The Etude: Presser's Musical Magazine (June, 1918)

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HE ETUDE _ PRESSERS MUSICAL MAGAZINE | 1918 PRICE15 CENTS $1.50. YEAR tee

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IDO Sooo GG WI ae ct tt DRM TWA... DANIAN SO Sy | DRY fall upon the readers of America,—unless you, Mr. Reader, exercise your right as an American citizen to protest to your Congressman and your Senator and demand the repeal of this unjust law. At this time everyone wants to do everything necessary to The Postmaster-General through his last report has made clear that this enormous tax upon the magazine reader is not a war tax. Publishers have already stood a huge tax on excess profits and large © Y Z ] ] Putting a “Chinese Wall Around Your | Y Y 7\ / | ‘Educational O tuniti ucational Oppor unities Yj Yj VY j | + Protest A gainst an Enormously Increased Tax : j j GY Y on Your Magazines j | tt. . | * * , Z | ° | ‘HE last Congress passed a law, which, if not repealed, may cut off | Y Y \/ your priceless educational opportunities which you nave re- | Y Y | ceived through your magazines / %Y Y, This law provides for a Postal een system” so that in many To put this enormous tax upon the magazine reading public and j districts of the country the cost of magazine postage will be raised at the same time so complicate the system of distribution of maga- Y from 50 to 900%. zines, that delays are inevitable in a time when deliveries are j The publishers already taxed to ihe Kat 40° dheet lame already badly congested, seems suicidal to thousands of people. j conditions can not stand this abnormal tax and the burden will Z Y U Uj j income taxes. It is a tax on you—a tax on your educational privileges. Y Y Y G\. Z Y Yj Y Y ZY Yy ZY Y Z Y Yj Z j Z 7\ _ assist the Government in its great work, but at the same time no y Yj one wants to annihilate one of the most potent factors in the up- | y Z building of America. Abraham Lincoln fought the Zone system and thought Y Z A Lag ead : ae ape ere that America,was freed from it for all time when he abolished it in Y Z| merican magazines have had as great a part in the education 963° Jt jg far more objectionable now than it was then. Z 3 ZY of our citizens of all ages as have the schools and universities. Z 7) They have fostered patriotism, developed art and fortified y G. science, commerce, agriculture—always for the everlasting President Wilson has openly expressed his regret at this dras- y Y good of the U. S. A. | tic legislation. Will you re yours. Z GY | ol Worth a Three-Cent S: S Yj 7 JS it OrIN a ree-Cent tamp to AVE ] M Doll h F GY | any Dollars in the Future? G\ 3 Y , | | y There is one way and one way only to correct laws that seem Don’t imagine that because you are a woman or a minor your Z unjust to you. hoe protest will not count. The representatives are representatives of ZY | | all the people and want.to know your pleasure. _ Y ’ " a ‘ - ] You employ Representatives and Senators in Washington to Ask your postmaster or your postman who are the representa- ZY. make laws and to repeal them. ey bd heed the will of their tives for your district in Congress. ‘Then write to your Repre- Y, constituents. Y sentatives and to your U.S. Senator something like this. WIN ee emphatically opposed to the Postal Zone System which would place prohibitive restrictions upon the educa- tional and other advantages I receive through magazines. M,N Will you, as representative for this district, use your best efforts to bring about the immediate Tepeal of this drastic and abnormal bill.’’ Send the note now. The law goes into effect July first. To-morrow may be too late. Leaving it for “the other fellow to do” may mean that you will have to pay the 50% to 900% increased tax. Don’t you think that you are paying enough for things already? Do you think that this huge tax should be saddled upon anything so important as your own education? Act to-day! | WWW www OD. ASSS SS It is your right and duty. = Y MMs

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JUNE. 1918 | THE ETUDE Page 861 PREPARE Now FOR NEXT SEASON Order Teaching Material Early ‘*More Corns than Ever But They Do Not Stay” The Story That Millions Tell HIS is not a way to prevent corns. That would mean no dainty slippers, no close- fitting shoes, And that would be worse than corns. Our plea is to end corns as soon as they appear. Do it ina gentle, scientific way. Do it easily, quickly, completely, by apply- ing a Blue-jay plaster. Modern footwear creates more corns than ever, But have you noted how few people ever evidence a corn > The chief reason lies in Blue-jay, It is ending millions of corns each month. Instantly, for every user, it puts a quietus on corns. The procedure is this: Attach a Blue-jay at the first sign of a corn, It will never pain again. Let it remain two days, and the corn will disap- pear. Occasionally, an old, tough corn needs a second application. But that’s an easy matter, - and the corn is sure to go. This is the modern method. Old, harsh, mussy methods are long out-of-date. Paring, of course, is dangerous. Here a gently-acting wax is centered on the corn alone. The corn is protected in the mean- time, and the wrapping fits like a glove. It’s the expert way of dealing with a corn, and everyone should employ it. Try it tonight. Note the results ona single corn. Ina few hours you will know that corns are needless. Never again will you pare or pad them, or treat them in old-time ways. And never again will you let a corn spoil an hour of joy. "ie 2. eee Makers of Surgical Dressings, etc. Chicago and New York How Abundant Reasons and Convincing Argu-, ments can be Advanced in Favor of this Order Early Plan But the Average Teacher has come to realize ‘the wisdom of ordering next season’s supplies well in advance, and therefore to most teach- ers nothing more than a reminder is necessary at this time. Ordering Early Imperative This Year This season there are additional factors that make it more vital than ever to the teacher to make this step. In spite of the utmost promptness in filling orders, the usual rush of early fall shipments coupled with war time trafic conditions may more or less retard their final delivery. Acts **A” is a thin, soft pad which stops the pain b ’ For Corns relieving the pressure. 4 " J Stops Pain **B” is the B&B wax which gently undermines the WRITE D—- Instantly corn. Usually it takes only 48 hours to end the corn Ends Corns | completely. Completely “Cc” is rubber adhesive which sticks without wet- ting. It wraps around the toe, to make the plaster sari at snug and comfortable. 4s . Blue-jay is applied in a jiffy. After that, one at Druggists doesn’t feel the corn. The action is gentle, and ap Small package dis- | plied to the corn alone. So the corn disappears continued, without soreness. Let us know the number of pupils expected next season. State the grades and styles of music desired. Give the date the material should reach Give Your P upils a Three-Months’ cat Summer Subscription to THE ETUDE It will keep their interest alive during the months when you are not otherwise in touch with them, by putting into their hands more than fifty pieces of music for RESULT— Summer playing, besides many interes ting articles. ANY THREE ISSUES FOR 25 CENTS We will send a selected supply of material This trial subscription offer has proved to be a good investment for teachers in on our On Sale terms, all not used being years past. It will be of equal value NOW. returnable at end of next teaching season We'll send you, on request, a supply of special three-months’ subscription -coupons when settlement is made. for distribution. Those having accounts with Theo. Presser Co. may have the subscriptions charged Material will reach you at time desired. THE ETUDE PHILADELP HIA, PA. A prompt stait of the season’s work to the “EXCELLENT! DELIGHTFUL! INSTRUCTIVE! profit and satisfaction of both teacher and SUITABLE! WELL GRADED!”’ ‘ pupil. ARE REMARKS MADE BY PIANO TEACHERS ABOUT THE COMPOSITIONS OF PUBLISHERS THEQ PRESSER CO. QUICKEST MAIL : MRS. A. M. VIRGIL | OF AND DEAL- ORDER MUSIC ERS IN SHEET 1710-1712-1714 CHESTNUT ST. yf Ft HOUSE, Directce of Viegil Pinna Comeiyeras, se eee MUSIC AND : Send 25 cts. for ‘“To the Summer” Caprice (4th Grade, 75 cts.) and New Catalogue MUSIC BOOKS PHIL ADELPHI A,P A, vErnnie ND of 150 Pieces and Studies. Order music from your dealer or direct. THE VIRGIL PIANO SCHOOL CO., 11 West 68th Street, New York City Please mention THE ETUDE when addressing our advertisers.

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On cee geome cen Nana ee, Mitta ties ie, 8 on? Ne 3 we Sg 5 Yo « ities Cig ee. ages! . 4 Sretsesed e g’geselece EP a0 8 sans 28 ste pele pe ¥3 4, es ee At BB: ‘ MEE 2 Re “n, 7 ee , Se 7s 4 ings tate porn” ae. ae OI Aas ees s Ci eee aD len eee ee RK re oOo od Petree ote, ef 5 ate eee De a 2 ere eierelelelele.otetetet PO NI OR Oe ese reeseres Sefetetete’ Potetetetetetate xo oceans ets elit a SOAS ee 65 . ‘et oh o ears = oS ts cee fe rete! 6 as a! OOO Tatetet > ‘ BRING NEW LIFE TO YOUR TEACHING METHODS THIS SUMMER ‘‘Polish’’ Your Technic and Repertoire SS 2 a takes feo! Sosa YRENBEORESNEDRES REO AED NEDNENNES AEORED SED LENSER SEOREDED SES RES AED IE ERE DAES EDED RENAEDRE DRE REORESEDRES RES REDEDREN RC AEDRED ie ene ie ya pre PREV Better Methods Next Season Freshen up your whole out- look on teaching. Get the ideas of others and digest them. Here are some books that are almost as good as a normal course for the ambitious teacher. The Education of the Music Teacher, by Thomas Tapper, Price, $1.50. Master Lessons in Piano Playing, by E. M. Bowman, Price, $1.00. The Leschetizky Method, by Marie Prentner, Price, $1.50. This book has a long section in text telling what Leschetizky used in preparing all his pupils. r Great Pianists on Piano More Pupils Next Season Some pupils come to you purely by chance. If you watt for all of them to come by chance you are looking fail- ure in the face. Business Manual for Music Teach- ers, by G. C. Bender, tells: How to Locate Prospective Pupils. How to Secure Prospective Pupils. How to “Follow Up” Pros- pects. : How to Hold Pupils. How to Interest Parents. How to Collect Accounts. How to Give Pupils’ Recitals. How to Keep Your Class Alive.” In fact, this very practical x 3 ty) Five Definite Summer Plans for Action ates ee 2 es “e ce os SS ees? eer ¥ oe reef "+ sTele ete ~ Mire = Ss See RI Summer is about the only time the teacher has to rebuild—to get a fresh start—to make new and better plans. Here is a page of help for those who do not know just how to take the first steps. I. RESOLVE TO START THE SEASON NEXT FALL PLAYING, BE1TER, TEACHING BETTER. with a larger class of pupils. A strong resolve backed up by continued determination often works wonders. II. RESOLVE TO POLISH UP YOUR OWN TECHNIC. Be ready to surprise your pupils with a new facility in playing. Make out a daily technical plan and live up toit. See Exceptional Material on this page. III. EXTEND YOUR OWN REPERTOIRE. Perhaps you have ‘gone stale’? and do not know it. Work hard—master a group of new pieces and your whole next season will take on a new interest. See the list of new and attractive things on this page. IV. INCREASE YOUR WHOLE RANGE OF TEACHING PIECES. wt ee eeee VageTe DE, Rate Ser Ss th ss an oseans ~ hy . Se Shree ae ae - LE SE ee ttins ST i ce Bocce I OMe ye ase Se : : : a ‘ xX : rs 3 mites YE Pd Ss eo sree = ope * 2 ce. So a Ree PS fie 022522 oes So > Bs 0 ot See & . eet SHO3R Fae" % Ce ae Min. a ak Se ‘ oo * Pod once Sa S38 PG] SPSS SEE SENG NEARE Ren nes Rene Ben Nene New vanneanes ead acnon nenncnnennennennag peas 2 Sat ee an ences Peek, = eB Te: eR POSS ee om, Ce mca & e-, ° q Slo aoe dg at. ee bs at oe

Os roto : Music is now playing a more vital part in human affairs than { all summer and others will virtually ‘‘remake’’ themselves to meet : : MOM AMMAR ever before. Live teachers will take advantage of this and leave | next season’s opportunities and pressure. The main thing is to & nothing undone to help in every way. In like manner the live | get to work. On this page there are abundant suggestions. Write ee : teachers will be rewarded for their enterprise and service at this | usa letter telling us just what you want and we will help you to die time. But, there is not a moment to be lost. No one can afford | the limit of our ability and thirty-seven years of successful ex- %& ey : to waste a minute this summer. Thousands of teacherswill teach | perience. ‘‘Do it now” is the forerunner of SUCCESS. x eepge RBIS ESSA BUSES SGU HOSUR GES! HSER A SEAL AAA A AAR AA AAA AL ARAL ALAA LER ALLAAH AREAL ALE ALE ALARA ALA RR AR AAR AR iar bs Sapees THEO. PRESSER CO., PHILADELPHIA, PA. . whee . sate , . a. 5 °. "9 "e'e-0°e%0"a'e"s"e%ee' 9%! eee! SR aes nine So TI AN ye ee eee ee ‘ a ug ° me : we ~ * ole pees 4 SORE es “< A tet WHS eae ee, 2° 5 2K ROL i ! BD a 4. et, Beth saco taints sot Ristets MEET Sees, x eo ie . <5 SSE EEE EEE eee ee ate 95 ot a , Witete tele Re: Pr od *~ ‘< oO “4 4 * sooo aastetete ations pent ™ : ats tetegatetetitet ees etctatatatstadetarataeetee

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JUNE 1918 Subscription Price, $1.50 per year in United States, Alaska, Cuba, Porto Rico, Mexico, Hawaii, Epluppines, Panama, Guam, Tutuila, and the City a of Shanghai. In Canada, $1.75 per year. In Eng- land and Colonies, 9 Shillings; in France, 11 Francs; in Germany, 9 Marks. All other countries, $2.22 per year. Single copy, Price 15 cents. All other countries, 25 cents. REMITTANCES should be made by post-office or ex- bee money orders, bank check ordraft, or registered letter. In Canada, 20 cents. 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 Therefore, the pub- lishers are pleased to extend credit covering a Twelve Months’ subscription beyond expiration of the paid- Those of our subscribers not wishing to avail themselves of this convenience of remitting later will please send a notice for discontinuance. do not wish to miss an issue. up period. Musical circles are much excited over dis- cussing the probable successor to Dr. Muck. Among those whose names are mentioned are Ossip Gabrilowitsch, Sergei Rachmaninoff, Leopold Stokowski, Sir Henry J. Wood, Pierre Monteux, Vincent D’Indy, Ernest Bloch, Wes- ton Gales, Henry Hadley, Alfred Hertz, W. H. Rothwell, Theo. Spiering, Arturo Toscanini and Arnold Volpe. Rafael Navarro, an old and noted musician, formerly of Brooklyn, N. Y., but of late years residing in Montclair, N. J., died suddenly on March 380. He was a native.of Cuba, fleeing from that country to the United States be- cause his participation in an early Cuban rebellion had placed his life in imminent danger. He was at one time assistant con- ductor of the Thomas Orchestra, and di- rector of opera in the old Academy of Music, Brooklyn. He also wrote some articles upon musical topics, under the nom de plume “Dr. Bombo.” Chicago musicians were much aroused and indignant over the action of the Chicago Singverein, under the direction of William Boeppler, who had announced a performance of Max Bruch’s Cross of Fire in German. A protest was circulated and afterward de- livered to the State Council of Defense. The performance nevertheless took place, but un- der such overwhelming public displeasure that it is very doubtful if such an offense will be repeated. The Chicago Opera Company is to return to New York next season, performances to be at the Lexington Theatre. It is rumored that they are to purchase theatre property. American pianos are reported to be in large and increasing demand in Argentina. The cali for higher-grade American pianos in - Australia is also growing stronger. Denver Colo., now has an $80,000 pipe organ in its civic auditorium. Clarence Rey- nolds, formerly of Philadelphia, has been ap- pointed organist. Impressive dedicatory cere- monies took place at the opening, last March. ™ Count Enrico San Martino di Valperga, of Rome, is the guiding spirit in a movement on foot to give a wide hearing to American soloists and composers in Italy, beginning with the symphonic concerts of the Augusteo, and in general to encourage an artistic reci- procity between the two nations. Giorgio M. Sulli, a prominent Italian vocal teacher of New York, died suddenly on March 18. He was a native of Palermo, Sicily, and on coming to this country settled first at New Haven. Among the list of his noted pupils was Clara Clemens (Mark Twain’s daughter), now Mrs. Gabrilowitsch. George T. Pattman, a noted Scotch organ- ist, is touring England with his organ, which, although a regular pipe organ and weighing twelve tons, is built in a manner to be portable. The New York Philharmonic Orchestra is to continue its concerts as usual next sea- son in spite of the war. Josef Stransky is to remain conductor. Johann Gustav Emil Sjogren, the eminent Scandinavian composer, passed away March 3d at Stockholm, Sweden, his native city. Caruso stood in front of the Public Librarv in New York, and sang to the public, to sell Liberty Bonds. He met with deserved suc- cess, Arthur Schuckai, an able musician of Bran- ford Conn., and active also in New Haven and Waterbury, ly away on April 138, in his Sist year. Mr. Schuckai was a frequent and valued contributor to THE ETuDR. Eugen Ysaye has been appointed permanent eo of the Cincinnati Symphony Or- chestra. Major Henry L, Higginson, who for many years has financed and directed the policy of the Boston Symphony Orchestra, has retired from further efforts, and his place will be filled by a syndicate, PRESSER’S MUSICAL MAGAZINE A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke Entered at Philadelphia P. O. as Second-class Matter Copyright, 1918, by Theodore Presser Co. THK ETUDE Page 368 RENEWAL.—No receipt is sent for renewals. On the wrapper of the next issue sent you will be y , 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 their possession or in transit. Unavailable manuscripts will be returned. ADVERTISING RATES will be sent on application. Advertisements must reach this office not later than the lst of the month preceding date of issue to insure insertion in the The World of Music Gustav Schreck, cantor of St. Thomas’ in Leipsic (the eleventh incumbent of that posi- tion since Johann Sebastian Bach), passed ~ away last February, in his sixty-ninth year. He was also professor of musical theory in the Leipsic Conservatory, and was a special favorite with American and English pupils on account of his courteous manner and his good command of the English language, which he used almost altogether in his class-room. He composed much church music, his greatest work being an oratorio, The Arisen Christ. Mme. Nellie Melba, the soprano, has been granted a title by King George of England, in recognition of her work for the Red Cross. She is now officially known as Dame Melba, Order of the British ng me which gives her recognition at court as Lady Melba. Leopold Auer, the famous violin pedagogue, recently made his American debut in a recital at Carnegie Hall, New York. His program, which was drawn from the older classics, was rendered in a masterly manner, showing that, in spite of his advanced age, “his hand has not lost its cunning.” Saint-Saéns, Widor, D’Indy, Debussy, Dukas, Faure, and other noted French musicians, have banded together to encourage the pub- lication and printing of music in France. For many years previous to the war, nearly all of the classics, and even some high-class mod- ern compositions, were imported from Ger- many, Felipe Boero, a young Argentine composer, has received a prize from his government for his new opera, T'ucuman, entitling him to study abroad at government expense. The new opera embodies several characteristic native melodies, in minor keys and very char- acteristic rhythm, known as T'ristes, serve to impart a strong local color, PAGE re Saree cg Sey oF en ep eey ae os 365 The Spirit of the Masters..Harold Bauer 367 Absolute Time............ Oscar Schleif 368 Make Your Summer Count, Mae-Aileen Erb : The Art of Simplifying...... L. E, Morse How to Become a Good Teacher, Frederick Corder : 2 oT. y ae Wilbur Follett Unger 370 Came Reeee OD WPM Se wig a's 370 Music Now More Than Ever............ 371 The Great Lakes Naval Training Station hie RE Sia Ten Re eer Eoe re 371 A Toy Drum and a Tin Whistle......... 372 UNMIS ae ne vie ok ale dea 372 Ragging Good Music, Edward Barter Perry 372 Russian and Slavic Composers.......... 373 Bach and Palestrina. ....Rev. F. J. Kelly 375 Relaxing the Muscles in Piano Playing, E. EF, Hipscher 376 The Passing of Debussy............... BUN dics hs ties x bbe Louis G. Heinze The Inspiration of a Goal, L. U. Witllitson : Have You Learned. .Dorothy M. Latchem : Organizing a Summer Music Class....... ! Teachers’ Round Table......N. J. Corey 378 Fonr Pamons Backs. 96k 68 eo 379 High Lights in the Life of Bach.... Now Rubinstein Taught...Arthur Spark 380 A Bach Prelade .).... 2... 5 ks H, T. Finek 380 Do You Sit Properly?..... L. D. Andrews 380 Master Lesson on Tschaikovsky’s “Only a Yearning Heart........David Bispham 381 Fingerings That Give Better Results, R. W. Wilkes 382 Realizing Suecess............ R. J. Rosa 382 me wien OMe Me CHING. oi eck as 407 Famous Piano Duettists........ hi ea 407 These © The National Federation of Musical Clubs announces its sixth prize competition for American composers. <A $5,000 prize is of- fered for the best oratorio, entitled The Apocalypse (the libretto will be furnished to intending competitors), and seven other prizes, running from $75 to $300 for the best Federation Song, song by a woman composer, ’cello solo, organ solo and string quartet. The oratorio must be submitted between February 1 and March 1, 1919, to Mrs. John R. Mac- Arthur, 346 West Eighty-fourth street, New York. The other compositions must be sub- tre? between November 1 and December 1, 1918, Among the noted musicians who have passed away during the last few years, the following, at least, are still represented to the world by records of their playing pre- served by one or another of the well-known sound-producing devices: Karl _ Reinecke, Edward Greig, Leschetizky, Max Reger, Raoul Pugua, Madame Carrefio, and now Debussy. Le Guide Musical, an international review of music and the theatre, published at Paris, is again in evidence with a January num- ber, having suspended publication from July, 1916, up to the date mentioned. Our best wishes to this excellent magazine, now in its sixty-first year. Music will be used in army hospitals in treating convalescent American soldiers re- turned from Europe suffering from _ shell- shock, gas effects and other maladies, if an experiment being conducted at the Fort Mc- Henry Hospital (near Baltimore) proves suc- cessful. Mrs. Isa Ilsen, who has already had experience at the Military Infirmary, at Ham- ilton, Ontario, is in charge of the work. PAGE Spare the Pedal........ Mae-Aileen Erb 407 Department for Voice..... F. W. Wodell 408 Popular Dances in Puzzle Guise, Sam Loyd 409 Department for Organists, Frederick Maxson 412 Violin Department....... Robert Braine 415 In Memoriam—Henry Schradieck....... 415 Long Minger Nava...) ic. seeks webu ce 416 When to Use Vibrato....... Ben Venuto 416 Perapiring Wingerg . oo ic pass eee ew ee 417 Musical Questions Answered.........-. 417 JUNIOR ETUDE... . Hligabeth A. Gest 418-422 MUSIC Only a Yearning Heart (Vocal), P. I. Tchaikovsky 383 Hawaiian Sunset........... -..R. Howe 385 MROHNOOEA. 5 .6.e: dey se ee W. A. Johnson 386 The Signal Corps...... Geo. Schleiffarth 387 All for Freedom (4 Hands).R. M. Stults 388 Nocturne in F (4 Hands)..R. Schumann 390 Amid the Whispering Pines, H. D. Hewitt 392 Under the Balcony............ W. Rolfe 393 Prelude, Op. 3, No. 2, Rachmaninoff-Franz 394 Fond Memories............ M. D. Blake 395 Var . 2:3 3 ESS EA. F. Christiani 396 Little: Prelade’in.23..° WF8 J. S. Bach 397 Yellow Butterflies.......1 VM. Loeb-Evans 398 Alas! Birdie’s Gone!........4. Kopylow 399 aa EL TA es as A. Kopylow 400 Dream of the Shepherdess (Violin & Pree) a Olea tee 4, Labitzky 400 Danse Humoristique........ W. Berwald 402 Romance (Pipe Organ)..... F, C. Hayes 403 Love Leads the Way (Vocal), Mary Howard 404 O Jesus Thou Art Standing (Vocal), W. H. Jones 405 following issue. THEODORE PRESSER CO., Publishers, 1712 Chestnut Street, Philadelphia, Pa. Have you a ukulele or phonograph in your home? If you have, the American Army wants to borrow them for the duration of the war. Banjos, violins, guitars, harmonicas, and, of course, records for the phonographs can be used, too. In fact, any instrument that will yield melody is wanted. The need for the musical instruments is greatest in the small, isolated army camps and naval stations which have no entertainments, and where the soldiers and sailors have only their guns and thoughts for company. In these places any humber of men have been found who can play, but have been unable to exercise their talents because of the lack of instruments, A list of the camps and stations where in- struments are wanted has been prepared by the Commission on Training Camp Activities of the War and Navy Departments, at Wash- ington, D. C., which have charge of music in the war camps. This list will be furnished on request. Use for any number of instru- ments can be found, the Commissions an- nounce. Mr. Josef Stransky, conductor of the New York Philharmonic Orchestra for many years, States, in a lengthy reply to an attack upon his position in connection with the war, that he has cast his lot entirely and exclusively with the Allies in the war, that he has taken out his papers as an American citizen, that he desires to be regarded as an American citizen, that he is of Bohemian birth and ancestry, and that Bohemia is emphatictlly with the Allies in the present struggle, that he has continually supported war aims in America since the war began. America should be glad to welcome to citizenship any man of Mr. Stransky’s at- tainments who has so openly expressed him- self at this time. The Clemson gold medal and the fifty dol- lar prize offered by the H. W. Gray Com- pany for the best anthem submitted to the American Guild of Organists, was awarded to Miss Frances McCollin, Philadelphia, Pa., by unanimous verdict in favor of her anthem, ‘The Lord is King.’’ Miss McCollin was born in Philadelphia, October 24, 1892, studied piano, organ and composition with D. D, Wood, W. W. Gilchrist and H. A. Matthews. In 1906 Miss McCollin won first prize for an anthem, ‘‘O Sing Unto the Lord” (Manuscript Music Society of Philadelphia), and in Janu- ary of the present year the Matinee Musical Club prize of one hundred dollars for ‘The Singing Leaves,’ a three-part cantata for Boo a voices, Miss McCollin is totally nd. ; The United States Government requests us to announce that, owing to the enormous increase of government war work, the governmental departments at Washington are being flooded with letters of inquiry on every conceivable subject concerning the war, and it has been found a physical impossibility for the clerks, though they number an army in themselves now, to give many of these letters proper at- tention and reply. There is published daily at Washington, under authority of and by direc- tion of the President, a government news- paper—The Official United States Bulletin. This newspaper prints every day all the more important rulings, decisions, regulations, proclamations, orders, etc., etc., as they are promulgated by the several departments, and the many special committees and agencies now ‘in operation at the National Capital. This official journal is posted daily in every postoffice in the United States, more than 56,000 in number, and may also be found on file at all libraries, boards of trade, and chambers of commerce, the offices of mayors, governors, and other federal officials. By consulting these files most questions will be found readily answered; there will be little necessity for letter writing: the unnecessary congestion of the mails will be appreciably relieved ; the railroads will be called upon to move fewer correspondence sacks, and the mass of business that is piling up in the gov- ernment departments will be eased consider- ably. Hundreds of clerks, now answering correspondence, will be enabled to give their time to essentially important war work, and a fundamentally patriotic service will have been performed by the public. ‘

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Page 364 THE KTUDE Bee UE UE HORE UE UE UE Ele OUR UE ee Mc SE ET EE ZEEE WS ~~ Now/ The Final Achievement — = — — — 4 = — — — — = — = — — — — — — — — — — = — — —— —I — — —7 —s — — — = — => = — = = — —— — = — — = = = —— — ad — — —— — — — —— -—J — = => — = — — — —7 — = 7 — = — — 4 — — = — — — — — — = — — — — — —— — — == — = = — — — = — 2 — —— —- — — J = — — — — —4 — = — = = = — = = = lee — — J = — — — — — —— — — = — — = = — — —4 = — — — —4 — — -— — —4 — = — — = — — = — — — 7 >= = —— — — — => — — = = — — == = — — — — — = = — —4 — — — = = = =r — — = = — — a CEVEVEUE! PLIUVAUUAESAUA CUA AEA ae eee TOG SANA A JUNE 1918 — = —— => — —— — J — = — = = = — = — = —_— = — — — — = —J oa = — — —? —s = => = —4 7 ——d —— —— = = — — = — oes a 7 — fs — 7 = — = = == — — —J = — a —- — = = ——s — — = — — — 9 — = = a — > = — —— = a = = — a =— — — — Brunswick introduces a new Method of Reproduction, a real sensation ERE, at last, is the supreme phonograph achievement of recent years . .. . The Brunswick Method of Re- production. It includes two distinctly new im- provements, two inventions that ab- solutely revolutionize old stand- ards. Some maker was bound to build this ultimate phonograph, freed from ancient handicaps. The honor has come to The House of Brunswick, a pioneer in develop- ing the all-record idea. The first Brunswicks met with phenomenal success, showing that we might spend thousands of dollars in per- fecting this idea. Better Than Ever Now, with the new Brunswick Method of Reproduction, distinctly new, we offer a super-phonograph. It not only plays all records, but plays them at their best. This is accomplished chiefly by The Ultona, our new all-record re- producer, and the new Brunswick Tone Amplifier. Tone values are now given a nat- uralness hitherto unattained. Some of the gravest problems in acoustics are solved. The Ultona is an amazingly sim- ple contrivance. It plays all records according to their exact require- ments. The proper diaphragm is presented to each record, whatever make, and the exact needle, the ex- act weight. So you see that this is not a make- shift, not an attachment, but a dis- tinctly new creation. _ Simplicity Itself At the turn of a hand you adapt The Ultona to any type of record. A child can do it. It is practically auto- matic. Now your library of records can be bought according to your favor- ites. For instance, each record maker has a famous tenor. On a one- record instrument you are confined to one. Others are barred. And who likes to be restricted? Who wants to be confined to buying from only one catalog, when there are several from which to choose? The Ultona, we think, is the great- est feature offered any music-lover. And it is obtainable solely on the new Brunswick. Another vast improvement in tone projection comes in our all-wood Tone Amplifier, built like a violin. All metal construction is avoided, thus breaking away from the usual custom. Wood, and rare wood at that, is the only material that gives sound waves their proper vibration. With The Ultona and the new Brunswick Tone Amplifier, phonographic art is brought to higher standards. See and Hear You cannot afford now to make a choice until you’ve heard the latest Brunswick. Until you become acquainted with The Brunswick Method of Reproduction. Until you hear this marvelous instrument. You are invited particularly to examine The Ultona and note how simply it adapts itself to each type of record. ' ) Once you hear the new Brunswick, you’ll be delighted and convinced that this super- phonograph is in a class heretofore the ideal, but unattained. All you want in any phonograph is found in this composite type. Plus superiorities not found elsewhere. A Brunswick dealer will be glad to play this super Brunswick for you and explain the new Brunswick Method of Reproduction. Brunswick Models—Price $32.50 to $1,500 THE BRUNSWICK-BALKE-COLLENDER COM PANY Canadian Distributors: Masical Merchandise Sales Co. Excelsior Life Bldg. Toronto a NaN General Offices: Chicago Branch Houses in Principal Cities of the United States, Mexico and Canada PAA ae Ou Dealers: Write for our Profitable Plan with all the details Please mention THE ETUDE when addressing our advertisers. 22H T TUATHA TUTTO ATTA Hs GRVIUIGAUORUVAOIGAUOOVUTTOHUTOVOUFOUTEEOVGOATOVLEUO AG TEATT UTTER CPUC UO UE MUP UI MU UE OU OU Ce ME hg : fy sigh AAA ~ Peay cpap ep aa ae ae ae a hae Gop uP UP UP a a a AS

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JUNE, 1918 VOL. XXXVI, No. 6 Honey or Gall? Which? ABRAHAM Lincoutn, our American symbol of common sense and nobility of spirit, is reported as saying one time :-— “You may talk to me of discipline, but I know that one drop of honey is worth ten gallons of gall.” Perhaps one of the reasons why you have not been able to get the results you expected in your music teaching is that you have been depending upon gall rather than honey. Gall irritates, embitters, makes the pupil antagonistic, resentful. It breeds a mean spirit and keeps things constantly in a turmoil. It produces far more obstacles to success than anything else. The most unpleasant message can be conveyed in such a way that the pupil will understand and be benefited, but it will not be done by coating it with gall, but by coating it with honey. Abraham Lincoln knew. No man ever handled his friends or eyen upon this very elementary subject: ‘ a his enemies with more success and good sense. If you are not bs nf at JADASSOHN ois too old, too calloused by your prejudices, there is a wonderful allowed :not allowed: possible ‘not allowed : = lesson for you in this. Thy it for awhile and see if you can’t ; ‘3 : : nd make it a habit. When you see a man accumulating many fine Lich ecen' «whi business or professional friends, rising from one position of prominence to another, you will find that it is by seeing the best in things, rather than the worst, and building up his best side rather than his worst, that he succeeds. . When Doctors Disagree Tue art of musical composition is, and always has been, in a state of flux. Attempts to codify it on some permanent basis become ridiculous for their transitoriness. Certain basic prin- ciples remain, but the human ear refuses to remain static. [ike all phases of human perception, the degree or quality of per- ception varies with the individual. Certain individuals have extreme sensitiveness in taste, others in smell, others in sight, others in touch, and others in hearing. The touch of the blind man, the taste of the coffee- tester, the color perception of the artist, are all notable in- stances. This is sometimes extended to cover races and groups of people considered geographically. For instance, it is reported by some that the Zuni Indians have such wonderful sight per- ception that they can see the stars in bright daylight. It is also said that color perception of the people of France and some parts of Italy is so highly developed that they are amazed that people of other countries do not notice the difference in colors which they so readily observe. Thus in music many people have wonderful hearing. Mozart was a notable instance, as was Debussy. When such a man has a feeling that a certain chord is agreeable to him he indulges in that chord, no matter what others may think about it. His strong sense of ego convinces him often, that because he likes a chord, the rest of mankind should like it also. This unreason- able attitude has been the doom of many a composer. No composer has a right to assert himself through such iconoclasm until he has digested the music of the past and under- stood the art theories of his predecessors. Debussy,.Schénberg, Grainger and other iconoclasts became wonderfully well versed in all the great music of the world before attempting to steer out into new fields. | However, it is interesting to observe how different com- posers and theorists vary, even in simple matters. Here is an example quoted by Grove. It pertains to Hidden Fifths and Octaves ; that is, fifths or octaves produced when two parts or voices singing together move in similar motion (in the same direction) toward a single fifth or octave, to which one of them, at least, progresses by a leap, as in the following example: According to the rules of old-time harmonies, such fifths were prohibited under special conditions. Many ears still find the results, where they are used, very ‘“‘thin,” “empty” and “weak,” particularly in writing for voices. Yet the following quotations from three authorities show how authorities disagree, not.allowed not allowed ‘not allowed: allowed MACFARREN and PROUT ; not allowed: allowed ‘not allowed:not allowed Dr. Hugh A. Clarke, Professor of Music at the University of Pennsylvania, contends that the rule regarding “Hidden Fifths” and “Hidden Octaves” is nonsense. ‘And even succes- sions of perfect fifths are good sometimes. There’is a celebrated example in one of Beethoven’s Sonatas for ‘cello and piano,’ in| which the cello plays in succession C and G and D flat and A flat; repeats them several times, it occurs in the resolution of an augmented sixth, when it is always good. Of course, in mod- ern music it frequently occurs. However, pupils should, of course, strictly observe the rule when learning.” Something to Look Forward ws Tue coming teaching season (1918-1919) will be the most significant in the history of our country. Never before has music played such a corrigible part in human affairs. With all Christendom aflame, with hearts torn to tatters, men worked to a nervous frenzy, and all our country calling for a steady stream of gold to keep the national activity at a white heat, music has played a wonderful and noble part. People have come to a new realization of the need for music, and we con- fidently predict that with the enthusiastic co-operation of all teachers and music workers musical education in the United States will receive a serious and earnest support from the public, far greater than anything we have ever known before. Meanwhile thousands of people who have benefited by war- prosperity will want to commence music lessons at once, and the live teachers will find out who those people are by advertising in their districts. Forego your vacation this year and put the profits of your summer’s teaching in Liberty Bonds. SSeS eS. eecteie.e Sererettters eet He ssa oes Seon “Meera w” arite. MS. ze *. eens SOP pw ets “3 RN zihts * oe Ste

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EZ Mei EE. ba 3 SES io — ES a rs a Ai cen Le a orelaleteteleteletetitiietdiatetennteeaetets ee: ee aa Se my ich ,. Pays ee Soe : ny Pe a x e - KS e ce Ace m Se wae: ck, Sore ee” eas Bess xe dire i 9 ose we a Sa eee Rs, Sos Rs Rhea - 4. Be oe ; assist, IOS setae he “ ¥; th fg Present PN Peg tg Ht he wee LY “Gas goin eee. ai aie Ra aM A Nace SOR I Sa eae Ee SE MMO MEME SE i A Sa ao ME eh oc bs so ws awa Ob” She 2c So Fogee™ | ow, way as that of the men in the trenches, who could not stay there for an hour were it not for the labors of those at home. A worthy mechanic, who had never received more than $15.00 a week, suddenly finds that, owing to the new pros- perity, he can earn from $30 to $60. At first he and his wife resolve to save up for old age, or the proverbial “rainy day.” Then at the end of three months of saving he finds himself in the to him and to his family. Accordingly he buys himself a $65.00 suit of clothes and his wife a diamond ring. A piano and a talking machine move into the parlor, and little Sadie, who had longed for music lessons for years, suddenly realizes that dreams do sometimes come true. Thousands of teachers in America will, of course, benefit from this condition, and they can be of direct service to Uncle Sam by fostering it as much as possible. Be on the alert for an opportunity to help. Don’t despise the man with a chance just because he has not been able to get the benefits he for years ' may have aspired to have. Do all you can for him and for his family. The result will be that musical education in America will receive a new and powerful impetus, and American music teachers can have an important part in building now for new musical triumphs in our country for the future. Musical talent is not a thing of the rich or the poor. It often happens, how- ever, that those who have longed for opportunity work harder “Scarcely More Than a Few Notes” WueEwn Beethoven, one of the most industrious of all com- posers, was passing on toward the end of his long and glorious career, he said, in a letter to his friend, Schott: ‘1 feel as if I had written scarcely more than a few notes.” The truly great are always discontented with their accom- St. Job Very few musicians know how near Job came to being the patron saint of the art instead of St Cecilia. In 1502 a musical society was organized in the fateful city of Louvain, Belgium. According to the times, the organizers submitted the statutes of the organization to the magistrate. The legal gentleman looked over the papers and then came to the decision that St Cecilia was the proper Saint. This, it is said, was one of the first times when St. Cecilia was connected with the thought of music. There is a tradition that an angel was attracted to earth by the charms of her singing. Other than this very little is known about her, except that she converted her husband and his brother to Christianity, that the pagan authorities con- demned them all to death, and that she was placed in a dry bath- tub over a fire and was thus tortured until an executioner be- headed her. Just why the mediaeval musicians were wont to select Job as their patron saint no one knows, but there was something humorously significant in the name as applied to music: Job, the apotheosis of patience,—gloriously rewarded by being relieved of his troubles, from boils to loss of his family and Soleleperelelelelelerelele! a subject for ridicule among those who laugh when the un- fortunate in a play comes to grief. It may be interesting for Ervupg readers to know that “Job” has been produced as a poetic drama in New York with great and serious success. Parts of the “Book of Job” have been given musical setting several times, the most notable being the oratorio by Hubert H. Parry, first given in 1837. It was also made into an opera possession of a sum that he had previously regarded as a small twice during the early part of the last century. ee fortune. Why not have a little taste of the life so long denied A Singing to Victory Dip you read the inspiring, sane, convincing letter of General Hugh L. Scott in the last issue of Tur Erupr? It was the letter of the shrewd, experienced, thinking leader, whose | years of service in the United States Army have led him to understand that victory is as much a matter of morale as of muscle. Muscles contain the energy of the body,—morale is the energy of the soul triumphant. When the American Army moved gallantly up to the battle line it was a singing army,—an army confident and determined. That should be the spirit of all America now, as we are at the dawn of the greatest struggle the world has ever known. There is no place for the man who falters, who looks down when we must look up. No matter how you fight, if you can go at it with a song on your lips you will meet your adversary more confidently than if you meet him with a heart filled with fears, General Scott’s words are historic. anxieties and timidity. oe when it comes, and the new prosperity will open the doors of | Read them: . = musical paradise to thousands. “Music helps against those insidious influences which break ge 3 an army’s enthusiasm. A singing army is a fighting one, not because it sings, but because it has the enthusiasm which comes from singing.” Rudder or Rocks TueEreE is a peasant proverb of. Brittany, where the folk live or die by the sea. It runs: plishments. One of the ways in which to measure a weak per- “He that will not answer to the rudder,. must answer to x sonality, especially in music, is to find whether the individual the rock.” AL has ever appreciated how little Sabie the greatest of oe See do More musical careers come to ignominious endings because eS | in a lifetime. The man who lets himself be deceived into think- of Jack of steering than for any other reason. The ship of a ing he has done much when he has not dene a fraction of what ‘Talent, manned by Youth, its sails filled with the breezes of ce the really great have done, is one of nature’s cruelest jokes. Enthusiasm, sets out upon a fair sea toward a glorious goal. af When it is steered by a strong hand, guided by the voice of experience, it may sail on triumphantly through storms, treach- erous currents and dangerous shoals. Alas, in a greater number of cases Talent goes blissfully into Dreamland.—the hands drop from the tiller and the ship heads for the ever-waiting rocks. The very ethereal character of music, the entrancing dis- tractions from real attention to the big matter of steering straight, the social whirl, the tendency to “putter” rather than labor, the inability to see straight and clear by reading the lives of other successful musicians and using them as charts to the harbor of success,—all seem to keep the music student from steering along a straight course. It is not nearly so much the perilous tempests of fate that lead to the rocks as it is the fact that the student never learns from his experienced advisers how to steer straight, and if he does learn he permits his hands to leave the helm so often that all his efforts fail to bring him back to the true course until it is too late. “TOO LATE”; that is the inscription on the rocks that have wrecked many a musical life. “He that will not answer to the rudder, must answer to the Rocks.” So aa sete ates eet ssecegeeatcateetces Shee SS Gece | Be ee Z Rs oP NS “eee ot ? iG 4 RUPE S The Teacher and the New Prosperity property,—surely went through the tortures of a kind of Au tig Lireratty millions of people in America are now tasting earthly Gehenna, enduring all with sublime patience. Patience ae ney the results of a new prosperity about which they had never even #8 the virtue which music-study most demands, Moreover, music as ae dreamed. It is grewsome to realize that this prosperity comes not only demand patience, but cultivates Tre ePAce Teme ean ae ae from the grim business of war, but at the same time the United Study the art without realizing that impatience leads to repe- 18g ry States Government properly recognizes that the manufacture tition, and repetition of wrong notes is waste. Monumental, a ae of war materials and the stabilization of the economic situation J0b-like patience is the remedy net aS es here at home is a patriotic service quite as essential in every Job, because of his avalanche of afflictions seems to be | oe ¥ sss aa re Patek fate at NEN “et etatet a, * * i rea Oe: SAO at pam oa oR Be Tr goers Svat te Srey Se" mes OO eats 2 * “ ecasagecete steers i. é ‘e"ete, -* *. +. res 0% . soe * 4 “ey * . : ; - sam eh Oe te 58 Berecs Sg . 3 “4 « +e ee ‘eae e pi eis Pores res lie ea . “wee: . ae - erecta ee z oe ase eee es S %. oy ‘ ". e + eee “Otte Oe E oe a 0 h * , . fe % * é

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q JUNE 1918 THE ETUDE Page 367 The Spirit of the Masters Third in a Highly Important Series of Conferences with the Eminent Virtuoso HAROLD BAUER While each one of these interviews may be read independently, the whole series is of such practical value, not only to teachers and students but to intelligent music lovers as well, that we give a list here of the topics covered in each conference. Only those who know Mr. Bauer’s sincere and sympathetic interest in all matters pertaining to his art can appreciate his personal concern in present- ing discussions of these problems. April Erupe: Preparing for the Study of Bach, Haydn and Mozart. ; delssohn and Beethoven. June Erupe: Preparing for the Study of Schumann : II. May Erupe: { Preparing for the Study of Brahms, Men- and Liszt. July Erupe: hess in and the Modern Masters of the Pianoforte Composition. Preparing for the Study of Schumann and Liszt “The student, in approaching the works of Schumann. must realize first of all this remarkable composer’s ten- dency to have his music represent some fixed idea or mood. This manifests itself quite naturally in his works for little folks, the Album for the Young and the Kinderstiicke. Children love the pictorial, and when Knecht Ruprecht starts in with the rumbling the child ~ mind has little difficulty in picturing the Christmas Knight approaching upon his merry visit. And if the reader will mentally review Schumann’s works for the piano, he will find that the majority of the works of this composer are imbued with a precise and often very vivid idea. One has only to recall in turn such famous works as the Davidsbiindler, Carnival, Kreis- leriana, Faschingsschwank aus Wien, etc. It would seem, that in Schumann’s mind, the image back of the music was as constantly present as the music itself. His pianoforte works are either descriptive in the rarified sense, or else they are musical productions emanating from meditations upon some subject dear to his heart. Schumann’s Pronounced Individuality “It therefore behooves the student of Schumann to ieave nothing undone to study the biography of the master, as well as his writings upon music. There is no other composer where such a course is more profitable. Although Schumann died when he was only 46 years of age, he was a most voluminous writer of both music and comments upon music. His letters, like those of Wagner, are a literature in themselves. For instance, in the Fantasie in C Major there is a theme repeated with almost monotonous insistence through the entire first movement. It invariably stops upon the dominant throughout the composition until the very end: The theme is CC ees eee ee — * wee pes. “This work has been frequently criticised because of the failure to grasp its poctic significance. It transpires through Schumann’s letters that the work was written at the time: when his suit for the hand of Clara Wieck was being stupidly combatted by her crusty father. The ever recurring theme, cut short upon ‘the dominant and never resolving, represented something for which Schu- mann was always hoping but could never attain. It was the yearning of his poetic soul for the life com- panionship of the one woman whom he knew could be his associate, friend and wife. Thus the theme goes on and on, always aspiring, never resolving, until the very end of the movement where, in a vision of ineffable beauty, it finds its rest on the common chord, signify- ins the spiritual calm to be gained when the strife is over. This is the way in which the movement con- cludes: ag | ial le £4: «| gee i Raa “Another remarkable thing about the work of Schu- mann was that despite the unusually sympathetic under- standing which he showed for the work of other com- posers, including Chopin, who could not seem to realize the great genius of Schumann, his works show an indi- viduality, style and treatment so distinctive that any musician familiar with his style will invariably identify a previously unheard piece as the work of Schumann. He produced compositions of great variety, both in form and content, and yet there is always the atmos- phere of Schumann, something which can be as unfail- ingly recognized as the perfume of a flower. “Schumann’s tragic close is shown in the tendency of his works. They take on more and more of the mystical character as he approaches the end. His was a beautiful talent,—unselfish and sincere as it could be, both dreamy - and powerful. Virtuoso Liszt Versus Composer Liszt “Liszt to my mind was one of the very few com- posers who saw in Beethoven what we have discussed in the early part of this interview; that is, the organic development of a theme. Liszt was inordinately fond of Beethoven and made pianoforte transcriptions of all of Beethoven’s Symphonies. Practically all of Liszt’s greater compositions are built up according to the idea of the organic development of the theme. In other words, Liszt had a plan akin to that of Beethoven. and employed it. Please do not think that I am refer- ring merely to the cut and dried development of a theme as prescribed by the Sonata form—First Theme, Second Theme, Episode, Working-out Section, etc., etc. It is something vastly more integral than that. “For instance, upon the examination of his great E Flat Concerto one finds that all of the themes grow from one another. One never finds a geranium grafted from an acacia tree, and in Liszt all’ of the themes he HaAroLtp BAUER. Here employs in such a work are native to that work. is the first theme: “The theme of the slow movement is based upon the last notes of group (b): “Observe how the theme of the scherzo is contained within the same group. “In the last movement we find this, showing how closely knit the whole structure is: “The theme of the last movement the same as the melody of the Adagio: and the thematic material of the three previous move- ments is used throughout, the most characteristic ex- ample being perhaps the extension of. the last three notes of the principal theme of the first movement (a) as follows :— “Wagner and Liszt are often compared. To me, such a comparison is useless, because they sought different aims. Wagner with his incessant leit motif can become very tiresome. The idea of labeling every individual in the opera with a kind of melodic tag has never appealed to me. It seems too much like putting up signs ‘This is a House.’ ‘This is a Dog,’ after the manner of the Eliza- bethan Theatre. It seems to me very elementary, easily contrived, and more or less of a blot on Wagner’s es- cutcheon. Wagner is not great because of the leit

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Page 368 THE ETUDE motif, but great in spite of it. To my mind the Jett motif is something that will in time be abandoned as an unnecessary triviality. “On the other hand, Liszt in his symphonic poems, notably Tasso, has produced organically constructed works of art in which the living theme is developed just as human beings develop under the influence of the sun, the rain and the snows that fall upon the world. “Mendelssohn, Joachim and Liszt should be given everlasting credit for compelling the world to realize and appreciate the grandeur and nobility of Beethoven's genius. Beethoven, when he attempted to escape the beautiful but less vigorous chains of Haydn and Mozart, was looked upon as a madman by the public.. Indeed it was not until late in his life that the public commenced to show any great liking for some of his earlier works. ~ It was much the same with Chopin. His Nocturnes were accepted because he followed the popularity cre- ated by those of Field,—but his greater works were often ignored for the trivial compositions by Herz, Kalkbrenner and others since forgotten. Liszt, as well as Schumann, recognized the genius of Chopin and fought valiantly to make the public realize his greatness. “The Fantasies and Arrangements of Liszt are for the most part in a class by themselves. It is the custom to disparage works of this sort, and indeed their showy superficiality frequently deserves condemnation. How- ever, such compositions as the Don Juan and the Rigo- letto Fantasias and some of the Liszt arrangements of the ‘Schubert, Schumann and Chopin songs, are real masterpieces for the piano and none but the super- snob would scorn them. Absolute Time A Study of the Heart Beat in Relation to Rhythm By Oscar Schleif RHYTHM, in music, seems to have but one counter- part in the human body which can be used as a standard for absolute time. This is the standard which regu- lates all our physical actions—the heart beat. Accord- ing to it we breathe, walk and run, and it is likely that, if left to our own impulses, we also regulate our sing- ing and playing by it. Even in a state of greatest quiet the heart is not likely to drop to less than thirty- eight, beats per minute; we may therefore assume that the slowest music cannot be rendered understandingly at less than, say, 4/4 time, nine bars to the minute, or for 2/4 time, eighteen bars. Even at this speed it is likely to be misunderstood by a younger person or any one with an untrained ear, which cannot conceive so slow a progression, and therefore automatically. sub- divides the bars. Thus it happens that untrained play- ers nearly in every instance render 4/4 in 2/4 time, and make two bars of waltz time of every 6/8 time com- position, instead of accenting each measure in 2/4 time. This is not unusual even among virtuosi. Similar conditions meet us at the extreme of speed. The most violent exercise does not usually send the heart beating to beyond 120 to the minute, which would be thirty bars of 4-4 time, or sixty of 2-4 time. If we try to crowd more accents into the minute, it is likely that the ear will automatically subordinate them, and create 4-4 or 6-4 time, just as it cannot long listen to the ticking of a clock without subordinating every second beat, that is, creating 2-4 time, this being car- ried even to the point of apparent syncopation. If the young mind cannot grasp very slow time be- cause of its lack of relationship to a younger and faster heart-beat, neither can it grasp the relationship of a multitude of subordinate notes ‘to the dominant one at the beginning of the bar. A very young child cannot count beyond 3—and most untrained performers cannot accent correctly anything except waltz time in its simplest form. These limitations should warn us against presenting more notes in one bar than the musical mind is ready to classify and assimilate, and guide us in keeping to the simpler forms rather than risk the automatic sub- dividing which the mind inevitably uses in self-defense against an influx of unassimilable matter, and which through force of habit leads to a later misinterpreta- tion of all complex rhythms. The influence of the heart beat will also explain why we should not expect a rigid time interpretation from any one individual performer, or the same time inter- pretation to-day as to-morrow. The one will be an artificial echo of what we or some one else felt at a certain time; the other an inspirational expression of the moment and a true rendering of individual feeling. How Fast and | How Slow A PIECE is played allegro, andante, adagio, or what- ever may be the case, not because the compcser has arbitrarily marked it so, but because scmething in its structure or inner nature requires it. Bach trusted so confidently to the musical perception of the player that he deemed it unnecessary to add any directions as to tempo, those at present found in his works hav- ing been added by editors; but since his day it has become the universal custom to indicate the tempo by the use of conventional terms or metronome marks. However, it is a great help to a performer to under- stand the real underlying principles which govern the matter of tempo, and we cannot do better than to quote a few very important paragraphs from M. Lussy’s excellent work, Musical Expression. 1. “Pieces with rich harmony, full of suspensions, anticipations, discords, reiterated notes; or pieces writ- ten in irregular rhythms, in a low pitch, or in excep- tionally long notes, demand a slow tempo.” 2. “Pieces of regular and but slightly varied metrical and rhythmical construction, in which the rhythmical and metrical accents coincide and the harmony is simple, demand a quick tempo. Such pieces demand the contrasts produced by f and p, cres, and dim., but little or no rallentando or accellerando or expressive accents. A quick tempo is like a carpenter’s plane, whiclt passes over all inequalities and irregularities, leveling and carrying everything before it. 3. “Compositions which have a certain richness of harmony and rhythm, and are yet devoid of complica- tions and irregularities, require a moderate tempo. It is evident that the tempo indicated at the beginning of a movement does not necessarily rule it from be- ginning to end. Changes in the rhythmical and har- monic structure of the phrases must produce a modi- fication of the speed.” Wagner, in his work On Conducting, gives some very enlightening hints. (The book is written in a rather polemic style, to combat certain errors which were common in the conducting of his day, so we merely give the gist of his ideas, in brief form.) A piece in which the beauty lies in the richness of the harmony and the elaborate gracefulness of the melody, can scarcely go too slowly, within reasonable limits. A piece in which the interest lies in the liveliness of rhythm rather than any song-like quality, can scarcely go too quickly—the faster the better, in fact. (Such a movement Wagner calls a Naive Allegro.) A piece which combines liveliness of rhythm with song-like quality can best be judged as to tempo by actually singing (with the human voice) the principal melody. (Such a piece Wagner calls a Sentimental Allegro.) The acoustic conditions of large halls often compel a somewhat slower tempo, for the sake of clearness. Organists who play in great cathedrals, where there is more or less of an echo, have especial occasion to notice this. Then, too, the instruments provided for use in large auditoriums—large organs, full-sized con- cert-grand pianos (and where a chorus takes part, a larger chorus)—have a superior richness of tone, and this in itself encourages a slower tempo. On the other hand, if one has a voice of light quality and limited power, or plays on an instrument of that character, in a small hall, more rapid tempos are in order. The writer recalls two performances of Massenet’s well- known song Elégie, one by a singer with a sweet, clear little voice, the other by a singer with a rich sonorous voice of great dramatic power, which were almost equally effective, owing to the fact that both singers were artists enough to choose a tempo adapted to their own voices and to the different halls in which they sang; the tempo in one case was nearly double what it was in the other. This is an extreme example, but serves well to illustrate the principle. hy JUNE 1918 Make Your Summer Count By Mae-Aileen Erb WHy not spend your summer profitably in so far as your musical welfare is concerned? If your teacher has not given you an outline for vacation study, do not “keep up” your practice in aimless fashion by skipping ‘from one thing to another, or, as so many are prone to do, let the days slip by while you are deciding what and how to practice. Instead, have an aim. Nothing is achieved without having a goal to urge one on. The . writer has always found the strengthening and equal- izing of the hands a fascinating and extremely helpful program for summer study. Everyone knows that, of the fingers, the fourth and fifth are the weak ones; of the hands, the left. Con- centrate on these “weaknesses” and you may be certain that two or three months of such practice will be of lasting benefit to you. The right hand during this “equalizing” period will need the least attention, except for the discipline of the fourth and fifth fingers. This may be had by trilling exercises. If you are fortunate enough to own a Metronome, by all means use it. Trill first in quarter notes (one note to a tick, then in eighths, triplets and sixteenths, setting the Metronome at 60 and working each group up to the highest speed possible before going to the next. An exercise for the weak fingers which may be used hands together as well as hands separately, is played with the third, fourth and fifth fingers. Its range is two octaves or more, beginning on Middle C and is played ascending and descending. Use each key in turn and finger as shown below: | C DE Fi teoate 3.4 3 Ww UI 5 4 5, etc. Begin this exercise slowly, with the Met. ¢ 60 and proceed notch by notch to Met. 160. Then move the pendulum back to Met. 60 and play in triplets to the highest speed you can attain comfortably. Be careful to lift the fingers high and to play decisively, for all this helps to strengthen the muscles. For the left hand work, review in all keys, the major and minor scales and arpeggios. You have discovered, no doubt, that scales are more difficult ‘to play backward than they are to play forward; therefor spend most of your time on the backward forms, which will necessi- tate beginning in the treble and descending for the four octaves. Use Metronome marks given below: J CRIS 208 ie Bae Seep 160 ae As ou ks cagtewenin Keep a record of the speed you reach from day to day and, when regular lessons commence again, you will know just exactly what you have accomplished. The above outline, supplemented by studies and pieces for the left hand alone will furnish you novel and valuable material for summer practice. The Art of Simplifying By L. E. Morse . In the study of any musical instrument, it is impor- tant that the student learn to simplify the difficult passages. While it is preferable to play the music as written, there are times when this cannot be done. For instance, shows of one night s‘ands that give an hour rehearsal, which really requires three hours, and others © which afford no rehearsal at all, it becomes necessary to practically read the music at sight. Here’s where the art of making it easy comes in. It is far better to simplify than to ruin. Rather play half of a run correctly than to attempt to play it all and make a mess of it. If you make it easy not many in your audience will notice it. Spoil something and it will attract atten- tion of all. Learn to pick out the most important notes in a chord and practice playing an octave lower. A little concentrated effort in your daily practice will help you in the art of simplifying—From The Dominant.

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JUNE 1918 + eee eere,e = x BS x ; teh Bae hk. rot Nai, Saas OS THE HTUDE Page 369 I aM able to look back over forty years of experi- ence of teaching the arts of music and piano-playing— two different subjects, often confused—and I should like to relate, without affectation or egotism, the sum of my experiences, in the certainty of its proving useful to others. It seems to me that the art of teaching is quite a modern development. If we may trust any writers at all, up to about the year 1850 the early meth- ods of instruction in all matters—not only music— were crude in the extreme, consisting in setting the pupil an uncongenial task and leaving it to him to find out how it was to be achieved; the master merely scold- ing or otherwise punishing any failure. Dickens, you know, has given us many—of course, humorously ex- aggerated—portraits of such teachers, from Mrs. Pip- chin in Dombey—whose system, he says, was not to encourage a child’s mind to develop and expand itself like a young flower, but to open it by force, like an oyster—down to the dull-witted Bradley Headstone and the grandiloquent Miss Twinkleton—humbugs all. Such figures are, I am glad to think, becoming impossible in the present time, when teachers are really trained for their vocation, and the day of the clergyman’s orphaned daughter, who took to teaching because she was fit for nothing else (admirable reason!) and who, in the novels at least, did no good whatever to her pupils, but wept and fainted, was persecuted by her employer or the villain of the book and ended by marrying a marquis—the day of this favorite creation of the novel- ist, if. it ever existed, is now past and over. Teachers, I say, are seriously trained for their difficult profession, and though this is still not so universally the case in music as in other branches of education, we are im- proving every day. Some of us are still apt to fancy that proficiency in playing an instrument, in using one’s voice or in composing music necessarily includes the ability to instruct others in those arts. There never was a greater error. lt is only excusable in those ignorant folk who regard lessons in the same light as patent medicines; people who have really learnt anything should know better. A Horrible Example Take my own case. To what end my personal studies were directed does not matter; but I] came out into the world at five and twenty and found myself confronted by two alternatives—teaching or starvation. Resent- ment at being thus balked in my own ambitions did not tend to sweeten an uncongenial task, but I swal- lowed this down and tried to do my duty. Heavens! how bad those pupils were, and how I hated them! With the best efforts to conceal my feelings it was impossible not to betray them sometimes, or at least to let the pupils divine that I was not happy. I fool- ishly thought myself a perfect angel that I did not smack their silly heads. It never entered mine that I was every bit as incompetent as they. JI was firm in the delusion that the student-world consists of two classes, the clever and the stupid. With the clever pupil the teacher had all the merit of success, and with the stupid the blame rested on the victim itself. The first nasty jar to my self-esteem came from an article I read in a paper by a famous teacher. I remember the very words to this day: “It may be taken as self-evident,” said Dr. Fisher, “that the progress of any pupil is rather a measure of the teacher’s capacity for imparting knowl- edge than of the pupil’s for receiving it.” This simple sentence overturned all my ideas on the subject of teach- ing and I began to realize that I knew nothing about it. When, shortly afterwards, I was talking to a friend, who was a well-known pianoforte teacher, he replied to my fulminations against having to teach the unteach- able by saying quietly: “However bad they may be, I like to know that I have had the satisfaction of leaving them some degree better than I found them.” Now up till that time it had never occurred to me How to Become a Good Teacher By Professor FREDERIC CORDER Of the Royal College of Music, London, England that it was of any use trying to make an unmusical per- son musical; the thing did not seem possible. The only solace in my wretchedness was a grim sense of humor, which led me to write savagely sarcastic articles in the musical press. Here are a few extracts from one, called “My Pupil,” which even at this distance of time seems rather amusing, especially as it recalls the sting- ing sense of injury under which it was written. My Pupil “She was about fifteen years old, the time when an English girl is at her worst in every respect. Formless, mannerless, apparently brainless and talentless, the only feeling she could excite was that of commiseration. I will call her Miss Smith, partly because that is not her real name and partly because, as the American humorist observes, it is a name full of poetry and wild, unearthly music. (Her own music was wild and un- earthly enough, goodness knows, especially when she attempted to play Schumann’s Slumber Song with the right hand in E natural and the left in E flat and made the quavers and semi-quavers all the same length.) She had just joined the school, and I at first believed . her to be suffering an agony of shyness which pre- vented her answering the simplest question ration- ally and gave her that vacuous expression with which I am now, alas! only too painfully familiar. But it was worse than shyness—it was that utter shrivelling up of the intellect which afflicts young persons, espe- cially of the female sex, the moment you try to make them realize clearly what they have hitherto known vaguely, After hearing her play several things in a smeary way and vainly correcting some of the worst faults, I pursued my investigations into her technic. My inquiry for studies was received with languid surprise and at last a book of short, character- istie pieces ofter the style of Heller was sroduced. The cover and several of the first pages were missing, and on asking my interesting pupil the title and composer’s | name of the book, I found that she had never thought of ascertaining. I remarked that it must give quite a romantic interest to one’s studies not to know what one is learning. “But have you no technical studies, or finger exer- cises? Cramer? Czerny?’ ““T think my sister has Czerny’s studies.’ replies were given in a timid whisper.) “Do you ever play your scales?’ ““Ves’ (doubtfully) ; ‘sometimes.’ “*Try one now. Say, D major.’ “A bewildered pause of a few minutes. Then, after cautiously feeling the keys, which I assured her she would not find too hot, she climed up and down the (All her required scale, leaving out all the C sharps, and getting fearfully entangled in the fingering. ““That is quite an elegant scale. You use different fingers all the time. I couldn’t do that myself if I tried ever so - “‘T haven’t practiced the flats—only the sharps.’ “*T see—that accounts for it. But I always prefer the scale of D to be played with two sharps. How many flats do you think are in it?’ | “After a mighty pause—‘Five—no, three.’ “*Oh! And which are they?’ “Another long pause—‘F sharp, G sharp and A sharp.’ “I felt as if my mind was giving way; but, summon- ing all my patience, I explained this complicated matter as clearly as I could. I might as well have spoken in Greek or Chinese. I felt inclined to tell Ler that if she made the acquirement of ignorance the busi- ness of her life, she could never graduate with higher honors than at the present moment; but I was too ex- hausted for irony. The lesson came to an end and I went and took a Turkish bath. “Weeks and months passed on and the leaden dull- ness of my pupil was unchanged. . . In vain I played to her, told her interesting anecdotes, used flattery, scolding, praise, irony and ridicule; I might as well have tried to interest the Wellington Monument. Her eyes gave no sign of intelligence, not a muscle of her face moved; she remained as impassive as a bishop’s butter,.i.. ” And so on, and so on. After describing how Miss Smith at last improved, by the simple process of grow- ing up, the article concludes: “Do you recognize the original of this portrait, my brother professional? Her name is not Miss Smith, it is Legion. She is, in fact, the typical schoolgirl whom we all teach in hundreds, and when I think of the enor- mous amount of time, trouble, labor and worry thus absolutely wasted everywhere and everywhen, I can only sigh and wish that I had been born a scavenger, or some such really useful artist, instead of a teacher of schoolgirls. The scavenger and the chimney-sweep, humble though their callings, earn the gratitude of the world by removing from it what is objectionable; while we musicians, who begin our career with lofty aims and aspirations, only inflict on the world what it would much rather be without—our compositions and our pupils.” The Teacher Handicapped by His Own, Unwilfingness The reader will hardly fail to perceive in the last bitter sentence the sense of personal annoyance dictat- ing the whole article. The writer was teaching under protest, longing to be doing something else all the while; how was it possible then that he should make a success of it? I do not say that he taught badly; he was conscientious and not quite a fool. But he had to learn that devotion to his calling, without which the best results cannot be obtained. It is all very well to say, “In vain I played to her, told her interesting an- ecdotes. . I might as well have tried to interest the Wellington monument.” That is not a fair state- ment; when experience had taught me how to win a dull pupil’s interest and confidence, matters went along very differently to this. The portrait of Miss Smith is, of course, a caricature, dictated by an irritated sense of resentment; how different it is to the faithful por- trait of another pupil of twelve years later, which I will endeavor to give you: A Grateful Pupil She was a harpist—they are seldom up to the average in musical ability—of interesting appearance and dark, sad eyes, which seemed to tell a tale of bereavement and misfortune. She was so tone-deaf that the sight- singing professor, Mr. Knott, and myself were quite struck, and compared notes, saying, “Can we possibly do anything with this one?” Well, we found her per- fectly willing to be taught, though anything but intelli- gent, and we labored over her to the very utmost of our powers for four years, until she was not only able to recognize all intervals and chords, but she actually suc- ceeded in harmonizing simple melodies and eventually composed a little song. She wrote me a grateful letter, some years later, stating that she had won a good ap- pointment in the colonies and was doing well, always trying to improve her slow mind, because she remem- bered how hard we had had to work for her. That letter was better worth having, don’t you think, than the compliments evoked by my “very amusing and life- like sketch?” Sympathy the True Secret The whole secret of success as a teacher—whether of music or anything else—is not in superiority, not even in proficiency, but in sympathy and elimination of self —a genuine desire for the pupil’s advancement over- riding one’s own desires and ambitions. How it grated on me to hear a young lady teacher once say: “So-and- so is such an annoying pupil; she wants so much atten-

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Page 3810 THE ETUDE tion that you can never lean back awhile and think your own thoughts!” Can there be teachers of this kind in the present day? One has heard incredible (but true) stories of such in the past; of Ernst Pauer, who used to read the news- paper by the fire, only shouting out an occasional re- proof when the pupil played a very wrong note; of old Sir Julius Benedict, who would wake up from a pro- found slumber and find himself two, or even three, lessons farther on than he expected; but surely we have got past all that? There is no longer any reverence left for the schoolmaster as such, for his cap and gown; unless he can prove his quality he will soon be despised as a humbug, and the pupils know what they want and see that they get it, as a rule. Talent May Be Latent The two bugbears of the earnest young teacher are lack of talent in his pupils and lack of industry. The former, I assure him, is very often more apparent than real. Ignorance always seems like stupidity, but it is a great mistake to confound the two. You probably cannot recall your own bewilderment of mind when you were first learning music, but at least you can re- member what a helpless idiot you felt when you first tried to ride a bicycle. I ask you to recall that para- lyzed sensation of clinging to the handle-bars for dear life when you try to teach a beginner, and you will then realize how our nerves rebel when our muscles and limbs are asked to exercise themselves in any un- wonted manner. If you can bear this in mind, you will at least pity and sympathize with the awkward attempts of the unskillful learner instead of losing patience. This latter is quite fatal to any progress, besides being silly and a confession of weakness. Another thing to bear in mind is that talent is not always immediately manifest. It is useless to define talent as a natural liking for or inclination towards a subject. You cannot really like a thing until you have had some experience of it. Maké the approaches to music as inviting as possible—minimize the drudgery of the early stages—and you will at least give oppor- tunity for a liking to declare itself. But in truth talent - consists chiefly in noticing and remembering. We ignore ninety per cent of the things presented to our senses and only notice what we choose to. As to mem- ory, this is entirely a matter of will; if we find it necessary to our welfare, we can remember anything. One of my schoolmasters had a favorite retort when a shirker had “forgotten” to bring his exercise. “Did you ever forget to put on your waistcoat?” he would ask. “Why not?” And no answer was ever attempted. There is far less in the conventional idea of -“talent” and “gifts” than is generally supposed. It is a nice, lazy theory that you either have or haven’t them; but while the amateur devoutly cherishes it, the experienced professional scoffs. Every Pupil a Fresh Problem _ Still, there is no getting away from the fact that most of our first pupils will be-terribly bad. But set against this the fact that your first lessons will be equally bad, - for whatever theorists may say, you cannot learn how to teach except by experience, and even then every fresh pupil is, in some respects, a fresh problem to solve. That problem is represented by the word Individuality, and will usually involve the second of the two bug- bears mentioned above. “How shall I get this girl in- terested in learning to play?” That is the one question the teacher has to be perpetually seeking for new methods of answering. It is no use to generalize and say that the average girl is unmusical, a born slacker, or anything like that. There is no such thing as an average person; pupils are all different—completely and entirely different. Wiéith many it will be sufficient to realize that the teacher is really interested in their progress for them to become so too; the spirit of imi- tation is strong. With others it will be needful to play on the foibles of envy and jealousy, mentioning (casu- ally and with great tact) the superior progress of other pupils—especially their superior industry, for the spirit’ of emulation is stronger. Above all, the greatest ex- perience is required to know when and whom to scold, when all other methods fail. As a rule, the teacher who rates his pupils perpetually, disgusts and discour- ages them, and there are a hundred more efficacious . ways of improving an apparently hopeless slacker than by getting angry. My own teacher, Isidor Seiss, used to make his own life and that of. his pupils quite mis- erable by his ungovernable temper, which did no good —for we were all earnest professional pupils— and only wore him to the grave. Avoid scolding as far as pos- sible, and show your disappointment at idleness as delicately as the particular case will allow, for the spirit of ‘wanting to be liked is, in most ‘young people, the strongest spirit of all. Do not forget, either, to criticise your own work per- petually, and compare it, in a spirit of open-mindedness, with that of other teachers. Beware of shibboleths and “methods.” When a mother comes to me and insists upon her daughter being taught on the “Deppe,” or “Madame Schumann,” or this, that and the other method, I always protest that I have never used any other, and then proceed to teach just in my own way. They never have the least idea of what any of these patent “methods” are, and provided you give goods results, no one will challenge yours. Finally and in conclusion, my brethren, be prepared for plenty of failure and disappointment, all of which you must resolutely put behind you and forget. Your pet pupil, for whom you have done most, may prove ungrateful and leave you for the superior attraction of a foreigner with a great name; your best school may burst up, owing you money you can ill-afford to lose; all sorts of unpleasant incidents are likely to occur— but so they are in any walk of life. On the other hand, if you do your work sincerely and well you will in- evitably encounter, now and again, some friendly soul, some kindred spirit, that will abide with yours, even after actual separation. Teacher and pupil will become life-friends—whether together or apart matters little— and existence willtchange from dull grey to the beauty of the rainbow. I do not hold out this prospect as a sugar-plum reward for being good; I merely mention it as a reasonable prospect of the results of unselfish labor. You need some such incentive, for I believe no one ever found teaching a very attractive pursuit at first—so long as they were raw and inexperienced, I mean. You often hear of the “born teacher,” but I don’t believe in there being a born anything, except a born fool, and we are mostly that. But when you have really learned your job, whatever it is, you ought not to want to exchange places with any king or president that lives. Why Bach? By Wilbur Follett Unger Isn’t it odd—or is there perhaps some psychological reason back of it?—that of all the great composers, the one preéminent master whose music gives true delight to every real musician who listens to or plays it, and at the same time arouses the ire and disgust of almost all laymen who are forced to listen to it, is— Bach! Let us see if there is anything to this odd condition of musical appreciation. people who show such distaste for the grand old Cantor of Leipsic are justified, or whether the learned musician is right and the public taste should be moulded. If you were ailing in some part of your physical anatomy and your physician prescribed certain bodily exercises that would positively benefit you, you were assuredly foolish to declare a distaste for those ex- ercises! If you are a piano student, you will find in Bach’s music a certain discipline to the fingers which will positively eradicate any carelessness that you may have previously been addicted to. If you had been reading trashy literature and were recommended a course of higher reading by some scholar, would it not manifestly be silly for you to exclaim that you have no taste for such dry reading! Rather ought you not cultivate a taste for it, since time and greater authorities than you have proven the worth of this higher literature? Well, then, Bach stands in music as Shakespeare, for example, stands in literature. Bach’s music is pure, solid, absolute. If in playing or listening to Bach’s music, nothing else be accomplished other than having made you think, then that alone makes it worth while. The study of Bach makes the student appreciate the value of different melodies or voices sounding simul- taneously, each of them independent of the others. He enlarges your scope for reading, memorizing and con- centration. He forces you to be certain of your fingering, if you have never done this before, and trains both hands equally, giving independence of hands and fingers—a highly desirable attribute in piano- or organ-playing. If the layman does not happen to be a music pupil at all, let him at least not scoff at Bach, but rather respect his music as an unknown quantity (to him) which great musicians of all times have revered and lauded. If you are a piano pupil who yet has not acquired a | FERRUCCIO BUSONT: Let us see if the mass of - _ English words, as far as possible. JUNE 1918 love for Bach, and all of the foregoing means nothing to you, listen to what some of the greatest masters of music and others have to say regarding the most re- spected and best beloved of all composers: ROBERT SCHUMANN: “Practice industriously the fugues of good masters, above all those of John Sebastian Bach. Make the Well Tempered Clavichord your daily bread. Then you will surely be a thorough musician.’ FREDERICK THE GREAT: but one Bach.” GOETHE: “To me it is with Bach as if the eternal harmonies discoursed with one another.” ALBERT LAVIGNAC: “One of the greatest musi- cal genuises of the world.” GUSTAV KOBBE: “Even the most advanced work of a Wagner or Strauss is neither as complicated nor as elaborate as a fugue by that past master of his art, John Sebastian Bach, who, although he was born in 1685 and did not live beyond the middle of the follow- ing century, was so far ahead of his age that not even to this day has he fully come into his own.” FANNIE BLOOMFIELD-ZEISLER: “I have long felt that the mental technic that the study of Bach’s Inventions and Fugues afford could not be supplied by any other means. It may take some time to create a taste for Bach, but the teacher will be rewarded with results so substantial and permanent that all the trouble and time will seem well worth while. There is also a refining influence about which I would like to speak. The practice of Bach seems to fairly grind off the rough edges, and instead of a raw, bungling technic, the student acquires a kind of finish from the study of the old master of Eisenach that nothing else can give.” “In the study of the sub- ject of accentuation and phrasing it would not be pos- sible for anyone to recommend anything more instruc- tive than the work of Johann Sebastian Bach. The immortal Thuringian composer was the master-weaver of all. His tapestries have never been equalled in refinement, color, breadth and general beauty. Why is Bach so valuable for the student? This is an easy ques- tion to answer. It is because his works are so con- tructed that they compel one to study these details.” TERESA CARRENO: “Most musicians would say that Bach was the one great stone upon which our higher technical structure must firmly stand.” ALEXANDER McARTHUR: “The Bach IJnven- tions are in piano playing what the fifth proposition in Euclid is to students.” WILLIAM MASON. “At the present day, assidu- ous practice of the Bach J/nventions will be of the utmost utility to each and every talented student of pianoforte playing who wishes to rise above mediocrity, as regards developing his fingers and his musical taste. For in none of the recent, easier piano-pieces does the left hand part contain such an independent treatment of the theme as in these Jnventions. [Eprror’s Nore.—While the statements in the above article are in every respect true, yet we have a feeling that the purely technical value of Bach’s music has been emphasized to the neglect of its emotional content. In the employment of the polyphonic style, Bach was not peculiar—he was simply pre-eminent in what was the habitual style of com- posers of his own day. The thing that gives him lasting claim to greatness is his power of noble expression of the whole gamut of human’ emotion, ranging from the prim gayety of his Gavottes, Bourrées and Gigues, to the tragic grandeur of the choruses in The Passion According to Saint Matthew, the exultant joy in the Christmas Oratorio, or the lovely tenderness of My Heart Ever Faithful, from the Whit- suntide Cantata, Excellent as the Jnventions are, as exer- cises—and it was avowedly for this di a, they were writ- ten—we have often felt it to be unfortunate that a pupil’s first idea of Bach should be gleaned from so unattractive a field. The teacher should take pains to search out and for the pupil some of Bach’s more inspiring and inter- oe Be numbers, in order to give the pupil a juster idea of Bach than he can obtain from his own early practice.] “Gentlemen, there is Coining New Words WE have observed on many programs, and even in some of the “copy” which comes to us from contrib- utors, a curious attempt to coin a quite unnecessary word, pianiste, to distinguish one of the gentler sex who plays the piano. There is no such word recognized in standard English dictionaries, and if one imagines that it is a French word, we would call their attention to the fact that this word is used in French to signify a person who plays the piano, without regard to sex. | The same thing may be said in regard to violiniste. There is no such word either in English or French dictionaries. The French word is violoniste, which is usually masculine, but the same word is used for a lady player, with no change of spelling, if occasion requires. It is best to stick to familiar and well-understood An ignorant and incorrect use of forms borrowed from a foreign language is a barbarism.

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JUNE 1918 ; ee go, ee HS ST ge RM Re gee Pg a ke ee eR PR Cow SR eS oe Ne : “ . 5 ES es SRP SR PR eee ae ae ‘ ; se Be ee RE ee ON OR oe IP RRM oo FE Rw ec wf F eR me @ & THE ETUDE Page 371 The Great Lakes’ Naval Training Station Band was organized by Lieut. John Philip Sousa at the beginning of our war and has been instrumental in raising immense sums of money and large numbers of recruits. Incidentally Lieut. Sousa gave up a very large income for a slender salary in order to serve the Stars and Stripes. The band numbers over 250 men. It is one of the largest bands ever organized for continued service. The ages of the men are mostly from 18 to 21. Let’s Have More Music ‘Than iG The United States Government Recognizes a Great Need It is with the deepest gratification that we note the strong support being given to music at this time, when it plays so great a part in the “Cheer Up” and “Carry On” policies of the nation. If ever musicians and music teachers had a mission that mission is right now and here. American musicians are coming to the front magnificently. Those who have not actually enlisted in the military service as have Felix Schell- ing, Francis MacMillan, Albert Spaulding, Percy Grainger (Mr. Grainger has taken out naturalization papers as an American) and many others are doing all they can to keep America keyed up to its great and glorious task of the present. Music teachers, this is your great opportunity. No longer can people say that your part is an insignificant one. Music is inspiring our troops leaving for the battle line, music is consoling those who are waiting in anguish at home, music is firing thousands of young men with the zeal to enlist, music is helping to sell millions of dollars’ worth of Liberty Bonds, Saving Stamps, etc. Music is helping the Red Cross, the Y. M. C. A,, the Knights of Columbus, the Young Men’s Hebrew Association, the Emergency aid. It is finding a place everywhere and is helping the new world to keep its head above the thunders of war, and able to maintain its unheard-of activity and its nobility as a nation fighting for high ideals and prin- ciples. The world has suddenly awakened to the fact that even in the times of greatest stress we cannot do without music. In fact, one of the branches of the Government serv- ice has circulated a statement that wholesome, rational recreation is not to be regarded as a luxury but as a necessity, especially in war time. mentality of our boys. We must realize that the great new army includes thousands and thousands of men who have been accustom d to the best in art and intellectual life. To have the mental exercise and re- freshment to which they have been accustomed sud- denly withdrawn would prove anything but beneficial. Wise Government Recognition The newspapers of the United States recently re- ceived from the Department of Public Information the following quotation from THe Ertupe, which first appeared in an editorial in this publication. Its repub- lication in any paper would, of course, benefit any one professionally or industrially connected with music, but that is not the point; the musicians of America and those connected with the musical industries stand ready to meet any readjustment which might be nec- essary in helping to win the war, but it would be dif- ficult to conceive of any other way in which they could minister to a public need more forcefully than through their present work in music. The following is the quotation from the ETUDE editorial, circulated through Government channels to other publications. All material of this kind per- taining to: the present situation may be republished, with or without credit to the Etupre, It is a public work in which the Etupe is proud to participate, as American Music should receive immense benefits from it: Rupert Hughes on “Music as a War Need” To THE ETUDE: ‘*Paderewski told me the other Indeed, the United States Govern- ment, through the Department of Public Information, has recognized that Music is a great factor in pro- moting optimism, patriotism and confidence in this hour of national strain. The part played by famous Ameri- can musicians in playing for sol- diers at our camps has done much to keep them mentally capable for the big tasks they have had to meet. The following is simply one letter of appreciation sent by Colonel C. P. Franklin, of Camp Crane, to Mr. Rudolf Ganz, after his voluntary recital at the camp. “The commanding officer desires me to express to you his great ap- preciation of your courtesy in com- ing to entertain the men of our camp. Work such as yours, by men such as you, is the finest way of doing one’s bit, and you may rest as- sured of the appreciation in this camp of everyone for your courtesy. We trust that your recollection of night that although Germany forbids the Poles to sing their . National Anthem in times of peace, when she sends them into battle, she orders them to play it that it may fill their hearts with fire. There 1s nothing that helps the troops across the miles like music, nothing that cheers or solaces them more in camp, nothing that more vividly ex- presses glory and the rapture of sacrifice and in expressing at rekindles it.” Rupert HuGHES CAPTAIN RUPERT HUGHES, U.S. INFANTRY the event will be as pleasant as Mr. Ganz is only one of the men and women among American musi- cians who have gone from camp to camp, keeping up the spirits and Rupert Hughes was born at Lancaster, Mo., January 31st, 1872. ours.” University and at Yale. In his early life he was very greatly interested in music, did much work as a music critic, and also wrote some notable books upon music including ‘‘Love Affairs of Great Musicians,’’ ‘‘American Great success as a dramatist, novelist and writer of short stories induced Mr. Hughes to turn from the musical field. Mr. Hughes is now a Captain in the United States Army. For many years he has been interested in military affairs. Composers”’ and a ‘‘Music Lover’s Cyclopedia.” He was educated at the Western Reserve “In order to win our great war some people have thought it would be necessary to discountenance certain so-called ‘non-essentials,” Frequently the first named is music. “This has been the exact contrary to the experience of all the warring nations of Europe who during three years of torrents of fire, steel and blood have found that music was one of the things which have kept the men at the front and the people.at home capable of enduring the greatest strain human beings have ever been expected to bear. Wh: “Great Britain is now reported to be spending large. sums of money to bring back her musicians, speakers and actors to help preserve the public equilibrium at home, “Without relaxation, amusement, music and mind- rest civilization will turn to utter barbarity, and the hope of sane and permanent peace will be lost. “Our nation is making elaborate provisions for the amusement of the soldiers at the front. We who must stay at home must depend upon music, reading, lectures and the theatre to keep our spirits at the top- most point to bear any ordeal that may come to us.” EtupE readers are invited to read the May issue of this journal with care and pass on the inspiration contained in the very unusual opinions sent to. THE EtupE by Lyman Abbott, General Hugh L. Scott, Lieut. John Philip Sousa, Owen Wister, Hon. Henry Van Dyke, Ida Tarbell, Dr. Anna H. Shaw, Rabbi Krauskopf, Mon- signor Henry, Rev. David M. Steele, Macklyn Arbuckle, Thomas Edison and many others. In this issue we are presenting a letter from Cap- tain Rupert Hughes, again empha- sizing this important point. The American Federation of Mu- sicians, affiliated with the American ° Federation of Labor, has been do- ing its part in promoting work con- nected with the war. Mr. Owen Miller, Secretary of the organiza- tion, in a recent letter to THE ETUDE, Says, in part: “Music is the twin sister of civil- ization. Without music civilization would be unbearable. At this time when the world seems to be revert- ing to barbarism through the fright- ful, brutal war, it seems out of the question that any one could con- sider music as other than an es- sential. “Great soldiers have recognized the value of music in connection with the work of the army. On the march the troops are inspired by the music of their bands.. They seem to be able to stand far more fatigue with the music of the bands than they can stand without them. In the camps the greatest pleasure of the soldiefs are the concerts and other entertainments given with the assistance of music. At home, far from the battlefields, where anxious mothers, fathers, brothers, sisters and sweethearts are scanning the casualty lists every day, the sweet consolatior. of music is of the utmost benefit.”

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Page 872 THE ETUDE _ A Toy Drum and a Tin Whistle Mr. Owen WIsTER, the famous American novelist (and himself a musician of ability) in a letter given out by the Department of Training Camp Activities says: “Music is as necessary to the soldier's heart as bread is to his body. Music is often spoken of asa luxury, but it ts not a luxury, even in times of peace. “It is probable that no battle was ever won by soldiers who did not sing. When soldiers have been too ex- hausted to sing, just listening to music has put new life into them. Just such a case as I have in mind occurred during the retreat of the British before Mons in 1914. “The heavy fighting they had been through had proved too much for a certain con- tingent of troops. The men lay on the ground played out, indifferent and benumbed: The enemy was coming, but the men were too tired to care. Their commanding officer looked at them in despair. Commands and en- treaties to march on were of no avail; the men refused to budge. “Near at hand was a toy shop which had been abandoned by the proprietor when the retreat began. The officer made for the shop, and a moment later appeared with a toy drum and a tin whistle. Then, while he played the drum, two soldiers took turns playing the whistle. The music from the drum and the whistle awak- ened the benumbed men, stiffened their legs and spirits to further ef- fort and they arose and marched ten miles to safety. “That is what music did im one case. In the medieval age the Ro- mans and Greeks had their battle songs, and even now our warriors sing in battle. It has helped to win many a victory. Indeed, music has played a brilliant part in the history of all great wars.” It should be the labor of love of every American musician at this time to endeavor to work with the other musicians of the community in plan- ning meetings of a character to in- spire patriotism — meetings where .music is combined with statements of principles pertaining to the pres- ent world crisis. Such meetings are of great value in waking an all too lethargic public. Americans have such confidence in themselves that they are very prone to procrastinate. “Tf we don’t do it to-day, we can do it to-morrow” has lost many a battle. Music serves to help in focusing pub- lic opinion at public meetings where this is desired. It is said on good authority that at big meetings in Chi- cago toward the end of the second Liberty Loan the famous Great Lakes Naval Reserve Band, under Lieut. John Philip Sousa,’ actually boosted the subscriptions ‘up by the million. That is, at a great public meeting where subscriptions were being taken, the subscriptions would go up by leaps and bounds after that splendid group of 350 young Americans fairly rocked the building with the powerful and _ beau- tiful music of the band. At a patriotic meeting held in Philadelphia last fall Louise Homer and Henri Scott, backed by a chorus of 10,000 school chil- dren, accompanied by bands and artillery supplanting drums drew.a crowd of 150,000 to a great open-air meeting in the park. The result was that the meeting was shown in print and in moving pictures to millions of people in all parts of the country, and it did much to stir others to realize the needs of the hour. America will need continual stimulation and to realize the im- portance of universal activity in working for a com- mon cause. It will also need music to afford relaxation from the burdens which to-morrow are certain to bring us. Musicians should not let a moment be wasted. Meanwhile we shall all need more music in our homes, all we can possibly get. Keep the young folks busier than ever at the keyboard. Lead them to know that the more music they make in the home the more interesting and more cheerful the home will be. bright, pretty, inspiring pieces. ulate. Avoid dirges and funeral marches. Try to get. pupils to plan musical Harmony of word and tone somehow draw us more close together for the common ordeal, * “Music, whether for those serving at home or on the firing line, brings comfort and ins piration—it lifts the spirit above the barbarity of the fight and the materialism of the work intg things of the spirit—the meaning of the struggle. SOOTHE AND HEARTEN US FOR THE FIGHT THAT MUST BE WON—IT WILL HELP US ON TO VICTORY.” Samuel Gompers was born in London, England, January 27th, 1850. year has been devoted to bettering labor conditions throughout the world. American Federation of Labor and with the exception of one year has been its president since 1882. The fact that he has repeatedly declined to accept high salaried positions that would oblige him to give up his © life work is the best testimony to ‘his sincerity and earnestness. bership running into the millions testifies to his ability. ' ing the works of the masters. Select evenings, when the whole family may get around the piano and sing favorite songs. All this will help im- mensely to keep up the national spirits, and father and mother will take a new and brighter interest in life. LET’S HAVE MORE MUSIC THAN EVER. The nation is watching its musicians now. What they contribute toward the common weal of mankind will redound to their credit. This is an hour of giving for the sake of humanity and humanity’s battle. Let it not be said that the musicians of America did not give to the limit of their time and means. LET’S HAVE MORE MUSIC THAN EVER Hon. Samuel Gompers on Music in Wartime To THE ETUDE: “In: this war we are utilizing more intelligently than ever before the need and power of music. The war has stirred the very depths of life— through music we find relief in ex- pressing emotions otherwise inartic- es) MUSIC WILL SAMUEL GOMPERS “Ragging” Good Music - By Edward Baxter Perry IT is no uncommon thirig in these days of rampant frivolity and seemingly almost universal imbecility, to hear in hotels and other places of public gathering not only a continuous series of the trashiest ragtime pieces played on a mechanical piano, or even by a so-called orchestra, which are a deliberate insult to all intelligertt persons present, but even well-known good compositions by recognized composers of higl. standing perverted and distorted out of all semblance to the original works and vulgarized beyond the power of language to express by being changed and twisted into cheap ragtime rhythms. Only lately I heard in the dining room of a first- class hotel in a large city the Tratimerei by Schumann and a few other equally exquisite and well-known gems played in ragtime throughout by an orchestra composed of fairy good executants, which might have ‘been good if it had confined itself to legitimate work instead of attempting to cater to the present ragtime mania. If the distance between us had not been so great I certainly should have thrown my dishes, with their contents, at the head of the director. But I was afraid to trust my aim. If musicians, so-called, will insist on prostituting their art, whatever talent they may possess, there is plenty of cheap stuff they might give without desecrat- I have heard that there were in New York surgeons who advertised to oper- ate for the ragtime mania, and I should be willing to contribute something to encourage such an attempt. His whole life since his fifteenth He was the organizer of the The fact that the Federation has a mem- JUNE 1918 But I doubt if they could find within the skulls of such musicians or their voluntary listeners sufficient brains on which to operate. | Ragtime is syncopation gone mad, and its victims, in my opinion, can only be treated successfully like the dog with rabies, namely, with a dose of lead. Whether it is simply a passing phase of our decadent art cul- ture or an infectious disease which has come to stay, like la grippe and leprosy, time alone can show. But so long as the general public insists upon hearing it I regret to say there will be plenty of musicians, again so-called, who will be quite ready to furnish it at so much per night. What they do with their self-respect, if they ever had any, in the meantime is a problem for the psychologist to wrestle with, but which is wholly beyond my power to solve. We have Musical Unions in many of our cities, and one of the first rules they should pass is that any member found guilty of what is called “ragging’ a classic should be dismissed from the organization in disgrace, and never again permitted to appear in any reputable organi- zation. I knew of one string quar- tet from Chicago who had two of their dates in Kansas cancelled last season because they flatly refused to play ragtime stuff on their program. All honor tu them! Unfortunately, the bureaus and lyceum managements realize the trend of public taste, and cater to it, instead of attempting to elevate it. With them it is purely a busi- ness proposition. They engage by the season the attractions which they can get for the least money and sell for the most, because they are what are known as “Box Office Proposi- tions.” It is a fight to the death between the bureaus, on one side, and the real artists and would-be educators on the other. And at pres- ent the tide is running strongly in favor of the bureaus. Unless the local managements of, lyceum courses take a firm and decided stand in the matter and find some way to work together there will soon be no artists at all worthy of the name, only bureaus and the players of Good Gravy Rag, whom they send out and foist upon the helpless public. And then what be- comes of good music, with its edu- ‘cational and artistic uplift? If, however, worst comes. to worst, and cheap music and vaudeville kill the con- cert and the theater, as is already being done, let us at least make a stand together in the interest of the few who really care and insist that ragtime effects shall be obtained from ragtime writers or the ragbag or any other available and suitable source, and that really good music shall not be mutilated, degraded and disgraced by being subjected to the “ragging” process. That Weak Measure By T. L. Rickaby To THE school boy or girl, ninety per cent. is a fine grade. The musical performance that is only ninety per cenit. good is another matter. When the hostess at breakfast apologized for a dubious egg, the polite guest answered “Parts of it, madam, are excellent.” But who wants an egg only parts of which are good? And it is the same with other things besides eggs. In the case of a piece of music, one doubtful meas- ure here, another one there, a difficult passage evi- dently not mastered on this page, and a slip or two on that will render the performance as a whole unsatis- factory no matter how well done “parts of it” may ctherwise be. As a chain is just as strong as its weakest link, so is a performance just as good as its poorest measures. Look out for these weak measures. Concentrate the work on them to the exclusion of everything else. Thus will the playing be “evened up,” the weak places will be strengthened, and the rough places made smooth.

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JUNE 1918 THE ETUDE Page 373 The Etude Master Study Page In this group of Russian composers we meet those masters whose works have embodied the various phases of Russian and Slavic genius. In many instances we find that they have accomplished an almost miraculous amount of work in face of the fact that much of it was done in their “spare time,” while they were busily engaged in other occupations. Many were almost entirely self-taught, and several did not even com- mence their musical activities in earnest until they had reached manhood. The spelling of Russian names (owing to the Russian lan- guage using a different alphabet), to say nothing of their pronunciation, has led to infinite confusion. The following spelling is given by an eminent Russian authority in the Musical Times (London). ‘These spellings are frequently seen in modern discussions of Russian compositions. In our text, however, we have used the spellings adopted by the Grove Dictionary, Balikirey (bi-li-ke-reff). Borodin (bo-ro-din’), Cui (koo’-ee), Dargomyzhsky (diir-go-mish’-ski), Glinka (Glink’-a). Glazunéy (glaz-d-noff). Leschetizsky (les-che-titz-ki). Moszk6wski (mos-kof’-ski), Musorgsky (m06-sorg’-ski). R&kbhmaninoy (riik-miin’-e-nof). Rimsky-K6rsakov (rim’-ski-kor-sa-koff). Stravinsky (straf-in’-ski). Skryfébin (skryii’-bin), Tanéey (tan-é-yef). Techaikévski (chi-kof’-ski), Michael Ivanovitch Glinka Glinka’s chief distinction lies in the fact that he was the first of the great national composers of Russia. He was born June 1, 1804, twenty-six years before Anton Rubinstein. Rubinstein found almost immediate favor for his compositions as he wrote almost entirely in a German style, so that he could almost be classed as.a German composer. Glinka, on the contrary, saw the rich treasures of Russian folk-music, and endeav- ored to bring the spirit of Russia into his work. Glinka was a nobleman by birth, and a highly cul- tured gentleman. After some preliminary studies he came under the educational direction of the Irish pianist-composer, John Field, in Moscow. Field took a great interest in his pupil, and Glinka became an accomplished pianist. At the age of thirty he went to Italy, where he remained four years. Then he went ae a ae ae Te a ae > Sess Set 5 ie, te “Setete! ¢ Os catstaterere oe? Sy ee ole, ‘a % ie ee, ‘eteteletetete.«' ake ALEXANDER PORPHYRIEVICH BORODIN, opera Esmeralda on a plot by Victor Hugo. A Group of Russian Composers to Berlin, where. he studied under Dehn and resolved to become a composer. lis first opera, A Life for the Czar, was produced at St. Petersburg, December 9, 1836, and until the Revolution was one of the favorite operas of the Russian people. Russlan and Ludmilla, an opera for which the Russian poet Pushkin (part negro) wrote the book, also became a favorite after its production in 1842, He made additional trips to Paris, Spain, Italy and Berlin, where he died in 1857. In addition to his operte he partly completed two sym- phonies and wrote other works for the orchestra, some Songs, some chamber music and some pieces for piano. While Glinka did not reach the heights attained by later Russian composers, as a pioneer he deserves immense praise, Alexander Sergeivitch Dargomijsky Dargomijsky is another notable Russian example of the self-taught musician. He was born in the prov- ince of Toula, Feb. 14, 1813, and died at St. Peters- burg Jan. 29, 1869, Of excellent family, he was edu- cated for the government service, and did not begin to devote himself seriously to musical composition until he was twenty-two years of age, when he withdrew from the Control Department. In his childhood he had many musical surroundings, which developed his taste, but it was not until he was twenty that he met Glinka, who advised him to take up music as a pro- fession. Glinka loaned him the harmony exercise books he had had when he (Glinka) studied under Dehn in Berlin. This was the only theoretical education that Dargomijsky ever had. In 1839 he produced his In 1856 his opera Roussalka was first given. Notwithstanding the popular success. of these works he went on a lengthy tour of Germany, France, England and Bel- gium, to extend his musical vision. Only in Belgium did his musical work receive great popular favor. Upon his return to Russia he met the inspiring Balakirev, who set the composer’s mind toward the new ideals of the rising Russian School, with the result that Dargomijsky’s later works represent a notable advance. ' The most significant of his productions was The Stone Guest (orchestrated later by Rimsky-Korsakov). The opera is distinguished by continuous recitative, and marks so radi- cal a departure from the conventional that many of the Russian composers came to call it “The Gospel.” Apart from his operas (five in number) Dargomijsky wrote three works for orchestra, a few yocal works and a duet for piano, Alexander Porphyrievich Borodin Borodin was a son of a prince of Imeretia and was born in St. Petersburg Nov. 12, 1834. He was trained to become a physician, and for two years served in a military hospital. Later he became professor of chemistry at the Academy of Medicine in St. Peters- burg. In 1862 he met Balakirev, and became a ready disciple of that master. Although he still kept up his interest in medical matters and wrote many treatises upon the subject he also achieved great things in music. In 1877 he visited Liszt at Weimar and later visited Brussels, Belgium, where his compositions met with decided favor. He died Feb. 28, 1887, as a result of overwork. Borodin’s life indicates how a man at the age of 28, with little more than an amateur’s grasp of music, can find time in the midst of a very busy life to pursue an art and turn out real masterpieces. His greatest work is, in all prob- ability, Prince Igor, an opera in four acts and a prologue, which was not produced until after Borodin’s death. He also wrote two symphonies and part of a third, some ex- eenoeal string quartets, and many songs and pianoforte pieces, Cesar Antonovitch Cui Although well known as a military engineer of high rank, Cui has constantly followed his fondness for music and ranks among the most gifted of the Rus- sians. He was born at Vilna, Poland, Jan. 18, 1835. His father was French. As a boy Cui received instruc- tion from the noted Polish composer Moniuszko. Dur- ing his military studies he was forced to give up his music, but when he graduated, at the age of twenty- two, he met Balakirev, who incited him to take up his musical work again. Thereafter he was almost en- tirely self-taught. It seems inconceivable how a man who was a Lieutenant General in the Russian Army, a Professor of Fortifications in a military school (Czar Nicholas II was one of his pupils) could find time to turn out so much musical work of high character, melodic charm and exceptional finish. In addition to his many songs, choral works, chamber music pieces and much charming pianoforte music, he wrote many unusually fine things for the orchestra and produced eight operas, the best known of which was on the English subject, William Ratcliffe, Cui died March 15, 1918, Mily Alexeivich Balakirev Balakirev is one of the most notable examples of the self-taught musician, having received even less assist- ance than Wagner, Elgar and other masters who have depended upon themselves for their musical training in large measure. He was born at Nijny Novgorod, Dec. 31, 1836. His mother taught him the rudiments of music, and a friend in whose house he lived gave him free access to a large musical library and per- mitted him to play in a private orchestra. At eighteen he removed to St. Petersburg, where he gained the in- terest and protection of Glinka. Glinka at once real- ized that he had found a disciple and a successor, and Balakirevy in turn made an immense impression upon such composers as Cui, Borodin, Rimsky-Korsakoy and Moussorgsky, doing much to help them preserve the Russian spirit in their music. He first, however, in- sisted that his pupils become familiar wtth the great musical art products of the:masters of other European countries. While Balakirev’s works are not ni&merous, they are ex- ceptional in character and force. Of ‘his seven works for orchestra, his overture, King Lear, and his symphony are probably the best known. He issued several collections of songs of a national type. He produced a number of com- positions for pianoforte, including the Oriental Fantasy Islamey, considered by some pianists as the most difficult composition for the instrument. Modeste Petrovich Moussorgsky The music of Moussorgsky carries with it such a radically new and different atmosphere that many have been led into the mistake of believing that he was un- schooled in the works of preceeding masters. This was not in any sense the case. Born in Karevo, Russia, March 16, 1835 (two-years after the birth of Brahms) he remained an amateur until he was twenty-two, when he met Alexander Sergeivitch Dargomyzski, who had likewise started his musical career as an amateur, only to become later the bridge between Glinka and the new cult of Russian music which is so strongly impregnated with the folk spirit of Russia. It was Dargomyzski who inspired Moussorgsky to take up music as a career, but Moussorgsky had already received a fine prelimi- nary training, as he was able to play many of Liszt’s compositions as well as a Concerto by Field when he MOoDESTE PETROVICH MOUSSORGSKY.

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Page 374 THE BRTUDE * NICHOLAS ANDREIEVICH RIMSKY-KORSAKOV, was only nine years of age. He became an enthu- siastic student of Schumann and Beethoven, as well as of Russian composers. Many of the foremost Russian composers at that time realized the futility of earning a living at music alone, and for this reason we find men like Borodin, Cui and Rimsky- K6rsakov, retaining their military, professional or govern- mental positions and making music an avocation. Mous- sorgsky resolved not to do this, and accepted a life of poverty and struggle, until be was compelled to take a small governmental position to help keep body and soul to- gether. His life was very irregular, and as time went on he seemed to abandon all ideas of dogmatic forms, attempt- ing to align his music with nature. Through privations and overwork and a naturally sensitive disposition. he became addicted to drugs, and died on his forty-second birthday in St. Petersburg (March 16, 1881). Moussorgsky, like Wagner, brought great ideas and great reforms to the art. He leavened the whole field of Russian music, and inspired many of the most daring modern French composers. He thought for himself, and his employment of the instruments of the orchestra is so original and so effective that it has been widely imitated. He was especially fond of the use of bells, suggesting those of the great Rus- sian Cathedrals. His ignorance of some phases of orches- tration are said to have contributed to his originality. He had to find his effects for himself. He never had anything like the thorough musical schooling of Rimsky-Korsakov, and was hampered by his in producing his works. Who can say, however, that this was not a reason for some of his originality? His best-known work is his national opera, Boris Godounov, first. produced at St. Petersburg in 1874, and given in recent years with a gorgeous production by the Metropolitan Opera Company of New York. His other operas, The Matchmaker (one act only) and Khovanstchina, are less known. in addition to these, Moussorgsky wrote three works for chorus and orchestra, several songs of very “modern” type, four orchestral pieces and a small group of pianoforte pieces, Nicholas Andreievich Rimsky-Korsakov Although Rimsky-Korsakov was nine years younger than Moussorgsky (he was born March 18, 1844), his: well developed technic in his art enabled him to write with so much more facility that his works became known and popular long before those of his less fortu- nate confrere. He was born in Tikhvin of well to do parents. His musical insiruction commenced at six and at nine we find him making attempts at composition. His aristocratic parents were determined that he should enter the Navy and accordingly he graduated from the Naval College at the age of eighteen. Meanwhile he managed to keep up his work in music, receiving much inspiration from Balakirev. During a cruise lasting three years he finished his first Symphony. This was given in 1865 in St. Petersburg. Although he did not retire from the Navy until 1873, he devoted more and more of his time to musical composition and to teaching. (He was Professor of Composition and Instrumentation in the St. Petersburg Conservatory.) Among his many highly successful pupils were .Glazounov, Ippolitov, Ivanov, Liadov and others. Rimsky-Korsakov was generally recognized as one of the greatest of Russian orchestral conductors. He was an in- defatigable student of orchestral effects, with the. result that his mastery of this phase of musical work is considered by many greater than that of any other Russian composer. His unselfish and conscientious spirit induced him to re- orchestrate large portions of the works of Dargomvzski (The Stone Guest) Borodin (Prince Igor) and Moussorgsky (Khovantshina and Boris Godounoyv), Rimsky-Korsakov wrote fourteen works for the stage, the best known of which is The Snow Maiden, Of his fifteen works for the orchestra, his best known is the brilliant symphonic suite from the Arabian Nights, Scheherezade. In addition to these he produced many fine works in the line of Chamber Music, Pianoforte, Chorus and the Voice. Rimsky-Korsakov died at St. Petersburg, June 21, 1908. Sergius Ivanovich Taneiev Rimsky-Korsakov, Balakirev, Glinka and other Rus- sian masters deserve high praise not merely for their accomplishments as composers, but for the guidance they have given to others. Taneiev was a notable example of this. Not only through his instruction, but through his ideas and through his compositions he was a great leaven in the Russia of his day. Taneiev was born at Vladimir (province), November 13, 1856. He was the son of a government official and attended the Moscow Conservatory, studying with Nicholas Rubin- stein and Tschaikowsky. In 1875 he gained the first gold medal ever offered by the Moscow Conservatory. After con- cert tours as a pianist, he succeeded Tschaikowsky as the professor of composition at Moscow, and later succeeded Nicholas Rubinstein and Klindworth as the professor of pianoforte. For four years (1885-1889) Taneiev was di- rector of the Conservatory, until succeeded by Safonoff, Taneiev’s works include four symphonies—one of which was never completed—five string quartets, an operatic trilogy in eight scenes, entitled Orestes, and _ various choruses. Like his great friend and teacher, Tschaikowsky, he wrote a work on musical theory. Taneiev died June 6, 1915, near Moscow. Alexander Constantinovich Glazounov Glazounoy, like Schumann, was the son of a pub- lisher and bookseller. He was born at St. Petersburg, August 10, 1865. His musical studies began at the age of nine and shortly thereafter he commenced musical composition. When he was fourteen years of age he had the good fortune to meet Balakirev, who wisely advised him to go on with his general educa- tion before devoting himself exclusively to musical composition. Thereafter he studied with Rimsky- Korsakovy and in one year and a half completed his course in musical composition. At the age of sixteen he produced his first symphony. To indicate to the readers the thoroughness of Glazounov’s methods, it is only necessary to state that he re-orchestrated this work five times before he permitted it to be pub- lished (Opus 5). * Liszt became interested in the work of the young Russian, and succeeded in introducing his works in other European countries. In 1889 he appeared as a conductor at the Paris Exposition, and in 1900 he was appointed professor of In- strumentation and score-reading at the St. Petersburg Con- servatorium. In 1907 the University of Cambridge conferred the degree of Doctor of Music upon him. The career of Glazounov differs from that of most of the other modern Russian composers in several ways. While he was a strong admirer of Balakirev, his own works are for the most part far-more conservative and academic. He was a believer in Brahms, and was greatly influenced by the Ger- man master. Moreover, his compositions are far more volu- minous than those of other Russian masters, with the ex- ception of Rubinstein and Tschaikowsky. Although he has written interesting ballet music, he has not shown the fond- ness for opera which has characterized the works of other Russian composers. His opus-numbers include seven sym- phonies, many of which have been received with immense favor in all parts of the musical world. Alexander Nicolaevitch Scriabine Scriabine (pronounced Skrya’-been, as though in two syllables, and not in the Italian fashion) is probably the Russian prototype of extreme modernism, as were Debussy, Ravel and Satie in France and Schoenberg in Germany, unless Stravinsky can claim that honor for his fatherland. Scriabine was born at Moscow, January 10, 1872, and died from blood-poisoning, April 27, 1915. He was a pupil of Safonoff and Taneiev at the Moscow Conser- vatory. A gifted pianist, he made many tours, playing his own compositions. He visited the United States in 1907. Attention was first drawn to his works through his many earlier and very delightful pianoforte com- positions, conceived in the spirit of Chopin, but not imitating that master. On the other hand, his first two symphonies suggest the workmanship of Wagner. In later years, however, when Scriabine became an ex- tremist, his third, fourth and fifth symphonies mark astonishing developments in originality. In his last symphony, Prometheus, he introduces what he termed his chord of mystery, a chord founded upon a system of fourths rather than thirds as our present harmonic system is founded. Naturally the discords were very startling. The composer’s views were, it is said, theosophical, and with this symphony (also known as the Poem of Fire) he introduced the idea of a keyboard of color, or tastiera per luce, so that with future performances of this work rays of light could be sent forth over the audience, or on a screen, to accompany certain motives in the symphony. Scriabine is said to have possessed a wonderful sense of color-percep- tion as related to sound—a sense which Richard Wagner was also said to have possessed. For many years the theory of the relationship between colors and certain degrees of the scale has been a matter for popular discussion. Scriabine’s principal works are his five Symphonies (the one in E Major, Opus 26, has a choral finale like Beethoven’s Ninth), a Reverie for Orchestra, Opus 24, a Pianoforte Con- certo in F sharp minor, Opus 20, three sonatas for piano, studies, impromptus, nocturnes, preludes, mazurkas, etc. For five years (1898-1903) Scriabine was professor of pianoforte at the Moscow Conservatory, JUNE 1918 Sergei Vassilievich Rachmaninov Rachmaninov, a cousin and pupil of the famous Russian Liszt-exponent Siloti, was first known as a pianist, but in more recent years the success of his compositions for the piano and for the orchestra has given him a wide reputation as a composer. Rach- maninovy was born at Novgorod, April 1, 1873. His pianoforte studies commenced at the age of nine, at the St. Petersburg Conservatory. Later he studied composition with Taneiev and Arensky at the Conser- vatory at Moscow. In 1892 he made his first tour as a pianist and since then has appeared with great success in most of the art-capitals of the world. He often appears in the rdle of composer, pianist and conductor at the same concert. Of his compositions for the orchestra, the best known is the Jsland of Death, inspired by the famous painting of Arnold Bockelin. A number of songs and choruses, some chamber music, and particularly his pieces for piano, have been very favorably received. His famous Prelude in Ct Minor has become one of the most famous compositions for the instrument, Igor Stravinsky Stravinsky was born in Petrograd, June 5, 1882. His education was planned to make him a lawyer and it was not until his twenty-second year that his attention was turned seriously toward music, although he had excellent instruction in his childhood. In 1903 he wrote a sonata for piano which aroused the interest of Rimsky-Korsakov. In 1908 he produced a Scherzo Symphonique and in 1910’ his famous ballets, Ozseau de Feu (Bird of Fire) and Petrouchka, both works astonishing even sated critics by their novelty and daring. Removing to Paris he presented his musical pantomime Le Sacre du Printemps, His opera, The Nightingale, written in 1909 but not scheduled for production in Paris until] 1914, is significant, in that the composer declares that he does not believe in this form. He states: “I can write music to words, that is, “songs,” or music to action, that is, “ballets,” but the co- operation of music, words and action is a thing that daily becomes more inadmissible to our mind. Music can be mar- ried to gesture or to words—not to both without bigamy.” Stravinsky, through his ballets, his orchestral works, his songs, is one of the most interesting of the present-day composers. His orchestrations are especially effective, now ethereal, now blatant, but always well conceived and executed, Ten Test Questions 1. Name at least four Russian masters who were first trained for professions other than music. 2. Name two Russian masters who were practically self- taught. 3. Who was the first great Russian national composer? 4. Tell something of the composer of ‘‘The Stone Guest.” 5. Which Russian master was also a celebrated professor of medicine? 6. Which engineer ? 7. Tell something of the influence of Balakirev. 8. Why is the music of Moussorgsky distinctive? 9. Who was probably the greatest Russian master of in- strumentation ? 10, Tell something about Scriabine’s musical art theories, Russian master was a distinguished military ALEXANDER NICOLAEVITCH SCRIABINE, © ‘gee Whe Ee ada en,

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JUNE 1918 ee The Artistic and Educational wee a the Polyphonic Music of Bach and Palestrina By REV. F. J. KELLY Father Kelly 1s one of the foremost American authorities upon the music of the Catholic Church. THE ETUDE Page 376 sue Sk Rs % ee =o = s The following article will prove very interesting to teachers and to music lovers. THE ordinary musician’s acquaintance with music in its different phases, is a very limited one. Music in its monophonic style, forms the greater part of this acquaintance. We shall see the meaning of the term “monophonic,” later on. The subject of polyphonic music or music of more than one melody, is almost a stranger in our midst. This latter style of music is rarely treated and still more rarely relished. To the lover of polyphonic music, this is an enigma. To him, the realization has been brought home, that polyphonic music is the support, the very backbone of the classic music of to-day. It is the very essence of the art and science of music. It is true, it is not the fault of polyphonic music that even the ordinary musician does not appreciate and value it, for that fault lies some- where else. Still it is painful to the polyphonic lover to realize this. He knows and appreciates that vocal and instrumental polyphonic music are regarded, and are in reality, the most scientific, the most difficult, and the most artistic music written. What Milton, Shake- speare and Longfellow are to literature, what Michael Angelo and Raphael are to the art of painting, Pales- trina, Bach and the other. writers of polyphony are to the art of music. As the great painters, poets and scientists cannot be appreciated by the uninitiated, so it is not surprising to find’ the polyphonic style of music misunderstood and underestimated by those who esteem themselves well versed in the science and art of music. It is not a matter of taste, as some would have it, but rather of education, pure and simple. Polyphony in music is the art’s highest expression. When considering harmonic support to a melody, we distinguish two very different styles of music. -We can accompany a melody with chords, either simple chords, or in an elaborated form. Again, we can divide the notes of the chords into many voices, these notes being sung or played simultaneously with the notes of the melody. Such music, in which the melody appears but in one voice, and supported by harmonic tones in the other voices, is termed monophonic music. This is the music that is so very common to our ears, and which we cannot possibly mistake. In fact, it is so common, that some had led themselves to believe that it is the only form of music. Yet, we have another style of music, in which distinct melodies are added to a given melody, each melody entirely inde- pendent of every other melody, yet harmonizing most wonderfully with the leading melody. Each melody is distinct and independent in duration and movement. This is what is termed polyphonic music. Music of One Melody and of Many We find here then, the distinction or difference be- tween monophonic and polyphonic music. In mono- phonic music, we find one melody assuming all impor- tance to itself, supported and put in the foreground by harmonies, which harmonies have no individuality when taken alone. The peculiarity of the polyphonic style of music is the exact opposite. That portion of the music, which in monophonic style is merely the support of the chief melody, becomes a tissue of secondary melodies, hardly less important than the: chief one, with which they harmonize most beautifully. In poly- phony, each voice has something individual and inter- esting to do. Each voice is equally important, having absolutely nothing to do in making the chief melody more prominent, as in monophony. Polyphony, which means literally many voices, was the very first attempt made, even before such a thing as harmony was thought of, to the building up of a musical art for more than one voice. Up to the time of the advent of polyphonic music, the art appeared in the form of one voice or unison, the Plain Chant melodies, and secular Greek music. The monotony of the unison music of the early churck caused composers of that period to long for variety. To satisfy this longing, the first attempts were made in joining to- gether two independent melodies, harmonizing with each other, thus giving pleasure to the ear. Here we have the very beginnings of the classic form of music, known as the fugue form, the most perfect, the most complete embodiment of polyphonic form. In the fugue, as all voices are of equal importance, the player is obliged to use the fingers with the utmost indepen- dence, in order to bring out the melody as it appears in each voice. Each voice in the polyphonic style is a melody, thus this style of music is essentially melodic in all votces, and must be considered and thought of horizontally. Monophonic music, on the contrary, has but one mel- ody, which is supported by chords harmonizing with it, and therefore might best be represented by one hori- zontal line denoting the melody, supported here and ‘there by short perpendicular lines, representing the har- monic or subordinate support. The folk song is a very good example of the latter style of music. It has the appearance of a line of notes on top, namely the mel- ody, with groups of other notes hanging down from it, here and there. A Bach fugue is a perfect example of polyphonic music, having the appearance ‘of three, four or five interlacing lines of notes. Although to the monk, Hucbald, must be given credit of having first thought of the beautiful structure of polyphonic music, yet in the sublime choral works of the great Palestrina, we have really the beginning of this style of music properly so-called. Among the dif- ferent styles of figured music, the polyphonic composi- tions of this great genius occupy the place of honor. It became so much his own style, that polyphonic _ music was known by no other name than the Palestrina style of composition. He brought it to its highest state of perfection. His first melodies were taken from the Plain Chant of the early church. Palestrina, the Sanctifier of Polyphony The polyphonic music of Palestrina was the first figured music to be recognized in the service of the church. Before his advent, figured music was looked upon more as a pagan art. He secured its proper rec- ognition as a Christian art in his great polyphonic com- positions, and its right to a place alongside the unison chant in church service. Polyphony then. found its first really worthy expres- sion in vocal music in the great compositions of Pales- trina. He composed little or nothing of an instru- mental character. Many years after, we find this style of music applied to instrumental form. This was the natural course, for polyphony itself, suggesting many voices, each voice singing its independent melody. Later on we find this style of music attempted to be played by one or two persons, instead of being sung by many. Bach’s Instrumental Polyphony In the Inventions, Preludes, Toccatas and Fugues of Johann Sebastian Bach, we have the first great examples of polyphonic instrumental music. More- over, polyphonic music heretofore had been mostly, if not entirely ecclesiastical in character. In Bach’s works, it began to assume a secular character. What Palestrina was to ecclesiastical vocal music, Bach was to secular instrumental music. Bach’s works in the polyphonic style, have such depth and perfection of detail, that the student can go on studying them, and continually find new sources of delight. Bach com- posed a great Mass in B minor and numerous sacred cantatas, but his matchless fugues are the. masterpieces of the musical world. They are the wonders among musical compositions. To follow the motive in ore of Bach’s fugues, affords the keenest pleasure to a well-trained musical ear, a pleasure that is satisfied to the full when one arrives at the end of the fugue. It is true, that the ear sometimes has difficulty in fol- lowing the motive, as it enters in the different voices, because of the intricately interwoven character of the fugue form. In the ordinary composition in mono- phonic form, we have but one melody upon which the ear is always riveted, without any distraction. In fact, the harmonies make the melody stand out prominently. It is composed like the lines of poetry, with a pause here and there, where the ear has a chance to rest as it were, before resuming. This is not the case with the fugue form, which is a continuous composition, from beginning to end, with melodies interwoven in such a way, as to demand strict attention on the part of the ear. Perhaps this is the reason that fugues are ~ considered dry. Artistic Economy of Material Many of the compositions of the present day, in | fact, many of the compositions of the great masters, contain .superfluous tones that add nothing to the harmony or scheme of design. Such music may be beautiful, but as an art it is defective. In Bach’s com- positions though, there is not a note, not a dot, that one could afford to sacrifice. The motive in his fugues does not merely enter in the different voices and dis- miss, but it is developed to the very utmost, without any confusion of outline. Bach is supreme among all composers in this, even in his smaller compositions for two voices. In his grand polyphonic scores, each voice stands out prominently, the melodies interplay har- moniously forming one grand whole, the admiration of the player and the hearer. His compositions, al-: though dating back several hundred years, are ever modern, ever interesting, and will always remain so. With Palestrina, he will always stand forth as the great musician of the ages, because of the fact that to them we owe that sublime form of music known as polyphonic music. Musical Culture Derived from Study of Bach To those who are interested in the playing of the piano or organ, I will say, that there is no other.style of music, that will at the same time, so improve their technic and their taste. Very little difficulty in other forms and styles of music will be met with, by one who plays Bach intelligently. In addition to this, if one really appreciates the music of Johann Sebastian Bach, he is assured that his taste for the right kind of music has been developed in the highest degree, for to play Bach’s music intelligently, and to appreciate all the beauty it contains, requires something more than mere ear training and technic. It requires appreciation, a musical sense, and ability to study seriously at the same time as one ‘listens. The musician of to-day is judged by his ability to play, understand and appre- ciate the works of Johann Sebastian Bach. Such great composers as Mozart, Beethoven, Schumann, Liszt, Chopin and others, were deeply impressed with the works of Bach, drew inspiration from them, and put their trust implicitly in the composer of them. From this consideration of Bach and his music, we should form some little idea of the benefit a student will derive from a serious study of this great genius. In technic alone, a student acquires the utmost indepen- dence and equality of finger action. It is extremely difficult to acquire, to say nothing of the mental effort involved. But in Bach’s music, technic is placed where it belongs. It is secondary. His music makes appeal to the intelligence and calls for concentration of mind and clearness of thought. A judicious teacher will always encourage the study of Bach, for his music represents the intellectual, rather than the emotional, element of the art. |

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Page 876 THE ETUDE Relaxing the Muscles in Piano Playing By Edward Ellsworth Hipsher THe emotional element, or what generally is classed as expression, in piano playing, depends largely on the quality of tone drawn from the instrument. This quality, in tarn, depends almost entirely on the condition of the muscles of those members of the body which act on the keyboard and through it on the vibrating strings. Tense, rigid muscles coming in contact with the keys are bound to produce soulless, unsympathetic tones ; while free, supple muscles, responsive to the will and soul of the performer, are just as sure to draw forth toties characterized by beauty, sympathy, and what, for lack of a more apt expression, we term a human quality. To begin, we must concede that, during any use of the arms or hands, absolute relaxation of their muscles is a condition towards which we are to strive but which we never completely realize. Without contraction of the muscles there can be no motion of the member which they control. What we want is that the desired motion shall come about by the least possible contrac- tion necessary to produce the desired result; and that, in doing this, all rigidity shall be avoided, the muscles midiritained in a responsive, vitalized condition and used in a mafifier to produce the least possible weariness. The Fingers Let us begin with the easiest member to control— the finger. We will first use a simple exercise, the first five letters of the scale of C, up to G and back, playing each letter as a whole note in slow common time; that is, giving each tone four slow counts. Spasmodic con- traction and rigidity of the muscles used in playing cotie about more through haste and consequent ner- vousness, of through haste produced by nervousness, than through any other cause; so these conditions must be quite eliminated. Let the hand lie easily in the lap. Pick it up with the palm down, allowing the fingers to droop in grace- ful curves as the hand comes to position over the keys. Let the thumb (right hand) drop on middle C, all the other fingers remaining at least a half-inch above the keys—a little higher will be better. Count four to this tone. Then, allowing the hand to remain quite at rest and relaxed, bring down the second finger on D, with a quick, sharp stroke, using no muscles but those of the finger, and being quite careful that there is no jerking of the hand. At the instant this finger touches D, lift the thumb from C and to a position even with the other fingers not in use. You thus will secure a rifiging, musical tone, a desirable legato, and will do so with a minimum of effort and contraction of muscles. Proceed thus to G and back. For the left hand start with the little finger on C in the second space of the bass. Proceed as just directed, to the thumb and back. Until you can do this satisfactorily with separate hands, do not attempt it with both at once. Also, after some trials on the tones of the scale of C, transpose it, beginning on any key of the instrument and playing the first five tones of its scale. Here you have the foundation of all finger technic and a study which you never will outgrow. The Wrist and Arm To develop looseness in the muscles of the wrist and arms, use small chords in which the extreme notes will not be more than a sixth apart. Thus a simple triad in its different positions may be used to avoid monotony. First, the wrist must be gotten into a relaxed or. devitalized condition. To do this let the arm hang loosely at your side. Shake the hand back and forth and sidewise until it begins to feel numb. Slowly lift the arm with the hand still vibrating. Bring the hand over the keyboard so that, as the hand vibrates up and down, the tips of the fingers will touch the keys just enough to make them sound, striking all notes of the chord at exactly the same instant. If the muscles of the arm or wrist begin to tire or tighten, cease at once and begin with the other hand. When you have acquired the ability to continue striking the notes for some time with the wrist remaining quite supple, try to develop more tone by grasping the keys with the muscles of the fingers just at the instant they come in contact. This is an excellent preparatory exercise for wrist staccato to be used on octaves or chords. And now for playing full-chords. Lift the hand and SRR. forearm over the keys. Let their full weight fall on the chord, grasping the keys firmly with the fingers. With the fingers still on the keys, relax the tension of the muscles from elbow to fingers, bend the wrist upwards easily and lift the forearm till the fingers are lifted (not dragged) from the keys, allowing the hand and fingers to hang limply. If this relaxing of the muscles and lifting of the hand from a bended wrist is developed into a habit it will eliminate all cramping of the muscles of the hands and arms as well as relieve the pianist of half the fatigue of playing. Thus heavy chords become a pleasure both to execute and to be heard. Relaxation is the key to much beauty in both execu- tion and interpretation of music. To it the great Carreno attributed much of her success. By careful, thoughtful, persistent effort, any of us may acquire it in a high degree. RES RRR SRO CLAUDE ACHILLE DEBUSSY. The Passing of Debussy THE passing of Debussy, the great French composer, on March 26th, is a matter of such significance to the musical world as to call for more than passing comment. Debussy was in the height of his powers—his style, an inimitable and unique one, fully formed and de- veloped—and he showed no trace of having exhausted his creative ability and fertile poetic fancy. His Violin Sonata, one of his most recent works, showed his skill in a most favorable light. Debussy’s harmony is exceedingly original, over- riding all the accepted ideas of the text-books, and using certain discords that dety analysis; he was also one of the first, if not, indeed, the very first to employ the “whole-tone scale” on occasions. His fame, how- ever, by no means rests on his bold escaping from the older conventions—certain very cheap little men, whom it is not necessary to name, have endeavored to leap into fame by this stepping stone—but on the fact that he was a genuine tone-poet who sought out a new musical idiom in which to express ideas for which the old was no longer sufficient, Beware of Small Losses By W. F. Gates Manacers of factory or store do not fear the big losses, as they are equipped to detect the possibility of a big loss at once and to guard against it; it is the - many little losses that cause them concern. - The music student may realize his loss of time if he is away from his practice two weeks or two months, but he may overlook the fact that if he skimps on his practice half an hour a day for a month, he has lost three working davs. An even greater waste than this is produced by not giving the full mental effort to the work in hand; in other words, in not doing all the time one’s very best. JUNE 1918 Habit By Louis G. Heinze It is just as easy to form a good habit as a bad one. Habit keeps your mind in the best trim. You follow a habit almost unconsciously, saving brain wear and time. Your mind grows round a habit, however, and you should be careful to acquire only good ones. Your body is marvelously capable of being trained to habit, and when it is well trained leaves your brain free for other things that are big and vital and creative. Shall we here suggest several good habits for the music student to form? GET THE HABIT of having a fixed time for practice, and allow nothing to interfere with it. GET THE HABIT of slow playing, slow enough so that every note, with proper fingering and correct rhythm, can be done the first time. GET, THE HABIT of punctuality in the attendance of your lesson. Do not miss a lesson unless you are too ill, for a lesson is needed most when it has not been properly prepared. GET THE HABIT of playing for others whenever you can, GET THE HABIT of reading musical literature and THE ETUDE as often as time will allow. GET THE HABIT of memorizing something every day, even if it be only one measure. GET THE HABIT of playing only what is good in music. . The Inspiration of a Goal By L. U. Willitson LookInG ahead to a greatly desired goal is the first element in the success of the musician. If you have no goal, get one at once. Fix some glorious purpose in your mind,—some definite cogent thing that you want to do. It may be merely the strong desire to play some particular piece,—it may be the hope of appearing in public at some concert,—it may be the idea of writing a successful composition and having it published. If you have no goal in your music, your work is wholly profitless. The business man sets a certain aim every year, He says, “I am going to try to earn $10,000.00 or $20,000.00 this year.” He may only reach $4,000.00 or $12,000.00, but his goal has helped him along to that. Perhaps the best goal of all is that of planning to help others who need your help. Such a goal will add to your soul stature. The following lines from Robert Louis Stevenson have always been a great inspiration to the writer of this article: “We live in an ascending scale when we live happily, one thing leading to another in an endless serics. There is always a new horizon for onwardlooking men, and although we dwell on a small planet, immersed in petty business, and not enduring beyond a brief period of years, we are so constituted that our hopes are inces- sant, like stars, and the term of hoping ts prolonged until the term of life.” Have You Learned? By Dorothy M. Latchem HAVE YOU LEARNED to understand a piece of music merely by reading it as you would a poem or story? HAVE YOU LEARNED to avoid playing that which has merely a certain short-lived popularity, and all so- called compositions which do not provide real musical nourishment? HAvE YOU LEARNED that effort based on intelligent lines is bound to reap a world of accomplishment? HAVE YoU LEARNED that there is never such a thing as a piece of luck, but that the afghan of success is made of many squares of hard work which are slowly and patiently pieced together? ' HAVE YOU LEARNED to conquer a difficult task with unflinching determination and stolid perseverance? HAVE YOU LEARNED the value of accurate observation and intelligent listening? HAvE you LEARNED that without enthusiasm and stoical fortitude you can never rise in your profession? HAVE YOU LEARNED to grin and bear, reach out here, draw back there? HAVE YOU LEARNED that from the heart comes the final touch to art?

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JUNE 1918 {heat eenneaonconnoennntantys SEGRE SM ERR SEEDS ee SS costae: THE ETUDE o Pa Pare atte Melee oe SSRN site na atte he Page 377 SSS oe SoS ree eee. . Be cele tafetereteteetetece,- Daccss RO SESS wt phtetitcer tiene Saari eat ee ee oe ae a eT ieee OER Eeaies A etatetete’ oS a oe oe eltietbecaee ee ceaecetietettece ee oR INES ceeateieg anatase Ses REESE REESE SESE RERERR SSS PSPS Speen petites Recs SeSese STI se eR Apap pa aaeba eb ababaapebeapee 3 se x fet “atititaca, Se esata, g, ONIN HOMER sateen Susanna: _ semuenaaa area ahagssoee innannanemaas Practical Helps in Organizing a Summer Holiday Music-Study Class How Hundreds of Teachers May Bring the Inspiration of Fine Music to Their Communities and Turn Their Vacations Into Liberty Bonds ~ 10. MacDowell—To a Wild Rose. 11. Gounod—L’ Angelus (Four Hands). One great big inducement that the teacher can offer at this time is to start a class in Musical History or in Harmony. It might even pay to give instruction in these swhjects. free to pupils studying piano or violin— the only expense being the purchase of the History book or the Harmony book. It is surprising what progress can be made in such studies during the Summer season. (e) Australia—Grainger—M olly on the Shore. (f) England—Bennett—F ountain. Brazil—Gomez—Anria from “Il Guarany” (Vocal). Japan—Poldint—Japanese Study. . France—Saint-Saéns—Mazurka G min. Every summer more and more students continue their music studies right through the months of July and August, with perhaps only a week or ten days for vacations. In colleges, conservatories and Chautauquas there is often as much or even more activity in music as in the middle of the Winter. It is the time of the . Russia—Tschaikowsky—June, Barcarolle. year when the teacher can make those steps in ad- . Portugal—Albenis—Tango. vance without which she would go hopelessly on and = 10. America. | on inarut. It is the time when the ambitious student s7. Everybody Sing—“Star Spangled Banner.” SO ON AWN who realizes that this is an age of the keenest compe- tition takes advantage of precious days to get ahead. This year the war prosperity will give thousands of students the long looked for opportunity. Many have wanted their children to study music for years. Now the golden chance has come, and while Europe is torn Souvenirs of little national flags of the Allied nations are very inexpensive and appropriate. They may be obtained through all good department stores and large general mail order houses. Don’t expect to get new pupils, especially in the Pupils who have had such benefits are invariably better pupils for the simple reason that they know more of what they are studying. It is impossible to give the teacher advice upon what the fee for the Summer Course should be. A little more reasonble rate for the Summer season should be with the horrors of the great fight for democracy our children will be training in those things which add beauty to peace. Moreover, in certain parts of the country climatic conditions make music study in the Summer far more enjoy- able and agreeable than in the Winter. This is especially true in certain rural districts in the Northern States, where trafic in Winter borders on the im- possible. In these communities the teacher expects to make every moment of the Summer count. Other teachers very foolishly worry along with a few pupils, whereas they might have a full class if they only took a few steps to secure them. A little regular advertising, a few recit- als and a series of letters have meant the difference between a full class and an empty one. Practical Advertising We give herewith a specimen adver- tisement which any teacher might use in a local paper to advantage. It gives Summer, without enterprise and advertising. Pupils Interesting Summer Courses in Music Study This summer thousands of students in all parts of America will commence the study of music. The need for the priceless inspiration and good cheer which music brings was never greater than now. Music in the home at this time will bring a new meaning to life and a new happiness to all. The child’s right to the.best music and the best instruction is one that all sensible parents respect. The undersigned has prepared a Special Summer Holiday Course particularly for those in the First, Second, Third, Fourth and Fifth Grades. While students may begin at any time, it is far better to begin as soon after the close of Public or High School as possible. desirable. A reduction of 25 per cent. from the regular Winter rates might do in some cases where a large class can be obtained. In other cases the Summer is the regular teaching season because of climatic conditions, and there could be no drop in rates that would be just to the teacher. It is not always desirable to advertise a reduction in rates, as such reductions rarely appeal to pupils who prove desirable in the long run. An informal personal letter directed to parents, accompanied by an announce- ment similar to the newspaper adver- tisement given on this page often brings returns at less expense than the news- paper advertisement. Ascertain the ad- dresses of the parents of children in your community, and send them some such letter as the following: “DEAR Mrs. WATSON: “You may be pleased to learn that 1 have decided to conduct a Summer Hol- iday Music Course during the vacation season. Most children have far- more time for study in Summer than in Win- all the principal points and gives them in an engaging manner. How many times it might be advisable for you to insert such an advertisement depends upon both your community and your ambition. There is a general principle in advertising that the value of the ad- vertising investment is rarely realized until advertising has been continued for some time. In some instances adver- tisements have been inserted that, with a single appearance, have brought fabulous returns, but the music teacher should not look for this. Patience and enterprise in all other directions, supple- mented by increased efforts to make the lessons excep- tionally interesting, should prove profitable moves. Remember that in the Summer season it is harder to hold interest than during the brisker weather, but at the same time one should realize that there are far fewer things to distract and it is easier to get attention in the first place. A fine idea to get attention early in the season would be to arrange a Patriotic Recital with a program similar to the following: Music of the Allies 1. Everybody Sing—America. 2. Belgium. (a) Weyts—Silver Bells. ° (b) Braeckmann—Fluttering Butterflies. 3. Italy. (a) Bossi—On Sunlit Waves. (b) Sgambati—V ecchio Menuetto. 4. Great Brittain, : (a) Ireland—Field, ]—Nocturne in Eb. (b) Scotland—Macbeth, A—Forget-me-not. (c) Wales—Men of Harlech—March. (d) Canada—David Dick Slater—Fairy Dance. SPECIAL SUMMER RATES. CALL AND TALK OVER DETAILS ANY EVENING INTERESTING STUDIES : BRIGHT PIECES : QUICK METHODS (Blank for teacher's name and address) The above is how your advertisement would appear in your local paper in a spaee twe columns wide (four and one-half inches) and four inches deep. colimns are two and one-quarter inches wide. has some ornaments of a musical characier in stock. don’t make up their minds to come to you unless you let them know that you are expecting them. Get the interest of the editor or music critic of your local paper. Show him this article, tell him what you are trying to do, and he will ungestionably cooperate with you. Of course, this program is only a suggestion. The teacher may make any suitable arrangements to fit the class of pupils. It will pay the teacher to keep in the studio at this time several copies of Community Songs. These are very reasonable, as the words and music can be procured for 10 cents and the words alone for 3 cents. (Special rates on quantities.) — Another recital of great interest to both pupils and parents can be built up along the following lines: Bright Classics for Little Folks . Bach—Little Preludes, Nos. I and 2. Handel—Gavotte in G. . Haydn—Andante (“Surprise Symphony”). . Mosart—First Three Compositions. (a) Elgar—Salut d’Amour. 5. Schubert—Military March (arr. by Sartorio.) 6. Mendelssohn—Clhuildren’s Piece, Op. 72, No. 4. (a) Grieg—Dance of the Elves. 7. Chopin—Funeral March (arr. by Sartorio). 8. Schumann—K night Rupert. 9. Massenet—Longing, Op. Io. BWwWN MS Most newspaper Your peper probably ter and have less to take their minds from the subject than during the school days. The reason why so many chil- dren get restless and uneasy during the Summer is that they have no regular daily work to engage their attention. “It is my plan to make music as en- joyable as possible, so that every pupil will find a new delight in it every day. I should feel very much pleased indeed to have you call some evening between eight and nine. Children grow up before we know it, and the time for study is really surprisingly short at best. “Very cordially, “ALICE P, HATTON.” Don’t merely write your letter and then sit down, thinking that you have done all that can be done. Send more letters if the first does not bring its result, always avoiding the suggestion that you are pressing things un- duly. Make opportunities to call upon prospective pa- trons, outlining the advantages of music in the home, and in general acquainting them with the facilities you may have for teaching. Confidence, enterprise, tact, hard work, a sincere desire to help and, above all things, a cheerf.l attitude and determination to see that both you and your pupils enjoy every moment of the Summer Holiday Music Study Course, will work wonders for you. This is not the Summer when the teacher can afford to take any excess time in idling. The whole world is at work doing its bit with all its might, and the music teacher has no business wasting time now. “Be glad to work,” is the thought of the hour, and hundreds of teachers who, heretofore, have taken long vacations, will this year turn their vacations into Liberty Bonds,

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Page 878 THE ETUDE ereleleteteteceresecatentetatsieteteneets SST oe JUNE 1918 ~. pee tek sarcseatectanaaneet SEE eee The Four Sides of a Parallelogram “1. When the key is A minor, does one number A 6 or 1? “9 If the signature is one sharp, and the key is E minor, is E numbered 1 or 6? Is it La or Do in the movable Do system? “3 Is A minor the parallel minor of C major, or rather, if the parallel minor of C is called Fa, does one write A minor? “4. Is C minor called the parallel minor to C major ?’—B. L. 1. A is the tonic, or number 1, in A minor. number 6 only when the scale begins on C. 2. The tonic in both the major and minor key is always number 1. In the movable Do system, Do always applies to the tonic of the major scale. In the relative minor of a major, the tonic is indicated by La, as the best way of keeping that relationship fixed in the singer’s mind. The relative minor begins on the sixth degree of the major scale, or as is more commonly indi- cated, on the third degree below the tonic, which is ordinarily considered easier to compute. E minor, as the relative minor of G major, therefore indicates E as La. In the fixed Do system the syllables duplicate the let- ters, which causes unnecessary confusion. Theoret- ically the figures represent the inter-relationship of the tones of the scale. They are the same for all scales, both major and minor. The letters represent fixed pitch and never change. C is always C, with (theoretically) a given number of vibrations to the second. Practically there has been a slight variation between the different pitches that have been in use from time to time. In the movable Do system, the syllables, as well as being a convenience in vocalizing, are also made synonymous with the figures, and singers are more likely to think It is of them as expressing inter-relationship between the tones of the scale. Historically the syllables antedate figures, and in some foreign countries they are used in place of the letters. For example you will read that the key of a given piece is Sol major, instead of G major. There have been at various times more or less violent discussions between the advocates of the fixed and movable Do systems respectively. 3. The parallel minor of any major scale is the scale having the same tonic. Therefore the parallel minor of C major would be C minor. A’ minor is the relative of C major. The relative major and minor scales are the two having the greatest number of notes in common. For this reason they have the same signature. Neither the parallel nor relative minor of C is called Fa, which is the fourth degree of the scale. Perhaps you inad- vertently wrote Fa for La. 4. The parallel minor of C major is C minor. Class Lessons “Please advise me about giving class lessons. I have thirty-eight pupils and can hardly “get around” with two private lessons a week. I have read a good deal about class lessons, but do not lanow how they are given. What books and ma- terial are used in such lessons?”—L. J. I have never known of class lessons in the real sense of the term in teaching the piano. Such classes are limited to from two to four persons. In a class of four pupils each one gets fifteen minutes of the hour de- voted to the lesson. Aside from the fact that each pupil may watch the others, the teaching does not differ from that received in a private lesson. Years ago some schools used to advertise six in a class with beginners, but I do not know whether this custom is continued at present or not. Your pupils should come to your studio. No lesson should be longer than a half -hour. Your seventy-eight lessons can then be given in the six working days of the week in about six hours each, which is a reasonable day. In the large musical centers the lessons lasting one hour each have long been obsolete. Some give forty minutes; the majority thirty minutes, and some twenty minutes under certain con- ditions. Exactly the same music is used in class as in Private lessons. The Teachers’ Round JTable Conducted by N. J. COREY This department is designed to help the teacher upon questions pertaining to “How to Teach,” “What to Teach,” etc., and not technical problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Mature Taste With Elementary Technic “A pupil of twenty-one years plays third grade very gona, # I have put her in Mathews’ second rade, use Mason’s Touch and Technic, and will add oral Sonatinas. Ought she not to have some pieces with this, and if so could you suggest some that will not be advanced and yet do not sound childish,’’—M, W. A grown-up taste together with a childhood technic often occasions trouble. I fancy from your letter, also, that in this case the so-called classical repertoire would not be enjoyed, and that simple sentimental pieces would suit best. Introduce rapid movements rather sparingly. For a backward pupil of this sort the Lichner Sonatinas sound more modern than the Cle-~ menti, and as you can buy them in collected form from the publisher, you will find many suitable movements that you can select. Abandon the idea, however, that you must use an entire sonatina. Only use such move- ments as seem best. May Bells, twelve little lyrics by Spindler, will also provide you with some pleasing pieces. Souvenirs of the Masters by George L. Spauld- ing will provide you with many favorite melodies of the great composers arranged in attractive form for those unable to encompass them in the original. Each of these, as they appeal to you, can also be purchased singly for use with other pupils if -you so desire. Another album that you can use in the same way is Young Players Album. In this there are seventy pieces. By keeping a copy of this on your piano you can use it as an index from which to make suitable selections for your pupils. It is a fact that many pupils soon grow tired of a book that is placed before them, while they are pleased with the same pieces selected singly in sheet form and given them one by one as they need them. There is a peculiar kind of ignorance that often has to be contended with. It even applies to vocal teachers. Recently in this city a voice teacher lost a pupil because he gave her a collection of a certain famous American composer’s songs, wishing her to study one of them, this particular group being published in no other way. The mother sent word that she wished her daughter to “learn sheet music.” A Job for Job “TI bave a pupil of 13 who has taken lessons over a year, but makes no progress. She cannot read the notes, even hands, separately. When she tries to put them together they wander anywhere. She is neither bright in music nor in school. Can you suggest any help?’’—S. M. Such a pupil as this needs to go over the ground a great deal more thoroughly than the average pupil. Secure for her the A B.C of Piano Music by Mrs. M. B. Hudson and let her have a thorough drill from it. Then proceed to the Beginner's Book for Piano by Presser. If necessary supplement this with First Studies in Reading, Rhythm and Expression by M. L. Brown. Proceed from this study to Presser’s School of the Pianoforte, Vol. 2. If all this accomplishes nothing, you will probably have to give up the job. Your description sounds like a hopeless case from the start. Weight Again “Can you give me a clear, concise explanation of the ‘weight touch?’ I can find no article which tells how to explain it to the child. “T would like a list of the best and most inter- esting classical pieces, from the very easiest to grade four.”—U. 8. In the November Round Table you will find a few words on this subject. The term “weight touch” is largely a readjustment of phraseology regarding old conceptions. It may be considered a new explanation of “pressure,” and includes the modern down arm touches. There is a tendency among some teachers to explain too much to the child. The educational prin- ciple of the Thing before the Explanation is the best for children. Thev cannot assimilate recondite mat- ters. They can often do things, although unable to explain processes. It suggests the jibe of the Hoosier wag who said he “could not lay an egg, but that he was a better judge of an omelette than eny hen in all Indiana.” Don’t try to explain too much to a child. Answered department. Full name and address must accompany all inquiries. Show him how to do things. If you are not familiar with the various modern touches, you are not ready to understand weight, as it is in reality the combination of them all. Teach the child the use of the hand so far as he needs it in his work as he progresses, and leave recondite explanations until he is old enought to take them in. Be cautious in the use of classical pieces with chil- dren. The first requisite is to interest such pupils. . Many a child has been utterly discouraged in his: music study by an overdose of music he was incapable of enjoying. A judicious intermixture is good in all things. Second grade: Mozart, First Three Composi- tions; Don Juan Minuet; Schubert, Premiere Valse; Bach, Prelude No. 1; Haydn, Four Gems from Haydn; Beethoven, Andante from Kreutzer Sonata, Theme from Emperor Concerto. Third grade: Handel, Sarabande; Hummel, Rondo in C; Haydn, Four Gems, F. G. and E flat; Bach, Little Prelude No. 3; Mozart, Fragment from Concerto; Dussek, La Matinee; Schubert, Waltzer Op 9. Grade four: Handel, Gavotte; Mozart, Sonata No. 1; Schubert, Three Themes from Schubert; Men- delssohn, Song without Words, No. 16; Chopin, Valse, Op. 69, No. 2, Valse Op.34, No. 2; Schumann, Blumen- stuck. If you order music through a local dealer state the name of the publisher, otherwise he may not know where to order from. In Rural Districts “T reside in a country district, and being the best player in the vicinity am asked to give lessons, although my training has not been thorough, nor advanced beyond the fifth grade. Should I attempt 4 ne pupils through the elementary grades ?’— Is there any reason why you cannot, through your own efforts, give close and conscientious study of your subject through every printed avenue of information you can lay your. hands upon. Some learn more by their own efforts than by those of their teachers. Indeed those who do not do so rarely become first class musicians, the function of the teacher being, so far as this work is concerned, that of the guide and trainer who ‘watches to see that all is progressing properly. If you know wherein your training has been most. deficient, you should devote yourself first to filling in these gaps. Once you begin self-study you will be astonished at the number of avenues that will open up before you. Making of yourself a conscien- tious student in this way, there is no reason why you should not teach in the manner you suggest, and make of yourself a force for good in your community. In such a neighborhood you are not likely to have students who will carry their work beyond what you have already done. ‘** Art Is Long ”’ “How long should it take a student of average talent to memorize and perfect, both technically and interpretatively, pieces of the type and cheracter of Grieg’s Norwegian Bridal Procession ?”—A, B. This is an interesting question to more than one player. In a general way my answer to the question would be,—twenty-five years. If you are technically equal to the piece when you begin its practice a month will probably suffice to fix it in your fingers, although it may require longer to make it a part of yourself. Some pupils memorize while learning a piece, often- times having it committed before it is technically mas- tered, while others have to make a special study of this branch of the art. From the standpoint of interpreta- tion, perfection is a matter of years. The two principal factors are maturity and life experience. This is true. both in appreciation and in interpretation. It is rare for an artist to acquire complete dominance over a musically intelligent audience before he has travelled well along in life. Even with players who are young, perfecting a composition so that it may be well inter- preted means that it should be taken up two or three times with intervals of time between. To use a good old fashioned expression, the music has to “soak in” before it becomes assimilated in a manner that enables the player to interpret with authority.

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JUNE 1918 Kart PHILIPP EMANUEL BACH. KARL PHILIPP BACH, third son of J.S. Pach, is known as ‘‘the father of modern pianoforte playing.”’ Apart from his father he is the most celebrated of the Bach family, which embraced over twenty famous musicians. JoHAN CHRISTIAN BACH. JOHAN CHRISTIAN BACH, eleventh son of Johan Sebastian Bach, known as the English Pach, as he was the music master of the Engiish Royal family. He wrote several sucsessful operas. WILHELM F. E. Bacu, FOUR FAMOUS DESCENDANTS OF JOHAN SEBASTIAN BACH WILHELM F. E. BACH, grandson and last male deszendant of J.S. Bach. He was the son of Bach’s ninth son and lived in London as a pian’st, organist and teacher for many years.. THE ETUDE Page 879 WILHELM FRIEDERICH BACH. WILHELM FRIEDERICH BACH, eldest son of J.S. Bach, a-famous mathematician, a highly giited musician but so dissipated that his career was not fully developed. High Lights in the Life of Johan Sebastian Bach Bach’s ancestors had been-musical for generations. One of them, Veit Bach, a miller, used to take his guitar into the mill with him and play on it while the mill ground. But many of them were professional musicians. Philip Spitta, in his great three-volume Life of Bach, gives an interesting account of many of them; people of the most upright, sturdy and honest character. Bach’s father died when he was nine years old, and he was sent to live with his older brother, Johann Christoph. Bach’s father had already given the boy violin les- sons; his brother taught him the harpsichord or clavichord, and the organ. He also sang in a fine choir which Jerimias Weinrich, a schoolmaster at Eisenach, had established. This choir sometimes marched through the streets singing. Bach was ambitious to play from a volume of organ music by Pachelbel, which his stern elder brother kept locked within the wire lattice of a bookcase. At last he stole down at night, succeeded in withdrawing it through the wires, and began to copy it by moonlight. Taking advantage of every opportunity to go on with tlle undertaking, in the course of six months he had the book completely copied, when his brother discov- ered him, and was so hard-hearted as to take away the dearly-won copy. Bach and his friend, George Erdmann, boys.of fif- teen, set out together for Liineberg, to attend the school called the “Convent of St. Michael,” at Easter, in the year 1700. They had been recommended on account of their skill in music, and both of them succeeded in paying their own tuition and living expenses by their services in connection with the music. Here he re- mained three years. The “School of St. John,” at the same place, also had a choir, and there was great rivalry between them. Bach lost no opportunity, while a young man, to listen to eminent organist§ and learn from hearing them. Often he tramped many miles for the purpose. On one of his journeys to Hamburg his money was nearly gone, and he seated himself outside an inn, half way on his return journey, exceedingly hungry but afraid to spend his last money while still so far from home. Suddenly a window was raised and two herrings’ heads flung out. The hungry lad picked them up, and inside of each was a Danish gold coin. The unexpected wealth enabled him not only to finish his journey in comfort, but to make another journey to hear the organist Reinken. bered that all the noted organists of that day were not simply players, but largely composers of the music they played, printed music being rare and expensive.) Bach received the appointment of Court Musician at the court of Johann Ernst, younger brother of the Duke Wilhelm Ernst, of Weimar. Here his skill as a violin player found him employment, and he com- posed some sonatas for violin and trios for flute, vio- lin and “figured bass.” (It should be remem-_ Bach visited Arnstadt, where he had relations, and played on the organ at the New Church—a fine in- strument for that day, but in the hands of an incom- petent organist. The young organist of eighteen made such an impression on the consistory that they imme- diately engaged him for the post, making an honorable and even generous compromise, however, in their dealings with the former organist. Bach entered on his new duties with the greatest joy. lor one thing, the organ was a fine one, having ten sounding stops on the Great, seven on the Choir, and five on the Pedals. This organ still existed until 1863. (The “swell” was not found on early German organs.) Bach at this time wrote his first sacred cantata, en- titled For Thou Wilt Not Leave My Soul in Hell, for the first day of Easter-tide. It was accompanied by three trumpets, drums and stringed instruments, be- sides the organ, and was the forerunner of a great series of such compositions, too little known at pres- ent, in which Bach’s genius found most congenial expression. | Bach’s brother, Johann Jakob, set forth on his travels, to enlist in the Swedish Guard of Charles XII, as oboe player. He returned once more to take leave of his family and friends, and Sebastian com- posed a piece for him which was to serve as a re- membrance of his brother when at a distance. It consisted of five short movements, and represented the various moods and scenes occasioned by his broth- ers’ departure. It is half humorous, half pathetic. The title, which was in Italian, is Capriccio sopra la lontananza del suo fratillo dilettissimo. Bach, after two years of Armstadt, petitioned for leave of absence, and made a trip to Liibeck, in order to hear the great Danish organist, Buxtehude. Here he found such a congenial artistic atmosphere that he lingered for four months, long outstaying his leave of absence, regardless of consequences. Bach became engaged to Maria Barbara, his cousin, daughter of Michael Bach, of Gehren, while she was on a visit to Arnstadt. He had previously received a reprimand from the church authorities for having “a stranger maiden,’ as they described her, sing in the church, where a boy choir was supposed exclusively to render the music. Bach had several situations as organist offered him, and in Easter, 1707, he accepted a position at Miihl- hausen. The salary agreed upon was 85 gulden, two cords of wood, and a certain amount of fish, corn, brushwood, etc. Bach. stipulated for a vehicle to transport his young bride and her dowry to their new home. At his rec- ommendation his needy cousin, Ernst Bach, was ap- pointed to his former position in Arnstadt. Bach went to live at Anhalt-Céthen about 1718, at the invitation of Prince Leopold, himself a highly- cultured musician, as well as an appreciative patron of music. He stood on the most friendly terms with his princely patron, as is evidenced by the fact that the Prince stood as godfather for the Bach’s seventh child. 7 Bach kept up, even now, his custom of making jour- neys to enlarge his musical experience. He went to Halle, Carlsbad and Hamburg. On his return from Carlsbad he was met with the overwhelming news of his good wife’s death. Bach used to tune his own clavichord, and devised the present system of tuning used for piano and or- gan—'‘equal temperament”—the only system in which, with but twelve notes to the octave, pieces in several sharps or flats can be as well in tune as those in the key of C. Partly as an exhibition of this property, he wrote his collection of 24 preludes and fugues (later adding a second volume, making the number 48 in all), called the Well-tempered Clavichord. In this collection are to be found two preludes and two fugues in every possible major and minor key. Bach was chosen, in 1723, to the post of Cantor to the town school of St. Thomas, at Leipsic, from among six candidates. Coupled with this was the position of organist in the church of the same name, adjoin- ing the school, and the direction of much of the mis- cellaneous musical activities elsewhere in the city. Bach had an official residence assigned him in the left wing of the school buildings, and entered upon a career of quiet and busy usefulness which occupied the remainder of his days. Bach here had opportunity for cultivating music in all its forms, and his productiveness during the follow- ing years was colossal. Besides his Christmas Ora- torio, his Passion, According to St. Matthew, his Mass in B Minor, his numerous sacred cantatas and _ his eight books of organ music, he wrote suites for or- chestra, concertos for violin and for one, two, and even three, pianos, a Coffee Cantata, poking fun at the habit of coffee drinking, which was a _ newly-intro- duced fad in his day, and a vast amount of miscella- neous work. Bach married again, apparently happily, and his family increase to twenty children, several of whom were musicaliy talented. He suffered from time to time from quarrels and misunderstandings with the clerical and city authorities, who failed to appreciate him at his true worth. Bach became blind in his old age; doubtless it was in some measure due to his overtaxing his eyes with so much music copying, and in his efforts to engrave some of his works with his own hands, in the hope of printing. Bach’s nature was grave and earnest, his demeanor polite and dignified. He was of powerful, broad and stalwart build, full face, a wide brow and strongly- _ arched eyebrows. Bach’s actions were based on a genuine piety, which was not the outcome of any mental struggle, but in- born, and natural; he clung to the tenets of his fathers. He was fond of reading theological and edifying books, and his library included 83 volumes of that class at his death, ;

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Page 380 THE ETUDE Bach paid a visit to Frederic the Great, King of Prussia, at his invitation, in May, 1747, and found him an appreciative patron. He composed a work called the Art of Fugue, also known as the Musical Offering, which he dedicated to the king. Bach himself has told of his happy home life and of the little concerts he delighted in conducting with his sons, his wife and his eldest daughter. He took conscientious care of the education of his children, which was one object that proved attractive to him in moving from Cothen to Leipsic. Bach died on July 28, 1750, from apoplexy. About ten days before his death his sight, which had been wanting for several years, was mysteriously restored. He was buried near the church, but some years after- ward the cemetery was moved to another site, and it is no longer possible to determine the real resting place of his bones. The wording of the resolutions passed by the officials on the occasion of Bach’s death shows a singular ignorance and callousness to the fact that they were dealing with the memory of the great- est musical genius that had yet lived on the earth. The words read in part as follows: “The Cantor of St. Thomas’, J. S. Bach, having died recently, it is the sense of the consistory that a competent choir- master, rather than an organist, should be appointed in his place, although he should be able also to play the organ.” Some Points on How Rubinstein Taught By Arthur Spark Rubinstein rarely taught his pupils in private. He believed that the conservatory was the most appropri- até place for one who wished to acquire a musical education, Rubinstein, during lessons, rarely touched upon the strictly musical. He always dwelt upon the spiritual side of the art rather than the mechanical. Rubinstein rarely or never would play for his pupils during a lesson. His mouth usually served as the best medium in order to impress them of the intricacies of piano playing. Rubinstein never permitted his pupils to bring a composition to him for study more than once. He declared that he was liable to forget what he had taught in the previous lesson and to create an entirely new picture were he to do so. } Rubinstein, for some mysterious season, refused to grant his pupils the privilege of playing his own works. Rubinstein would keenly study the notes of the com- position that his pupil was playing, allowing the player to commit no unreasonable errors, thus promoting accu- racy in playing. Rubinstein often said to his pupils: “Just play first, exactly what is written. If you have done full justice to it and then still feel like adding or changing any- thing, why, do so.” Rubinstein rather refrained from dealing in eulogical terms with his pupils. He was somewhat of a sarcastic nature, particularly during lessons, but occa- sionally he would terminate one with, “You are an ex- cellent young man,’ etc. which more than accounted for his previous indifference. Rubinstein offered the following advice to one of his pupils: “Before attempting to strike the keys you must first ascertain mentally the tempo, the manner of - touch and, above all, the attack of the first notes, before the actual playing begins, and the character of the piece also, whether it is dramatic, tragic, lyric ro- mantic, humorous, heroic, sublime or mystic.” Rubinstein believed that force was a necessary requi- site in piano playing. On many occasions, when the playing of a pupil would seem too weak to comply with the exact nature of the piece, he would seize both the hands of the unlucky player with great violence and, with his powerful fingers, would flatten them out all over the keys, thus creating a horrible cacaphony. Rubinstein, when one of his pupils was at loss to determine the correct fingering of a rather complex passage, said: “Play it with your nose, but make it sound well!” Of course, he meant to say: Help your- self! The Lord helps those who help themselves! Rubinstein once said: “The reason why piano play- ing is so difficult is because it is prone to be affected or else afflicted with mannerisms, and when these two pitfalls are luckily avoided then it is likely to be dry. The truth hes between these three mischiefs.” Rubinstein was not a pedagogue, in the usual mean- ing of the word. In truthful terms, he was a caun- selor, an advisor, a guide, rather than an instructor moulded on the ordinary lines of pedagogy. The Charm of Bach’s Preludes By Henry T. Finck It is quite remarkable that both Bach and Chopin should have embodied so many of their inspired ideas in the short and insignificant form of the Prelude Gounod marred one of the most beautiful of Bach’s by marrying it to a vapid melody, for which crime | hope he will have to serve an extra year in purgatory. But there are others equally fine, and I often wonder why so few musicians know anything about them, or ever play them in public, for they are the delight of my soul. Every Sunday after lunch I sit down and play No. 7 of the Twelve Little Preludes. It looks like a trifle, but in that trifle there is material enough to build up the whole system of modern harmonic music. Of course, one must know how to’emphasize the mel- ody in the bass and how to set off the changing har- monies against one another. And equally, of course, I use the pedal in every bar. Poor Bach himself had no tone-sustaining pedal, but he, with his love of broad, sonorous basses and mingled rich harmonies, would have used the pedal as much as Paderewski does, had he lived to-day. When I hear a pedant cry out that. the pedal cught not to be used in Bach because it is not prescribed I want to throw a brickbat at him. Such a man misses the very soul of Bach—the ravish- ing sonority and rich tone-colors with which that “god of harmony” doubtless heard his pieces in his prophetic imagination. After playing that prelude, I always turn over the page and play the next one, No. 8, printed in this issue of THE Erupr, a special favorite of mine. The first nine bars are good, though not specially remark- able; but the last nine are a miracle of genius. In any case, I trust every reader of my article will get it, and note with what lingering and exquisitely sentimental expression not only the melody, but the other two parts can be played. There is a world of romance and emotion in the last B and first A of the second upper part in bars 11 and 12. I have italicized the word “sentimental” purposely; and if any one tells me that sentimental expression is out of place in Bach, I look around for another brickbat. There are cases where argument is useless and homicide justifiable. Bach’s skull was not stuffed with sawdust. When Are Octaves Not Octaves? By Caroline V. Wood IN answer to the above question I would say, “Usu- ally.” Many students do not play octaves at all— they think they do, but the thumb really does all the work, while the little finger is slighted. This is es- pecially true in rapid octave passages. If a student is given Chopin’s Butterfly Etude (1 cite this merely as an example—there are scores of others) nine times out of ten he will play it as follows: a” Yaad i a ib / a The beauty of the octaves is thus lost. If the composer had intended single notes he would have written it that way. The best way to correct such a fault is to go to the other extreme, as is often the case. Pay special atten- tion to the little finger, disregarding the thumb for a while—it will take care of itself. Then when you go to play normal octaves again the tone of the thumh and little finger will be more evenly divided. But be careful, in this practice, not to stiffen the wrist. JUNE 1918 Do You Sit Properly? By L. D. Andrews PosITION at tht keyboard has much to do with the development of ease and accuracy in playing, as well as with the tone quality drawn from the instrument. Neglect of this important factor of position is often respon- sible for the labored effort with which many play. The following points in regard to the position of the body are important ones which are not always given the attention that they deserve. Avoid sitting too high. A high seat leads toward a ‘“‘bangy” style of playing, since it tempts one to thrust down the keys. Also avoid the opposite ex- treme of sitting too low, for this position leads one to “claw” the keys. A good height to choose is one that will bring the elbows level with the keyboard. Distance From Keyboard Most of us sit too close to the keyboard. Perhaps this is because of the fact that when we begin to play - the piano the music does not call for a command of the extreme portions of the keyboard. Then, having formed the habit of sitting close, it seems hard to sit far enough away that an an easy command of the entire keyboard is obtained. How powerful is habit! But we should allow ourselves plenty of room. To do so, in addition to making it easier to reach the dif- ferent parts of the keyboard, makes it easier to glance at the keyboard from the “corners of our eyes” while reading the music. A good distance to choose is one that makes it necessary to lean slightly forward in order to avoid feeling too far away. Remember, that a piano stool or chair (chair is bet- ter, by the .way, if you can: obtain one of the proper height) is not meant for napping. One should not sit far back on the seat, but near the edge—as if about to arise. Indeed, it should be possible to arise without giving a preparatory swing of the body. When thus seated one is poised, so to speak, over the keyboard, and one can use the weight of his body to offset the playing exertions. If he were sitting far back on the seat, these exertions, which, though down-. ward on the keyboard, are upward at the shoulders, would tend to topple him over backwards. Sit Up Many of us sit down when we play the piano. We should sit wp. When it was pointed out above that we should lean slightly forward it was without thought of countenancing “humping over.” It is always true, whether at the piano or not, that an erect position is indispensable to grace. Don’t wear your chest on your back. Sit “at attention.” When the habit is once formed, it is just as comfortable as “lopping over.” If one is careful about the foregoing points and still neglects to sit directly in front of the center of the keyboard he will find the development of the sense of distance very difficult. Carelessness in this respect is the cause of many inaccuracies in skips. Middle C is not the middle of the keyboard. The crack between middle E and F is the exact center of the keyboard of ordinary compass, This is practically over the lock. You will be safe in choosing a posi- tion directly in front of the lock. Did you ever hear a person play (or at least begin to play) a piece an octave too high or too low?’ It was probably because he was a bit “flustered” and ne- glected to adjust his seat with regard to this last point, Now glance back over these points (how many?), note them carefully, and remember them when you sit down to play. This diagram will help you to re- member : a

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JUNE 1918 ° THE ETUDE Page 381 In the story of Wilhelm Meister Goethe has given to the world one of the immortal novels in the grand manner of his day, comparable to the works of Sir Walter Scott. It, indeed, furnishes food for reflection to consider how characters in pure fiction persist through the centuries and seem to be- come actual entities, who “live and move and have their being’ among the immortals, influencing the whole world of mere men who go down to the dust “and the place thereof knows them no more.” Wilhelm Meister and Mignon exist; Ivanhoe, Re- becca and the Templar actually live; the characters conjured up by Charles Dickens seem to speak to us out of the past; while of the countless millions who have been born and have died in the last century, how meagre the number of those who haye stood out of the shadowy throng to influence the world or even to be remembered by it! Art must indeed be granted a place in the hierarchy of heaven, and the triumph of mind over matter, of imagery over actuality, must be acknowledged. The Arts Inter-related One of the most curious things about an Art is its ability to excite in the mind kindred feelings toward the other Arts. The painter, in contemplation of beauty, is actuated to express himself in color, and the poet sings his praises; the musician sets the poem to music, which is in turn rendered by its executants, and millions of listeners forever can reap the fruit of the original inspiration. Many composers have been moved to set episodes of Wilhelm Meister to music, notably Ambroise Thomas in his beautiful opera Mignon which, strangely enough, is out of fash- ion to-day. The poems found in Goethe’s original story have offered ample opportunity for a num- ber of musical settings, for Beethoven, Schu- mann,. Schubert have all delighted in the texts, yet it remained for Peter Ilyitch Tschaikovsky, in the song before us, to portray more vividly than any the poignant intensity and anguish of Mignon’s inner feelings. Booth, Forbes-Robertson and Sothern each saw Hamlet through his own artistic eye, and played the part accordingly; neither would or could have imitated the other. No great artist imitates. Beethoven was absolutely individual, classic as a Greek temple, and his setting of these lines is of great interest; but that of Tschaikovsky, though less formal, more ro- mantic, and yet written in perfectly propor- tioned dignity of line, has stood for almost half a century as one of the models of vocal litera- ture, and to the ear of to-day is even more ex- pressive than the setting by Beethoven. The Mood of the Poem The poem reveals the thoughts of a girl, pas- sionate and romantie by nature, suffering an agony of longing in the absemce of her lover. The words are so few, so simple and yet so inevitable, that it seems impossible to expand them so as to cause them to say more than they do say. Yet music has done this, and upon its unfolded wings appear new lights and shadows, tawny and purpling tints, flashing colors of the rainbow, irradiating the poet’s original concep- tion. Mignon, sitting alone, sighs out her heart. Only one who knows, as she does, what it is to experience longing for her absent lover, can know what she suffers now. Alone and bereft of all joy, she raises her eyes to the broad firma- ment of heaven above her; she gazes around on every side, but alas he who loves her and knows her inmost soul, is far away. No one who has A Master Lesson on Tchaikovsky’s Song “Only a Yearning Heart’”’ By the Eminent American Baritone DAVID BISPHAM Tchaikovsky’s great masterpiece will be found upon another page in this issue— with an orig.nal translation of Goethe’s poem ‘‘Nur Wer die Sehnsucht Kennt,’’ made especially for this edition by Mr, David Bispham. preparing for publication a collection of the world’s greatest master songs. already presented in the columns of the Etude Master Lessons upon Schubert’s ‘‘The Wanderer’’ (Nov., 1915) and Schumann’s “The Two Grenadiers.’’ not felt this agony of yearning can know what such suffering means, Alone and joyless, she also swoons away, but her inmost soul is on fire. Oh, the pain of this sweet sorrow! Only such as have felt this long- ing can sympathize with her anguish! And yet, in fifty simple words, Goethe tells the whole story. “Brevity is the soul of wit,’ and here, indeed, is much im little. But how adequately to translate such a masterpiece of condensation? The task has often been undertaken, and I claim no better result than the best of what has already been done; yet I hope my lines at least may not be unsingable. The reader may recall that I have said that “English is just as easy to sing as any other language—if we but know it, and know how to pronounce it’—and that the only thing bad about English as a song-medium is bad English!” So this is the result of my endeavor: Only a yearning heart Only a yearning heart ‘Can feel my sadness, Can feel my sadness, Alone and far apart Alone and far apart l’'rom evry gladness! From evry gladness! The stars of heaven ] see, So far above me; Is nigh to madness; Ah! but as far from me None who knows not desire Are they who love me! Can feel my sadness! Mr, Davin BISPHAM, Mr. Bispham is now engaged in (Dec., 1917.) My swooning brain, on fire, Goethe had lived for eighty-three years, and died in 1832, Tschai- kovsky was born in 1840, and died in 1893. I saw him and heard him conduct his own works at St. James’ Hall, in London, a year or two pre- viously. No one thought then that the melancholy that pervades the wonderful Pathetic Symphony would culminate in the death of the gifted genius who conceived it. That Symphony is one of the most striking products of modern-art, a colossal work and one of the master’s latest, while the song under consideration, small by comparison, is a gem of the same quality, and although written in 1869, about twenty years earlier, yet it bears a family like- ness, and, indeed, it may almost have been a study ‘for the Symphony-as Wagner’s Dreams was for a sketch for the love duet in the second act of Tristan and Isolde, The tragic melancholy which haunts the larger work is inherent in the exquisite contour of the song which consorts so admirably with the words of the poem, that it is doubtful whether any other composer of our time will have the temerity again to essay the task of fitting music to that text. He is wise who, in this case, follows the ancient adage and is content to “let well enough alone.” » . Only a Yearning Heart was published in 1869, and is the sixth of a set of six songs known as Opus 6, the first vocal pieces published by their composer. The original key is D flat, but the song is considerably more useful and within the range of a much larger number of singers by being transposed half a tone, and in the key of C, it is given here. It is obvious that the composer conceived the piece as one to be sung by an alto or mezzo-soprano voice, that, indeed, of a woman possessed of great depth of feeling and over- flowing in richness of emotion, and yet, as in the case of other songs, there is nothing in the music itself which prohibits a man from using this song. he has Men’s Songs and Women’s Songs My readers are perhaps aware that I strongly hold to the doctrine that a man’s song should be sung by a man and not by a woman, and vice versa; but, for the sake of making a wider appeal, I have taken the liberty, as will be ob- served, of changing in a very slight degree, the thought of the poet, and, in my translation, have treated the verses impersonally, so that they, may be sung either by a man or by a woman. The sentiment of love being universal it is a pity to limit so fine and effective a song to the use of one sex. Some time ago I had occasion as an artist to object to women, for some unexplained rea- son, singing Cicilia by Richard Strauss. This fine song is usually attempted by women, but it is a man’s song, though men seldom sing it! Love is, in the poem, expressed entirely as a hot-blooded man would and should deliver him- self of his emotion. It is as masculine a song as can be found in the whole range of vocal lit- erature, Exception was, however, taken to my point. “Love is love, and it makes no difference who sings the song,’ I was told, to which I re- plied that, “there is Puppy love and Woman’s love and Man’s love, and that this song is the embodiment of the latter, and that any woman who sang it in public—knowing the meaning of the words—was no better than a brazen hussy !” So, ye singers, have a care as to your choice of songs! Opening with a broad, sweeping, cello-like passage, the song leads, after eight bars, to a repetition by the voice part of the initial phrase. An introduction is so essential that the only crit- icism to be made of the songs of Robert Franz

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Page 382 THE ETUDE is, in my opinion, that though they are, as it were, rare gems perfectly cut, yet they lack settings to show them off; few have either preludes or postludes. The song under consideration has, however, just enough and no more to precede the entrance of the voice, and those eight measures are of great moment; they con- tain the pith and essence of the whole plant, the song growing inevitably from that well-grounded root. Practical Hints for Performance Now for the rendering. If you know how to sing— some people do not!—you must begin by taking a fine, deep breath and controlling it well, for, as the song proceeds, you will have need of all your invisible fuel, if you hope to reach the end of your artistic journey without mishap.. Begin gently; it is not the place for expenditure of force. The song is a sigh from be- ginning to end, but the sigh of anguish, with a poign- ant outburst toward the close, and then comes the nat- ural relapse of “tired nature,” and after it, mayhap, the “sweet restorer, balmy sieep.” A breath must, of course, be taken after the second bar before the sec- ond line, for the music allows it, and again a breath after the words, “Can feel my sadness,’ a breath, and a good one, for two lines covering four measures must now be delivered before another inspiration may be taken. Here the cello-like passage in the accompani- ment again hints at the poet’s thought, and the artist must express the panting anguish of the lonely, yearn- ing heart looking vainly for comfort in heaven or on earth, and again with more intense emotion and with - more perfect breath control must be declaimed the line, “Ah! but as far from me, are those who love me.” Then there is a return to the original musical theme and a repetition of the opening lines of the poem. I wish to call particular attention to.the underlying accompaniment which, for eighteen measures, right in the middle of the song, has an almost sub-conscious | JUNE 1918 rocking motion, as of a human being who quietly sways to and fro in the agony of suppressed grief. But then comes the inevitable outburst, “Alone and far apart from ev'ry gladness.” This must not be shouted, but sung with the utmost self control and beauty of voice, slightly faster, and no breath should be taken until “from evry gladness,’ which is to be sung slightly slower, (as though the D on the word “ev'ry” were a dotted quarter) and held just a little in addition. The pianist should make the most of his accompani- ment, throvgh all six of those measures, ending with a tremendous outburst of sound, after which, silence! Presently, as if awakening from a trance, the voice of the tortured one is heard very quietly and slowly to whisper, “my swooning brain on fire’—here a cres- cendo, born of experience both of life and song—and the episode ends with “none who knows not desire can feel my sadness,” that artistic touch of nature that “makes the whole world kin.” Fingerings That Insure Better Results With Less Practice THE fingering which is found in most printed music is commonly not supplied by the composers them- selves, but by. the editors, or by some person specially skilled in the art. Although in most cases it may be regarded as reliable and safe to follow implicitly, yet cases occur, where one’s one ingenuity, coupled with the realization of some peculiar difficulty, will suggest a new and more advantageous fingering. Where this occurs, it is folly to be too conservative. advantage of your own idea? We enumerate a few cases of the kind: Changing Fingers on Same Key While it is often desirable to change fingers on the same key in order to obtain a perfect legato, such a proceeding seems to me to be useless when the damper pedal is being held down. For instance, in the first measure of the popular Flower Song, by Lange, as printed by a prominent pub- lisher, we find: Now, as the pedal will sustain the Bb until and even after the A is played, such change of fingers as herein indicated seems to me only a waste of energy. Probably the worst example of this unnecessary changing is.found in Moszkowski’s Serenata. On. the first page of one edition we find: It is practically impossible to play the passage at. the proper speed and change the fingers as indicated. It is -also useless as the damper. pedal is held down at the same time. Fifth Finger Not Suitable for Strong Accents Any other finger than the little finger should be used for a strong accent whenever possible as it seems diffi- cult to play very loud with it. In Heimweh, by Jungmann, we see: It is difficult to make the C loud enough with the finger- ing used. I would suggest the following as an improvement: Fingers to be Changed on Repeated Notes All good pianists know that when a key is quickly repeated it should generally be played each time with edition that I have seen. Why not take By ROBERT W. WILKES a different finger. But there is one case, in the Foun- tain, by Bohm, in which this rule is not observed in any I refer to the following passage which often appears: When I was learning to play the piano I used to play this piece and I remember that I would very often miss one of the E’s, the reason, of course, being that I played it each time with the fourth finger. I have taught the following fingering to my pupils and it seems to make the passage easier for them: Thumb Under on Accented Notes All good teachers have noticed the tendency of pupils in scale work to accent the notes played by the passed- under thumb. In extended arpeggios a still greater ten- dency to accent this thumb note is noticeable. There- fore it is advisable, whenever possible, to finger so that, when the thumb is passed under, it falls on an accented note. The popular Pizzicati of Delibes is thus fingered in one edition: How the Young Music.Teacher may Realize Success. —-— By R. J. Rosa Read all you can on musical topics Encourage your pupils to play at recitals Always be on time at your appointments Let your own playing be often heard in public Insure people’s confidence by keeping your promises Zeal and Enthusiasm should be your constant possession Always wear a pleasant smile, even when things go wrong Technic always given due attention Insist on each pupil keeping a note-book for lessons Over-generous rather than stingy with your time and effort Neat in dress and in the arrangement of your studio. . Allegretto hi The fingering at A, could, I think, be slightly improved and the one at B is susceptible of still greater improvement. At B, the passage of the thumb from the previous Ab to the D is rather awkward at a rapid ° tempo and, more important still, there is a great ten- dency to accent the D. Of course, the accents—if any are given—should fall at A and B, on the second beats. The following fingering would, I think, be an improvement, as the thumb in this fingering passes under on an accented note: ye SS ee The second theme of the Scarf Dance, by Chaminade, presents a somewhat similar case. As fingered in one edition, we see: The G under the cross should receive no accent since it comes on a half beat. If any accent is given it should fall on F and Ab. The following fingering would, I think, be more likely to preserve the _ natural uwccentuation: In Chopin’s Valse in E minor, the following passage, which is thus fingered, often occurs: The following passage, taken from the end of Mosz- kowski’s Serenata, is rather difficult to play nicely with the fingering given: ' The following fingering is, I think, better: No. 14 iF

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Page 388 THE ETUDE ONLY A YEARNING HEART "EF 1918 "A ST Poem by Goethe NUR, WER DIE SEHNSUCHT KENNT English version by David Bispham. PETER ILYITCH TCHAI KOWSKY ORIGINAL KEY D FLAT Andante zot too slow p espressivly ’ lel espressivly ing heart yearn nla =. | ~ W227 Band <2R ee ee Tey The stars of somewhat —at A slightly faster RY ot wee

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' |: elas Uy A IN rs perarse ers 4 my JUNE 1918 EIS. ZS = S a Bier S In time REE Bae feel (WiSeen Ba a | |! hg” de-sire Can crese. pressing on pressing on --espressively 7 cae CER HS RRS In time > pees = ae re not F. me! My swoon -ing None who knows Ppp much slower TH? Th if lh a\illT ‘ i ony ff i eae love

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Page 385 THE BTUDE JUNE 1918 H AWAITAN SUNSET A clever characteristic piece with an effective imitation of the popular “steel guitar. Grade ITI. = 108 Valse lento sees RAYMOND HOWE se: bay SO rE ee one eee nee le al : ‘i bisa TY we ON 1u MOoOsso0 ‘ tLe we re ¢ at r ml ps8 EY iS E en ree ee ee ee ee ee ee ee British Copyright secured ight 1918 by Theo. Presser Co. ad sa Copy He a oma ioe

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JUNE 1918 WALLACE A. JOHNSON, Op. 16 MEDITATION writéen pastoral, valuable either for teachine or recital use. Gr SHEPHERDS % ade III well- 9 An effective = FS molto M.M.@ Adag 10 non _— bo beta rs “NY ne Hi =| NY eee Se ew ee eB ee ee eee eee Nie J sat a au ni EY ih ome pees enema meses ener aaaseenesaaensensees, : [he L.[. . ; ] a == és press. pe Créesc., /P piu moso con “BL aah 5 Ne 1 See Ny |e --_— iS 2 ee CO ea aeeee ee tthe ¥ a fem po 3 i 4 > i _—_— 8 [| OS se ee lk a a ME 6 oe PS Se BE SS Sk SN RE aS alliceeeliianedilidailiesiensiaiaiciamaiedenedaiamtamamnaaaiineanal * From here go back to % and play to Fine, then play Trio. British Copyright secuced. Copyright 1918 by Theo Presser Co.

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387 Ld Page THE ETUDE JUNE 1918 SIGNAL CORPS MARCH THE and characteristic military march. Grade III. GEO. SCHLEIFFARTH = 120 A vigorous Moderato MMe- | im & & Be @ | Sk a SS ES ~) Yd kad ra ee A 2 oe * a si 6 i | Copyright 1918 by Theo. Presser Co

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JUNE 1918 THE ETUDE Page J&& MARCH SECONDO march, full of patriotic fervor, with incidental quotations from Yankee Doodle, La Marseriiatse and America, ALL FOR FREEDOM R.M. STULTS a an is co N = 1 HA ome al >. 3 ‘i lil C— i Sa. ere aN ak + fn : ae | ‘= - r ie 2 na % At ee ee a » A tp A on a a ee AT a “t) ee Ee sai poet — Aidt | Hib A oth 7 ~~ . Te j 3 > i Nt d ihail oH aL + i Secured pee. Cop ae. 191& by Theo. Presser Co.

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JUNE 1918 THEBTUDE ~— Pawe 3B9 ALL FOR FREEDOM : PRIMO 3 R.M STULTS Marziale M.M.d=126 | | Be ee a ee Se ere ; ; - : 47 2 2 2 ee EER SC UE 2 Se LU ian Gt ce rete retire i i — : = aE S eS ae = ee A'S @S..€ Sau "SG..¢ See See eee BeOS eeneneGanwuae Zt eeeanr waewene t oo RS ak RE SPR: ae RETO A RE we seme coer 1 Ss NS eA fo eye ye ye a a i A SS A ES A a a ee ee ee a ee aise . _¢ fe, on _yrageset PERE Seti S 8 eS Fae con, ale. : SAAR ee a ER SS RR eee A EY EE SSS PO eee ASD CRRA, EAS SE I Re co ae es ee SOS” ER Ba OP Rr ee EO RI. RE. CR RR ES pa 2 eS as a ee ae Chet. cS f i ' ad a ~ 5 a . ‘ ae SS ee. ee ee ee ee eee eee 2, 6 Fr. cma Ye OP yl \e&i |oeorwe | oom. _& a "1 RS SS SUES aS i ei << PG es 7 MoMA HO: Ass Ue ere Ee Oe ae a a a Ge TRS Rs Lt 2 cai apis pty ‘ERE ENNIS a #5 cS ee SD aR ww, -y te ‘3 4 2 a mt ye “Saee £6. Mm a Sy at

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JUNE 1918 SECON DO i tiiaetadietll ad libitum SECONDO ; -_ R,SCHUMANN, Op. 23, No.4 > Semplice M.M. 0=84 | geome | op Pou rie ff pre ee | eee th (VRE AC DG kA’) Se 2 Oe oO eh pL Le tty aan eae ee ae G0. e BE ewe PHY LY Ly Le t x. ati ul Dp 1 kau ha a en ae meet y 7. - oo -\ «re EE ae Re ip te SY mnen.ane me ETS lek RO ee ee a aw ; emer me oN re ee OR YR NY’ | T_T ae £0 AY Rs oe ee) ee ea [_ | oe ket a?” Cee. AVaevh ono o eee Se eer Ra See Ine 9° = @ e at ee ee 7, OAD Copyright 1918 by Theo. Presser Co. iad P é: British Copyright secured

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Page 341 THE ETUDE VE 1918 y -~ SU ' ' i 1 ' ‘ t a t ‘ ' “ ' : ‘ ' ‘ i i ’ ' ‘ i i ' ’ ’ fe J i i ‘ ' ’ i i : a ' ' 1 i i i : 4 5 i t ' ' . 7 ' i 3 ‘ ' ' ’ ' : ’ ' a i ' : i , ’ a ' 1 : ‘ ' ' ’ ' t ’ i ‘ ' ' i i ' ‘ ' ‘ ! ‘ t ‘ £ 8 1 ' ‘ ' ' a ' ‘ E , ’ ‘ ' ' ' ' ’ 5 i ’ 2 ' i ' 1 ' i ' ‘ 4 1 i ' ' i i 4 i ‘ ' i ‘ ' ’ ' ' 1 7 ' t i i 1 ’ ' : 1 ' i ‘ ‘ ' r ‘ ' 1 2 r ‘ : ™ ie. Y) dita mr a r i NOCTURNE | b=2 aan ae OO ee in F PRIMO R. SCHUMANN, Op. 23, No.4 ; |e | Ee | a IRE oe i ray sinraiiil ‘ i e: tae é ua HP te RY ee S| | ia) itis TOS) HIRT ty itt ae Ds a ak CH IF ay i - re as] fa TY ye it al 1 = Ar A a i t | ve Se TT GMT) xt eT } a & tte 8 TT . HT || ll a aut aul ; a ‘ i by Le} Te Ce ALY | il. Al fits GRID met Yl HF ay sali , ical , lcs ae mite “Be Tt et i j aau Pe d z | kl 2 i ae 4a Fe 34 iH | I ui ali SE) rt AT le , i , ie “ ra aE (i “IC Mt iS 7 te) th fie ithe : aa yu g® _ aR, E L pa Bsa 4 cae & aff * ‘ ij [ a a at a ie . : | a hi ay" ale ll - ~ rvs 2 || i> [iL " i emi hs i “i i] ry } Pia Ma [be if eto] | 1. 4 fel Ut a | | Pe = a an al i = Pil | BR 7 oh = flere EP ‘i te} | pee AN) a ‘cir re : © Itt +f an Am sf Pa BTM Sle oy | ny] | ail ais ry |\|ME® [tte!TH f Bl. cok . f i Mal fs ae a ub alik ee REL : = une aii tT | y 4 rs = Wl uf au tf | ai : = . zt a ee} | Bob . “4 ut 3 . ay | | py gages il i Ws &. oe ll || | i me Ud Hts < £ = eb ee ie THY Baad vee baad wa OO Se pa aoeeenet Ure ee

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Ss AMID THE WHISPERING PINES a A melodious drawing-room piece, introducing various embellishments, having three well- contrasted themes, Good for study or recital, Grade Il % Andante Sostenuto M.M. ¢-= o 2G if Mee | faa ss ae Seg ees aT a 22 2 8 co Go ao. ee 7" «#6990. \eeeee ps ee} _. 699)» 55 5 EE SR on TS BO REE RG TP RS OS OE EES EE SS hh ON A I ES RES ee oe es a A TT ee OS eee | || —— a A a Oe OB _a — es py a ow \ | 2 a SS wanes? wo |g Pe. Le Bs y | A on eT oe Bw SS 2 Ra ‘2 mm Ht be D-ty + a — ee OS 2 gy a er tg ae a Pt PRD ik. tmp ae a aes ee Se Be ++ -$—-. a ep et hd SRN Sa an ss eR eS, eg ———— . |e A SS NT ee oa. ME STE LR... CAPA, Ai. AR REM a —— pall =z Im i ee ee an : : | ; : ts ‘a ; | . Copyright 1918 by Theo.Presser Co. : te | | British Copyright secured

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e 393 £ LHE ETUDE i | i ; }} Rs & et ie 2 ROLFE WALFER ’ j j “ 4 . we \-4-.4-.2-4 — — So Go ‘CRES REARS BO A.” SE a ee. ee ese UNDER THE BALCONY SERENATA [Introducing the famous Serenata by Moszkowski. Grade III. ae =72 fF mess _5_5_2_5_ an _3_2_5 os eee a SO M.M.¢ —_-> __ —_ —_____ Ni | o\e> [LUN i le le i i NN ee le le | ON EE OD ee ee Oe Oe Oe CU a u * | * - r ei RS saat qe aa. a on: Zhao Te? Bf a’’ (Moszkowski) Andante grazio ee Ce Vee eee ewe ee eee ee “Serenat ee A. OS Copyright 1918 by Theo.Presser Co. JUNE 1918 IY

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Page 894 THE ETUDE JUNE 118 Paraphrased by PRE LU DE ALBERT FRANZ S.V. RACHMANINOFF, Op.3, Me: 2 An effevtive and playable paraphrase of:the celebrated Prelude in C# minor, transposed to D minor and rendered suitable. for smaller hands. Grade INS ’ LentomM.e=63 Andante M.M.e=72 i V \V a Ns a iin, SEARS GOCE CS saint, 1: exveiiaititailiees a sae Simei esi wale? ha ato M.M.e=63 fs, a ‘’ mes £10! —-o-o—— + pf Phy ge a= So a ae a | cs Loy gga a te ene SS _ a RE, 5 a: 2 Bc 7 | ee Se i ce AE Py ny oe oe Ce cS Sevan 5 — i A | ea > _|___? wat EL AAT AAO PST SETS TSE AG AED NN EON OS = ee ae 4 | laa i@ea_ 22 6424) i RTI, BPOTE ee SS eee ee RO: 8 Ek a ha Eh i GEE \./ Ge Bi Pe eee 6S Ce ‘ag | | | \teagi iFag | @ | a! | | | we 64.46 —_ el ee eG he eo Be Sum ime? 1.4.4°7"1.\.4.408 5 See 1} oF bet ax gt 1} et a. 5 |_ tf tae iwa. taea. (2464 | ./e &. asa 7 Fl | + dee ew aee iee| a@oiestffter Ts TTT mE Oren eee eee eee pe ee) | OO SS + F «dala OE ee iF = alll ll PE all et + i eal, Copyright 1918 by Theo Presser Co, ; British Copyright secured

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Page 395 THE ETUDE JUNE 1918 | bale | BLAKE > eke > > SR TES es Sa of. MILTON D P Tem % A graceful left hand melody, with a contrasting second theme in the relative minor. A good teaching piece. Grade II ; Ed . 12 we ee = A: Se a PTA _CTeSC. sem ill ji U ae 2) eee eee F.. ge ’ J ee wee 7 | SONG WITHOUT WORDS FOND MEMORIES =54 M.M.e- x Rather slow b= = BRA Tees LE EE FP Re ee | || ee ae @ as OR EE ee ee: 2 aa2 4 2 4 2 uD GYD susta med Softly sweetly ant well 7 oy .. a © a "ar oe -, "SSE et a A O° a be TA OPS a ioe FS ER a GR RCL ee) A 2k 4 ‘ ¢ : 4 a . « 4 ; s -: poco ritard 3 See Sk ES ATC A A A A ET a SES 3 —— singing quality for melody ke A ON SG Ss SLE SS St ee To + A er ee oe British Copyright secured Copyright 1918 by Theo Presser Co.

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Page 896 | THE ETUDE VERONA VALSE BRILLANTE A brilliant and sonorous concert waltz by a well-known and successful American. writer, BE SR SS LO ee Se 2 ee ee os ee ee i ee a - Se aa See i saiceaeiepiesiemsieentnaedsbaneeatet hase taa[in Re RARE Bot i —_*+$—_1— + ma ht meee Pe i s Ke See OP cade Ge et Eee Grade V JUNE 1918 EMILE; FOSS CHRISTIAN! : eae 2S el, Sw SRS ls DR ee 8 Me ee A ak Di RE ttt — me GES BNE BRE NGS: eG RE NG PIO BS ee oT) EEN, aes ea 2. s OS ae a ca le 3: RS 2 As PE ee Sc a RE EEE! * | TEES Mb. AOS 5 TO a RE RE. | CRE a Lae to CAST TE TS ES ET | A CA OE RON TOT, EE MN 2 -iwe %* From here go back to % and play to Fine, then play Trio. Copyright 1918 by Theo. Presser Co. CSN SE a a A RAO ee : British Copyright secured

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JUNE 1918 THE ETUDE Page 397 fe cca gi IRE iy . 5. L hg {7 ; ws = ‘SS MAE A ASS eS ee OR ee ee eee ee 2° SS SO ae ORO VI A ES ee oe eer eRe 2S TONRR R Be SRS: Ee Ree i a eS i oe Ri i [he SS AD AS Ok «| 2 _ ASE Eg SE SRS EE Be HE ee .. o OE Lea SO. 2 es ASIEN ERIN ENE SAG ON | MA SO ANT OE Oa KO | ae om AER Ba 2 an ae = OT AE ete LITTLE PRELUDE, IN D See an article by Mr. H.T. Finck, on another page of this issue. Andante con moto M.M.e=69 4 2. 4 3 7 wi a ee Fy WUD Yr RE — af, © fT s,s a * or ee ee a SAMAR Sa ee ee (ee ee ceacoecman ——aeermcaeerwa Sae egatisstmo l P eS ee. ae “? 22 Dee” ee a lee Re. 6 eh : URES SE SN a ORL ee PROMEEC 2G GRE ee oe EE Ee SS PRS SY OE a SSN _____ AG Swe — — — ee — es eee eee es —— — — —— —— —— i ae ae a) . $ <li tices — SA NANE: SS ORE DS se: SA we eee ee AMS RO. ek ee a eS ee GD TER AERIS ALE BS —— — i a oe eB 2° | SE eete: eT MERE ei RS 86H eT Ne A ae nM a A TER ee ow oe ; JA @F «a. © & ay. @~2F- 2 ed SE 6 4 AS e+) Se aan 2 YS a AS A I ct 2 SE 1 meee _ ~“SRine 1.42 eee —— ot? Cieinees i 2 =" = ” = —_ 4 4 : 2 : te! a , . i. 5 1 eee < So eh Gee y y SS —— —— ON cee ee ee Pe Ot ae ER NN EET ie i O_O REE I SEE e. ee ee ee ee ae a En Le ee ee Bas Seem « 2 RAT Oe OE ef ER. Ae, i Lats 6 | __ ee ae — |

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JUNE 1918 THE ETUDE Page 398 YELLOW BUTTERFLIES MATILEE LOEB-EVANS g to the fore. Mrs. Loeb-Evans has been very successful with her numerous teaching pieces. = + sS 8: a Os AO © or - & 2S S Out fae © PDE $ no Ss Be re o eg aR ; Lb £,° his & St ix we st ele} | | BS ‘ ; ch i F F ° ee / F Ne fasz on basa Me _ Bh | te ne EN Ree er Dnaa ett ee OS ee ae 23 Copyright 1917 by Theo. Presser Co. ¥ From here g0. back to beginning to Fine. then play Lrvo. British Copyright secured

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Page 399 THE ETUDE JUNE 1918 = =. ".: i im Sp ee Alexander Kopylow (born Petrograd 1854) is one of the representative modern Russians. Like the great Tschaikowsky he has been very happy in some artistic numbers for less advanced players. Our present quotation is a fine example. Grade ITI. A. KOPYLOW, Op.52, No.6 =68 Moderato MM. qua atempo to aay» ae

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JUNE 1918 ALBUM LEAF THE ETUDE Page 400 INC A fine example of free modern part writing as applied to the pianoforte. Grade V. ALEXANDER KOPYLOFF E : i : K n PF CUG@EEEI IY '.¢0 BS) /ee 44! ee LA of . : R : 5 ll F 1 c f b " A hs i Cp es a ee ee eee ee Pe 17m 4 we Oe RM ee ee 2 84 2 Allegretto ma non troppo m.™. URN Mies SA. A ll a) a Re ee Os DREAM OF THE SHEPHERDESS A fine teaching or recital piece of medium difficulty. A study in style Th a IN “t i! , Op. 45 UM ae a : < He STM is be hubs lbae " mO cnn ti : iT Sal = a (St + | : ey TT | S= (tat | @ Ber ~ aml 3 ay] 6) [= s (! &O AN = s ane © aa e con espressione M.M.¢ om sordino ii PITY | oo. ndante grave Bh L « a 2 Se OA) Ql? ned ‘t tow

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Page 401 THE ETUDE JUNE 1918 te LS nl it | : "i | ay } 4 4 f i GS a fl , -@ k | K q ‘ g —. _— nee ° . e |_| _ e ~ aa ee ee ee es ee ee — P. oe Cee EO 2. . ORR BR TR Ces | i | «| «=a pavec deux cordes. Rey ned

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JUNE 1918 W. BERWALD DANSE HUMORISTIQUE sting characteristic teaching piece by a well known Ametican writer. Grade II. rs THE ETUDE A useful and intere Page 402 -_= a 4 an = | : i I ar) 5 ee hom u H ! | . \ «© ‘ ms Ie oD a eam 4 = 2 ee oT. ALT NE a SE TH We 5 5 Hy nih 1 ee a | ey ff See ES OR a NS “SR 5 M.M. Vivace | ea. I am R oh EY cih British Copyright secured Copyright 1918 by Theo. Presser Co

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JUNE 1918 | THE ETUDE Page 403 ROM ANCE Arr. for Organ by Wm. Noelsch THEME - This 7heme from Mr. Hayes’ Romance in D will make an excellent opening voluntary or offertory. F. CLIFTON HAYES INTRO Ch Flute 4 Era see Lento con moito espressione eo ee Moderato maestoso —» Sap : ie = a : MANUAL Piu animato Swell closed, add soft 4ft. x = \ 1 2.0 @ ao ee | ee | er et ee OC) a a ? a sR STS c ma 4 >. motto rit. Copyright 1918 hy Theo.Presser Co. British Copyright secure(

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JUNE 1918 Page 404 THE FTUDE LOVE LEADS THE WAY . An attractive encore song, with an alluring waltz refrain. Also published as a part-song for women’s voices. MARY M. HOWARD H A ee aon Ss | ee. _ = > 22 = 3 . =f ee i} a milli 3% | 2 — 2 es 3 ® Gi - Be a i oe == P — bo & > ‘eb -_ °° =o . @ e S id & Mm wm > 2 AR s an © © Eon) > > o °° = , @ a | fut a ° = © Som a © oe i] ee fut > a om i] fut S a 5 e P ® ~ @ B ~~ ‘ ° i ® @m 42 a} Se e & , ht © a on x) - ' @ > b> = o) i] a =F am : ; : 7 ee 20 s 4 i =) | =) fx. fae &D <3) yawns =, < i H ag rs : & 4 3 Le om md mil NN) des s (Ke Ne reg eri be7 Ne C baad Hh dn JR) is Sey fall, fol - low his foot-steps’ All takes, form Love ev - er But what - TT. Pic oe, I nS Ten LN 00 di Valse bara o Tee? BIN af will ee where Lead fol - low, we NE eee ON See” : d 5 British caweuens secured st a Copyright 1918 ke Theo. Presser Co.

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»\ is le ii Page 405 ball ‘ot Na S 5 Ry Ry ne —— R = = ben | °o 3 ® 3 3 2 ~ 3 Bs = S c 3 ® a me ® Sue ® a e = ae ° 3 ® 3 coc J Ba iB 2 ° o © & c = fF pos by . {| = “st = ‘i QR AT ~N é ~ “Tas ll besa uF mt SO OR O JESUS, THOU ART STANDING William W. How er na a HOWE JONES SACRED DUET* | il TT qf MIE Ki Tl : TM Ti FP ~ : Hh : =| » E N 3 ‘ S mM ® | " : t) 3 io] & = = © ~ 4 ° 2 “ © | or | ¥ < a i] , S ica : : c 9 in | ny 3 = ; a a ‘8,8 . = 5 s ca + -¥ ® f=] 3 aa | bY 3] o AN e oe a oO é 3 3 S So : the fast-closed door, colla voce shame,thrice shame up NEP _ ah ing Out - side 4 mos a cai ee i ll rE Cah A) “7 he md an British Copyright secured ~ % By following the upper part throughout,this number may also be used as a solo. Copyright 1917 by Theo. Presser Co.

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JUNE 1918 Alto THE ETUDE Page 4.06 guasi recitative Y XQ NIA eo C7reésc. ae AR row en- CETERA Hata” hy b PECK EER — gate! chil => wa RMS: EE thorns T to bar the fast for you, my 5 scarred died gate, is that hand low, to bar the lo! love that pass-eth knowl-edge, fast So ac - cents meek and -— . knock- ing: And es ITZ + SRB e - qual, marred. - ing In ~~ ® S ° S x =| aie 5 : = ve) °o = cS ond ok a] n MN = p= << 7) i o ars) 0 cir - cle, el bes Ch ogee ts ne ae Lord sor -row, withshame and 9 TS a itl ® be ad nev - er more. and leave us ritenuto Ll

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JUNE 1918 The Piano and the Child THE bad influence of badly-kept pianos on a beginner is a very serious subject. When a child is accustomed to hearing a piano that is not in tune, his musical hearing is vitiated. The notion that “any old piano” is good enough for a beginner, is very, very wrong. Every child should have the best kind of a piano possible; if it is an old piano, that is bad enough, but it should at least be kept in good re- pair and in good tune. Three tunings a year is a fair allowance, but there are many households where there have not been three tunings in ten years. The need for tuning does not arise, as many ig- norantly suppose, from the tuning-pins slipping, for that is a thing practically unknown in any properly built piano, nor from playing on the instrument either much or little, but from the changes in molecular condition of the steel wires under tension, the gradual stretching of the wires, and especially the influences of heat and cold. The reason that we dwell on this subject right here is that we have actually heard the children of a household blamed for the piano getting out of tune, it being laid, quite mistakenly, to their © unskillful playing! Famous Piano Duettists WITHIN recent years two great pian- ists, Bauer and Gabrilowitch, have ap- peared together in duet recitals, exhibit- ing a delightfully sympathetic ensemble. It will be interesting to recall some earlier examples of the sort. Periodically, notable players, as Tau- sig and his charming wife, Mendelssohn and Moscheles, Bulow and D’Albert, and the gifted Carreno startled the artistic world by the splendor of their perfor- mances on two pianofortes, but to say that the art was by them established on a firm or permanent basis would avow-: edly be wrong. This can only be accounted for by the fact that after a short tour they sepa- rated, perhaps never again to unite. If they had pursued a systematic course of preparation in the interests of en- semble playing, a permanency might have resulted; but no! Two great artists joined forces, and merely strove after the sensational, and although effects startling and splendid were produced, it was apparent to every one that they were out of sympathy with each other, and thus the high ideal of the Heckmann and Joachim quartets was never reached. Every one knows that this was not the case in the eighteenth century, when Clementi and his marvelous pupil, Field, played often and long together, and to this combination we owe two most ex- quisite sonatas; then Mozart and his sister toured all Europe three times, a concerto, sonata, and fugue for these instruments resulting. Clementi’s celebrated contest with Mozart, in Vienna, in 1871, was fought at two pianos, but this well-known musical duel consisted mostly of pre- ludizing and extemporizing. Dussek and Prince Louis Ferdinand are also two honored names, spending much time studying and performing to- gether; a sonata, since out of print, besides many minor pieces, were written by Dussek, and often played with Louis Ferdinand. At this time, most rich people had a couple of harpischords, and encouraged the performance of concerted music for these instruments; but nowadays such a suggestion—my, the slightest hint of two pianofortes in one room—would meet with but scant courtesy. Very likely one would be asked, “What is worse than one piano?” We are now witnessing a revival of this branch of pianoforte playing, and if the D’Albert-Carreno family had con- tinued together at two pianofortes after their wonderful success, it would have advanced by leaps.and bounds, and their influence would have been felt for many generations to come; but it was not to be. The Sutro sisters are doing much in this line in America and have even secured a new two-piano concerto from Bruch. oe To insure the success of ensemble playing, much earnest study is necessary, and similarly proportioned technics; then a knowledge of effects capable of being produced by two instruments (sympa- thetic vibration) placed together, and also the art of combined pedaling, when, for instance, a melody has to be taken up by the opposite pianoforte—a difficult feat to perform if a perfect legato is to be secured.—(From “Music,” London.) ‘ Spare the Pedal By Mae-Aileen Erb RUBINSTEIN has called the pedal “the soul of the piano.” True, when correctly used, it beautifies one’s playing and seems to infuse a spirit of life into it. If mis- used, however, the finest composition is ruined. The pedal either makes or mars. As a rule the use of the damper pedal (frequently miscalled the loud pedal) is overdone by amateur pianists. Before attempting to apply the pedal at all, a suf- ficient number of pedal studies should be practiced until a thorough knowledge of pedaling is assured. This is often neglected. After that the pedal should be used sparingly and always with discre- tion. Remember that the greatest pian- ists are able to produce wonderful effects by a limited, but judicious use of it. Many piano students, in practicing, will make liberal application of the pedal in all their compositions, studies and even éxercises! In their efforts to master the notes and the technic involved, the poor pedal is often forgotten and _ uncon- sciously held down several measures (if not more!) too long. This results in incorrect phrasing, a covering over of mistakes, a blurring of harmonies, and accordingly, irreparable injury to a mus- ical ear. If it is accustomed to such faulty use of the pedal, it can never be depended upon as a judge of proper effects. Never use it on exercises or technical studies; on compositions and études, only after they have been carefully learned without it. By using the various chord and octave movements, and by cultivat- ing a smooth, flowing legato style of playing, results very like those of the pedal can be produced. A satisfactory interpretation of the piece should also be attained before the last finishing touch—the pedal— is added. — - [HpiToRr’s Notre.—The advice given in the above article is excellent, but there are sqme cases in which the pedal has such an indis- pensable part in the performance of a piece that it is not wise to postpone its use as “a last finishing touch.” It is often of benefit to introduce it in connection with the practice of the left-hand part alone. 4 xy Y : > P P Y j Music for the Wedding Ceremonies in June j Y Y 4. 6b | » Ff / O Perfect Lov Y Y Y Y ] eCrrec Ove ] , ] Yj by Y j y Yj H. T. Burleigh Y Y © eo. ur eig Y Y Y, y A beautiful wedding song, quite different from the time-worn number—a y Yj real novelty to the musical part of the wedding festivity. The music is charming; Y Z the words appropriate; ang of the conga Ect a a hesiggers G G7 everywhere, it is not difficult to sing and comes in both high and low voice. 7 Y Y j : PRICE, 60 CENTS j YY j FAITHFUL AND TRUE, “Lohengrin”, WEDDING BELLS (Wooler) y Y (Wagner) Two-part Chorus or Duet.. .12 Yj Y Mixed voices .............. 10 . Y Y Women’s voices...... ri Pere -10 sige ar wee idal Chorus (Cowen) Y Yj Men’s voices .............- 10 intl yoiess.. .:..... Gis -10 Y Y Y Y . Y, big 1M nstrumental Music Yj : ‘ . Uj j Suitable for Weddings in Church or Home j Z WEDDING MARCH (Mendelssohn) MELODY IN F (Rubinstein) Yy Y Misha 2080: Sete cna 8 35 Pao mee. ee 35 Y, Y Piano, Four Hands ........ .50 Piano, Four Hands ........ .50 Y Y eo 3 aes kare: 35 Violin and Piano............ .60 Y 7, BRIDAL CHORUS “Lohengrin”, (Wagner) Pipe Organ................ 35 ZY Y SEO 435 CALL ME THINE OWN (Halevy) Y Y Piano, Four Hands ........ .20 Pine Orena ain ison sutw ionerguavin ‘ Y y Piano and Violin............ .30. MELODY OF LOVE (Engelmann) j Uj ine Organ «6 iii. soe wish eer .30 Fino We ee 50 Z y SPRING SONG (Mendelssohn) Piano, Four Hands ........ -60 y Yj PiGNiS 0090 5. 6 vic es ke ee .35 Violin and Piano .......... .50 Y y Piano, Four Hands..:..... .50 Pit Oe 6 ea A .50 y Y Violin and Piano .......... 00S SCG j Pins Orgati airs evry '30 THEO. PRESSER CO., Phila., Pa. j G7 . THE ETUDE Page 407 ——— — ir DOD TTT r a ee =A A ong > Ls uo Ws l — Why. Youve a why Us Piano! A palace in an apartment—the king of pianos in miniature—without sacrifice of grace, beauty of tone or depthofexpression. Fitting into the space of an upright—costing but little more, the privilege of owning a real grand even in the smallest of homes is made actual by the truly ingenious KRAN 59 inches long $/0)0) (fob. N.Y.) The skill of. the foremost pianoforte maker, the artistry of the designer, the needs of the modern dwelling, all have been considered and employed in this master product of more than 50 years’ experience. Let us survey your home and show you just how to place your new Grandette. No obligation, But if you want to buy you can do so on very easy monthly payments KRANICH & BACH, 235 East 23d St. New York Established 1864 Chicago, 235 South Wabash Ave. SoA t& = = = — — = = = = = = = = = = = = = = = = = = = = = = = — = = — — = = — = = = = = = asso pee ree Te Please mention THE ETUDE when addressing our advertisers.

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Page 408 THE ETUDE Popular Dances GER ff We ichn 2 3 ey 4 A} SSZZ ; OLE y, c/ MM V1} Ten Prizes for Best Answers JUNE 1918 in Puzzle Guise—sy sam Loyp With the exception of No, 7—Each of the Pictures Represents some form of Dance Music. The puzzles this month deal (except No. 7) with various forms of Dance Music, past and present. No. 7 is a SPECIAL—it represents the trade name to be found in a display advertisement in the June, 1918, issue of THE Etuve. Let us see how quickly we can work out all ten puzzles. . “Puzzeling” is most entertaining and frequently very instructive. PRIZES FOR THE CLEVER ONES Write your answers out on one side of a single sheet of paper and send by post not later than June 15th, to SAM LOYD, Puzzle Editor, THe Erunr, 1712 Chestnut Street, Philadelphia, Penna. To each of the 10 persons who send the best answers to all of the puzzles, will be awarded a copy of the “Cyclopedia of 5,000 Puzzles, Games, Tricks and Con- undrums,” published at $5.00. | By “Best” is meant, in the first place, absolute cor- rectness of answers. Then if minor points of merit must be taken into consideration in selecting the win- ners, neatness, clearness, etc., will be deciding factors. Mr. Loyd will examine all letters received and his adjudications must be accepted as final by all contestants. Prize Winners March Sam Loyd Puzzle Contest Virginia Well Stewart, P. O. Box 245, Springdale, Pa. Mrs. Edgar Law, 394 North Franklin Street, Delaware, Ohio. Mary Bennett, Hazlehurst, Ga. Miss Vernie Yates, Union Springs, N. Y. William R. Thomas, Route 2, Box 69, Lake Crystal, Minn. Mrs. Elizabeth H. Clay, 55 Stanton Street, Dorchester, Mass. Benjamin Stone, 79 Rye Street, Providence, R. I. Mrs. T. C. Mosher, Vineyard Haven, Mass. Maybelle Coppage, 2402 Wil- lard Street, Wilmington, Del. Rena Bauer, Stanley, Wis. Answer to Puzzles in the April Etude 1. Staff. 2. Sharps. 3. Rest. 4. Time. 6. Ivers and Pond (aye verse and Pond) 8. Accent (‘‘axe sent”). 9. Measures. 10. Signature, 5. Flats. 7. Scales.

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ve JUNE 1918 THE ETUDE Page 409 The Physiologist and the Psy- chologist Among Teachers of Music By Frederick W. Wodell ONE extremist among vocal teachers is the physiologist who attempts to secure good tone production through the direct control of certain parts used in singing, as, for instance, the breathing muscles, larynx, tongue, soft palate, jaw, lips, etc. This method is complicated and, for most pupils, dangerous. For each change of pitch, degree of force, vowel-shape, color, there is of necessity an alteration of the condition and adjustment of the movable parts of the vocal instrument. What a task to gain skillful, direct man- agement of such of these parts as are subject to voluntary control! It is common experience that when a pupil is what is called “throaty,” to draw his attention to his throat is to make him more “throaty.” Most students are only too conscious of the muscles in the act of singing, and to teach such to endeavor to “work” various parts directly is but to make their last state worse than their first. Another type of extremist among vocal teachers is the psychologist. He is the exact opposite of the physiological type just referred to in his attitude toward the problem of teaching tone production. The type in mind bases his teaching upon “imitation.” The pupil must hear and imitate fine tone quality. Whose tone quality? If he listens to other singers, how is he to discriminate between tones of very fine, not so fine, and possibly bad quality? Presumably the idea is that he must go to a teacher and imitate the instruc- tor’s tones. Let us assume that all teach- ers of singing are capable of giving their pupils a tone of “correct” quality for imitation. A considerable assumption, but let it stand. No two faces are exactly alike and no two voices are exactly alike. The “individuality” of a good singing voice is one of its most valuable char- acteristics. Indeed some students have natural voices superior to those of their instructors. At just what point shall the beginner cease to imitate his teacher’s voice, and how shall he know when that point is reached? The imitative faculty is weak in many people. It is stronger on the average in children than in adults. Private vocal teachers deal mostly with adults. Evidently the use of “imitation,” whether of the living voice or of the talking-machine voice, as a basis for the ‘teaching of tone production, has its dan- gers and as well its limitations. We are told by some _ present-day writers a good deal about the “Qld Ital- ian’ singing masters and the intimation is that these based their work upon imi- tation. Upon the facts of vocal history from the time of Tosi to the present, so far as known to him, the writer is convinced that while the old Italian masters secured wonderful results in certain cases, the past fifty years has seen as good singing Department for Voice and Vocal Teachers Edited for June by F. W. Wodell as was exhibited in their day. Further, that there is just as good vocal teaching done in this generation as at any time in. the world’s history. In fact, without at all detracting from the merits of the old teachers, which are unassailable in the case of a few whose works praised them, the writer feels justifed in the belief that the best vocal teachers of the present day do more for the average voice than has ever before been done in the history of the world. Of “great” singers, we are never likely to have an abundance, for the*peculiar combination, physical, mental, emotional, musical, which goes to make up the “great” singer, is not often met with. Men can- not “make” a voice; only the Creator can do that. The best a vocal teacher can do is to assist a student to get rid of vocal embar- rassments and lead him on _ to discover and use to the full his vocal powers. The student can be helped to se- cure a high ideal of loveliness of tone quality through the “hearing” of such tone when it can be found and the pointing out of fs — i ts fundamental a ma excellence. SE Sometimes it has occurred that when breath con- trol and the con- dition of sponsive free- dom” (a state of muscular tonicity with absence of rigidity throughout the body) has been secured, the student has emitted a tone of far finer quality than he had ever before heard, whether from _ his teacher or anyone else, and it was his own individual tone, not the result of an attempt to imitate the voice of another. The eclectic vocal teacher is in the best position for doing the most good to the greatest percentage of pupils. He avails himself of all avenues of approach to the student’s mind. He uses the method of “imitation” freely and gets out of it all of good that can be had, but safeguards the student’s voice “indi- viduality” by instructing him carefully against attempting to make his voice sound in all respects like the voice of his master. He also uses the pupil’s sight and ‘his consciousness of the localization of vibratory sensation to assist in secur- ing the desired tonal result. Let us suppose the case of a pupil who is “poor in imitation,” as a phrenologist would put it. The instructor hears this bass singer emit what the student thinks is a good Ah. It has a dark, rather gut- tural sound, more like o in No, or Awe than an Ah. The instructor gives the has 2+ 8 Ooo Moe OF See oer terest att agent ats “Ol 8n8, ets en F. W. Mr. Wodell has given his life to the study of voice and choral subjects. ODELL, been one of Boston’s foremost teachers. ' His book entitled “Choirs and Chorus Conduct- “re- img” has had very wide usefulness, i “The Human Voice is Really the Foundation of All Music.’’—RICHARD WAGNER pupil a pattern sound, asking him to re- produce the vowel in freedom, form and color. Repeatedly the student attempts to do so, but fails. The instructor, knowing that the student is accustomed to his present sound and throat-feeling when singing Ah; that he is cramping his larynx and forcing his mouth into a particular shape, does not, as the physio- logical teacher would do, tell the pupil to raise his larynx, release the soft palate and broaden the mouth. He calls the pupil’s attention to the smiling appear- ance of the teacher’s eyes and mouth as the teacher sings the pattern sound Ah, thus enlisting the aid of the pupil’s sight, and suggests that the pupil try again with breath well managed and the thought of imitat- ing the free qual- ity and the color of the teacher’s pattern sound, and also with the thought that the pupil’s mouth is, of itself, taking the shape which it eae has in a natural smile, while the back of the tongue, as if of its own. volition, slides somewhat forward. The result is a freeing of the vocal instrument from the rigidity which formerly embarrassed it and an uncon- scious adjustment of the parts in a manner favorable to the production of a sound of freer and brighter quality and altogether a much more sat- isfactory vowel Ah. The instructor has not followed a physiological teacher’s plan of direct management and adjustment of the parts of the vocal instrument, nor has he relied entirely upon “imitation” of a-tone. He has proceeded according to the great teaching principle of working by “indi- rection.” To bring the pupil to a correct emission of the voice, a pattern tone as regards a normally “free” quality is of great im- portance. The student’s “ear” must be educated to know that peculiar tonal quality which indicates freedom from rigidity in the parts of the vocal instru- ment, and he must be instructed to will its realization in his own voice. A systematic localization of the sensa- tion of tonal vibration according to the pitch and power of tones, is also of value in this work. But as a condition precedent to the possibility of such realization of the cor- rect tonal concept there must be:— First: Instruction of the pupil as to how to bring the body (particularly the parts of the vocal instrument) into a con- dition of “responsive freedom” or mus- EE a ee a aPate 0°29. 0% For many years he cular tonicity (readiness for singing) without rigidity. Second: The strengthening and the control of the breathing muscles so as to make possible that skillful manage- ment of the breath in singing which is necessary if the singer is to retain said condition of responsive freedom when endeavoring to realize in his voice his ideal tonal concept. The parts of the vocal instrument must not only be in a condition of responsive freedom, but they must be trained to take particular positions and, make specific movements. This again is best accom- plished according to the principle of working by “indirection.” We may be told that by insisting long enough upon imitation of a perfect tone we shall bring about all these desirable conditions, adjustments and results. Why not “divide and conquer.” Why not separate the problem into its chief fac- tors and attack them in detail, rather than in the mass? Hold Fast to the Ideal By F. W. Wodell IF the reader of the articles written by professional music critics is as yet but in the process of securing a vocal edu-— cation through study and much concert- going, he is apt to regard the pronounce- ments of such critics as carrying the weight of ultimate authority. Here trouble arises for teacher. It is his business to teach singing—not howling, shrieking, or the physically la- borious, disjointed, explosive and tonally ugly style of the so-called “dramatic” vocalist, the “singer without a voice” who is “so great as an interpreter.” If a man does not sing, he is not a singer. If he does not exhibit a tone of agreeable quality and a good sostenuto and legato, he does not sing, An English professional critic recently declared himself “more sympathetic to the fine artist who struggles to express great and beautiful emotions through an ordinary voice, than to the congenitally stupid singer who merely uses a fine organ to express banal emotions, or to murder music of a better sort.” Such writing might possibly lead a vocal student to wrongly estimate the work of one who blats and blares, and chops the vocal line into little bits in the endeavor to “express great and beautiful emotions through an ordinary voice.” There is no excuse for one who calls himself a singer who exhibits constantly ugliness of tone. Let the man with the “ordinary” voice restrict himself as to his repertoire, and. leave the expression of great and beautiful emotions to such as are gifted by nature and adequately prepared through artistic attainment, to deal therewith. Even Wagner, the apostle of the music- drama, wanted his parts sung, and he lamented the dearth of singers with the natural endowment and artistic training to properly sing them. After all, when a real singer appears on the professional stage, one who ex- hibits beauty of tone, good vocal tech- the vocal

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SIR es ey See ww eee ae OR Please mention THE ETUDE when addressing our advertisers. nique, and the power to express feeling to a greater or lesser degree, without sacrificing tonal beauty and the singing style, who are quicker than the profes- sional critics to give the strongest praise to such an artist? In proof of which read their writings concerning the per- formances of such real singers as Cam- panini, Jean de Reszke, Lilli Lehmann, Emmy Destinn, Olive Fremstadt, Adelini Patti, Marcella Sembrich, Nellie Melba, ‘and latest, Galli-Curci, to mention but a few. Ugliness of tone and constriction of the vocal instrument—rigidity of feature, of the whole body, go together. This is not a normal condition for the singing voice. The modern singer must culti- vate, as a basis for emotional expression, the normal use of the vocal organ. Only in this way can he expect to develop to the utmost its real powers, and prepare himself for greater and yet greater things as an interpretative artist as the years go by. Lilli Lehmann, for one, did this very thing. She sang the lighter operatic roles at the beginning of her career and for a considerable period, and _ final-.y became one of the few great sopranos who could and did sing and also inter- pret the most taxing Wagnerian parts. Let the vocal teacher hold fast to the true ideal of singing—loveliness of tone, evenness of scale, the legato, a noble, intelligent treatment of the words, and as much emotional coloring and fervour in the desirable, short of destroying the legato and sacrificing constantly the good qual- ity of the tone. The world will always applaud and pay for beauty of tone- quality, particularly when combined with art in the use of the voice, Certain Lessons from the Past ———_—_——— By F. W. Wodell Prer FRANCESCO Tos!I, a great Italian Teacher of singing, born about 1647, published a book, Observations on the Ilorid Song, in Bologna, in 1723. An edition in English was published in London in 1905. Mancini, another celebrated Italian professor of singing, born in 1741, pub- lished the third and revised edition of his book, Observations on the Figurative Art of Singing, in Milan, in 1777. An edition in English was published in America. This was made from a trans- lation prepared by Pietro Buzzi, of Los Angeles, from original manuscripts dis- covered by him in Italy, after several years’ search. These two books contain, probably, most of what is certainly known of the wisdom and practice of the “Ancients” who sang and taught in what is com- monly now called “the golden age of singing.” We have had a good deal of writing, of late, about the “Old Italian method,” and certain of the statements put forth have the appearance at least of being no stronger than mere infer- ences, which may or may not be fully justified. The authors above named were in a position to know the facts. It would be a good thing if every vocal teacher and most advanced vocal students would read and carefully study both these works. It is curious how history repeats itself. Among gatherings of professional vocal teachers to-day, when “shop” is talked, one of the most common topics is the prevalence of bad vocal teaching, par- ticularly by instrumentalists who are not trained singers. Tosi says upon this point: “There are nowadays as many masters as there are professors of music in any kind. * * * So mischievous a pre- tention prevails not only among those who can barely be said to sing, but among the meanest instrumental performers; who, though they never sung, nor know how to sing, pretend not only to teach, but to perfect, and find some what are weak enough’ to be imposed on.” And again: “One who has not a good ear should not undertake eithsr to instruct or to sing. * * * IT can truly say that, ex- cept in some few professors (teachers) modern intonation is very bad.” Mancini remarks: “Another great disadvantage results from the fact that, in this present day, there are many presuming to teach the art of singing who in truth never learned the rules. * * * They believe it suffi- cient to merely be able to play the violin or the cembalo to be competent to train a voice. * * * They make their pu- pils yell with all the strength of their lungs. They spoil beautiful voices be- cause they do not know how to show them how to produce and unfold them. We hear unevenness of registers, singing out of pitch, voices in the throat and total loss of voice, because these teachers pretend that they ought to perform with their voices just as they perform with the fingers on their respective instru- ments. How will it be possible for such teachers to create new, good singers.” There were, of course, excellent teach- ers in those days; otherwise we should not have the records existent of- the artistic attainments of certain vocalists of that time. What do these ancients give with regard to “Method,”—that word which seems to fascinate the average vocal student? | Tosi says very little. He advises against “noisy breath-taking” and empha- sizes the importance of singing the words “so as to be understood.” But there is a whole “Method” wrapped up in those two statements. For a “noisy,” labored breath-taking will result in an uncon- trolled sending out of the breath in sing- ing, with all of its attendant evils; while to sing “so as to be understood” (sing- ing, with the ancients, meant sustaining and binding tones as a fundamental mat- ter as shown by the type of music used) involves freedom of the pronouncing organs, and this means “free throat,” for a “tight” throat is always accompanied by an embarrassment of the organs in- volved in pronunciation. ing, credited to some “Old Italian” mas- ter of singing: “He who can breathe well, and pronounce well, can sing well.” Mancini goes somewhat more into detail concerning his “Method” or system of training. Asserting that “Upon the opening of the mouth depends the clear- ness of the voice,” he refers to the de- fects of tone caused by opening the mouth too widely, or not sufficiently, or with a “round form” with the tongue brought “forward * * * almost upon their lips,” which position he calls a “monstrous” one. In giving details as to how to deal with these troubles Man- cini does not depend entirely upon “imi- tation” of the vocal tone of the master, as some would have us believe was the “interpretation” as is possible and. Hence the say- - JUNE 1918 In Tone the Schomacker satisfies the longing for the very best and most finished in musical expression. Schomacker Piano Co. ESTABLISHED 1838 Philadelphia - Pa. HOTEL . 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Westlake Avenue LOS ANGELES CALIFORNIA {4 ENR AMS ES NERC NRRTD SNR CR ORE ORETE TEMS TREAT Please mention THE ETUDE when addressing our advertisers, general custom of the Old Italian teach- ers. He makes also an appeal to the eye. He says: “In giving the precise rules to a student, let the teacher not only tell him and explain to him, but let him illus- trate his meaning by making himself an example, by assuming the different posi- tions of the mouth, the wrong as well as the right position, in order that the stu- dent may see and also hear the corre- sponding tone which comes from the cor- responding position.” The danger of relying blindly upon “imitation” in teaching was recognized by Mancini, who says: “Singers must always pay attention not to acquire that common fault of imitating too closely what they see and hear; for instead of improving their natural gifts, they will often lose them. However, I do not mean to exclude imitation, because by imitating the perfect in music, using sane judgment and modifications suitable to one’s own particular talent, one perfects himself.” That there is an art of managing the breath for singing (and therefore some- thing to be Jearned) was recognized by Mancini, who said: “One must acquire, through study, the art to conserve, hold, save, and retake the breath, with perfect ease. Without such an acquisition, no agility of any kind can be performed.” There are still extant vocal instructors who pooh-pooh the study of “breath- control,” and tell their pupils to “breathe naturally,” and let the matter end there. With the result, in cases of which the writer has personal knowledge, that the voice is thin, pinched, and deprived of its natural agility and beauty. That there is too much fuss made by some about “How to Breathe” for singing is equally true. The subject should be presented and worked out in a simple way. Prop- erly speaking, the singer does not “take breath”—it takes possession of him, when he stands correctly in what has been called “singer’s position,’ and wills a feeling of light, easy expansion in the lower chest (front, back and sides), the upper chest being well up without strain at the start, and the bony framework thereof remaining practically quiet throughout the inhalation. In the end, with the artist, the taking of “singer’s position” and the thought “I am about to sing” will result in the proper filling of the lungs for the effort to be made. The retention of the easy, high position of the upper chest facilitates the grad- uated, controlled, skilfully managed sending out of the breath with slowness and steadiness, and with those varying pressures required for tones of differ- ent pitch, tone-color and degree of force. In some cases, the muscles involved in breathing for singing have to be strengthened and made more responsive. This can be done by simple breathing gymnastics, without thought at the mo- ment of breathing for singing. The body thus prepared can be trained to respond to the will for. inhaling and exhaling as required for singing. In all departments of vocal teaching the most valuable thought is “Teaching by Indi- rection,” so that attempts at direct local muscular .control, with the inevitable resulting rigidity, are avoided. Doing Justice to the Vowels —_—— By F. W. Wodell Treat the vowels well, and they will treat you well. Take the much abused vowel E as in See. How many vocal students have said that they cannot sing a good tone on that vowel, particularly at a high pitch? Yet one of the first rank tenors of the Paris Grand Opera exhibited his tone of best quality on that very vowel. It is a rich, stirring, carrying vowel, when rightly treated. It must have room to round itself, however, a sort of double resonance cavity, one in the front and one in the back of the mouth, to show its best characteristics. With the jaw well dropped, and hanging loosely, the tongue-tip close against the lower front teeth, and the substance of the tongue at the back entirely free from rigidity, and the breath under control, one can have a beautiful rich E. And if the jaw be loosely dropped a little more and the tongue left of itself to roll forward on its tip loosely, progressively, as the pitch rises, the individuality of the E can be preserved and as well it can be kept rich and of good “carrying power.” But if the tongue and jaw be in the least set and the face wears a grin instead of a smile—you may have an E, but you will have a very disagreeable sound, and it will be increasingly difficult to sing as the pitch rises. Strangely enough one may have the feeling in the neck and the back mouth as though breathing out very slowly and steadily an Ah—the mother vowel while singing this beautiful E. And the higher one sings, the lower in the neck one should will this “Ah” sensation. This adds to the deep rich quality of all the vowels, but particularly of E, and of A as in “fate.” How Not to Do It REFERRING to certain “Song-Reciters,” all too common in this country, a New York newspaper critic, in a clever de- scription of “How Not to Do It,” says: “Some have abundant voice and some have plentiful technic. But unfortu- nately understanding seems to be too fre- quently absent. Again there are those who obstinately refuse to sacrifice them- selves to the noble duty of respecting the composer, but prefer to celebrate their own petty glories. They have a wonder- ful command of breath and for the sake of exhibiting this they phrase extrava- gantly. Or they can make startling ex- plosions on certain tones and they make them without regard for fitness. Or they can deliver a whispering pianissimo which dies away into nothingness, no one knows just when, and so every song terminates with this effect, no matter what the musical cadence or the poetic sentiment. * * * There is yet another variety of song reciter, namely, the one who arranges a program of numbers comprising songs profoundly tragic, ten- derly pathetic, archly playful, or gently humorous and then proceeds to deliver them all as if they were made on the same last. This sort of song reciter is the most difficult of all, for she never can. be made to realize that she is not as eloquent as a violin.” THE ETUDE Page 411 Ingram's Milkweed Cr@atn Keep the bloom and softness of am in your complexion with Ingram’s Milkweed Cream. It is therapeutic, it gives health to the skin tissues, it over- comes imperfections of the complexion. It is softening and cleansing. too. 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THE ETUDE Page 412 JUNE 1918 THE word organist formerly had but one reference, as instruments were to be found only in churches; and the work of the organist was confined to his activities in playing for the services of the church, or in the giving of organ recitals in the church auditorium. But “things have changed,’ and we must now discriminate between the theatre organist, concert organist, and church organist; although it is quite possible for one and the same person to acceptably fill all three positions, if he has the time. In these modern times the opportunities of the organist have been broadened very considerably,. and players of splendid ability and distinguished reputations may now be found playing the organ at motion picture theatres, with no lowering of their own musical standards, but with a big uplift in the standards of the first class theatres, whose patrons are entitled to the best in music. Indeed, theatre playing calls for equal ability and more versatility than any other field for the organist as soloist. He must here sense the ever- changing mood of the picture, suiting his selections and interpretations to the need of the moment. In the best theatres he has an occasional opportunity to play a concert number, either as organ solo or in connection with an orchestra, while the screen is blank. This should be, and is, a means of educating the public to the appreciation of the better class of music; and in the hands of a conscientious or- ganist of ability is a wonderful oppor- tunity, both for himself and his audience. This brings us to the mention of the concert organist, of whom we have a large and increasing number of worthy representatives in this country. His is a constantly growing field, distinctly his own; for he is free to make his selection of pieces to be played, according to his ability as a player, the size of the organ, and his own taste (and that of his audi- ence) without reference to any illustrative element, such as constantly claims the attention of a theatre organist, when play- ing for the pictures. Here then is a great chance for an organist as an educator of the public taste for organ music, of which our great players have fully availed themselves. Think of the magnificent organs which have been installed in vari- ous municipalities of our country and more already contracted for, presided over by organists of the highest rank, where the lover of good organ music has an increasing privilege of hearing, know- ing, and learning to love the greatest music, whether written.in the idiom of the organ, or in the form of a transcrip- tion. Orchestral and other music is fre- quently improved in effect through the medium of the organ, as certain passages become clearer in detail; and the wonder- ful sonority of a mammoth organ eclipses Department for Organists Edited for June by Frederick Maxson “The eloquent organ waits for the master to waken the spirit.,—DOLE Some Qualifications of a Church Organist By Frederick Maxson, F.A.G.O., A.R.C.O. the orchestra in great climaxes. Much care must be exercised, however, in the selection of music to be transcribed for the organ, since a great deal of it cannot be made effective. Audiences who may hear the fine programs of such men as Heinroth, Macfarlane, Jepson, and Stew- art on their splendid instruments, have a rare and enviable treat. The church organist is, in a sense, in a class by himself; his music must make a different appeal, and there are no pictures or annotations. to assist‘in understanding it. Before going further, let me make a plea for the much maligned woman organ- ist. In teaching a large number of pupils of both sexes, covering a period of years, I have found the woman organist fre- quently to be quite as capable as her brother pupil. She can and does fill a church position well, and is perhaps more faithful and painstaking. Then why this unfortunate prejudice in the minds of the music committee in so many churches, where a woman organist is not even allowed to show what she can do? The successful’ work of many women organists who are holding church posi- tions is a refutation of the unfounded prejudice against them. The time may very shortly come when the exigencies of the war will require the filling of vacan- cies by women organists, at least tempo- rarily, Virtuosity ? To return to the question of the church organist as a class. He may utilize to advantage all the good points found in the work of the other two classes; bringing them to bear effectively in his work as solo organist, or in accompanying. As soloist there need be no limit to his tech- nical proficiency and interpretative power. Should he even be a virtuoso, his church solo playing will make still more of an appeal, and his knowledge of instrumental resources and effects will add an interest to his choir accompaniments not to be found in the playing of his less highly developed brother organist. Nothing is of too high a character to use in the service of the Lord’s house. A well planned and well executed organ recital ot the right kind of music is a good preparation on the part of the listener for the church service which is to follow; putting him into a receptive mood. In fact the organ- ist has a great opportunity in so planning all his music for each service, that the mood or atmosphere of both choir and organ music may lead to and be in sym- pathy with the predominant thought of the sermon, which is the culmination of the entire service; being triumphant, tender or vigorous as occasion may re- quire. One clergyman recently told his organist that he always regretted the occa- sional omission of the playing of the Organ Meditation, a quiet piece played just before the sermon, as the Meditation always helped him, the clergyman, in his sermon. This is a tribute to the influ- ence of organ music in the service. The congregation in the same church appre- ciates the Organ Meditation as a devo- tional aid. We now come to a further discussion of “Some qualifications of a church organ- ist,” noting some of the additional points that make for his success: Personality A church organist should be a conse- crated Christian gentleman, of ‘good strong character, capable of making itself felt in the right direction; and a man thoroughly in sympathy with the ideals of his church, spiritually, as well as mu- sically. He should have good habits and an agreeable and winning personality, and be careful of his personal appearance. He should also be somewhat of a diplomat. His interests in his work and his intimate connection with it must be real, not assum- ed; for we all realize the subtle influence which emanates unconsciously from each individual; which if not arrayed on the right side, would give the organist power to counteract to a great extent the most telling pulpit utterances, through lack of genuine sympathy and wholehearted co- operation with the minister. The re- ligious preferences of an organist should not be so decided that they are diametric- ally opposed to the prevailing views of pastor and people, in the main; for this would constitute an insuperable barrier to successful work in the highest sense; which no amount of talent or ability could overcome. The church player should also have an approachable person- ality, showing a readiness to listen to and accept suggestions that might be of real advantage to him in any department of his work. He should command the re- spect and confidence of all, minister, can- gregation, and choir. This point has been touched upon abo It is impossible for the church organist to be too well equipped as a player; for he can make use of all his resources and skill in making the organ effective to the highest degree. He should be thoroughly schooled in organ playing in all styles, from the foundation to as much profic- iency as possible; becoming familiar with the work of Bach, Mendelssohn, Rhein- berger and others of the older school; and also those of Guilmant, Widor, Du- bois, Vierne, and many later composers of ability. The study of the Rink Organ School will give him a foundation of solidity and dignity, leading to the clas- sics; while in Lemmens’ admirable School for Organ he is led towards the brilliant French School; acquiring the clearness and dash so necessary in the playing of modern organ music. To this study must be added a judicious selection from the best in all organ literature, not forgetting the American composer. Our list of American writers is constantly enlarging; and the compositions of some of them will bear favorable comparison with those of any other school, both as to content, form, development and_ effectiveness. Much of organ literature of all schools can be drawn upon for church work. The organist should acquire a sense of the instrumental tone colors most appro- priate for use in the various phases of his work as soloist or choir accom- panist. The adapting of piano accompaniments or of piano reductions from the orchestral score requires considerable skill and in- sight, also a general knowledge of the manner in which orchestral scores are put together ; and a practical use of harmony. Among other points in adapting accom- paniments three must be kept in mind: rhythm, harmonic support, and effective- ness of the organ. This will mean in many cases practically rearranging the piano accompaniment, changing position of chords, using pedals with discretion, etc. One organist comes to mind, a ca- pable player and a good musician, who insisted in playing his accompaniments to the oratorios exactly as given in the piano score; forgetting that this same accompaniment had been considerably changed from its original orchestral form. His singers claimed that they received no support from his playing, conscientious as it was. His rhythms were not marked, and supported by harmonies and proper ~ pedals as suggested above. Three very serviceable books on adaptations of piano accompaniments may be obtained, viz: Illustrations in Choir Accompaniment, by Dudley Buck; Organ Accompaniment, by Dr. Bridge; and (possibly best of all) the brief and very practical little book, Hints on Organ Accompaniment, by Clif- ford Demarest. An ambitious organist cannot do better than prepare himself for the examinations of the American Guild of Organists, whose certificates represent success in just the kind of work in which a church organist should be proficient. Improvisation is of great practical value to the church organist. This should be studied thoroughly, both in exploiting a short motif, and in developing a short impromptu compositions, according to the accepted rules of musical form. Consult the Primer on Improvisation, by Sawyer. There are times in the church service where musical reference to something previously sung in the same service is of great psycholosical and spiritual effect. Also a good timely improvisation will fre- quently suit the moment better than any set composition could possibly do.

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TNE EE NEN PRS ONY AT OR Te Ne JUNHE 1918 William C. Carl TEACHES THE FRENCH METHOD PLAYING AT THE Guilmant Organ School Send for Catalog 44 W. 12th St., New York Church Organs Latest Approved Methods. Highest Grade Only. Established 1827 Main Office & Works ‘KENDAL GREEN Hook & Hastings Co. BRANCHES: Boston, New York, Phila., Chicago, Louisville, Dallas GOLD AND SILVER MEDALS This medal made of gold, roman finish, of sub- . stantial weight, engraved to order, net, postpaid, $5.00. The same in silver, net, postpaid, $3.00, Theo. Presser Co., Philadelphia, Pa. STANDARD MUSIC WORKS As a reward for obtaining ETUDE subscriptions Send us ONE subscription, not your own, at $1.50 (1.75 in Canada) and we will send you your choice of any one of the following works: Album of Favorite Pieces. First Study of Bach. Mathews Standard Graded Course of Studies. Any one grade. Standard Brilliant Album. Four Hand Parlor Pieces. Pee tue PHILADELPHIA, PA. The only organ blower to receive THE MEDAL OF HONOR the highest award in organ blowing at the PANAMA PACIFIC INTERNATIONAL EXPOSITION Over 10,000 equipments in use. Write for booklet. THE ORGAN POWER CO. HARTFORD, CONN. (Also Winners of the GOLD MEDAL at JAMESTOWN) New Organ Music ‘‘On Sale’”’ Th ‘On Sale” Plan offers organists an exceptional o>portunity to be informed regarding our new or- gan music. A fewsmall packages will be sent with- -out obligation to purchase on your part. Returns of unused music may be made on!y once a year, and a postal card will stop the service at any time. THEO. PRESSER CO., Philadelphia, Pa. A’ Please mention THE ETUDE when addressing our advertisers. Special Preparation as Choir Conductor The remarks which follow assume that the organist is also director of his choir. The assignment of the work to a separate organist and choirmaster may perhaps give each more freedom in the carrying out of his own work. But the advantages are quite apt to be overbalanced by the disadvantages, of which one quite impor- tant is the difficulty of securing two men who have equal or nearly equal musical ability. A good organist would not care to work under a choirmaster who was not as good a musician as himself, and one apt to handicap his work by making im- practicable suggestions; so taking it all together it seems that when both positions are combined in the hands of one capable person, results are more homogeneous. A fine organist may, however, be an indif- ferent choir conductor, and vice versa; but when an accomplished player is also capable as a choir conductor, splendid results are obtainable, with the right vocal material. ! The would-be choir conductor should study the voice as to tone-production and natural vocal limitations, so that he may not ask for nor expect impossible vocal results. Most choir singers have studied the voice more or less, and will respect the suggestions of a choirmaster who dis- plays a knowledge of the voice and vocal effects. If the choir conductor could himself become a member of a choral body pre- sided over by a competent conductor he would be surprised and delighted at the number of points he can obtain to utilize in his own work. He is free to follow and criticize the work of each part at re- hearsal, note the remarks and corrections of the conductor, and profit by them, with- out any responsibility on his part, until he comes to apply them in his own choir work, Concentration At the console of the organ, during the service, the church organist must concen- trate his attention every moment. He must be ready to assist soloists in any slips them may make, support tne choir should they flatten or sing incorrectly; improvise to connect one part of the serv- ice with the next, particularly in a ritual- istic service ; and to do many other things. For this reason the playing of his instru- ment must become a second nature to him, so that he may be ready at a moment’s notice for any demand that may arise in the service. Few listeners have any ade- quate idea of the amount of strain to which an organist is subjected during even a plain non-liturgical service; espe- cially when all goes smoothly as the result of his concentration and foresight. It is no small item even to have the place found and the next page ready, at the proper time, and the organ registration prepared; to say nothing of the respon- sibility of the choir work. He must have every effect in mind in advance; for the finest choir singing can be spoiled by a lack of readiness or correctness on the part of the organist. The Staccato Touch In Organ Playing As the phrasing of most organ music published to-day is carefully marked, it is assumed that the points suggested be- low are to be applied only in cases where no phrasing appears, or where a different phrasing seems to be called for, in ac- cordance with the dictates of good taste. The particular instrument upon which one is playing, the size of the auditorium, speed of movement, and degree of power will all tend to modify the touch. Loud chords, for example, played on a large organ in a spacious auditorium may re- quire to be held perhaps a quarter of4 their length, to prevent the resonance of the room from blurring them. Also, staccato heavy pedals should be played quite short under such conditions. A well-equipped modern organist must at all times have a perfect legato touch at his command, which is the foundation touch for all his playing. But the undeviating use of this touch be- comes monotonous, as the ear demands variety, which serves to lend contrast and effectiveness to the playing. Various touches may be used for this purpose, most important of which is the half or demi-staccato, which may be used in the following ways: 1. At the end of a phrase, Fi (EN aS OE Sp ES OR fed HELE: vets) acai ORediis 2. Another use of demi-staccato is as a contrast, when repeating a passage pre- viously played legato :— 3. Two staccato notes before an ac- cented note of longer value are effective :— 4. Staccato notes in a fugue subject give it variety, and help to identify its various entrances :— instead of 5. A short staccato may be used to ad- vantage, as a help in phrasing a passage consisting entirely of repeated notes; thus emphasizing the beginning of the succeed- ing group :— Here the third note of each measure is played short staccato, the others half staccato. 6. The demi-staccato. is well adapted to the playing of chords, which are to be sounded distinctly :— 8 7. M. Guilmant taught the use of the demi-staccato in repeated notes, in poly- phonic music :— THE ETUDE Page 418 Austin Organs IME is the greatest of teachers. It re- veals the. many mistakes of the uninitiated. Examine, if you will, two or three different makes of pipe organs that have been in use for, say 15 years. Time will show which one has paid the most interest. | Austin Organ Co. | | 165 Woodland St. — Hartford, Conn. J TEERE ORGANS All Built to Order for those who desire the best, the smallest, the largest. Tue J.W. STEERE & SON ORGAN CO. Established 1867 Springfield, Mass. Moller Pipe Organs Twenty-five Hundred in use. The highest grade instruments. Gold Medals and Diplomas at Six International Expositions. Satisfaction guaranteed. Catalogs, specifications and estimates on request. M. P. MOLLER Hagerstown, Maryland SIUDY HARMONY and COMPOSITION by MAIL under the personal instruction of Wr, Alfred Wooler, winner of Interna tional anthem competition, 1911. A simple, concise and practical course. Send for prospectus and rates. Composers’ MSS. corrected. ALFRED WOOLER, Mus. Doc. A 322 W. Utica St., Buffalo, N. Y. Recent Pipe Organ Pieces By Popular Writers 14772. Frysinger, J. Frank Moonlight . An attractive soft voluntary or recital piece. Sheppard, E. H Postlude in D An imposing closing voluntary, easy to play. Warner, F. H...Allegro con Spirito . A vigorous closing voluntary, dignified, and of moderate difficulty. Pease, S. G....Anniversary March . Tuneful and spirited. a good teaching number, Mauro-Cottone, M...Marcia Festiva .- A splendid recital number for an ad- vanced player. Sheppard, E. H..Allegro Pomposo . A well-written, interesting postlude easy to play. Meditation Stults, R. M PostludeinG . 14964. 14990. 15033. 15018. 15094. 15148. A melodious soft voluntary. Schuler, G. S Showy, yet easy to play. Diggle, R At Sunrise . A tender melody, with tasteful regis- tration. 15204. 15271. ‘We will be pleased to send any of the above numbers for examination. Theo. Presser Co. 1712 Chestnut Street Philadelphia, Pa. ORGAN REPERTOIRE Compiled by PRESTON WARE OREM Price, $1.50 The chief object in this compilation has been to cover the ground as widely and thoroughly as possible, incorporating many novelties and original pieces as well as some standard com- positions and new transcriptions not to be found in other collections. THEO. PRESSER CO. Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers.

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a Page 414 THE ETUDE This did not apply to long notes, or repeated notes in a melodic passage in modern music :— where, as in this example, the first note (D flat) would be released just in time to repeat. The finger should follow the key as it rises from the first note, ready to repeat. 8. Pedal notes are frequently quite ef- fective when played demi-staccato :— suggesting the pizzicato of the ’cello and double bass of the orchestra.—FREDERICK MAXSON. Special Methods in Practicing Hymn Tunes on the Organ Muc8 practical benefit may be derived from the study of hymn-tunes in the ways here suggested, in addition to any other methods that may occur to the student. 1. Play the hymn on the Swell Organ, with expression, without pedals. Some players follow the plan of striking each repeated note in Soprano and Tenor, while the Alto and Bass hold them for their combined length as a contrast :— Others strike simply the repeated notes in Soprano, retaining all the others :— 2. Play the Soprano and Alto with the right hand, the Tenor with the left and the Bass with the feet, with the same at- tention to repeated notes. Play the Bass as written, avoiding extremely high or low notes on the pedals; using a melodi- ous interval when skipping to the octave higher or lower than written :— Here all the notes except those marked * may be played either as written, or an octave lower. Here notes marked * should be played as written, not an octave lower, the first E either high or low. 3. Play the Soprano on a solo stop, Alto and Tenor on an accompanying keyboard, Bass with pedals at written pitch, coupled to the accompanying keyboard. Variety may be sought for in the quality of tone of the solo stop, playing the melody sometimes on one keyboard, sometimes on the other. It may also be played in octaves. 4. Transpose the hymn a half or whole tone up and down, playing with or with- out pedals. Transposition, by Warriner, may be a help in this study. 5. Play without pedals, hands reversed; the left hand playing the Soprano and Alto as written, while the right plays the Tenor and Bass. This is a splendid study for developing concentration and inde- pendence of the hands, which are quite apt to go entirely wrong until the knack is acquired. 6. Play the entire hymn with right hand and pedals, and with left hand and pedals; the hand playing chords of three notes. When a chord cannot be spanned with one hand as written, it may be modi- fied by playing the Tenor one octave higher, or filling out the chord. Some practical knowledge of Harmony is neces- sary in this and some of the other meth- ods suggested. 7. This is an addition to the last method, and consists in adding stops to the Swell and Pedal organs in order with the left hand while playing chords with the right; also adding Great and Pedal stops with the right hand while playing chords with the left. Practice also, put- ting off stops in the proper order. 8. Play full chords in each hand, the right played an octave higher, the pedals in octaves if possible: Sometimes the right hand in .octaves instead of full chords. 9. An exhaustive study of hymn tunes should be made, playing with the expres- sion and degree of power suitable to the sense of the words. This will call for considerable registration of manuals and pedals.—FREDERICK MAxSON. Cooperation Between Minister and Organist THE organist should endeavor to work in harmony with the minister, who, if a man wise in his day and generation, will undoubtedly defer to the musical judg- ment of an organist in whom he has per- fect confidence. structive to the best success of the organist in his church music than a spirit of rivalry between the minister and him- self, or a feeling of superiority on the part of a minister who may be short- sighted and masterful enough to insist on the carrying out of his suggestions because of his position. I once knew of a clergyman who was incensed because the organist did not favor the attempt to carry out a suggestion he made, which was no less than that of having the entire congregation sing Handel’s Halle- lujah Chorus! Think of the twisted up leads in this magnificent composition - which would result from the singing of a congregation that may not sing even simple hymn tunes rhythmically. A new style of counterpoint (not worthy of imita- tion) would certainly have developed from such a’ performance! In this case the refusal of the organist was looked upon as insubordination, without consid- ering that he was posted as to the prac- tical difficulties in the way of carrying out such a suggestion. The ideal plan is for minister and organist to discuss in a friendly and mutually interested way the various items that come up for son- sideration, each being desirous only of producing the best practical legitimate results, and not of “carrying his point.” In this way the experience of each is brought to bear helpfully, and it is im- possible to overestimate the benefit the congregation will derive from services whose efficiency and appeal have been carefully arranged for by friendly con- sultations of this sort between clergy- man and organist, where each has given of his best thought. The clergyman who is somewhat educated in music can. co- Sperate more intelligently with the or- ganist, but it is to be hoped that the min- ister who emphatically has no musical education will be aware of the fact, be open to legitimate suggestions and not ex- pect impossibilities—FREDERICK MAxXsoN. Nothing is more de- — WHY CAN’T YOU | GET THE RECORDS YOU DESIRE? There are many contributing causes but most of these can be avoided if you Order Your Records by Mail Owing to a most comprehensive stock and expert knowledge of just what the music lover wants, the TALKING MACHINE DEPARTMENT OF THE THEO. PRESSER CO. is completely equipped to make it an easy matter to obtain the records that you desire. ?, 2 EACH SELECTION IN THE LIST BELOW has been carefully considered from a musical standpoint and every music lover will enjoy these numbers. Number Title Price Traumerei Schumann...........seeseeeeeeeee Violin Solo by Howard Rattay 16050 ar estes Concerto No.2 de Beriot.... Violin Solo by Chas. D Abana} $0.75 ' Artistic interpretations of two well-known solos. 17206 Spanish Dance Rehfeld..........seee.eeeeeeees Violin Solo by Max Pilzer 75 Petite Valse Hollman..............eeeeeee, Cello Solo by Rosario Bourdon ; Idealized dance forms, frequently heard in recitals. 16835. { Spring Voices Joh. Strauss..... EN Se a aL re Whistled by G. Gialdini 75 Birds of the Forest Adolfo ...........cce ccc eues Whistled by G. Gialdini , Brilliant whistling solos, recorded w:th astonishing clarity. Wasltiniatom: PAGE BEOROiiii ss sedi. cis cece cvccessctceecces Sousa's Band 17302 {EI Caatheee MUMS ice «soins cnsessussedeccantes Sousa's Rand} “75 Two of the most popular marches, interpreted as only their composer can. 60031 Italian Street Song Naughty Marietta, by Herbert....... Sung by Lucy Marsh .75 The most popular of light opera arias. 17523 {Wonate. Chileriee. Carl Being oi... cede: cussed wemeeses cvs Neapolitan Trio 5 Woodland Echoes Wyman...........cecceececccenceeeeucs Neapolitan Trio 7 A delightful instrumental combination in two pretty drawing-room pieces, accurately recorded. 74547 Four American Folk Songs........---+..++:: Violin Solo by Maud Powell 1.50 No one equals Maud Powell in her interpretation of the good old songs. 35133 {Mane e Goi’ GRE ACWOD Ie cece sec oe Ce ceevcwecea’s Cello Solo by Sonat 1.25 Martha Overture. so iccccc cece cc cccccccvecgcecerseveesccccens Pryor's Band . Two popular numbers, particularly well rendered. 87107 Whispering Hope.......... ....-eseee ences. Vocal Duet by Gluck and Homer 2.00 A most artistic rendition of an appealing duet. BBIST Calaate Alda. oo. ccc iikebc cc theese tes cee cbetineccceussccececees Sung by Caruso 3.00 The greatest of tenors in his favorite role. A request will bring to you each month the Bulletin of New Victor Records, accompanied by a letter discussing the merits of the various selections. , 2° Every Music Lover Should Own a Victrola EITHER OF THESE COMBINATIONS SOLD ON EASY TERMS Victrola VIA $3000] | Victrola IXA $57.50 ° aps = aan re 50 - OE ci 7. 5 0 $65.00 Easy Payment Plan $5.00 Cash and $5.00 Per Month $37.50 Easy Payment Plan $4.00 Cash and $4.00 Per Month THEO. PRESSER COMPANY SHEET MUSIC AND MUSIC BOOKS—TALKING MACHINES AND RECORDS 1710-1712-1714 CHESTNUT ST., PHILADELPHIA, PA. Please mention THE ETUDE when addressing our advertisers.

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JUNE 1918 THE KTUDE Page 415 In Memoriam Henry Schradieck By Robert Braine Tue death of Henry Schradieck, a violinist, violin teacher and writer of technical works for the violin, of inter- national fame, is announced. Mr. Schra- dieck died at his home in Brooklyn, March 25th, of heart disease, at the age of 72, and taught up to the very day of his death. Mr. Schradieck was born in Hamburg, Germany, in 1846. His first violin teacher was his father, and he afterwards studied with Ferdinand David in Leipsic, and with Leonard, at Brus- sels. He taught for several years at the Moscow Conservatory, in Russia, and at the Leipsic Conservatory, in Germany, during which time he directed the fa- mous Gewandhaus Orchestra in Leipsic. He then came to the United States, where he became the head of the violin de- partment of the Cincinnati College of Music, and directed the Cincinnati Sym- phony Orchestra. For the past few years he has taught violin classes in New York, Brooklyn and at the Combs Con- servatory, in Philadelphia. Mr. Schraedieck has been active in musical affairs in the United States for almost thirty-five years, during which time he has formed many violin pupi's, many of whom have become eminent and are scattered all over the world as violin- ists or teachers. In his younger days he appeared frequently in public as a virtu- oso violinist and as a symphony con- ductor, but of late years has given his entire time to teaching, to editing works for the violin and to preparing technical works for the violin. Among the best known of these are his Scale Studies, Chord Studies, School of Technic for the Violin, and his Violin School, These works are widely used all over the world. Mr. Schradieck advocated that the be- ginners’ first studies should be in the key of G, as that is the natural key of the violin, and followed this theory in the preparation of his violin school. He edited a vast number of concertos and miscellaneous pieces for the violin. As a violinist he had qualities of a high order. His intonation was perfect, his tone broad and noble, and his playing at all times showed the great musician. He considered himself a disciple of the Belgian school of violin playing. Mr. Schradieck was a man of remark- able force of character and of a singu- larly lovable disposition. He will be mourned by violinists and ‘ musicians throughout the United States, and indeed throughout the world. It is impossible to over-estimate the value to the cause of music in this country of his thirty- five years of arduous labor as a teacher, composer and editor. . At the funeral services the Largo from Department for Violinists Edited by ROBERT BRAINE “Tf All Would Play First Violin We Could Get No Orchestra Together."—R. SCHUMANN Bach’s Concerto for Two Violins, and the Evening Song, by Schumann, for violin solo, were played by former pupils, Among those who have been Mr. Schradieck’s pupils at one or another time we may mention such eminent names as Theodore Spiering, John Dunn, Maud Powell, Dr. Karl Muck, Felix Wein- gartner and Arno Hilf, besides a great number of the leading violinists in various American symphony orchestras. As a composer, and more particularly as an editor of works for the violin, Mr. Schradieck gained some distinction, but he is even better known by his technical studies, which are widely used and highly valued by violin teachers. He was also the author of an excellent method for beginners, entitled The First Position. HENRY SCHRADIECK. The War and Violin Strings One of the largest manufacturers of gut violin-strings in this country makes the following announcement: “Present acute conditions mean an immediate advance in price.° The great war is directly and indirectly the cause of a seri- ous shortage in gut strings. The imported strings which formerly flooded this coun- try have ceased to be shipped here. A tremendous quantity of gut is being used for surgical purposes abroad. The high cost of meat has cut down the number of sheep that supply raw material for gut. A rising market is inevitable.” Large and increasing numbers of vio- lin strings, many of them of very high quality, are now being made in the United States. One of the Chicago packing houses has a separate factory where the intestines of sheep are used as a by-prod- uct in the manufacture of gut violin strings. It is likely that the domestic vio- lin string has come to stay, and that in time this country will be exporting large quantities of violin strings. Violin Octaves THE great scientist Edison says that octaves cannot be played perfectly in tune on the violin by any violinist, however eminent, and that composers of music for the violin should not write octaves for the instrument in view of this fact. He says that he has proved to famous violin- ists at his laboratory by conclusive tests that octaves cannot be played perfectly in tune. In his conclusions on the subject, there is little doubt that Mr. Edison is both right and wrong. He is right in the as- sertion that a difficult passage in octaves cannot be played in absolute mathemat- ically correct intonation; but he is wrong in his view that the minute deviation from absolutely correct intonation, present when the octaves are played by a great technician, is so great that it prevents octave playing on the violin from giving pleasure to an audience, and that conse- quently octaves should not be written for the violin. | Paintings and drawings by great artists undoubtedly lack the mechanical accuracy of a blue print, drawn by an engineer or professional draughtsman, or of the camera, or an architest’s plan, but most of us would prefer the free-hand work of the great artist to the mechanical ac- curacy of the scientific draughtsman. Mr. Edison might. also have -found that if he had applied his tests to many passages in single notes, he would have found many of them slightly inaccurate as re- gards absolutely perfect intonation, even when played by eminent violinists. From this, with the same reasoning, it might be urged that only the very simplest pas- sages be written for the violin, and dif- ficulties left out altogether. Even the best violinists play single notes noticeably out of tune occasionally in passages of extreme difficulty. The test of the matter is whether oc- taves and extremely difficult passages give pleasure to the hearer, and assist the composer in creating a great violin tone poem which will convey his message to. the audience, even although the intona- tion may not be perfect from a strictly scientific standpoint, where the last vi- bration is counted. There is not the slightest doubt that such passages do give pleasure, and create the required thrill, otherwise eminent composers would not have filled their violin compositions with octaves and similar difficulties for the last hundred years or so. So Mr: Edison is without doubt scientifically right, and emotionally and artistically wrong in his views about octaves. Imagine the elimination of ali octave passages from the literature of the vio- lin, and many of the great works would lose much of their charm. Octave pas- sages give breadth and nobility when properly played. Think of cutting out the octaves in the Second Concerto of Wieniawski, the F Sharp Minor Concerto of Ernst, the Schubert-Wilhelmj Ave Maria, the Elegy by Ernst, and many other famous violin compositions, and it must be admitted that much of the charm would be gone. Octave Difficulties _ The difficulties of good octave playing are very great, and only violinists with a sound technic should essay difficult oc- tave passages. Such passages are only met with, as a rule, in solo violin play- ing, for when composers of orchestra music write octave passages of any dif- ficulty, they mark the passages divisi; that is, “divided,” that one-half of the violin- ists should play only the higher, and the other half the lower notes of the octave. In solo works with difficult octave pas- sages, it is also better for violinists of limited technic to play single notes, for octave passages must be played in reason- ably good intonation to give any pleasure whatever. The chief difficulty in playing octaves comes from the fact that as the finger- board is ascended the intervals lie closer, bringing the fingers constantly closer to- gether. The octave player must have the skill of a juggler and the finest mechani- ‘cal precision in advancing each finger at the constantly diminishing ratio, Octave work, at least in its arpeggio form, should begin early; that is, as soon as the pupil has acquired some facility in the first five positions. Both fingers should be kept on the strings, except when necessary to pass to the next two strings, and the passage from one octave to the next should be made neatly and rapidly. Care must be taken not to slide the fingers slowly from one octave to another so as to produce a drawling ~ sound, — The scales, major and minor, and the chromatic scale form the best octave ex- ercises. It is advisable to practice them in arpeggio form at first, as in the fol- lowing: Another useful exercise (Fig. 2) is where the notes of the octave chord are played first separately and then together. The object of this is that the student can correct the position of his fingers if the notes are out of tune, when playing them singly, so that the resulting octave chord will be in good tune. | aed ma. DTS A eet SN CSE HORE OE SER ees er In the final exercise the notes of the scale are played singly in octaves. Useful additional exercises would be to slur the scales in octaves, two, four, and eight in one bow.

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Page 416 THE ETUDE (HALFONTE ATLANTIC CITY, N. J. delightful at thisseason. Chal- fonteappealstocultivated, inter- | esting people seeking rest and recrea- | tion. Modern, 10-story, fireproof. \\ Right on the beach and boardwalk. All sports and pastimes. Golf and yacht club privileges. American Plan Always Open THE LEEDS cage ailopilhad $ Magazine The ae ‘camer Magazine iv WHOLE YEAR FOR ONLY 60 CENTS (Regular yearly sub- scription price $/.00— Newsstand price $/.20. Besides making this special bargain price, we give to each new sub- scriber a copy of our booklet ‘‘Fifty Ways for Boys to Earn Money.’’ Every live, ambitious boy should have a copy of this booklet. You could not give a boy a greater pleasure or a stronger in- fluence for good thanayear’s subscription to this superb maga- zine. Each issue is filled with clean, inspiring stories by the very best boys’ writers. Special articles about Electricity, Me- chanics, Athletics and Physical Training, Gardening, Camp- ing, Hunting, Trapping, Fishing, Bicycle and Motorcycle, Carpentry, Photography, Poultry, Drawing, Stamp and Coin Collecting, Boys’ Societies, Jokes, Cartoons, etc., etc. “Get this splendid magazine for your bay or for some boy in whom you take a special interest. It will give him a ful year of pleasure, entertainment and instruction. Satisfaction or > ba refunded. (Remit in stamps if more convenient.) Ad The Scott F. Redield Co, , 2029 Main St. , Smethport, Pa. School of the Pianoforte By Theo. Presser | Price 75 cents This elementary piano in- structor has had an unprece- dented success, being wel- comed by teachers everywhere as just the thing for the young beginner; the next thing to a kindergarten method. Send for a Copy for Examination Theo. Presser Co. Philadelphia, Pa. MAKE The Leabarjan Perforator is a machine desigued for the purpose of making mu- sic rolls in the home. Owners of Player Pianos will appreciate the pleasure of making permanent rolls of their favorite compositions. The operation is simple and fascinating. The Perforator has a capacity of four rolls at one time thus enabling one to ROLLS duplicate music rolls for his friends. Write for complete information LEABARJAN MFG. CO., Dept. C, HAMILTON, OHIO Beautiful Songs for Special Purposes State your requirements. THEO. PRESSER CO., Phila. The South Jersey Coast is Long Finger Nails THE fashionable’ manicurist is the in- veterate foe of the violin teacher, who is trying to give his female pupils a good left hand technic. The present fad is to leave the nails rather long, with a pointed effect at the end of each nail. Now it is only possible to do good fingering (with the fingers falling in the proper curved position, directly on the tip of the finger) when the nails are clipped short. When the finger nail is long, or when a long point of nail is left, the nail and not the finger tip strikes the string. Not only does the pointed nail cut, fray and scuff the string, but the strings cannot be firmly pressed on the finger-board, which is so necessary to the production of a clear, sonorous tone on the violin. The result is that the long nailed student plays with the fingers in a false, flattened position which makes good violin play- ing an impossibility. Of course it is possible to hobble along, after a fashion, with the fingers held in the position which long nails necessitate, but the tone will be dull and muddy owing to the fingers not being able to hold the strings firmly enough to the fingerboard with the tips, but innumerable passages will be met with, such as the following, which cannot pos- sibly be executed in the proper manner: In arpeggio work of this character, the - | fingers must be held down as if a chord were being played. If the fingers are held in a flattened position, the second finger in the first group, and the first finger in the second group will touch the open A string, preventing it from vibra- ting. Many other passages of different type could be cited which can only be prop- erly executed if the fingers fall in the proper curved position squarely on the tips. I often plead with girl pupils to clip the finger nails of the left hand short so that they can finger properly, but the goddess Fashion is a stern mistress, and it is difficult to make much headway against her dictates. Many of them would rather spoil their violin progress than disobey the manicurist. One young miss gave her viewpoint as follows: “I know perfectly well that I should have my nails clipped short to play the violin properly, but I just can’t bring myself to do it. I want my nails to look like the other girls’.” As it is quite too much to expect that all our fair violin students will disobey the stern rule of fashion, here’s hoping that the fashion of manicuring will change, and short finger nails will come into vogue. When to Use the Vibrato By Ben Venuto Passinc by a certain hotel grill-room, I heard what I took to be a mandolin of rather unusually good tone. Although the mandolin is not a favorite instrument with me by any means, curiosity led me to look in, and to my surprise | saw that it was nothing else than a violin, the player of which kept up such a continu- ous and violent vibrato that the effect re- sembled the tremolo produced by a man- dolin plectrum. Though rather cleyer as a trick, it soon became unutterably tire- some, and this violinist did not seem to be able to play in any other style for so much as a single note. (Understand, this was a left-hand vibrato, not a bow-tre- molo.) This is a rather extreme case, but the abuse of the vibrato is a crying evil with many violinists, to the detri- ment of their purity of style. One cause of this is the fact that most teachers are inclined to be a little remiss in the matter of giving any systematic instruction in this means of expression, leaving it too ex- clusively to the pupil’s instinct, with the result that those pupils who do not take readily to the vibrato sometimes fail to acquire it at all, while those who do take to it use it in season and out of season. The experience of many years’ teaching has led me to formulate a few rules for pupils in regard to this matter, which seem to be helpful toward acquiring a well-ordered style, and I venture to enumerate them here :— 1. The beginner should never be al- lowed to attempt the vibrato until his bowing is well developed in every way and his intonation absolutely correct. 2. The vibrato should not be allowed in any exercises or etudes which are mere studies in mechanism, with the possible exception of slow scales, which should be practiced both with vibrato and with- out vibrato. 3. When the pupil arrives at a point where it is deemed best for him to begin the use of vibrato, if he finds difh- culty with it, it should be taught with the same care and patience as are other ele- ments of violin technic, ~ 4. The vibrato finds its chief use in slow and expressive melodies, to enrich the tone. It should not, however, be used to its greatest force on each and every note, but reserved, to some extent, for the climaxes of expression. 5. In more rapid time, it is specially appropriate to a long note occurring in the midst of numerous short ones. One of the most helpful ways to aid a pupil to acquire it is for the teacher to mark some such notes with a wavy line (the usual sign for vibrato), and to insist on the pupil making a good vibrato at those particular points. 6. Great speed in vibration is not al- ways to be desired. In many cases a slow vibrato is pleasing. 7. It is as important to be able to re- frain from vibrato as to be able to make it. Passages occur where a flute-like or organ-like tone is the thing desired, and in these cases vibrato is not appropriate. It is possible that not every teacher may agree with me in all the details of the above statements, but if my sugges- tions induce some careful thought on a matter which has been too much left to -hap-hazard, I feel that I will not have spoken in vain. LABEL BROTHERS MUSIC PRINTERS anD ENGRAVERS SEND FOR ITEMIZED PRICE LIST AND SAMPLES THe MUS WRITE 1C SUPPLEMENT OF THIS MAGAZINE [S PRINTED BY US US ABOUT ANYTHING IN THIS LINE COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. Please mention THE ETUDE when addressing our advertisers. JUNE 1918 Professional Directory AMERICAN ..: BAKER BARTEL BEECHWOOD SCHOOLS EASTERN PROGRESSIVE PIANO SCHOOL Gustav L. Becker, Director 161 West 71st Street New York RAWLINS. PR ag og Instruction . 3929, Lenox 52 E. 77th St., New York OTTO E. Composer, Teacher Studio: 426 = wood lwood City, Pa. Pooeerse tery Dept. OLAF JENSEN, Dean, Jenkintown, Pa. (20 min. of Philadelphia) Broad St. Conservatory of Music Gilbert Raynolds Combs, Director 1327-31 S. Broad St. Philadelphia, Pa, DUNNING § SYSTEM. RAR SE Music o Seady for beginners. Normal Training Classes Carre Louise Dunning, 8 W. 40th, N.Y. FABRI HAWTHO OPERA SCHOOL. Voice training for Church, Concert and Opera. 68 W. 82nd 8t., N. ¥. City. Circulars ‘mailed, 1628 Arch 8t, Phila. Piano School Leschetizky Method Potsdam, N. Y. RNE KRIENS MOULTO CHRISTIAAN ~ mae wa Violinist Studio: Carnegie H Suite 303, wwe York City Mrs. M. Piano Instruction Patt isso School 10 8. 18th St. Philadelphia School of Music and Arts Ralfe Leech Sterner, Director Central Park, W., & 95th St., N. Y. ROGERS VIRGIL FRANCIS. Concert Baritone and Teacher of Singing. Till Jan. 15, 1918 Singing somewhere in France. After Jan. 15, i144 E. 62d St., New York. MRS. A. M. Piano School and Conservatory 11 West 68th St.. New York SOUTHERN BRYANT SOUTHERN CONSERVATORY OF MUSIC, Gilmore Ward Bryant, Dir. All Degrees Conferred, Est’d 1898, Durham, N, C. School of Music CONVERSE COLLEGE: AMERICAN BROWN CHICAGO CINCINN WESTERN CONSERVATORY 70 Instructors Piano, Voice, Organ, Violin, etc. Kimball Hall Chicago ROY DAVID. Concert Pianist—Teacher. Assistant to the late Emil Liebling. _Lyon & Healy Building, Chicago Musical College. 52d yr. Leading School in America.Piano, Vocal, Violin, Organ, Theory,P.S M. 6208. Mich. Ave. ,Chicago Conservatory of Music EsTaBLIsSHED 1867. MNHighlandAve, and Oak St. Cincinnati, Ohio ATI COLUMBIA DETROIT KNOX MARLOWE OREGON TOMLINSON WESTER NO TEACHER Catalog free SCHOOL OF MUSIC Clara Osborne Reed, Director 509 S. Wabash Ave., Chicago CONSERVATORY OF MUSIC 1000 Students. 50 Teachers 530 Woodward Ave., Detroit, Mich. Oonserv wand of Music Galesburg, Illinois Wa. F. Bentley, Director BURRITT L. Pupil of TREE Dahm. Peterson Academy of Music, hy S. Grand Ave, Los An eles’ . Also Greater Whittier Co aie: CONSERVATORY OF MUSIC. Degree Cer- tificates, Diploma Graduates. Mrs. L. H. Edwards, Director. Portland, So: NA M. “Piano, P Private & Cl Send for Book on Hand Devl. Famous Table & Keyboard Ex’s 300 Fine Arts Bldg., Chicago,Ill Institute of Music and Dramatic Art. All Depts. F. Schweikher, Director Wolfe Hall, Denver, Colorado Should despair of finding the exact educational material desired without first writing our Service Department. THEO. PRESSER CO., Philadelphia, Pa.

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4 ¥ ¥ 7 2 oN Qe | FAUT eee » TT eo JUNE 1918 RLiITz ——— wt ————— Play It While You Pay NY of the violins shown in our new catalog will be sent to you on trial. After you have played on it for a full week, at our expense, you may either return it, or pay the low rock-bottom price in smail monthly payments. The trial costs you nothing. 2 f Write Today sera. ror ar teies Ses tor yourself the violins from which you have tochoose. No obligations, The Rudolph Wurlitzer Company, Dept. A4c9 South Wabash Avenue, Chicago — East Fourth Street, Cincinnati A New Guaranteed ‘Perfect Fifth’ Single Length Gut String THE TUCOLOR Soft in Texture, Brilliant in Tone, Durable as Steel BLACK and WHITE dipped ENDS Used exclusively by the foremost American and European Artists Sold by the leading Musical Instrument Houses throughout the country. If your dealer does not carry it, :write for further particulars to SIMSON & FREY, (Inc.) 320 Fifth Ave. NEW YORK Sole Agents cm Samples furnished free of charge to well- known Artists and Teachers FULL LE ELLELEULOULUU TU UET CALE UA LOLO LIC VEA TOUT TOTO OT TEC TE TT ENETTTTTETOON TH ETTNTUTTTUT TT SL LN RR RN AN A RR i= Morceaux Classiques for Violin and Piano Arranged by Henri Strauss Price, 50 cents A collection of ten pieces by the best composers of classical music. They are especially adapted for teaching purposes and forcultivatinga taste for good music in the early study of the violin; being within range of the average violin player. Theo. Presser Co. Philadelphia, Pa. Tee eee eee GLEE EL EO Le ST bs Winn Method POPULAR MUSIC And Ragtime Piano Playing Practical Ethical Academic Uniformly successful in quickly and easily teaching ADULT beginner and advanced pupils what THEY want to learn to play—Latest Popular Songs in full, swinging piano solo style for singing and dancing. Employed by an ever increasing body of progressive, enlightened teachers who have come to realize and are enjoying the generous financial returns result- ing therefrom. You also can increase your income, We wil! help you. Instruction Book No. 1, Instruction Book No. 2, $1.00 Net 50c Net Obtainable At Ali Music Stores Sent Postpaid by the Publishers on Receipt of Price Particulars regarding Correspondence Course of 10 Lessons for Pianists mailed on request. Ten cents will bring you current issue of ‘‘Melody,’’ the big Popular Music Magazine for Pianists. Winn School of Popular Music 155 West 125th St. New York Established 1900 SAVE MAGAZINE MONEY by writing to Tue Erunpe for quotations before order- ing your magazines. One woman saved $2.15 on her usual magazine order and others have made propor- tionate savings. No lower prices than ours can be offered by any reli- able publisher or agency. Save time, trouble and ex- pense. Address SUBSCRIPTION DEPARTMENT THE ETUDE, PHILADELPHIA, PA. OUR “SPECIAL”’ | 29¢ Sik Violin E for 2DC Send for Violin and Cello Catalogue MUSICIANS SUPPLY CO. 60 Lagrange St., Boston, Mass. OLD & NEW VIOLINS GRAND PRIZES BEST STRINGS CHICAGO 1893 -ST.LOUIS 1904 JOHN FRIEDRICH & BRO. VIOLIN 279 FIFTH AVE OUTFITS NEW YORK. EST 1883 ; THE ETUDE when addressing Please mention our advertisers, Perspiring Fingers EXCESSIVE perspiration of the fingers and hand is one of the lions in the path of thousands of violinists. The perspira- tion causes the hand to stick to the neck of the violin and interferes with neat shifting. It also moistens gut strings and causes them to fall in pitch. When constantly soaked with perspiration they lose their tone much sooner, and break frequently. Many different remedies have been tried, but no infallible cure for the excessive sweating has yet. been discov- ered. An eminent solo violinist, who does much concert work, carries a bottle of alcohol at all times in his violin case. Just before he goes on the stage he wets his left hand thoroughly with the alcohol. As alcohol evaporates very rapidly it has the effect of drying up the perspiration. The trouble is that the hand stays dry after this treatment only a few minutes before the perspiration starts again. Perspiring fingers are the cause of the growth in popularity of the wire E string, which is impervious to the moisture of the hand. | : The following is a physician’s prescrip- tion, which it is claimed has benefited many persons who are troubled with per- spiring fingers. It should be applied to the hands every night: POMC GCI 15h i ce ens 10 grains Tincture of benzoin ......... 14 ounce Elder flower water .......... 3. ounces Rosewater jc 0.is vas eit as .. 6 ounces There is hardly any one but suffers from perspiring hands at one time or another. In the case of many violinists whose hands are ordinarily dry, nervous- ness will often bring on profuse perspira- tion of the hands. Advancing Salaries VIOLINISTS who do orchestral playing will be glad to learn that salaries for this class of work are advancing all over the country, to keep pace with the cost of living. The New York Union has adopted the following new scale of weekly salaries for musicians playing in the metropolis; musical comedy, $33; dramatic theatres, $26; Winter Garden, $35.25; Hippodrome, $39.75; vaudeville, $35. Some of the most important pic- ture show engagements pay as high as $45 per week, where there is a daily matinee and Sunday performances. There is talk of an even further advance from the above prices. Musical Questions Answered No questions will be answered when this has Always send your full name and address, been neglected Only your initials or a chosen nom de plume will be printed. Make your questions short and to the point. Questions regarding particular pieces, metronomic markings, etc., not likely to be of interest to the greater number of ETUDE readers will not be considered. Q. Is the Polonaise really a dance, and what are the characteristics of a piece of music that would be called by that name ?— Bas try ee A. The Polonaise is commonly classed as a dance, but it is more properly a ,sort of march, used for the opening grand march at a ball. As the name indicates, it is of Polish origin. It is in 3/4 time and moderate tempo, and contains the following rhythms :— t Of Cool Lott Q. What is the “Scotch snap ?”—G. F. C. = €¢. many Scotch airs, for instance, Through the Rye. A. The rhythmic motive found in in Coming Q. I came across a rhythm like this, which I do not understand. Is it a misprint? wusiesa A. It is not a misprint: it is simply a dotted half-note having the ‘dot’? part of its value on the first beat of the next measure. There are a few examples of this in Brahms’ works, but for the most part modern com- posers have abandoned this style of notation, and now use a tie, writing the above example in this way: WOSSIEEBBE Q. Wheat is the meaning of the letters G. P. over a_ rest?—-Amateur Orchestral Player. A. Grand Pause: that is, all the instru- ments have the rest together, making a com- plete silence. Q. What does the word Verse mean, as a musical direction in an anthem ?—Sanctuary. A. That the part indicated is not sung by the whole chorus, but by a quartet or a semi- chorus. It is the contrary of Full. __ Q. In playing the pedals of the piano is it advisable to let the heel rest upon the floor ?—-YOUNG TEACHER. A. It is customary, except in the cases of very tiny pupils, who, in most instances, should be cautioned not to use the pedals, Q. Is there any technical term proper to describe the odd note or notes preceding the first bar-line, where a piece does not begin on the first beat of the measure? A. The real word is Anacrusis, but it is lit- tle known among musicians. ‘Catch note” is in use by some, though not recognized in the dictionaries. The German word is Auftakt. Q. Would you aavise a student to take up the study oy the zither?—L. von H. A. This is entirely a matter of taste and ambition. The zither has a limited range, and therefore a very limited literature as compared with the piano, for instance. It has a pleasing, tinkling sound and satisfies those who are content with its limitations. To play it well requires considerable skil. That is, it is not an easy instrument to master. Its scope and usefulness are in- finitely smaller than the piano. Q. Was Jensen a German? A. Yes; although his name suggests a Scandinavian ancestry. He was born in Konigsberg (1837), lived practically all of his life in Germany, and died in Baden, of consumption, in 1879. His compositions in- clude some of the most graceful and beaut}- ful songs ever composed. Q. Have pianos or organs with two key- boards, for more than one player ever been invented ? ; A. Yes. One freak instrument, some years ago, was built with keyboards designed for two performers. Over one hundred years ago a huge organ was constructed, in Lon- don, called the Apollonicon. This had five separate keyboards, and could be played by five performers. The idea was to imitate a complete orchestra. It was also operated me- chanically. The instrument was dismantled in 1840. Q. What does the word “antico” mean? J find it with “Minuetto antico.” It is not in my dictionary.—W. C. W. A. Antico simply means antique, or old. Q. What is the real difference between Opera Bouffe and Comic Opera?—w. U. S. A. In America, what would be classed as Opera Bouffe in Europe (that is, an opera of extremely light and burlesque character) is called a comic opera. This leads to a great confusion of terms. In Europe the words Opera Comique is applied particularly to an opera with spoken: dialogue, as dis- tinguished from an opera in which all the words, without exception, are sung, which goes under the head of Grand Opera. The distinction is purely an arbitrary one, as the opera ‘Carmen, with its tragic ending, is classed as an Opera Comique in France. De- Koven’s Robin Hood, Herbert’s Serenade, and similar works, are good American examples of comic opera, THE ETUDE Page 417 Violin Lovers Please send us your name to- day so we can mail you copy of our latest Violin Catalog. Sent free toviolinists. Wehavebeenthe leading violin dealers in the United States for three decades, and our catalog, whether of new or old violins, is a possession to be prized by any intending purchaser. Also we will send particulars of our own Cremonatone Violin now first offer- ed on a special small monthly pay- ment plan. This is the best value in America in a moderately priced instrument. Also America’slargest and finest collection of Fine Old Fill out and mail to us. Violins. Name Address Please check whether interested in a new or old instrument. New Violin____.. Old Violin If a violin teacher, let us include your name in our teachers’ list now being compiled. We take used violins in exchange. Write Today. Up-to-date Music Dealers sell Lyon & Healy Instruments. Lyon & Healy $2.33 Gin, Chicago WORLD'S LARGEST MUSIC HOUSE “Joachim” Tested Gut Violin Strings ( Both Ends Colored Green) Are not only said to be true but are true! They are perseeven, trued and tested by our own new process n our own shop and are made from the choicest, most carefully selected gut. They will give service, satisfaction and freedom from ‘string troubles.’” Ask your local dealer for *‘Joachim”’ Tested violin strings. Insist upon hav- ing this string. If he cannot supply you write im- mediately to us for descriptive matter and price-list. If you are a teacher of violin enclose your professional card. Satisfaction Guaranteed! A trial order will convince you of their excellent qualities. Money refunded on any trial order if you are not perfectly satisfied. WILLIAM A LEWIS & SON, Makers 225 S. Wabash Avenue, CHICAGO Hl Ovide Musin’s Edition See] “Belgian School of Violin” 4 Volumes. First Principles to High- est Virtuosity Max Bendix the great Violinist and Con- ductor says:—‘'For conciseness, consistency, scientific application and development, they far surpass any works of similar character that have come to my notice in the thirty-five years of my experience as Violinist and Instructor. Write for History of Belgian School. Enclose stamp. Address Registrar, Musin’s Virtuoso School, 51 W. 76th St., New York. Private and class lessons given by Ovide Musin in Person. Also Scientific Instruction By Correspondence. JUST PUBLISHED A New Catalogue of OLD VIOLINS OLD BOWs Fo eee ‘‘Gemiunder Art’’ Violins $200.00 to $500.00 The Standard Modern Violins of the World. reconstructed and revar- OLD VIOLINS nished in antique style. VIOLIN STRINGS A new list sent free upon request. Write to Us About Your VIOLIN TROUBLES and send for our Educational Pamphlets. The Violin World - = $1.00 Per Year The invaluable magazine for violinists AUGUST GEMONDER # SONS 141 West 42d St. Dept. E New York, N. Y_ with descriptions, from $25.00 to $1500.00. THE ETUDE VIOLIN STRINGS ETUDE Violin Strings offer players aechance to avid annoyance due to defective and un- reliable strings. The ETUDE Strings are manufactured for our trade and are as nearly perfect as the highest grade imported String, but are much less expensive, Three length E Strings.................. 15c Two length A’s or D’s, each............. 15c RS Ree, MOBI aU aoe we hd ees 15¢ 20 Strirtgs, Ef A, OF Win. 6 oisienk os scedcan $3.00 THEO. PRESSER CO. Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers.

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THE ETUDE Page 418 © (eS \ . 2) 7", . ’ “NATURE IN Music.” ; (Prize essay) A spring concert was being held in the forest, and all the birds, frogs and crick- ets took part. | The first number on the program was a solo by the mocking-bird, and every one declared it was beautiful, and wished that she would sing again. Next was a quartette by the Blue-bird, Wren, Robin, and Red-bird, which was also much en- joyed. Then the Frogs decided it was their turn and started their chorus, “Jug- o-rum-want-some-knee-deep. They croak- ed and croaked until Miss Mocking-bird announced that she was thoroughly dis- gusted, and thought it time for the Frogs to stop, as they had no time and very little tune, and were spoiling the concert. Then she asked Mr. Cricket if he would kindly give them a solo. He took out his violin and played, while Miss Katy-did sang. “T think that song must be ‘Good- night,” said the Wren, as she flitted homeward, leaving the others to do the same. | MARGARET Peters LAMB (age thirteen), Blackstone, Va. —_——~--— _ “Nature 1n Music.” (Prize essay) Birds are our best musicians. They sing some of the prettiest songs there are. The song-sparrow has a beautiful song, resembling that of the canary, but the English-sparrow gives a harsh, discordant note. Some birds have exceptionally good voices, and are very proud of them. For instance, a lady was walking beside a stream one day and heard above her a wonderful singer. On looking about, she saw him upon a branch very near. She began to sing an air from an opera, and the bird listened attentively until she had finished, and then broke forth in his sweetest trills and warbles. Again she sang, and again he summoned all his powers and gave out still more beautiful trills. | Then, when he had finished, after sit ting very still for a moment, he flaunted his head and flew away, as much as to say, “My song is far superior.” MILpRED WEGMAN (age twelve), Kent, Ohio. Musical Pictures The Junior Etude wants interesting musical photographs. As yet we have not, had any that we could use. We will send you a pretty prize for any picture we accept and print. ONY PYAR bo AES JUIN IGS ETUDE Or oF. * Se 2] i O ean CONDUCTED BY ELIZABETH A.GEST Junior Etude Competition for June THE JuNior Etupe will award three pretty prizes each month for the best original stories or essays, answers to puzzles, and kodak pictures on musical subjects. Subject for story or essay this month, “My favorite composer, and why,” and -must contain not more than one hundred and fifty words. Write on one side of the paper only. Any boy or girl under fifteen years of age may. compete. All contributions must bear name, age, and address of sender, and must be sent to “THe Junior Erupe ComMPETITION,” 1712 Chestnut Street, Philadelphia, before the fifteenth of June. The names of the winners: and their contributions will be published in the August issue. The Joys of June JunE—the very name sets one’s heart a- flutter ! June always means commencements and graduations, and recitals and promo- tions, and winning medals and prizes which took the entire school year to win. No wonder June sets one’s heart a- flutter ! How do you feel about it this June? Do you think you have done your very best this year? Do you really think that you deserve to win a prize or be pro- moted? Did you do well enough to make up for the years to come when you might not be able to continue your music studies? If you did, you will play well at the June recital, and when it is over you can say, “I do not know how any one else played, but I know that J played well.” Let’s Make a Piano (Directions) Trace these patterns on a piece of white paper (so that you need not cut your ETUDE). against a window-pane. pasting black tissue paper over them. work between heavy books until dry.) You can do this by using a piece of carbon paper, or by holding the page Then blacken your patterns, either with ink or crayon, or by (If you use paste you must be sure to press your When perfectly dry, cut them out and paste them on a piece of cardboard—about five by seven inches—fitting them together to form a piano, and cut off the extra edges of cardboard. Press them between the books again, and when finished paste a support to the back, so that it will stand up. Be careful about the keyboard—of course, it should not be blackened, but you can make the black keys with your pen. If you want a mahogany piano, use a very dark red color, instead of black. JUNE 1918 e <a AT Oo WN ee Aw: “Music AND NATURE.” (Prize essay) There is always music in nature, wher- ever one may go—in the forest or moun- . tains, or across the plains to the sea— there is music everywhere. | The birds in the tree-tops pour forth from their small throats beautiful melo- dies that cannot be imitated by man. It is their sign of life and happiness. The wind, as it whirls in the air, bends the tree-boughs, and whistles an imagin- ary tune. | The brook, as it flows gaily over rocks, seems to hum a tune full of music. The rain, as it falls from the sky on the roof and earth, sings a continuous monotone, really a musical lullaby. Stalactites, found in caves are called “Nature’ organs,” for if they are struck, tunes can be produced which are very musical. And the tiny waves of the sea, as they beat against the shore, sing a mournful melody, MARGUERITE WHERRY (age twelve), Elgin, lowa. Rott or Honor. Jennie Albertson Ermil Ball Constance Dormsler Jassamine Greer Barbara Hoffa Margaret Jenkins George Kohl Madelene Shaffer Laura Suter Smith Donald Williams Puzzles (The answers are musical terms) 1. A floor of an apartment house. 2. Twenty. 3. Not artificial. 4. By chance, 5. Material for breath. 6. A black, sticky substance. 7. A piece of neckwear. 8. One of Milton’s poems. . A cane. 10. Promises to pay in three days. 11. Strengthening medicine. 12. To filter. 13. Part of a lock. 14. A topic. 15. Remedy for fatigue. 16. Under legal age. 17. One set over captains. 18. A string. % 19. A quart. . 20. A prop. K2)

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JUNE 1918 au? ee Mii rill u ain - ) Oa ars NEW WORKS. Advance of Publication Offers— sr une, 1918. . er J f Price Album of Piano Pieces By Women Com- Pa rE, Ck e kh Wad one Sie ora ais cin .35 I, Sah ui a gear are sata eae iw are eed 35 Child’s Own Book, Wagner........... 10 Contemporary Organ Player.......... .40 De Beriot’s Method for the Violin, PETES GC abeisare Cspot gt rei. Lk! Ba bas 35 Lost, a Comet—Operetta, Geo. L. Spauld- DC A a SN Ming ete 6 ofi4 aa bb <4 of ace .25 _ Master Study in Music, Cooke......... .50 I RN te eS le a fale .35 New Standard Collection for Violin and RE TS RNS ES aie AEs Oe oP Oe Ops 25 New Standard Four-Hand Collection... .25 Orchestra Folio, Parts, each........... 15 Orchestra Folio, Piano Part. oh 4 25 Scale and Arpeggio Studies, ‘oante L I So ea ante sae a lk 8 .20 metal Dy sary, Bulivan: oc... eee ees .25 The Village Blacksmith—Cantata, Neid- 5 SE aed ae day WO CAR ee ee ews .20 Volunteer Choir, Anthem Collection.... 15 Commencement Needs The most important factor at the close of the season’s study is the reward, mate- rial or otherwise, that the student receives. The glory of graduating with honors is much, but it should also be remembered that some material recognition gains much prestige for the teacher or institution. Suitable methods of doing this are sug- - gested by the listings below: Diploma Form (Parchment), eS. eee This diploma is handsomely pro- duced with a lithographed design across head and worded as illus- tration. * rena boas (Parchment), size, eke a ae Pia age pga He ar 2 Or papel hale COP Same design as above without wording. Course of Study Certificate........ Exactly as illustration—no de- sign. ii alome 3 ee Dp) Pere gy paper and elaborate de- a OG: A Ware: TS: SS occ kas Adaptable to any grade of award. Certificate of Award, 12 x 9........ Handsomely lithographed and worded as illustration. Teacher’s Certificate, 11 x 8%. For those who have attained teaching proficiency. 1 TR ie Ali A aiceade PU UO QLCOMMEMIL. 7, 7 SOT PRN He FOF HON ES HORSE Ree HEE THE EE EEE HOE HE SOE ES IES HTEN EEEOD SOR IROREO OEE ED size, “ee ee ee eevee eeeeeeeeee a, Rare + oe re one er emed were re ewes ceromnpeeree + o0 eetthtehehtheed ao phett tthe tetette itt pete tet Gutstimaaywhegs_hncigleed: Ld De il Above is illustration mentioned. The prices given above do not include any lettering or filling in of pupils’ names or other matter of individual character, but the forms are so designed as to admit this being done by any engrosser at a small expense. We can also supply appropriately de- signed gold or silver medals costing $5.00 and $3.00 each respectively. These make the best possible awards for graduates. Special awards of useful character are not amiss, such as leather music satchels, cloth bound volumes, musical literature books, busts of musicians, etc. We will be glad to furnish prices and information on any of these suggestions. His Cee mA: pt STs hh A ctvaeerreeannerannnnartivc Publisher’s Mok A Department of Information Regarding New Educational Musical Works Ih $< TMM rm ee ko Cars Tony! °." alli Hie y a “, li ° 1 e&——_——_—— , mh We slit IT TO A miele imate Ie. | ill . Ui te es) cea ‘ly, alll e ih ‘Mian Mis Preparedness To some this may seem early to talk about music supplies for the season of 1918-1919. Every year at this time we advise early ordering of next year’s sup- plies and many thousands of our patrons have taken advantage of this suggestion in other years. There are many advantages to early ordering. During the slack summer season our Selection Department carefully con- siders such orders and fills them with more than usual carefulness. Orders re- ceived at the last minute are of course not on hand at the time the school or class begins its fall work, with consequent con- fusion and lack of satisfaction to all con- cerned. There is another reason this year far more imperative, viz.: slowness of trans- portation. At no time could this admoni- tion of “Order Early” be given with more force or with more reason. It would be far better to have an On Sale stock for the fall opening in one’s studio a few weeks early than a month late. Therefore, let every teacher and every school under whose eyes this notice falls, prepare by making a rough estimate of the number of pupils for next season and send us the usual stock order on both regular account and On Selection, merely giving us the date of delivery and we will fill the order at our convenience and have it in your studio on the date mentioned. The matter of billing will be arranged to suit the customer. Do not delay. Busi- ness conditions will be no worse in the fall. The history of Canada and other countries, even if the war continues, are that they will be better, so base the calculation as to possible needs on the present season. Premium Workers Contest Awards The prize winners in the contest for Erupe premium workers, based upon the greatest number of subscriptions sent us between Ja.uary 1 and March 31, 1918, were as follows: 1. John M. Williams, Calgary, Alta., Canada. 2. Mrs. Aaron Eckert, Reading, Pa. 3. Sisters of the Holy Name, Pomona, — Cal. 4. Mrs. S. H. Merrill, Fairmont, Minn. 5. Miss Jennie H. Many, Ridgbury, ‘Ae 6. Frederick Mayer, Woodsville, Ohio. 7. Sister Mary Eugratia, Butte, Mont. 8. John Livesey, Buzby, Alta., Canada. 9. Mrs. E, A. Ferbrache, Springfield, Mo 10. Miss Clara Romsos, Lowry, Minn. 11. Mrs. R. E. Griswold, Cottage Grove, 12. Ursuline Sisters, Brunswick, Me. | To the winner of the first prize, our check for $50, has been sent; to the winner of the second prize, $25; to the winner of the third prize, $10, and the other. prizes as announced. A very slight effort on the part of any of the contestants named above would have put them very much higher on the list and earned for them a correspondingly larger share of prizes. It is to be regretted that so many Erupr readers do not carefully read the printed matter sent them, as our announcement of the prize .contest was overlooked by a great many. We are sure that some of our old premium workers, who have sent us many subscriptions in the past, could have easily come into the contest and car- ried off one of the larger prizes, had they noticed the announcement. Other contests will be announced in the future and we trust will receive more attention and the prizes awarded after a keener competition, On Sale Returns And Settlement As the close of the Teaching Season of 1917-1918 is near at hand, it seems timely to call the attention of our patrons to the annual settlement of ON SALE accounts which are due and expected during the summer months of each year. Early in June there will be mailed to all schools, conservatories and individuals having open accounts on our ledgers at that time, a complete statement. This will include the regular monthly charges, that is, the items for supplies that have been purchased out- right, to be paid for monthly or quarterly and due at the present time, and all items that have been sent out as ON SALE music also. With that statement will be found directions to follow when returning music and the settlement of the account. ONE OF THE MOST IMPORTANT DIRECTIONS IS THAT THE NAME AND ADDRESS OF THE SENDER MUST BE WRITTEN OR STAMPED ON THE OUTSIDE OF EVERY PACKAGE RETURNED. This may seem an unnecessary warning to some of our patrons, but we receive hundreds of packages during the year with no name or address on the wrapper by which to identify the sender, and the dis- satisfaction to all parties concerned be- cause of such neglect can readily be imagined. The following general rules should be carefully read and adhered to: (1) Return prepaid all ON SALE music unused and not desired; a credit memo- randum for the value will be sent with a statement showing the correct balance due us. PLACE THE NAME AND AD- DRESS OF THE SENDER ON EVERY PACKAGE RETURNED. (2) IN RETURNING MUSIC large packages can be returned by freight, ordinary sized packages by express or mail, the rate by mail is two ounces for le. up to four pounds, and then parcel post rates up to 50 pounds, or inside the first three zones, 70 pounds. Parcel post and express rates vary according to weight and distance. It would be best to obtain and compare both rates in order to get the advantage of the lower one. It is almost a rule: however, that any package weigh- ing 7 pounds or more coming from the fourth, fifth, sixth, seventh or eighth zones can be returned at less expense by ‘express, using either the new regular or the printed matter rates of 8c per pound (minimum 15c.). (8) Use the gummed label which is en- closed with the statement, no matter by what method the returns are sent, and always write the name and address.of the sender in the space provided on that gummed label. (4) ON SALE music received from us during the past season and of such char- acter as to be usable for the next season’s work may be retained under conditions arranged by special correspondence. plan is suggested to save expense of trans- portation. (5) Music that has been specially or- dered and correctly filled is not to be returned, although mistakes are cheerfully rectified. Do not return music that is soiled or disfigured in any way whatsoever. ‘(6) A credit for the return of music cannot be given unless the name and ad- dress of the sender is on the outside of every package returned to us. Summer New Music This notice is addressed particularlv to those teachers and to those schools which will remain open and continue their teach- ing during the summer months. Many thousands of our patrons find it of great convenience to have a small package of new music sent to them once each month during the busy winter season months. From May to September we send out not more than three packages of either piano or vocal or both, of either about seven or fourteen pieces of new music to any of our patrons who desire it. Rate: our regular liberal discount; terms and. settle- ment to be made at the convenience of the purchaser. A postal card will bring any or all of these packages. A postal card will stop them. This | THE ETUDE Commencement Music Those who are still in need of music for Commencement must be served at once, even a day’s delay may prove fatal. Having always specialized in teaching material we have of course given much thought. to the needs for the climax of a teacher’s season—Commencement—and our catalogue is rich in worthy material of this class both vocal and instrumental. Voluntary words of praise on the merits of our ensemble publications have come to us from discriminating teachers, telling us of their satisfaction in having ordered from us. This, of course, will give a confidence to those who have not as yet placed orders here and we particularly welcome such teachers, always confident that the service given our patrons will retain their busi- ness. We have an excellent selection of mate- rial, Ensemble Piano, Vocal Solos or Duets, Choruses, etc., ready to send at a moment’s notice. It is not too late to take advantage of this stock and our prompt service. Order to-day, let us send you an order On Sale. Ordering Music By Mail It is worth while to note that in spite of somewhat disturbed traffic conditions thé mail service has remained practically as dependable as ever and while there are occasional delays, the average for prompt- ness stands near the top. We therefor do not hesitate to make our long established claim to be the quickest source of supply for any thing needed in the work of the music teacher. We not only fill orders quickly, but also completely, as our shelves are kept full in all lines of musical publi- cations. The Presser Catalog alone pro- vides ample choice for all requirements in music teaching; this catalog combined with # most complete stock of music of all pub- lishers may be depended upon to give the greatest degree of satisfaction for the smallest effort and at the least expense. Our terms to teachers and schools are positively liberal and except for minor changes in prices due to causes beyond our control are in all important respects the same as formerly. Our numerous patrons understand and appreciate the quality and character of our service and we have many frank testimonials to that effect, so we always welcome new customers because we know that they, too, will have no cause for disappointment if we can help it. Teachers not already acquainted with our business methods, as well as those who may wish to renew their relations with us, will get a ready welcome and a prompt Page 419° response. Advance of Publication Offers Withdrawn The following works are withdrawn from the special advance of publication offer. The works can now be obtained at regular retail prices subject, of course, to professional rates and will be sent on in- spection to any who desire to examine them: Wohlfahrt, Op. 74, Books 1 and 2, Melo- dious Studies for the Violin. Price 50 cents each. There has been considerable | delay in the preparation of this work by reason of the careful editing, proof read- ing, etc., that has been given to it. Teach- ers will find this an excellent edition. Album of Descriptive Pieces for the Piano. Price $1.00. This is a volume of program and recital pieces containing 29 compositions, each descriptive of some scene or sound of nature and withal very musical. Pussy Willow and Other Nature Songs. By J. B. Grant. Price 75 cents. This col- lection of nature songs written especially for children, will be found very musical and attractive. We can thoroughly recom- mend this collection to all interested in this sort of work.

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Page 420 Trial by Jury | A Dramatic Cantata By Arthur Sullivan We have in preparation a new edition of this celebrated short operetta. One of the most successful of the earlier works of Gilbert & Sullivan, and it is especially suited for production by amateurs. time of production for this work is about one hour. It has a cast requiring one soprano, two tenors, two baritones and a bass, together with a mixed chorus of bridesmaids, jurymen, spectators, etc. This is one of the most delightful of all works for performance by amateurs. It has been popular for many years. Our new edition will be as good and substantial as it is possible to make it. For intro- ductory purposes we are offering copies at the special rate of 25 cents per copy postpaid. THE ETUDE Scale and Arpeggio Studies for Violin, Book 1 In the First Position By A. Blumenstengel This is a standard work in violin teach- ing, which we are about to add to the Presser Collection. It is used by a ma- jority of teachers for daily studies. It consists of scales studies in all the major and minor keys, arpeggio studies in all the major and minor keys, together with a variety of studies in bowing. Our new edition of this work will be carefully edited by a master violinist and it will be superior in all respects. Our special intro- ductory price for Volume 1, in advance of publication, will be 20 cents per copy post- paid. | | Bohm Album We beg to announce that we will issue in the near future a Bohm Album in the Presser Collection. There is always a demand for attractive parlor pieces and there is no parlor composer that has superseded Bohm. He is somewhat above Lange and Lichner, and there is consider- ably more virility in his compositions. Only those pieces that have attained the greatest popularity will be included in this collection. The volume will not be long in appear- ing on the market as we have many of these plates already engraved, so that all ‘who intend to avail themselves of this special offer plan should lose no time in taking advantage of this special offer. Our special advanced price for this volume is very low. There will not be a single piece in it which will not be worth more than the retail price of this volume post- paid. Send 35 cents and we will send you a copy of this work as soon as it is printed. Master Study in Music By James Francis Cooke A definite understanding of the prac- tical needs of the club organizer, the music-lover and the student who has com- pleted an elementary course in musical his- tory led the writer of this book to prepare this material for its special purpose. All of the notable figures in musical history have been treated to proper length,—this does not merely mean that Beethoven, Haydn, Mozart, Schumann, Tschaikowsky and other acknowledged masters,—but also voluminous information about such masters as Debussy, Saint-Saéns, Gott- schalk, MacDowell, Strauss, Mason and in proportion Balakirev, Ravel, Schoenberg, Galzounov, Godard, Mrs. Beach, Borodin, Bizet, Chaminade, Stravinsky, Reger, EI- gar, Scott, Grainger, Rimsky-Korsakoff, Taneiev and others, including a _ vast amount of material never brought to- gether in any similar collection. The book is preceded by an excellent review. of musical history written by one of the world’s foremost authorities upon that subject. It is accompanied by questions, programs, notes on other books on allied subjects and is finely illustrated through- out. Notwithstanding numerous delays, work upon the volume is proceeding as rapidly as is consistent with thoroughness. The advance of publication price is fifty cents, | ‘ The. A DEPARTMENT WHERE OUR READERS MAY SELL, PURCHASE OR TRADE SECOND-HAND MUSICAL ARTICLES Terms and Conditions 15 cents a word, the advertiser’s name and address included free No dealer advertisements accepted by this department. All advertisements must be genuine en- deavors to either sell, purchase or exchange for something else, used articles of real value such as musical instruments, books, music, studio furnishings, etc. We reserve the right to reject advertisements which do not meet these requirements. Advertisements may appear over the ad- vertiser’s name or may be sent to this office and forwarded. Almost everyone knows the desire to sell, trade or possess something. One person has gone into The Service and wants to dispose of the furnish- ings of his studio; another has a piano to trade toward a player-piano. A young teacher wants a second-hand music library for a violin; a chorus has given an operetta or a cantata and has the used music for sale. Your Insertion FREE If received by June 10th, 1918 To introduce this department, we will publish free in the July or August Erupeg, every advertisement of twenty words or less, which complies with the conditions stated above and arrives at this office on or before June roth. Where more than twenty words are used, the advertiser must pay the regular rate, fifteen cents, for each extra word. THE ETUDE : PHILADELPHIA, PA. The Village Blacksmith Cantata for Mixed Voices By William H. Neidlinger This new cantata is almost entirely for chorus. There are just a few incidental solos lasting only a few measures each. Four part writing is used very largely, with a few instances of six part writing The work is extremely melodious and singable throughout. It is the very best setting of the well known poem by Long- fellow that we have seen. It may be per- formed effectively with piano accompani- ment, but parts for a small orchestra may be had. The work is 24 pages in length and the time of performance about 15 minutes. Every choral conductor in search of a catching novelty should give this cantata a thorough examination. For in- troductory purposes we are offering single copies of this work at the special price of 20 cents each postpaid. The Contemporary Organ Player This is a work which will not be con- tinued after the present edition is ex- hausted. It consists of a number of sheets of the original compositions from the Vox Organi edited by Dudley Buck, bound up into single volumes. In these volumes the very best composers are represented. This is an exceptional opportunity to acquire a desirable collection of organ pieces at an extremely low price. There will be 25 pieces to a volume. The price per volume is 40 cents postpaid. There will be two volumes, Nos. 1 and 2—Volume 2 contain- ing pieces by Dudley Buck, Wild, Werman, Bartlett, Frost, Shackley and Brewer,— Volume 1 containing pieces by Salome, Chadwick. Wilkins, Kroeger, Whitney, Truette, Huntington Woodman. DeBeriot’s Standard Method for the Violin, Book I This book, first published in France in 1858, has been in constant use ever since by violin teachers and pupils in many dif- ferent countries, and gives no sign of ever being superseded, as it combines excellent pedagogic qualities with agreeable melo- diousness. It has been published in many different editions and with text in several different languages: we have endeavored to make this new edition superior to any other, by clear, accurate printing, good paper and directions couched in clear, intelligible English. Experienced teachers have found that in using DeBeriot’s Method the best re- sults are obtained by using some book of easy first-position studies at the end of the part devoted to the first position before going on to the other positions; also some book of easy third-position studies in con- nection with the third-position work Wohl- fahrt’s Melodious Studies, Op. 74 (re- viewed in these columns) will be found excellent for this purpose. The advance of publication price of the DeBeriot Method is 35 cents. New Standard Collection for Violin and Piano This new collection is also very nearly ready, but the special introductory offer will be continued during the current month. This is a splendid all around col- lection for violin and piano, containing many more pieces than one usually finds in collections of this nature. It is printed from special large plates with a. separate violin part. Modern, contemporary and classic composers are represented. The pieces being chiefly of intermediate diffi- culty. It is just such a book as any stu- dent will be glad to have. The special introductory price in advance of publica- tion is 25 cents postpaid. JUNE 1918 Child’s Own Book of Great Musicians. Richard Wagner This new book, in Mr. Tapper’s inter- esting series for very little children, is one of the brightest in the series. Given a pair of scissors, a pot of paste and the big sheet of illustrations which come for this book any child under ten years of age can have not merely a delightful half hour pasting in the pictures, but a very instructive les- son in musical biography told in charming, simple language. The little pupil then takes a needle and thread and sews the sheets together, making a never to be for- gotten souvenir. If you desire to have this book as soon as it comes out we shall be glad to put your name down for a copy on receipt of ten cents. The books already out are Bach, Mozart, Schubert, Mendels- sohn, Schumann, Handel, Haydn, Beet- hoven and Chopin. These now cost 15. cents apiece and are greatly in demand. New Standard Four Hand Collection This new volume is now nearly ready, but the special introductory offer will be continued during the current month. This collection belongs in the series of standard collections printed from special large plates. It contains a very large number of duets, both original and arrangements, and it will prove suitable for practice in en- semble playing, for sight reading and for home recreation. Many of the pieces being suitable also for recital use. Both modern and standard composers are represented in goodly proportion. This will prove one of the best four-hand collections ever published. The special introductory price in Tas of publication is 25 cents post- paid. New Orchestra Folio The New Orchestra Folio is still in course of preparation. It is quite an undertaking to get a work of this kind done as it should be—so well that no one will be disappointed. So it will take a little time to get the books on the market, but they will be worth waiting for. The pieces in this series are selected from our best copyrights and will not include any- thing hitherto published in any collection of orchestra music. They will be playable in any combination added to a first violin and a piano part. Until publication the advance special prices are: Piano vook, 25 cents; orchestra books, each 15 cents. Lost, a Comet—Operetta By George L. Spaulding Mr. Spaulding’s previous operettas, “A Day in Flowerdom,” “The Isle of Jewels” and “Mother Goose Island,” have all proven extremely popular. The new oper- etta entitled, “Lost, A Comet,” should prove equally as successful as the others. It is very tuneable throughout, many of the favorite modern rhythms being em- ployed, and the dialogue and verses are very bright in patches. The work is easily learned and may be performed by any group of young folks with great success. The special introductory price in adVance of publication for this new operetta is 25 cents postpaid. The Volunteer Choir This volume will be continued on special offer during the current month. It is a new addition to our very successful series of anthem collections published during a number of years, all the separate numbers of which have proven wonderfully popu- lar. In this new collection the anthems will be easy or of a moderate difficulty throughout, such anthems as might be learned by any chorus choir with a few rehearsals. There will be a goodly assort- ment both of hymn anthems and of anthems having scriptural text. The best modern and contemporary writers are represented such as: J Truman Wolcott, T. D. Williams, R. M. Stultz, Charles B. Blount, E. S. Hosmer, John Spencer Camp and others. The special introductory price for this new volume will be 15 cents post- paid.

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JUNE 1918. Mozart Album This volume will be ready about the time that the next issue is delivered, and we will therefore retain it on the advanced offer price for one more month. The book is entirely complete and ready to be sent to the printer. It will contain the ‘choicest miscellaneous compositions of Mozart. It will be both an entertaining and instruc- tive volume and extreme grades will be avoided. None of the selections in this volume will contain any more difficult pieces than can be found in one of his sonatas. Our special advanced price is 35 cents postpaid. Special Offer for Etude Renewals Our special renewal offers have been so favorably received, and so many thousands of our subscribers have taken advantage of them, to obtain standard music collec- tions for a very small sum in addition to the yearly subscription price of Tue Erupe, that we have decided to make the offer again, good for the -month of June only. This is the offer: Every reader of THe Ervupr, who will renew his or her subscription, or send us a new subscription during the month of June, may add l5c. to the price, making it $1.65 in all ($1.90) Canada), and take their choice of: Album of Lyric Pieces for the Piano. 26 pieces. Handel Album. Modern Dance Album. 18 Pieces. Favorite Compositions. Engelmann. You and I. Four Hand Album. Geo L. Spaulding. Standard Vocal Album. medium voice. This is a real bargain offer, and Erupr readers should not only take advantage of it in renewing their own subscriptions, but show it to their friends, and urge upon them the advantages of subscribing for Tue Eroupet. Whether your subscription has expired or not, the renewal orders re- ceived during the month of June, at $1.65, entitle you to take advantage of this special offer. 80 Songs, Album of Piano Pieces By Women Composers This unique volume is almost ready for the printer and the present month will see the last opportunity to subscribe for it at the reduced rate. It is remarkable what strides women have made in the field of composition. This volume will bear tribute to their at- tainments in this line. It will contain pieces that are within the range of the average pianist. Very easy pieces, as well as the most difficult ones will be avoided in this volume. Our special advanced price is 85 cents postpaid. Premium Rewards for Etude Subscriptions Friends of THe Ervupe who devote a little of their spare time to getting their friends to subscribe for THe Erupg, are rewarded very liberally. Premiums of music books and albums, musical supplies and articles for personal and household use, are given as premiums, for a very small number of subscriptions based upon the actual cost to us, of the articles given. Many of these Premiums are listed in our new Illustrated Premium Catalog, which we send free upon request. Below are listed only a few: For ONE Subscription. Sterling Silver Service Pin, with one, two or three stars, beautifully enameled in the national colors. Wright and Ditson Championship Ten- nis Ball, the ball of the National Lawn Tennis Association. Popular Recital Repertoire. 31 Piano Pieces. Selected Studies, Czerny-Liebling. 4 volumes, any one volume. Tunes and Rhymes, by Geo. L. Spauld- ing. Album of For TWO Subscriptions. Keep clean Hair Brush. Black Ivory finish, grooved back, size 97% x 23% inches, with 11 rows of medium length white bristles. Made of the finest quality. Sjlver thimble. Sterling silver, heavily and beautifully chased; furnished in any size. . Brahm’s Hungarian Dances. Two Books, any one book. Sonatas, Volumes 1 and 2, J. Haydn, either volume. For THREE subscriptions O-Cedar Mop. Famous O-Cedar Mop, saturated with the O-Cedar Polish; it cleans and polishes at the same time. Ex- cellent for floors, woodwork, or furniture. Mop that will not scratch or mar the fur- niture, and makes cleaning dustless. Shipped charges collect. Bar Pin, of handsome design, old rose finish, with safety catch; made of solid gold. One year’s subscription to Tue Ervne. Standard History of Music. By J. F. Cooke. School of Technic. By I. Philipp. Friendship Songs, Tod B. Galloway. Splendid vocal album. Money Saving Clubs of Leading Magazines Substantial savings in the amount of money necessary to pay for your reading for the coming year may be effected by taking advantage of some of these bar- gains in magazines listed below and on page 428. Many more shown in our 1918 Magazine Guide, of which a copy will be sent you free, on request. Besides the saving of money, time, trouble and postage may be saved by taking advantage of our offer. Just send all your orders at one time to THe Ervunre, and they will be promptly forwarded to the other pub- lishers, and Tue Ervpe subscriptions will be properly entered. Renewals as well as new subscriptions may be sent at these prices. THE. BTODES |. jas cians } $1.85 ORI iv heh hn eee i ee Save 40c COR UTS oo mone let ool hae $9 15 Modern . PROGINS © o'0 b<555 a Case eis Vo Save 60c OYE ROU. bate ete ste ces $9 50 OClisietian Peters (ss ss advan ede ats Save$1.00 THE ETUDE Page 421 THE, Tears «esate aes.e Paks hee ae Delineator PO RM aise oeawe ee $3.00 Everybody’s § Address ............... Save$1.50 THE. ETUV BC civi woes iow ck hic Sa Pictorial OviewW <.6.¢k buwh cas ink t $3.60 Modern Priscilla ) oii. 6 beeen eee 4 Save 65c TEE WCU ses on'et LOR RASC Titeetrated “Workl . 5s th oe CUR i $4., 15 Bowe Mite vin os ris tae ee Save 85c¢ EEA MIU S. 6 Soe rE bee eee aioe Si bn tie price, $2.50) : $5.95 verybody’s a oe siti Pein Delineator f Address ......+-+ +=: Save$1.75 Special Notices and ANNOUNCEMENTS and | WANTED AND FOR SALE | Rate 10c per word PIANO TEACHER desires position in conservatory or with another teacher. Ex- erienced. References furnished. Address . L., care BTuDR, PIANO TEACHER-—Young lady desires position. Experienced. Address A, care of THH ETUDE. EXPERIENCED PIANO TEACHER wants position. Can also teach theory. Ad- dress F. C., care of THE ETUD®. FOR SALE—A BARGAIN—Peloubet Reed-Pipe Organ, two banks of keys and foot pedals. Fine condition, but needs new motor. Write Mrs. J. C. Dessalet, 3401 North 17th St., Philadelphia, Pa. | ANNOUNCEMENTS | Rate 20c per word UKULELES AND FLAT BACK MAN- DOLINS our specialty. Prices $3.50 and up. Special rates to teachers and dealers. Wm. Buslap, Cocord Place, Chicago, III. MUSIC COMPOSED—Send words. Man- | uscripts corrected. Harmony, correspond- ence lessons. Dr. Wooler, Buffalo, N. Y. The Most Recent Efforts in Composition by Well- Known Writers SELECTED NUMBERS FROM THE MAY PUBLICATIONS OF THEO. PRESSER CO. PIANO SOLO Cat. No. * Gr. Pr. BENSON G.N. 15279 Glittering Gems................ 3% 50 Useful finger practice. Running work in right hand. WHEN SCHOOL’S OUT BY W. BERWALD GRADE TWO Danse Humoristique Venetian Boat Song Dance of the Dwarfs Little Classic Dance Country D Scout’s Drill A Lively W Exceptional easy teaching pieces by a high-class writer. All are full of character and musical in- - terest. Cat. No. Gr. Pr. CLARK HORACE REPOS. RGmONNNSs Cee. os Oo ae kok 4 .60 15298 Sonatinain C Major. .......... 3 75 DIGGLE ROLAND SORLD. AU MUNNOE GA chek cece k tea 3 -40 A charming drawing-room piece. FELTON W. M. 15255 The Band Master __.............. 3 40 SORT. Re Seg lv width vue «10 as Sib gin nie 3 50 15254 In Court Dress ................ 3 30 Re eee eee Pete 2% .30 PIANO SOLO Cat. No. Gr. Pr. GARLAND A, 15169 Yankee Doodle 15345 LOEB-EVANS MATILEE BSS14 . Giney Prolite? | oni snacvdoee te. 3 40 15337 O’er Hill and Stream.... ...... 3 40 MARTIN GEO. DUDLEY Fer ve SP NS oi ok hs ov ve Co Se eee 3 40 MORA CARLO 15043 Dream of the Roses _............ 4 -40 MORRISON PR. S. Rene: eee Ree PES Te 3 50 LS Ry Os | Or 3 -40 MOTER CARL DD SRM hie Obs cs coke ek eas 5 .60 OREM PRESTON WARE 15322 American Indian Rhapsody... .. 8 1.00 striking concert piece built on genuine Indian themes furnished by Thurlow Lieurance. A real novelty. SCHLEIFFARTH GEO. The Signal Corps SMITH WILSON GC. UE ik CR needle’ 5 60 SPAULDING GEO. L. 14959 15171 15375 Pretty Little Song Bird ........ 1% 30 TONNING GERARD 14925 Danse Norvegienne No.3.... .. 4 40 WIDENER STANLEY F. Roger menmceene. ei ee. 3% -40 VERY TEACHER AND MUSIC LOVER SHOULD KEEP IN TOUCH WITH NEW MUSIC PUBLICATIONS. SELECT FROM THIS LIST ANY NUMBERS THAT APPEAR INTERESTING AND OBTAIN THEM FOR EX- AMINATION. VALUABLE MATERIAL IS OFTEN DIS- COVERED IN THIS MANNER. PIANO—FOUR HANDS Cat. No. Gr. Pr MARTIN GEO. DUDLEY S5067: Ou abd Oe erick 60 SCOTT JOHN PRINDLE 15327 Top O’ the Mornin’ ........ .. 60 PIANO—SIX HANDS SPAULDING GEO. L. Times Aelitee’. : 2.) cuteen ie Sb 2 50 Little Camp-Fire Girls Two very original six-hand pieces of easy grade, with verses which may be sung, ad lib. Tuneful and well- balanced. TWO PIANOS—FOUR HANDS BROWN MARY HELEN — 15362 15361 15347 A very pretty, easy duet for two pianos. Just the thing for an elementary recital. VIOLIN AND PIANO RAMEAU JEAN PHILIPE Tambourin Transcribed (Arthur Hartmann) LIEURANCE THURLOW By the Waters of Minnetonka .. 3 75 n effective transcription of this famous Indian melody. 15206 15218 | THEO. PRESSER CO., PHILADELPHIA, PA. | Please mention THE ETUDE when addressing our advertisers. PIPE ORGAN Cat. No. Ge Pe; DIGGLE ROLAND ISZ72: REO os Sotho s cote SER RS: 40 A particularly pleasing soft voluntary. MORRISON R. S. 15252 Triumphal March ............. 3 50 NEVIN GORDON BALCH 15282 Warum? (R. Schumann)... .... 3 .30 15360 Cantilena (G. Goltermann)...... 3 40 wo organ transcriptions, exceed- ingly well made, of well-known and standard compositions. VOCAL SOLOS QUINLAN AGNES CLUNE. Legend of Wicklow... .......... 3 30 RIMSKY-KORSAKOW N. Chanson Indoue Carefully edited and with new and effective English translation by Nicholas Douty. TATE ARTHUR F. The Dream River Roses of Remembrance......... 3 -60 Two new songs by the celebrated composer of “Dreaming of Love and You” and ‘Somewhere a Voice is Calling.” VOCAL DUETS BERWALD W. There Is No Love Like the Love of Jesus. Soprano and Alto..... 3 60 JONES WALTER HOWE He Lives Again. Soprano and TORO crak eee Seek ae ae 3 60 15352 15243 15320 15321 15270 15335

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Page 422 THE ETUDE ‘What Judy Judge Did”’ By Jo-Shipley Watson TINKER Tom is an idle fellow who lives close under the white keys of Mary Anne’s piano. He chuckles and shuffles along with her when she feels lazy and doesn’t want to practice. He leers up through the cracks of the keyboard when she says: “Oh, I can’t play that!” He winks knowingly when she cuts her prac- tice period. He laughs rudely at the les- son when she stumbles through a bad half hour. He embraces her fondly when she gives up and mopes, for Tinker Tom loves an indifferent student. Now Sloppy Sam is Tinker Tom’s first cousin. He slides along the music page and seems most cheerful when Mary Anne uses the wrong finger or forgets the rests. “Oh, that’s right,’ says Sloppy Sam. “Just bluff along; rests are noth- ing!” Jingle, jangle! One, two, three! “What a player she is!” cries Sloppy Sam. Now Judy Judge never liked these good-for-nothing cousins, and one day she decided to visit Mary Anne’s house, so she started out with a big square board under her arm and in her bag she carried a hammer and a box of tacks. Judy Judge was a very determined per- son; she never guessed at things and she said “Seeing is believing,” which in music might be changed’ to “Hearing is believ- ing.” “Now begin!” she shouted to the as- tounded Mary Anne, as she laid the board on the floor, and pulled out the hammer and paper of tacks. Bang! Bang! “For every mistake I put in a tack.” Bang! “Like this,” said Judy Judge as she held up the board. “It is good to see your mistakes if you can’t hear them,” and Judy Judge gave another whack of the hammer. “Now look!” Judy Judge com- manded, and Mary Anne turned around with a beating heart. She had never cared much about mistakes, but now she cared so much that she dared not look for fear of crying. The board was full of tacks; each one meant a blunder of some sort. Goodness knows, Mary Anne never dreamed there could have been so many! “To-morrow I will come again,” said Judy Judge. “I will pull out a tack for every mistake you correct.” “Oh!” said Mary Anne, “I’m so glad, and I will try to do better every day until they are all pulled out.” Then it was that Tom Tinker and Sloppy Sam slipped from sight and were never seen in that music room again, and Judy Judge still comes and pulls out tacks and Mary Anne is happy to see the number grow less and less. Now a warning to you: Tinker Tom and Sloppy Sam are roaming about look- ing for a home,—don’t let them in! On a Volunteer Singer “SwANs sing before they die :—'twere no bad thing, Should certain persons die before they sing !” —S. T. CoLerincE. Junior Etude—Continued The Talkative Notes It all happened in the middle of the night—so many, many things do happen in the middle of the night, do they not? In the first place, most people go to bed and leave the world to take care of itself, so it is no wonder that lots of things happen ; and it was in the middle of the night that the notes came together to have a little chat, and to tell each other about their trials and tribulations. Whole-note frowned a sad frown. He was quite provoked, and seemed to be very much annoyed about something. “What on earth shall I do about it?” he pouted, as he settled himself com- fortably on the second space of the staff. “What shall I do about it!” “About what?” asked Half-note, as he settled himself next to Whole-note, right in the same measure. | “Move over,” scolded Whole-note, “you are too close. I must have this measure all to myself.” “I prefer the spaces to the lines, my- ° self,” said Half-note. “Do you?” asked Quarter-note, “I have no choice, anything suits me. I do not care for very high ledger lines, though; they make me rather dizzy.” “By the way, who is up there in the ledger line department in the next meas- ure?” “T think there are two Eighths there,” answered Quarter-note, “let us call them down;” and the Eighth-notes heard the conversation, and came down. “Why are you sitting up on the mez- zanine floor to-night?” Half-note asked them. “Well, no particular reason,” they an- swered, “we are out of the dust up there, for one thing,” and as they spoke another quarter-note joined them. “Full house,” said Half-note. will have to find a seat in the next meas- ” “Tndeed!” exclaimed Half-note, “can I not sit beside you for a moment? You know there is no one around to count ‘one-and-two-and’ now, so we can sit in any measure we choose.” “Yes, I knew we can,” agreed Whole- note, “but move over, anyway. I am tired to-night.” “So I notice,” said Half-note, “and also cross, but cheer up—you have noth- ing to do till to-morrow.” “That is true,” said Whole-note, “but to-morrow it will begin again—‘one-and- two - and - three - and - four - and - third - finger - on - f - hold - the - whole - note - wrist - a - little - looser - one - and - two - and - don’t - torget - the - dotted - note.’ Oh, it is ‘he same thing every day—so tiresome and _ stupid,” sighed Whole-note. “Perhaps you have v-ry stupid people to. deal with,’ said He f-note. “Now I do not find it such a bcre.” “What is such a bore?” asked Quarter- note, who had just joined them, and had _ seated himself beside Whole-note. “Move over,” scolded Whole-note. “I must have this measure all to myself.” “Oh, excuse me,” said Quarter-note, who always tried to be :zreeable. . “Come, Half-note,”’ he said, “we will find seats in the next measure,” and they left Whole-note. ‘“‘Come on,” he continued, “these are. 4/4 measures, and there is plenty of room for us both, with some to spare,” and they settled themselves on the second space in the next measure. ure. This is a 4/4 measure, and it is full.” | “Oh, let him come in,’ said Quarter- note. “I just heard you say that there is no one here to count us now.” “All right, come in,” said Half-note, “but some one must move before day- light.” “T will move presently, myself,” said Quarter-note. “There are some 3/4 meas- ures on the next page, and I want to run over there for a moment before day- light.” “Do not hurry,” said Eignth-note. Then presently he added, “Oh, how I hope we will be correctly counted, to-day. It is so stupid to sit up there on those ledger lines all morning and hear ‘one-and-two-and- three-and-four-and-.’ ” “We all agree with you,” said the other notes. “We were just talking about that before you came. It certainly is tiresome, and it is so easy to count correctly, too!” Just then they heard a voice, and in came Miss Pianoteacher, to dust the keys and make ready for the first lesson. “Dear me,’ exclaimed Quarter-note, “I must not be caught in the wrong measure, good-bye,” and off he scampered. And soon all the notes were back where they belonged, and were patiently sitting on the lines and spaces, and listening to “one - and - two - and - three - and - four - and - don’t - forget - the - whole - note - wrist - a - little - higher - one - and - fingers - curved - three - and - four - and -.” “Vou : JUNE 1918 High Chairs and Low Chairs It is annoying to find the piano stool too high, or too low, is it not? Particu- larly when it is a bench or chair that is non-adjustable ! Not long ago, a pupil was playing at a student’s concert, and the chair was too high for her. If it had been too low she could have put a book on it (lots of peo- ple do that, you know), but this time it was too high, and what could she do? There was no other chair on the stage, so she had to use it. Of course it upset her, and she did not play quite as well as she might have played. She did very well, though, be- cause she made up her mind before the concert that she would play well, and that nothing should interfere. After a few weeks she was asked to play at another concert. “This time I will be prepared for any emergency,” she said to herself; and what do you think she did? The day before the concert she screwed her stool up until it was very high—en- tirely too high, in fact—and played her piece through with it that way. Then she screwed it down as low as it would go—entirely too low, of course—and played her piece on the low stool. “Now,” she said to herself, “I do not care what kind of a chair I have at the concert. I will play well, even if I have to stand.” Try this some time. You never know when you might be asked to play on a strange piano, and the stool might not suit you at all. So just try it. It is always well to be prepared, you know. Technic TEcHNIC! What do you think of when you say technic? Do you think of weary exercises and yards and yards of scales and countless pages of études? Do you think of sore finger tips and strained muscles and the relentless tick of the metronome? No! technic is not the thing of dry and endless dullness that you imagine; it is rather the channel—deep and wide, narrow and shallow, crooked or straight —that each one must dig in order that the clear waters of our imagination may find a way out. The sturdy workman comes down the street with pick and spade, and begins tc dig; day after day we see him there, and by and by we see a ditch of the same width and depth going down our street in a straight line; then he comes to lay pipes which are to carry the pure fresh water to the people of the back country. Now, that is the way I like to think of technic. We are the sturdy work- men, with our fingers and minds we dig patiently day after day, and by and by the channel of technic is made, and beautiful melody flows to those who love good music. The one great point is to make the channel straight and of the same depth and width; I have seen lit- tle boys and girls who have dug at random, here, there, and everywhere. Some little students like curved channels, some like crooked ones, some say they “Don’t see any use of channels at all”; but you see there is a use for channels: without them our imaginations would find no way out. Let us shoulder our spades and picks and dig the way, straight and wide and deep, so that the pure fresh waters of melody may flow to the peo- ple of all countries—J. S. W.

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a ee ne an IT RN (Rg oe eR ER NN SR I IE NAA Se mame JUNE 1918 AbD 1B | “an 1G) AED GRD MEE CET fh, topieb <asuee@*"*- Combs Conservatory Philadelphia A SCHOOL OF INDIVIDUAL INSTRUCTION, THIRTY-THIRD YEAR (Theoretical and Applied Branches Taught Privately and in Classes ) All branches. Normal Training Course for Teachers, Public School Music Supervision.. Four Pupils’ Recitals a week. ‘Two Complete Pupils’ Symphony Orchestras. Reciprocal relations with University of Pennsylvania. Faculty: Gilbert Raynolds Combs, Piano; Henry Schradieck, Violin; Hugh A. Clarke, Mus. Doc., Theory; Herman Sandby, Violoncello; Nelson A. Chesnutt, Voice; Russell King Miller, Organ, and 75 assistant teachers. SUMMER SCHOOL The courses in the Summer School are conducted personally by the Heads of the various Departments. They are designed to meet the needs ~ of teachers, advanced students, and professional musicians who are desirous of acquiring modern ideas or who seek special instruction which will help solve individual problems. The instruction is individual and private in order that undivided attention may be given to the particular needs of each student. Because of its distinguished faculty, original and scientific methods, indi- vidual instruction, 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. FIVE SPACIOUS BUILDINGS The only Conservatory in the State with Dormitories for Women. A School of Inspiration, Enthusiasm, Loyalty and Success. Illustrated Year Book Free GILBERT RAYNOLDS COMBS, Director Of °R oy eer Fp yf nena of Improved Music Study DUNNING SYSTEM °'trsesioer Has over 1000 Teachers—Classes Larger Every Year—Teachers Earning $2500, $3000 and $4000 a Year with the Dunning Work Alone—Why is This ? Because its standard has never been equaled or such phenomenal results obtained by any other plan for teaching beginners. MRS. CARRE LOUISE DUNNING NORMAL CLASS FOR TEACHERS, New York City. Classes, Portland, Oregon, June 18th; Chicago, August Ist. Mrs. Addy Yeargain Hall, Normal Classes, Davenport, Iowa, Dec. 17th. Address Musical Art Bldg. St. Louis, Mo. ‘ Mrs. Oscar E. Busby, Normal Class, Shreveport, La., Dec. 3d, 1917. Washington, D.C., July 15th, 1918. Address Marshall, Texas. Mrs. Anna Craig Bates, Normal Class, San Antonio. Address 3303 Coke St., Dallas, Texas. Mrs. Harriet Bacon MacDonald, Normal Class, Jan. 7th, 1918. Address Bush Temple, Dallas, Texas. Miss Nettie Beth Davis, Norma) Class, Whitman University. Walla Walla, Wash. Miss Clara Sabin Winters, Normal Classes, April 3d, 1313. Address Wicnica College of Music Wichita, Kan. Mrs. Carrie Munger Long, Normal Classes, June 5th, 1918, Birmingham, Ala. Address 812, W. 7th St., Ft. Worth, Texas. Mrs. Jeanette A. Fuller, Normal Classes, April 27th and June 30th, 1918. Rochester, N. Y. Address 50 Erion Crescent, Rochester, N. Y. Mrs. Wesley Porter Mason, Normal Classes, Dallas, Texas, April 20th; Denver, Colo., June 20, 1918. Address 5011 Worth Street, Dallas, Texas. Mrs. Alice Hawley Scothorn, Normal Class, Boston, June 3d, 1918. Address P. O. Box 3369, Boston, Mass. Miss Mary E. Breckhisen, Normal Class, April 2d and June 17th, 1918, Toledo, Ohio. Address 359 Irving St., Toledo, Ohio. Mrs. Harry A. Prentice, Normal Class, New York City, June 28th. Address 78 W. 103d St., New York City. Full information and booklet of Foreign and American endorsers. Normal 8 West 40th St., New York City HAVE YOU EVER BEEN REFUSED A POSITION BECAUSE YOU LACKED EXPERIENCE THE BROOKFIELD SUMMER SCHOOL OF SINGING at Brookfield Center, Conn. offers an opportunity to gain practical experience in Church Singing, Voice Teaching, Concert and Recital Work and Operatic Appearances. Send for prospectus to HERBERT WILBER GREENE, 701 Carnegie Hall, New York City ATED’: ES SPECIAL SUMMER COURSES #2 Piano, Voice, Violin, Organ, Expression and PUBLIC SCHOOL MUSIC & Regular Faculty in Attendance, Special Teachers Engaged so DORMITORY FOR LADIES sy The L. C. M. has the reputation of providing the best Public School Music course found anywhere, but it @& me doesn’t stop there—it is in practice as well as theory a school of individual attention in every department. This Summer Spent With Us Will be a Profitable One for You. ee RIC A. COWLES, Director LOUISVILLE, KY. ae Please mention THE ETUDE when addressing our advertisers, THE ETUDE Page 423 es » a g estat i Te = _—— 2 Salle -O | | NT | Lae — er 5, ed Lal ant = Oi FF BP Peabody Conservatory BALTIMORE, MD. HAROLD RANDOLPH, Director Recognized as the leading endowed musical conservatory of the country Summer Session 20 77° Staff of eminent European and American Masters including: George F. Boyle Adelin Fermin J.C. VanHulsteyn Gustave Strube Elizabeth Coulson Henrietta Holthaus Harold D. Phillips Mabel Thomas Tuition $10 to $30 according to study By special arrangement with the JOHNS HOPKINS UNIVERSITY credits in certain branches may be offered for the B. S. degree Practice Pianos and Organs Available Circulars Mailed FREDERICK R. HUBER, Manager Arrangements for classes now being made CHICAGO MUSICAL COLLEGE (53d YEAR) ANNOUNCES THE ENGAGEMENT OF LEOPOLD AU ER, BEGINNING SEPT. 16—Teacher of the World’s Greatest Violinists SUMMER SCHOOL JUNE 24th to AUGUST 3d. : ~ (SIX WEEKS) HERBERT WITHERSPOON OSCAR SAENGER Noted Singer, Coach and Vocal World-renowned Teacher of Voice Teacher and Coach RUDOLPH REUTER LEON SAMETINI Noted Pianist and Teacher World-famed Violinist and Teacher ALEXANDER RAAB FELIX BOROWSKI - Distinguished Pianist and Teacher Noted Critic, Composer and Teacher of Theory HAROLD von MICKWITZ * LOUIS VICTOR SAAR Well-known Pianist and Teacher Well-known Composer and Teacher of Theory Above are a few of the well-known members of the faculty teaching this Summer gq Course and private lessons in Piano, Voice, Violin, Organ, Theory, Public School Music, School of Opera, Orchestral Instruments, Expression, School of Acting. Normal Training for Teachers of Piano, Voice and Violin. Public Recitals. Unrivaled free Advantages. Dormitory accommoda- tions. Complete Summer announcement on request. Complete Catalog on request. Professor Auer will accept only a limited number of advanced students, CARL D. KINSEY, Vice-President and Manager, 620 S. Michizan Ave., Chicago, III. FELIX BOROWSKI, President DR. F. ZIEGFELD, President Emeritus 60 Free and 100 Partial Scholarships to be Awarded at Opening of Fall Term, Sept. 16 BUSH CONSERVATORY KENNETH M. BRADLEY, President EDGAR A. NELSON, Assoc. Director Summer School—Five Weeks—June 24* to July 27+ SCHOOL OPEN THROUGHOUT ENTIRE YEAR SPECIAL NORMAL MUSIC, EXPRESSION, DRAMATIC ART, Public School Music, Languages, Physical Culture, Dancing Unsurpassed faculty of over sixty instructors, inluding: CHARLES W. CLARK Mme. JULIE RIVE-KING EDWARD COLLINS HERBERT MILLER EDGAR A. NELSON EDGAR A. BRAZELTON Credits granted for Summer Course leading to Certificates, Diplomas and Degrees. Entire faculty available during Summer Term. Only conservatory in Chicago main- taining its own dormitories. For literature and information address. EDWARD. H. SCHWENKER, Secretary, 800 North Clark St., Chicago, III. ANN ARBOR = MICHIGAN : UNIVERSITY xz i SCHOOL OF MUSIC “A Gathering-Place for Advanced Students’’ DR. ALBERT A. STANLEY, Director Albert Lockwood, Head of Piano Dep’t Theodore Harrison, Head of Vocal Dep’t S. P. Lockwood, Head of Violin and Orchestra Dep’ts E. V. Moore, Head of Organand Theory Hill Auditorium Dep’t Capacity 5,000 wlinede B. Potter, Head of Methods Cost $300,000 Main Building of the School ept. Ps Remodeled 1917 Byrl Fox Bacher, Dean of Women. Affiliated with Uhiversiavet bachinka 25—ASSOCIATE TEACHERS—25 For Catalogue, Hogkige or Special Information, address Chorus of 300 Orchestra of. 50 Charles A. Sink, Sec.,1000 Maynard St. July 1—August 23 Concerts are given by the world’s greatest artists May Festival of six concerts _ during four days University environment Tuition and ving expenses reasonable Summer Session:

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Page 424 THE ETUDE | JUNE 1918 t ; w ° > iC + . y Jan | 6, Sime 6 alti~ ‘ 1D iD un 18) O00 GUD MON U7 a tt in, ton tension course for Mus. Bac. Degree by mail. Preparation by CLARE OSBORNE REED, Director mail for A. G. O. exams. SUMMER SCHOOL Special Summer School—June and July Address Dean of Music, College of Marshall 5 Weeks, June 25 to July 28 Piano, Theory, Voice, Violin Marshall, Texas Public School Music Course Special Lectures and Recitals for Teachers. Advanced Interpre- tation for Artist Students. Kindergarten, Ear Training, Har- mony, Sight Reading, Orchestra Conducting. Faculty of Emi- nent Teachers and Artists. A partial list of the distinguished teachers In attendance during the Summer will be Clare Osborn Reed Gertrude H. Murdough Ludwig Becker Walter Spry George Nelson Holt Louise St. John Westervelt Arthur Granquist Winifred Lamb Helen B. Lawrence’ A. Cyril Graham Mary StrawnVernon Frances Frothingham Wilhelmj Montelius Ernest Toy Summer classes prepare for entrance into the Senior year of the Public School Music Course. For Year Book address the School, Dept. 73 j 509 South Wabash Avenue, Chicago, Ill. Sherwood Music School Founded 1895 by William S. Sherwood 800 Branches! 12,000 Pupils! Special Summer Session From July 8 to August 17 at Main School in Chicago Allen Spencer the well-known Pianist and Teacher, of Chicago, will accept a limited number of pupils in advanced Technic and Interpretation, at his summer home at Wequetonsing, Mich.,(near Petoskey) during July and August. HORNER INSTITUTE OF FINE ARTS Charles F. Horner, President Earl Rosenberg, Director A PRACTICAL SCHOOL OF MUSIC AND DRAMATIC ART Complete courses are offered leading to teachers’ certifi- cates and diplomas. An unusually large number of talented students have heen placed in concert and teaching positions. SPECIAL SUMMER TERM JUNE 8rd TO JULY 27th For catalog, address = 3300 Baltimore Ave. F. E. GORDON, Sec’y Kansas City, Mo. Special Courses in All Subjects! Special Terms! Special Free Recitals! The Sherwood Music School Alumni Associa- tion is being formed. Graduates or holders of Teacher's Certificates are invited to send their names and addresses to the School immediately. Address SHERWOOD MUSIC SCHOOL 300 Fine Arts Building Chicago DUDLEY BUCK Teacher of Singing For information, address ALLEN SPENCER American Conservatory Kimball Bldg. Chicago, Ill. HAROLD HENRY A pianist of unusual skill. —Bosron Transcript. One of the most pleasing and impressive. —N,. Y. AMERICAN, Will conduct in Chicago throughout the Summer CLASSES FOR PIANISTS Application for terms and appointments should be made at once to JOHN ANDERSON, 613 Lyon and Healy Bldg., Chicago Minneapolis School of Music, ORATORY AND DRAMATIC ART WILLIAM H. PONTIUS CHARLES M. HOLT Director, Dept. of Music Director, Dramatic Art 60-62 Eleventh St., So. MINNEAPOLIS, MINN. Largest School of its Kind in the West All Branches of Music and Dramatic Art SUMMER SESSION, Eight Weeks, Opens June 17th 50 Artist Teachers Year Book Free on Request THE STANDARD SUMMER NORMAL A complete and practical , course for progressive = TEACHERS = HAHN MUSIC SCHOOL 3919-S. Junius St, DALLAS, TEXAS Announces a Special Summer Course CLAUDE WARFORD MR. and MRS. CROSBY ADAMS. from Annual Summer Classes for Teachers of Piano for the Study of Teaching Material Tenor Teacher June Ist to September Ist MONTREAT, N. C. iteteepeiial Seek Sie ADDRESS June 12-25 July 10-23 Building Write for booklet containing outline and strong letters from Teachers who have taken the Course. . MONTREAT, NORTH CAROLINA GRANBERRY P!4%0,0, SUMMER #2." SUMMER SESSION 50 West 67th Street, New York City 1425 Broadway, New York Skidmore School of Arts Summer Session, July 1 to August 9 Summer School of Music PUTTER SHEPAR[P PIANO SYSTEM | SUMMER SESSION—JULY AND AUGUST a Take a few minutes to study the school announcements on these pages. Here are the best Colleges, Instruction in theory, harmony,-musical ap- preciation and interpretation, piano, voice. anions boot St Pele Feces alah payre h tamek a Acree ‘9 quiet summer place. THE FAELTEN SYSTEM eachers in America. | PTET SHEPARD SCHOOL OF MUSIC, ORANGE, N. J. = HACNURUUEDEDOEEOUUUUUUUOUUOUUUUUUUUOONONOQ00S0OTEEETU — Please mention THE: ETUDE when addressing our advertisers. Tee Carnegie Hall NEW YORK 2 SARATOGA SPRINGS, NEW YORK

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JUNE 1918 | | THE ETUDE Page 425 cag. Fc i == alll, 86. Schools and Colleges a7 gmc ndl Ain 4 ‘Pad. NEW YORK CITY IN SK QQ WWW dHH AA. 6." HHQMLIDI WOW SQ .Q.Q(KQ , —2r™0o 444g; NNN xQ§C>)M?;7: .WUWWW”°? QUAN SS W,°°7°w°° : ’ YY, | & NEW YORK SCHOOL OF MUSIC AND ARTS & Uy Central Park West, cor. 95th St., New York City 3: RALFE LEECH STERNER, Director SPECIAL SUMMER COURSES—June Ist to September Ist Our Summer Courses for Teachers have become so widely known from one end of the country to the other, through the great practical value of the work given, that early reservations must be made as each summer we have more pupils than we can accommodate. Piano—Arthur Friedheim, the Great Virtuoso; Liszt’s Greatest Pupil. Voice—Ralfe Leech Sterner, Celebrated Vocal Teacher. V iolin—Clarence DeVaux Royer, the Eminent Violinist. Harold A. Fix, S$. Reid Spencer, Frank Howard Warner, Blanche Mabelle Kelley, Mme. C. Lopez. DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE. OPEN THE ENTIRE YEAR. i te MAY ENTER ANY DAY. TWO PUBLIC CONCERTS EVERY gy eae . = Ge a Y MOG GS SS WEEK. TERMS, INCLUDING TUITION, BOARD, PRACTICING, ETC., ON APPLICATION. SEND FOR BOOKLET. LWW WWW WW wi >F > °° °¥~L°)>° °° Y’”Vy°>E°e °v>>”’”'®"°"°°' —_, MEHLIN PIANO USED EXCLUSIVELY WWW G5 Ww vv v www «yg FC "Fx PIANO CONSERVATORY _|||| INSTITUTE OF MUSICAL ART © 22¥ ton* AN ENDOWED SCHOOL OF MUSIC | RGI MRS. A. M. VIRGIL, zawe opportunities of aa Institute aa shi Pee re ee eget ? atare) ability LL Director sed fall information wideas SECRETARY. 190 Ghrumant kterua. Hon aie “The School That Makes Players” Special Courses for Teachers BURROWES COURSE OF MUSIC STUDY 11 WEST SIXTY-EIGHTH STREET, NEW YORK Kindergarten and Primary—Correspondence or Personal Instruction és Nie Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method . cial Summer Course nthusiastic letters from teachers of the Course, Write for Terms for Spe : also descriptive literature sent on application to KATHARINE BURROWES D. 178 FIFTH AVE., NEW YORK CITY, or Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, ~ DETROIT, MICH. INTERNATIONAL MUSICAL AND EDU- GOETSCHIUS’ CATIONAL AGENCY MRS. BABCOCK SYSTEM OF HARMONY OFFERS Teaching Positions, Col- COUNTERPOINT AND COMPOSITION leges, Conservatories, Schools. taught through matt by Also Church and Concert Engagements E. KILENYI, M.A. 20 E. 90th Street New York City CARNEGIE HALL, NEW voRK | | suibontby Commoner avin senses, |THE COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Oldest and most practical system. Write for particulars of correspondence course. MRS. LILLIAN COURTRIGHT CARD 116 EDNA AVE., BRIDGEPORT, CONN. fh SOUTHERN ~~ PITTSBURGH es ‘ Poet SO Cee ee Shenandoah Musical Institute, Inc. Write me MY SCHOOL OF MUSIC and School of Music n June 24—August 3, 1918 a summer 2601-47 Connecticut Avenue Washington, D. C. College preparatory. Certificate admits to University of Va. PARTICULARS ON REQUEST . Theonly resident music school for young and all leading colleges, Piano voice, elocution, commercial Q course 1n ladies in Washington, Endorsed By the PUR wae tues ee world’s greatest musicians and in charge 8. C. I., Box 110, Dayton, Va. Modern Harm ony and all the- oretical branches of music. Candidates coached for all examina- tions of recognized standard. Address of the capital city’s recognized musical leaders. Voice, Piano, Violin, Harmony, Grand Opera, Dramatic Art, Languages, English Literature, Classic Dancing, Accompanying. Twelve or more con- certs by world-renowned artists. Inquiries solicited from students with best social and financial references. THOS. EVANS GREENE, Mrs. WILSON-GREENE, } Principals ZECKWER-HAHN PhiladelphiaMusical Academy 1617 Spruce Street, Philadelphia Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH is a consolidation of the Hahn Conservatory and the Philadelphia Musical Academy. Modern equipment, thorough instruction, eminent fac- ulty. For prospectus, address CHARLTON LEWIS MURPHY, Managing Director Advantages Equal to Those Found Anywhere ummer Session Begins June 10th, 1918. Students may enter at any time. Send for Catalog. GEORG FR. LINDNER, Director Peachtree and Broad Streets, Atlanta, Georgia \ ox nyt) Crane Normal Institute of Music F. L. baie ce rng nes Mus. Bac. x ly amr A, Training School for Supervisors of Music London Conservatory of Music, N Maly I ( | OHIO BOTH SEXES \ London, Canada, ) >, — Voice culture, sight-singing, ear-training, harmony, form, music-history, chorus-conducting, methods, practice-teaching. Graduates hold important posi- Sith AE FU of MUSIC. eEstasiisnen 1867 53 MAIN ST.” POTSDAM, NEW YORK CLARA BAUR, Foundress a far = ‘ ODMAL CONSEIAT wy Half a Century in the Front Rank of American Music Schools Unsurpassed in Facuity and Kaninpment, All Departments Open During C ll f EF: A SPECIAL SUMMER SESSION p—- Vouege Oo ine Arts — ra Ree _ Elocution—MUSIC—Languages Syracuse University y Music department of the f Special Courses in nL State Normal School, su- ce 1 1 { Unexcelled advantages for the study of music. Facul- ‘ pervised and supported by |< Public School Music and Progressive ty of 20 specialists. Regular four-year course leads ; z i apyegetoe! Piranina bbe ey Series of Piano Lessons to the degree of Mus. B. - Special certificate courses. soaulty of hrersind rime Location and surroundings ideal for aummer study Special students may enter at any time of year. ] standing; highest scholar- For Catalog and Circular, Address Ho ‘ catalogee and RS information, adaneee, = Mf) ship standards; musicat ed- MISS BERTHA BAUR, Directress, Highland Avene and Ok St, Cacia, 0.[ Reraiagy) roation in ite fullest, genoa: i - course tor those intending to teach public schooi mu- sic. Catalog on rm -— Rexford D. Colburn, D DANA’S MUSICAL INSTITUTE]||| Jy ®#! to Stays Associate of the Royal JOHN A. H. KEITH, WARREN, OHIO ) Academy of Music | ___ Indiana, Penna, THE SCHOOL OF DAILY INSTRUCTION IN ALL LQeheny:, EMA PGE SRR NENA RMT Ay , | ‘ Concert Organist. Principal Organ | | Ithaca Conservatory of Music. 37¢¢'4). *¢y3e; BRANCHES OF MUSIC Instructor, Cincinnati Conservatory of ete look forwarii to concert peeing work. aise ; usic. Organist and Choirmaster, St. voenl, dramatic art, ete. Graduntes filling highest plnees available Address LYNN B. DANA, President Desk E, WARREN, OHIO Paul's Cathedral, Cincinnati, Ohio. in America. Catalog. Distinguished faculty. Address ° THE Raeistran, DeWitt Park. New York, Ithaca. Please mention THE ETUDE when addressing our advertisers.

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Page 426 THE ETUDE LJaN.. Ub 18) OOD GEO AEE U7 in, Son | cannes? 1D yp MUSIC TEACHERS EARN MORE SY Teach adults and children partly in Classes, one-half hour private lesson, one hour class lesson per week. HELP YOURSELF Improvise, Play and write 95220 Modula- tions from one given tone. Memorize instantaneously without saying letters. Create Keyboard and Written Harmony. Teach with Scientific Pedagogy. Prices $10.00 to $220.00. SUMMER SESSIONS New York City, June 10th to 29th. Chicago, July 8th to 27th. Asheville, N. C., August 12th to 31st. Address EFFA ELLIS PERFIELD 218 S. Wabash Ave., Chicago 109 West 45th Street, New York City ST. JAMES HOTEL Centralizing School of Music Gertrude Radle-Paradis President Centralizing School of Acting William Owen, Director Departments: Piano, Theory, Voice, Violin, Violoncello, Expression. Send for Booklet, Box 26, 20 E. Jackson Blvd. CHICAGO, ILL. MICHIGAN Be a Teacher of Music in the Public Schools SPECIAL ONE-YEAR COURSE Every year music _ is becoming a greater factor in education. Right now the demand for teachers of music in the Public Schools more than 29 years. We offer a complete and thorough course in Public School Music that may be finished in one year. Also a greatly ex- two-year ceeds the course. supply. The Strong fa- field offers culty ; beau- big salaries tiful loca- and bigger tion; un- opportu- surpassed nities to equipment. both men Catalog sent free For detailed information, and women. We have been graduating teachers and — on request. placing them in well paying positions for address THE SECRETARY, 3029 West Grand Boulevard, Detroit, Mich. Thomas Normal Training School N. J. CORE Y Pianist, Organist and Musical Lecturer The most Novel, Varied and Beautifully Illustrated Lecture-recitals upon the American Platform. Given with success at many of the largest Universities, Colleges, Lyceums and Societies. The Lecture-recital on the ‘‘ Eroica Sonata of MacDowell,’’ Mr, Corey’s literary interpretation of which has the composer’s own endorsement, is especially adapted for music schools and musical clubs. For information, address 38 WOODWARD TERRACE, Detroit, Mich. Michigan State Normal College | Conservatory of Music Ypsilanti, Michigan Courses in singing, piano, organ, violin and theory. Courses for training supervisors and teachers of public school music. Graduation leads to a life certificate valid in most states of the union. Total living expenses need not exceed five dollars per week. Tuition and fees exceptionally low. Write for catalog. CONSERVATORY OF MUSIC, BOX 9, YPSILANTI, MICHIGAN. R ( ) Francis tabiione M.A., Pres. D ET IT pears me lizabeth CONSERVATORY of Fat e-Pres, Finest Conservatory in the West Offers courses in Piano, Voiée, Violin,Organ, Theory, Public School Music and Drawing, Oral Interpretation, etc. Work based on best modern and educational principles. Numerous Lectures, Concerts and Recitals throughout the year. Branch Studios. Excellent Dormitory Ac- commodations. Teachers’ certificates, dip- lomas and degrees conferred. Many free advantages. Weownour own building located in center of most cultural environment. Studenis may enter at any time. For detailed information address James H. Bell, , Dir. Advertising is one of the indispensable elements of modern business. MUSICEN = West of New York. ANY PUBLISHER ““@ OUR REFERENCE ~—“ RAYNER, DALHEIM & Co. Please mention THE ETUDE How to get in touch with prospective pupils is the most important problem that con- fronts every mu ic teacher and every music school. Success depends upon the solution. Schools and Colleges Qkyyv CHICAGO GRAVERS AND PRINTERS Tes PROFESSIONAL ee ot Ne eed || PIANISTS = DIRECTORY Music Printers | 7 Se Ot | ORGANISTS cs 3 87 /on Anything in Music as eka JUNE 1918 » éN ~ WHO CAN QUALIFY FOR Private Teachers Associate Faculty Membership in thee WESTERN CONSERVATORY may offer their pupils rezular CONSERVATORY ADVANTAGES AT HOME with Certificate, Catalog, etc., instead of merely ‘‘giving lessons,’’ and then “more lessons.’’ Address Pres. E. H. SCOTT, Kimball Hall, Chicago. CHICAGO COLLEGE 2rd OF MUSIC seer, All branches of music taught. Ex- ‘| pression, Dramatic Art, Dancing. maa Diplomas, Degrees, Medals. Reci- tals, Concerts, etc. Free catalog. Address: ESTHER HARRIS, President Dept. 23, 1234 Kimball Hall Chicago, Ill. A School of Musical Arts KNUP F ER STUDIO WALTER KNUPFER, Director All branches of music. Eminent faculty. Teachers’ certificates and diplomas issued by authority of the State of Illinois Summer Session, June 24th-July 27th Special Courses in Technique, Interpretation and Repertoire for Teachers and Professionals Address 630 Fine Arts Building, Chicago, Ill. Louise Burton SOPRANO Available for Concerts, Ora- torios and Costume Recitals. Pupils nccepted. Address for bulle- tin 800 Lyon & Healy Bldg., Wa- a & Jackson Blvd., Chicago, WESTERN SCHOOL OF MUSIC Accredited VALPARAISO UNIVERSITY (iictseSom The University School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public School Music. Students may attend the Music School and also take the regular work at the,University. THE EXPENSES ARE THE LOWEST Tuition, $36.00 per quarter of twelve weeks. Board with Furnished Room, $39 to $51 per quarter. Catalogue will be mailed free. Address Henry B. Brown, President, or Oliver P. Kinsey, Vice-President. 45TH YEAR—STUDENTS ACCEPTED AT ANY TIME. BEETHOVEN CONSERVATORY One of the oldest and best Music Schools in the United States Special Low Rates for Beginners Send for handsome Catalogue to the BROS. EPSTEIN 4525 Olive Street, St. Louis, Mo. HUNTINGTON COLLEGE CONSERVATOR (Affiliated with the Western Conservatory, Chicago) An institution devoted to high-class instruction in all branches of music. Send for catalog. STRONG FACULTY :: THOROUGH METHODS :; EXCELLENT BOARDING FACILITIES ST. LOUIS, MO. KROEGER SCHOOL OF MUSIC E, R. KROEGER, Director ALL BRANCHES OF MUSIC TAUGHT HARMONY BY CORRESPONDENCE SEND FOR CATALOG Musical Art Building |THE DETROIT INSTITUTE OF MUSICAL ART “Strongest Faculty in the Middle West” Students May Enter at Any Time REX ARLINGTON, Director HUNTINGTON - INDIANA Milwaukee-Downer College Milwaukee, Wis. Department of Music Offers Piano, Organ, Violin, Voice Training, Theory of Music and a Teachers’ Course in Public School Music. The degree Bachelor of Science in Arts is offered for music specialists. A diploma course is given. For catalog U address REGISTRAR Etude advertising is the open door to musical opportunity A School which offers every advantage incidental to a broad musical education. Corps of over 50 artist teachers. For catalogue and full information address H. B. MANVILLE, Business Mer. $3 33 33 1117-21 Woodward Ave. ISSIIIWWiWCiCWCW Www °°Fe’—=p_l]_} 1’ ’IWWL(L° vv }1119 VQ] 5 F Music Teacher’s Class Book A little pocket note-sized volume, bound in boards that takes the place of nine separate record and account books. There is 1—An index of pupils. 2—Memo of time for lesson and account. 3—A ledger. 4—Sheet music account. 5—Teacher’s account with business houses. 6—Record of daily earnings. 7—Memoranda. 8—Bill forms. 9—Receipt forms. It is a wonderfully convenient record and saves many a dollar which might otherwise go unaccounted for. Price, 50 cents Theo. Presser Co., Philadelphia TEACHERS SN "”"°"F)”" BC'W \y y y j ZY Yj Uy j j Y j Y y Y Y j WS Your Name Should Appear in MA WORK DONE BY ALL PROCESSES 54-2060 W.Lake St..Chicago, Ill. The cost is. small. The advantage is inestimable. SINGERS when addressing our advertisers.

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JUNE 1918 THE ETUDE Page 427. -ETUDE PREMIUMS GIVEN FOR SUBSCRIPTIONS TUDE Friends who secure subscriptions for this publication are liberally rewarded. Many useful and valuable articles, includ- ing music albums, musical goods, and articles for personal and household use are given as rewards. A few minutes of your spare time devoted to obtaining new subscribers and renewal subscriptions for THe Erupg, is thus well paid. The work is pleasant, and not difficult to do and the reward is ample. The gifts illustrated are a few of the many which are offered. A copy of our Premium Catalog will be sent free on request. This catalog shows many more gifts for EruprE subscription getters. NON-TARNISHABLE PLATI- NOID PICTURE FRAMES One Yearly Subscription These frames are substantially built, made o unsurpassed, non - tarnishable Platinoid, back- eled and durable. ed with velvet, and will prove a most worthy or- nament. Height 6 inches. Width 414 inches. Profitable Vacation Courses WITH THE { Standard © History of Music By JAMES FRANCIS COOKE Price $1.25 MENDELSSOHN A FIRST HISTORY FOR STUDENTS AT ALL AGES Eight Delightful Weeks of History Study On the Porch. In the Garden. By the Shore. GRIEG Anywhere. SERVICE PINS Sterling Silver Service Pin, made with one, two or three stars, in the national colors, finely enam- Exact size as illustrated. Given for one sub- scription. The following outline, based on the forty story-lessons in the very successful Standard History of Music, may be employed by any teacher, anywhere. Ist Week. How Music Began. Music in the Early Church. How Notation Was Evolved. The Troubadours and Meistersingers. Polyphonic Music. Palestrina. Early English Music. 2d Week. Opera and Oratorio. Scarlatti and His Contemporaries. The Bach Family. Early French Music. The Story of the Organ, the Violin and the Piano. 3d Week. J. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart. 4th Week. Gluck, Beethoven, Schubert, Weber, Mendlessohn. 5th Week. Schumann and the Age of Musical Romance. Century. Great Teachers of the Pianoforte. 6th Week. Chopin, Liszt, Wagner. , Modern Italian Composers. Rubinstein. Great French Composers. 7th Week. Modern Masters. Brahms, Grieg, Tchaikowsky. The Art Song. Famous Pianists of Yesterday. Great Virtuosos of To-day Great Violinists. Composers of Valuable Pianoforte Pieces in the Smaller Forms. Composers of Teaching Pieces. 8th Week. Music in America. Masters of To-day. Summary of Musical History. Formation of a Music Study Club for Next Winter. . The Standard History of Music demands no previous experience in teaching musical history. Any music teacher may start a class at once. The work has been endorsed b leading educators, including Emil Sauer, Arthur Foote, I. Philipp, V. de Pachman, W. rH. Sherwood, Mme. Bloomfiel -Zeisler, and many others. The London Musical Standard says of it: ‘‘It is expert in the way it makes facts appear seductive. We can imagine an intelligent beginner going steadily through the book for the sheer enjoyment of it.” We Will Help You in Securing a Class Send us a postal request for information regarding our “Special History Class Plan,” and receive in return the material which will enable you to start at once and make your plans for turning your Sum- mer from Waste and Loss to Profit and Pleasure. We have a special introductory price by the dozen. THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. Opera Writers of the Nineteenth BROOCH OF THE ALLIES An attractive’ Brooch showing all the colors of the allies. It is the exact size of the illustration. Given for two subscriptions. Is made of Sterling Silver, a handsome gift or ornament. THE SURPRISE RACKET Wright & Ditson Make May be had for Three Yearly Subscriptions or with Racket Case of Felt or Canvas for Four Yearly Subscriptions. The Surprise Racket has recently been greatly improved and is the latest and most popular shape. ‘The frame is strongly made and attrac- tively designed with stringing of high quality gut Made in light and medium weights. Anyone Can Earn These ETUDE Premiums IN A FEW MINUTES OF SPARE TIME Here is a splendid list of musical works that may be secured by merely obtaining E-rupeE subscriptions, and sending them to us with a remittance of $1.50 each. Simply say what premium is wanted by number. No red tape. No. For ONE Subscription (NotYourOwn) | yo. For TWO Subscriptions 101 Album for the Young. Robert Schumann, 1223 Chaminade Album. — One of these Championship : Tennis Balls will be sent you for only One new yearly Subscription This ball is used in the Championship Tournaments of the National Lawn Tennis —_—— 103 Album of Favorite Pieces. Engelmann. 104 Album of Lyric Pieces. 26 piano pieces. 109 Anthems of Prayer and Praise. 21 Anthems, 110 Bach’s Two and Three-Part Inventions: 112 Beginners’ Book for the Pianoforte.Theo. Presser 116 Dictionary of Musical Terms. Stainer & Barrett. ‘117 Duet Hour. 122 First Dance Album. 26 Selections. 125 First Steps in Pianoforte Study. Theo. Presser. 128 Four-Hand Parlor Pieces. 17 Duets. Grades and 4, 132 Juvenile Duet Players. 16 Duets. 137 Little Home Player. 28 pleasing piano pieces. 139 Mathews’ Standard Compositions. Vol. 1, Grade 1, to Vol. VII, Grade 7. Any one volume. 140 Mathews’ Standard Graded Course of Studies. Any two grades, 142 Modern Dance Album. 18 piano selections. 1214 Standard Vocal Album. 30 songs, medium voice. 1215 Operatic Four Hand Album. 22 duets. 149 Operatic Selections, Violin and Piano. 151 Piano Player’s Repertoire of Popular Pieces. 1217 Popular Recital Repertoire. 31 piano pieces. 1216 Popular Home Collection. 46 piano pieces. _159 School and Home Marches. 20 piano pieces. 1218 Selected Classics. Violin and Piano. 19 pieces. 160 Selected Studies. Czerny-Liebling. 4 vols. Any one volume. 168 Standard Opera Album for Piano. 15 pieces. 1221 Standard Organist. 46 pieces for pipe organ. 170 Students’ Popular Parlor Album. Violin and Piano. 177 Well Known Fables Set to Music. Spaulding. _ For TWO Subscriptions 203 Album of Piano Compositions. Edw. Grieg. 204 Beethoven. 11 selections from most popular works. 1222 Brahms’ Hungarian Dances.Twobooks. Any one 206 Chopin. Lighter Compositions for the Piano. 207 Church and Home. 18 Sacred Songs. 212 Concert Album. 25 pieces. Popular or Classical. 213 Concert Duets. 150 pages, 24 pieces. 216 Czerny School of Velocity. 218 Dictionary of Musical Terms. Dr. H. A.Clarke. 222 First Recital Pieces. 37 pieces for the piano. 225 Four Hand Miscellany. 229 Handel Album. 16 pieces for the piano. 231 Harmony. A Text-Book. Dr. H. A. Clarke. 235 Loeschhorn Studies. Op. 65, 66 or 67. 237 Mason’sTouch and Technic. In 4'vols. Any 2vols 239 Masterpieces for the Piano. 25 best known pieces 240 Mathews’ Standard Graded Course of Studies. Any three grades. ‘ ; 241 Modern Drawing Room Pieces. 34 piano pieces 243 Mozart Sonatas. Twovols. Either vol. 247 Nocturnes. Chopin. ‘ [2 250 Preparatory School of Technic. I. Phillip. 261 Songs Without Words. Complete. Mendelssohn. 265 Standard Third and Fourth Grade Pieces. Mathews. ; 266 Standard Fifth andSixth Grade Pieces. Mathews 273 Tranquil Hours. Quiet Pia@r) Music Collection. 274 Two Pianists. 26 Brilliant Concert Duets. 275 Waltzes. Complete. F. Chopin. 276 Young Virtuoso, The For THREE Subscriptions 305 Chats with Music Students. Thos. Tapper. 1210 Great Pianists on Piano Playing. J. F. Cooke. 313 History of Music. . J. Baltzell. 315 Leschetizky Method of Piano Playing. 1211 Mastering the Scales and Arpeggios. J. F. Cooke 328 Organ Player. Pipe Organ Collection. P.W. Orem: 1229 New Organist. Pipe Organ Collection. Whitney. 339 Standard History of Music. J. F. Cooke. 341 Stories of Standard Teaching Pieces. E. B. Perry 343 Virtuoso Pianist. C. L. Hanon. YOUR OWN SUBSCRIPTION FOR ONE YEAR FOR THREE SUBSCRIPTIONS If the subject you desire or the book you want is not represented here, correspond with us, it can be supplied as a premium. Send for pamphlet giving full list of premiums, both musical and otherwise. THE ETUDE, Theo. Presser Co., Publishers, Philadelphia, Pa. hands of children or grown-ups. Size of pictures, Association, and has been the adopted Ball of the Association for the past 29 years. CAMERAS The Cameras offered here are of the best possible make. All cameras are sent by express, collect. Premo Junior, Model B—Five Subscrip- tions. This camera is of the box type with universal focus lens, the simplest instrument for picture making that can be devised. Produces excellent results in the 3 Sar eee tare ee 2% x3¥ inches. Loads in daylight with the Premo Film Pack. Open back, drop in Film Pack, and all is ready. Simple instructions are included with each camera. Premo Junior No. 3—Eight Subscriptions. Pictures, 34% x4 inches. Otherwise same general construction as above. Premoette Folding Pocket Camera—Ten Subscriptions. A marvel of compactness. Automatic shutter for time, bulb or instantaneous exposure. Reversible finder. Makes excellent 24% x3¥% pictures. 4 Subscriptions Our Most Popular Premium Send us three subscriptions for THE Erupe at the full price, $1.50 ($1.75 in Canada) and earn your own subscription for one year, either new or renewal. THE ETUDE THEO. PRESSER CO., Pub’s. 1712 Chestnut St., Phila., Pa.

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THE ETUDE Page 428 Summer Bargains in Magazines Some of the best Magazines of America are listed below in attractive money-saving combinations. Many more are shown in the 1918 Magazine Guide, a copy of which will be sent to you free, on request. By taking advantage of these clubbing offers, you can obtain all your favorite Mag izines including THE Erupe, at less than the regular prices, sending all your orders at one time directly to THe Etupe. ‘These prices are as low as can be quoted by any reputable publishing house or agency. Write us for quotations on other combinations which we have not space to list here. THE ETUDE. . .|$7 85 9 e Today’s Housewife .} "40. THE ETUDE. . .|$910 Everyweek . Nate Save 40c THE ETUDE. . .|$915 Hi ee* | Modern Priscilla . Save 60c Sree BE LUDE...... «:.. $925 te BIUDE oe. Today’s Housewife. . Wee” Lite McCall’s | eRed a a e) Save 75c THE ETUDE re 3 THE ETUDE. . . 32 Christian Herald . American Cookery. .{ 75. THE ETUDE THE ETUDE. . . .)$4950 FarmandHome . .($950 Woman’s World. . . pf DEE OEP oc i) Save 75c Everyweek. ... ~- -+)Savesx. Woman’s World . . THE ETUDE .)$6)80 |pictor Mother’s Magazine. ? PICIO People’s Pop. Mo. -.) save 70c : THE ETUDE . De Delineator { To ens aie Everybody’s) 4dJress 0 $950 Save $1.00 Save$1.50 Bo’ Scout S LIF] . |THE ETUDE. . $325 J LAL LL | Collier’s Weekly. sion 1 (Reg. Price $2.50) Save 75c ‘ho BLVUDE: . . .)§*925 ete SL ween gs es $335 Little Folks . .. . 3— Woman’s Home Comp. . . Everyweek. . . . «)Save7sc Everyweek. . . . ./} Save65c THE ETUDE . ged 30 THE ETUDE... . Pictorial Review . . $ — Christian Herald . . i a Modern Priscilla . ~.) Savegso 2oday’s Housewife. THE ETUDE. . . .)$950 Youth’s Companion . te, THe EFUDE «>. . |. $360 McCall’s . . . - «) Save7se Review of Reviews. . ¢ . THE ETUDE . 13" ‘The letters i “9s | Garden Magazine .5 save 40c Tit ETUDE ce Se. Mother’s Magazine .. . $400 Today’s Housewife . . Le aoe - +) Save $1.25 People’s Home Journal DEY MOE. ETUDE. 404: $410 American... . Woman’s HomeCompan. .) Save 9c ME MORMIEME, wots es $ 15 Illustrated World . .. . — oe Be Oa eee een er ere ADD TO ANY CLUB AT PRICES OPPOSITE Country Gentleman........... RE DEPOT eee oe oN a wea $2.00 ELOOrmopolitery 626 cies. oe. % 2.00 | Ladies’ Home Journal ......... 1.50 Good Housekeeping ........... 1.50 | Saturday Evening Post ....... 1.50 SEND ORDERS ONLY TO THE ETUDE, Theo. Presser Co., Publishers Philadelphia, Pa. | JUNE 1918 SPECIAL! Great Offer to Teachers and Musicians An ounce of proof is worth a pound of promise. Making claims is easy—‘‘making good”’ is the real test of merit. Hundreds of Music Teachers and Successful Musicians claim that they have been greatly benefited by the Siegel-Myers Correspondence Courses. They write us to that effect and we cheerfully accept their enthusiastic statements as sincere and truthful. You’re welcome to these letters. We will send you as many as you care to read. But, after all, we realize that this is merely ‘‘hearsay’’ evidence to many readers of this publication who have as yet no direct personal knowledge of what it really means—for examp!e—to Study Sherwood Piano Lessons and Harmony Under Rosenbecker and Protheroe If it were possible for Sherwood, pupil of Liszt, endorsed by Paderewski, Leschetisky, Moszkowski, and other world famous artists, to come right into your home and offer you his per- sonal instruction at nominal expense, you would eagerly and gratefully thank your lucky stars for the opportunity. Yet that opportunity is yours today, in every vital essential. We bring Sherwood to you—Sherwood, the Great Master at his best—the very cream of his completed life’s work as Teacher. Concert Pianist and Lecturer—in the Sherwood Normal ‘Piano Lessons and University Extension Lectures On the Art of Teaching Music This course of weekly Normal Piano Lessons, examination papers and University-Extension Lectures on the Art of Teaching contains the fundamentals of a broad and solid musical educa- tion, and the principles of successful teaching. It contains the vital principles—the big things —in touch, technique, harmony, melody, phrasing, rhythm, tone production, interpretation and expression. It gives a complete set of physical exercises for developing, strengthening and training the muscles of the fingers, hands, wrists, arms and body, fully explained, illustrated and made clear by photographs, diagrams and drawings. These physical exercises show how to train over 50 muscles of the arms and hands alone which are used in piano playing. WARNING Many teachers have written us that they have been approached by azents repre- senting (by inference at least) that they had the Sherwood lessons to offer. William H. Sherwood positively prepared no lessons except the course he personally prepared as Director of the Piano Department for the Siegel-Myers School of Music, sole owners of the copyright. The lessons, embodying all of the invaiuable principles and methods that for over 30 years made Sherwood America’s famous Piano Teacher, can be secured only from this school. A knowledge of Harmony is absolutely essential to round out your musical educa- tion. It adds wonderfully to your equip- ment both as Teacher and Performer. Without it you limp along on the crutch of ‘‘unpreparedness.’’ We offer you a complete course of weekly Harmony Lessons at small cost in the privacy of your own home. These lessons, prepared by Mr. Adolph Rosenbecker, former famous Soloist and Conductor and pupil of Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Director and Teacher, can be secured only from us. Each lesson is an orderly step in advance, clear, thorough and correct; not the mere mechanical appli- cation of dry-as-dust rules, but an interesting, intelligent, thoroughly practical method that grips your attention and stimulates your ambition to succeed from the very beginning. A written examination on each lesson, in connection with ample original work, develops your knowledge and firmly fixes the import- ant principles in your mind. Harmony Teaches You To 1. Analyze Music, thus enabling you to determine 4. Detect Wrong Notes and faulty progressions the key of any composition and its various harmonic _— whether in printed music or during the performance progressions, of a composition. 2. Transpose At Sight more easily accompani- S. Memorize Rapidly, one of the very greatest ments which you may be called upon to play. benefits derived from the study of Harmony. 3.. Harmonize Melodies correctly and arrange 6. Substitute Other Notes when for any reason music for bands and orchestras. the ones written are inconvenient to play. History of Music By Glenn Dillard Gunn, noted writer and musician. This History Course includes Analysis and Appreciation of Music, A valuable library of text books is included in the course. ‘ hes li By Dr. Heft, noted European Violinist, pupil of Dancla—Every phase of artistic violin play- ing taught in an easy and progressive manner. Advanced Composition Under the direction of Clarence Eddy and Daniel Protheroe. Edited and personally conducted by Herbert J. Wrightson, distinguished theorist and composer. This is the most advanced musical course given by any school in America. During the seven years that our announcements have appeared in this publication we have had splendid results. Hundreds of readers have enrolled and successfully mastered one or more of our courses. Yet there are many friends of this publication who have never responded even to the extent of inquiring for full information about our school. We feel that the readers of this publication are doing themselves—as well as us—an injustice by remaining ‘“‘mute.’’ And it is to this class who little realize the wonderful worth of these lessons that we have decided to make the following Unprecedented Special Offer Just sit right down now and write us a friendly letter telling us in your own way about your musical ambitions, your strong and weak points—how long you have studied music (if at all)— what courses you are particularly interested in, whether you have studied Harmony. We would like to know your age, whether you teach, play, sing—in short, write us in confidence just what you would feel perfectly free to tell us if you called in person at our school, Then just as soon as we get your letter, we will select and send you—absolutely free of cost—6 regular lessons, each treating of some important principle of personal interest to you. These will not be mere sample extracts or abridgments, but the genuine, original lessons exactly such as we send to our regularly enrolled students in the Normal Piano, Harmony, Advanced Composition, Public School Music and Choral Conducting Courses. Kindly let us hear from you at once and, remember, the 6 lessons are positively sent—yours to do with precisely as you like, without the slightest obligation to us. UNIVERSITY EXTENSION CONSERVATORY 4251 Siegel-Myers Bl dg. CLARENCE EDDY, Dean Chicago, Illinois Please mention THE ETUDE when addressing our advertisers.

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. =t INA | IIA TU Salil © for Summer Holiday a i + sh malas . ‘, tis i b's i Vase Tone 2 77a es Pos . ‘ m, ? ies * ; a TO OG§ii«ii«IVint Tt TTTTcKKc Practical Material Half of the success of Summer Music classes depends upon the selection of material so interesting that the hot weather is forgotten and so rapid that Primers - Why Primers ? ecause a good drill in the elements of music is the foundation for all future musical work. Such study is com- pulsory in all European Countries. Why not here? Primers are fine for reviewing careless, poorly trained pupils. Here are two fine ones. A Primer of Facts About Music Questions and Answers on the Elements of Music By M. G. EVANS Price, 50 Cents More than a primer: a compact musical | encyclopedia, beginning with the rudiments of music and ending with a tabulated sum- mary of Musical History. Gibbon’s Catechism of Music GIBBON CHAMBERS KILLOUGH Price, 50 Cents ; Arranged in the style of Questions and Answers, covering the necessary ground of el- ementary instruction in notation, time values, intervals, scales, keys, chord construction, abbreviations, and embellishments. It can be used advantageously by the student who is educating himself. ~~ First Grade Studies All these studies are tuneful and very direct. That is, there is no redundancy or waste in any of the books. Your pupils will like them. First Grade Studies for the ’ Pianoforte L. A. BUGBEE Price, $1.00 They*are so nearly like pieces that pupils take to them instinctively and practice them with great zest. Second Grade Book of Melodic Studies | L. A. BUGBEE Price, $1.00 Too much cannot be said in favor of this volume. Students’ Selected Primary Studies H. ENGELMANN 2Books_ Each, 80 Cents Taken from the very easiest studies of the est authors. They are especially suited for an introduction to Mathews’ Standard Graded Course. _ General Study Book MATHILDA BILBRO Price, 50 Cents A collection of piano studies for the child. First Recital Pieces Price, 75 Cents A continuation of the series begun with the “First Parlor Pieces.” a deservedly popular collection of first and second grade pi eces. The Very First Pieces Price, 50 Cents Pieces, such as may be assigned to element- ary pupils at the earliest possible stage. _ First Parlor Pieces Price, 50 Cents Good, easy music of the first and second grades. 4 By THEO. PRESSER _ wonderful progress. Fascinating Collections For Summer Study ' These collections for the first four grades are the most economical form of buying pieces. Your pupils will appreciate these economies this summer. Pieces lying in the early or intermediate | grades. playing. Popular Parlor Album for the Pieces in or about Grade III. A wealth of new, pleasing pieces of light and attractive character and only moderate difficulty. Modern Drawing Room Pieces Brilliant and attractive compositions of a high order, melodious and showy in the hands of the average player. Insuring Interest and Thoroughness ~The New Beginner’s Book Price, 75 Cents This is truly a Beginner's Book in every sense of the word. So simple that the youngest child—children just out of kindergarten—can readily understand it and make The following are a few important new features which make it valuable to teacher and pupil alike: ILLUSTRATIONS QUESTIONS AND ANSWERS LARGE NOTES WRITING EXERCISES There are many other features. Teachers who have very young pupils will readily recognize the merits of this instructor. First Steps in Pianoforte Study A Concise, Practical and Melodious Introduction to the Study of Piano Playing THEO. PRESSER Price, $1.00 SOME POINTS OF INTEREST: New Material. Popular and yet of high grade. Graded so carefully and beginning so simply.as to be almost a kindergarten method. It will take a child through the first nine months of in- struction in a most pleasing and profitable manner. The Student’s Book By THEO. PRESSER Price, 75 cents A logical sequel to the Beginner’s Book. It can be used by any student who has done the work of the first grade up to, but not including, the scales. The principal aim has been to ground the pupil well technically, and at the same time develop musical taste. A complete treat- ment of the scales forms the center of the work. Major scales receive detailed treatment up to and including four sharps and four flats. At the end of the book all the scales are given. Aside from scales, special attention is given to grace notes, broken chords and arpeggios, syncopation, hand crossing and wrist motion. Popular Home Album Price, 50 Cents All admirably adapted for parlor Piano Price, 50 Cents Price, $1.00 discounts. > Successful First Instruction Books fine results show at the end of the eight or nine weeks of study The Standard Graded Course The Standard Graded Course is to Music like a keel to a ship. With this care- fully selected “keel” all other material may be added as needed and the whole musical training will be well balanced and progressive. If the student just takes the Standard Graded .| Course alone (with pieces, of course), and does not have any other books of studies the stu- dent will have at least the main structure well built. The course comes in ten grades—one during the summer the student should be able to master an entire grade in two months. These are the indispensable books—no mat- ter what you omit from your summer course you must have these. A Summer Harmony Class The Beginner’s Harmony, by Preston Ware Orem, makes the whole study of the subject so clear and simple that young pupils will find it especially enjoyable. Price, $1.00 A Summer History Class The Standard Histéry of Music, by great success in summer class work by hun- dreds of teachers in all parts of the country. | summer course at very slight expense to stimulate greater interest. Price, $1.25 Beginners Suggestive Studies for Music Lovers By C. L. NORCROSS All teachers should know about a book especially prepared for adult beginners, one that eliminates all appeal to the child mind, introduces music that adults respect, and is especially rapid so that the‘adults patience will not be tried. Price, $1.50. . Specially Selected Teaching Pieces for - Summer Classes WRITE TO-DAY FOR ON SALE PACKAGE UR regular staff of experts are daily engaged XJ in making up special packages of First, _ Second, Third and Fourth Grade Mater- ial so that there will be no delay in receiving just what you need. When you write just tell us about how many pupils you expect in each grade and you will have a pleasant surprise when the music arrives. what you need for your pupils and return the balance to us under very easy terms and liberal The plan is to keep EVERY DAY COUNTS. WRITE TO-DAY. THEO. PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA. i ee Mus ic Class es i IA dollar for each grade. With special work |. James Francis Cooke, has been used with | Often Harmony and History are added toa |. A Fine Book for Adult | yw =~ HMA ail

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A Cardo of Oil for Palmolive How Africa Helps Make Palmolive HE making, of Palm Oil is a native industry in the African jungles where oil-bearing, palms grow. Natives gather the palm nuts and prepare the oil. They transport it to tradin3, stations in huge cargo canoes. The oil produced by these primitive methods is a natural cleansin?, agent, essential to Palmolive quality. Palmolive owes its mild, creamy, profuse lather and its wholesome, natural color to the Palm and Olive oils from which it is made. They have made the most popular toilet soap in the world— PALMOLIVE SOAP Palmolive Shampoo is also made from these same historic ingredients, prized since the days of ancient Egypt. It is liquid Palmolive, with the same mild yet thorough cleaning, qualities. Palmolive is sold everywhere by leading, dealers—war-time price, two cakes for 25 cents. It is supplied in the Suest-room size at the best hotels. Send 25 cents in stamps for the Palmolive week-end case, containin}, minia- ture packages of eight popular Palmolive Specialties attractively packed. Address THE PALMOLIVE COMPANY, Milwaukee, Wis. The Palmolive Company of Canada, Limited, Toronto, Ontario