO 437 FIFTH AVENUE that will let them see thes future reward of their daily celine on scales and exercises. The Ampico is living r music. To the fine instrument is added the interpretations of great artists in a library of recordings that includes the world’s treasury of music. Nor is this library a collection of printed scores—mere symbols of music. It is music itself —the composer's mes- sage come to immortal life at an artist’s touch. | Only a musician can enjoy the Ampico fully The more delicate your ear, the finer the Ampico seems. For that reason, trained musicians gain the greatest joy from the perfection of the Ampico’s performance. Thou- sands of musicians have discovered that an Ampico recording of an artist’s playing is identical with that artist’s playing on the concert stage, but not one of them could believe it until he had heard the Ampico. Hear the Ampico! You must hear the Ampico at once, if you have not already discovered it. Any dealer — handling any of the pianos mentioned above will be glad to have you hear the — at his store. 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 about where you may hear it. Exchange your piano for an Ampico Any piano that you now own will entitle you to an allowance in buying an Ampico. The dealer will also be glad to make conve- nient terms of monthly payments. Foot power models $795. Electric models $985 to $5000. ‘* NEW YORK Oro A few of the hundreds of artists the Ampico brings to you | | RICHARD BUHLIG ERNO DOHNANYI ETHEL LEGINSKA ELLY NEY | ARTHUR RUBINSTEIN SILVIO SCIONTI TERESA CARRENO LEOPOLD GODOWSKY MISCHA LEVITZKI ERWIN NYIREGYHAZI OLGA SAMAROFF “ HENRY SOUVAINE JULIUS CHALOFF PHILLIP GORDON JOSEF LHEVINNE LEO ORNSTEIN E. ROBERT SCHMITZ RICHARD STRAUSS JAN CHIAPUSSO MARK HAMBOURG © YOLANDA MERO SERGE] RACHMANINOFF ARTUR SCHNABEL MILTON SUSKIND GEORGE COPELAND VINCENT D'INDY BENNO MOISEIWITSCH MORIZ ROSENTHAL GERMAINE SCHNITZER FANNIE BLOOMFIELD ZEISLER | *OCpso- #OeG)e

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Page 692 OCTOBER 1924 Now, These Great Artists of THE NEW HALL OF FAME are on Brunswick Double-Faced Gold Label Records BOHNEN MINNEAPOLIS BRANZELL SYMPHONY CHAMLEE Henri Verbrugghene, DANISE Conductor CLAIRE DUX MORRISEY THE CLEVELAND ELLY NEY ORCHESTRA ONEGIN Pebwe- ere Sokoloff, PATTIERA Co t i aardind ea RETHBERG ELSHUCO TRIO ROSEN GODOWSKY RICHARD STRAUSS HOFMANN WILLEKE HUBERMAN UKRAINIAN IVOGUN NATIONAL LAURI-VOLPI CHORUS ISHAM JONES’ ORCHESTRA, College Inn, Chicago, Illinois. RAY MILLER’S ORCHESTRA, New York City. GENE RODEMICH’S ORCHESTRA, Grand Cen- tral Theatre and Statler Hotel, St. Louis, Mo. ABE LYMAN AND HIS CALIFORNIA OR- CHESTRA, Ambassador Hotel, Los Angeles. THE ORIOLE ORCHESTRA, Edgewater Beach Hotel, Chicago. PAUL ASH AND HIS GRANADA ORCHESTRA, Granada Theatre, San Francisco. BENNIE KRUEGER’S ORCHESTRA, New York. HERB WIEDOEFT AND HIS CINDERELLA ROOF ORCHESTRA, Los Angeles. CARL FENTON’S ORCHESTRA, New York. VIC MEYERS AND HIS ORCHESTRA, Seattle. OLD COLONY ORCHESTRA, New York City. THE COTTON PICKERS, New York City. MOUND CITY BLUE BLOWERS, in Vaudeville. AL JOLSON MARION HARRIS MARGARET YOUNG ALLEN McQUHAE FREDRIC FRADKIN THE RADIO FRANKS FRANK BESSINGER KELLER SISTERS & LYNCH RUDY WIEDOEFT PHIL OHMAN AND VICTOR ARDEN - IRENE WILLIAMS , ELIZABETH LENNOX A phonograph to play your favorite music for you always Brunswick b THE ETUDE BCE yee $3 ers = ‘ 4 cA g % ene ee Taree snares ery se ee = Brunswick Radiola No. 360 PRES PALL ETAT AE NES BITE ROSEY URE PES PSE RP a UNE EPL Oo NOMS IAEL LR SOMO SO a RSL OLS SES SLR FS EES eee were wrwwwwwnn nn AAAAR nnn ORAS EES NUWTSVUWWIAARRAAAARARRARAAADSSE SEES BSE ¥SToeT TO UAMAARRRARAR EDS PyET EONAR OA AD ee +e eeETTNINNNOR RRR ARERR: The Brunswick Radiola ...a remarkable RUNSWICK waited years while radio experts, music authorities, ex- perimented. ‘Lhen one day came success —the laboratory triumph which blended radio and phonograph — offering a new conception of world’s music. The music of yesterday, today, tomorrow—recorded music and music of the air —superlative. Less than six weeks ago this new instru- ment was announced. Today famous artists, scores of America’s representative people have joined in paying tribute to what world’s authorities acclaim the out- standing musical achievement of the day. Brunswick now offers the choice of two supreme Remember musical instruments; the Brunswick Phono- graph alone without radio, and the Brunswick Radiola, which is phonograph and radio in one. Special demonstrations, day and night, at the “Sign of Musi: cal Prestige”—your Brunswick dealer. both Phonograph Now, with Brunswick Radiola, world’s finest music is offered — beautifully ren- dered, exquisitely expressed. And repro- duced with a crystal clearness possible only through the exclusive Brunswick Method of Reproduction. Only a musician can truly appreciate the fidelity of Brunswick reproduction. Piano notes retain their richness; the tonal qualities of all instruments are clean-cut and definite. The woodwinds can be clearly distinguished from the string-instruments, for instance, on Brunswick. And this Brunswick brings to Radio. messssgsseaseseeresce . 458 thy ? 2 no : mh 7 2 +2 “4. B84 ay wey snes oles: z Echt sty a sneies rings Music of

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THE ETUDE OCTOBER 1924 — Page 693 The music of the atr at the turn of a lever ~ ie pgneceseortcadll HORI hn ond i ia TRG BEG A EEE, REI IRN IRIS ESA NS AIRINGS JAD IRA LABEL aaa" Ci Sut te Re Brunswick Radiola Super-Heterodyne '9-a* ? Paes RDA IRA OAD IOI eer z = ag . u ; tka Rae os Ssh —some remarkable features: Feat og ek ae titers Lit S3E 37 ground wires. You can move it from room to room—plays wher- ever you place it. 1 Requires no outside antenna—no ahd g gt? 2 be. "3-2 E 3-3 WEF: ri% are Amazing selectivity permitting Z you to “cut out” what you don’t want to hear and pick out in- stantly what you do. Consider what this means in big centers. pupae: ne Spray Set Lak Sac a. ERIS EI RT IN eS RIE, eZ + Err with the superlative in phono- graphic reproduction —a phono- graph and a radio in one. 3 Combines the superlative in radio FEATS ors we eek: dow Kowden a “eee \ er dc ye | | i | ROSRCRARCV DNR CORNICE ACTOR RCH aL NCD aL UDR N RCE DIG RCV MER Rana TG NaS ACE CELE LET ITEEIIIIITITTITT IS " KP ‘Door on side of cabinet y turn “ale ULTONA containing loop for operation of Qpp. % RADIOLA g nt RODYNE ») bin x ao ph —— ee /\ WY gyn records == et Lever @ 5 TLR We | Toy transforms yy”? S U }/ | Vy n 7 Vi Ad - phonograph to GRILLE covering all-wood yl | oval-tone amplifier ye: musical instrument, combining = Uff XW, containing HY, RADIOLA and Radio in one “em ONE YW SuPer Usual record Via) ~HETERODYNE album space um space yj panel behind this door Wy Ask your Brunswick dealer to play the new Brunswick Radiola for you. Hear records by artists of the New The Brunswick Radiola marks the joint achievement of the leader in musical reproduction with the leader in radio to attain the ultimate. A scientific com- bination, developed by the Brunswick laboratories in connection with the Radio Corporation, it embodies the best . that men know in music and in radio. The Brunswick double-purpose ampli- fier is so perfectly balanced and propor- tioned for both phonograph and radio that it is governed by merely the turn of a lever. Ce OEE lS Sas PHONOGRAPHS + RECORDS - eae ‘The Sign of Musical Prestige Hall of Fame — by popular artists of Brunswick —the finest modern or- chestras. Then hear the music of the air—at the turn of a lever. You will get a new ap- preciation of what Brunswick is doing constructively for greater musical knowledge, for the spread of the influ- ence of good music everywhere, RADIOLAS Brunswick Radiola No. 160 *© Liberal Terms The Brunswick Radiola comes in six models, THE BRUNSWICK-BALKE-COLLENDER CO. Manufacturers—Established 1845 GENERAL OFFICES: CHICAGO Branches in all Principal Cities each in two finishes. Prices range from $190 to $650. All obtain- able on convenient terms,

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Page 694 OCTOBER 1924 | | THE ETUDE | —= One of the Most Important Contributions ever made by America = | for the Musical Education of Little Children | A METHOD FOR THE PIANO FOR LITTLE CHILDREN = By JESSIE L.GAYNOR ve PRICE, ONE DOLLAR Legion are the teachers who for years p bekioped this master teacher to transcribe to the printed page all the charm of her method—a method by which little children so quickly and comprehensively learned the mysteries of the keyboard and made the study of the piano a real PLEASURE. The Enormous Sale of the Following Gaynor Books is a Testimonial | to Their Great Worth | “750,000 COPIES HAVE BEEN SOLD” 800,000 COPIES HAVE BEEN SOLD”? Miniature Melodies, Vols. | and 2 Songs of the Child World (3 Vols.).........each $1.00 Melody Pictures, Vols. | and 2 Sacred Songs for Little Children.................. a First Pedal Studies 3 - Songs and Shadow Pictures of Childworld ...... 715 Miniature Duetts Dances and*Games for Children...... ...........08. 2.00 Finger Plays igen SW TE Catt WUMOES aa siepsaach sen ecccvackssces Bs ae PRICE, EACH, 60 CENTS ONGS-OF @ CAVOMGIMMOENET 655. in. occinysconncaccwebtar 50 ORDER FROM YOUR DEALER OR DIRECT FROM US THE JOHN CHURCH COMPANY CINCINNATI NEW YORK LONDON D. Appleton and Company Present the Universally Popular Piano Collection Piano Pieces the Whole World Plays THE COMPLETE CLASSIFIED INDEX Classic Piano Pieces Ob LB REE hig Sas d5k 45% 00:89 006-8 HUMMEL Gipsy Rondo ..csvecesecvvess HAYDN Prelude Op. 28, No. 6.14.05. CHOPIN Confidence” ...secees BN Tee Lee SOME iis hades Ses HENSELT Prelude Op. 28, No. 7........ CHOPIN Consolation No. 5 wssscccsecee: ALSZT Minute Waltg ...cecesereses CHOPIN Serenade ..............+- SCHUBERT : Fifth Nocturne ..sesesseeee LEVBACH Moment es ves . SCHUBERT Spring Song ........-MENDELSSOHN PI rc ES Fiir Elise ...se0- oer BEETHOVEN Nocturne Op. 9, No. - NS pres atin CHOPIN Traiimerei and Romanze..SCHUMANN PONTE Sas dba ve ho deeo as hae GOSSEC Prelude im C...esvedeces peeseds BACH Turkish March oscecerscecss MOZART LE WORLD | Modern Piano Pieces | AnttrG's Dance s osccvecerecécs GRIEG Menuet a L’Antique...PADEREWSKI Scarf: Dancé .vcrsveseas CHAMINADE Chant Sans Paroles..TSCHAIKOWSKI Polish Dance, Op. 3, No. 1, SEVPROIG "3h BERS ORE EE MOSZKOWSKI Chee Le a pions ee SAINT-SAENS SCHARWENKA Stemtile AGG «6 600 baekien coe THOME . Flatt’rer, The .......00. CHAMINADE Poupée Valsante ......++6.- POLDINI poste saoon my ape B.S MAC DO + ke Op. 101, No. 7... DVORAK Prelude Op. 3, No. ‘Olse Serenade ise ¢20ee sans ,DINI Hungarian has No. 5 .... BRAHMS RACHM er ere Palette | ois cv otcide een BOROWSKI Melody in PF... .ccceees RUBINSTEIN Salut. 2’ AMG. .660 dca ks awe LGAR Light Piano pices Alp-Maid’s Dream, The....LABITZKY Intermezzo Russe ..++. sees FRANKE Stephanie (Gavotte) ....+. CZIBULKA Charge of the Hussars..... SPINDLER . Lottie Bal 24 cect ov ccces GILLET are Mr om ; ¥ ppshae: icieasaae ee Cinquantaine, La ...GABRIEL-MARIE Longing for Home ...... JUNGMANN Val. ay atro VC sseee ar ARGIS Coguatlerte: io Ri PEES Es wees WACHS Love’s Dream After the Bail, W, ble net ele ee RICHARDS Cradis Soua 3 fa ives .... HAUSER CZIBULKA GPOMNGS Gk DUE ssserees SARS I~ ESE ei pt eB GANNE Paloms, Lia's ise ag ed ees YRADIER Waves of the Ocean oe+.+0.+-- BLAKE Pistia Song 35 tA Risen cave LANGE Secret, Le wsscesevesssevees GAUTIER Pontgend, (Le. oc iste DOE BEsiss s BOHM SOVCMMEG 4:06 + BY RSF o4 RE SAK ss ss eH Operatic Piano Pieces Aragonaise (Le Cid)...... MASSENET Evening Star (Tannhiuser). Arg My Heart at Thy maoait Voice (Sam- Barcarolle (Tales.of Hoffman) . Gavotte (Mignon) .......... HOMAS son and Delilah) . .SAINT-SAENS OFFENBACH Grand March (Norma) . BELLINE Pizsicato (Sylvia). ..seeeacuse DELIBES Berceuse (Jocelyn) ........ GODARD Minuet (Don Juan)......... MOZART Quartet (Rigoletto) .......... VERDI Dance of the Hours (La Gioconda), Miserere (Il Trovatore) ...... VERDI Sextette (Lucia) .......0..DONIZETTI To Canadian. ‘Ktude’”’ Readers PONCHIELLI Waite (FP dtst)} oct tents oi GOUNOD : : For sale at all Modern Music Shem throughout the United States We have recently issued a special edition of this book for sale in Send for complete catalogue of the ‘‘Whole World’’ Music Series Canada. Price $1.50. Write for (We do not send this catalogue into Canada) free descriptive circular giving complete content | D. APPLETON AND COMPANY * tiyvvotk a" Please mention THE ETUDE when addressing our advertisers. a ee ee ee ee a ae ee re

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Page 695 OCTOBER 1924 DANSE PIQUANTE To be played in“double time” (alla breve), two counts to the measure. THE ETUDE PHILIPPE MAUREL 72 OSO M.M.d Moderato grazi Ny ae It Aut Nt “i if wu : i | r ii t i i i i , " a ||| 2 | | Tt I il se | ges - oy at ray «wtih él A) Se ) Nel TA lll , - TH Tats - hep mo Ss ae a Me WW | Ha AK Kf se fae a ofl P il ci dl wal AU) Sp vi ' Ty i 6 Hd. ful RYE SH ROT AOE RS aR AIR A RT | GR RT SS Ca AROSE TAPER ATs S | SS le OS i le A RR AE Se: SI aS ER Sn EE Se Eons a =, 8 4 TH! Copyright MCMXXIII by A. Hammond & Co.

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LILIES IN THE POND Avery good study in rhythms. The values must be exact throughout. Grade 3. Page 696 THE ETUDE OCTOBER 1924 =108 Not too fast MM. Copyright 1924 by Theo. Presser Co. British Copyright secured el | i at [: 7 hi ~ ty Op.41, No.3 Bil ~ f WM. ADRIAN SMITH ey ey Peo ee co ee ee SS DS ey ee ae Sk Lian satiety aA iS Ta Ge RETRO EEE“) _LERPERE ES LORIE SS + | ey ey tt. ei ee Se See S| | | @ Oy | Lee ok | RRR eRe "RIM BSE a OS A ES a

: if E ke ro + T 4 3 - se eT 3 uN |. a 5 ij | “a g TT : t TT = xl ni 2 a i ag S sor a ua = na a. ec 5 = ag | a > 9 2} t 3 = SD . a. Ri. ad :3 : i: i oC — p< Be 2 4 = fl ta “ty : IN I I 5 i Y i c ah sai oh ee ea 2 OOO a

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Page 697 OCTOBER 1924 i al! , aid |! sl : YY Ne!) THE ETUDE : ae aa aan E Tal Tl (i ; 1 a 7 il MF TT : ef r 7 (am li Aline ET OEE PRES 4 Avi E | . 1a tL ut 4 2. 1° CL atl i 0 book ast” : | Ty t | * | i ¢ al al ait ch RY <dh | | nil — a ee

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THE ETUDE OCTOBER 1924 Page 698 AUTUMN FRAGRANCE In rippling style: to be played with smoothness and elegance. Grade 4. ROB ROY PEERY Vivace Ts. iy = THe & HN K tT “a Fe S oriliante ay OT A a) ES r] .4a d= 72 gTazioso M.M. (ie tc A a ie bile Aaa iad ae at ae oe . tt Sea a ciaaiaeeeaaanaia 2 British Copyright secured 2 2 38° CC) te oe ee EA OD Se GTS OR eee: Nl MN i a RR ABS ds. SG 43 935 23} PiU MOsso * From here go back to % and play to Fine; then play 7rro. e es i =| ae! a ee ee i RM ST RA MMBC aS! rm Copyright 1924 by Theo. Presser Co. = A ee © «tie ei Ad if... Uae 2a TY A

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Ea Page 6 99 CIRCUS DAYS OOrOBER 1924 In the style of anold English dance, vigorous and full of humor. THE ETUDE DONALD HEINS Brightly — ae mis Seta OMA 3K, (2 CD A CANT RE ST IE Oe ete: eecie oe: hee | fe. Wy —— —s Picaereineines RT: SSS ae : a aa i ee a ee ee ee ee CEES Sonik yy —, RP eee eee ee nf MWe ee —— oe J ge CE EE ee a, A ch ed = => => > eT ame — , am 2 ce es ee oe = SS. 2 a COS Ot Es | gg * en _ Cg See i — |__| J es ee ee ee Bete SRS hel MR RL Ree RN ae aS ee ee Oe a EL i : | if US L fh | t | (lt ' rT Ah J A " [1M ia I W An, Ty \ TT iL. 4 os ‘ a! | | T | Z fh a l ile: © il aT > hs [w4°__BIN 1” eos! ltiawesea | SEE SG He Ge Re isles o ——_—— a Ot HS -—} +t = j : —_ ( - =. 2 mf ? a! ie > > eT “ ; Pes ] 3 | ; : : i | : Z se gals 2nd time p International Copyright secured Copyright 1924 by Theo. Presser Co.

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be cae pap a TE ™M z aan S + a iil wil = S S wt 2 i 8S , aah wn a ~ A: ca iit . | BA SS All T gttee Pe I i | eC an lik f i ATL IT Ay ye Bi ee me dd a ee ora mare 3 3-34-44 Ko ee GaN ff Full Organ sbi POMPOSO SOS SS SSA SS SSS SSSHSSSSSSF ae SSC SSS SFF SF SSS SF SSSSSSSS SS FFF GSFC SSS SSF FFF SSSFSFSF SSS SSO. FHSS SCenewBeareeeaeeanececate age ee ee ee OCTOBER 1924 $ fH 3 » "| S i : tS . a rf HIE cu oo 3 LP o $eld = s I i ee I TT V8 | o an Tu | $ o wall elk Ds a is ith ee iol - 2 tae fl o@i@l E = = ES q s am bp oe re rT -. ¥ BLS i au : i He | Hil oe : : il TH | SD s Nar 2 “3 TL x a... a y \ ili THI 2 = és i : i 1811 E Sin & : SS TK K HH 4 = it alse > | ai ox =) % = a> + = Sp IY ah || 5 ob < eco te ao ae S , - wn | S ate 2 3 <a all, = p 2 a l © =) ° 7 &® Fs Pe S : 3 x, * - «a cv % Z earcehe cak British Copyright secured Copyright 1924 by Theo. Presser Co.

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: : Hy it i” . ca a “abe S | LHS = ? aaae f 3 ttt tt li] oH) Os Be et + ar l X 2 bo ’ ‘\ x TA Ah | e: “4 < ll Rg S S (r << Pat So f : f : L : i . : PAL DRAM NES, 3ST Ta SS ES OE aR eT: - |} 8 srs S28 OA A A 1 RR oe eR gs Sw. Soft Reeds & Strin ‘) i ach RY From here go back to Trio and piay to Fine of Trio, then go to beginning and play to Fine. THE ETUDE

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Page 702 OCTORER 1924 | ‘THE ETUDE ETERNAL LIGHT! LUX ETERNA | | ae A. BUZZI- PECCIA Andante moderato qn Allegro moderato. Maestoso eci¢. Con STE EO Ss | AT RE Sho CR . a ORR F ae I Ss Pe ae eee ee SGENAEE. EMT ARE: TARE? USI OMAR, TRE BSS tale | Light of Life! Love di - vine! , When oe LA (Lt - 0 B-ter- na DA- mor! | | | | Al- “ORS pecan ae Selig g | ° —_— , v4 ae ge . -_ _ i oe [St EPR eR (RP RE eee, Pe GRD Ge 2S EE a a aS aD dolore e dolcezza COMATOSE SSG AR ES CE “OUT Ee A JL Si Be MR Ee RR OR eG 8 Oe CN ee ee i a” ae ee ee ee A ee ee ee Es ER ee ee VS. 2S AY CS Ac, A ERE SS OS Gs EC TO... * EES TEE VER © ATR fears and doubts ap - pear To cloud my sky, _ When sor-rows bring tears To dim my eye;—- My heart in its an- guish seeks lor cheo-scuroap- par 7Z mio cam-min, Al - lor che la wi-ta e sol do-lor—_H il core o-gni spe - me ash- Wargo FEO SRAM OTE? RIE SET © BI RTT MEME RUC ce MODS SARE OIRO! OS kN Re ee ee eee La oe TE: RESTS Da tt go EE ees Sie v1 Si i a aS peace a - bove. ‘Hear ThoutheprayrI. bring to Thee, O Thou Lord of Love. O Light of Love, In ban - do-no:— La mia pre-ghie-ra Vol-goa Te O mi-o St- gnor. A CO AE = MOR a : eresc, e@ iInnovendo peace and con-so - la - tion __ Guide Thou my tant: Nor let me stray FarfromThy way. O Shine Thou on Pa-ce @i Con- for - to Mi gut - da Tu Nell’? a-spra via. del mio cam-~min.___._—dDt_~—-:~scen_- da su —__. With ra - diance all = glo-rious! Lead me on-ward,up-ward to Thee. O hear, I en - treat Thee, Hear me Quel rag - g10 da - mo-re Tu mi gui-da O mio Si - gnor. A Te mi ri - wol - go Nell? Copyright 1924 by Theo. Presser Co. british Copyright secured

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THE ETUDE | ee OCTOBER 1924 Page 708 ca - tion And save me from all e - vil, Sav-iour nine! ee Sod own Thy light of ta - le Tu E - - J l= as cme ? / sal- va- mi dal ma-le O S&% BOGOF crrcapecemciatepppie te ae Ee gee Pea sean fo. RMON Boeienle . tabiresia ORG ARS LES uEeR $ \ ’ Ath 4, -— — De ae love__._ di - vine! The shad - ows fall a - bout me, My - Nne->- bre ris chia ) feet are ver- y wea - ry, I cry toThee,my Sav -- iour! O show Thy faceto_ me! way is dark and que-sta men-te mit - a Ad - di - ta-m? la Vt -. -@ Col rag - gio Tuo Di - vin D’A - mor, Spe-ran-Za,e A A A , WH ‘ 7 A a _ eA _ PAY, me 2 . 2 09 NOR ae SLE s f ; oe o , ‘Sone matt B Allegro deciso | ERR eetie C ES 2" I ee eet ea Gh i) a.» MEO’ ae ie WR SS TER mw ke 2 eee eee Te SSS PA) iM ASS | eee A Jee Ee ee PR «=A a ee A ce ee aed Ve SE) Ce! Rt “Seer ee tee ETT AEN AA ER Re Sas 22t (MESS? CE a oA a A. SDE SE SS PR rt ae RTS me drear, Sav - iour, beThou near! O Might - y_ on high, Be Thou ev - er nigh! Hear my Fe? Si - gnor, ri-vol-goa Te EF - ter - no splen - dor, Su - bit - me ful - gor So-la 4 54 7? ee ne A A A TRE. a, GE OY Do” OE ae eS ee aes eh REN Sa CS GE ! .” ) . «. PE ee ) de Eee nn ee Na) a’ Re SUR De ee | Pare > oo \F 3 2 F RSG A aS ee! + chia Seieaa KE 21 aa i ven ae Gl ee cos TR es ee Be ee Re Ra PED A Se AA PE ee ee Ree ee oe ae Pee ee ee ee ee eee ee es ee Eom ee eet 2 ERS RES SS A se eee ae ee eee ee es? ee ee eee eee s ; Allegro grandioso Hear my cry! O LightIm-mor - tal,Bringloveandpeaceto me; Pon-go in Tel Oh Lu-ceH - ter - na Di Pa-ce, Fe-de,A - mor, CTS RANE ORR NE a ES MR FRENTE ee eT . —_ 2 2 2s sa a -KWara-a-s. a 5 i RR nae BRA a ge om BS allargando molto

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Page 704 OCTOBER 1924 THE ETUDE glo - ry Through-out e-ter-ni - ty! O Light of Love be ‘round a- bout me ev - Slo - ria Nel va -sto Tuo splen - dor/ oO Dio adi Pa-ce A - mor Tu lu-ceH#H - ter - } , gah ae Q 7 orn SEE WAITS AA TIS... TE ER TS ok CTE BS AIT SS” “TR Oe en ee Pe Se = : ee Sitaits 0 Thou on high Be ev-er nigh! O Light of Life shine —_—on for- ev . er! Sia glo-riaa Te | Nel Tuo splen - dor (WN O Dio da-mo - re, Liece F - ter - na. rT —_—~ MICHAELMAS DAISIES Fred. G. Bowles ys O ee) try Zw am ?) oe, < 9) za tr <A Brightly, Moderato _ Mi-chael- mas dai- sies lookd up at. the moon, And the Mi- chael- mas dai- sies are blos-soms of love When the e . ’ OR REL AR I ey Ae RE r, ¢ OU ill 2OSRRNE Gi Si’ 2a Ce A 2 Te S.C Se 2 SSS a. <i a SA SI, a. A NI A cee oo Se SR Oa A Oe oS SIR BERT SR eR oe i i iki id CS AT ATT E IT ITS SARS RETIRE 2: | RRC US Rae cc ancemeccaen anal Xe 30, Rey ; ; | ‘Crese CTH REO Res hahaa ETS EIR RE | “RSE SRE ia Ee AAR ARIE: Ree lida aR eta: ie Fats iG ase NS ERE! OST SER SRT Cee. Se | RR GR I) SE: ES ieee: TRL bie © AEE. TB Esse saeeouesetceseisesternsevceesbdiolsdicasslegtAiN solinsiakaetdiaodcoipetteaetieaanaesinademneaasaspebnedinens-n nibebeesinletiaieinashialolinkial staninibcipnenaniapenaintanunnapleedl moon lookd down at _ the dai sk sies; The old world whis- tled a gold - en heart -for -' gets all earths ros - es; The moon look’d down fromthe sky a a1. \ i. : pen SN Se RTT A TE I Be 8 RARE FSS A A” EY HT | | A ae “a a et ae Ii Tie a Copyright 1924 by Theo. Presser Co. British Copyright secured !

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Page 705 THE ETUDE OCTOBER 1924 Aro , | ila i (TL it 2 UL iy © —- - & lit 25 Is. | ee - ° a Gan. y aa > 3x os cr. = © oS 6 ry ** P > BS © ler «eS pits ~ ' 3 Sie Se an on \// 8 —fs in | xX QO of 2 1m, = o 5 il mn wv fy fy o Dd | ar lil ee ° o > Mm WM S: ae Baas 4B Tj] ro) ro) &O &H ot | > a i | = 3 i | : Et eees see MN ©. = om WM : ro | 3 Pe H ‘iy, = 7 itt | = rR. att fn SD SD rach pen o i ST & 1B, 4 0 Th rs = , so Ps & Tn: fae ( 1 ! : ze be BO ah. ss -@ D S ae) i @g38 m MN fay HH] Ti 4 Tr i ne 4 Us ey HH 28 i °2 a ~~ at s © 7 n ; Sy <<“ Pad Se 1 e s 22 HUH ie A TS Ye SY iN ty The __&h t nud bedi and wee

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Page706 OCTOBER 1924 a | THE ETUDE ie ~ GODS LOVE IS ABOVE THE NIGHT E.L. Ballenger 3 | | HOMER TOURJEE Andantereligioso — | | So SRR Ta stoodonthehillat twi-light, Andthe world@eemi tar a + way; While the — ms peace of night with the ene light, Came down on the clos-ing’ 4 = NE ae JERE ESTE RTE ee He ‘can EP” DS ane Sea We ee. A r = ee ABN 6 © pucocrese. Pee ea ee eee i: a Se 2 | oe AT ha mNIY ee Beau-ti-ful,shin - ing, white;__ And a voicefar a-way,seemd to. soft ~ ly .say,God’s loveis a- bove 4 Foti a : OC RE AS EO A AT EN NT RT nee | A A A RAR SS SEE at FOE AA 5 SS SNPS FS SON ENS eS 3 * Oe NE I a SP SS SARA SNE GER RP sa 2 25 Ee 6. A Oe A wh RRR ae IIIS “Y ar wee ae es a | eo ze Sa 5S ee ROR IN Lil 754724219 a | ed RE TET NG AE NS A - TS PRRNR E SS i i ae ee” ee Geer 0 SS OS ile Te Da eee. ‘Sea i leg? 2a ae eS ae a ew Sepang Moderato con espress love is a- bove the nig ht, RM are 2 ae {ty Pp —¢ Fees _——_ = sound-ing far and 5 GoM SS S Ye wear-y souls who wait, dla. ssi Af sik-AL [idagiadd ae a Ya rr crese,S x * L PN 746 See Sees 2 Bo" db. . CS OE ann a as — ee * a a 2 as se 8 ee eee a ee ac ae le te ee 2 ee ed i lt RRS A Te Se ee EO AE 65/160 SED A PNR OE ERO A A RET. oS SURI ae 8 b Copyright 1924 by Theo. Presser Co. | x; British Copyright secured

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eee a i cakes PEP a Eh NG SE LG OO NES oa x TINIE AEP OTERO RMD Ce BI SE NT meE THE ETUDE Music Teachers Demanding Legitimate Discounts N practically all of the professions and ‘crafts, discounts upon the purchase of professional materials of all kinds are given gladly by publishers and manufacturers. The custom of giving such discounts is centuries old and has long since been justified by usage. We contend that the music teacher, of all workers, i is entitled toa liberal discount. ) A number of publishers have informed us that they propose literally to wipe out discounts to the music teacher entirely. We sent an extensive questionnaire to teachers in all parts of the country and found that, although they are most_enthusiastic over the mail order service received from the Theodore Presser Company, they were nevertheless depending upon the discounts they were receiving to reimburse them in some small measure for the great outlay in money, time, postage, stationery, car fare, etc., that the individual teacher is obliged to spend in selecting and purchasing new music. The former fictitious discount, at which any retail purchaser (whether professional or not) could purchase music, has been discontinued at the recommendation of the Federal Trade Commission. We endorse this heartily. The music teachers’ discount (restricted to music teachers only) is an entirely different thing. It is established“by universal precedent in nearly all professions and callings. We shall not withdraw this special discount to teachers. The doctor, the lawyer, the dentist, the public school teacher and the scientist are all given liberal discounts. Why not the music teacher, where the income is often much smaller > We believe in supporting the local dealer and advise our readers to patronize the local dealer when his stock and service entitle him to their custom. He is an asset in the community and may be a valued friend in need. There are, however, vast numbers of music teachers who have no music dealer near tothem. They are entirelv dependent upon ‘‘ Mail Order’’ and ‘‘On Sale”’ systems of purchase. We believe most emphatically that such teachers should demand a just discount, not as a favor, but as a right to recompense them for the trouble and time and money they spend in selecting music. The publishers who refuse to give such a discount either do not understand the teachers’ side of the question or they are placing their own interests above those very educators who make it possible fo: the publisher to continue in business. Teachers buy music and supplies not for their own use, but for re-sale to others. It is the custom of all businesses to grant a compensa- tion discount to all such purchasers. The Theodore Presser Company will combat bbaeiai ali y all attempts to rob the teacher of his rightful discounts. It will support all publish- ers following the same policy. It is confident that ithas the enthusias- tic backing of the teachers of the country in this decision and that the teachers will demand their rights in this matter. Music teachers are not fools or weaklings. They have a commonsense knowledge of the situation and they know that it is possible for the publishers to grant them a just discount and, at the same time, make a secure profit. They also know that the matter of securing discounts is regarded as very vital in all businesses, that thousands and thousands of business houses virtually owe their success to the proper management of discounts. The successful teacher of the future will inevitably direct his pur- chases toward the houses recognizing his rights and fighting for them. MUSIC FOR ARMISTICE DAY, THANKSGIVING AND CHRISTMAS SERVICES. Send for printed lists of suggestions or ask us to make a selection of suitable material to be sent to you for examination. OUR LARGE STOCK OF MUSIC PUBLICATIONS OF ALL PUBLISHERS ENABLES US TO RENDER PROMPT, _ SATISFACTORY SERVICE ON ANY DESIRED MATERIAL. THEO. PRESSER CO. ¢23933222%. PHILA.,PA. MAIL ORDER SUPPLY HOUSE FOR ALL MUSIC PUBLICATIONS OCTOBER 1924 Page V0’ Style 705 For Colonial Homes The refined upright shown above fits delight- fully into Colonial interiors. In Antique, or in Adam brown mahogany with lustrous ‘“‘satin”’ finish, its refined design bespeaks its superb musical quality. Ivers & Pond PIANOS Combine the best traditions of old time Bos- ton piano building with the most advanced ideas of today. Built, as from the first, in but one quality—the best—by the same interests, with the same artistic ideals, they are used in over 500 institutions and 70,000 homes. Write for cata- log, showing latest styles of Uprights, Grands and Players. . | ‘ How to Buy Reliable dealers throughout the United States sell the IVERS & POND. If none is near you, we can ship from the factory direct. We make expert selection and guarantee satisfaction or the piano returns at our expense for freights.. Liberal allowance for old instruments in exchange. Attractive easy payment plans. For cata- log and full information, write at once. Ivers & Pond Piano Company 258 Boylston Street BOSTON, MASS. Please mention THE ETUDE when addressing cur advertis:rs.

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Page 708 OCTOBER 1924 i give pleasure with high notes, the singer must enjoy singing them; and the more he enjoys singing them ; the greater will be the pleasure of the audience. In other words, there must be mutual confi- dence as well as mutual pleasure for suc- cessful high notes. Confidence and pleasure must emanate from the artist. But how? There is only one answer. The artist must feel confi- dence and pleasure in his high notes in order to emit these sensations. If he does not, he will be nervous and worried, and this state of mind, instead of a pleasurable one, will be communicated to the audience, who in turn will lose their confidence in the singer unable to place confidence in himself; and such an audience will ‘not be in a frame of mind for enjoying high notes. Freedom in High Notes The surest basis for self-confidence in the matter of high notes is to gain perfect freedom in singing them, They must be sung spontaneously, easily, with ringing clarity. They must sound, too, as though there were higher notes in reserve, and not as though they had taxed the singer’s limit of range and volume. There should be no facial contortions and no apparent physical exertion. Various exercises and instructions for the free execution of high notes are known in the vocal profession. Some _ singers would do well to practice them all, whereas others need only some or one of them. ' There are a few fortunate singers who have never experienced any trouble with their high notes. Rapid Practice High notes are best and most quickly acquired through daily practice of rapid passages like the arpeggio in its various forms, maintaining the vowel sound in its true quality throughout. There is less strain on the vocal organ in rapid passages than in sustained ones. After the voice has become flexible, then proceed to strengthen it by giving a hold on the upper note of the arpeggio, gradually increasing this as the voice grows: stronger, and always list- ening that you are maintaining the true vowel quality. A high note should never be sustained longer than the ability to maintain a nicety of balance. Many singers fall into the error of plac- ing so much stress in the middle voice that when they come to high notes they have no energy left for them. High notes require more vitality than-low or middle notes—this because the vocal chords be- come shorter in the ascent of the scale, causing greater natural tension, which in turn requires a balancing of the breath pressure throughout the entire vocal mechanism. * Excessive Breath Pressure When excessive breath pressure is used in the middle voice, a corresponding tense- ness results in and around the larynx; and this tenseness, coupled with the natural tension required in the ascent of the scale, often brings about such tightness that high notes become impossible. Watch the middle notes, then, if you would be successful of the high ones. The singer, then, must gain a balance of energy, breath pressure and tension. He must depend upon resonance for volume before he can enjoy singing his high notes. The mental attitude, too, has much to do with the singing of high notes. Fear and uneasiness will invariably impair their quality, for the reason that these sensa- tions will be requiring attention that should be directed to singing. Spontaneity, happi- ness, attention, particularly to the meaning of the words—these will help make high notes come easily and freely. Very few singers have their high notes naturally. . The problem must be faced frankly in order that it may be overcome. The Singer’s Etude Edited by Noted Teachers and Singers It is the Ambition of THE ETUDE to Make This Voice Department ‘“‘A Vocalist’s Magazine Complete in Itself’’ Recipes for High Notes —_—_—_—_—___ By Charles Tamme This will never be while the singer dodges the issue by singing songs in a lower key or by singing different words than those which are written. A singer does himself injustice and often harm by singing songs in a key which is _ too low for his real range, merely to avoid the trouble of mastering the high notes in it. Instead, he should intelligently analyze the difficulty in each particular song, and work out the correction persistently. The wise thing, usually, is to make a point of choosing the higher or the high- est note where a choice is given. Avoid- ing a problem never solves it. After the arpeggios have been practiced intelligently, and conscious freedom of the entire vocal mechanism has been persisted in, and still the high notes are not depend- able, try dropping the larynx. Ordinarily, dropping the larynx makes for darkness and richness in tone color; but sometimes, in ascending the scale, the larynx 1s unduly raised, and dropping it slightly will get it into a more normal position and permit a freer exit of the high notes without dark- ening the tone quality. Another excellent plan is to practice high notes before the mirror, seeing to it that the tongue is free from tenseness. Making a strong effort to articulate con- sonants improves high notes; never slight them. Another good rule is: Never interfere with the pitch mechanism. Direct the at- tention to the purity of the vowel sound. At all events, face the problem of high notes with a determination to master it. After analyzing your own particular diff- culty, formulate some remedy and work upon this basis. Is your difficulty mechani- cal or physical; or is it both? Attention is an excellent guide in this matter. In- telligent work will prove a dependable friend. The Soft Palate in Song —— ee By L. O. Huey THERE are two ways of treating the soft palate in writing on “How to Sing.” One, quite popular, is to forget it— not mention it at all. The other is to “raise the soft palate by inhaling deeply” before phonation begins. Our prominent singers defend this latter action on the ground that it prevents nasal quality. Others advise it because it helps to “open the throat,” thus permitting a greater vol- ume of tone. Nasal Quality If “nasal quality’ is destructive of a fine singing tone, and if volume is the most important consideration in starting the voice, then we might admit the above doctrine to be sound. But, inasmuch as correct nasal quality is not only the salva- tion but also the foundation of the middle voice, and inasmuch as volume is not of paramount importance in starting voice study, we do, therefore, submit the above doctrine to be both false and pernicious, regardless of sex. Shakespeare disposes of the soft palate by defining its action as purely automatic. After one has reached a certain stage—yes. “Raise the soft palate by inhaling deeply, thus insuring an open throat.” We would advise all who have an open throat, obtained and maintained in this way, by all means to insure it. Many would have us believe the sole object of vocal training lies in continually concentrating on the Breage of a fine singing tone. This is a great, often fatal, mistake. The vocal organ of each individ- ual is the sole dictator of the policy to be followed in its development. Under no circumstances does this policy, when under- stood, demand or» permit a continuous attempt to produce fine tone. Two Great Protectors The two greatest protectors of the vocal instrument and voice are the soft. palate and the tongue. In nearly all cases injury to voice is directly traceable to interference with one or the other, or both. The most destructive vibrations are pro- duced by applying force when the soft palate is raised and the back tongue lowered, especially before the instrument is seasoned and adjusted. The most bene- ficial vibrations are produced with the soft palate and tongue in normal repose. These are the vibrations that build the instrument, and, eventually, the voice. An elongated uvula is, as we all know, detri- mental to vocal development. . When_ it exists, this defect should be remedied at once. . During the first few. years of vocal study, you are not building a voice so much as you are building or preparing a “sounding board” for your ‘tones. The whole body is the sounding board; and your character, your personality, your general and musical culture go into this sounding board also. . What Singers Say “T po not believe that a girl’s vocal edu- cation should commence earlier than at the age of sixteen. The girl who is of the right sort will lose nothing by waiting until she reaches this age.” —MarceLLA SEMBRICH. “CORRECT breathing is the health- “giving force in the world.” *—FRrIEDA HEMPEL. “BE big--that is the secret. And how? Live a a2 life, and love greatly.” ~-GALLI- Curcl. greatest THE KTUDE For the Stammering Pupil By Lewis Each OccCASIONALLY one finds a pupil who seems never to be able to eliminate all false notes, even in the most simple form of composition. Wrong note playing can easily be cured if it always occurs at the same place; but it is most distressing to get one passage straightened out only to have some other go wrong. The trouble is at some point in the ae ing mechanism between the printed page and the keyboard. Either the eye does not register, in a positive manner, the correct notes in the mind or the impulse from the mind to the finger tip is incorrect or not positive enough, To discover which of these causes is thie source of the trouble, the pupil should speak the letter names of a passage in single notes aloud and in the correct rhythm or as nearly so as possible. If he is not able to read the notes readily and correctly it is the first cause which must be overcome. He should then read the notes aloud or silently and at the same time give impulse to the fingers on the keyboard. If wrong notes accompany correct reading the second cause is the fault. To cure this disease of stumbling and stammering, which is quite often pure care- lessness, the following treatment is very efféctive. The pupil should read the passage aloud ten times (ten for convenience) with all the time he needs for thinking and speak- ing, gradually adjusting the rhythm if possible, Each correct reading counts ten toward one hundred per cent reading, the wrong ones, of course, counting off ten per cent. Thus he is made to see his effi- ciency or inefficiency in per cents as he is in school. The same plan is carried out bat pettink notes through the eye and mind and to the finger tips, By having the pupil do this each day at his practice period and to bring in a report of his results some most hopeléss cases of carelessness and stammering haye been overcome in two weeks. Staccato Is of Great Impor- tance in Singing - By Charles Tamme In addition to its beauty as a vocal em- bellishment, staccato holds a place of high importance in the development of the vo¢éal artist. Occasionally there is a singer who nat- urally sings a perfect staccato; but this faculty is rare. Most singers must prac- tice for staccato and practice intelligently. But it is practice well worth while, Staccato is excellent for the low as well as for the high voice. A good staccato in- dicates many things. It indicates a perfect attack, control of the breath, excellent manipulation of the vowel sound, purity of tone, exactness of pitch, and a voice that is agile. A good singer hardly needs many more accomplishments than these. And yet not many professional vocalists are able to sing staccato. What imputa- tion is their public to make from this fact? When analyzed for what it is, fundamen- tally, staccato is not a feat of great diffi: culty. Many teachers are content with calling staccato a ‘stroke of the glottis; and staccato is this, to be sure. But ‘stroke of the glottis’ is, psychologically speaking, a very poor definition. In the first place, it calls a singer’s attention to his throat and to his pitch mechanism, over which he has no direct control, thus only making him unduly sensitive. In the second place, the phrase, ‘stroke of the glottis’ has de- teriorated, since the days of Garcia, into meaning an undesirable effort on the part

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THE ETUDE of the singer—a pushing or forcing in his attack, Let us then, look for another definition of staccato. Grove’s Musical Dictionary says staccato is ‘an impulse from the throat on an open vowel sound, instantly checked.’ As a definition this is descrip- tive and complete; but for directions to the singer it might be well to emphasize the importance of placing most of the stress of action on the vowel sound. The singer should give his full attention to the singing of the vowel sound. This he must sing short, which will, of course, make the pitch sound short. The difficulty with. most singers in their staccato is that while doing it they cease to be singers and become instrumentalists. They attempt to control the vocal chords in the throat just as a violinist picks at his violin strings for sounds, And ‘attempt’ is all the singer is able to do, for he has no direct control over his pitch mechanism. However well a singer has learned that in ordinary singing he must look to his words and to the vowels and consonants in his words, without undue attention to pitch; just as when he talks he is not un- duly conscious of pitch; when singing staccato the knowledge does not seem to stand by him. This is unfortunate for he needs it as much as ever. To sing staccato successfully, the singer must give his attention to the purity of the vowel sound. The staccato note con- _ sists, like any other note, of vowel plus resonance on pitch. The vowel is the im- portant thing always, in singing staccato. Begin practicing staccato on Ah, using the five note scale, Do it lightly and slow- ly at first; do it softly on the low notes with a gently increased energy and a cres- cendo when ascending. Be sure to main- tain the true vowel sound throughout the entire scale. Take a breath after each note through the mouth which you must be careful to keep wide open; the amount of breath has got to be nicely adjusted for there is danger of taking too much breath, thus making the notes rigid, heavy and breathy. Too little breath, on the other hand, will not give sufficient impetus and energy to your notes. The point about singing staccato is to sing the notes short, of course; but you must never get so interested in getting the notes short as to forget to sing a pure, round vowel sound on every note, with its full share of resonance, just as you do when singing legato. Indeed, a beautiful quality is the all-important factor of every note, whether legato or staccato ; the short- ness of the staccato being, after all, merely a negative characteristic. Practice staccato very slowly at first, gradually increasing in speed and smooth- ness so that the staccato scales are exe- cuted as freely and as easily as the legato ones. Staccato should first be»practiced on Ah, and when it is sung easily on this one, it . should be practiced on all the other vowels. The beginner as well as the advanced artist does well to practice staccato. While it is not too difficult for the beginner, staccato has never been beneath the efforts of the greatest of singers. Teaching the Messa Di Voce By Charles Tamme Few public singers attempt the messa di voce. For this reason many vocal teachers argue, and not without some jus- tice on their side, that it is poor policy to discourage pupils by insisting on the ac- complishment of this very difficult bit of vocal technic. The public does not de- mand it, they argue, otherwise they would not support singers who do not even make an attempt in this direction. And vocal students argue much the same way. The messa di voce is a combination of crescendo and diminuendo, usually indi- cated for application to a single note, but it can be used with great effectiveness throughout an entire phrase. In fact, in its broader sense, it is used from the be- ginning to the end of songs—in certain types especially. Now the value of the messa di voce does not end with its direct application to the singing of songs—the producing often of art from out of a chaos of mere notes— important as this may be. The messa di voce is the finest exercise in the whole gamut of vocal technic for developing direct control of the breath. All the breathing exercises in the world will never accomplish for breath control what five minutes a day of the messa di voce will do. Indeed, it is very doubtful whether breathing exercises by themselves are not a waste of time, anyhow, as far as singing is concerned certainly they will never bring about a messa di voce. If the messa di voce is taught properly, from the very beginning, the teaching as well as the learning will become very much less difficult than it usually is. But there never must be an attempt to teach messa di voce until the pupil has learned how to maintain a true vowel sound and a con- tinued flow of resonance. This ground- work is an essential preparation for tak- ing up the messa di voce; without it, the usual result is that the throat becomes rigid in its effort, and the pupil cannot be blamed for giving up in despair in a short time, for the rigidity blocks further progress in working out details. The teacher may still insist on requiring his pupil to practice for the accomplishment of the messa di voce, but he, too, will ultimately give up in des- spair, for there can be no progress or im- provement until the pupil has mastered the important groundwork. There is no ques- tion but that the breath plays a.very im- portant part in the singing of this grace; and the efficiency of the part it plays de- pends upon the manner in which the breath is inhaled and also upon the breath capac- ity. More consideration should be given to the manner of inhalation than to the man- ner, of exhalation. The abdominal walls should be well expanded after the breath intake from the downward push of the diaphragm. If there is plenty of time, the air may be inhaled through the nostrils, but it is usually taken to better advantage in large quantities through the mouth. Ex- halation will take care of itself, for it is best controlled by the act of singing and one should not attempt direct control of it. This is true with all singing, but it is the messa di voce which most rapidly de- velops the control of the exhaled breath. There are various methods of procedure in teaching the messa di voce, the most eff- cient and successful way is to recommend the pupil’s starting with forte and dimin- ishing to piano. This is really a study of the diminuendo. When this can be accom- plished on every note within the pupil’s range, with a fair amount of smoothness, reverses the order, but as a continuation of the same exercise. That is, start with forte, diminish to piano, and on the same breath return to forte. Right here, take warning. Never allow the pupil to attempt to execute extreme softness’ or extreme loudness in the begin- ning, for the result is sure failure. The extremes can be gained only through pa- tient ‘and constant daily practice. The messa di voce grows from day to day, week ‘to week, month to month, year to year. There is nothing spectacular or sud- den in its accomplishment like the gaining sometimes, of high notes, or resonant tones or perfect -staecato. - Therefore it is not Page 709 OCTOBER 1924 The Carnival of Venice .. Donizetti The utmost in music accomplishment As tue shadow nimbly follows the leaping, curving dancer, the Weaver Piano responds to each mood of the. artist—now merry and boisterous, now subdued, now thundering like the great god Thor himself. Because the Weaver more than fulfills the most exacting demands, it has been chosen from among the ‘world’s finest pianos by many world-famed artists. Let us direct you to the nearest Weaver dealer. Weaver Piano Co., Inc, York, Pa. Weaver, York and Livingston Pianos and Player Pianos. WEAVER Pt A Me Oe : The American Nightingale (Josephine Lucchese Concert and Operatic Soprano Is Programming PRAISE rs A Delightful Artistic Song Offering Words by ETHEL McKENZIE Music by MILTON BURROUGHES HARDING Catalog No. 19615—Price, 60 cents “It is a great pleas- ure to find a song such as ‘“‘Praise’’ and I shall program it because I believe audiences will be appreciative of the excellent. musica] setting that has been given the inspiring thought in the text.” Josephine ‘Lucchese Range c tog PUBLISHED BY THEO. PRESSER CO., PHILADA., PA. 1710-1712-1714 Chestnut Street A Few Measures of “PRAISE” are shown below ful-ness ‘ ; i i For ’ : , 2 i 3 ' a a : ; , . i ® } fr "7 / 5 ws. : Striv - ing and Ask for a Free Copy of “‘Excerpts from Excellent Songs’’ A HELPFUL CATALOG, SHOWING PORTIONS OF NEARLY 100 SONGS

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to Enrolled Students. Page 710 ATLANTIC CITY On the Beach and the Boardwalk: Hospitable, homelike. In the very center of things. For more than fifty years, these two delightful hotels have been the natural 08 7 cultivated, in- teresting people—bent on happy, health-giving days by the sea. American Plan Only. Always Open. Illustrated folder and rates on request. LEEDS and LIPPINCOTT COMPANY cy AN ARTIS: Wecan teach you ~ ™\. DRAWING in your own home ‘dur- ing spare time, BS Our 18 years of success- ful teaching prove our ability. 10 Courses in Com- mercial end Illus- trative Drawing Endorsed by hizh RT art authorities, , EAR BOOK Students trained by members of x our Faculty are filling high-salaried FREE voy | positions. rtist’s Outit FREK Write today for Art Year Buok. OCTOBER 1924 ' change the order. "ending it in resonance. ScH@DLAPPLED ART Applied Art Bldg, Room 14, BATTLE CREEK MICH. . Earn $18 to $60 a week RETOUCHING photos. Men or women. Noselling or canvassing. Wetench you, guarantee employment and furnish WORKING OUT- FIT FREK. Limited offer. Write to- day. ARTCRAFT Look Inside the Piano for this ThadeMark The Most Important of Any Piano IZE, style and finish influence one’s S selection of a piano but every music lover should make the piano action the determining factor in a piano pur- chase. The action is the heart of the piano—the wonderful mechanism govern- ing touch and controlling tone. There is every reason why you should insist upon the Wessell, Nickel & Gross - action—the world’s. highest priced piano action—in your piano. This famous action has been the choice of leading American piano makers since 1874. It is a real assurance of piano quality for it is never found in pianos of doubtful worth. It is built by the oldest, largest and leading makers of high-grade piano actions. You make the most desirable piano purchase when you are careful to see that the instrument is Wessell, Nickel & Gross equipped. WESSELL, NICKEL & GROSS Established 1874 New York City When you Buy an Upright, Grand, Player or Rovroduchip Piano~ Insist on the Wessell, Gross Piano Action. iced & good policy to push a pupil too strenuously for this accomplishment. Patience will build it up in good time, while the rest of the vocal technic is making progress and the voice is developing. Prescribe five minutes of practice a day, regularly for this study; and give it five or ten minutes’ at- tention at each lesson. Never drive. After the pupil has thoroughly learned to begin with a forte, diminish to piano, then crescendo back to forte, he may Let him begin with piano, crescendo to forte, and again dimin- ish to piano, this being the true messa di voce. When he has gained perfect con- trol from piano to forte, and back to piano again, he is ready for the extremes. | Throughout his practicing, have the pupil to be sure he is giving his attention to the starting of every tone in resonance and The timbre of the voice, in other words, should remain the same throughout a messa di voce. Color should never be allowed to overburden the vowels; the vowels themselves should in- fallibly predominate. Indeed, messa di voce is never pleasant or desirable unless the vowel sound is well understood. As a part of vocal technic, and even if it is never attempted in public, the messa di voce is indispensable, as we have seen. Left out of songs where its use is indi- cated, there is a great void which cannot be filled by substitution. Its effect is to be seen in the light and shade of singing. It assists in the use of nuance and the many subtle changes which bespeak the true artist. What magnitude of love, what poignance of grief, what height and depth of all the emotions can be expressed by its tasteful and the masterful use! Insist, then, upon your pupils learning this important part of vocal technic— gently, gradually, if necessary, and yet with a determination that admits of no failure. Once having mastered it, every singer is eternally grateful. The Real Delilah of Saint-Saens In a book of Outspoken Essays on Mu- sic, Camille Saint-Saéns included some “Observations of.a Friend of Animals,” in which he describes a little lady-dog of his who was named after the heroine of his best known opera, Sampson and Deli- lah: “May I be allowed to say a few words about Delilah, a black griffon with dark blue eyes which for ten years has been the delightful companion of my soli- tary old age He tells some charming stories of this animal whose “greatest pleasure was to leap on to a table; she could walk about like a cat and never upset a single one of the fragile ornaments with which it was covered. “On hearing a piano being played she uttered the most piercing cries. Whether she liked or detested it'I do not know, for she came running up as soon as the music began instead of running away, though she raised such a series of howls that she had to be carried to the other end of the building as speedily as possible. Neither singing nor the playing of other instruments ever excited her to the same degree. “On the other hand, I once knew a dog which adored the piano; as soon as the music began he would come up and crouch beneath the pedals: a matter trou- blesome enough for the player. To rid oneself of him, all that was necessary was to play Chopin’s music. Before eight bars had been played he had left the room, with dejected ears and his tail between his legs. However often the experiment was tried, the result was always the same. Delilah knew the sound of the Eifel Tower gun. When it boomed forth she would make her way to the kitchen for lunch.” When Handel Went. Blind ‘Every one knows that Handel, like Bach, lost his sight toward the end; but few know that his last moments of vision were spent upon one of the noblest of his works. Thus graphically Romaine Rol- land describes the event in his new book of essays, A Musical Tour: “But nothing approaches in moral grandeur the chorus that closes the second act of Jephtha. Nothing enables us better than the story of this composition to gain an insight into Handel’s heroic faith. “When he began to write it, on the 21st of January, 1751, he was in perfect health despite his sixty-six years. He composed the first act in twelve days, working with- out intermission. There is no trace of care to be found in it. Never had his mind been freer; it was almost indifferent to the subject under treatment. In the course of the second act his sight became - suddenly clouded. The writing, so clear at the beginning, is now confused and tremulous. The music, too, assumes a mournful character. He had just begun the final chorus of Act 2; How Myste- rious, O Lord, Are Thy Ways! Hardly had he written the initial movement, a largo with pathetic modulations, when he was forced to stop. He has noted at the foot of the page: “‘Have got so far, Wednesday, 13th of February. Prevented from contg. because of my left eye.’ “He breaks off for ten days. eleventh he writes on his ms.: ‘The 23rd of February, am a little better. Resumed work,’ “And he sets to music these words which contain a tragic allusion to his own misfortune: ““Our joy is lost in grief... lost in night? “Laboriously, in five days’ time—five days !—and formerly he could have writ- ten a whole act in that time—he struggled on to the end of this sombre chorus, which illumines, in the darkness that .as day is -envelops him, one of the grandest affirma- tions of faith in time of suffering. On emerging from these gloomy and _tor- mented passages, a few voices (teno: <nd bass) in unison murmur very softly “AW that 43305 ; “For a moment they hesitate, seeming to take breath, and then all the voices together affirm with unshakable conviction that all that is MTG is good, “The heroism of Handel and his fear- less music, which breathes of courage, of faith, is summed up in the cry of this dying Hercules.” | | THE ETUDE has arranged with a group of the most distinguished present day teachers of voice to present the latest opinion upon all phases of vocal culture in coming issues. will be unusually strong this year. Our Voice Department THE ETUDE A Special Bargain! EVERYBODY’S SONG BOOK A Treasury of Favorite VOCAL MUSIC This book is a great value for every home possessing a_ piano. Witha collection suchas thisaround, many an evening can be made de- lightful, parties can be enlivened or one can enjoy pleasantly a little diversion at the piano; contains 74 old favorite home songs, 147 be- loved sentimental songs, 57 operatic songs, 25 sacred songs, 72 hymns, 59 pretty little children’s songs, 27 southern songs, 34 college songs, 13 sea songs, 6 delightful rounds, 37 patriotic songs and 33 national and folk songs. Over 500 Old and New Songs Favorites for 75 Cents a Copy, Postpaid THEO. PRESSER CO., Phila., Pa. 1710-1712-1714 CHESTNUT STREET LUDEN'S cieitiths Makes Breathing Easier THE famous LupEN Menthol Formula gives quick relief to the Trouble Zone— your nose and throat. DARKENS and BEAUTIFIES EYELASHES and BROWS INSTANTLY, makes them’ appearnatur ally dark,long and luxuriant, Adds wonderful charm, beauty and expression to any face. Perfectly harmless, Used by millions of lovely women. BLAcK or BROWN. obtainable in solid cake form or waterproof liquid. 75c at your deal- er’s or direct postpaid. MAYBELLINE CO. CHICAGO On the PERSONAL STATIONERY 200 SHEETS and $ .00 100 ENVELOPES Printed With Your Name and Address Clear, white bond paper, with envelopes to match. Your name and address printed in beautiful, rich blue ink, on both paper and envelopes, and sent to you post- paid, for only $1.00. (West of Denver and outside of U. S.. $1.10.) If inconvenient to send ' the money, we will ship C.O.D. Write name and address plainly. Money returned if you are not more than satisfied. Order Today! ELITE STATIONERY CO. | 5023 Main Street, Smethport, Pa.

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THE ETUDE When Music Publishing Was a Monopoly TS By Will H. Mayes WHILE the Company of Stationers was granted a charter on May 4th, 1556, giving them the exclusive privilege to exercise “the art or mystery of printing or stamp- ing any book or anything to be sold” in England of that character, it is evident that the Crown did not have’in mind the printing of music when that charter was granted, for on January 22d, 1574, a mo- nopoly of music printing was granted to Thomas Tallis and William Birde for the period of twenty-one years. Tallis. and Birde were members of the stationers’ company, and this privilege was evidently granted them as a special favor on the part of Queen Elizabeth. An _ excerpt from the grant is here given, showing the extensive privileges enjoyed by the first music printers of England of whom we have any record. “Elisabeth by the grace of God, quene of Englande, Fraunce, and Ireland, defender of the faith, &c. To all printers, boke- fellers, and other officers, minifters, and fubjects, greting. Know ye, that we for the efpeciall effection, and good will, that we haue and beare to the fcience of Mufick, and for the aduancement thereof, by our letters patents, dated the XXII of January, in the XVII yere of our raigne, have graunted full priviledge and licence vnto our welbeloued feruantes, Thomas i allis, and William Birde, gent. of our chappell, and to the ouerlyuer of them, and to the affignes of them, and of the furuiuer of them, for XXI yeares next enfuing, to imprint any, and fo many, as they will, of fet fonge, or fonges in partes, either in Englifh, Latine, French, Italian, or other tangues, that may ferue for muficke, either in churche or chamber, or otherwife to be either plaid, or foonge. And that they may rule, and caufe to be ruled, by im- preffon any paper to ferue for printing, or pricking, of any fonge or fonges, and may fell and vtter any printed bokes, or papers. of any fonge, or fonges, or any bookes, or quieres of fuch ruled paper im- printed. Alfo we ftraightly by the fame forbid all printers, bookefellers, fubiects, and ftrangers, other then as is aforefaid, to do any the premiffes, or to bring, or caufe to be brought, of any forren realmes into any our dominions, any fonge, or fonges, made and printed in any forren countrie, to fell, or put to fale, vppon paine of our high difpleafure; and the offender in any of the premiffes, for euery time to forfet to vs, our heires, and fucceffors, fortie fhillings, and to the faid Thomas Tallis, and William Birde, or to their affignes, and to the affignes of the furuiuer of them, all, and euery the faid bokes, papers, fonge, or fonges. We haue alfo by the fame willed and commaunded our printers, maifters, and wardens of the mif- terie of ftacioners, to affift the faid Thomas Tallis, and William Birde, and their affignes, for the dewe executing of the premiffes.” ‘Woman Who Inspired ‘Silver Threads” Dies in Poverty Harriet Danxs died in poverty on March 19, in a rooming house in Brook- lyn. She was the widow of Hart Pease Danks, who, in 1874, composed “Silver Threads Among the Gold,” to the poem by Eben E. Rexford. Contrary to the optimistic note of ‘the song, soon after its composition the composer and his wife quarreled and separated, and Danks died alone in Philadelphia in 1903. By his will his widow was entitled to only one-third of his estate, consisting mainly of the royalties on more than a thousand songs; but, feeling that the whole of it should have been left to her, she became estranged from her children. The quarrel descended to the second generation, and Gertrude Danks, bringing suit against her brother, Albert Danks, for an accounting of the royalties, caused his arrest at the cemetery gate as he was coming from his mother’s funeral. Thus the song, which is redolent of contentment and love, has been the cause of sorrow and strife to all those related to the composer. Music in Post-War Germany DESCRIBING conditions in the Germany of to-day for readers of The Atlantic Monthly, Elsa Simm reminds us of the extreme poverty of the professional classes who formerly were the main support of musical and operatic ventures. “Concerts and theaters have become very rare treats,’ she says. “Prices are a thousand-fold higher, but sometimes you cannot resist buying a ticket to a beloved opera, and you remodel your 1914 evening dress, but little worn, and go early. Around you are handsome dresses and. jewels. Can this be poor Germany? Soon you discover that the smart girls with bushy bobbed hair are Americans. You hear Swedish and Dutch in the boxes, and there are several Italians in gay attire. But here also are Germans, richly dressed. and unfamiliar to you. Between the acts you walk through the feyer looking for friends. At last some- one approaches whom you surely know. It is—yes, surely it is the coal dealer’s wife in this elegant dress; when you last courted her for a little coal she wore a woolen shawl. “You look in vain for Herr A, th? painter who, in the old days, never missed one of Mozart’s operas. He and his’ wife have disappeared. The wave lifts: one and swallows another. Writers, doctors, painters and musicians slave somewhere in the dark for their existence.” Ge Hy in OCTOBER 1924 Page 711 ran asNG Premier Aristocrat Model Price, $725 This 5 foot, 3 inch thoroughbred small grand which i is so prominent a feature of leading studios and conservatories, is ‘“‘The Magic of Music’’—our attractive art brochure which will be sent to any applicant upon request. “The Magic of Music” described in detail in embodies many interesting facts rezarding America’s Foremost Popular Priced Small Grand and the remarkable institution behind it. Every teacher, student, music lover, studio and conservatory should send for this reference book at once. If you cannot obtain the Premier at your Dealer’s—please inform us. Sce and hear this instrument before selecting any piano. PREMIER GRAND PIANO CORPORATION America’s Foremost Makers of Baby Grands Exclusively 510-548 WEST 23rd STREET NEW YORK Manually Played Small Grands, Period Models, Electric Expression Player Grands and Reproducing Grands (Welte- Mignon Licensee) Faust School of Tuning STANDARD OF AMERICA ALUMNI OF 2000 Piano Tuning, Pipe and Reed Organ and Player Piano. Year Book Free 27-29 Gainsboro Street BOSTON, MASS. : OF ALL KINDS ENTE RTA | N Mi EN TS Acts,Plays,Miustrels Catalogs for stump E. L. GAMBLE, PLAYWRIGHT, EAST LIVERPOOL, O. ABEL BROT WU eg Wy f ; OTHERS @:1<7, EP Qe ssh INGRAV Lp pty ame a AS \\ ITEMIZED PRICE List Write to us about anything in this Line Nr Mavic Supplement of this Magazine is Printed by Ur. 44 Cit Chiy Ploy rer, TINDALE Music Filing Cabinet Needed by every Musician, Music Student, Library, School and Convent. Will keep your music orderly, protected from damage, and where you eg instantly it. ij) Send for list of most popular styles Y TINDALE CABINET CO. 47 Main St. Flushing, N. Y. M RA CRAVE Ss | RAPHE py Wr Boo A Hint on Using the Metronome _ By N. G. Abbott SOME students so dislike to use the tice, helped me a great deal. metronome that they simply do not use metronome I first determine the tempo at it. Thus they deprive themselves of an which I wish to practice the piece and set opportunity to do some real, earnest study the metronome accordingly. Then I° place In using the Teachers—let me give you a regular 30c size tube of Kondon’s— yy We want school teachers to know and value Kondon’s and to advise this healthy habit to their boysandgirls. 3100 teach- ersaccepted thisoffer last season Send the names of 20 or more parents of your pupils. We will send you, not asample, buta reg- Keep nose and head clear with Kondon’s. It prevents infec- tion, coldsand catarrh. Just as important as cleaning the teeth, Clip this ad. Mail it at once with the 20 or more names and addresses to Kondon Mfg.Co. that makes for advancement. I have found that by placing the objec- tionable machine on the floor at my feet I am not distracted by the motion of the arm of the metronome and am not tempted to look at the instrument. This, though of seeming unimportance, has, in actual prac- it on the: floor and, looking at the music, count withthe metronome until I have the rhythm securely in my mind. When I do begin to play I usually find that I have adjusted myself to the metronome and do not have any cause to wish that the metro- nome would adjust itself to me. ular size 8)c tude of Kondon’s. i am JELLY inneapolis, Minn. ALL DEALERS

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Page 712 OCTOBER 1924 PTAHE most important fundamental in or- gan-playing is a pure legato touch for both manuals and pedals. Lest some of our friends raise their hands in horror at this statement, let us hasten to say that organ touch is by no means limited to the pure legato; but this is the important foundation on which organ touch 1s based, and is used more consistently than any of the other touches. Uninteresting, dull and dreary indeed, would be the organ- playing limited to pure legato; but that does not detract from its importance, and its frequent use serves to make touches such as Non-Legato, Staccato, Brillante, and Marcato.the more effective by contrast. In the pure legato touch attack and release are of equal importance, as the attack of the note to be played must come at the instant of the release of the note being played. .. All other organ touches are governed by release, the quality of the touch beitig decided by the amount of ces- sation of tone between the released note and the note attacked. According to Dr. A. Eaglefield Hull in “Organ-playing—Its Technique and Expression” (Chapter III on “Touch’”), Bach is said to have played with seven or eight different touches. The use of different touches is not only desirable, but also: very important. Legato touch, however, is most important, as it is the foundation on which to build artistic organ- playing.» | The sttident who has the opportunity of studying under a reputable teacher will be guided inthe accomplishment of this im- portant principle. For the student who lacks this-opportunity, we suggest the play- ing of scale passages—as well as of more extended intervals—at a slow tempo, listen- ing carefully for the cessation of one tone at exactly the instant the succeeding tone is heard. -A decisive action of the finger should be used avoiding any suggestion of sluggishness. As an illustration of the effectiveness of a mixture of legato and detached notes, we quote from the subject of the Great G Minor Fugue of Bach. The reader may here observe the similar- ity in the first, second and fourth groups of notes, each of these groups being played legato; ‘while the third group, different in content, affords an opportunity to use a detached touch for the leaping notes, where its use is. most effective as a rule. Some players may prefer to play the subject of this Fugue non-legato—with the slightest possible. detachment of notes, but the decided detaching of the leaping notes would still be effective. Independence A second fundamental in good organ- playing is independence between the two hands, and between the hands and feet. The independerice between the two hands may, of course, be acquired at the piano, though it will be of some advantage to practice exercises ‘for two hands, played on sepa- rate mantunls. Independence between hands and feet. may be acquired by playing exer- cises for left hand and feet, and right hand and feet (such as appear in “The Organ” by Stainer ),. followed by a liberal use of Trios for two manuals and pedals, such as those appearing in the Stainer work already mentioned; in “ Master Studies for the Organ,”.Carl; the “Trios” by Albrechts- berger, and the “Sonata Trios” by Bach. Pedal Technic A third fundamental required in organ- playing is adequate Pedal Technic. A well known ~~ Philadelphia pianist and _ The Organist’s Etude — It is the Ambition of THE ETUDE to make this Organ Department *‘An Organist’s Magazine Complete in Itseif’’ Edited for November by HENRY S. FRY Former President of the National Association of Organists Some Fundamentals in Organ Playing By H. S. Fry teacher has stated that three elements are necessary in good piano-playing : (1) Technic (2) Technic (3) Technic. This important feature is necessary in organ-playing as well; and this article is based on the supposition that the student has already acquired key-board dexterity at the piano; as it is absolutely essential that the student whose goal is fine organ-playing should have a fine, clear-cut keyboard technic. This must be augmented by a corresponding pedal technic, which may be acquired by avoiding all rigidity, and the practice of such exercises as those included in Nillson’s “Pedal Studies.” The writer feels that the use of heel and toe pedalling should not be overdone in passages requir- ing brilliant pedal-playing—the use of alter- nate toes, producing perhaps a more crisp, clean-cut effect. The alternate use of toes, however, can also be overdone, evidence of which, in the writer’s opinion, sometimes occurs in the compositions of one of the well-known Organ Composers in America— in his pedal indications. Phrasing in the parts written for the pedals must not be overlooked. The latter has been perhaps, a common fault in the past. Tone Color A fourth requirement for good organ- playing is a thorough working knowledge of the quality of the various stops, and a keen sense of tone color. Here lies an opportu- nity for experiment. Organs differ greatly in quality and balance of tone, and a regis- tration that is excellent on one instrument may not be satisfactory on another ; so that each instrument must be studied and _ suit- able registration evolved. This includes the ability to registrate effectively on a two manual organ composition written and registrated for three or four manuals. It will not be sufficient to rely on. the use of the Great Organ as a substitute for the Choir Organ. It often may be necessary to transfer the indicated Swell Organ part to the Great, using the Swell Organ as a substitute for the Choir Organ. As an illustration we will refer to the beau- tiful Tone Piece “Night” by Cyril Jenkins. The first four measures are alloted to the Swell Organ—the next two to-the—Choir Lieblich Gedackt 8’. As most.two-manual organs do not include an 8’ Gedackt in. the Great Organ, and in many cases the Great Organ is not enclosed in a swell box, it would be advisable to play the Choir Organ passage on the Swell Organ, making. the necessary change in registration to the 8’ Stopped Diapason, changing again. for the next four measures which are assigned again to the Swell Organ. The next two measures should be played on the ‘Swell Organ Stopped Diapason as before, and so on. In this way the Swell Organ is used instead of Swell and Choir, by. simply changing the registration. The . little MR. HENRY S. FRY At the Console of His Organ at St. Clement’s Church, Philadelphia THE ETUDE “Dialogue” between Swell Organ and Choir Organ on the last page of this composition may be treated in a similar manner. While it is desirable to have variety in registration, changes should not be made simply for the sake of changing. Too many changes produce a feeling of unrest, and frequently are not justified. As an in- stance, in playing the well-known Air for G String by Bach, it is not good taste after playing one section on a registration sug- gesting string quality for the solo, to change to Clarinet, English Horn or some other quality for the second section. The com- position was originally written as a “string” solo; and if any change in registration is made, it must simply amplify or modify the original color, not change it. A change in color would not be in keeping with the character of the composition. This, of course, does not apply to all compositions. For instance—in the charming “Grand- mother’s Minuet” (piano) by Grieg, which adapts itself beautifully to the modern or- gan—at the Con Moto section the first two measures may be played on a “string” com- bination, followed by the next two meas- ures on a “flute” combination, though the piano copy does not indicate a change of color. This antiphonal effect may be con- tinued throughout the section, though not always in two measure phrases. In this instance we are not attempting to suggest the instrument for which the com- position was originally written (as in the case of Air for G String) but rather we are “orchestrating” the number for the organ. Great care must be taken in the chang- ing of stops §0 that the flow of the rhythm may not be interrupted. Frequently the change may be made, during a rest for hand or foot, at a point in advance of the place where the change appears, provided the department of the organ where the change is to be made is not being used. Opportuni- ties thus presented should be used and the registration practiced as part of the com- position. Phrasing A fifth and very important requirement for good organ playing is Phrasing. This important feature is neglected perhaps more than any other. Much of the organ playing in past years has been deadly dull and uninteresting, because of lack of rhythm, phrasing and similar features. The writer recalls once hearing the remark that a certain organist phrased “when he changed manuals” and “when he gets off the bench.” There has been much im- provement in this direction recently, and no doubt much of the credit must go to the “movie” organists of the better type, who have imparted to their playing a_pro- nounced sense of rhythm. <A _ constantly moving mass of tone, without break, with- out undulation, and without nuance, soon becomes tiresome, and the student should endeavor to avoid this condition. Various means may be employed to bring about a more interesting interpretation. This may be done by a cessation of tone (similar to a singer taking a breath); by a slight tenuto on a note to be accented; by an ac- celerando with its compensating ritar- dando; by crescendo and diminuendo; by the introduction of detached notes in pas- sages of a contrapuntal nature; and by ac- cents produced by the shortening of the note or chord preceding the note or chord to be accented. In the use of the tenuto—dwelling on a note to be accented—care must be taken

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' ovenger oe es - ; avn eet rl a ee We ee THE ETUDE that the holding of the note is very slight and the effect that of a natural accent, . without the: feeling of an interruption of , the flow of the passage. with its compensating ritardando is per- haps best illustrated by the pendulum of the clock which has its accelerando during its downward progress, and its ritardando on its upward progress to a new starting point, which precedes’ a new accelerando, and so on. Organ Specifications While not absolutely essential to good organ playing, a knowledge of organ speci- fications, mechanics and structural features of the instrument is of much value. If a contract for a new instrument is to be giyen the organist should be able to. ex- amine the specifications, not only to see that the suggested steps are the most de- sirable for an instrument of the intended capacity, but also that the specifications are not misunderstood by those who have the placing of the contract. It is not difficult for a. builder to take advantage of the lack of knowledge on the part of the average layman on matters pertaining to the organ, and in many cases this is true also oforganists who are not familiar with the. subject. Modern organ-building, unfortunately, has developed to too great an extent a system of “borrowing” or “duplexing” stops; 7. ¢., making one set of pipes do the work for two or more stops. A certain amount of this is desirable under some conditions; but the purchaser should know just what he is securing for the money expended. A perhaps common but ques- tionable practice is when the builder, for instance, inserts in his specifications a Clarabella, 73 pipes on the Swell Organ, and a Melodia or Concert Flute, 73 notes on the Great Organ, using the same set of pipes for both stops, though giving them different names. The writer: recalls an instance some years ago, where’ in’ a theatre organ, a Quintaton, 16-foot on the manuals, was used as a Bourdon 16-foot on the pedal.- The distinctive feature of the Quintaton (the prominently developed twelfth) is a distressing fault: if present in a Bourdon, and such use serves as an illustration of the abuse of the borrowing The accelerando - ‘contracts or duplex idea—desirable though it may be in many instances. Another unfortunate tendency in modern organ-building is that of a pedal organ derived largely from -manual stops. The practice of borrowing for the pedal organ has economic advantages; but its use should be limited to the point where it does not affect the adequacy of the pedal department. The borrowing of a Swell soft 16-foot Bourdon, or a swell soft 16- foot reed or string for the pedal is’ not objectionable; but when a large organ is constructed with a pedal department of perhaps only forty-four actual pipes, the economic principle is being carried out to the detriment of the effectiveness of the instrument. The writer recently was in- vited to play at a service of the American Guild of Organists, in a church where there is a fine instrument. Although there were only about eight stops in the Pedal Organ it consisted of eight real stops, and what a glorious pedal tone! Knowledge of specifications and general organ construction will enable the organist to guard those who have the placing of against pitfalls of the kind named, provided, of course, the latter are wise enough to consult the former. Organ Literature The organist who does not have the ad- vantage of instruction by an experienced teacher can secure much information and knowledge and may keep in touch with matters pertaining to the organ by taking advantage of the excellent literature— magazines, books and pamphlets that are published. For those who may not be familiar with this literature we might suggest, in addition to THe Etrupr, with its Organ Department, such organ maga- zines as The Diapason, The American Or- ganist and The New Music Review. In the book line we would suggest: Organ Playing—Its Technique and Ex- DECTEON so Ss ce sc es + A. Eaglefield Hull The Organ and Its Position in Musical PEN Oe de gale cue H. Heathcote Statham Organ Stops and Their Artistic Registra- NER SEE oe Geo. Ashdown Audsley Bach, the Organist, and His Works..Pirro The Organ Works of Bach..Harvey Grace The Organ in France....Wallace Goodrich Pulpit and Choir From an Address by Herbert J. Tily, Mus. Doc. ‘[Dr. Tily is one of the foremost men _ in the Department Store business in America. For years he has been the general manager of. the Strawbridge & Clothier Store in Philadelphia. During this time his activities in. music have been of such a_ very valuable nature that they put to shame those of many professional musicians. He has written much choral music; he has conducted big choruses, as well as conducting perferm- ances of light opera. He has been president I AM going to'assume as true that which I believe is true—that as a class, organists possess high intelligence and full sympathy with the devotional function of religious music. Further, it is true that the standards of church music have greatly improved dur- ing the last few years, but also that there remain special musical problems in many churches that await solution. I am going to build on these acknowledged and accepted facts some suggestions for you and for those to whom you minister. I suggest first, that you devote more time to a sympathetic, careful study of the real needs of the people you elect to serve through the medium of your art. I think you will agree that these needs are not the same in every parish. The Type of Choir If in any church the devotional needs of its congregation seem to be adequately and ideally served by the singing of a fine quar- tet of real artists, then, fortunate indeed, from the’ standpaint of the labor and —__—__. of the Philadelphia Music League which last year presented what was probably the most gorgeous musical pageant ever given in Amer- ica. His degree of Doctor of Music comes from Villa Nova College. For many years he has been organist of St. John’s Protestant Episcopal Church at Cynwyd, Pa. The fol- lowing is part of an address delivered at a convention of the National Association of Organists, Editor of THe Erups.] thought’ involved in preparation for the services, is the organist who presides over this type of choral organization. Perchance, though, such an organist has a_ vision of finer, broader, more far-reaching work to be done through other means. I venture to express the hope that there is no one pres- ent who would not feel a noble discontent under such circumstances, no matter how satisfied clergyman, choir, and congrega- tion might be. I do not wish to appear as opposed to the employment of the very best talent; on the contrary, I plead, the church should and must have the best services of the best artists. Nothing less is right; any other attitude toward the supreme importance, dignity and sacredness of public worship i3 inconsistent with every. teaching of the church itself. As a matter of fact it is the all-too-prevalent belief, that something less than the best possible is. acceptable to God and man that makes’ your work as an association necessary and timely, and this humble essay of mine worth while, OCTOBER KIMBA ‘<The Instrument of Y esterday, : Today and Tomorrow’’ MINENT organists—in their praise of the Kimball organ— enhance the prestige built up for Kimball instruments by famous singers and instrumentalists in their heartily voiced admiration of Kimball pianos. 1924 Page 713 29 Pietro A. Yon says: “In the past few years of concert work in almost every state I had the pleasure to perform on Kimball organs. They have always given the best of satis- faction that a recitalist can wish in mechanical promptness and qual- ity of tone.” KIMBALL Grand Pianos Music Rolls Upright Pianos Phonographs Player Pianos Pipe Organs Reproducing Pianos Kimball pianos and pipe organs satisfy the most exacting. W. W. KIMBALL CO., Dept. KE | 306 South Wabash Avenue, Chicago, III. names sent on request 3 4 vs ‘ Gentlemen: Please mail catalog and information on instru- ment marked X: CO KIMBALL Reproducing Pianos W. i a KIMBALL Co. | O KIMBALLGrand Pianos © KIMBALL Phonographs (Established 1857) | O KIMBALL Upright Pianos oO KIMBALL Player Pianos Pactaed wiiid tanianile Clkians (0 Also mail floor pattern “‘Style 29”— free CHICAGO, U.S. A. Catalog and dealers’ ow 8 0 8 88 OSE OE OS ESOS OE OSS HOSES EE ES SESE He ww eE EN SS REESE EERE EE Rename ae No ee ere Ty ‘THE BROEKHOVEN COURSE IN MUSICAL COMPOSITION FOR BEGINNERS IN 25 MAIL LESSONS A correspondence course specially prepared and personally super- vised by J. Van Broekhoven, of whose standard work on Harmony 19,000 copies have been sold in the United States; a text book used in the Paris Conservatory. This short course will teach you to write a lyric song—words and music,—arrange an accompaniment—orchestrate it for orchestra and band—adapt it for male, female and mixed chorus—and give you the forms of popular music in a Practical, Clear and Complete Course JOHN PHILIP SOUSA’S OPINION OF THIS COURSE My Dear Mr. Van Broekhoven: It affords me great pleasure to speak in the highest terms of your splen- did exercises known as The Broekhoven Course in Musical Composition. Your practical experience of many years, together with the consummate technical knowledge, leaves you thoroughly equipped to produce a work of benefit to those embracing the musical profession. I wish you every success in this great undertaking; for you deserve it. Very sincerely, JOHN PHILIP SOUSA. For Full Details Address Personally J. VAN BROEKHOVEN 146 West 95th Street New York City THE WILDER IMPROVED KEYBOARD “A Wilder Keyboard should be in every Piano Studio in the country,—it 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 714 OCTOBER 1924 Science proves the danger | of bleeding gums OAST defense ( , protects thelife of a nation, gum defense the life of a tooth. On the gum line danger lies. If it shrinks through Pyorrhea decay strikes into the heart of the tooth. _ Beware of gum ten- ‘derness that warns o Pyorrhea. Four out of five people over forty have Pyorrhea— manyunder fortyalso. Loosening teeth indi- cate Pyorrhea. Bleed- ing gums. too. Re member — these in- flamed, bleedinggums act as so many door- ways for disease germs to enter the system—infecting the joints or tonsils—or causing other ail- ments. Forhan’s positively prevents Pyorrhea, i used in time and used consistently. As it hardens the gums the teeth become firmer. Brush your teeth with Forhan’s. It cleans the teeth scientifically— keeps them white and clean. If gum shrinkage has already set in, start using Forhan’s and consult a den- tistimmediately for special treatment. 35c and 60c tubes All Druggists Formula of R.J.Forhan,D.D.S. FORHAN CoO. 200 6th Ave.,N.Y. Eorhan’s, Ltd. Montreal AUSTIN ORGANS| BROADCAST the words of the Chattanooga municipal organ com- mittee, in selecting an Austin for their new auditorium, and add to it the unanimous approval and enthusiasm of the thirteen hundred Austin audiences and the chorus seems to indicate that for tonal beauty and dignity, and for solid and dependable construction features, an Austin is the safest solution of an organ problem. AUSTIN ORGAN CO. 165 Woodland St. Hartford, Conn. FOUR FREE SCHOLARSHIPS (inilmant Organ School Dr. WILLIAM C. CARL, Director Fall Term, October 7th ADDED FACILITIES WRITE FOR CATALOG 17 East 11th Street New York City WENTY YEARS of develop- ment has won universal ae- knowledgment of “ORGOBLO” superiority. Recent improves ments have made the SUPER “ORGOBLO” Sturdy—Efficient—Quiet Most of the largest and finest American Organs are blown by ORGOBLOS. The ORGOBLO has won the highest award in every exposi- tion entered, Special “ORGOBLO JUNIOR” for Reed and Student Organs, THE SPENCER TURBINE COMPANY Organ Power Department HARTFORD CONNECTICUT Please mention THE ETUDE when addressing our advertisers. The Church a Musical Center So please do not think I purpose advocat- ing the discontinuance of anything that is so excellent as the participation of our finest vocalists in our services. Rather would I arouse in your minds, and better still, in the minds of congregations and clergy, this great question: is it fair to you and is it for the best interests of society to limit the employment of your talents? Should not the organist of every church be encouraged and supported to the end that he may devote his entire time to making the church a great musical center in the community in which it is placed? Rather than being with your little group of artists, superlatively fine though they may be, just a kind of artist impresario employed to give a few sacred concerts weekly, should you not better be a managing musical director of a great reli- gious community, your chief work the prep- aration of that community for personal participation musically in the most exquisite, the most spiritual, the most soul-satisfying service it is possible for finite man to render to an infinite God? In doing this work with this great end in view you will establish a cultural influence in your community that must bring with it many collateral blessings. Is this too generally stated or must I tell you in greater detail what I have in mind? I am sure you feel with me that one of the greatest helps to finer living is the ability to find self-expression through the medium of one of the arts, and that the eas- iest of rapid achievement is through the art of singing. Especially is this true of choral singing. If you, then, in preparing your community for musical participation in divine worship, form as collateral aids to this great end sight-singing classes, choral societies, a fine chorus choir and classes for individual vocal instruction; if you aim to develop congregational singing ; if you give educational concerts and popular, easily understood talks on musical subjects; if you co-operate with the public schools in matters musical; if you influence your com- munity to have in every home a library of part song to the end that choral singing may become a popular social diversion (thus happily displacing some of the unwholesome banal social diversions of our times) ; if you popularize in proper ways organ and choral recitals; if you are always cheer- fully co-operative in any community move- ment of musical significance ; you not only achieve your great aim, the elevation to greater beauty of the musical worship of your church, but you become social workers of great power. A Challenge to Organists Pray don’t protest that this is too big a program. I know you as a class, better. I believe, also, that no group of workers can do this great musical work more efficiently than organists, and what is perhaps more to the point, no musicians have so great an opportunity. The many thousands of churches in America are just so many thou- ands of community centers pledged and con- secrated to the highest spiritual and social uplift of our teeming millions. Each is directed by a man of God whose life is consecrated and devoted to ministering to humanity’s deepest needs, and both are supported by millions of believers who know that man’s duty to God cannot be fulfilled unless one fulfills also one’s duty to man. Is it not the vineyard in which to work for the great end I have’ outlined, and are you not the workers to whom the call to labor comes with the most profound insistence? Tam fully aware of the fact that some of you could justly protest that the program I have outlined could not be carried out in all its details in every church, nor would it be possible of accomplishment by every organist, but I am speaking for you and to you as a class. As an association, your work should aim to be as comprehensive as I have suggested. Each one of you, however, can have the comforting assurance that if the biggest things are not possible of achieve- ment in your church, yet each can be made a center for such activities as can be accom- plished. Each church, small and large, is a center of some community life, and each has a congregation to be uplifted and edified . by the music best adapted to its understand- ing. And this suggests that I say just the briefest and, withal, most humble word to you as to a second type of careful, sympathetic study of the real needs of the people you serve. Unless church music really leads to devotion, really uplifts, it fails utterly to fulfill its high mission. No matter soundly artistic a composition may be, it’s the subjective reaction and not the objective fact that is supremely important in deter- mining its value as spiritual food. The tune “Bethany” may irritate you so that you are quite the reverse of being incited to devo- tion, if you are forced to listen to it or play it too frequently, and yet beside you some good soul in tears finds in it an emotional significance that justifies its being rendered. On the other hand some fine masterpiece thrills you to your inmost being and leaves your neighbor cold and disappointed. When the disparity of effect is confined to a few individuals in a congregation it is negligible, but when, with few exceptions, they feel alike about a composition it is a fact to be reckoned with. Each of you, if you ‘are conscientiously desirous of making your church work a means to an end, must be willing to com- promise with your ideals as to the means to be employed, if a rigid insistence on your ideals jeopardizes the full achievement of the end needed and desired. That end, of. course, is worship in spirit and in truth. Your great task is to find out, each of you in your several churches, when the highest requirements of art must be subordinated to the fundamental needs of the worshipers. ‘Your playing, your singing, must be understandably sb al to your particular ‘congregation. Knowing Our Minor Neighbors By Jennie C. Kern —_———_ WHEN teachers have trouble in getting pupils to remember the different forms of the Minor Scales, the following plan may be used with good results: Let the pupil consider himself as the Major Scale. Mr. Parallel Minor lives in the same house with him, comes out of the same door, but does not look anything like him, because Mr. Parallel has a differ- ent key signature (three flats more or three sharps less). The relative Minor brothers live a minor third below Mr. Major, but look exactly like him, having the same key signature. Mr. Harmonic Minor has his seventh tones sharped (raised one-half step) both as- cending and descending. Mr. Melodic Minor has his sixth and seventh tones sharped ascending and none of them descending. Mr. Mixed Minor ascends like his brother Melodic and descends like his brother Harmonic. how fundamentally good, how : THE ETUDE? “‘The Place of the Voluntary,’ by E. A. H. Crawshaw, which appeared in the September issue of The Etude, was reprinted from “‘The Choir,” of London, , England, to which journal we had in mind to give full credit, but by some oversigi.! this was omitted in the making up of pages. ¢ On Approval Coupon OUTFIT OF CHRISTMAS SAMPLES For Christmas Committees Assortment of Christmas Publications for All Kinds of Choir Programs When a Christmas committee meets, the chairman should be able to put before the committee as wide a line of program material as possible. The committee may then select the particular type of program that appeals to it and act promptly and efficiently. A Christmas committee should have before it: Christmas Choir Cantatas Separate Christmas Anthems Christmas Anthem Collections Christmas Solos and Duets Christmas Carols (Standard and modern) Clip this coupon, pin or paste to a sheet of letter paper, sign your name and address, and get on approval just such an outfit for your committee. After 10 days pay for all copies not returned postpaid to LORENZ PUBLISHING CO., Dayton, Ohio (216 W. 5th St.) New York (70 E. 45th St.) Chicago (218 S. Wabash) Mention the Etude. Void December 10th. Faces Made Young The secret of a youthf fepe will any woman who has pny ind of a Peegnhie urement cau by ery. woman who has a single faci al defect should know about these remarkab aa Ne rebelde Write for this FREE BOOK, which tells just what to do th 00 and beautiful. fo moxe. 3 y today. comp! one Kathryn Murray,Inc. 207 $o.Wabash Ave. Suite 10330 Chicago, = a Mw a Beppe ala re instan ae ay yeepnes nen stan The — ree y THEN XOU WILL SENT TON TRIAL Ewant ye - have relief from Buni want to's aye Fath ge foot ee will gladly ar- x of and eay, ST wante to try P EDODYENE. oF s ddress— KAY LABORATORIES De pt. A-666 186 N, La Salle St. Chicago, lilinois Kill The Hair Root My method is the wre =f way to prevent the hair from grow- ing again. Easy, painless, harmless. No scars. Booklet tree. Write today enclosing 3 stamps. We teach Beauty ulture. D.J. Mahler, 140-A Mahler P’k, wi nearme R. “Write or Phone for FREE BOOKLET CHRISTENSEN SCHOOLS OF POPULAR MUSIC Suite 4, 20 E. Jackson, Chicago Teachers wanted where we are not yaepresenied. BUY MUSIC BY MAIL—Prompt, Accurate Service for Anything in Music Publications. THEO. PRESSER CO., PHILADELPHIA, PA. Teachers always find it an inspiration to have New Ideas While WILDER 2 ~~ MASTER ways radical, they are long past the experimental stage, for they have proved successful with hundreds of students in the author's private teaching and in his classes at the New England Conservatory of Music. PIANO with which to begin a season’s work, because - they realize their pupils look forward to new and progressive ways of obtaining results, as well as to new music. COURSES Our Introductory Offer will be sent upon receipt of a postcard, The Wilder Publishing Company Dept. E-6 West Newton, Mass. Please mention THE ETUDE when addressing our advertisers,

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. : a > : > oe chord, with root omitted, of a minor key, thus being classed as dominant harmony.’ ” Correct Hand-position. Y. In playing the piano what is the proper position for my hands; should I strike the notes with my finger-nails and turn my hands out towards my little fingers ?—W. B., Min- neapolis, Minn. A. The nails should not touch. the keys; strike with the cushion of the fingers, all except the thumb, which strikes on the fleshy side near the middle of the thumb-nail; fingers slightly rounded, not flat; let the hands be turned in_ slightly towards the thumbs. A “quantum suff.”’ of divers questions. 1. Are men’s and women’s voices pro- duced and trained in a similar way? A. Yes; to a certain extent. RN = ae eB ° —% _ _ - ’ . Lied —_ ~ 2. The first G's come Practice together. slowly, counting eight d notes to the meas- ure and giving a slight accent tw the beat (that it, to the first note of each triplet in right-hand). Practice each hand separately, gradually accelerating the pace until the “presto” speed be attained, counting 4 ; to the measure and playing smoothly through- out ; the slight accent will now be on the ; thus marking the descending passage from G to E through the three measures. The left-hand, also practiced slowly and _ sepa- rately, gets its slight accent on the first note of each slur (this completes the right- hand triplet), the second note of the slur is simultaneous with the first note of the right-hand triplet, thus descending in octaves with the right hand. When sufficiently pro- ficient, play both hands together, absolutely smoothly but with the characteristic 1 (strong)-2 (weak), 1-2, 1-2, 1-2 of the bass. This is a good occasion to apply the Biblical recommendation: “Let not thy left hand know what thy right hand doeth.” _ electricity, It will remove OCTOBER 1924 I Have Found Out How to Get Rid of Superfluous Hair - At Once Here’s the Secret { 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 creat relief and joy tome and to other women that it really cannot be ex- pressed in words. My face is now noi only perfectly free from super- fluous hair but smooth and softasa 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 a powder, paste, wax or liquid, not a razor, not Page 715 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 lamps—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. f So overjoyed was I with LG the results this discovery brought tome that I gave it my own name—Lanzette. Send for Free Book A book that tells just how this wonderful method cets rid of superfluous hair is free upon request. Don’t send a penny—just a letter or post card. Address Annette Lanzette, Dept. 1136, care Hygienic Laboratories, 204 S. Peoria Street, Chicago, Ill. ENGRAVERS +» LIT HOGRAPHERS PRINT ANYTHING IN MUSIC BY ANY PROCESS WE PRINT FOR INDIVIDUALS ESTABLISHED ie7e REFERENCE ANY PUBLISHER THE OTTO B& SON CO,inc. CINCINNATI OHIO | So - Who Will Pay the Doctor, the Nurse and the Board Bill When You Are Sick or Injured? The Teachers Casualty Underwriters is a ational 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. . It pays to have a friend like the T. C. U. in time of need. Send a postal for full information. TEACHERS CASUALTY UNDERWRITERS 913 T. C. U. Building Lincoln, Nebr. LL cy

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Page 716 OCTOBER 1924 XPERIENCED violinists know that a good tone can be produced only with a good bow, regardless of how good the vio- lin may be. It is therefore obvious that a good bow is as essential to the violinist as is the good violin, if not more so. With a reasonably fair instrument and a good bow a good tone can be produced, whereas, with a good violin and a cheap, poorly haired bow, this is an impossibility. Each individual violinist must determine by experience just what sort of a bow, in regard to length, balance and weight, is best adapted to his own personal playing. For dance and orchestra work where volume is desired, usually a heavy bow is used, while in concert and solo work the lighter bow is more desirable. No rule, however, applies to all players. There are many causes which tend to make a bow worthless, but the trouble is almost invariably found in the hair, this being either of a poor. grade, too much or too little, worn smooth or dirty and greasy. A poor grade of rosin, too much, too little or an uneven spread, will cause trouble. Under the Microscope Occasionally we find a bow which has been used for many years without changing of hair. Such a bow cannot be expected to give good results. Under a microscope we find that the hairs are not smooth but rather rough with saw-like teeth, all pointing in one direction on each individual hair. On a well haired bow half of the hairs are reversed so that some of these small teeth point in either direction. It is these little teeth that hold the rosin. With any amount of playing, the teeth soon wear off leaving the hair smooth. It is then time to rehair the bow. This is a simple process and any one can rehair his own bow and soon be- come an expert at it. Select the Best Hair First select the best grade of unbleached bow hair, which you should be able to pro- cure for not more than fifty cents. Never use the cheap bleached hair. If the stick is not worth the best grade of hair it is not worth rehairing. The usual price charged for rehairing a bow is $1.50. As a bow needs new hair at least once a year, and, for professional players, every two or three months or oftener (your own judgment will tell you), rehairing the bow yourself will make a noticeable saving ; and you may always have a bow in excellent condition. Pound off the wax on the tied end of the hair. Cut the string and reverse half of the hairs so that you are sure all of the little teeth do not point in the same direction. Then with some strong thread wrapped a few times around, tie one end tight, cut the hair off even about one-sixteenth of an inch from the thread and with a match singe the ends. This will cause them to expand and keep them from pulling out of the string. Put a small amount of wax or rosin on the ends and with a match burn it into the hair. Important Details You will next place the tied end into the tip of your bow in such a manner that the hair will fold over the block. The block which holds the hair must fit very tightly and should never be glued in. With a fine comb, even out all the hairs, pull them tight and get the desired length (about one- fourth of an inch back of the block in the frog.) Tie these ends with hairs as even in length as possible and treat the same as the other end. Now remove the frog from the bow, slip the ferrule over the hair (it would. be impossible to do this after the hair is fastened into the frog), and fasten the hair into the frog in the same manner as it was fastened into the tip, so that the hair will fold back over the block. This block should never be glued in, although you might drop in a small amount of rosin. Care 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’’ The Bow By Otto Rindlisbacher must be taken not to twist the bunch when fastening it into the frog. Now put the frog back on the bow and tighten slightly ; put in the slide and place the ferrule. Next you must wet the hairs. This will cause them to stretch to an even length. Tighten the bow. Now push a wedge under the hair (on the side towards the stick) exactly the width of the ferrule and thick enough to be tight. While pushing in the wedge, spread the hairs evenly. Your job is now complete. New hair should be washed as it is some- times greasy. This can best be accomp- lished with common soap and water. A few hours are required to dry the hair perfectly. A bow washed in the evening may be used the following day. When dry, rub in some powdered rosin held in a piece of cloth. Always use a good clear grade of rosin and rub it a few times the entire length of the bow. With more rosin on some parts of the bow than on others the tone produced will be uneven. Wash the hair every three weeks or oftener, and occasionally wipe off the rosin ° which collects on the stick. Always loosen the hair after playing. This leaves the hairs apart so they will not gum together ; and it also keeps the stick from becoming straight and dead. Keep a very little oil on the screw. A piece of tape wrapped a few times around at the frog makes a very good thumb grip. Never touch the hair with the hands, and always hold the bow at the frog. Oil from the hands soon causes the bow to slip where the rosin will not stick. Many players have a habit of tightening a bow so much that the stick becomes almost straight, which will, in a short time, ruin a good bow. With good hair a loud tone can be produced with little pressure and it is necessary to tighten the bow only enough to free the hair from the stick. Use rosin lightly but often, for the best results. When purchasing a new bow, select a straight stick with plenty of bow, made of a good standard bow material. With proper care it will last a lifetime and by being accustomed to its weight and balance you will always “play at your best.” —_—_ The Young Teacher (ee ne By Sid. G. Hedges THE young violin-teacher has no right to expect an easy time; if he does he will not get it. It is a momentous hour when the young violinist decides that his student days are over and that henceforth he is a professional. A young man, from a small town, re- marked recently: “T thought it would make a stir when I came back to the old town to teach. They used to be glad enough of my items at local concerts; but not a single person seems to have noticed my arrival, and no one at all has taken any interest in me now that I’m a professional.” This is a rather common experience among newly arrived teachers. Supposing a new store-keeper stole intoa town one Monday morning, quietly opened shop and sat down, waiting. Nothing at all would happen, except that he would get very tired of waiting. But the new store-keeper does not behave like that. For weeks before his arrival great posters flame everywhere with the news of his imminent, momentous opening. The local papers shout the intelligence; and the building destined to be his store is ob- scured under an array of shrieking notices. He makes most wonderful promises; and on the day of his epoch-making arrival the whole town is astir to see if he can do for them all that he-has promised. Whether ultimate success comes depends on his own work, whether or not he is just a bluffer. Now it is unfortunate that the average musician has little of a business training; for he would better realize at the outset that it is essential for him to be a busi- ness man as well as an artist. He must advertise widely : “James Newteacher, A. B. C. M., will be able to take pupils in violin playing from January 1.” : This is a mere theme, many elaborate and striking variations may be played on it. The town should be flooded with hand- bills telling how a highly qualified music- teacher is coming, and pointing out the obvious reasons why everyone should take lessons. It is a good plan to repeat this leaflet inundation fairly frequently until a good number of pupils is secured. The point is that no sooner does Mr. Smith think of sending young Jim for lessons than Mr. Newteacher’s name springs in- stantly to mind, as a well-qualified, up-to- date man. Pupils may often be obtained by person- al canvassing. One should call on likely and unlikely houses. One teacher declares that whenever her pupils drop below the minimum number for her requirements, she does a couple of days’ canvassing and never fails to get the necessary additions. One’s friends also should all be on the qui vive. Thus, with proper preparation some few pupils should already await the young teacher. Incidentally, it is not always wise to make reductions in fees for acquaintances, else one day when pupils are plentiful the time at the cheap rate may be begrudged. Of course at the end of one or even two years pupils may still be few. It takes a long time for a teaching connection to grow. A reputation is not made in a week; it is formed slowly, but surely, bad or good. Successful pupils are eventually the finest advertisements for any teacher; and these, of course, do not serve until after several years’ tuition, But there are other ways of obtaining publicity for the young violin- Rode. ‘the slide. THE ETUDE teacher. He may give occasional recitals, if he is capable. A good recital makes a splendid opening for one’s teaching career. Solos should certainly be played at local concerts; though it is not good to have one’s name too often among a crowd of amateur mediocrities. The young professional should lead things himself—an orchestra if possible, — or a choral society or choir. Little lectures on musical appreciation, history, and kindred topics similarly help to keep one’s name and abilities before the public. Lesson fees must be definitely settled at the beginning ; and it is better to start with them too high than too low. An advertised price cannot well be raised; but to make a reduction, if necessary, is easy. One hour is rather long for a lesson, a half-hour is short; three-quarters is the most satisfactory tide when one remembers that both children and grown-ups have to be considered. Usually the new teacher finds that most of his pupils are young men of from sixteen to twenty-six years of age. There is no other type of person to whom the study of the violin seems so attractive. It is important that the young teacher should have his entire curriculum mapped out from the outset.. Usually it will be the course of studies through which he himself. has worked. It will begin with a tutor and. lead at any rate, into Kreutzer and These two famous collections may well be preceded by Fiorillo, Mazas and Kayser. The important point is that the teacher should know his complete course thoroughly and should understand from the beginning exactly at what results he is aiming. Patience, tact, ingenuity are each required for successful music-teaching: patience, to understand and sympathize; tact, to obtain and retain pupils; and ingenuity, to devise methods of making seemingly dull things fresh and interesting. The young violin-teacher needs to know something of: violins, bows, and_ their fittings; for he will often be called upon to procure outfits or select instruments. is unable to fit a bridge, or peg, or tail-gut, or to adjust a soundpost, he will impress his pupils very unfavorably. Yes, the violin-teacher certainly may have a rough time at first; but, if he be persever- ing and deserving, success, with its compen- sations and happiness, will eventually arrive. TT WH 9) ke! — A ’Cello Anchor Aw English inventor has just patented a useful device for preventing the sharp end of the ’cello peg (tail-pin) from ‘slipping, or from damaging floors, rugs, and carpets: He calls it the “cello anchor.” In describ- ing its use he says: “The loop of the cord is passed around the left leg of the chair, and retained in position by the fibre disc. The length of the cord is adjusted to the requirements of the performer by means of The adjustment once made is practically permanent. The device can be carried in the pocket or string bag, and weighs only two ounces. For chairs having cross or side bars the spring hook provided can be used to advantage. “AT the present day the tools of violin mastery, of expression, technic, mechanism, are far more necessary than in days gone by.” —YSAYE, If he Se a | Te

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THE ETUDE Music and Wood By Robert Kempton Harvey THE connection between wood and music is evident to anyone who has the least knowl- edge of the orchestra, the highest form of modern musical organization whose in- struments are made of wood. At least half—the bass, the violin and its first cousins, the viola, the ’cello and the string- bass—the entire string quartet. Then there are the wood-winds—the flute and piccolo, the oboe, English horn and bassoon and the clarinet. The percussions include the drums, the marimba and the piano. Finally we have the organ, seldom heard with the orchestra, but acknowledging as peer only the violin. The First Stringed Instrument Perhaps the first stringed sound-produc- ing instrument was the bow, “the one- stringed harp that sings of sudden death;” but certainly the first stringed musical instrument was the revanestron, attributed to and named after a king of Ceylon who lived about 5000 B. C. This primitive idea “was carried by traders, soldiers, and means only to be guessed at, to Egypt, where it developed into the lyre, a_harp-shaped instrument used in the temples in connection with the religious rites. “I am all that is, that was, and that will be; no mortal has lifted my veil,” was the creed, and in the faint light of the temples, the lyres echoed a slow, secretive accompaniment. - By various means, in various forms, this idea was carried to Babylon, city of Astar- eth, Greece, Rome, and into the Europe of the Middle Ages. There it became the Anglo-Saxon crwth, the French luth and the Italian viol, until finally in 1459 a Ger- man lutanist, having emigrated from Nuremburg to Cremona, a little town of Italy, made the first violin of the form so familiar to us today. From the obscure beginning, Cremona became the center of violin making. Here labored such men as Maggini, da Salo, Amati and his pupils, Albani, Ruggeri, Guarneri and Stradivari. Here were made the instruments so highly prized today, the Cremona violins. The violin was made of seventy pieces of wood—seventy pieces fitted together with the greatest care. The back was usually made of maple, pear or sycamore, more generally of the first. The top was of white pine, brought from Switzerland or the Tyrolean Alps. Wood cut from the south side of a trunk grown on the southern edge of the forest was preferred by the masters, because it matured more evenly. As most of this wood was floated down in the moun- tain streams, it had to season in the sunlight for at least five years, lest it warp. The seasoned wood was cut to shape with an axe, for the saw injures and tears the fine wood fibres. Through long expe- rience these masters knew how to shape it. First the wood was sounded with a hammer. If it gave a high tone, the violin was made very curved and round, almost tubby. If the sound was deep and guttural, they made the violin thin and flat. Thus did the shape offset the tone of the wood, and the result was the perfect violin. Perhaps the most delicate work of all was the ornamentation, the fitting of the purfling which covers the joining of the back and sides and of the belly and sides. The purfling was usually a slip of maple or sycamore, glued between two slips of ebony, and the whole, perhaps an eighth of an inch in width, was fitted into the narrow slit prepared for it. When the irregular shape of the violin is considered, some esti- mate of the delicacy of this work may be made. Cremonese Varnish The final and very important process was varnishing. The secret of the “Cremonese varnish” has been lost, without doubt, for- ever. Many have searched and experi- mented, but nothing has ever been found that equals its golden lustre, its soft, trans- parent coloring. However, many of the ingredients used are known—plum-tree gum, Venetian turpentine, white rosin, frankincense, linseed oil, sandal-wood and alum, with colors boiled from logwood, Pernambuco wood or mahogany, but what process was used or what other substances were necessary, is unknown. Thus in the time of Stradivarius, the super-master, was made what has been called “The one perfect thing.” That there has not been a renaissance of the art of violin making is probably due to the lack of devotion to his work, of the modern artisan, which would lure him to the long, loving labor necessary to the production of the masterpiece, and this done contentedly for the pure joy of having it so. For this rea- son we have the fifteen-dollar fiddle and the thirty-thousand-dollar violin. The differ- ence—well they must be heard if it would be appreciated. The Music Sense By Claudia May Ferrin To attain a knowledge of music is not so easy as it may seem. Yet, as every true musician will testify, there is a simple way by which to acquire it. Most beginners think of the piano as the basic instrument— because possibly that or its cousin, the cabinet organ, may be within reach. What of the violin? This is one of the most treacherous in- struments imaginable. At the outset, a trained ear must direct in the tuning. The second string must be the A above middle C, counting by the piano key-board. It may be a year before a beginner can take an un- tuned violin and adjust his A string by sound alone; that is, without the piano note or some other set key to direct his sense. Then there is the first or E string. That sound must be known, not only by its rela- tion to A, but also because it is E. It is es- sential to learn so carefully as this; for when, about two or three years later, he takes up “positions” his sense of sound is his only guide as he plays next the bridge. The letters of the first position must be found high up on the lower strings. He must find on the G string the notes he played on the D string, and know these by sound just as he knows the note A by which to tune his instrument. In brief, the violinist must know his every letter, from the open G to the keen- est note next the bridge on the E. The piano could be played for years with not a care as to the distinctive pitch of the keys individually. One might drum into his senses the knowledge of related notes so that he should discern readily a discord. Yet not until he takes some such instrument as the violin can any one appreciate the niceties of tones and semi-tones that make real music. few teachers. With your fundamental knowledge you can master the Saxo- phone in a few weeks. You'll find it the easiest instrument you ever tried to learn. And it is just as easy to teach, because it 7s 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. Send the coupon or a postal for free copy of our book, ‘“The Thousands of beginners—boys and girls—young men and women—are buying Saxophones and learning to play. They are teaching themselves because there are OCTOBER 1924 — Page 717 Story of the Saxophone,’’ illustrating the first easy lesson. BUESCHER BAND INSTRUMENT CO. Everything in Band and Orchestra Instruments 296 Buescher Block, Elkhart, Ind. SAXOPHONE a) eee ee re ne rn hae On he ae, ee Buescher Band Instrument Co. ; 296 Buescher Block, Elkhart, Ind. : Gentlemen: me I am interested in the instrument checked below: a Saxophone....... Cornet....... Trombone....... Trumpet....... . (Mention any other instrument interested in) u a Loe aE aS AE RSE RE ROMAN: Petree Bees MS HF, = e Street: Amaia. ..cicssckccscdiassvestaangseciahoctupcaptostatdelacerglieanins > ad PPT css Leah seven kta hedonce a dotiiecensiannnradesarth yee State, ievoisntt a 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-E and learn why and how you can ob- tainyour requirements under the quickest service, best discounts, and most reasonable prices for High Quality Goods (enclose professional card for rates) WM. LEWIS & SON (largest exclusive Violin House) 225 S. Wabash Ave., Chicago, IIl. VIOLINS Deep, Mellow, Soulful We are makers of high-grade violins, instruments of the finest tonal quality, appreciated by the greatest artists. Fasy terms, if desired. Get details today. GUSTAV V. HENNING 2424 Gaylord St., Denver, Colo. VIOLI Examine our superb collection We have all kinds of violins for all kinds of players, “‘ready for the bow.”? You can have one or more for ten days’ trial; also outfits. Let us demonstrate to you that we can “fit you” with a violin that will give your inter- pretations added charm and elevate you in the opinion of your friends as a player. Established 1846. Catalogues free AUGUST GEMUNDER # SONS Violin Makers and Experts Exclusively 125-127 West 42nd St. Dept.-E New York {| PRESSER’S BANDERO VIOLIN STRINGS | A fine Violin String that will stand up under the most strenuous use or conditions Red Gut and waterproof—Just the string for damp climate and perspiring fingers E tS lenetha)....3. 5 cacsas 25c net and post A. (2 Ten@tne sé. o> 01000540 25c “8 ‘6 D (2 lenmttns) 6.65 ices “66 ‘s THEO. PRESSER CO., Philadelphia, Pa. 1710-1712-1714 Chestnut Street : THE WILDER IMPROVED KEYBOARD *“‘Opportunity Knocks at Everyone’s Door Once’’ There will be thousands studying the piano five years from to-day where there are but Aun- dreds to-day. From “individual” to “class” instruction, history will repeat itself in piano playing, as in practically every other branch of learning. The Teachers who realize the possibilities of Class Instruction today, are the ones who are sure to benefit tomorrow. A postal will bring you interesting information. The Wilder Keyboard Company, Dept. E-6 West Newton, Mass. Please mention THE ETUDE when addressinz our advertisers,

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Page 718 OCTOBER 1924 Violin Questions Answered Easy Seales for Violin. A. S. H.—A pupil can begin the easier scales after the first few weeks of study. Most of the first instruction books for the violin give the scales in the first position. You will find a good deal of scale work in the first position in the Hermann Violin School (Book I). 2—It is a good idea to use a book of melodies to. supplement the work in the instruction book. Franklin’s Easy Melodies is very good. The Kloz Family. , H. R. M.—The Kloz family, famous violin makers of the Mittenwald, Germany, had numerous branches, and good specimens of their work are highly esteemed by violinists. The most famous of the family were Sebas- tian Kloz and Egidius Kloz, and their violins command the highest prices of any of the family. Joan Carol Kloz, who made your violin, made some excellent instruments. 2— It is impossible to quote prices on J. C. Kloz violins without seeing the instruments as they are valued chiefly by their tone qualities and not so much by the fame of the maker. The Vibrato. M. D.—An excellent work ‘on the Vibrato is “The Vibrato,” by Siegfried Eberhardt. There is a good chapter on the vibrato in the “Violin and How to Master It.’ However, even a single lesson by a really good violin teacher, is worth all the books in the world in acquiring this beautiful art. 2—The shortest. possible bowings in violin playing are executed by the hand entirely from the wrist. All longer bowings are a combina- tion of wrist and arm movements. Schweitzer. G. L. R.—Johann Baptist Schweitzer, Buda- pest, was a Hungarian violin maker whose violins are valuable. His.work has been much copied, and there are uncounted thousands of imitations, the bulk of which are factory fiddles of small value. Show your violin to an expert. Starting at Nineteen. A. S.—The age of nineteen is too late to start with the view of becoming a professional violin teacher. You would be under a heavy handieap, since you would have to compete with others who had completely finished their education in violin playing when yours was just beginning. Why not try some other profession which does not depend so much on getting a very early start? 2—If you expect to do really good work as a violin teacher you ought to have a good education yourself in the art before you start teaching. The Double Bass. J. O. B.—The reason why many small com- binations dispense with the double bass is that, by using the piano instead of the double bass, viola and second violin, they make the piano take the place of three instru- ments. The double bass is of enormous im- portance, even in a small orchestra, since it is the foundation. 2—The heavier the string in size the heavier will be the tension when tuned to the same pitch. 38—To finger the passage you send, commence in the first position, go to the third position by placing the first finger on the note A (second note, second measure); come back to the first position by placing the second finger on G sharp (fifth note, second measure). Professional Engagements. F. P. D.—If you play really well the com- positions you name you should be able to do some professional work. Joining the union would help you to get engagements. 2—Orchestral playing would help you very much to learn sight reading, but you can do . a great deal to that end at home. See article on sight reading in the January, 1924, Erupn. With the foundation you already have, you can add to your technic to a great extent, although you have reached the age of twenty. It is those who are first beginners at twenty who can only acquire a limited technic. Selling Old Violins. G. F. $8.—wWrite to the firms who deal in old violins, who advertise them in the Erupkr, in regard to the sale of your old violins. Almost all dealers in violins are in the mar- ket for good old instruments. reads like the genuine, duly Ten - By MR. BRAINE CS ds Mi Gov. Bs ie ae ens (cee and many others.—It has been repeatedly explained in the Erupr that there are mil- lions of imitation Stradivarius violins in the world, all having a Stradivarius label which pasted inside. Readers having such violins continually write to us asking if the violins are genuine, what their value is, and so on. It is quite impos- sible to answer these questions without -see- ing the violins. The only course for the owner of such a violin is to have it examined by an expert judge of violins. Firms who deal in old violins, such as those who adver- tise in the ETvupkr, can pass on the value of such violins if sent to them. A da Salo Viclin. S. D.—It is impossible to judge your da Salo violin without seeing it. Send it to a reputable violin dealer for an opinion and for valuation. 2—As far as I have learned, the mystery of the London music hall violinist who was able to make sounds emanate from a violin while standing at some distance from it, has not yet been solved. A. Delivet. A, K.—A. Delivet is a modern French violin maker. His violins were awarded a ‘silver medal at Liege (Belgium) in 1905, and a gold medal at Nantes (France) in 1904, at expositions. ; Ledenhofer. O. R. D.—Sorry I cannot trace your violin signed ‘‘Ledenhofer.” It may be a good violin for all that. Setting a Violin Price. E. A.—In justice to its advertisers, the ETupDE cannot undertake to set values on modern violins and other musical instru- ments, or what the quality of such instru- ments is, or whether the purchaser paid too much or too little for any instrument. Besides, I could not give you the value of the instrument without seeing it. Peters and Litolff Editions. G. T. O.—The Peters and Litolff editions, which included so many valuable violin works, are not being published at present, although it is expected that publication of the Peters edition will soon be resumed. It is said that a great many of the plates from which these editions were printed were melted for ammu- nition and other war material at the time of the war. Meisel Violins. J. MeN. S.—The name is spelled Meisel, and not Miesel. Several of this family made violins at Klingenthal, Germany. Johann Christoph, Johann Georg and Chris- tian Friedrich; but I do not find Carl Christian. He may have been another mem- ber of the family, however. Impossible to set a value on the violin without seeing it. Nicholas Didier. J. KF. E.—Bauer, in his Practical History of the Violin, says of the violins you inquire about: ‘‘Nicolas, Didier (Aine) 1757-1838. The best of a family of -Mirecourt violin makers. He made very good instruments after the Stradivari model. His violins were very much liked at one time, the result of which is that thousands of imitations with his brand, ‘A la ville de Cremonne Nicolas Aine,’ formed into a triangle, were placed on the market.” I could not give a guess at the value of your violin or whether it is genuine without seeing it. A Violinist’s Plans. M. C.—It is quite impossible for me to try to predict your future as a professional vio- linist, from the list of studies and pieces which you send me and which you say you have studied, for the reason that I cannot tell how well you play them without hearing you. If you play the list really well, you could probably get a teacher’s certificate in two or three years’ further study at some conservatory or school of music in St. Louis or Chicago, the largest cities near your home. I would advise you to arrange for a term of ten or twelve weeks in one of these schools, for in this way you would gain experience by which you could determine what you might expect of the future. It is rather difficult for music students in a large city to defray a portion of their expenses by musical work. WILDER Of course **Nothing comes without effort, *’ but you will find these Courses so direct and clear that ‘‘effort’’ will be reduced to the minimum. You will be inter- ested, surprised and delighted—for there is real joy for tion concerning our Introductory Offer. The Wilder Publishing Company Dept. E-6 Surely every piano player would like to MEMORIZE EASILY, READ WELL, ACCOMPANY CRED- MASTER P the person who has wanted to “‘Memorize’’ for years, and fi- nally discovers that he can. Ai postal will at once bring you informa- IANO ITABLY, INTERPRET MUSICAL- LY, and PLAY WITH GOOD RHYTHM, and with the least possible effort. COURSES West Neiviea, Mass. There were. Selling Old Violins. J. B.—If you wish to either buy or sell a genuine Stradivarius, or any other of the leading Cremona violins, it is much better to leave the negotiations in the hands of a good reputable firm of violin dealers; that is, un- less you are a good expert, and know the busi- ness of buying or selling violins thoroughly. Almost all valuable violins are bought and sold through dealers. If you wish to con- duct the transaction yourself, you should at least get the written opinion of a leading ex- pert as to the quality of the violin, its prob- able value, and its genuineness. 2—It is very difficult to ascertain the exact prices at which Stradivarius violins have changed hands within the last ten years. There have been rumors of sales as high as $15,000 and $20,000, in the case of especially fine speci- mens, but the exact figures are difficult to ob- tain. I understand that a firm of American violin dealers hes just put a very fine Strad on the market at $25,000, but it has not yet been sold at that price. 3—Stradivarius produced very fine violins practically up to the year of his death. 1787. 4—If you wish to conduct the purchase or sale of a Strad yourself, you might advertise in the leading American and European musical papers, espe- cially those of London, England, as London is the great clearing house for Cremona violins. Defective Fifths. L. M.—The difficulty you experience in making perfect fifths might come from several causes. Your strings may be false, so that they will not sound true in fifths, or in fin- gering the fifth you fail. to stop the~-two strings so that each string is stopped at ex- actly the same distance from the bridge. Then, again, the trouble might be caused from the strings being too far apart. This is especially likely to happen if you have very Slender fingers with small tips. Another cause might be a defective fingerboard, which is not perfectly level. Better get instruction on this point from a good violin teacher, as no one can locate the exact cause of the dif- ficulty without a personal examination. Album of Favorite First Position Pieces FOR VIOLIN AND PIANO Price, $1.00 A volume of this kind is of great value in the violin world. It gives the beginner on the violin encouragement through the excellent numbers it con- tains which are melodious and in- teresting yet at the same time easy to play. There are twenty-two num- bers of real worth arranged in pro- gressive order. Teachers here have an ideal volume for instructive pur- poses and beginning violinists will find it just the volume to possess for their recreation or recital needs. THEODORE PRESSER CO., 1710-1712-1714 CHESTNUT ST., PHILADELPHIA, PA. THE ETUDE Isham Jones is stars dorse the Conn saxophone. Isham Jones, the famous soloist and orchestra leader, has made a fortune with his Conn saxophone. You can learn to play a Conn quickly and easily. Then great oppor- tunities for pleasure and profit are open to you. Conn saxophones, used by the most famous stars, rec- ognized as supreme in tone, tune and easy playing qualities, may be had on Free Trial; Easy Payment plan. Write for catalog and details. C. G. CONN, Ltd., 1013 Conn Bldg., Elkhart, Ind. Kee rare B INSTRUMENTS WORLD'S LARGEST MANUFACTURERS STUDY HARMONY and COMPOSITION by MAIL under the persona’ instruction of Dr. Alfred Wooler, winner of Interna- tional unthem competition, 1911. A simple, concise and practical course. Send for prospectus and rates. Composers’ M88. corrected. ALFRED WOOLER, Mus. Doc. A171 Cleveland Ave. Buffalo, N. Y. BEGINNERS EPPERSON’S COMBINATION BAND AND ORCHESTRA FOLIO 25 & 50c “First Studies and Familar Melodies’'for PIANO 75c VIOLIN School--Familiar Melodies, 3 Books 75c Write for Samples EDUCATIONAL MUSIC BUREAU 64 E. Van Buren St. Chicago NEW THEMATIC CATALOG LSC LLL EI Shows Portions of 225 Piano Compositions PRESENTS GEMS iN Easy Compositions for the Piano A Piano Compositions of Medium Grade Every Teacher Should Send a Postal for a copy of this “GRADED THEMATIC CATALOG OF PIANOFORTE COMPOSITION” There is no charge for it THEO. PRESSER CO. 1712 Chestnut St. Phila., Pa. SUMMY’S CORNER New publications of value to teachers: MOTHER-GOOSE LAND - - - - - by Buenta Carter Mistress Mary, Quite Contrary Little Boy Blue The Queen of Hearts Little Polly Flinders Pussy Cat, Pussy Cat Ride a Cock Horse Little Bo-Peep Complete Summy Edition No. 111 . .'$.50 Single Numbers .... each $.25 These first grade pieces are soundly pedagogical and yet entirely captivating to the child mind, making them generally attractive. FLUTTERING MOTHS, Grade 3 - - - - by Gerald F. Frazee 40c CONCERT GAVOTTE, Grades 4 and 5 by Charles G. Vardell, Jr. 75c Excellent numbers combining style with charming melodies and at the same time teaching thorough and definite principles of piano playing. Either one suitable for recital purposes. HARMONIC MATERIAL AND ITS USES - - - by Adolf Weidig Price $3.00 plus postage Generally conceded to be the most important work on this subject published in years. ‘It is a big book, big in size and big in content.” CLAYTON F. SUMMY CO., Publishers - 429 South Wabash Avenue Please mention THE ETUDE when addressing our advertisers. Chicago, Illinois

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: : THE EKTUDE 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. 2. Designs may be for two- or three-color reproduction. 3. Designs must be drawn in proportion to reduce to the standard size of THE ETUDE, 10% inches wide by 13% inches high. 4. The design must not bear wording or lettering. 5. 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. 6. Any contestant may submit as many designs as desired. 7. The ownership of the copyright of the winning design will rest with THE ETUDE. 8. All designs submitted must bear upon the back the full name and the ad- dress of the artist. 9. Postage toinsure return must be sent with every design. 10. THE ETUDE assumes no responsi- bility for loss of or damage to any design, but every possible care will be taken of the designs while in our offices. 11. The contest will close Dec. Ist, 1924 Address all designs to ETUDE COVER DESIGN CONTEST 1712 Chestnut Street, Philadelphia, Pa. ETUDE friends everywhere are re- quested to notify their artist friends. of this contest. Big names do not mean anything to us in comparison with effective, attractive, beautiful cover designs. Art Schools and Art De- partments of Colleges everywhere are invited to co-operate with us in this contest. Your Personality The Amateur Musician’s Stage Presence By Mildred Holland Just comparatively little training in the rudiments of acquiring good stage presence would have aided many a brilliant but self- conscious amateur musician to make her career a successful professional one. The feeling that she knows how to look well, from head to foot, when taking her place, preparing to play, and beginning— goes a long way toward making any per- former feel sure of doing her very best work any time she may be called upon to appear in public. And the ability to do her best work at will is one of the vital factors in taking any artist out.of the amateur class and placing her in the professional one. The thing that nine out of ten self-con- scious amateur musicians, like most ama- teurs in all other branches of the art of entertaining, must learn before they can do themselves justice when playing for others, is the simple rule—go slow. No pro- fessional, whether she be a great artist, or just satisfactory enough to be worth a small salary, is ever seen to be in a nervous hurry to begin. It is impossible to do one’s best without a few seconds of mental, phys- ical and perhaps spiritual preparation. There is always plenty of time for this; the performer has only to take it. The vaudeville pianist, who often is called upon to play music immediately following the act of a blackface comedian or a trained seal, has one of the most difficult audiences in the world to quiet and to get into a sym- Music in Maturity To THE ETupE :— Your November issue is particularly in- teresting to me, for two reasons: First, ’ the article by Ernest Hutcheson on “Adults and Piano Study;” and second, the little sketch, “Why Not?” by Florence Hadley. Not that many other fine things have not impressed me in this number, as have those of other Erupes which I have read throughout the years; but these two. so neatly fit my case that I feel justified in telling you how much they help. A good many people, like myself, are ex- ceedingly fond of music, as is suggested in your editorial, “Missing Half the Fun,” and wish to do something besides winding a phonograph and pumping an automatic piano. But most of us are not gifted enough to make music a profession and have to hustle for a living or prepare for such pro- saic work, during the time when a correct and advanced technic should be acquired. It may be that we “took lessons” on the old parlor organ or square piano, or, if younger, on the new upright, and so can play a little and perhaps read fairly. Under such circumstances, when leisure and means become available there is no reason why men and women should not indulge them- selves in the game of learning to play the piano, or even the pipe organ, just as well as to spend their time at tennis, golf or other sports. And while it is not expected that they will attain virtuosity, it is perfectly possible that a very considerable skill may be acquired late in life as has been demon- strated many times. So, three rousing cheers for the teachers who are willing to encourage us old titers in having more fun with music than with any other sport! Col. Skinner, Washington. ee pathetic mood for her music. One device which nearly always accomplishes the trick is to play a few chords and arpeggios, usually in the same key as the beginning of her coming selection. As her numbers are ordinarily extremely varied in character, she often uses the same device for creating a bit of appropriate pianistic atmosphere before the beginning of each new selection on her program. Unless in special cases there should be an objection from an artistic standpoint, some variation of this little device of the vaudeville musician will help a self-con- scious amateur to “go slow” in getting ready to play, as well as to prepare her audience in a number of ways. The average stage musician looks more pleasing when playing the piano, violin, cornet, harp, and even the lowly saxophone and ukelele, than does the usual amateur playing the same instruments. The pro- fessional’s self-confidence, of course, is the chief factor in making her mere outward appearance command attention and fill the eye more satisfactorily. But the controlled facial expression, the straight back and well-held head, which are among the A.B C’s of good stage presence, are the chief means of expressing that self- confidence so that it impresses an audience ; and these are points which any amateur, however, inexperienced, can easily copy. Evening Bulletin (Philadelphia) Letters from Etude Readers Recollections of Two Beginnings To THe ETupE :— “Not what you say but how you say it” has become proverbial as to speech. Car- rying out this same idea, one might say “Not what you teach but how you teach i.” : I well remember that as a child I was put under the tutorship of an overworked, nerve-exhausted young woman whose life must have been no dream, with a large class on her hands of aggravating young- sters. to: which I doubtless was no excep- tion. My daily practice made up the dreariest hour of the day—filled with the drumming of monotonous scales and the counting of time I did not understand. At the end of my first year of lessons this teacher migrated to another part of the country and Herr Liebrich, an old Ger- man professor, was persuaded to add me to his large class. Music lessons now be- came an entirely new experience. My first sight of the professor’s studio was an in- spiration to my young mind. The big, bright windows, the green-tinted walls al- most covered with pictures of many sizes, of celebrities in the musical world, fired my imagination. At the end of the room were large sheets of white paper on which were pinned large notes cut from card- board—the whole notes, half notes, half rests, and many, many other musical char- acters all grouped into families and prop- erly named. Ah! The old gentleman, in his simple, fatherly way, knew how to in- terest children. Hoping others may profit by his exam- ple, I am, Very sincerely, Mrs. Curis OLEson (Minn.). ? New Mines of Musical Treasure THE ETUDE has been discovering many new sources of musical in- formation. Watch coming issues for delightful articles. OCTOBER 1924 Page 719 4 Rockford, Ill., High Schoo! and completely equipped with Martin Handcraft In- struments.- John T. Haight is the director. High School Bands Deserve the Best Instruments HEN your High School Band proudly steps out and swings into the pulse-quickening no.es of their school song, they represent YOUR CITY. You want to be proud of them. You want them to compare favorably with the bt st in the country. And you will want to leave no stone unturned in bringing their efficiency up to the highest point. Mighty important in this connection s their instruments. Give them the best to Le had. It will make for a better band because the individual members will enjoy their playing and practicing more. Do like many other leading High Schools are doing—equip your High Schoo! Band completely with Martin Handcraft Instruments. You'll have the satis- oni of knowing your band has the est. Write for particulars MARTIN HANDCRAFT INSTRUMENTS THE MARTIN BAND INSTRUMENT CO. * ELKHART, IND. 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 APPARATUS. STATE IF A TEACHER. Write for FREE Illustrated Book - COWLING INSTITUTE 500 FifthAve.,Room 632-B, NewYork City By Note or Ear. With or without music. Short Course. Adult Beginners taught by mail. No teacher required. Self iustruction Course for Advanced Pianists.. Learn 67 styles of Bass, 180 Syncopated Effects, Blue Harmony, Oriental, Chime Movie and Cafe Jazz, Trick Endines, Clever Breaks, Space Fillers, Sax Slurs, Triple Bass, Wicked Harmony, Blue Obli- gato and 247 other subjects, including Ear Playing. 110 pages of REAL Jazz, 25,000 words. <A postal brings our FREE special offer. Waterman PianoSchool,241Sunerba TheaterBldg., LosAngeles,Cal. ES MUSIC FOR SPECIAL OCCASIONS Wewill be glad tofurnish suggestions THEO. PRESSER CO., 1712 Chestnut St., Phila., Pa. THE IMPORTANCE OF HAVING THE BEST AT THE START Harry Pedler & Co.,Inc. Elkhart, Ind. MAKES FINE CLARINETS CATALOGUE ON REQUEST

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OCTOBER 1924 Page 720 (CQ ——————— JoOOi. ‘\ “POs NeennGnwnanccntwn Gp y) )) "f yy. og’ a 2 \s SF UuUW«SRCY 5S : a A DEPARTMENT OF INFORMATION REGARDING New Music Works AND OTHER MATTERS OF INTEREST TO MUSIC BUYERS - . Veaare ae NEW WORKS Advance of Publication Offers October, 1924 Boats One Album of Arpeggios for the Pianoforte.. .00 Awakening, The—Christmas Cantata for Treble Voices—Baines .............. 25 Barbarossa of Barbary—Musical Com- edy—Britton .........seeseeeeeees .40 Cat Concert, The-—Gilbert............ .35 Cleopatra—Opera Burlesque—Brigham. . .40 Cross-Patch Fairies—Christmas Operetta RM BLP Min cl ae ac eiaiie 'd 0 taia se, 00, 0-650 6's .30 Dawn of Spring—Cantata for 2 Pt. Treble Voices—Kountz ............ .30 Day Before Yesterday—Operetta for Children—Cynthia Dodge .......... .40 Fairies’ Revelry—Operatic Cantata for Treble Voices—Kieserling .......... .00 Jolly Jingles for Little Fingers—Cramm. .30 Little Folks’ Music Story Book—Cooke. .50 Music Scrap Book, The—Wright...... Max, Music Writing Book—Hamilton....... .20 Musical Moments—Piano—Hudson ..... .35 BE RG. TOON 6 oi cals a. oo 0s 6-0 bie 5 0 8 0 .20 Notturno—A Musical Romance—Schmidt .80 Principles of Expression in Pianoforte Playing—Christiani ...............- 1.50 Promised Child, The—Christmas Can- tata for Mixed Voices—Stults...... -00 Reflections for Music Students—Silber . .50 Reverie Album for the Pianoforte...... .35D Rhythms for Young People—Steenman.. 50 Schubert Album for the Pianoforte..... .05 Six Study Pieces in Thirds—Moter.... .25 Studies for Violin—Fiorillo........... .35 Ten Busy Fingers—M. M. Watson..... .25 Vision of Deborah—Cantata—Kieserling. .30 What to Play—What to Teach—Harriette NE Ue ke sie ok se ook ew apes .75 Important Reasons for Mail Order Music Buying The buying of music publications by mail order is not an experiment, since the Theo. Presser Co. for about 40 years has been conducting a Mail Order Music Supply House that has furnished thou- sands of teachers with all desired music publiéations. The fact that each year has shown a most gratifying increase in patronage and that many of our patrons have proven friends of a number of years standing is evidence of the satisfaction found by those who secure their music material from this house. There are im- portant features about our Mail Order Service that mean much to the teacher and embraced in one phrase these mean_ convenience and economy to the teacher. Teachers may enjoy convenient charge accounts, liberal examination privileges, prompt, accurate and courteous service, and in every instance the best possible “price. These are important reasons for the mail order patronage given us by a great host of music teachers throughout the country. We would be glad to have any teacher not familiar with our Mail Order Service to correspond with us, as it would give us pleasure to furnish details. Cover Design Prize Contest We have extended this contest to De- cember first in acquiescence to popular demand. The artist friends of all Erupr readers should know of this contest and the closing date. The conditions are given in detail upon another page of this issue. December first will be here all too soon, therefore it is advisable not to delay sending in cover drawings and paintings for this contest. Every entry will receive careful consideration, and announcement as to the winner will be made as soon as the judges can complete their work after the contest closes, The ‘‘On Sale’’ System! Do You Use It ? “I do not know what I would do for teaching material if it were not for the ‘On Sale’ plan,” has been said over and over again in various forms by teachers writing to us. Each year there are new teachers entering the field of musical ed- ucation, and therefore we are making note of this immensely successful system for aiding the teacher in his or her work. The “On Sale” plan makes it possible for the teacher to secure for examination a -diberal stock of music of exactly the type and grades desired. Any number of lots of “On Sale” music may be secured during the teaching season and all may be kept throughout the teaching season, making it possible to have on hand a stock of music to care for the needs of various pupils as such needs arise. This makes immediate attention to the pupils’ study material possible. — , Payment for the music used from “On Sale” stock need not be made until the end of the teaching season, when unused music may be returned and _ settlement made for that used or disposed of to pupils. Start early in the 1924-25 season to en- joy the convenience of this system. Write now and tell us the number of pupils to be cared for and give us an idea of the type and grades of music that you would like sent to you “On Sale.” Convenient “On Sale” order blanks and a detailed explanation of the entire plan will be sent to you upon request. If any teacher desires to see regularly each month during the teaching season new sheet music issues, packages of new publications will be sent automatically each month on an “On Sale” account if we receive a postal request to that effect. In ordering these New Music On Sale packages, it is only necessary to state that they are desired and indication given as to whether Piano, Voice, Violin or Organ music is desired. The Violin and Organ packages, of course, do not go out regularly every month, these being sent as frequently as new material is available. Album of Arpeggios For the Piano The successful teacher is the one that makes study attractive to pupils, and in pursuing this course progressive teachers have long since discarded curriculums that adhere strictly to dry technical works and have replaced those studies with attractive study pieces that aid in de- veloping certain phases of technic. As a result of the demand for material of this character, a series of albums of study pieces fcr special purposes was started with the issuance of an Album of Trills. This volume met with great favor, and the later announcement of an Album of Scales. met with an enthusiastic reception. Then, as no technical equipment is com- plete without ability to handle the arpeg- gio forms, this important phase of technic is receiving our attention in the prepara- tion of the next volume for this series of study pieces for special purposes. The Album of Arpeggios will contain attrac- tive pieces in the intermediate grades, which are based upon some of the Arpeg- gio forms. No better material for aiding the pupil in the development of ability to handle the Arpeggio forms can be found than will be presented in this album. The. advance of publication cash price for this book is 30 cents, postpaid. Thanksgiving and — Christmas Music There are many excellent anthems and sacred songs of praise that are available for making a notable service at Thanks- giving time. Choir masters desiring to build up a special Thanksgiving service are invited to tell us their needs and request that we may send suitable mate- rial for examination. It is not too early to give thought to music for the Christmas season. Our stock of Christmas music is exceptional, and we have on hand quantities of anthems, cantatas and services suitable for Christmas. All worthwhile Christmas solos are carried in stock by us, and we can make suggestions in all these branches that will enable those responsible for the Christmas musical service to make this coming Christmas a great one musically in their Church or Sunday School. We have a printed list of Christmas music covering anthems, solos, cantatas, services, organ solos, and also various suggestions are given for Christmas entertainments. This folder will be sent cheerfully to anyone requesting it. Under the Advance of Publication Offers in this month’s “Publishers’ Notes” will be found three new publications for Christmas. In addi- tion to these, we have added to our cata- log since the last Christmas season the following publications: ANTHEMS Oat. No. Title Composer Price 20472 Christians, Awake! Norwood Dale .12 20423 Joyful Christmas Song, A F. A. Gevaert .12 20424 Legend, “Child Jesus Made a Gar- OO sf voce a x Tschaikowsky-Bliss 0S 20419 Lo, How a Rose...M. Praetorious .05 20422 Sleep of the Child Jesus, The F. A. Gevaert .05 20449 We Worship Him..August Halter . .12 ORGAN MUSIC Adeste Fidelis. ...Reading-Lemare Church Festival March R. M. Stults CHILDREN’S SONG Happy Children Wallace A. Johnson .40 .60 19145 19569 19571 .30 New Anthem Book Many letters of commendation upon our previously published volumes of Anthems carry suggestions that we publish more such volumes. However, as we endeavor to make each succeeding volume even better than those issued before, we do not rush new editions through at short inter- vals, rather awaiting until we are able to gather from the Anthems recently writ- ten a good number of desirable offerings for the repertoire of the volunteer choir. We now have sufficient material at hand from which to make a compilation, and in a few months we will have a new collec- tion ready. Each anthem is chosen be- cause there exists in it melodiousness that is fitting to a sacred work, and because it does not possess any difficulties that will carry it beyond the possibility of a successful rendition by the average choir. Those who are acquainted with other anthem books that we have issued will not hesitate to place their advance order for one copy of this work at the special advance of publication price of 20 cents, postpaid. Dawn of Spring Two-Part Cantata For Treble Voices Music by Richard Kountz Richard Kountz, whose gift of melody writing has been well demonstrated, here offers a new cantata for two-part chorus of treble voices that will be welcomed by school music supervisors and directors of young women’s choral organizations. The text is by Alice Clifton Beil. It is a story of Spring, from dawn, through night, to dawn again. Nature is personi- fied and every attribute of Spring steps out in glad array. The music is melo- dious and graceful in lines, not difficult to sing, but worthy of study. The accom- paniment affords much opportunity for delicate nuances. The time for perform- ance is about 25 minutes. Be sure to order a copy now while it may be had at the special advance of publication price of 30 cents, postpaid, and you will re- ceive this cantata in ample time to begin rehearsals for the Spring Concert. : 0 SRE BTUs The Cross-Patch Fairies A Christmas Play With Music for Little Folks Book by Lida Larrimore Turner Music by Norwood Dale A new theme for the holiday season. The story is entirely different from any other Christmas play and_ introduces many pretty situations. The staging may be very simply done or elaborated. Carol, in the story, is cross at everything, and so the cross-patch fairies come where they make everyone cross. Of course, there is a happy solution. The ten musi- cal numbers are all most melodious and perfectly suited to the tastes of children. Our advance of publicatien price for one copy only is 30 cents. Day Before Yesterday Operetta for Children By Cynthia Dodge After having had the pleasure of pre- senting to those interested in children’s entertainment material several successful juvenile operettas by Cynthia Dodge, we are delighted to have the privilege of publishing this new musical playlet by the same writer. Day Before Yesterday is entertaining as well as instructive, since the participants step back into the charac- ters of years ago. The audience virtually sees the pages of history opened. The well-known characters come to life. The music is very attractive and pleasing, and while it is kept within the limits of chil- dren’s voices, it will be found charming by hearers. The costumes are _ fully described and the action is given in direc- tions that are clear and comprehensible. This little operetta will fit very well into an afternoon or evening entertainment given by children performers, the time required being about half an hour. The advance of publication price for one copy of this work is 40 cents, postpaid. Barbarossa of Barbary A Musical Comedy in Two Acts Music by David Britton Here is a very clever and entertaining book by Frances Bennett with attractive lyrics that have been well handled musi- cally. A musical director with a group of young people could put this musical comedy on in great style very success- fully. There are some very humorous points in this work, and the performers as well as the audience will have a fine time with its production. The title does not give much indication of the plot, in which a U. S. Naval officer and his colored servant get into difficulties with a Greek pirate chief and his renegade band of pirates that infest the Algerian coast. Complications arise when the officer falls in love with the lovely daughter of the pirate chief, but with mirth-provoking incidents a happy ending for all is brought about. There are five male solo parts, two of which are tenors and there are but two girl soloists required, these being soprano. The size of the chorus and the elaborateness of the staging, etc., depend entirely upon the available mate- rial at hand. One copy of this work may be secured in advance of publication at the low price of 40 cents, postpaid. Cleopatra Opera Burlesque of College Life Book and Music By John W. Brigham Here is one of the most novel offerings we have seen in a long time. Young men’s clubs as well as. schools and col- leges will find it hard to secure anything more entertaining or more mirth-provok- ing than this. The success of “Cleopatra” will be much greater if all the characters are taken by men, and for that reason it is particularly appropriate for glee clubs or men’s community clubs. The time re- quired for production is about 40 minutes, thus it furnishes the necessary fun and diversion for an evening’s concert. The story is so absurdly told that it is ex- cruciatingly funny. We know of no other work of this sort, and consider it most fortunate that we are able to present this. Our advance of publication price for one copy only is 40 cents.

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THE ETUDE The Promised Child Christmas Cantata For Mixed Voices By R. M. Stults * Mr. Stults has achieved success in his contributions to the musical part of the church service because his writings are melodious and not difficult to sing, yet at the same time their rendition can be made very effective. All of these qualities in Mr. Stults’ writings predominate in this new Christmas cantata. Choir masters may use this for a special musical service at Christmas time, since it requires but about 40 minutes to render and therefore will fit in with the important parts of the usual church service. The congrega- tion will find this an inspiring music con- templation of the Christmas story. This work is practically ready, and we expect to fill all orders placed in advance of publication before the end of this month so that rehearsals upon it can be taken up in November. Advance of publication cash price is 30 cents a copy, postpaid. The Awakening A Christmas Cantata For Treble Voices By William Baines Many choir masters find their road a hard one to travel when it comes to music for special occasions, due to the fact that they do not have good male voices at their command. This cantata will be welcomed by those who are in this posi- tion, and it is also an important offering to anyone interested in Junior Choirs or choirs of girls’ or women’s voices. Throughout the cantata is scored for soprano and alto, and young singers can easily handle the vocal work and where soloists are not available for the few solo parts these can be done readily in unison. This makes a most desirable offering in Christmas music and we recommend it to any interested in secur- ing something worth while in Christmas music for either church or Sunday school. The advance of publication cash price is _ 25 cents a copy, and advance orders will be filled very quickly, so that this work can be taken up in good time for the Christmas season. The Music Scrap Book By N. Louise Wright This is a primary instruction book in pleasing kindergarten _ style. Young scholars will succeed in their first study when it is made so easy and understand- able as in this work. Notation is learned _ through the use of rhymed verses, which may be recited or sung. Then the loca- tion of the notes upon the keyboard is taught in a similar manner. In logical _ order other things that the beginner must know, such as the hand position, time, etc., are taken up, and the little verses are continued throughout these lessons. The last section of the book gives some short pieces and a few duets that help the young beginner to feel that something has been accomplished. The advance of publication cash price for this work that teachers of children will find interesting to know, is 30 cents a copy. Reverie Album ' For the Piano _ Music, above all the other arts, more _ closely links itself with the various moods of mankind. There are times when one would rather pass by the flashy, brilliant type of piano composition and enjoy those of a quiet, dream-like type. There are many exceedingly fine numbers of this kind, and a careful selection is being made of a goodly number for this Reverie Album. There will be many uses to which this album may be put, as music of this character is suitable for Sunday playing or at religious meetings where the piano is used. Material of this type, as intimated above, is much to be desired for one’s diversion at the piano. Most of the numbers will be in the intermediate grades and teachers will find it helpful to utilize pieces in this album from time to, time with pupils in these grades. This album is a decided bargain at the advance of publication cash price of 35 cents a copy, postpaid. Jolly Jingles For Little Fingers By Helen L. Cramm We have issued several other books of little teaching pieces by Miss Cramm, and each of these has become popular with many teachers of child music students. It is doubtful if there are any teachers specializing in child beginners that do not know Miss Cramm’s Rhymes and Tunes for Little Pianists. This new book, Jolly Jingles for Little Fingers, is certain to enjoy popularity, as the little pieces in it are charming, having attractive rhythms and melodies, and withal an educational value that will make this collection an outstanding first year teaching book. The advance of publication cash price is 30 cents, postpaid. Rhythms for Young People By Blanche Fox Steenman There is a demand for a book of this kind in view of the great amount of work being done at the present time by private teachers and the public schools for the developing of musical apprecia- tion. A number of the most popular semi- classical piano compositions have been utilized in making this work, and the editing and the annotations have been cared for in a skillful manner. The material in this book does not go beyond a grade of about 24% and a generous amount of material is presented, but the price is to be a nominal one. For ad- vance of publication orders of this work we have made a price of 50 cents a copy, postpaid. Music teachers in general and school supervisors can be acquainted with this work, and at the same time secure a copy for their personal library at this very low price, if order is made before this work comes off press. The Fairies’ Revelry Operatic Cantata For Treble Voices By Richard Kieserling This would make a feature part of a program used either as a cantata in con- cert form or staged in operatic style. If staged the work could be enhanced by the introduction of dancing in solo and ensemble. A cast of young ladies could make a beautiful production along these lines. Girls’ seminaries and colleges, high school choruses as well as women’s music club choruses will find this a very suit- able work to undertake for their concert programs. It gives opportunity for some beautiful and effective chorus work, re- quiring but about 30 minutes to present. Conductors should make sure of seeing this new work by sending their order at this time for a copy at the special advance price of 30 cents a copy, postpaid. Little Folks’ Music Story Book By James Francis Cooke The child’s musical education should not be confined to what can be accom- plished upon the instrument studied, as it will add to the child’s advancement con- siderably if attractive points in music are presented. The idea of this work is to present to children in a simple and easily understood manner the history of music. The little tots in the primary grades are often inveigled into the gain- ing of knowledge through the combina- tion of play with study and work. That is just what this history does, as there are many “cut-out” pictures for the child to paste in the book, and throughout it has been the endeavor to make every little history lesson a real delight. The advance of publication cash price is 50 cents a copy, postpaid. | Musical Moments For the Pianoforte By Mrs. H. B. Hudson Many are familiar with the extremely successful series of study works for little tots by Mrs. Hudson known as the A. B. C. of Piano Music, and we are sure it will please the many enthusiastic users of these works by Mrs. Hudson to see this new book of first grade recreation pieces by the same writer. These numbers are presented in the regular musical nota- tion, and while here and there melodies have been adapted and arranged from various sources, most of the pieces are original writings throughout. Mrs. Hud- son’s expert knowledge of the kind of material that is interesting to young stu- dents is apparent, and it will be found that these pieces will accompany or sup- plement to advantage any instruction book. While this work is in preparation, we will accept orders at the advance of pub- lication cash price of 35 cents a copy, postpaid. Schubert Album For the Pianoforte When one feels in the mood to read gems of some literary genius it is a com- fort to be able to reach into the bookcase and pull down a volume containing some of the best efforts of that individual writer. It is gratifying to know that pianists are building up similar musical libraries, and the various albums _ that we have issued in the past, giving in one collection favorite numbers by a _ well- known composer, have enjoyed a large sale. Not only have pianists and music fovers secured these volumes for their libraries, but numerous teachers have utilized them in teaching purposes when desiring to acquaint their pupils with the writings of some of the individual great composers. We are now preparing a col- lection of Schubert’s favorite numbers. Some of these will be original short piano pieces by Schubert, others will be favorite movements from some of his longer works, and interspersed in the compilation will be transcriptions for the piano of some of the famous Schubert songs. Franz Schubert has written so many wonderful melodies that it will not be difficult, with judicious compiling, to make this an al- bum that will become popular with many. Nothing of extreme difficulty will be in- cluded. The advance of publication cash price is 35 cents, postpaid. Six Study Pieces in Thirds For the Piano By Carl Moter Mr. Moter has made attractive study pieces déaling with an essential depart- ment of modern technic. As thirds are found in continual use in piano composi- tions, it is well to present to pupils in the intermediate grade, study material of this character that will aid the student to become acquainted with all sorts of groupings and _ fingerings. Individual study works, such as this, enable the dis- cerning teacher to fit the “study prescrip- tion” to strengthen noted weaknesses in the technical work of various pupils. Advance of publication price, postpaid, 25 cents a copy. Principles of Expression In Pianoforte Playing By A. F. Christiani This book has proved to be one of the best works on the art of piano playing and is highly esteemed by many leading musicians. We are taking over this work and a new edition is being prepared which is opened to the same advance of publi- cation order privileges as other new works added to our catalog. Anyone interested in pianoforte playing, whether teacher, student or professional, will find it profit- able to read this book. It perhaps better deserves the right to be designated as an authority on the subject, more so than any book. The advance of publication cash price is $1.50 postpaid. Vision of Deborah Cantata for Mixed Voices By Richard Kieserling The choir director who most success- fully holds the interest of his choir to their work is the one that does not fail to accomplish something even “between seasons.” Such choir masters will wel- come this musical work based upon the Biblical story of Deborah. The solo work is such as to satisfy the best church singers and throughout the music is cx- cellent with an exotic flavor. Mr. Kieser- ling has made this an impressive sacred work. The advance of publication price for a single copy is 30 cents, postpaid. (Continued on page 722) OCTOBER 1924 Page 721 The World of Music (Continued from page 657) Alexander Saslavsky, for some years a conductor of symphony orchestras in Cali- fornia centers, died in San Francisco on August 2d. A native of Karkoff, Russia, he was a violinist of much talent, at one time concert master, soloist and assistant conduc- tor of the New York Symphony Orchestra, and assisted in the organizing of the Russian Symphony Orchestra. Aeolian Hall, where during the last dec- ade have appeared many of the world’s most fainous musical artists and organizations, has been sold, the Aeolian Company retaining, however, the use of the entire great build- ing of which the Hall was a part, until May 1st, 1929. Wilhelm Furtwangler, successor of Nikisch as the Berlin Philharmonic Orchestra conductor, has been engaged to appear as guest director of the New York Philharmonic Society, this winter. Eugene Bonner’s One-Act Opera, founded on a play, ‘‘The Man Who Married a Dumb Wife,’ by Anatole France, has been ac- cepted for performance during the coming season at the Theater des Champs Elysees— the first American opera to be accepted by one of the larger opera houses of France. A Bach Verein at Ejisenach, the birth- place of the “Great Cantor,” has only re- cently been organized, with the purpose of a Bach Festival each summer. This year the Society of Friends of the Wartburg held a Bach celebration, the famous Thomaner from Leipsig, the choir which Bach at one time directed, furnishing an important part of the program. The Philharmonic Orchestra of Havana gave its first concert in July, at the National Theater, under the Baton of Pedro San Juan Nortes, the Spanish com- poser. Franz Lehar, of “Merry Widow” fame, is reported to be coming to America this season to superintend in New York the pres- entation of his latest operetta, ‘‘Clo-Clo.” Atlanta Civie Opera, modeled after that of St. Louis, is planned for next summer. Miami, Florida, is planning a season of opera for its winter colony; and so the story grows. Chinese Opera, by a company of Chinese principals, an orchestra playing original Chinese instruments, and under Chinese management, is now being given in Miner’s Bowery Theater of New York. ‘The repertoire consists of operas of which the plots are on ancient Chinese historical subjects and of which the music is said to have been written more than a thousand years ago. A New Italian National Opera House is being built in Rome. It will be a modern- ized replica of the Paris Opéra, will seat four thousand, cost thirty million lire (seven and a half million dollars), and will be subsidized and controlled by the government. The Quarto-Centenary of Pales- trina’s Birth is to be celebrated during the first six months of 1925 by elaborate festivities under the direction of the Royal Academy of Saint Cecilia of Rome, Verdi’s Forgotten Opera, “I Mas- nadieeri,’’ founded on Schiller’s play, “The Robbers,” has been found by the librarian of the Budapest Opera House where it was pre- sented in 1853, after being censored by the chief of police because of revolutionary quali- ties in the text. An early revival is planned. A Chamber Music Festival was held at Salzburg, August 5-8, by the International Society of Contemporary Music. Francesco Malipiero has been ap- pointed director of the Liceo Musicale of Florence, to succeed Ildebrando Pizetti, who Mei become director of the Conservatorio di ilano. But Three Organists in one hundred and twenty-three years is the record of Lich- field Cathedral, England. Mr. J. B. Lott has but recently resigned after forty-three years of service. “Cadman Night’ at the Hollywood. Bowl was celebrated on August Ist. ix .of | the orchestral compositions of Charles Wake- field Cadman were produced before an audi- ence of seventeen thousand people who ap- plauded vigorously these works of one of our leading Americans. A New Christmas Service for Sunday Schools THE CHRISTMAS STORY —The Sweetest Ever Told Price: Single Copy, 7 cents; Dozen, 80c; 50 Copies, $3.25: 100 Copies, $6.00. All Above Prices Postpaid. A very interesting and melodious service in which all members of the school can join. THEO. PRESSER CO. 1710-12-14 Chestnut St. PHILADELPHIA, PA.

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Page 722 OCTOBER 1924 What to Play— What to Teach By Harriette Brower There are many young teachers who will welcome a work of this character and other teachers of experience will find it revivifying to their work to read this book. Miss Brower tells not only “what to teach,” but also “what to play,” there- fore many serious students of the piano will find this is a helpful book to possess, as Miss Brower has described many of the favorite recital and concert pieces and arranged them in program form. We are offering this helpful contribution ty literature of music in advance of publi- cation at 75 cents a copy, postpaid. The Cat Concert | By Russell Snively Gilbert As will be gathered by the title, this is a unique offering and it will prove interesting to young students, at the same ‘time helping them in the elementary stages of keyboard work. The little piano teaching pieces in this set are well con- structed, pretty little tunes running in them. Cats and kittens have always been a delight. to children and these pieces gain additional interest because each is charac- teristic of some fanciful incident built around these favorite pets. Like the primary reading books in school work, these pieces are made easy for young students to read, large notes with good spacing being used in their printing. A copy of this little book may be secured at the advance of publication price of 35 cents a copy, postpaid. Notturno A Musical Romance By Carl Schmidt There are a limited number of fiction works, utilizing the wonderful possibili- ties of romances or plots in the musical world, but of the few that exist, Notturno is outstanding. It is a most interesting novel on a musical theme, and many in and out of the musical world have en- joyed reading it. We have secured the publishing rights because we felt that many of our patrons would be interested in possessing this musical novel. We are getting out a new edition upon which we are taking advance of publication orders at the special low price of 80 cents a copy, postpaid. Music Writing Book By Anna Heuermann Hamilton The proofreading and all the prelimi- nary preparatory work upon this book has been completed, but one or two de- tails of the mechanical part of its pro- duction remain unfinished, therefore teachers should not delay availing them- selves of an opportunity of securing a copy at the low advance of publication price, since it will not be long before it is withdrawn. A number of writing books are to be found upon the market, but we have great faith in the advantages of this writing book which imparts a wealth of necessary knowledge important to those in the elementary stages. Al- though this is a writing book, this does not mean that it is confined to notation itself, but other important rudimentary branches are treated. Important details in the early study of music are more firm- ly emphasized by having the students write them down. The advance of publication cash price is 20 cents, postpaid. Fiorillo’s Studies For the Violin These studies are among the classics in violin literature and have been universally used to a great extent for nearly 100 years. These studies or caprices for the violin are considered indispensable by many in the training of violinists, and the pupil who thoroughly masters them will have accomplished considerable in the art of playing his chosen instrument. As usual, when adding a widely accepted standard work to the Presser Collection, we are having this work edited in a com- petent manner with the view to making it the best edition of these studies. In advance of publication, we are accepting orders for these studies at 85 cents a copy, postpaid. — | Reflections for Music Students By Sidney Silber Mr. Silber’s name is well known throughout the musical world, as he is one .of the masters in piano pedagogy. Erupe readers will remember the inter- esting and helpful articles by Mr. Silber that appeared in. Tue Erune, and there- fore will appreciate the value of a little volume of inspirational paragraphs for the music student by Mr. Silber. There is no doubt but that some of the talks - and advices in these “Reflections” will take root in the minds of ambitious stu- dents, stirring them on throughout their entire student career. ‘Teachers will do well to have this. book about the studio, not only for their own reading at odd moments, but also for profitable reading by pupils when waiting their lesson turns. It should not take a great length of time to produce this book, and therefore the advance of publication term doubtless will be limited. ‘The advance of publication cash vrice is 50 cents a copy, postpaid. Ten Busy Fingers By Mabel Madison Watson This is a fine set of elementary studies, there being nine altogether, and _ the rhythms are made clear to the pupils by means of appropriate verse for each study. These pieces enable the teacher to give the elementary student a good idea of rhythm and a better acquaintance with the keyboard of the piano, since they do not remain in the middle of the keyboard as is so often found in elemen- tary material. These studies work back- ward and forward along the keyboard, giving each hand at some time or other an opportunity to play in the treble as well as the bass clef. The advance of publication cash price for this elementary study work is 25 cents a copy, postpaid. In Advance of Publication Offers Withdrawn We are pleased to announce that a number of works are now ready for de- livery, presenting to the music world some new works for use early in the 1924-25 season. Advance of publication offers on all these works are withdrawn. We suggest that any who have not se- cured these works in advance of publica- tion and are interested in any or all, order copies for examination. We are giving below short descriptive paragraphs of the five works withdrawn. Album of Scales This is the second volume in the series of Study Pieces for Special Purposes. The Album of Trills has been found very use- ful by teachers, and we are sure this Album of Scales will enjoy equal suc- cess. It contains 23 attractive pieces in which the composers have utilized the scales and variations of them. Pupils in the early third grade can accomplish much in scale work with this attractive mate. rial. The price of this is 75 cents. . Tunes for Tiny Tots, by John M. Williams. This is a little preparatory book for little piano students, and while it will not supplant the usual instruction book, it makes a very attractive preparatory work to any beginners’ book or method. It teaches the rudiments of music, using the bass and treble clefs from the start. The price of this work is 75 cents. Basie Principles in Pianoforte Playing By Josef Lhévinne. A little volume giving a series of per- sonal conferences with Mr. Lhévinne on the art of piano playing that was pub- lished over some months in Tue Ervpe. The whole subject is presented so well that it is only proper for that material to be preserved in this form for use by teachers and serious students of the piano. The price is 60 cents. Glee Club Songs for High School and College, by Hollis Dann and W. L. Wood. In its entirety this is not a new com- pilation, but in taking this work over from another publisher some new mate- rial has been added and some of the old eliminated, making an _ up-to-date next year. volume for the purposes indicated by the title. The price of our copy is 90 cents. Pageant of Flowers—Operetta for Chil- dren, by Richard Kountz. Text and lyrics of this operetta or pageant are by Elsie C. Baker, and they have been set with sparkling style. Full instructions are given for the presenta- tion of this pageant which is very suitable for school entertainments. The price is 40 cents. | Six Study Pieces for the Development of the Wrist—By Carl Moter. A set of melodious study pieces, not at all difficult. They may be taken up by any student who has finished the second or third year of study. Their use will be an excellent preparation for bravura study. The price of this work is 80 cents. Renewal Time This is ‘the season when most Ervupe subscriptions expire. Don’t forget to re- new. We endeavor to give our readers ample notice when time for renewal arrives. Some subscribers, however, for- get and delay, with the result that Erupr service is interrupted. So don’t procras- tinate. The cost of renewal is only $2.00 for one year, $3.50 for two years. (The two-year price permits of a substantial saving.) Three minutes at your desk with your complete name and address and $2.00 means that you are “all fixed” for It promises to be the best Erupe year we have ever planned. Cut Rate Magazine Prices See the display advertisement on the inside back cover of this number. It means that you can order magazines now at a substantial saving. This speciai iow price offer expires November 10th. Let your orders come forward promptly and save money. Each magazine selected to club with Ture Ervpe is vouched for by us as being the best in its class. Maga- zines make mighty acceptable holiday gifts. Of course, you can order them later if you wish, but why not place the order now to .begin with the December number and we will see that the subscription starts promptly in time for the holidays. An attractive gift notice giving the name of the donor will accompany each subscription where it is requested. Premium Workers Attention! Send for the new premium catalog list- ing many new, attractive and serviceable gifts. Many workers provide their entire circle of friends on their gift list with selections from our catalog. The time to begin sending subscriptions is now. If you do not wish to make your selection at once, just forward the name and ad- dress of the music lover with your per- sonal check for $2.00. We will enter the subscription and give you credit on our hooks, then, later on, you can make your selection from the catalog. A post card will bring one of the new premium book- . lets as soon as it is off the press, which will be about October 10th. Change of Address Remember that in changing addresses it is absolutely necessary to advise us promptly, giving both the old address and the new. Magazines are mailed under second-class rate and the post office will not forward any magazine even though a change of address is left with the post- master. Careful attention to this memo- randum will save needless trouble, incon- venience and expense. Warning! The time is ripe for the annual crop of complaints that money has been paid to a swindler. Be careful to pay money only to those personally known to you. If in doubt, place the subscription and send the money direct to us. We will give the agent credit if he is entitled to it. We cannot be responsible for money paid to any but a duly accredited representa- tive carrying our official receipt. THE ETUDE SPECIAL NOTICES © AND ANNOUNCEMENTS © PERSONAL, FOR SALE or WANTED Rate 10c per word FOR SALE—Progressive Series of Piano Lessons complete with music. (Mrs.) Ruth Wenzel, 807 Grant Blvd., Milwaukee, Wisc. FOR SALE—Library of choir music, oe- tavo, best writers; 125 sets averaging 30 copies; good condition; half present prices. K. D. Keck, 21 Rich Ave., Mt. Vernon, N. Y. VIOLIN—Hand-made; sweet, soulful, yet loud perfect tone on every string and on every position. Worth $150.00. Will sacrifice for $75.00. Will send on free trial. Write Mr. John Lehto, Box 14 and Gaffey, San Pedro, Calif. MUSIC STORE in largest California city, busy street, leased location; splendid oppor- tunity. $7,000 will handle; _ investigate. Louis, care of Erupr. ‘aastsmafesrmesesnnpansneetsgsnsnuheeiansssnasiaataionipingioaeime aie tilaenaiipleedecna aan ia REFINED YOUNG WOMAN (musician) desires correspondence with musician. Object —mutual interest. Address M. F., care of Tap Ervpe. WANTED—Position as organist, soloist, precentor or teacher of music in school. Ad- dress C, L., care of THE HTupDE. | ANNOUNCEMENTS | Rate 20c per word VIOLINISTS who appreciate tone and durability use Brehmer’s Violin Strings. act Bert Brehmer, Rutland, Vt., for special prices. : MUSIC TEACHERS’ SERVICE BU- REAU—Attractive teaching material; re- cital programs; every help for the busy ceacher, Mrs. A. M. Ingold, 219 Avery Ave., Morganton, N. Car. MUSIC CUMPOSED—Send words. Man- uscripts corrected. Harmony, Corresponden¢ée lessons. Dr. Wooler, Buffalo, N. Y. MUSIC COMPOSED; manuscript: revised. Band and Orchestra arranging. Complete and guaranteed instruction in Harmony by mail. J. Rode Jacobsen, 2638 Milwaukee Ave., Chicago, II. CORRESPONDENCE HARMONY by a sound, practical method. Carl Hoffman (late of Hollins College, Va.), 33 W. Ashmead Place, Philadelphia, Pa. DR. HUTTON—Gold Med. Voice Culture, 801% Ortega, Santa Barbara, Calif. ARRANGING AND COMPOSING for Mixed or Male Choruses; also Band, Or- chestra, Piano or any combination of instru- Haar Spa Baluta, 905 N. Taylor Ave., Oak ark, R THE BOOK MANY TEACHERS REQUESTED. FOR PUPILS COMPLETING The Immensely Popular “HARMONY BOOK FOR BEGINNERS’’ Preston Ware Orem THEORY x55 AND COMPOSITION OF MUSIC — By PRESTON WARE OREM Price, $1.25 : ‘HE author gave considerable thought to the preparation of this book and the result is a work that surpasses all others on the same subjects. It ie a modern, easily understood guide for the practical applica- tion of harmony to composition. There is’ no better work for the student who has mastered the elements of harmony. The sabiect is truly made a fascinating one in > chis THEO. PRESSER CO. 1710-1712-1714 Chestnut Street PHILADELPHIA, PA.

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THE ETUDE. 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, December 7th ORGAN ON ORO ASR, aera Stults ANTHEM a. Prepare Ye the Way of the EO DS er tee te Garrett b. Now Thank We All Our SE RL Us Sviye wise ¥e we Horner OFFERTORY Christians Triumphant ......Kountz ORGAN Short Postlude in G.........Hosmer SUNDAY EVENING, December 7th ORGAN Prayer and Cradle-song........Lacey ANTHEM a. O Lord, Our Governor....Gadsby b. Sweet Story of Old......... Jones OFFERTORY I Heard the Voice of Jesus Say..Hall ORGAN Processional March .......... K inder SUNDAY MORNING, December 14th ORGAN PSPOPRL SCONE oi. onc cecs Ludebuelhl ANTHEM a. Lord is My Shepherd...... Farren b. Roseate Hues of Early Dawn Horner OFFERTORY If With All Your Hearts Mendelssohn ORGAN . Marche Moderne .......... . Lemare SUNDAY EVENING, December 14th ORGAN ME es Ty ee te Sellars ANTHEM a. Now From the Altar of Wee Aer Ui ee ae oe Federlein b. Holy Ghost with Light og wee dS tults OFFERTORY wear ot Gods as..des weeee- Baines ORGAN Grand Chorus in D,.......Sheppard ay MORNING, December 21st Momange waA sda. io eae ces Ligurance ANTHEM a. Behold, the Days Come. Woodward b. We Worship sy ee ae ean Halter OFFERTORY There Were Shepherds (Vio- has -dd- ) s cecet pots Stoughton ORGAN Marcia Festiva ...... Mauro-Cottone SUNDAY EVENING, December 21st ORGAN Bells of Aberdovey...... -+. tewart ANTHEM a. Christmas Song ......... ...Adam b. Sleep of the Child Jestis..Gevaert » OFFERTORY In Heavenly Love Abiding... Roberts ORGAN Festal March in F...........Roberts SUNDAY MORNING, December 28th ORGAN. Andante from Violin Con- . 4 1 A eR Ee ee Mendelssohn ANTHEM a, Praise My Soul the King of Heaven oo sisi. fee. Galbraith b, Break Forth Into Joy...... Simper OFFERTORY Save Me, O God.......... Randegger ORGAN Festal Processional March....Hackett SUNDAY EVENING, December 28th ORGAN Hymn to the Setting Sun..... Lacey ANTHEM a. Thine is the Kingdom........ Gaul b. O For a Closer Walk with Godt: swiktin cabs i peepee. .Harker OFFERTORY Hark! Hark! My Soul (Duet AME Pad + fatwa bx ae Rockwell ORGAN Grand Chorus in E Flat......Hosmer Professional Directory CARL. VIOLIN INSTRUCTION ALBERT 5, E RT 139 West 97th Street New York City ‘ Ee a eee 1620 Riverside Sonaerveon? Dept.. Strong B BEECHW HW 00D faculty of ten teachers. Jenk- intown, Pa., suburb of Phila. Broad St. Conservatory of Muate COMBS. 0) M B S Gilbert Raynolds Combs, Director 1827-81 S. Broad St. Philadelphia, Pa, SYSTEM. Improved Music Study for UJ DUNNING | N G beginners. Normal Training Classes Carre Louise Dunning, 8 W. 40th, N.Y. MAESTRO AUTHORITY ON VOICE EDUCATION COMPLETE TRAINING FOR OPERA c AB G i European Opportunities for Fin'shed Students Baker Bldg., a.— Carnegie Hall, New York GUICHARD. "Sess: catnen MUSICOLOGIST, LECTURER, 72 Huntington Ave., Boston, Mass, Piano School AWTH 0) R NE Leschetizky Method H ; Potsdam, N. \. (end ag Reape mE ge NE TOMEDORED Mrs. M. B. Plane Instruction TI N Studio—Sternberg School 8@ 8S. 2ist Bt. Philadelphia School of Music and Arts N Y () 3 Ralfe Leech Sterner, Director 150 Riverside Drive, cor. 87th St. F.W. Piano Instruction based on R ES sE R his 4 panne od ars Saag by Reincke, & Liszt. Head Piano Dep't School of Music and feu. & ast Pitth Ave., Tel, 4292 Marcep Hin, N, ¥. ¢. CONSERVATORY OF MUSIC T R TRENT 0) N: modern institution with a strong faculty. 540 E. State Street, Trenton, N, J, Corres pondence Instruction, Mt sare § Theory, Ilarmony, Mel. dy Writing, vanterpoin!t and Musical Form, Tuition for each eourse is Twenty Dollars, payable one-half in advance—STATE NORMAL SCHOOL, California, Penna. MRS. A. M. ] R G | Piano School and Conservatory 120 West 72nd St.. New York 4 CG + giants SonOOL OF MUSIO 510 West End Ave, New York A A TN A ELE TA NS TIES ERLE A A NE A WESTERN AMERICANSerss Sage 9 COURSE OF MUSIC STUDY B UJ 4H R OW FS Kindergarten and Primar Dept.D. 246 Highland Ave.,H.P. Detroit, Mich, ——* Musical College. 59th year. bac C AG School in America. no, Violin, Organ, Theory, P. 8. M. Hs 8. Mich. Ave., Chicago. C N C NNAT Conservatory of Music EsTaBLisHED 1867. HighlandAve, and Oak St. Cincinnati, Ohio CONSERVATORY OF MUSIC D 1000 Students. 50 Teachers 1013 Woodward Ave., Detroit, Mich. ANNA HEUERMANN, author of ‘‘Composition for Beginners’’ (Theo. Presser Co.), gives practical corre- spondence lessons in Harmony and Composition. Coaching young teachers, aspecialty. Auxvasse, Missouri. Conservatory of Music KN OY Galesburg, Illinois Catalog free. Wm. F. Bentley. Director ANNA M. Pupil of Leschetizky. || NS ON Seud 50c for Pupils’ Lesson Assign- ment and Record Book. Teachers, Normal Training Classes. Free information and circular. 523-6 Fine Arts Bldg., CHICAGO. aT N INSTITUTE OF MUSIC Robert Wall, Director W ESTE By 1359 Vine St., Denver, Colorado SOUTHERN CONVERSE COLLEGES css OCTOBER 1924 Page 723 UNISON, : AND FOUR wo. THREE ¥ Part SONGS One of the best known authorities on School Music recently said:- ‘*The average school boy and girl likes the new ballads and popular songs of theday. While the supervisor does not encourage the taste for music of little educational value, there is a certain middle ground between the classics and so-ealled po, ular songs in which will be found much excellent material that meets the requirements of the schools for study Feige age and at the same time answers a decided yearning of the young people for lig!:ter, melodious harmonies. The following numbers have been carefully selected from an extensive line of modern song successes, and the list is suggested as particularly des.rable for school use.’ TREBLE VOICES—UNISON AND TWO-PART SONGS THOSE MARKED WITH * ALSO PUBLISHED FOR THREE-PART Come Into the Sweet Green Fields With Me.... .12 *O Land of Hope and Freedom................ 12 Come Sail Away With Me (Moonlight Song) 12 Only One School in the World for Me..,....... 12 *Comfort Ye One Another (Sacred)............ 12 Our Faith in Thee (Sacred)................... 12 Down Where the Clovers Blow................ 12 Gur Own Sehoel.:. 20.03 ooh 5 ee i Totes 12 Farewell, Dear Alma Mater................... 12 COENORE. bv ova Shoe kon bceueys eee 12 *Father, We Thank Thee (Sacred)............. 12 Pretty Little Snowdrop. ..............eeeceees 12 Glorious Month of June...................... 12 Shine Little Buttercup................-.00000 12 *God Save America! (National Hymn)......... 12 RE FOE oa ss ods choad s ie ka Rias ee 12 *Grateful, O Lord Am I (Sacred).............. Ad. . Song of the Dawn, As. «5... 60k sskees eee 12 Grow Little Violet Blue....................... 12 Soug of the Mhebt. Aiiiias. oii neck dtckweee 12 SEG AT Bn. oc. cv vas Keteeecrain ubewuan 12 Story of Old Glory, The Flag We Love, The..... 12 Cow Ge Tee Baw. .... ibe ae 12 *Story of the Rosary, The..................-: 12 *I Come to Thee (Sacred),................... 12 Sunshine and Raintime.....................-- 12 I'd Like to Be a Monkey in the Zoo...,........ 12 Symphony of Night, The....................6. 12 In a Garden of Roses in June...... Dos kee 12 *Teach Me to Pray (Sacred).................. 12 Lilacs Are Blooming in Maytime............... 12 *That Wonderful Mother of Mine.............. 12 Lord’s Prayer, The (Sacred).................. 12 *Those Songs My Mother Used to Sing........ mt Lemme mie. 6. 55250 244s «eee Ga . eee 12 *When June Comes Along With a Song......... 12 *My Own United States...................... 12 *Wyoming Lullaby (Go to Sleep My Baby)...... 12 THREE-PART SONCS-—S. S. A.—T. T. B. OR QUINTET-—S. S. A. T. T. Dames Bane is ko ict ccc nes peeks 15 Ma Little Sunflow’r, Good-Night .............. 15 Can’t Yo’ Hear Me Callin’, Caroline............ 5 Mother Machree. 5. cc ccccscacsecs deere AS Cormonn CWalta-Beme).. os oi <bean oF sia kePers 20 Mother of Poort... oc 0635 cicssst keen 15 Down the Trail to Home Sweet Home.......... 15 My Wild eich Rese... . 6 60iecsscivewenteeee 15 Evening Brings Rest and You................. 3° Bight Wied, Tie. |... 5.0 ecntap eens 15 Ever er RatineweD.... 0.026. SS 15 One More Day Sede dia pibe'W a:e-pusp 6 ato ee eee 15 Have a Smile for Everyone You Meet.......... 12 Shine, O Holy. Light (Sacred). ....:. sees eer ns 15 In a Little Town Near By..................... oD Bender’ Tienes sisi bce ccvecaccaneeene 15 Ses PION. o.oo cc's. occa ibe ae 20 Sorter Wiles YO6 i. 5) os kiinedvtckentaee eee 5 June’s the Time for Roses.................... 15 Sapring and Tee... 6. oes icc e ee Coe een 15 Just Been Wond’ring All Day Long............ 15 There’s a Long, Long Trail.................... 5 Lampitt Plea, The... 3... ogee ike 15 Too-Ra Loo-Ra! That’s an Irish Lullaby........ 15 Let the Rest of the World Go By.............. 15 When Irish Eyes Are Smiling................. 15 Little White Cot in the Lane, The.............. 15 Where the River Shannon Flows............... 15 *PUBLISHED FOR MALE, FEMALE AND MIXED VOICES. x MIXED VOICES | THREE-PART SONGS—S. A. B. CHORUSES (Baritone Melody) Asleep in the Deep...................... 15 Can’t Yo’ Heah Me Callin’, Caroline ...... 5 A MINSTREL SHOW Wim, Nnark Otowo Lap Gypsy Love Song...:................... 15 OR. ANY ENTERTAINMENT _. Ap senens ied ( Just Been Wond'ting All Day Long....... 15 E r ON A ne FE EMALE Lamplit Hour, The...................... 15 O T BUSY MIX CES} Ma Little Sunflow’r, Good-Night......... 15 ST? Mother Machree....................... 5 Mother! O My Mother! (Predigal)..... . S 5 ee Ot Pe 15 See SONG. oe oe ee 15 Story of the Rosary, The................. “AS SZ A Special Section Devoted) a” fe ere rr pinpe eer: 15 AALNG PERET et aaies| That Wonderful Mother of Mine......... 15 THING FOR ie ; . SRA ee aap a 15 = b Wyoming (Go to Sleep My Baby)......... 15 |S ; oe for either or 4 cents for both FOUR-PART SONGS 3 ARK & SONS - 1650 BROADWAY - NEW YORK smow On Yo Winds. 0... 0). ccews ccawsccavece 15 xMy "ee United States, ..5. <<. secets se vicet en mcommeee eo Baeted. toca weciets,. cccvorbieu -15 *O Land of Hope and Freedom................ 15 xCome into the Sweet Green Fields............ 15 zPrincess Buttorewp:. 005 00. kaa ccscace cb 15 *Come Sail Away With Me................... 15 *Ring Out Sweet Bells of Peace............... 15 *Farewell Dear Alma Mater................... 5 aSeny' OF We AWE... , classy aoa iaeoenl 15 xGlorious Month of June................-.... 5 *Story of Old Glory, the Flag We Love, The. . 15 "ete... SS, yak eles Cass os AT 5 xWe Love the Time of Christmas.............. 5 xMerry Month of May, The.................-. 15 *You’re the Best Little Mother God Ever Made.. OCTAVO MUSIC SENT ON APPROVAL . M. WITMARK & SONS, Dept. 48—1650 Broadway, New York A System of Harmony By John A. Broekhoven Flexible Cloth, Price, $1.00 A Harmony Work with Many Individual Points Broekhoven’s Harmony contains many features of special value and informa- tion to teachers and. students not found in the average book on harmony. Among these are: The short and clear sections numbered for the purpose of ready reference. The questions after each chapter. The explanations of musical examples. The use of the term Sept chord for the confusing term chord of the seventh found in all books on harmony.. The free resolution of collateral Sept chords. The explanation of altered chords. ‘The cherd analysis of the six-key group. The presentation of the various phases of suspensions, retardations and anticipations. The exhaustive illustra- tions of modern modulation. The harmonization of a melody in the soprano, alto, tenor and bass. Four, three and two-part writing. Examples of simple counterpoint and mixed counterpoint. The harmonization of a choral in four, three and parts. Omnitonic harmony, and the application of chromatic chords. This complex of subject matter gives Broekhoven’s Harmony a broader scope of material for musical composi- tion than found in the current works on harmony. The complete index of the subjects treated given at the end of the book is an encyclopedia of musical elements most val- uable for reference. THEO. PRESSER CO. 12!0-17!2-1714 Philadelphia, Pa. THE WILDER IMPROVED KEYBOARD ‘That we are on the eve of a great ‘swing’ to Piano Class Instruction there can be no doubt, and in this ‘New Way’ the Wilder Keyboard is sure to play a most important part.” To-day’s progressive Teachers and Students, through their vision and initiative, will inevitably be the leaders in the “‘New Way.” A postcard will bring you interesting and convincing reasons. The Wilder Keyboard Company, Dept. E-6 West Newton, Mass. Please mention THE ETUDE when addressing our advertisers.

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Page 724 OCTOBER 1924 THE ETUDE EUR UBURURUTUTURURURUBURUDURUEURUBUBUBURT DDI GLO OV GLO OV OVO VO DLOL GVO OPO LO POLO V OV GLOV GIG L GVO OV OLOGY OL GLO HICAGO “irises: Soth MUSICAL _ COLLEGE The Leading and Largest Conservatory of Music in America Fall ‘Term Now Open More. than 100 teachers of world-wide reputation. Private lessons only or courses leading to Teachers’ Certificates, Graduation and Degrees in Piano, Vocal, Violin, Cello, Church Organ, Theatre Organ, Theory, Public School Music, Dramatic Art and Expression, Toe, Ballet, Interpretative and Classical Dancing, School of Opera, all Orchestral Instruments, Chautauqua, Lyceum, Concert and Languages. Normal Training for Teachers in all Branches. Positions Guaranteed for Chautauqua, Lyceum, Concert, Teaching and Theatre Organ Playing when students are qualified. Tuition reasonable and artistic advantages unequaled. Central Theatre and Recital Hall in College Building fo: Public Appearances in all Branches of Music and Dramatic Art. Evening Lessons. * FREE SCHOLARSHIPS AND PRIZES ° ‘7 isiais°™ 75: Free and 140 Partial Scholarships to be awarded for this year. Fre2 and Partial application blanks on request. Mason & Hamlin Grand Piano, presented for com- petition in the Post Graduation Class by the Mason & Hamlin Co. Conover Grand Piano presented for competition in the Graduation and Senior Diploma Classes by the Cable Piano Company. Valuable Violin presented for competition in the Violin Department by Lyon & Healy. Grand Piano for competition in the Vocal Department. These prizes will be competed for in Orchestra Hall, Chicago, before world-renowned musicians as judges and with Chicago Symphony Orchestra, Frederick Stock, Conductor. Opera Scholarships. 15 prizes of $300 each; 15 of $100; 15 of $50 in the classes; also Diamond, Gold and Silver Medals. Dormitory Accommodations. Complete Catalog on Request 60 EAST VAN BUREN STREET .- ALPARAISO UNIVERSITY. ’ Founded 4 873 1. WALPARAISO, INDIANA 1, Fifty-second year opens , September 29, 1924 Co-educational School of Music The University School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public 8 JOHN J. HATTSTAEDT DETROIT i v= | AMERICAN-#: CONSERVATORY of | GONSERVATORY Chicago’s Foremost School of Francis L. York, M.A., President a Llizabeth Johnson, Vice-President Offers modern courses in Piano, Voice, Violin, Finest Conservatoryin theWest Organ, Public School Music, Harmony, Composition, Orches- School Music. Students may attend the Music Offers to earnest students courses of study based upon the best modern tral Instruments, Dramatic Art, Expression, penoel oud also: take the regular work atthe educational principles. Renowned faculty of 80. Students’ orchestra, Modern Languages, Dancing, Theatre Organ University. ‘ “ Playing, etc. Eminent Faculty of 100. Su- L C f rs a concerts and recitals. Diplomas and Degrees conferred. 4 perior Normal Training School supplies Teachers ? : : ; 1 for Colleges. Lyceum Engagements, Teachers’ Ow ost oO iving Teachers’ certificates. Desirable boardingaccommodations. Carthontet, Diglakine ast bona aeen dormitory accommodations. Unrivaled free Under University Supervision, the cost of board and room, as well as tuition, is exceptionally low. The average total expenditure of a student for all purposes is $550. Known for Democracy and Economy, the University is governed by a board of trustees—all influential men, students may enter at any time — Thirty free scholarships. 39th year. Send UNRIVALED FREE ADVANTAGES for application blank. Students may en-. ter now. New catalogue mailed free. Piano—Francis L. York, M.A.; Elizabeth Singing—Archibald C. Jackson, Mrs. Chas. H. Johnson, Louise Unsworth Cragg, Georgia Rich- Clements, Miss Elizabeth H. Bennett, Fred H. ardson Baskerville, Helen Andrus Merrill, Minor : P , E. White, Oleane Doty, Alle D. Zuidema, Mus. Protheroe, Carl Mann, Mrs. A. W. Davis, Jessie 571 KIMBALL HALL, CHICAGO, ILL. eager for the students’ welfare. It is Doc.; Wilhelmina Sutz, Laverne Brown, Mus.Bac.; Morehouse, Hermine Lorch. not operated for profit. Ethel Littell, Alma Glock and 40 additional | Valparaiso is beautifully situated, forty-four instructors. . ; Violin—Earl W. Morse, Walter Braun, E. N. : ' } < miles from Chicago. Sixteen buildings; large q er ac i a Meh Rs uy ae Bilbie, Mrs. Raymond Brown, Raymond Dulitz, ed bay Ss gymnasium; athletic field of 15 acres; all sports; Aldrich us.V0C., Prancis 41. ackay, beecher Wik Ho Racal many student activities. ye) fi S E RVATO RY (INCORPORATED) A SCHOOL OF MUSIC AND DRAMATIC ART Courses in all branches— Master Faculty including Elias Day, President and Director, and forty others of prominence. A thorough education is offered in music and dramatic art leading to diplomas,degrees and teachers’ certificates. Our school graduates the largest pro- fessional classes in the middle west. Write Secretary for detailed information. Students may enter at any time Dormitories and Studios in our own beautiful building in the heart of the new art center, two blocks from Lake Michigan, North Side. | WRITE FOR ILLUSTRATED FREE CATALOG Cello—Jules L. Klein. Harp—Ruth Clynick-Buysee. Theory, Harmony, Composition—Alle D. Zuidema, — Post Graduate work in this department. Francis L. York, M.A. Normal Training for Piano Teachers—Francis L. York. MILLIKIN CONSERVATORY OF MUSIC Public School Music and Drawing—Miss Hermine Lorch, Bertha Schaffer. | DECATUR, ILLINOIS School of Expression—Miss Lilly Adela Darling, Mrs. Ethlyn Briggs Mann. fe Offers thoro training in music. Courses leading to Dancing—Mrs. Ethlyn Briggs Mann. Bachel f Music Degree, Diploma, and Certifi- cae Ey Pans! Voice, Violin, Organ, Public School Examinations Free. For Catalog Music Methods and Music Kindergarten Methods. and Other Information, Address Front View Conservatory Bldg. Parere eenl- dee nen reegert JAMES H. BELL, Secretary, 5035 Woodward Ave., Box 7—Detroit, Mich. LOWELL L. TOWNSEND, Director. Address President for free catalog Box 6, University Hall, Valparaiso, Indiana JEANNE HOWARD, Secretary Box E, 1160 North Dearborn Street, Chicago, Ill. * ra = PERCY FULLINWIDER VIOLINIST enone hee ennenben renner nennennenner essantentearennesrenderrespennanns MIDDLE WESTERN Head of Violin i a at LAWRENCE CONSERVATORY Minneapolis School of Music ie LAWRENCE CONSERVATORY A department of Lawrence College. Advanced courses in ; Pas ANNOUN CEMENTS APPLETON, WIS, all branches of Music. Superior Public School Music Course- ORATORY AND DRAMATIC ART és d A MASTER TEACHER Excellent Normal Courses in Piano, Voice, Violin, Organ and WILLIAM H. PONTIUS, Director * . Theory. Certificates, Diplomas and Degrees awarded. Continue eo Tea ode ah apt ae Waste hess Dormitories. Free Catalog. 60-62 Eleventh St., So., MINNEAPOLIS, MINN. ases 725 and 726 | free catalog and information. Address Sects Menten aie ih eveeetilling dicted @ideibaiets: eam CARL J. WATERMAN, Deen, | CARL4.WATERMAN, Dean Arlt, Wiconsin |] “*™"* auras ont Anes, rit Ths Please mention THE ETUDE when addressing our advertisers.

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THE ETUDE NEW YORK SCHOOL of MUSIC and ARTS (148- 150 Riverside Drive Ralfe Leech Sterner, Director New York’s Oldest Music School Many new and wonderful features planned for the coming season by this Institution. Same celebrated faculty headed by Ralfe Leech Sterner, Arthur Friedheim, Paul Stoeving, Frederick Riesberg and other celebrated masters. Individual instruction. Entrance at any time. SEVERAL FREE AND PAR- TIAL FREE SCHOLARSHIPS OPEN FOR COMPETITION. Dormitories in School Building. A real home for music students. Many Free Classes and Lectures. Diplomas and Teachers’ Certificates. Public Concert every Thursday night. Vocal, Piano, Violin and all Instruments. Public School Music Dept. Dramatic Art, Drawing and Painting, Dancing and Languages. ILLUSTRATED CATALOGUE ON REQUEST 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 mew extension of building. Faculty composed of artist teachers of international reputation. ) Affiliation with Teachers College, Co'umbia University, to provide ideal course for School Music Supervisors. CATALOGUE SENT ON REQUEST, ADDRESS, DEPT. U AMERICAN INSTITUTE || MILAN SCHOOL OF APPLIED MUSIC for CONCERT and \. Metropolitan Co'lege of Music | GRAND OPERA THIRTY-NINTH YEAR Voice Culture Stage Technique Piano . A Private and Class Instruction Pedagogy FACULTY OF Engagements secured in Lyceums and Courses SPECIALISTS Try-outs by the Impresarios arranged Lead to teaching for our pupils. 1 Certificates and Diploma Music in er Catalog, agaress J 13 Chevy. ALFREDO MARTINO, Dir. Fall Term ott Re Vanderbilt Studios branches 15 East 38th St. New York opens October Ist SPECIAL COURSES FOR TEACHERS For Catalogue and Circulars address KATE S. CHITTENDEN Dean 212 W. 59th St. New York City MUSICAL AND EDU- INTERNATIONAL CationaL AGENCY MRS. BABCOCK OFFERS Teaching Positions, Col- leges, Conservatories, Schools. AlsoChurch and Concert Engagements CARNEGIE HALL, NEW YORK VIRGIL SCHOOL OF MUSIC Founded by the late A. K. Virgil Originator of the Virgil Method, Inventor of the Virgil Practice Clavier SPECIAL COURSES Exknest stupents OF ALL GRADES For all particulars address: Mrs. A. K. VIRGIL, 510 West End Avenue, New York. NEW YORK SCHOOLS Continued on Pages 726 and 728 SPAULDING EASY ALBUM 4(COLLECTION OF SECOND GRADE PIECES FOR PIANO PRICE, 75 CENTS Many a child has been delighted with the melodious, easy, piano pieces by Geo. L. Spaulding and it is in response to popular demand twenty-two of his most popular second-grade pieces have been issued in this album form. Teachers will be interested in seeing this album. Every elemen- tary piano student should have it. THEODORE PRESSER CO. :: 1710-1712-1714 Chestnut Street :: PHILADELPHIA, PA. These Courses were written because of the uni- versal demand for concise, thorough most practical depart- ana ments of plane You are WILDER MASTER Courses sooner or later. In fact, you will find it an excellent investment of time and money to own the Full Set. But first let us tell you more about them, and also about our Introductory Offer. An addressed Post Card will bring full information The Wilder Publishing Company Dept. E-6 West Newton, Mass. playing COURSES Please mention THE ETUDE when addressing our advertisers. and workable Courses in the A OCTOBER 1924 Page 725 SHERWOOD MUSIC SCHOOL GEORGIA KOBER, President WALTER KELLER, Director SIDNEY SILBER, Dean Faculty of Ninety-five Distinguished Artists SIDNEY SILBER, Pianist Mr. Silber is well known as a writer and lecturer on musical subjects, and has an article on “Getting the Most From Lessons’ in the current issue of this magazine. In addition to filling the office of Dean of the Sherwood Music School, Mr. Silber pre- pares artist pupils and young teachers for positions in the Neighborhood Branches of the School. Eighty advanced pupils from thirty-nine states studied in his recent summer classes. | Our twenty-one Chicago Branches call for so many teachers that those of our gualified artist pupils who wish, can study and teach at the same time. The Public School Music Department also properly places its graduates in school positions Courses in all subjects lead to Diplomas and Degrees issued by State authority Many Free Advantages Dormitory Accommodations For detailed information, address DEPT. E SHERWOOD MUSIC SCHOOL FINE ARTS BUILDING CHICAGO

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Page 726 OCTOBER 1924 Ip f \) Vs; yy Cm t = ~ THE CURTIS INSTITUTE OF MUSIC A National Institution under the auspices of The Curtis Foundation created by Mary Louise Curtis Bok JOSEF HOFMANN Berthe Bert, George F. Boyle, Austin Conradi, David Saperton, Isabelle Vengerova _ TEACH PIANO AT THE CURTIS INSTITUTE OF MUSIC NLY a school where certain artistic ideals are fully recog- nized, and which is fitted to serve constructively the musical devel- opment of America, could hope to attract asteachers of the piano Josef Hofmann and his colleagues. The opportunity to advance the cause of music in America, which led these artists to join the faculty of The Curtis Institute of Music, spells, frm the standpoint of the pupil who desires to become a true musician on the piano, an opportunity for instruction seldom met with either here or abroad. Courses in the piano are offered in both the Preparatory and the Conservatory departments of the Institute. -Beginners and the less advanced students may enroll in the Preparatory Department upon application. Those wishing the study in the Conservatory should arrange with the directorforexam- ination as to their qualifications. MU TTT Despite the unusual opportunities of this school, the tuition ts moderate. One free scholarship is offered in each course. For full information and catalogue concerning details and the various courses offered, address: THE CURTIS INSTITUTE OF MUSIC Applications are now being received John Grolle, Director Grace H. Spofford, Exec. Sec’y 1720 LOCUST ST., PHILADELPHIA, PA, SDERUATULRELUEEGREREGER RG ERTRREETRALEORERCRDEAUGUAEEAOREATRERRTTUTH ETE a1] fe TLL NY 0 O TTT SAO ofp See (XZ Re be ei NOE EKA, BO = Sees a | a aK ATT: Aw UUAUVRERGCUGAUENIEET wisvil | Kae CONSERVATORY | B scharoo / he: 3) oF MUSIC | of the \ & 5 >) =| S Success]of our system of special individual training and assist- ance assures success of gradu- ates in big positions. Special attention to those who wish to enter pro- fession as teachers. Largest, most om-j plete conservatory in the South. Private} and class lessons in Music, Dramatic} Art, Expression, Languages. School® Supervisors’ and Normal Courses unde faculty of noted artists. Laborator work in Louisville schools. Founded 1867 maby private recitals every session Two complete orchestras, Modern com fortable dormitory for women students Students may enter at any time. Write today for full information. FREDERIC A. COWLES, Director 252 W.Broaiway — Lou'sville, Ky. Send for Catalogue BERTHA BAUR, Director DANA’S MUSICAL INSTITUTE WARREN, OHIO A University of Music with Daily Instruction in All Branches of Musical Education SUMMER SESSION OPENS JUNE 16th Address Lynn B. Dana, Pres. Desk E, Warren, Ohio THE Vircit METHOD Goes STRAIGHT to the BOTTOM of PIANO DIFFICULTIES and shows you how to master them. Explanations gladly given at the VIRGIL PIANO CONSERVATORY Mrs. A. M. Virgil, Director 120 West 72nd St., New York Tel. Endicott 1137 FALL CERTIFICATES ; SESSION SEPTEMBER 25, 1924 Special Courses For Teachers and Advanced Students CATALOGS Te _ on, ie roy ESTABLISHED 1857 HAROLD RANDOLPH, Director One of the oldest and most noted Music Schools in America. Cincinnati Conserv atory A COMPLETE SCHOOL OF MUSIC INSTRUMENTAL—VOICE CULTURE —-OPERA—PUBLIC SCHOOL MUSIC—DRAMA Ideal Dormitories accommodating 300, on ten acre campus. Buryet C. Turniitt, General Manager THE ETUDE CONSERVATORY .° -PHILADELPHIA 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 musical 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 Supervision. Pennsylvania Stand- ard State Certificates issued upon completion of Course, without further examination. 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 in a 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. Illustrated Year Book Free GILBERT RAYNOLDS COMBS, pireccor °%$2,Siaien and.Dormitories Administration Building, 1331 So. Broad Street Zeckwer -Hahn _ Philadelphia Musical Academy and Branches FALL TERM September 8 Faculty of 54. Special training courses for @ 9g 6 teachers. PITTSBURGH MUSICAL INSTITUTE, Inc. 131-133 Bellefield Ave. Pittsburgh, Pa. Highest standards of musical instruction. Em- inent Faculty. Ear Training, Theory, Composi- tion, History of Music and Teacher’s Training Courses. 55th season. ‘Registration September 3rd—6th. Classes begin September 8th. Write for catalog. CHARLTON LEWIS MURPHY Managing Director 1617 Spruce Street Philadelphia CONSERVATORY BALTIMORE, MD. Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH «Music INCORPORATED Advantages Equal to Those Found Anywhere. Students may enter at any time. Send for Catalog. GEO. F. LINDNER, Director Peachtree and Broad Streets, Atlanta, Georgia Correspondence Invited CINCINNATI, OHIO of Improved Music Study for Beginners DUNNING SYSTEM Endorsed by the Leading Musical Educators of the World NORMAL CLASSES AS FOLLOWS: MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th St., New York City. Mrs. Zella E. Andrews, Leonard Bldg., Spokane, Wash. Katharine M. Arnold, 93 Madison St., Tiffin, Ohio, Arnold School of Music. 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. Y. Luvenia Blailock Dickerson, 327 Herndon Ave., Shreveport, La. Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio, Miami Conservaiory of Music, Dayton, Ohio—October Mrs. Beatrice S. Eikel, Kidd-Key Cons., Sherman, Texas. Miss Ida Gardner, 15 West 5th Street, Tulsa, Okla. Gladys Marsalis Glenn, 1605 Tyler St., Amarillo, Texas, October, 1924-February, 1925. Mrs. T. O. Glover, 1825 Gorman St., Waco, Texas. Mrs. Travis Sedberry Grimland, Memphis, Tenn. For information address 5839 Palo Pinto Ave., Dallas, Texas. Ruby Frances Jahn, Dallas Academy of Music, Dallas, Texas. Maud Ellen Littlefield, Dunning School of Music, 3309 Troost Ave., Kansas Cty, Mo. Carrie Munger Lung, 608 Fine Arts Bldg., Chicago, Ill. Classes held monthly through the year. Harriet Bacon MacDonald, 825 Orchestra Bldg., Chicago, Ill., Dallas, Texas, Sept. 15th and monthly through June 1925. 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. Mrs. Stella Seymour, 1219 Garland Street, San Antonio, Texas. Isobel M. Tone, 469 Grand View St., Los Angeles, Cal. Mrs. S. L. Van Nort, 2815 Helena St., Houston, Texas. Mes. H. R. Watkins, 124 East 11th St., Oklahoma City, Okla. INFORMATION AND BOOKLET UPON REQUEST

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. $ ; THE ETUDE RS =~ Got 7e*, " ’ ——- -o~,> The Harebells’ Tune The harebells played a pretty tune Upon the mountain top, And all the little fairies Began to hop and hop. The wind blew over them so soft, The moon white shadows made, And all the little fairies Came dancing down the glade. And on and on and on they danced While harebells played the tune. And then at dawn they skipped away For daylight came too soon. I’m sorry that the fairies All disappear from view And harebell music ceases When daytime comes. Aren’t you? Musical Appreciation By Edna M. Schroeer TuIs is a story. of Happy-Cat, our little yellow kitty with the big ears. One night Mother and Daddy and Happy-Cat and I were listening to some new records and Happy-Cat was curled up on my lap asleep. We were talking about musical apprecia- tion. “Just what do we mean by musical appreciation, Daddy?” I asked. Daddy looked puzzled for a moment. Then he put on a new record of a beautiful soprano song. The music had barely started when Happy-Cat woke up, perked up his ears and jumped right off my lap. He walked all around the machine, and we watched him, as he seemed to be hunting something. And then what do you think he did? He put his little feet up on the machine and peeped in and tried to crawl inside. When he found that he could not crawl in he turned and gave us an appealing look, as much as to say “Please put me in there. I love the sound of that.” said little “Happy-Cat has answered your question, Picking kitty up Daddy daughter. When you reach the point where you can’t get close enough to music, and can’t possibly hear enough of it or examine it too much, then you really appreciate it.” So we took Happy-Cat and gave him some ice cream, feeling that nothing but ice cream was good enough for a kitty with such musical appreciation. q D le 4 ao) = —JUNIOR= et tLe. QR CONDUCTED BY ELIZABETH A: GEST Intelligent Practice By Marion Benson Matthews Betty sat down at the piano, placed her music on the rack, and began to play. It was a new piece, and Betty felt that she was doing very well with it. She played it through, and then waited for the com- ients of Miss Brown, her teacher. Miss Brown looked at her gravely for a moment. “Betty,” she said, “I’m afraid you have put very little practice into that piece.” Betty was surprised, and a little hurt. “Why, Miss Brown!” she exclaimed; “I have practiced surely an hour a day on it. I thought I was able to play it well.” “You played the notes correctly, but—oh, how I should like to re-write some of the old proverbs!” broke off Miss Brown. Betty looked at her teacher in amaze- ment. What had old proverbs to do with her piece? “I was thinking of the old saying, ‘Practice makes perfect,’” explained Miss Brown. “I should like to add one word to it, to make it read, ‘Intelligent practice makes perfect.’ You have practiced, as you say, an hour a day on this particular piece. At the beginning the composer has written the words Andante grasioso; yet you played very fast, as if you were in a great hurry to have it over and done with. You have studied musical terms long enough to know what andante grasioso means; have you not Betty?” | “I know it means the piece should be played slowly and gracefully,” answered Betty, flushing. “Miss Brown, I am so stupid—I didn’t pay any attention to the directions.” “No, you are not stupid,’ said Miss ‘ Brown; “but you are thoughtless. Unthink- ing practice is as bad as none at all. Oh, if you children only would understand that a few minutes of thoughtful, intelligent practice are worth hours of mechanical, careless practice! Of course, I am pleased when you tell me you have practiced a great deal—when I see that you have put thought and care into your work.” “Miss Brown,’ exclaimed Betty, “I shall remember that, and I’m going to show you in my next lesson that I can practice with thought and care!” Dolly’s Accent By Olga C. Moore “Ou, this old piece!” pouted Dolly, fret- fully; “I just can’t get it right!” “Which piece is it, Dear?” asked her mother. “Spring Morning, in my second Mathews book,” answered Dolly. “Mrs. M.— said if I played it well I would imagine I heard birds twittering in the little triplets in the treble, and this bass at the beginning would remind me of boys playing football.” Dolly’s mother, who was a very fine mu- sician, came up to the piano and sat down beside the disgusted little girl. She knew all about the troubles little girls have who play too fast and try to play at once with both hands together; so she said, “That ought to be a very interesting piece to work on. Let us try again and see if we can play it. How did Mrs. M.— tell you to practice this?” “Oh,” responded Dolly, feeling better. “She said to play each hand alone a great many times, counting every measure; for the treble and bass do different things. But, Mother, it takes up so much time, playing it separately; and I want to hear how it goes!” “Yes,” said Mother, thoughtfully (for even mothers do have to think before they tell little girls some things), “it does seem to take longer; but it is so much easier to watch one hand than two, and count at the same time. So you really waste time when hurrying to put it together before first thinking it out separately. You know, the saying, ‘How does the little busy bee im- prove each shining hour?’ Well, you can improve your minutes, dear, by doing well, only a little at a time, like the little busy bee. Now tell me on which beat your piece begins, in the treble?” “Let’s see,” puzzled Dolly, thinking it over. “I must count six eighths in each measure, so that triplet comes in on ‘6.’” OCTOBER: 1924 Page 727 “That is right. Now, how will you play the triplet on the sixth count; with an ac- cent or without?” “Oh, Mother, you must never accent on the sixth count,” laughed Dolly. “Tl accent ‘1’ in the next measure and a little on ‘4,’” “Very well, play that much for me and count aloud.” Dolly did read notes very nicely when she played slowly. She began sweetly on the triplet and accented the next quarter note, saying softly then suddenly loud, “6, ONE, two, three, FOUR, five six,” playing the following staccato notes just as they were written. Once she got the idea, it was easy sailing, repeating the little pattern every time it came along. “That sounds like a little musician play- ing,’ said Mother. “Now take the bass of just this first part. Your eighth note is held over to the next note which is stac- cato. When you play that staccato note on the accented beat, lift your finger high and aim at the key, then spring off. See what a nicely accented tone you can get?” “Why, Mother,” exclaimed Dolly, “that is just what Mrs. M.— told me to do—to aim for the tone by lifting the finger—and she says to strike firmly, too.” “Yes, I am satisfied your teacher tells you these things; but you must remember them and take her advice by practicing carefully.” Musical: Terms (No. 10) (Continued) Perdendosi—gradually dying away in tone and speed. Pesante—Heavy, ponderous. Phrase—an incomplete musical sentence. Piacere—at the performer’s pleasure. Piano—softly. Pianissimo—extremely soft. Pitch—the place of a tone in regard to high or low. , Piu—more. Pizzicato—plucking the string with the fingers (referring to violin). Poco—a little. Poco a poco—little by little, gradually. Question Box DEAR JUNIOR ETUDE: How do you pronounce the name of the great pianist, Sergei Rachmaninoff ?—H. S. B. (Age 15), Ohio. Answer.—Pronounce Serg to rhyme with dirge, ei as eye. Rach as Rack, man, ee, noff. Accent on the ee. Please Do! Some people, When they sing a song, Mumble every word; So, when you sing, Speak clearly, please, Mumbling, is absurd.

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Page 728 OCTOBER 1924 FEEL MUSIC KNOW MUSIC PLAY MUSIC Special Student Sag ioe begin Septem- er 22nd, Correspondence Courses in Musical y edagogy. ; Musicianship and Piano Playing for Teachers. A S'ght Singing without ‘Do re mi, ‘“‘Intervals,” ‘‘Numbers. Normal Teachers in every State. Send for Catalogue or call for demonstration. Address EFFA ELLIS PERFIELD : 121 Madison Avenue, (30th St.), New York City - Phone Madison Square 9069 [THACA ONGERVATORY = No. 1 = DeWitt Park Registered with N. Y. State Board of Regents. All branches of music taught. Unusual advantages in Concert work. Normal Training Classes. Prac- tice teachers available. Master Courses with world-famous artists in all departments. Eleven buildings, including Dormitories, Auditorium, Gym- nasium, Studio and Administration Buildings. Year Book sent on request. Two, three and four year courses begin with opening of Fall Term, September 25. For PIANISTS, so TEACHERS The SIGHT, TOUCH and HEARING System of Teaching. Write for Booklet Crane Normal Institute of Music Training School for Supervisors of Music BOTH SEXES Voice culture, sight-singing, ear-training, harmony form, music-history, chorus-conducting, methods, practice-teaching. Graduates hold important posi- tions in colleges, city and normal schools. 53 MAIN ST., POTSDAM, NEW YORK The National Conservatory of Music of America Founded by Jeannette M. Thurber Only Conservatory Chartered by Congress FORTIETH SEASON OPENS OCTOBER 2nd Enroll September 27, 29, 30 and October 1 Solfeggio (best sight reading method), basic founda- tion of all musical studies, introduced in this Conserva- tory in 1885, still taught as in the Paris Conservatoire. Full Courses Preparatory to Artistic Career Address Sec’y, 126 W. 79th St., New York City S TUDENTS prepared for degree and diploma requirements of all responsible institutions in HARMONY, MUSICAL FORM, and all paper work by MAIL. Address F. L. WILLGOOSE, Mus. Bac. TRADES SCHOOL BUILDING HUNTINGTON, N. Y. M t Oldest and most practicalsystem The Courtrigh A great opportunity for teachers System of Musical to specialize in this unlimited ‘ field. Write for particulars of Kindergarten correspondence’ course. Mrs. Lillian Courtright Card, 116 Edna Ave., Bridgeport,Conn. SIGHT READING MADE EASY FOR PIANISTS IANISTS can become perfect sight readers by studying my course on “The Art of Sight Reading.” Sight read- ing is not a “‘gift’’ and is within the reach of all pianists—beginners and advanced. It tells you of the difficulties of sight reading and how overcome—method of reading and practice—faults made and how rectified— how to play accompaniments at sight—etc. Complete Course of 5 lessons by mail, $5.00 Satisfaction. Guaranteed or Refund made DANFORD HALL **32 Fes" CHICAGO 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 Study of Harmony.” Must contain not over one hundred and fifty words. Any boy or girl may compete whether a sub- scriber or not. All contributions must be received at the Junior Erupe Office, 1712 Chestnut St., Philadelphia, Pa., before October 20, 1924. Names of prize-winners and their contri- butions will be published in the January, 1925, 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 sheet. Do not use typewriters. . Competitors who do not comply with ALL of the above conditions will not be considered, (When schools or clubs are competing, please have a preliminary contest first, and send only the five best to the Junior ETupE contest.) MUSIC AND RADIO (Prize Winner) Music and the radio brings to my mind my own experience when I played for a broadcasting station. As I took my place at the piano my selection was announced. A thrill ran through my body as I pictured hundreds of men, women and _ children seated at the radios listening in, among them my relatives and friends. I made a firm resolve to do my best, so that those who were listening in might receive some enjoyment from my playing. I tried to put into my music the emotions I felt. With only a turn of the knob they could get the jazziest kind of music, and I’ did not want them to turn off my piece and get jazz. Let us always make our playing so appealing that the audience will not wish to hear anything else instead. ELEANOR Morrow (Age 14), | Ohio. Honorable Mention for Music and Radio Essays in April Witten Yost, Mamie Pittman, Laura Jean Barnett, Jean Moseley Robertson, Nellie Caraher, Edna Ardoom, Margaret L. Voetter, Margaret Wait, Margaret Messmet, Ruth Wendemuth, Naldine Buf- kin, Mildred Onieta Hahn, Eleanor L. Griswold, Margaret Platt, Gladys Foreman, Blanch Sheffield, Mary Priest, Marie Bin- der, Catherine Redmond, Marian Hayes, Dorothy Pollock, Ruth Smith, Phila John- son, Doris Deardorff, Garnet Nihart, Phi- lora Schuster, Alice Louise Smith, Velma Tobin, Dorothy M. Simon, Marie Jones, Wilma Rigby, Hazen Bradstreet Bee, Frie- da Sloop, Geraldine Ahern, Kathryn Hart, Ethel Karrick, Frances Fusfield, Madeline Boos, Bertha M. Weeth, Margaret M. Mace, Doris M. Evans, Cecile N. Hinde- long, Katherine E. Dealy, John Schmitz, Theodore Ochs, Rose Connelly, Ralph Goetz, Herbert Schuller, Elizabeth Hill, Virginia Meyer, Laurence Quill, Dorothy Logan, Irene Urbaniak. Puzzle INSTEAD of answering a puzzle this month, send in an original one relating to music. Follow the regular “contest” rules. The best three will receive prizes. JUNIOR ETUDE—Continued Answer to Concealed Terms Puzzle in April 1, Count; 2, Measure; 3, Beat; 4, Flat; 5, Staff; 6, Key; 7, Rest; 8, Clef; 9, Bar; 10, Sonata; 11, Baton; 12, Note; 13, Time; 14, Alto; 15, Tone. Prize winners—Hannah Klein (Age 14) New York. Olive Chase (Age 14) Ver- mont. Rodolphe Lefebvre (Age 15), Can- ada. THIS seems to have been a compara- tively easy puzzle and a great many correct answers were received, though not all were neat! The neatest and best work was from J. A. Landry, Adrien Lapointa, Nina Barnes, Jeanne Smith, Ralph A. Hallen- beck, Edith Glover, Tillie Cohen, Ruth B, Jilson, Elizabeth Vassil, Betty Sullivan, C. Giguere, J. M. Collins, Dianna Ellis, Lois Mason, Mildred DeWolf, Vera Quirt, Vio- let Patton, Betty M. Ross, Roslyn Roth, Doris _M. Evans, Ralph Goetz, Ellen Timmons, Grace Fenton, Marjorie Ken- nel, Georgetta Wilson, Phyllis Walker, Louise Brull, Vivienne Pilotte, Marjorie Pilotte, Daisy Johnson, Sylvia Broering, Clara Laurence, Harriet G. Isham, Eleanor Morrow, Maldine Bufkin, Frances Waken, Euginie Torkelson, Elinor Schriver, Har- riet Magee Walton, Marie Todd, Mildred McIntire, Anne Walton, Elizabeth Hill, Natalie Pokorski, Mary Elizabeth Do- herty, Auriette Louise Losier, Dorothy E. Canna, Lionel Nowak, Mildred Callahan, Mamie Pittman, Dorothy Day, Marie Jones, Marie Anita Ingram, Mary Dobelm, Francis Collin, Pauline Plumstead, Grace Finney, Oinia R. Martin, Helen Newell, Elizabeth W. Emory, Victoria Rasmussen, Florence Leiter, Gwendolyn Duggan, Flor- iene Goldeen, Mildred Knabe, Paul Be- langer, Ruth Cacek. MUSIC AND RADIO (Prize Winner) THE radio is a very great help to music lovers in this country. It enables many of us who are too far away from the cities to get any benefit from the concerts of great artists to enjoy these concerts in our homes. Even though we do not see the artists and their methods of play- ing, we learn to train our ears to the best music, and we also learn to appreciate more the beautiful pieces which we were not able to hear before the radio came. Music over the radio may also be used as amusement to those who are sick. So in many ways the radio is helping to. spread the gospel of good music through our country. EvsiE WeEsToN (Age 14), Michigan. MUSIC AND RADIO (Prize Winner) Over the radio we hear church music, pipe organ music, singers of high renown, wonderful musicians and music from large orchestras. The radio enables many to hear good music when they otherwise could not hear it. It is creating a new interest in music. Most people enjoy some kind of music and are glad to listen to it: The public in general is turning to better music and is leaving the jazz and popular music behind. A real treat to people in the country or in small towns is hearing good music on the radio. The people who fur- nish this music are musicians who have had excellent training and great experience in concert work, so we know that the music is coming from the best sources. IRENE ZERCHER (Age 14), . Texas. THE ETUDE The Most Popular of All Modern Instruction Works for the Pianoforte SCHOOL FOR THE PIANOFORTE By THEO. PRESSER IN THREE VOLUMES Vol. I—Beginner’s Book Vol. IIl—Student’s Book Vol. IlII—Player’s Book Price, $1,00 each BEGINNER’S BOOK SCHOOL FOR THE PIANOFORTE—VOL. ONE Used More Extensively than any other Element- ary Instructor for the Piano The simplicity of this work has enabled many teachers to achieve speedy results with even the youngest beginners. This is a “first reader” in piano study. The whole work is bright and interesting. “Beginner’s Book” makes an Excellent Introduction to any Course or System of Piano Study. “Begin- ner’s Book’’ is the Instruction Book with the Red Cover that is familiar to Thousands of Pupils and Teachers. STUDENT’S BOOK SCHOOL FOR THE PIANOFORTE—VOL. TWO A Work that Aids the Pupil to Progress because it Presents Interesting Material that the Teacher can Use Successfully Takes up the subject just where the “Be- ginner’s Book’’ leaves off, and is, of course, intended to supplement that excellent in- structor, but it can be used very successfully for any student who has done the work of = first grade, up to, but not including the scales. PLAYER’S BOOK SCHOOL FOR THE PIANOFORTE—VOL. THREE A Superb Offering for the Instruction of ereerennas Young Players in the Various Phases of Piano Technie Pleasing study material arranged in pro- gressive order, treating somewhat in detail trills, octaves, two notes against three, the pedal and other matters necessary to technic. Memory study and ear training are specially stressed. Teachers may secure any of these volumes Sor examination. : These volumes are sold by leading music dealers everywhere. THEO. PRESSER CO. 1710-1712-1714 Chestnut St. Phila., Pa. Fifty Cents!! TEACHERS, PARENTS OR ANYONE INTERESTED IN YOUTHFUL PIAN- ISTS WILL FIND THIS ALBUM “JUST THE THING” TO ENCOURAGE REC- REATION AT THE KEYBOARD AND WELL WORTH 50c, YOUNG FOLKS’ PIANO FOLIO 31 PIANO SOLOS AND 3 PIANO DUETS The Melodious and Delightful Piano Numbers in this Album are Interesting to Young Folks Who Play and they are Entertaining for Others Present. Among the popular pieces included will be found: America First, by Rolfe; Moon Magic, by Cummings; Salute to the Colors, by Anthony; How Sweet the Moonlight Sleeps, by Decevee, and many others of equal beauty and attractive- ness. Price 50 Cents THEODORE PRESSER CO. 1710-12-14 CHESTNUT ST. PHILADELPHIA, PA.

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— SCT Rog ern scl | THE MOTHERS ms RICOMPENSE ANew Sak WHARTON kon mop TO SAVE MONEY ON HIGH-CLASS MAGAZINES le Prices Advatice Nov. 10th, 1924. BRIGHTEN YOUR FAMILY READING CIRCLE WITH. ONE OF THESE GROUPS ETUDE MUSIC MAGAZINE . $2.00 The premier music - magazine of the world. American Magazine ... $2.50 The world’s best fiction gives you new slants on your- self, your family and your job. Pictorial Review, $1.50 America’s greatest ETUDE MUSIC MAGAZINE « $2. 00 For Music Lovers. McCall’s...... $1.00 America’s greatest dollar magazine; sparkling fiction, supremacy in fash- ions with .marvel- ously printed, pat- terns. Youth’s | A “Christian Companion .. $2. 50\ s AVE!" Herald ¥ 2p The magaziie? ag coy ete Ye. Torta Balle tainer for all, .a fo Nye, anna; realistic genuine family . . ‘ travel stories. weekly. ETUDE MUSIC .. : ~ MAGAZINE . $2.00\ "Foi or ? Mise Lovers, Modern Priscilla, $2.00 ee ae bs Beautiful and , en- + graved needle { work, fiction and ; economical; hints on . housekeeping. All $ 5 SAVE magazine for wo- 75c men: fiction, fash- ions and suggestions for housewives and mothers. Total Valud’ : $6.0 | ————— Total Value. . $6.00 $550 iE Total Value. : ETUDE MUSIC MAGAZINE... $2.00 Both ETUDE MUSIC MAGAZINE.... $2.00 Both Pictorial Review .................... po $2. 7 5 SOO gos iis ver oa Puce Paces za $2. 35 Regular price .................:: $3.50) Save 75c Regular price.................... $3.00) Save 65c ETUDE MUSIC MAGAZINE... $2. a Both ETUDE MUSIC MAGAZINE.... $2.00 Both Youth’s Companion.............. 2.5 S $3. 7 5 American Magazine.............. 2.50 Ld $ 4. 10 Regular price ................... 4.50! Save 75c Regular price................. $4. $4.50 Save 40c ETUDE MUSIC MAGAZINE... = 00 Both ETUDE MUSIC MAGAZINE... Sec de Both Christian Herald (52 issues)........ 2. os $3. 2 5 People’s Home Journal........... ta $2. 40 Regular price................... $4.00! Save 75c PRS OE PN iiss. os Vek Lc $3.25) Save 80c ETUDE MUSIC ones ec . $2.00 Both eb egies MUSIC MAGAZINE.... os Both Success (the human interest magazine) ... 2.50 sae $3.25 NI Five Sc dole ACb caaneed coe ea) $3. 50 Regular price ................... $4. 34.50 Save $1.25 Regular price.................... $4.00) Save 50c ETUDE MUSIC MAGAZINE .. “se pi Both Today’s Housewife................. base $2. 10 ETUDE MUSIC pe ap tr . $2.0 Sunset (the great Pacific Monthly) ....... 2.5 if —_—— LR ot © Regular price ...........:....... $3.00) Save 90c Regular price.................... $4.50) Save $1.00 ETUDE MUSIC MAGAZINE. : aoe Both ETUDE MUSIC MAGAZINE.. i. co Both NIRA A TD a a) $3. 00 Collier’s (52 issues) The National Weekly. bso $3. 95 Regular price.......5...5.-60.86% $3.50) Save 50c Regular price.................... $4.00) Save 75c ETUDE MUSIC MAGAZINE... sue a Both ETUDE MUSIC MAGAZINE.... = 00 Both Woman’s Home Companion.... - $3 10 Physical Culture................... ce $3. 25 se Regular price................... $3.50) Save 40c Regular price.................... $4.50! Save 75c ETUDE MUSIC MAGAZINE.... $2.00 Both ETUDE MUSIC MAGAZINE.... $2.00 Both SP ion 5 hb is 3 ch EOR NSS Uetneke On 2. eo $3 35 Fashionable Dress................. 3. zoe $3. 2 5 Faye Regular price ................ ... $4.00) Save 65c Regular price.................... $5.00 ) Save $1.25 a ' ETUDE MUSIC MAGAZINE.... $2.00 Both ETUDE MUSIC MAGAZINE.... $2.00 Both ee Howe NAL Modern Priscilla................... 2.00 $3 20 Musical Observer .................. = $3 00 PEOPLES - Regular price.................... $4.00 00! Save 80c Regular. price. ..... 2... 0 acsiee $4.00 ) Save $1.00 seek? ee ETUDE MUSIC MAGAZINE.... $2.00 Both ETUDE MUSIC MAGAZINE.... $2.00 Both Rene 8 DAU ME ook ki vig Ghd ke wat os ease cas chs = $2. 25 Radio Broadcast.................06- 3. ms $4, 10 Regular price.................... $3.00) Save 75c Regular price.................... $5.00) Save 99c ABOVE PRICES DO NOT INCLUDE CANADIAN OR FOREIGN POSTAGE Write to us for prices on any maga- zines not listed. For Everyone Interested in Music ETUDE MUSIC MAGAZINE Price $2 00 a Year Add Canadian Postage, 25c MUSICIANS, ATTENTION! Take _ subscrip- tions for ETUDE and add to your Foreign, 72c income. Send : postcard for par- THEO. PRESSER,CO., Publishers 'Pricavecenia’ |S

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LR A RCT PERE at AAA SA SRA AAAS ENS 0 HR A ASR ORR UEC ET PRIETO AE ea BS RR A SNE CCD NAR ese eS oc SA LeU RR RETA AARON > aaah cpm ey SS taos Seah: aS yes aaa SS SSS ;SRBVETS RA SSR SARE S28 SRE DIE ATI “A SKIN YOU LOVE TO TOUCH,” BY T. K. HANNA PSSA A ARN Tete A SD La bas RA legate (SE MRS A Tonge i : | ) : a eset SE Re eR ee ar: ee oe ree ee eh EASE AEA “Science and everyday experience teach that a beautiful skin does not depend on youth’? How long can a woman keep the charm of cA skin you love to‘louch? AT TWENTY —is a woman’s skin always fresh and fair? At thirty—must it begin to fade? In romance’— yes. But not in actual life. Science and the woman of forty Science and everyday experience teach that a beautiful skin does not depend on youth. A woman of forty may have a fresh, clear, dazzling complexion. A girl of twenty may have a skin that is dull and sallow, disfigured by blackheads or ugly little blemishes. YPROWOODBURY'S Give your skin daily the right treat- ment, and you can keep it smooth, clear, flawless, long after youth is passed. For your skin never loses its power to respond. Each day it changes —old skin dies and new takes its place. This new skin you can make what you will. Daily care ts essential Find the special treatment that your skin needs in the booklet of famous skin treat- ments wrapped around every cake of Woodbury’s Facial Soap. Make this treat- ment a daily habit! : Before long you will notice a wonderful improvement in the whole tone of your complexion. A 25-cent cake of Woodbury’s Facial Soap lasts a month or six weeks. Or you can get it in convenient 3-cake boxes, Get your Woodbury’s today! For ten cents—a guest-size set of three famous Woodbury skin preparations! THE ANDREW JERGENS CO. 5610 Spring Grove Ave., Cincinnati, Ohio For the enclosed 10 cents— Please send me your miniature set of the Woodbury skin preparations, containing: Atrial-size cake of Woodbury’s Facial Soap Asample tube of Woodbury’s Facial Cream Asample box of Woodbury’s Facial Powder Together with the treatment booklet, ‘‘A Skin You Love to Touch,”’ If you-live in Canada, address The Andrew Jergens Co., Limited, 5610 Sherbrooke St., Perth, Ontario. English es eee C. Quelch & Co., 4 Ludgate Square, London, INGSINSO ooo. 6 ie hist aaa aS wx Gale OWSe OcRT EOF Ole is a oubceecine ateee BASGRC YS Ss ok Skike dio 4 CU awe 24a een ea eos de STE oe Se eae | RRR ae Cut out the coupon and send it to us today! FACIAL SOAP .c@O