The Etude: Presser's Musical Magazine (October, 1918)
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ll P————-} A DNATA zl =] ccc SELECTED 2999666606669.999.90990000909900990009099090990006699200066922006660F ALBUMS oF PIANO MUSIC FOO COOEOO EG 0000000 : | : : ; : ALBUM OF DESCRIPTIVE PIECES Price, $1.00 _A collection of music that portrays various moods, pictures, scenes and occurrences. The music is within the control of the average player, and owing to the characteristic style of the pieces, which afford a change from the conventional forms of composition, this album will appeal to every piano player. ‘There are twenty- nine novel numbers in this album, MISSISSIPPI RIVER SCENES By C. W. Kern Price, $1,00 A suite for the pianoforte of charming characteristic pieces lying chiefly in the fourth grade. They are truly American, being suggestive and descriptive of a _ trip taken by the composer upon the Mississippi River. These numbers are excellent for teaching purposes and also make very novel and taking recital numbers. STANDARD PARLOR ALBUM Price, 50 Cents A collection of pieces of intermediate difficulty, admir- ably adapted for home playing and entertainment. The pieces are all of light and cheerful character, written largely for purposes of entertainment, but nevertheless having real musical value. Many of the most popular composers are represented. STANDARD ADVANCED PIECES Price, 50 Cents This volume contains such pieces as the good player delights to turn to continually, not pieces of the virtuoso stage, but real advanced pieces by standard, classic and modern writers. Such composers as Haydn, Mozart, Beet- hoven, Chopin, Mendelssohn, Moszkowski, Liszt and Mac- Dowell being represented. SUNDAY PIANO MUSIC A Collection for Church or Home Price, 75 Cents Pieces of the highest type, but of moderate difficulty, admirably adapted for Sunday playing at home or for use in church services where it is not possible to have an organ. The best composers are represented, both classic and modern, some of the most exalted’ inspirations of each composer being included. A most useful volume. ALBUM OF PIANOFORTE PIECES By Carl Heins Price, 75 Cents All of Heins’ compositions are exceedingly tuneful and most of his pieces are of an easy or elementary grade, but all are musicianly in construction and of educational value. This cellection contains the best and most de- sired pieces of this writer. MOSKOWSKI ALBUM FOR THE PIANO Price, 75 Cents The pianoforte compositions of Moszkowski constitute a large and important section in modern musical litera- ture. The compositions in this album are continually represented. on modern recital and concert programs, All of these have been carefully edited. This album should be in the library of every advanced pianist. FIFTY-ONE OLD HUNGARIAN MELODIES FOR THE PIANO By Arthur Hartmann Price, $1.00 In this unique book some of the most distinctive and characteristic of the Hungarian folk-songs have been col- lected. There is interesting data in connection with these melodies and their origin in the introduction. ALBUM OF MODERN SONATINAS. Price, $1.00 Not all the pieces in this volume are Sonatinas. They are pieces of similar nature by various composers such as Merkel, Spindler, Lichner, Becker and others. Altogether this is an important volume from an educational stand- point inasmuch as it tends to cultivate a taste for a better class of music and also will act as a stepping stone to Sonatas for the average oupil. TWELVE PIECES FOR THE PIANOFORTE By G. F. Handel Price, 50 Cents Twelve gems selected from the works of Handel. They are not difficult and are especially suitable as educational } material for third .od fourth grade pupils. The selecting and editing ha’ been done by Dr. Hans von Biilow and the work contains a preface by the editor that is very valuable and illuminating. BE CONVINCED THAT THE PUBLICA- TIONS OF THEO. PRESSER CO. ARE MUSICAL WORKS OF VALUE To afford a better opportunity of judging the genuine value of the books listed on this page we will gladly send any of them for examination. To further assist in the selection of music, we have catalogs covering every classification. We will gladly send any of these gratis. %e FP DDBIDIDDIOOOG 9.9FDIDIIBDOCOOGFIFIDOCOSCOOOCO OOS OOOO FIFIOOECOIIIDIIIDOCOOOCOH TEACHING WORKS 3 | FOR THE ELEMENTARY GRADES POCCOCCEIDIDIIIIIDIIOCOCOOOOCIDIGOCOOOCOOIIIDOCOOOOOOOO OOOO OO OOOO HG STUDENT’S BOOK School of the Pianoforte, Vol. Two 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 treatment 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. All the material is pre- sented in the most engaging manner consistent with thoroughness. SPELLING LESSONS IN TIME AND NOTATION By Mathilda Bilbro Price, 30 Cents This work acquaints the pupil with all phases of nota- tion. What has troubled a great many pupils is the lack of just the things that are taught in an elementary work of this kind. The work is all done by writing words on the staff even going as far as preliminary chord writing in various scales. To teach a fuller knowledge’of the added lines and spaces in both clefs this work is ideal. CHILDREN’S RHYMES From A to Z By M. Greenwald Price, 50 cents An interesting little book containing an attractive teaching piece for each letter of the alphabet. The title of each begins with one of the letters of the alphabet, and each number is in characteristic style with the text, which may be sung. A very taking collection for young folk, MELODIES OF THE PAST By M. Greenwald Price, 50 Cents The good old tunes are always welcome and always in request. Each melody presented in this book is first given with its original harmonies and accompanied by a verse of the text. Then follows an interesting variation or paraphrase. All are easy to play. It might also be said of the variations that they are not flashy or commonplace, -but are really further developments of the several themes and serve to enhance them. PLEASANT PASTIMES FOR THE YOUNG PLAYER By H. L. Cramm Price, 75 Cents A recreation book for beginners by the writer of the very successful. volume, “New Tunes and Rhymes for Little Pianists.” This newer book is a supplementary work to this above-mentioned volume and may be taken up with any system of technical instruction. Rhythmic feeling is the fundamental principle of the little pieces in this book, and a variety of keys are gone through. Be066006669.9996666999999990929CCO6OO669999OCCCOEEOOCECEEOOOEECOCEEND / VIOLIN WORKS | ¢ ¢ Rerv200- COOCOCOCEOI.929O666999966O699990666999999999999999906609999009 BEL CANTO METHOD FOR THE VIOLIN By Mabel Madison Watson Price, $1.00 Positively the most elementary method ever written for the violin. It is the product of vears of experience with young students and is thoroughly practical and up-to- date. The material is all as attractive as it is possible Lr bio it and will be found very pleasing to young students. INDIAN MELODIES FOR VIOLIN AND PIANO By Thurlow Lieurance Price, 75 Cents These melodies are taken direct from native sources and the arrangements are genuine transcriptions, not paraphrases. Mr. Lieurance has been very successful in harmonizing the various Indian tribal melodies for prac- ©o4 99290666006090000%6 *% ; tical use by the musician. CG \/ 7 SOOOIIDIDIIDOCCO)EH OOCOI.IIDOOC OOOOH OOCLOI9DIHOOOSOLOE *, | VOCAL MATERIAL + A REVELATION TO THE VOCAL WORLD By E. J. Meyer Price, 50 Cents Years of experience, not only in singing and in teach- ing, but in examining first sources, writing books upon the subject, listening to great singers and talking with them, have placed EH. J. Myer, the author of this book, in a position all his own. ARTISTIC VOCAL ALBUM Low Voice Price, $1.00 It is a collection of songs especially adapted to the low voice, including all of the most popular songs in the original high voice edition. It is a splendid collection in every way. NEW STANDARD SONG ALBUM A Collection of Songs Price, 50 Cents This is a fine collection of songs chiefly for the middle voice, both sacred and secular, and is-printed from spe- cial large plates. It consists largely of the works of modern writers, but includes some selections from the standard writers. The songs are mostly of the inter- mediate grade. It is just the book for general use. GRADED STUDIES IN SIGHT SINGING By G. Viehl Price, 75 Cents A complete and up-to-date sight-singing method. Sight- singing in all its phases, presented in the most interest- ing and thorough manner. There is a section devoted to miscellaneous selections of all kinds for amusement. Just such a-book as is needed for schools, colleges and for classes. NeCOOCOEEECECOOCOO99909099COOOOOCOCOOOOOOOOCOOOOOOOEOOOOO6I299OCOOR, : THEORY - BIOGRAPHY : MLPFIDDIIIIOOOOOOOCIIIO a HOA AAA SCCCIIDIGS HARMONY BOOK FOR BEGINNERS By Preston Ware Orem Price, $1.00 This book is ‘brief, simple, vital, practical, new, and distinctive.”” It presents the ground work in the plain- est possible manner, covering thoroughly the first year’s work, and affording ample preparation for advanced study according to any method. It is adapted for either class _— ral private instruction. It is an admirable work for self-help. CHILD’S OWN BOOK OF GREAT MUSICIANS Bach, Mozart, Schubert, Mendelssohn, Schumann, Handel, Haydn, Beetheven and Chopin By Thomas Tapper Price, 15 Cents Each These give the stories of the lives of the great com- posers in very simple language, and instead of having the illustrations printed in the book, sheets are supplied to be cut and pasted in the book by the child itself. Facts and quotations are included, as well as a place for the child’s own story to be written. 1 00000000000600000000000000000000000000009990000000060000000000 000% : PIANO TECHNIC M%2IIDIOCOECIIIO POOOOSCOIIFIOOOOOOOOOOL COCooes THE PIANOSCRIPT BOOK By Alberto Jonas Price, $1.00 It is a distinctive work in musical pedagogy which the teacher must see to appreciate. The book is classi- fied and annotated with special exercises in such a way that it maps out a fine course for any teacher to pursue.. $0 2DDDOOOCOCOOOEEOOECOOO669999999090900COCOCOCOCEEOOOE9999999909900% $ | ORGAN COLLECTIONS | BOCCOOOOOO9.9.999999OCOCOOOO6999999990COO99990OOO POCOOOHOSOOHOOCOOOOOOHS AMERICAN ORGANIST Price, $1.50 A collection of organ compositions by American com- posers. All the numbers are chiefly of intermediate dif- ficulty and cover practically all styles. A wealth of mod- erate length Voluntaries and Recital Pieces, such as organists are always in need of, will be found in this volume. The volume is of the convenient oblong shape and is well ana’ handsomely bound in eloth, ORGAN MELODIES Gems for the Pipe Organ Compiled by C. W. Landon Price, $1.00 A veritable mine of good things for the busy practical organist. Not a dry or tedious number in the book. Some of the greatest melodies ever written arranged as preludes, postludes and offertories. All are of moderate difficulty, suited to the average player and adapted for two manual organs. THEO. PRESSER CO, 1712 CHESTNUT STREET, PHILADELPHIA, PA. HA A tcc eS NEW AND IMPORTANT PUBLICATIONS RECENT MUSIC PUBLICATIONS OF MERIT HAAN UN all ~
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THE KTUDE ZU IQISIUI DIU ILO IU SUNS FUTILE IUCN DIU NO UI CUNO IU, 5 name hw pa nt nln abe STEALER LLE RST LGEOSE ELI EE IEE ELIE LEE EET EET OCTOBER 1918 The Best Elementary Educational Works for the Piano Just as the Master Craftsman uses the best tools and materials to achieve master results \so the teacher to achieve pedagogic success must use the best formative teaching material ::_ :: The ‘‘Standard Graded Course’’ and the ‘‘Beginner’s Book’’ stand unequalled in the number of copies sold and the other works mentioned below rank far above the average in the number used by the teaching profession. The above facts are given as a solid foundation for the statement that among these works the most discriminating teacher will find the one that satisfies as. Each Possesses an Individuality that Appeals Standard Graded Course of Studies’ FOR THE PIANOFORTE Compiled by W. S. B. Mathews IN TEN GRADES TEN VOLUMES PRICE, $1.00 EACH GRADE The Original Graded Course Each volume supplies all the needed material for the grade with which it treats, and in addition pieces for study diversion are suggested. Constant revising, enlarging and re-editing keeps this system modernized and filled with the world’s best studies. Teachers desiring to use special systems for various purposes can readily apply them in conjunction with this course. No other method has been so widely used in music | education. Landon’s Foundation Materials Beginner’s Book SCHOOL OF THE PIANOFORTE, VOL. I. by THEO. PRESSER PRICE, 90 CENTS The ‘‘Fir_t Reader’’ The simplicity of this work has enabled many teachers to achieve speedy results with even the youngest beginner. in Piano Study The rudiments of music, notation and elementary work are thoroughly covered in a most delightful manner. The first grade of study up to, but not including, the scales is the scope of this work. Large music notes, i'lustrations, questions on the lessons and many specially written exercises individualize this work beyond others. New Taio Method FOR THE PIANOFORTE PRICE, $1.20 An Old ‘‘Stand-By’’ of Thorough Teachers Includes special spelling lessons for the acquir- ing of accurate note reading. Replete with careful directions to both teacher and student. Every lesson has a note explaining what should be observed and obtained from the study in that lesson. The studies are pleasing and progress gradually. On the last pages an extremely illuminating ex- planation of fifteen different chord touches is given in conjunction with a like explanation on the art of scale practice. The maxims at the foot of sich page form a bit of musical literature that all serious students would delight to read. Essential Helps in Elementary Instruction Primer of Facts About Music By M. G. Evans’ Price, 60 Cents Note Spelling Book By Adele Sutor © Price, 36 Cents Tunes and Rhymes By Geo. L. Spaulding Price, 60 Cents Very First Duet Book Price, 60 Cents Child’s Own Book of Great Musicians A Series of Ten Biographies for Children By Thos. Tapper Price, 12 Cents Each By A. SCHMOLL IN TWO BOOKS PRICE, $1.20 EACH The Popular French Method The teaching profession have here in the only edition with an English translation; one of the most popular methods used in France. Book One covers the necessary rudiments, chord study, the major keys and major scales, in a thorough and original manner. Book Two is simply a continuation of the first book and takes the student through a course of study up to about the Fourth Grade. Throughout tne work is attractive and is with- out doubt one of the most melodious methods obtainable. The Above Given Prices are Subject to a Liberal Discount to the Profession THEO. PRESSER COMPANY ii iseeus ae watcke PHILADELPHIA, PA. Page 621 BOLO LEBEBEBELE BOUNCE Be Se II EOE BE CITI BER CII EOE OBOE ESOS
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Pag ne 622 OCTOBER 1918 THE ETUDE sR nae mammn 5B AUB EE SAB DAIS i —_. awe aS aT 7 DFE BAA SA DRE, ee WAT ESS Dre: VED) SSS SIS CE GOREN =e Lo Ae. eS BASS DAN ATES EpED ( ure Cale > In a unique manner this work acquaints the pupil with all phases of notation. BURROWE’S PIANOFORTE PRIMER........... 25 CLARKE, H. A. ‘Theory Explained to Piano PN Be ee Se wis eds odes Cake es 50 Teaches the principles of Harmony in the simplest and quickest manner. CUMMINGS, W. H. Rudiments of Music. With ’ questions for examination................ 50 EVANS, M. G. Primer of Facts About Music. ... 50 A compact musical encyclopedia. Imparts all the essential fundamental facts necessary to a musical education. JOUSSE’S MUSICAL CATECHISM ............ 25 KILLOUGH, G. C. Gibbon’s Catechism of Music 50 499 Questions and Answers. Notation, time values, intervals, scales, keys, chords, ‘TAPPER, THOS. A practical and easily understood pre- sentation of everything writable in musi- cal characters, leading to a full knowledge of notation. MARKS, E. F. Writing Book............... Has pages alternating with staff ruling and ordinary ruled lines for hand written matter pertaining to the musical notation on oppo- _ gite page. Very practical. MORRIS, M.S. Writing Primer................ No previous knowledge of music required. Beginner learns the rudiments of music by writing simple exercises. SUTOR, ADELE. Note Spelling Book........... This is one of the most successful devices for teaching notation to the young. Children’s Biographies of Bach, Mozart, Schubert, Schumann, Han- del, Chopin, Beethoven, Mendelssohn, 15 embellishments, etc. Haydn and Wagner. Each................ 15 LANDON, C. W. Writing Book for Music Pupils, The child, by deine a little pasting and Complete See SAS bee Fob ee eke Peer ae ' 50 bindin illustrates and practically makes * Writing Book for Music Pupils, Book I....... 30 his or ei own book. ae se Se | | se ABBOTT Mrs. A. T. A Method for Gaining a KOHLER,-LOUIS. Practical Piano Method, Op. Perfect Knowledge of the Notes........... $) 25 249, Vols. I. Il and III, each.............. $0 50 aiiubaas She} -LANDON Musical Kindergar ten 1 50 LOTT: oe. Ae yen as gel rg 1 00 eB ot eed aurg Ube Ry: aay Ee eads to solid musicianship through an ‘ ta fs Aaya Ay classroom. This af easily graded, pleasant and interesting BEGINNER’S METHOD. Theo. Presser.......... 75 beaees et ee. Pre a Intended for the youngest beginners and P ESSER, TH O. School of the Pianoforte. Stu- perfectly adapted to their needs and insuring SNE UNE ss cw a chs aack's ctetteeeeeees 75 not only pleasant but rapid progress. Phe- Intended to follow Mr. Presser’s enormously nomenally popular with teachers who instruct popular Beginners’ Book, but adapted to young pupils. succeed any elementary instructor. The ma- BEYER, F. Elementary School of Piano Playing 50 ee ee and sparkling, melodious FIRST STEPS IN PIANO STUDY... ....... 1 00 ‘ A concise, practical and melodious intro- SCHMOLL, A. New Piano Method. In Two duction to pianoforte study. Carefully graded. Bombe. Back... My. .cani en eee 1 00 Material for nine months of pleasant work. One of the most popular music books of HUDSON, H.B. ABC of Piano Music.......... 50 the present day. A keyboard primer. A capital “tryout” WAGNER, E. D. First Instruction Book tor the for the young child. ' Piano, MLS win eid Goch RW EMERK Alas ote wi 1 25 oe “fe PIANO COLLECTIONS—FOUR HANDS % re OO BASCHINSKY, P. One Year in the Life of a Child $0 75 SARTORIO, A. Instructive Four Hand Album. 12 little pieces, with text ad lib. A charac- 20 Melodious duets for Teacher and Pupil.. $0 29 teristic number for each month. " dots Fahy igh instructive Four Hand CHILDHOOD DAYS (Harthan). Instructive Duet , eR ES Ae ee ee er 1 00 yep wl, A bene lll ca haiea hatte tne SPAULINNG, G..L. Yoused i:.:.......2:...: 50 a Bas. - brsbcboc ths ite EERO LE 1 00 Phe tits,” students. Both parts easy. a. d ; ; RN Ne ee te gata gy Ay 24 pieces, 150 pages, classical and popular, A duet book of easy, real first grade duets. medium difficulty. STANDARD DUET PLAYERS’ ALBUM.........., 50 DUET HOUR. 31 Minuets in Easy Grades...... 50 STANDARD OVERTURE ALBUM............... 1 00 ENGELMANN FOUR HAND ALBUM............ 75 160 pages, 10 famous overtures, including FOUR HAND MISCELLANY.................... 1 00 Poet and Peasant, Martha. Carmen, Tann- FOUR HAND PARLOR PIECES................. 50 hauser, etc. JUVENILE DUET PLAYERS.............:...... 50 OPEN WIE A oldie cin doc ckeccr es Css cedees 1 00 ee oe, We Wins dowd eblaas 50 VERY FIRST DUET BOOK.........+-+-...054. 50 MOSZKOWSKI, M. Spanish Dances. . 1 00 Pieces in the first and second grades ort two OPERATIC FOUR HAND ALBUM. 22 Duets. s. 50 students of nearly equal attainments. | oe ) se AIQOU “I, K. H. Practical Method for the Young STANDARD VIOLINIST, 32 pieces............. $0 50 aE) cb atts IR AS cn add isekes 1 00 STUDENT’S POPULAR ALBUM. 22 Favorite D\ANCLA, CH. Six Petits Airs Varies, 0». 89. 75 SO CER Cee 50 FRANKL: 'N, F.A. Operatic Selections. BRS pelted & 6a 50 TOURS, B. Complete Instructor for Violin.. .. . 75 “.. Be! ected NG, eo in Sami nied Aine REG hes . 50 WAISON, MABEL M. Bel Canto Method for Violin 1 00 HOHMANN, C. tl Practical Violin School, Ger- Positively the most elementary method man ‘tod English Text, complete.......... 2 00 ever written for the violin. *Same in 5 Boeke, each .. 0.) .-. ae 60 WICHTL, G. Op. 10, The Young ‘Violinist... ... 1 25 KAYSER, H. E. Eem>:ttary and Progressive WOHLFAHRT, F. Elementary Violin Method for Studies, Op. 20. 3 Books, each.......... 50 oe i PPE TS Pe Cee Pe 1 00 LIEURANCE. THURLOW. [Indiin Melodies... ... 75 ‘* Fifty Easy Melodic Studies, Op. 74, 2 Books, PLEYEL, I. J. Petit Duos for Two Violins, Op.8 59 BORNE S.. 5 MGs 5 Pils Rees ee Obed eek guarantees satisfaction. request. mainder. outright. fee ee ee foe jg ae Presser Co. “‘On Sale’’ Plan : Any of the Presser publications (works listed here or any of our book or sheet music publications) will be sent for examination upon You may specify special items that you would care to examine. Send your order now, no preliminary correspondence is necessary. (name a few pieces or studies of style desired) and let us send you a package of material to select from. You pay only for what you use and return the re- The same large discount allowed as though the music was purchased Music not used is returned to. us but once a year. to be mad:2 at least once a year, preferably i in June or July. Tell us your needs, Settlements are Te } PIANO TECHNICS AND STUDIES | % BACH, J.S. Little Preludes and Fugues......... * Inventions for the Piano................... “ First Study of Bach (Leefson)........... ... ‘* Well Tempered Clavichord, Vol. I.......... BERTINI, H. 25 Studies for Pianoforte, Op. 29. . “ 25 Studies for Pianoforte, Op. 100........... BIEHL, A. Elements of Piano Playing, Op. 30.... BILBRO, MATHILDE. General Study Book...... A very useful book of studies and recrea- tions, well adapted to accompany or supple- ment any instruction book or method. BUGBEE, L. A. First Grade Studies. Easy, original, melodious study pieces.......... ** Second Grade of Melodic Studies .......... A volume to succeed ‘‘First Grade Studies” by the same author. BURGMULLER, F. 25 Studies, Op. 100......... “ 12 Brilliant and Melodious Studies, Op. 105. . *“ 18 Etudes de Genre, Characteristic Etudes, NS ae Ra Nas ins CA Peo dd CONCONE, ‘I. ‘Selected NERS cee i Op. 24; ye Ot Be Se ann ‘* Twenty-four Brilliant Preludes, Op. 37.. COOKE, J.F. Mastering the Scales. ............ Enables the teacher to start scale study with very young pupils and carry it on to the highest degree of proficiency with advanced students. Practice material fully written out. Many original features found in no other work. CRAMER, J. B. Fifty Selected Studies.......... CZERNY, C. Ont’ Hundred Studies, Op. 139..... 100 Recreations. cu@hetts soca oia Reus She emes Cee ee eee eee een e ese eeeee sess tess eeees 261 * School. of Velocity, Op. 299................. * School of Velocity, Op. 299. 4 books, each... * 6 Octave Studies, Op. 553... 2. secs “First Pianoforte Instructor, Op. 599.......... “ Preliminary School of Dexterity, Op. 636..... * Art of Finger Development, Op. 740......... ee ee pee Pe Aer ‘* Practical Finger Exercises. Op. 802...... CZERNY-LIEBLING. Selected Studies. Three BO GOD bs ccc eies coats eds te Czerny’s most necessary studies selected and arranged in practical and progressive order by an expert in piano teaching. DORING, C. H. School of Octave Playing. Op. 8 DUVERNOY, J. B. Ecole du Mecanisme, Op. 120 “ Ecole Primaire, Op. 176 GURLITT,C. Easiest Meri Studies. Op. 83, we First Reena, Ele, BAG, «5.6 (4s so vable ws tack ** School of Velocity. ‘On Peas OP bad i'n HANON,C L. Virtuoso Pianist, Complete... HELLER, STEPHEN. Thirty Selected Studies. The best studies from the most popular opus EEE REN HERS PAVE EIE AO PRE HELLER, STEPHEN, 25 Melodious Studies, Op. 45 “« 30 Progressive Studies, Op. 46...°.......... ms Bb OMG Bi cpice cick batts kobaeca HERZ, H. Scales and Exercises................. JONAS, ALBERTO. The Pianoscript Book...... Aun que indexed volume by an artist-teacher, covering all phases of modern piano playing, with technical suggestions and records of at- tainments, kept by the student. APTS TLS font. heen eltel vidaaeceeeee KOELLING, CARL. Major and Minor........... This work takes the pupil in the second or third grade through all the major and minor keys with suitable studies and study pieces. KOHLER, L. First Studies, Op. 50.............. ” 32 Uillle Studien, Oe. 157 |. coo “* 12 Preparatory Lessons, Op. 151............ Very Easiest Sc orsisas, i MO hA Gh OM oi a0 ** Small School of Velocity, Op. 242............ KROEGER, E. R. 15 Etudes for the cultivation of Oe EES oie hs akties Interesting, beautifully made and of genu- ine musical value. KUNZ, K. M. -— Hundred Short Two-Part Ramems Mn: se edi hi eek ecb blsdi LANDON, C. W. ae: Two Notes Against Three a Wrist REIS BORER Tio NERA Be ae LESCHETIZKY METHOD. The Modern Pianist. LE EO ET EET ee LOESCHHORN, A. Selected Studies, two vols. The best selection of short, specific, techni- CME GEN Bere ORR: “ Op. 65, Studies for the Development of Technic and Expression, three books, each..... . eee CON ig MEN, S205 esc SU ee eis so oes “ Op. 66, Etudes Progressives, three books, each Etudes Progressives, Op. 66, complete... .... MacFARREN, WALTER. Compzehensive Scale “and Arpeggio Manual.................... “cs Thus Insuring a MASON, Dr. WM. Touch and Technic: Part I, The Two Finger Exercises; Part II, The Scales; Part Ill, The Arpeggios; Part IV, The School of Octaves. 4 Books, each.... $1 00 One of the most remarkable works in the entire range of pianoforte pedagogy by an author recognized as the most distinguished of all American pianists and teachers. MATHEWS, W.S.B. First Lessons in Phrasing.. 1 “Studies in Phrasing, Book I................ 1:50 ** Studies in Phrasing, Book Il................ 1 ** STANDARD GRADED COURSE OF STU- DIES. 10 volumes, 10 grades, each...... 1 This is the original, and in spite of dozens of imitators, still the one universally used course of piano study, combining and suggest- ing everything essential for acquiring a perfect knowledge of as well as finished skill in piano playing. MORRISON, R:. S. 10 Characteristic Studies in Rhythm and Expression. 2d Grade Fresh and original teaching material by a well-known contemporary writer, suitable to accompany or replace studies by such writers as Streabbog. PARLOW, E. First and Second Grade Study Pieces 1 00 PERRY, &. B. ‘Lyric Studies...........:acentue 1 00 oF ER CUENIIS Us\. cso ob oon vn xv open a 1 00 PHILLIP, I. Exercises in Extension. Unique studies. Strengthen and stretch the hand. . 75 “ Preparatory School of Technic. Daily practice in technical essentials.................... 1 00 * School of Technic. An exhaustive compen- dium of modern technic.................. 1 50 ‘“* The New Gradus ad Parnassum, in eight books: Book I, Left Hand Technic; Book II, Right Hand Technic; Book III, Hands Together; | Book IV, Arpeggios; Book V, Double Notes; Book VI, Octaves and Chords; Book VII, The Trill, Book VIII, Various Difficulties; The contributions of Isidor Phillip, of ' the Paris Conservatory, to the literature of pianoforte study occupy a front place in modern piano teaching. His most successful and most widely used works are named above. PISCHNA. Sixty Progressive Exercises......... PLAIDY, L. Technical Exercises............... 1 00 PRESSER, THEO. First Studies in Octave Playing 80 . ‘* Selected Octave Studies. Equal develop- ment of both hands, flexibility and strength. 75 RANSOM, E. Through the Major Keys. ROGERS, J. H. Octave Velocity. _ n uw Short, interest- ing, musical studies of great technical value 1 00 * Douala Note Velocity... ....<..... sdebein. 1 00 SARTORIO, A. 12 Instructive Pieces in Melody Playing and Expression, Op. 368.......... 1 00 * 10 Metedious Studies in Velocity, Op. 380. Delightful melodies, richly harmonized.... 1 00 ** Melody and Velocity, Op. 872 ....... .. .. 1 00 ** Ten Melodious Studies for Advancing Players, | a re errr. Yl 1 00 © Melodious Scined Grade Studies, Op. 901... 1 00 ** Twelve Melodious Studies in Embellishment, 3 errr ore OR 1 25 ** Ten Brilliant Octave Studies, Op. 1044. ..... 150 © SCHMITT, A. Preparatory Exercises, Op. l6a.... 30 SCHMOLL, A. Studies and Study Pieces, 3 vols. - An abundance of material furnishing techni- nal equipment as well as a sense of the beautiful. Eoch...... 0.00... 00 Mabeees 1 00 SCHNECKER, P. A. Meledious Studies in Style and Mechanism. To develop especially fluency, continuity and good style......... 1 25 SCHULZ, F. A. Scales and Chords............ 30 SCHWALM, R. Daily Exercises................ 75 SPAULDING, G.L. Etudes Melodiques.......... 1 00 For students just beginning third grade. Each study brings out some special point. STANDARD CONCERT ETUDES............... STEINHEIMER, S. Time Studies for the Pianoforte 80 A new and attractive set of studies for second and third grade work. Each: study is intended to exemplify and work out some special rhythmical device. STREABBOG, L. Twelve Melodic Studies, Op. 63 75 “* Twelve Easy and Melodious Studies, Op. 64. . 75 VOGT, J. 24 Octave Studies, Op. 145............ 75 WIECK, F. Piano Studies.................... od 75 THEO. PRESSER COMPANY, (3a eae SHS SE eS A Se SO SS
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THE ETUDE | OCTOBER 1918 — Page 623 OL LE TS ROLLA LE TS TOLD IS OLE SLO IS LIES OLE TS ALLS All Musical Educational Essentials & it is Desirable to Check Down Each Column, | Read the Explan- ation of Our ‘‘On Complete: Order a | ppv as ZGOMEE — ag Sm 2. % WA = ° % om Adopted by leading schools, colleges and The plainest and most elementary harmony ** Album. of Miscellaneous Pieces..........., 1 00 SPAULDING, GEORGE L. Souvenirs of the conservatories of music. Many illustrations __ book ever issued. Adapted for private or class A GURLITT. Album Leaves for the Young...... .. 60’. Masters. Introducing famous melodies... 50 and portraits. teaching, especially suited for se!f-instruction. w Album of Selected Compositions (Mathews)... 75 “* Tunes and Rhymes (with words)............. 50 BENDER.G.C. Business ManualforMusicTeachers 1 00 PERRY. Descriptive Analyses of Piano Works.... 1 50 HANDEL ALBUM (Presser).................... 60 “ Youthful Diversions (with words)......:-.... 50 CLARKE, H. A. Harmony, A Text-Book......... 1 25 hei of Standard Teaching Pieces. a ig sind 1 50 Ny HANDEL, G.F. Twelve Pieces for the Pianoforte 50 * Well-known Fables Set to Music (with'words) 50 Intended to enable the pupil to grasp easily ' iy f Mocunae: vomnaicy. Sie B wv HARTMANN, A. Fifty-one Old Hungari STANDARD ADVANCED PIECES. 28 Pieces.... 50 wealth of Romance, Anecdote and Educa- WN) , itty-one ungarian Melodies 1 00 hie and comprehensively the facts and rules of the tional Information. without which ‘students Playable versions of old folk melodies ar- STANDARD BRILLIANT ALBUM, 27 Pietes.... 50 art of Harmony. and music lovers might easily miss an in- ranged by a master hand. STANDARD FIRST PIANO PIECES. 72 Pieces. ‘ 50 “ Key to Harmony, A Text-Book.............. 50 telligent understanding of many well- ( HAYDN, Miu MN, WOMs Bi oas boc oe. coy 1 00 STANDARD OPERA ALBUM................... 50 CLARKE, H. 4. Counterpoint, Strict and Free.... 1 00 known and standard compositions. Stu- on IE RIRENEIS IE IO SRI aa 1 00 Melodies from the great operas arranged in ‘ * Pronouncing Dictionary..................... 1 00 dents, teachers and concert-goers should HEINS, CARL. Album of Pianoforte Pieces..... 75 the best manner in intermediate. difficulty * Student’s Pocket Dictionary................ 25 get acauainted with these books. . A HUDSON. Musical Poems for Children.....___. 50 not beyond the fourth grade. Subjects with COOKE, j. F. Standard History of Music..... 1 25 REDMAN, H. N. Pronouncing Dictionary of N \ “Musical Picture Book..................... 50 which all should be familiar. : i A first History for Students at all ages. 40 kas Me. Ere EES oa oe 50 A KERN, C. W. Mississ‘ppi River Sketches... _. 1 00 STANDARD PARLOR ALBUM. 41 Pieces...... 50 story lessons in music lore. Most readable; SKINNER, O.R. First Year in Theory........... 75 ~ Attractive characteristic pieces, based upon STANDARD STUDENT’S CLASSIC ALBUM..... 59 150 excellent portraits and illustrations. : SCHMITT, H. Pedals of the Piano............. 1 00 Net American river scenes. Grade 4. SUNDAY PIANO MUSIC.............0..000008- 78 | COOKE, J. F. Great Pianists on the Art of TAPPER. Fiest Studes te Mek Coen kes \ KROGMANN,C.W. Five-Noté Recreations. Ten Quiet piano music, especially useful for the * Pianoforte Playing. ...................-. 2 00 A Hy aes rh ies in Music Biography. .... . 1 50 \ enceilant Httte teachine al pyee . a ; 3 istory of Music for Children. Direct, Pata iceaind a het 15 church pianist. Personal conferences on Technic, interpretation, expres readable and never heavy. Full sketch of MusiLAU, FP. Sematinar....................... 75 were R-ClBP ALBUM... ........cccscccuuees - 50 ‘| sion and style with our most distinguished virtuosos. each composer's life with portraits and other LEFT HAND RECREATION ALBUM............ 50 20TH CENTURY DANCE ALBUM.............. 50 ELSON, L. C. Mistakes and Disputed Points in illustrations. LICHNER, H. Sonatinas, Ops. 4, 49, 66.......... 75 VERY FIRST:PIECES, THE...................: 50 Music and Music Teaching............... 1 25 ‘« Education of the Music Teacher............ 1 50 LISZT, F. Album of Celebrated Works... 1 00 WAGNER-LISZT. Album of Transcriptions...... 1 00 GROVE’S DICTIONARY OF MUSIC AND MUSI- WILKINSON, C. W. How to Play Well-known ( LITTLE HOME PLAYER. Piano or Organ....... 50 YOUNG PLAYERS ALBUM. 70 Pieces..:-..... ~ 50° CIANS. 5 vols., 4,000 pages ........... 15 00 Pianoforte :soles..........4.. sgseusee. 1 50 K -| HEACOX, ARTHUR E. Ear Training............ 75 WODELL, F. W. Choir and Chorus Conducting... 1 50 / ote . we “eo N VOCAL METHODS AND STUDIES TEACHERS’ SPECIALTIES ox ae LO < GREENE, H. W Standard Graded Course of SIEBER, F. Elementary Exercises, 36 8-Measure BILLS OR RECEIPTS. Package of 100......... $0 25 MUSIC WRITING PENS. Per dozen.......... $9 15 Hi Singing. 4 books, each................ $1 06 Studies, Op. 92,;Soprano................. $0 60 BLANK BILLS. Large size (50)............... 25 PRESSER’S FIRST MUSIC WRITING BOOK.... 05 . MARCHESI, S. 20 Elementary and Progressive “ Op. 93, Mezzo-Soprano............4...-.5- 60 BLANK MUSIC BOOKS. 6 staves, 32 pages.... 10 STANDARD PRACTICE SLIPS. Pad of 100.... 15 WN - Vocalises for Medium Voice, Op. 15....... 1 00 i es SENG Loh CURA RE Sateen Manic OS Ss - 60 8 staves, 32 pages..........desscbeeveus 14 STANDARD LESSON RECORD ................. 25 MYER,EDMUND J. Vocal Instructor A practical VACCAI N. . Practical Italian Vocal Method - eB RR RA ag 17 STUDENT’S HARMONY TABLET.............. 10 guide to artistic methods................. 1 00 fol Serpe genmy ttn 4 sae 2 8 staves, O4 pages..............-.-.+. n TIRE SOROS. - \Leason and, Ppaction Record. REDDALE, F. The School Singer. For normal VIEHL, G. Graded Studies in Sight Singing... .. 75 BLANK MUSIC PArER, iy 14 es 16 staves, ri Peckene OE 57 Abe. oe ee is be: oak Reeds 25 N sedi Veet A complete sight singing manua! for class or ne and Vocal, size 11 x inches, per quire = omeaghaametiegmaatecatite is ait..." anil “1 Octavo size, 7x11 inches. 00r 12 staves, METRONOMES in ROOT, F. W. Methodical Sight Singing. The | | WHELPTON, G. Vocal Studies for Soprano and. “6 lines, widespacing, 7.x 8i4, 100 sheets... 18 | MAELZEL, METRONOME. Without Bell De- 5, MRC rhb ah G2 6S ESS Ts VEN es ed ee i enor... ....... otis pias as 2 ies °° CLARKE, H.A. Harmony Tablet............. 25 tachable Door, American............... 3 50 Ae se ps we moon, ae the Keys. 50 Student's Manual of Sight Singing. Clear, 60 GUARD, F. F. Music Pupil’s Lesson Book and With Bell, Detachable Door, Amer’can.... 4 75 u : hi ight Singing, Progressive Musi- ee ere ema AE os ee, ERD e Papas © 2 08 Without Bell, Attached Door, American... 3 50 PP sees <n Sx Paar gts tate eee ees 50 Vocal Studies for Medium Voice. .......... MUSIC TEACHER’S DESK TABLET. Pad of 100 15 With Bell, Attached Door, America ...... 4 75 i mart ny ang Arg te in Voice Culture....... 1 00 A help for the busy errno The needed wide for Male Voice...................... ises gt : 1a . | e 1 00 exercises given in progressive order MARR Fy Y Bow present high cost of production has necessitated a temporary “| : ; Ay of musical works, including Singer’s Hand Book, Piano Study Guide, Hand p advance in prices. All the Book. publications 2 0 J on price «|. fe O ©@ Book for Violin Music; Hand Book for Pipe and Reed Organ, Choir.and Chorus Hand Book, Hand Book for 4, 6, 8:and 12 Hands, Catalog of Juvenile Musical Publications. Thematic Catalogs and complete Catalogs of Vocal and Instru- -. mental Music will be sent to you on request, without obligating you to buy. - Our Octavo Catalog is extensive and comprehensive, continually increasing listed on these pages are temporarily advanced - listed _—_ . : ee ee i ith bl ions. We publish anthems, choruses and MAIL ORDER MUSIC P ,, aM ptE Wie Walk Meacaba sk sailiealts.<. Wu Geni to Mitt tn every wake soaiole : HIL ADELPHI A | P A the busy organist and choral: director. . SUPPLY HOUSE, Sof CUE Mo a SEL OI TIL LI I OLE TIE TDI TTL DOLLS ELODIE Ee That Are Classified Guides :
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Page 624 OCTOBER 1918 it - THE ETUDE DCP OPO GPO GLO VOGPOL GPO POLO LOPE GVO GVOPOVOVOVOVOYGOY VYOPOVOPO YOON GOO OPO YOLPOY GS POYOYGYO PU Po POUL. What Shall I Teach in the Second Grade? A SERIAL ADVERTISEMENT THE FIRST INSTALLMENT OF THIS ADVERTISEMENT APPEARED IN THE ETUDE FOR MAY AND JUNE Requisites for THE Music Teacher BUSINESS MANUAL FOR MUSIC TEACHERS, $1.00. This book is a compen- dium of the latest and best ideas upon the most practical methods of compelling your pro- fessional work to yield you a larger income. CLASS AND ACCOUNT BOOK. E. M. Sefton. 50c. Pocket size, contains record of all business transacted by a music teacher. PUPIL’S LESSON BOOK. Price 10c each, $1.00 per dozen. THE STANDARD LESSON RECORD. (35 records with stubs.) 25c. A practical method . for the teacher to keep a complete record of pupils, studies and accounts. LESSON AND PRACTICE RECORD. (Package of 25 cards.) 25c. THE STANDARD PRACTICE RECORD. (Pad of 100 slips.) 15e. Furnishing a weekly form upon which to record directions for prac- tice as well as results. a AND RECEIPTS. (Package of 100.) Cc. : ne Ce BILLS. (Large size 6x9, package of ; c. MUSIC TEACHERS’ DESK TABLET. (Package of 100.) 15c. For all memorandums, espec lly practice directions to the pupil. CLARKE’S HARMONY TABLET. Pad of 100 ieaves ruled music paper, 7x10, 25c. STUDENT’S HARMONY TABLET. Pad of 75 leaves ruled music paper, 7x7. 15c. BLANK MUSIC COPY BOOKS. Prices, 1f : to 35c. BLANK MUSIC PAPER. 12, 14 or 16 lines an Vocal, size 14x22 inches, per quire, 50c. (Postage llc extra.) Octavo size, 7xll. 10 or 2 Staves. 34¢ per quire. Medium size, 9x12. 12 Staves. 40c per quire. A Concise Course in Grading for Teachers SAVE these advertisements and study them. ‘They are a course in one of the most important parts of the work of every piano teacher. Prepared by expert teachers, who have held high positions in the profession, they are an invaluable guide. The second grade is just as important as the first grade. Your pupil’s interest is just beginning to blossom. The least neglect now may blast the blossom and cause you to loose your pupil. Let us send you our “Special Grade II on Sale Selection,”—keep what you need, return what you cannot use and pay at the lowest rates and on the most liberal terms. Thousands of your fellow teachers have for years found this service ‘‘indespensable.”’ Write to-day. MATERIAL SUITABLE FOR GRADE TWO Arranged in Progressive Order * Mathews’ Standard Graded Course of Studies, Vol. II, Grade 2. Price, $1.00 SOLOS No. Key Pr. | No. Key Pr. BLANK MUSIC PAPER. __ . P 6847 Forman, R. R. Dance 3648 Sartorio, A Picnic in 1C_ leaves 7x8% with wide spacing. 25c. No. Key Pr. of the Wood Sprites Cc .40 the Woods. Op. 406, BLANK PROGRAM FORMS. For Concerts 6679 Spaulding, Geo. L. Sway- ee N ) v ee 20 or Pupils’ Recitals. 50c per hundred. ing Trees --, C. 25 |. O01 Read, Edward M. Sun- tied ia BPS DIPLOMA FORM. 21x19. Price 15c. _— NAS GAO age set Nocturne ........ B_ .30 6874 Seeboeck, W. C. E.. ye tet opines 8452 aac i aos ies 6 Cc 20 8801 Anthony, Bert R. Spark- Spanish Dance..... A Min. .25 TEACHERS’ CERTIFICATES. 11x84, 5c. —Waltz. : ’ : “ pe ling Eyes—Valse ..... G .40 6371 Seeboeck, W. eS E. MUSICAL PRIZE CARD. 6%4x4% inches, iss = saat ¥ BY yg evs . mn ORS er ee en 4398 Mich : Twi a Seas Cae ie REWARD CARDS. 5S f 16 d he 8 artorio, » estiva Gee Pa a ee ‘ urty, f wo Juve- - Set o cards to t March. Op. 859, No. 4 C 25 : nick Bis ats eee aka elaratae G60 C7 ack, no less than nine colors on each face. 9541 Moter, Carl. Evening nm nee | pac 7237 Lawson, Paul. The Paper eer epgeagifag iar iis Cae 9067 Gilis, A. A _ Historical Price of set, 50c. Chase—Caprice_....... C 25 | guge 5 oe saeaee ew Pageant aj ss 6ane fox ee ee MUSIC WRITING PENS. Per dozen, 15c. Bert R. Rob ko hal ; T PROFESSIONAL CARDS. 50 for 45c, 100 8230 AEB ODY: « heyy Op. 21 POOTSEDE oioin s gcie so ues C .a9 rere eg ae eet le for 75c, 500 for $1.75. Neatly printed in io aa peers 7126 Lindsay, Chas. Home- and Pupil. ooks - Steep key tis Pach ian ee ward March so... .... Raw each, 1.00 ff RUBBER STAMP AND INK PAD. One aaa ae eh tei nina c 40 9744 Armstrong, W. D. The Harthan, H. Young ke line 50c, two lines 60c, three lines, 75c. of the in ordiers... : Elf’s Story Dh ee a A Min. .40 Duet Players cece eece .50 Xe A handy article for putting name and address 3585 Zimmermann, J. F. Hay- F 0 7978 Williams, F. A. The _ 1178 Presser, Theo. School of on orders to publishers, etc. It prevents errors. a ge OO aaa oi _ Jolly Cobbler. Op. 70, Four-Hand Playing, Xe ROLL BLACKBOARDS. Ruled for Music. 7687 Crosby, Marie. Waltz of DREAD SeiN is ak « pines F .50 Vol. ID ........-00e, 100 2x3 ft., $1.80: 234x3%4, $2.50; 3x4, $3.20. the Flower Fairies.... C .30 $450 Rathbun, F. G. A May The Juvenile Duct Play- CHART PAPER RULED. Price 10c a 8288 Anthony, Bert R. Fairies’ . ‘ a Rig? pee Bees Cc 30 ws ers. hoki 5 ee .50 e “aah 32x44 containing four staves of heavy 0 PS OS ena : 9747 Armstrong, W.D. Rondo eumann, y ixteen oe ; : : : : i MISSED LESSON PLACARD. Printed in 82382 Anthony, Bert R. Arrival ema RTIIG © odie es nhs n' alse D_.40 Instructive Pieces ... 75 le ‘ of the Brownies. Op. 7105 Lindsay, Chas. The Dutton, B. Mother Ke 7 per Rage css Stila segs eee 21, No. 3 ..sseeeeeee G_ .30 Betrothal March ..... D .40 Goose Duets ......... 50 sec Rady TE Agger unt gc P 11162 ‘Ss om P pageant sind dees Juli ae) le color on paper, envelope size, package of 100, ewe , ° Oo zer, ulius. 7 S&S 20¢c. POMIYEE, 81.5 0 ).0'0 scsi, 4 3's G .25 Royal Hunt ......... D~ .40 COLLECTIONS le ADHESIVE PARCHMENT PAPER. (Trans- Lal, oe ang poe Hewitt, Hobart D. In 9g | Standard Compositions. Vol. I | | zarest), Pez, packase, postpaid, ses th inner — NV j , reet Content ....... . poy : i a ' , Pos : ; Meh 2 5, Pe i ee 9519 Horvath, Geza. Neapoli- Mathews cS ASaAN ay : Rane re a 50 % same, 4 yards in a roll, postpaid, 6c. 8279 Cramm, H. L. Good tan Street Scene. Op. __ Mathews, W. S&S. B. Standard % YEAR BOOK FOR MUSIC TEACHERS. Night, Little Girl. Op. 130, CORE Ole Ree ags A Min. - .60 First dnd Second Grade. Pieces:..... 100 = mye f Help. A_ booklet including mene pages PRy ING eff ese se caee G25 6995 Kaiser, P. The Younger Mathews; W. S. B. First ‘Lessons le ruled for every business use of the profession, 8771 Bugbee, L. A. March of Bh 25 Set—Waltz. Op. 2, "i nee te Phrasing GAR MMT Ee SS, 1.50 % i many other valuable features. Price Se a ; CAE ons or ect ak ee ; MacDou : ‘ ~ . sii ‘ gall, H. C. Studies in MANILLA WRAPPERS. 14x22, the best ma- ae us ned oa eeticenat A Cc 40 sic Bp a ; ree ped Dp 20 Melody Playing. Vol I ........% .50 ie nilla paper, per hundred, 75c. The best rope cones orc niall Eni ‘ 7 4914 Seeboeck, W. C. E. The Riemt Deace Album 6.6 s oaks cue cs .50 manilla, per hundred, by express, not pre- 0087 pee incom. ee Min 40 Dream. -Faiey, (.i.kiens Bb .30 First Recital Pieces .............. 1.00 paid, $1.50 : PE Wiehe hos. eas oar ti Sicee kee Sight Reading Album. Compiled BUSTS. Prices from $1.25 to $10, according 8770 Bugbee, L. A. At the ory : CW. Land V to size and workmanship. Send for list. eo Bh .25 cinthe—Valse Melodie. F .30 id Pp Mise vt sting edhe seo a MEDALS. Gold, Roman finish of substantial 7779 Forman, R. R. June 4845 Engel, Heinrich. Way- Easy Parlor Album OE TOY See nD 50 weight, engraved to order, net, postpaid, $5. Morning dat eee RD Be Bugs side Flowers — Idyl. Harker, F. F. Six Forest Sketches © .50 he same in silver, net, postpaid, $3. 1202 Zeisberg, F. J. Bagatelle G .20 OP. 5 vssseeeveeseee : Bb .25 | Young Players’ Album ........... 50 PLATINOTYPE PORTRAIT-POST CARDS. 7403 Bristow Frank L. The 7147 Spaulding, Geo. L. Vani- ; 5c each, 50c per dozen, postpaid. This list Goat’ Ritle-—Polka Cc 30 ties—Valse Vive ..... Cc .40 STUDIES ee ne, A spied tag eS yp a all caeee ; P ay sv saab o Son 9461 sag ins oe Village Cc 2s gas Oey Welt a ae F .40 3556 Eageeeane H. Students! mom Se semitchiiod: Terre eC ee : ; Selects rimary Studies. R 4111 Reinhold, R. Shad S MAELZEL METRONOMES. American make, 11179 Ferber, R. Slumber Song D_ .25 gop ree : 38, Book: 10 uit5| 6674 Lindsay, Chas. Noontide in the Life of a Child. 75 oeer for Beginners. Op. se grey rey ele Spe of san gwen ; rj : Pee eat, ek eee Coeee | Wee en ete ye iy cae re a : size x 6%, provided with a ring for hang- 2 644 P ee R . ‘H ~ The deal race rent ae gt wv es 6885: Wachs, P. Etudes Mig- ing. Following Composers: Bach, Beethoven, Be igh sis Bh .40 ES OCR «tank ga i ML EP eR UA et 75 Chopin, Handel, Liszt, Mendelssohn, Mozart, sree eee rag Mad ally SION RS ae i. Ree 7525 a iy Fo a First Veloce Seeske cc) Wikser Baioad weeks acksmith’s Shop ... : WR ais. ha skies vipdtale ; CHEE: is sk So eons ; >) ; i i Czerny, C. Selected Studies. r , Paul. Ripples— 7872 Heins, C. Flying Doves y ary Let us send free a copy of our catalogue, ®) ci OV aietie Linstunacs if r 6 axes Fide se BNO. sd.c 8 MAN ooh C .35 Book I (Ltebling) ...... ‘Music Teachers’ Handbook” containing descrip- 9470 Gael, Van-Henri. The 3647 Neumann, F. Cheerful- 11248 Heinze, L. G. The Progress- tion of above, and. lists and prices on Busts, 2 Cackoy. Op. 64:....5 €° °:30 ness. Op. 1, No. 6.... G _ .35 ing Piano Player ........ -80 Plaques, Jewelry, Medals, Pitch Pipes, Forks, ©) _ Kinder-symphony Instruments. Any of the above Publications will gladly be sent for examination - = THEO. PRESSER CO. : 1712 Chestnut St. : PHILADELPHIA, PA. Saae =p noon — Te ee ee ’ MNO IOLIOL MO IOLOUOUOLUOLO ILI MIO MOANAMAM MANA ARAMANANANANATIAMAMAMATIA: THEO. 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THE ETUDE = Manette SHedteeneiaiaadoetcttass See Ss 3 3 Sikhs Say : aaa ee ere ere OCTOBER 1918 Page 625 Subscription Price, $1.50 per year in United i} States, Alaska, Cuba, Porto Rico, Mexico Philippines, Panama, Guam, of Shanghai. In Canada, §1,75 per year. arks.” A in Germany, 9 per year. Single copy, Price 20 cents. REMITTANCES should be made by post-office or ex- _— money orders, bank check ordraft, or registered letter. nited States postage stamps are always received for cash. Money sent in letters is dangerous, and we are not responsible for its safe arrival, DISCONTINUANCES.—Owing to the ed character of THE ETUDE a majority of it do not wish to miss an issue. Months’ su up period. Tutuila, and t In Eng- land and Colonies, 9 Shillinges in France, 11 Frances; M other countries, $2.22 ational readers Therefore, the pub- lishers are — to extend credit covering a Twelve scription beyond expiration of the paid- Those of our subscribers not wishing to avail themselves of this convenience of remitting later will vlease send a notice for discontinuance, awaii, e City 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 Hegand-elacs Matter under the Act of March 3, 1879 Copyright, 1918, by Theodore Presser Co, The World of Music RENEWAL.—Ne receipt is sent for renewals. On the wrapper of the next issue sent you will printed the date on which your subscription is paid up, which serves as a receipt for your subscription. be 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. n- 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, U be returned, ADVERTISING RATES will be sent on application. Advertisements must reach this office not later than the Ist of the month preceding date of issue to insure insertion in the following issue. THEODORE PRESSER CO., Publishers, navailable manuscripts will 1712 Chestnut Street, Philadelphia, Pa. SIBELIUS, composer of The Swan of Tuon- ela, Valse Triste and other wonderfully char- .acteristic works came near being a victim in the present stormy political upheaval of Rus- sia, We quote from the London Musical News of August 17th: “The inevitable black list for suspects, one . of the cruellest tyrannies. of all revolutions, has, of course, mace its appearance in Rus- sia, In Finland the list, compiled by the Red Guards, ineluded all the greatest men in the country, and at the head of it stood the name of Sibelius, Musicians will rejoice that the talented composer has been snatched from the jaws of death by the prompt action of Professor Kajanus, who appeals to the ‘War Minister,’ a liberated felon, and ob- tained a passport for his friend’s release, The relentful action on the part of the ‘War Minister’ is due to the fact that, although a villain, he was also a musician—a cornet layer—a circumstance which softened his eart towards the composer. Thus, again, we have proof of the truth of Congreye's adage, ‘Music hath charms,’ etc."’ Carr. WILLIAM A, Moprerr,.commandant> ’ of the Great Lakes Nayal .Training Station, has shown commendable music as a morale builder. Finding that sev- eral symphony orchestra and concert players were numbered among his blue jackets, he has given special permission to a quintet organized from among them to tour the country, playing at the leading educational and musical centers. The membership in- cludes Herman Filber and Carl Fasshauer, violins ; Robert Dolejsi, viola; Walter Brauer, ‘cellist, and John Doane, pianist, (The last named was formerly head of the organ de- artment of the orthwestern University chool of Music.) ALBERT SPALDING, the well-known Ameri- can violinist, now serving in the American aviation forces in Italy, took part in a benefit concert in Rome, given in honor of the op- pressed nations—Poland, Belgium,. Italia rredenta, Serbia, Bohemia and _ Russia. Spalding represented Poland, playing some of the violin compositions of Wieniawski, SEVERAL formerly prominent members of the Chicago Symphony Orchestra have been ousted from its ranks as enemy aliens, One in particular, who had become an American citizen several years ago, is alleged to have made offensively disloyal remarks, and is liable to lose his citizenship. Musie in ' America will be helped greatly when the * places in our professional orchestras are filled by loyal citizens, preferably those of native birth and education, Ir was reported a few months ago that the membership of the Boston Symphony Or. chestra (the only large organization of the kind which has remained non-union), was about to become unionized, but the event failed to develop. It is now reported (though we have been unable to confirm the state- . ment) that the management offered a cash bonus of $250 to every member who would sign a contract to continue with the organi- zation and also remain outside the union. Tue Oxford authorities have chosen Dr. H, P. Allen to succeed Sir Walter Parratt as professor of music in that ancient and famous university. Dr, Allen is conductor of real genius and also a capable man of affairs, and the. general opinion seems to be that the appointment was a most just one, JAPAN, after lengthy debate in the Upper House, has decided to give official support to the introduction of Western music; retaining, however (for the present), the ancient Japan- ese music for court ceremonials and religious rites. THE Association of Master Organ Builders in Great Britain is offering fifteen free ap- renticeships to lads who wish to learn the rade of organ building. The indentures are for five years, and free tuition in a music ».. trades school as well as gradually advancing “pay will be given, To boys who combine musical tastes with mechanical talent this offers a most attractive opportunity. musical events take place. appreciation of © ‘Editorials THE Pittsfield (Mass.) Chamber Music Festival is announced to take place on Sep- tember 16th, 17th and 18th. Those who are to take part in the festival are the Elslenco Trio, the Letz Quartet and the Longy Club, of Boston, in addition to the regular -pro- grams of the Berkshire String Quartet. The final day will mark the performance of the original prize-winning compositions, which we go to press too early to announce this month. The prize, as preyiously announced, is offered by Mrs. Elizabeth Coolidge, and the whole undertaking, in fact, is largely owing to her deyotion and enterprise, PaBLo CASALS, the well-known Spanish ‘cellist, who has made United States his home for a number of years, is visiting his native land this summer, and reports an encouraging growth of interest in high-class music throughout Spain, especially in Barce- lona, a city which supports two good orches- tras and several fine choral societies. The city possesses a huge auditorium, called ‘‘The Palace of Catalonian Music,” where many This is controlled by members who pay a dollar a month toward its support. AT present writing the future leadership of the Boston Symphony is still problematic, Camille Chevillard, of Paris, a conductor of long experience and high reputation, being mentioned as a ‘logical candidate,” Another rumor names Julio Serafin, the noted Italian conductor, in this same connection, WorcestTER, Mass,, celebrates her sixty- first annual music festival September 80th c October 4th. contain only the works of American com- posers, which will be interpreted entirely by American artists. 2 celebrated This year the programs will — THE Bohemian Club, of San Francisco, their sixteenth annual ‘High on August 3d, with a Masque, called typical of the Jinks,” The Protlighs of the Kings, triumph of democracy. The music was com- posed. by Wallace i Sabin; the text by Richard M. Hotaling, except that the lyrics were largely by the poet, George Sterling, THE Philadelphia Trust Company has be: gun the custom of starting the day's business by having its employees sing America all together at 8.55 A. M. The practice prevails in hundreds of manufacturing concerns, 80 we hear, but this is the first bank to take it up. The same custom has been inaugu- rated in one of the large clothing stores of Milwaukee, Reports of the Music Teachers’ National Association indicate that large attendance will be one of the features of the annual meeting at St, Louis, December 30th-81st and January ist next, Special attention will be devoted to the problems of music teachers during present abnormal conditions, Through- out the meeting: stress will be laid upon the subject of the musician’s duties and place in the community. New items are being added to the convention program almost daily, and the entire list will soon be ready for publi- cation. RAVINIA PARK, Chicago, has been the scene of important opera productions the past sum- mer, including among other novelties Monte- mezzi's L’Amore dei Tre Re (the love of the three kings). Water DamroscH, with his orchestra of seventy (gathered from among French musi- cians) was the special attraction at the ThéAtre des Champs Elysees, Paris, on July 18th, the French national féte day. He re ceived an enthusiastic ovation. cette ‘CONTENTS FOR OCTOBER, 1918 World of Music...,.. ea ib ocean Severe | ee a | @. 6°86. 627 Spain the Eldorado of Music, Raoul Laparra 629 homes & Beene) i ell eins Gee Fae aie ee Beethoven and Hero Worship, Robert W. Hawley The Music Interest of the American Man of To-morrow, ; Constantine von Sternberg Ifelp in Interpretation, John M, Williams 63 BHlements and Essentials, Mrs. 630 632 6335 684 634 Noah Brandt How Can I Make My Practice More Intelligent? ...... .- Perlee V, Jervig Musical Thermometer Rhythmless Pupils Stems, Tails and Hooks, Orlando A. Mansfield, Mus. Doc. Cultivating a Perfect Staccato Touch, Mrs. Noah Brandt Value of Visiting Lessons, Ethel Van Sickle High Lights from the Life of Grieg..,. The Thumb and its Agility, ‘Harold Hubbs aeveéeig¢e¢s¢a eee. 03 635 636 636 637 638 638 The Accompanied Trill ie How to Read at Sight and Memorize at the Same Time.,......-. Ellen Amey The Finishing Steps ......... Bw. HH. FP. Teachers’ Round Table.....N. J. Corey The Art of Playing AccomfPaniments, . Agnes M, Schaberg What is a Good Piano-Hand? ..... at ice M,. Steele Saving a Precious Half Hour, Mrs, Jerry Porter Department of War Music.,..... Pi mae What is a Chanty? re ee ee | 689 640 641 642 642 fi42 665 665 “Department for Violinists,Robert Braine 631 Voice, Clara Kathleen Rogers Musical Questions Answered How to.Use THE Erupnr’s Educational Supplement tear Loi Organ Department...... Henry Hackett The Use of Piano in Connection with Organiy ae: oss sighs Hortense Marshall Department for . o's ¢ Reet a aa An Important Detail in ’Cello Playing, A . P. Roderic JUNIOR ETUDE....... Elizabeth A. Gest Musical Digest Rose Leaves...:,.......H. P. Hopkins Minuet in Ancient Style...... W. Rolfe Yellow Butterflies,......M, Loeb-Hvans Salute the Colors (four hands), A, E, Warren Sarabande (four hands)....d. &, Bach May Knight The Swing in the Orchard, Leslie W, Abbott Souvenir of Italy. He Pees A FP, Briiun Waltzing on the Pier..,....L, L, Loth ‘Neath Sunny Skies...... _ OC WW, Kern Scout Race. a or + if Brounoff Ching-Ling...::::e--+-- .: 0. Sternberg Minuet in D.-.ceee- eee W, A. Mozart By Moonlight «+......... Homer Grunn La Réye (violin and plapo) ; F. Zimmermann Italian Song (violin and piano) chaikovsky-Hartmann If You Love Me (vocal)...R, de Koven Sweethearty I’m Dreaming of You, (vocal) ..R. Kinder 663 Twilight Devotion (pipe organ), SS KO4 8, G, Pease 604 ¢79 8.006 $e 0:0¢R) 2-8 ee a A FALSE impression is prevalent among many that bandsmen in an army are more or less sheltered from the dangers of war- fare, The tabulated list of casualties,among British army bandsmen, up to last spring, would contradict this notion. Over 1,000 have been killed, over 1,400 wounded,’ over 100 received platlnct ons of one kind or an- other (including four Victoria Crosses), for bravery in action, ¥e THE Prize Opera Contest which took place not jong since at Parma, Italy (a prize of 0,000 lire being offered by Miss Edith Mac- ormick, under the auspices of Cleofonte Campanini, led to a disappointing result. Only three operas were presented : one actu- ally unfinished and the other two scareely the works of inspiration, The judges," who were musicians of the highest standing, de- cided to withhold the prize. g THE name of Mt, Whitcomb (near Bethle hem, Et -) has been changed to Mt. Theo- dore Thomas, in honor of the great orches- tral conductor of that name, who had, his summer home there during the last few years of his life. Mrs... HLNA M. THUNDER, the widow of Henry G. Thunder, composer and organist, died on June 15 at her home in Philadelphia. Her three sons are all organists of distine- tion, as was also her father, Angelo Dos Santos, The late Archbishop Ryan often referred to her as ‘tthe mother of organfsts,’ A SOCIETY known as the Music Students’ League has been organized recently in New York with the design of making that city a more sociable and helpful place to the music student, Charles W, Wagner is the founder, and the inception of the idea dates back to the early summer of 1917. SEVERAL prominent singers and other musi- cians are Americanizing their names at this time. Julia Heinrich has become Julia Henry; Marie yon Essen, Mary Kent, etc. THE Italian government is desirous of making the Royal March (its official patriotic hymn) mere generally familiar. It is re- ported that any orchestra or musical organ- ization not possessing a copy may obtain one by addressing Captain F. M. Guarda- bassi, Italian Bureau of Public Information, Hotel Vanderbilt, New York City. JOSEPH BONNET, the well-known French organist, has been engaged to appear at two concerts with the Chieago Orchestra’ next January 24th and 25th. An important work for organ and orchestra will be played, Reports from England indicate that opera in English is spreading at the present time in a most amazing fashion, During one week in London, the following Freneh, Russian, Italian and German operas: La Tosca, Ooq WOr Pagliacci, Madama Butterfly, Carmen and The Valkyrie were all sung in English, besides Ethyl Smyth’s English opera, The Boatswain’s Mate. oe 3 AN organization of colored singers, known as the Folk Song Coterie, presented a unique program composed of negro folk songs at a recent concert in St. Paul, Minn. Mrs, W, T. Francis is the moving spirit in the coterie. A playlet, entitled Mine Eyes Have Seen, by Alice M. Dunbar-Nelson, widow of the negro poet, Paul Lawrence Dunbar, was also pre- sented. Enrico Caruso, the famous tenor, married Miss Dorothy Park Benjamin, of New York, on August 20th. Mrs. Caruso’s father was some time editor of the Scientific American. CHARLES M. Jacosus, for eighteen years director of the Ohio Wesleyan School of Music, passed away in August, after a linger- ing illness. He was born in Berlin TOWDERID, Ohio, in 1867, and was educated at the Ohio Wesleyan and the New England Conserya- tory of Music. National and State Music Teachers’ Associa- tions and of the National Sinfonia Frater- nity, ~ He was a member of the -
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Page 626 OCTOBER -1918 ot ibes, A PN TIN W ETON, NY ay wey SN Cy AA ony signe Py) / WEN SEN NIE Prepon I~ fits ’ yy ‘ Dy V 4 \ViG2GA) ER GA.GE D.C KEELER ABABA) er-Phonograph -“OR years my family has wanted a phonograph. We read and heard of the Brunswick Method of Yet we hesitated. We were on the verge of buy- Reproduction, which included the Ultona and an " ‘ing often, but delayed. improved amplifier. We love music. And we value the phonograph for And so we investigated. We were somewhat skep- the wealth of world-wide talent it brings to the home. tical—but we came away as proud owners. But frankly, we For here, at last, was our ideal instrument—one waited during the last which played all records at their best,-one with incom- few years, hearing parable tone. the different pho- This remarkable instrument ended nographs and weigh- our search. We found in the Bruns- ing their different wick Method of Reproduction all we advantages — never had looked for and more. quite satisfied. We felt that sooner or later a better pho- The Ultona is a simple, convenient all-record player, ad- nograph would come, justable to any type overcoming all the of record at a turn current handicaps of & hand: Awa daw and setting new we buy our records a standards. according to artists We never liked the idea of a phonograph which ~~ rather than make. x. would play only its own make of records. No one Thus we overcome the old-time limitations. = catalog contained all our favorites. Each line of | am convinced that the tone of The Brunswick is bes records offered its attractions. | far superior, and due chiefly to the strict = Another thing we quarrelled with was observance of acoustic laws. > q ‘ se s ‘ oN 2 | . PHONO | wl — ° y oy 7 ‘ +a ; e * : KG 4 ¢ &° ® AN se f a 2 oer @ 3 . | yy ——_ —__-— = « igXeis © by i) SA as ee at oe +d RAR pn W OA ROLY (ARON MH OD WACO os Y (CATON Y ACA AACA RAIS MAIS AISI AISA SISINGASINGIS XS: VACA MCA AEA : CTS) SAIS) EAS e ae © fmm © Ene Orne ~ DECIDING ——— ~ a aged = VA ) . ‘ Hem, ¥ [ DV ACH m1 CA CRO ei2 4 AISNAISIKAIS HSIN KSI ZS ISDAASING SIKZIS NGS) abs DIS { totvdial
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OCTOBER, 1918 The Irretrievably Dead In the August issue of Tur Erupe there is a famous quo- tation in the article “The Democracy of Beethoven” in which the great master speaks his mind upon the subject of the really great. Mr. James Hunceker, in a series of highly interesting recollections in The Philadelphia Press, comes to a similar con- clusion. His immense acquaintance with men and women in many countries, in all manner of occupations, arts, sciences and industries, makes his observations all the more interesting— told as they are with the inimitable Hunekeresque touch. “T knew by sight all the heavy swells of the profession (law), I wonder whether they were as great men as people believed? Public men, like actors, live in an artificial illumination. I recall what Richard Wagner said of Bismarck and Van Buest, the latter pursued the composer for his political opinions with unabated rancor; for Wagner was a political refugee since 1849. Political .@reat men, so-called statesmen, are not great, they usualty have mediocre intelligences, but are crafty and flatter the people who are always greedy for praise, like collar- wearing dogs, averred the musician. They do more harm than good; in a few years they are forgotten, while a master painter, poet, musician, live on forever. The coin outlasts Cesar, as Theophile Gautier properly observed. Not a novel assertion, this, of the greatest composer of music-drama, but it contains more than a moicty of the truth. The great men of my day P’ve forgotten, Lincoln excepted. But the busy little lawyers, the grave and learned Judges, the pestiferous politicians with their incessant clamorings, their raising of false, stupid, dangerous issues—where are they all? Not a book, not a picture, not a melody did they bequeath to us, and so they are irretrievably dead. (This is extremely -hard on those humbugs, the re- formers.)” Technic and Health | Tue fight to acquire a “modern” technic is no small battle in these days. So much is demanded of the student—and stu- dents through modern methods are capable of reaching such heights—that teachers often have great difficulty in keeping their own playing in competitive condition to illustrate properly at the keyboard. It is a poor thing for the teacher to keep 3 continually apologizing for a defective technic, although it 1s a fact that Deppe and some other renowned teachers were not virtuosi. | “How shall I keep up my technic so that my advanced pupils will not put me to shame? How is it possible, when I teach ten hours a day, to avoid losing the playing ability T had when I was at the conservatory myself?” Thousands of teachers are asking this question. Of course, the main answer is work and more work. The ability to play and play well is part of your capital and no business is in a healthy condition when the capital deteriorates. Here is a suggestion which came within the personal ex- perience of your editor,—an experience so valuable and con- vincing that we will banish the editorial “we” for a few lines. Ten years ago, after some twenty years spent in teaching, he took up the Erupr work which obliged him to devote about 95 per cent. of his work hours at the editorial desk rather than at the keyboard side. Gradually the technic that took years to acquire began to vanish note by note. The need for physical exercise led to a long course with a physical culture expert, VOL. XXXVI, No. 10 formerly a professional wrestler. The exercises were some- what violent and did much to strengthen the shoulders and the upper arms as well as restoring the general condition of health. Much to his surprise the editor’s piano-playing improved, ap- parently without practice. Then came this convincing truth. After one acquires mentally a fine conception of a Sonata, a Nocturne or a Fugue that mental conception is more or less permanent. When one has learned to read a great poem one does not have to go through the reading process all over again, if it is taken up after a lapse of years. Why? Because the speaking organs are being normally exercised all the time. Few pianoforte teachers realize that piano technic simply means a high muscular de- velopment fused to the mind through the nervous system. Keep your physical condition, particularly that of the shoulders and the upper arms, in fine shape and you will be amazed at the way in which your “technic” will seem to “come back” with com- ‘paratively little work. In other words technic is far’more of a physical matter than most teachers are aware of. Friends write in to Tue Ervupr complaining of all manner of pains in their hands and bewailing the fact.that they cannot get ahead in their piano- playing despite long practice. In most such cases the trouble is constitutional and has nothing to do’ with practice. The cure should not be sought at the keyboard but in the office of the modern highly-trained physician. Rheumatism and nerve disorders have been the cause of the discouragement of countless music teachers and pianists. They imagine that they have strained their hands by over-playing whereas the trouble is probably due to systemic poisoning due, perhaps, to an infected tooth or other unsuspected cause. Such infections are discov- ered now-a-days through the X-ray and many remarkable re- coveries thus effected through removing the infection. Surely Publius Syrus was right when he said: “Good health and good sense are two of Life’s greatest Blessings.” One Thing at a Time | GENERAL Focn, under whose splendid strategy our Ameri- can Army in France is proud to serve, is a “one thing at a time” man. When he gives an order it is an order to do one thing and one thing only—never to even think of two things. He insists that this.rule prevail in the army. All good: administration is based tipon this simple fact. The human ‘mir 1 can deal so very much better with one single concept than it’éan with two that no éxperienced executive ever gives two orders to one person at the same time where the matter is one of importance and where it can be avoided. Music teachers should take a lesson from this. We have repeatedly Heard blundering teachers who have inside of a few minutes so tied up their pupils’ thought-currents that it would be difficult to unravel them. If you are wondering why your piano pupils do not comprehend certain things just ask yourself whether you are giving your thoughts out in single form or in volleys. ‘This is peculiarly pertinent to the cases of very young pupils. | When General Foch was recently complimented about his great success on the Marne three years ago, he replied, “That is ancient history. I am thinking about one battle now and one battle only. That is this one.”
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Re. Lee stese ha? AE hy Shit , “4 aa ae eee en ee ee aii ae ae He ee eee a it, om ae of Y ee ie atthe as Ae ER tate. “ee , poe SAE: % Rs %5 A.’ . . aes FS SoS Pe we NRE aes 3 <3 - ace this MOR OS ee a ‘ oP is pO 0: eee ges “Bat “wt ttt oe he nite ei ie fae oh ae Acriesties Ree. Hs II a IO a SHEER SE ee eter etetatet et “TES ae wee - ease ane Meee OE eet aia Get What Belongs to You Tue Ervpe for many years has constantly urged the desir- ability of larger incomes for those in any way connected with the great work of education. Education, viewed from any: of the pinnacles of history, has always been regarded by the great men of the ages as the matter of utmost importance to the state. Every treasure we possess is enriched by anything that betters our spiritual, moral and intellectual education. Teachers from time immemorial have made sacrifices. They must be practical idealists from the nature of things. But it is dead wrong that they should be slighted in the deal. For the most part, teachers have made intellectual investments that should bring them twice what they now earn. : A list of one hundred and four maximum average teachers’ salaries taken from a comprehensive group of leading American cities reveals the fact that the average metropolitan salary for teachers in America runs at the most about $900.00 a year. Considering what the teacher has invested and the impor- tance of the teacher to the state, double this maximum would not be too great a reward. The future of every child in the country is in the hands of these teachers. In other words our own future as a nation is the future that the teachers will make from the raw material they receive. Can they be paid too much? Our United States Commissioner of Education, the Hon. Philander P. Claxton, of Washington, D. C., said recently to the General Federation of Women’s Clubs: | “After reading, writing and arithmetic, I consider music the most important and the most practical subject taught in our schools. I hope your federation will constantly and persistently use its influence for the promotion of the teaching of music in all our schools of whatever grade.” 7 If music is of such elemental importance the income of the music teacher should certainly be more than it now is in many parts of the country. expects to pay more but is able to pay more, the music teacher should not hesitate to expect more and arrange to secure it. It always takes a little nerve to raise one’s fee but there never was a better time to do it than now. Music has come to be regarded a national necessity, especially in war time, and musicians should receive just rewards for their services now, more than ever. Other Folks’ Music: Once a year our neighbor’s servants have -an accordion party which lasts until about two in the morning. least, is the hour when we succumb from sheer exhaustion. It may survive even later. About eight o’clock in the evening the accordionist begins and from that time until the final moan we are willing to wager that he or she never releases the suffering instrument for one second. Apparently the only ones for many rods around who do not hear the instrument, in all its stages of decline, are those for whom it is played to entertain. Mean- while we toss in bed and reflect upon the resemblance of the accordion to various rubber and pulley physical culture contrap- tions with which we used to emulate Sandow. The accordion has at least the advantage of affording a portable back-porch gymnasium for developing the pectoral and dorsal muscles, with music thrown in. | ~ No sooner does the first bleat of the accordion disturb the peaceful suburban calm when the auditors set up an accompani- ment of laughter, whoops and screams which seem to be syn- chronized with the playing and like it never subsides. Every- body in the party seemed to have a perfectly delightful time and though apparently deaf to the music it is doubtful if the party could have existed without it. The point is, that no matter how excruciating the music may seem to us, it is delighting and satisfying those for whom it is intended. The musical world is filled with people who would say what the other fellow’s music should be. That is what critics, among others, are paid to do. We wonder whether it is worth soa tytetatatetatatetetatatatatetetatate® S4bl® © telelble acereteteretete” tehatatetetar.® tye.” | IO Fo I ee en so 08e ts o'e tele o atetetatetetetetetatetetete*ehetatets’, erate eta atten aata tet et atthe tt tee we ere ee _In these times when the public not only That, at while. Is it not better to let the music itself do the arguing? We do not want our own ears chocked full of discords, no mat- ter how delectable they may seem to others.. If Grandma wants to listen to Alice Where Art Thou and her granddaughter in- sists upon playing Balakirew’s Islamy instead, Grandma has a right to protest. Art seems to be the only phase of human endeavor where the Golden Rule does not properly apply. Because you like futurist music, cubist paintings and Verse libre do not laugh at the folks who call for Landseer’s Deers, Gottschalk’s Last Hope or Tennyson’s Brook. “Art is long, time is short.” . Re- member that the world does not normally advance by leaps. Don’t try to yank the pupil out of the rag-time that he is en- joying as you would pull up a Jimson weed by the roots. Grad- ually play music that the pupil likes and in that way develop a new appetite. The bagpipe, as an instrument, is as harmless as a milkfed Indian, but just play a tune on the pipes to a Highland regi- ment sneaking up behind a barrage, and you will put something into the souls of those men which nothing else on the wide earth could put there. It is the music they like,—and it is the music we like that really inspires us. The Living Voice Voices vanish with the years, some like the rose with fall- ing petals, some like a gorgeous bubble disappearing before our very eyes. The voice of Evan Williams, stilled by death, will haunt our memories for years to come. Who can ever forget his ‘Whispering Zephyrs” or his “Sound the Alarm.” When a musical work leaves the composer’s pen it is only half created. Think for a moment of the time and intellectual effort which a great interpreter spends in developing a masterpiece. Every note, every phrase, every nuance is tried again and again until the esthetic balance is as near perfect as possible, and: then what? Then the portals are opened to the living soul of the artist—the living voice, that which expires with the fleeting breath—whither?—no one knows. It ws the unending enigma of inter pretation that adds so greatly to the joy of music study. The story of the art development of Evan Williams was one of the most interesting in contemporary musical history. He was forced to struggle against physical difficulties which would have discouraged many less confident and ambitious singers. Severe dental trouble which doubtless contributed to his final illness was a persistent handicap, especially for a singer. Wales was dear to his heart and he never forgot the land of his ancestors. Brought up among singers with Welsh traditions, from the time he was a boy in a coal mine to his days of triumph he boasted of his humble beginning. Williams was never satisfied with his successes. It was not until a few years before his death that he was able to: convince himself that he could sing variably with artistic results. The revelation came through making records for the talk- ing machine. One day the records would be fine—the next in- ferior.. Why? The company permitted him to make experi- mental records with vowel tones and vocal exercises. Finally he found what he sought and was thereafter able to make rec- ords with uniform success and sing before audiences so that he could depend upon his voice. How he did it is told in one of the most remarkable interviews [HE Erupr has ever presented (September, 1917), an article which-comes nearer to giving the secret of voice production than anything we have ever read. It is most gratifying to remember that Evan Williams’ art interpretations of great song masterpieces—not merely his lovely voice—but the thought and study he put into his inter- pretations, are not lost—as they would have been fifty years ago—but may still be heard m thousands of homes through his records. , ¢ Bes | Heth et "*e ee ean eaten Oe OO nar a are ar art i aaa Oe ee Ne a ae ar tata ee a ed I TC OC eR he WN RT LON) tra Se
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THE ETUDE. OCTOBER 1918 Page 629. [Epiror’s Norr.—M. Laparra, who is now a resident of America, was born at Bordeaux, France, May 13, 1876. Although his parents were French born, his father was of Spanish, and his mother of Italian, origin. His education was received entirely in France. After preparatory study in Bordeaux, he went to Faris, where he entered the Conserva- tory. There he studied with Massenet, Gabriel Fauré (Com- position), Lavignac (Harmony), Louis Diemer (Piano), Benjamin Godard (Chamber Music), and André Gedalge (Fugue and Counterpoint). In 1903 he gained the coveted Prix de Rome, In 1907 he married Miss Marie Shanafelt, of Uniontown, Ohio, and thus, in a sense, became an Ameri- can citizen. In 1908 his opera La Habanera was produced at the Opera Comique in Paris, and immediately attracted wide attention and the high enthusiasm of the critics. In 1911 his second opera, La Jota, was given. It is his pur- pose to complete a cycle of three operas dealing with the Spanish national dances, completing the set with the Tango and Malegueiia. As many people know, the Tango as it has been recently danced in America is very different from the old Spanish solo dance, which was rendered for the. most part with the feet retained on the same spot. lLaparra’s other works consist of piano pieces, songs, orchestral works, etc. | He has repeatedly toured Spain in search of local melodies. At the invitation of the Paris Conservatory, he has written an extensive critique upon the subject, which will be pub- lished soon after the conclusion of the war.] Spain’s Melodic and Rhythmic Treasures ~Wauat art lover who knows Spain can think of that wonderful country without becoming a _ rhapsodist! There is something so deeply imbedded in the souls of even the poorest people of Spain that seems to be striv- ing to express the poetic story of the race, that even a rapid tour of the country is often astounding. It is a land where all beggars are poets. I have been repeatedly dumbfounded by the beauty of the melodies and the lines I have heard from the mouths of the roadside mendicants, The soul, the pity, the sincerity with which they sing their songs, is a revelation to one who hears them for the first time. Rarely does one in a great opera house ever feel so decply moved, so thrilled, so overcome. To the roadside singer and musician it is all so real, so much a part of his life and the history of his ancestors that he actually relives what others “interpret.” Wide-Spread Ignorance of Spanish Music The ignorance of the musical’ resources of Spain common to most of the rest of the musical world, is pathetic. You here in America should make a spe- cial point of investigating it, if only from your inter- est in the South American Republics where Spanish civilization is so closely reflected. You make enormous efforts to learn the Spanish tongue, but very slender efforts to know anything about Spanish music. For instance, when the average musician hag said Bolero, Habanera, and possibly Seguidilla they think that they. have covered the ground. At best they have seen only a few stars in the firmament. For instance, there are many different types of the Seguidilla alone. The Seguidilla is a very ancient form: Cervantes men- tioned it in Don Quixote. It is not known whether it originated in Spain or whether it was brought there by the Moors. There are Seguidillas Manchegas which are bright and happy, there are Seguidillas Boleras (different from the Bolero) which are more dignified, there are Seguidillas Gitanas which are romantic. ' The reader must also understand that in no other country is dancing so interwoven with the folk music. Many, many of the songs are used solely as accompani- ments to dancing. The thought of gesture seems to be inseparable from music in the Spanish mind. One naturally thinks of Spain as one country and one race. There is probably no country of Europe that has been regarded as one country for centuries that contains such an immense variety of geographical and racial differences. This is really quite marvelous. The people of some parts of Spain are so totally different from those of other parts of Spain that the state is sometime quite baffling. This, of course, affects the music of the country. I say without the least hesita- tion that there is far more rhythmic and melodic varia- Spain, the Eldorado of Music An Interview Secured Especially for THE ETUDE from the Seti ci French-Spanish Composer and Pianist RAOUL LAPARRA Composer of La Habanera and La Jota tion and resource in Spain than can be found in Rus- sia. It is an Eldorado, a land of gold, for the com- poser of the future... The variation -is due largely to. the geographical variation in the. country: The~Spanish~peninsula is a land of contrast. From rigged’:mountain to the dry, treeless prairies, : from arid wastes to tropical lux- uriance, Spain is ever changing, ever. different. This, together with the admixture of races from Africa and other countries, affects, the. art, music and architecture of the country. »* Let us look at the map a moment, of the country, comprising nearly: half ‘of Spain, is a table-land from 2,000 to 3,000, feet high and-almost surrounded by mountains. In,. this district one finds much of New: Castile and Old" Castile; In the north in Galicia and Asturia one finds a rugged rocky coun- try and a rugged: people, In Andalusia in the Soath RAOUL LAPARRA we find opulence and dreamy indolence, . In Catalonia, with its capital Barcelona, we find a brisk, active, com- mercial people, reminding one of the industrial centers of France. : : The province of Murcia, on the southeast coast, is a kind of bridge between the Spain of the north and the © Spain of the south. The people are extremely musical and their rhythmic sense is wonderfully developed. In Castile, the heart of Spain, one of the most char- acteristic dances is the Rueda. This, too, should be in 5/8 time, and not 3/8 as customarily written. One of its peculiarities is that the second step is a short one and the rhythm follows this. Spain is so shut in by the Pyrenees, with only two lines of. railroad pene- trating them, that even its own neighbors do not fully appreciate the beauty and characer of the won- The central part | derful things in Spain. The Rueda is an extremely beautiful dance: it is dreamy, expressive and filled with the gravity of Old Castile. RUEDA (Old Castile) In Andalusia we have a country which is a world in itself. There are all kinds of songs and dances. It has a decided color of Arabia. The Spaniards speak of things that come from Andalusia as flamencas, having much of the same significance as.the word chic in French. It really means that everything that comes from Andalusia is the acme of beautiful. The melo- dies are sensuous and intoxicating, like the warmth and ardor of the black-eyed dark-skinned people. The cli- mate is like that of Southern California, with cactus and palm-trees in abundance. You see it is really a geographical continuation of Africa. Of the charac- teristic dances of Andalusia, the Solea, the Tango and the Seguidilla are best known. The Tango has little in common with the recently popular dance in America. It is exactly the abdominal dance of the Moors (Dans du Ventre) with the Andalusian adjunction of sharp and rhythmical strokes of the heels; while the so- called Zango as danced here is rather like the Haba- neras (or Dansones) of South American origin. The Seguidilla of Andalusia is especially affected by the gypsies. . Here is a fragment of a Granadina from Andalusia: In Galicia, fhe northwest corner of Spain, looking off to the Atlantic and the Bay of Biscay, we find, strangely enough, a Celtic people with all their strong and forceful characteristics. They are identical in many ways with the people of Brittany and Cornwall. There one may find bagpipes and Druidic stones. Just as the music of the south is inclined to be melancholy, the music of the natives of Galicia is strong and vig- orous. Their rhythms are very strongly marked and characteristic. There is an immense amount of excep- tionally original material here which composers should explore. I Here is an example of a Muneira.of Galicia > 3. MUNEIRA In the Basque provinces on the northern coast we frequently find some highly expressive dances. I found that these were frequently written down incorrectly as regards rhythm, giving an entirely false impression. Here is one called the Zortzico, in 5/8 rhythm. One must realize the great seriousness with which these people preserve these dances and melodies. They are almost as much a part of their lives as their reli- gious rites, and they do not tolerate differences.
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Page 630 OCTOBER 1918 Aragon is the land of the Jotas. These are in % rhythm and are very characteristic. Sloping down from the high Pyrenees, this is a mountainous coun- try rich in romance. The Jota is alternately danced and sung. The songs are often improvised and refer to some local incident. Sometimes the allusions are decidedly personal, and the dance turns into a kind of joyous riot. The Jota is frequently played in thirds and often the minor seventh is used when ascending, instead of the major seventh. Here are two themes, Aragon: from South and North TOTAS ‘Aragon? 5 North Arazon Al sa -lor de Za-fa-go-z% = > - - 9° Indeed, it is very easy to provoke serious local riots with ill-chosen words set to the Jota. One must be very prudent about the text used in connection with the song in the coplas (or part of the Jota which is sung). Once with a group of friends in North Ara- gon some friends and myself were very nearly attacked in a small, narrow, darkened street, by a group of men who thought that the coplas we were singing alluded to them. As a matter of fact we did not even know them and had not even noticed that they were present. Violent passions and hot blood have often used the Jota as\a means of challenge. Two men improvising coplas gradually become more and more heated until there comes a verse making the appointment for a duel where the navajas (poignards, daggers) také the place of guitars. Facts of this kind show to what extent music and poetry are intimately interwoven with the roman- tic life and history of the country. Catalonia, which adjoins Aragon, is in many ways as different as New Orleans is from Boston. Its chief city, Barcelona, is the Spanish Chicago, if such a com- parison is admissible. It is a busy, active city, quite different from most of the other cities of the interior of Spain. It is névertheless extremely musical and has its characteristic melodies and dances, among which are the Ball de Bastones (danced with batons or sticks), the Dance of the Tapers (a very spectacular dance) and La Sardana. There are many. different tunes to these dances. In the ‘Ball del Ciri or dance of the tapers, six cou- ples participate. The first two carry tapers and a small jar filled with perfume which they sprinkle on the spectators. As the dance ends and the courtesies close the last three couples take possession of the tapers and the perfume. It may easily be seen how such a dance and its suggestive surroundings would inspire the Spanish mind. SARDANA Spanish music as we have discussed it in this inter- view is. but an ‘infinitesimal part of a treasure which a whole encyclopedia would not exhaust. One shall realize it when one considers that the style changes, not only from province to province, but from the val- ley.to the mountain, fromthe mountain to the sea coast —in fact, from town to town. It is one of the reasons why Spain offers the richest rhythmical and melodic school on earth, and why the study of those riches through books would never be sufficient. Only a long stay there (not confined to the travelers’ guide books), but by thoroughly mixing with the people will begin to open the real horizon to the student. Furthermore, the Spanish are a people with a psychology not easy to penetrate. They will only de- liver themselves to you if they feel you are really ready to understand them. And to understand them you must forget what you are yourself and not bring your own considerations into a country which is ignor- ant of them from the fact of its lack of communica- tion and its striking difference of habits from the outstanding world. Personally, I feel that Spain is like a mysterious and inclosed garden whose gate has been thus far hardly unlocked. Thomas a Becket AFTER a useful and fruitful life spent in the art of music and the service of his fellow-men, Thomas a Becket, the veteran Philadelphia music teacher, passed away on August 17, at Atlantic City, N. J., aged seventy-five. He had just completed the forty-fifth year of his connection with Girard College, where he taught music —an unusual record of service, in itself—but this was only one ‘of his many activities. In his younger days he toured as accompanist with the noted Norwegian vio- linist, Ole Bull: he was pianist for the Centennial Chorus in 1876, for the Philadelphia Festival Chorus in 1882,-and for the Orpheus and Mendelssohn Clubs for a period of twenty-five years. For many years he was connected with the editorial departments of vari- ous music publishing firms (being with the Theodore iy cS =a 7% mL ee es a a ns Se ee ao —— See a a os es ca ee as A oe eee —s == ee Se ——————] ae ee a — = —- = —-_ anal —— a = = —_— =. =: ae os = ain Tata SS a ———— Se = are ae Sereaeeonal as caeaeanenal eee as ee se eee ———— a a Tes STs = ed a ss ee — ———s — —— — ——S a = cee == yal Lintner —— C Ul A i Vi —~ THOMAS a BECKET 1843—1918 Presser Co, in that capacity up to the time of his death) and was the author of some educational works and small pieces, for the most part published anony- mously. Mr. a Becket was one who deservedly held the friendship of a multitude of friends. He was a mem- ber of both the Art Club and the Musical Art Club of Philadelphia, and was some time president of the Music Teachers’ Nati@nal Association, the Pennsylva- nia Music Teachers’ Association and the Philadel- phia Music Teachers’ Association, besides being made an honorary member of several other important organ- izations. It is interesting to recall the fact that Mr. a Becket’s father was the composer of the patriotic song, Colum- bia, Gem of the Ocean. The elder Mr. a Becket was himself an able musician, and supervised his son’s early musical education with such success that the latter made his début as a pianist at the Walnut Street Theater at the early age of ten. From that time on, his services were largely in demand as an accompanist, as he dis- played particular talent arid ability in that line. If there “were but more and ‘more men of Mr. a Becket’s sincere, industrious and. faithful type in the musical profession, it would go far to exalt the call- ing in the esteem of the public. It is a common figure of speech and when praising a lady singer to say “she sung like a bird.” As a matter of fact, if any singer had as small and unvaried a repertoire as even the most highly accomplished bird, her box office receipts would be minus. However, it is a pretty figure of speech, and carries pleasant connota- tions. Incidentally the bird must be the originator of the “encore:’ “That's the wise thrush; he sings each song twice over, Lest you should think he never could recapture The first fine careless rapture.”—RoBeRT BROWNING. THE ETUDE Beethoven and Hero Worship / By Robert W. Hawley Who is great? Beethoven’s posthumous fate at the hands of the world has been settled, and now he sits among the gods. He wrote music which appeals to the sensibilities of men in general, just as Berlioz wrote music which was felt and understood only by himself. It is com- monly understood that his muse is stormy and tragic, just as was his life. But Saint Beethoven is not to be apotheosized. He was to appearance a democrat, but at heart an inveter- ate snob and toady to aristocracy and material dis- play. When in the midst of such surroundings when unable to impress himself by his intrinsic merit he sought to do so by insolence and rudeness quite becom- ing a barbarian, and trampling upon the sensibilities of those who happened at hand. Upon one occasion while in Beethoven’s company and in the presence of nobility Goethe acted the part of a well-bred courtier; but our master, seeing himself at a most ridiculous disadvan- ° tage, upon the inspiration of the moment sought to command attention by the only means at hand—which was to make a disgusting hoor of himself. His attitude toward Rossini was that of jealousy, and in a fit of spleen he remarked that Haydn’s music was out-of-date. The only contemporaries of whom he spoke with grace were Cherubini, who was unpopular, and Schubert, who was barely known, and that only for his songs. As Wagner accused Berlioz of jealousy, so Beethoven declared that all successful composers were his enemies, He had an irrepressible desire to dominate in every direction and field of endeavor. When Napoleon became emperor, the master, who had hitherto lauded him as a hero of the oppressed, now declared him a tyrant— which attitude of change was probably in one sense sin- cere, although he showed his jealousy of the French monarch when he declared, “I would that I were a general; I would teach him something.” Yet, as Beethoven could neither act nor deport him- self as did other men, neither could he musically feel or think as other composers. The directness, power and sublimity of his music is without parallel. At rare moments he is touchingly tender; but though his music has to do with the tragic vicissitudes of mortal life, he failed to reach the ethereal heights which were attained by Mozart. What Do We Find in Beethoven’s Portrait ? In reading the human countenance we have usually first examined the eye, but not knowing that what we believe to be the expression of that member is very much a kind of a radius around which is expressed the signification of the whole of the rest of the coun- tenance. As exarinple, should we examine the eye alone, shutting away the rest of the countenance, we would discover comparatively little of the soul; but should the lips suddenly be seen to smile, a whole world would be opened to our view. The countenance of Beethoven has been glorified by bombastic German critics as that of the lion. It was, indeed, one of most powerful indi- viduality of mind and ‘character, as well as majestic egotism and a most direct effrontery which in lesser men we know as mere impudence. There is a genius of the mind, and even of the heart. Then there is a genius of happiness. Beethoven pos- sessed it not; though many lesser men have radiated it. Genius, indeed, may be known as any useful gift which is possessed of an overwhelming power to dazzle, com- mand, and, at the same time benefit, the world. But this master whose nature may be likened to a combination of that of the lion and the bull was, as a powerful genius but too frequently may be found to be, possessed of a tormenting self-consciousness wholly unknown to Haydn or Mozart and an ever-present sen- sation of being alone and apart from the rest of the world. How is it possible that such a state of mind, cou- pled with his painful love episodes, could save him from” being to all appearances a gloomy, bitter, crusty, can- tankerous old man, even while young in years, whose hidden tenderness and loyalty of heart was little known or surmised? The sorrows of a man of genius are the burdens of a whole world, as the very nature of a great genius is a world of itself; and these sorrows are not to be wholly embraced by the understanding of a world of ordinary mortals, any more than is under- stood the man of genius himself. The existence of a man of genius is a perpetual crucifixion: he is a sacri- fice upon the altar of life; a magnificent atonement by which the rest of the world may be redeemed from ignorance, error, suffering and destruction.
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THE ETUDE: OCTOBER 1918 Page 631 JupGED by its outward showings, our progress in musical culture is astonishing. To an active partici- pant in this progress it seems but yesterday that Gil- more’s band gave “Music Festivals,” with fireworks and cannon obbligatos; that Theodore Thomas, in his Central Park concerts, ventured cautiously, and only here and there, to present to his audiences a move- ment from a Beethoven Symphony. When one con- templates the programs and observes the audiences of our present Symphony Concerts and reflects that we have traversed the entire distance from the lower plane to the present high, artistic altitude in less than half a century, it seems marvelous.. In many of our larger cities, where, twenty years ago, no one would have dreamed of such a thing, we have now large, legitimate, well-equipped Symphony orchestras under thoroughly competent conductors, and the fast growing number of such orchestras indicates that the movement in this direction. is in reality only beginning. We may, indeed, be forgiven for regarding the rapid progress with some pride as an additional exemplification of our “unlimited possibilities.” Of course, all these fine orchestras are, as yet, not self-sustaining; it would scarcely be fair to expect it otherwise at this comparatively early stage. Their annual deficits are covered through the liberality of gome public-spirited persons who, however, represent but a small fraction of the number of people of means who support them. More honor to them! They prove in true American fashion their faith in the cause of good music and feel satisfied that sooner or later their fine generosity will become unnecessary. This hope, however, though heartily shared by all lovers of good music, will be very tardy of fulfillment unless we begin at once with the uprooting and destroying of a prejudice the disturbing and retarding force of which is not generally recognized; it is the still widely- spread idea that good music instruction is well enough for girls, but not for boys. Prejudice Threatens Musical Progress This prejudice threatens our musical progress, be- sides other dangers, of becoming entirely one-sided in so far as it tends to make our public music loving, but not musical. That our symphony orchestras have either created or responded to a public demand for good music is undeniable. It is true also that the frequent hearing of good music develops in the listener a sort of instinctive realization of the dignity and distinction of its tonal vocabulary. But it is no less true that without more substantial—and, at least, esthetic—in- struction the mere hearing of it begets a purely sensu- ous conception of music; a conception in which neither the emotional, imaginative, nor the intellectual ele- ments have any part; a conception which does not rise above mere “amusement,” as Herbert Spencer defines it, and which can never reach the plane on which he puts “pleasure,” not to speak of edification. It is just possible that the proper function of public concerts and recitals are not quite rightly understood. Instead of regarding such public performances as occasional aural feasts, as banquets, distinct from our wholesome but simpler daily fare, they are looked upon as the only repasts worth taking, as the sole pro- moters of our musical culture. This notion, however, makes for a rather superficial understanding of music; it can scarcely lead to a spiritual appreciation of music and, besides, this modus of fostering musical culture is in no wise analogous to the manner in which a love of literature and the drama are fostered. The boy who sees Othello or Macbeth for the first time on the stage is seldom entirely unprepared for it. Either has he read the play, or his school. through religious and historical teaching, as well as+ through The Music Interest of the American | Man of To- Morrow By CONSTANTIN VON STERNBERG the writings of other poets, acquainted him with the literary language of elevated thought. The boy soon realizes that in the theater, where he received a living embodiment of the characters and plot of the play, he could not possibly absorb the full, rich purport of the quickly spoken lines; this required either a previous or a subsequent reading of the play. Now, as far as the necessity for mental equipment is concerned, on general lines at least, the difference between a classic drama and a classic symphony is not essential. If all .that the most luminous minds in humian history have said of music as an educator of the psyche is not totally devoid of truth we cannot and we ought not to expect of good music that it should shower its blessings upon us unless we meet it in an appro- priate frame of mind. For this “proper mental atti- tude of the public in general toward good music, however, we need not hope as long as ninety-five out of every hundred music learners are—girls. ladies should not at once scent anti-feministic ten- dencies behind this dictum; they will recognize very soon that it was expressed in their own interest and behalf). Many Men Ignorant of Music The ladies will, no doubt, admit that the overwhelm- ing majority of our men—young and old—are not only ignorant of music in its aftistic forms, but that, to boot, they regard their musical ignorance as a fit subject for boasting. It needs, but little searching to find the man who tolerates no music beyond The Old Oaken Bucket, lest it be “rag-time,” who says, “I know nothing about music, but I know what I like” (so does any baby); who, in his mind—if, indeed, not openly—accuses every lover of good music of affec- tation and hypocrisy; who regards an occupation with good music not only as unfit, but as downright im- proper, for a boy. This is a very regrettable remnant of the spirit of our sturdy, but rough and primitive pioneer and mining camp times. And jit seems to die very hard, for, say what we may, we encounter it with fair regularity among the very men whose finan- cial and social station would justify certain favor- able conclusions ds to their general culture, and would make it almost an insult to suspect them of such super- annuated views. It is this unfortunate prejudice which makes the praiseworthy endeavors of our women need- lessly difficult and thankless. If an illustration is permissible we may take the case of any young girl that is well instructed in music and plays such compositions well as lie within her technical means. Her musical taste is developed; her understanding of polyphony, her appreciation of mel- odic beauty and harmonic dignity has kindled an honest ‘love of good music in her heart. This girl is called upon by some of her young masculine admir- ers whom she, naturally, tries to entertain to the best of her ability. What music may she offer them? There is, alas, but small choice; it must be either ‘“rag-time” or some wishy-washy tune from a so-called “comic opera.” Woe to her if she ventures upon a piece by Chopin or Schumann. The impeccable dress suit of her visitors would not prevent them from either falling asleep or starting a conversation among themselves and make some cynical, ignorance-betraying, supposed witticism about this sort of music being, no doubt, “much better than it sounds’—as the late Bill Nye said. How it must wound her heart to see the object of her love trampled upon by the very ones she tried her best to please! This case is not excep- tional.. Let it be emphasized that it is the rule, and that it need not be looked for among the masses, but is to be found with saddening frequency in what we are pleased to call our “best circles.” There is your “double standard” with a vengeance! A double stand- (The ard of culture which opens a wide vista into social relations, matrimonial and otherwise; a perspective not overly pleasant if, looking into the future, we recognize in the girl’s husband one of her present visitors. To say that an interest in good music common to ‘ husband and wife could avert all domestic trouble would be silly, of course, but a good deal of it could be avoided if, for instance, both spouses were fair readers of music and would play four-handed pieces, arrangements of the symphony or opera which they either have heard or expect to hear in the near future; or, should one of them be a vocalist or a viotifiist the other could. play the accompaniments. Yes, even without any executive ability, if the husband were only an appreciative listener, an intelligent absorber of good music, it would be fairly certain to obviate much “sitting up with a sick friend” and other things of, perhaps, greater seriousness. The effect of our boys becoming musical would reach far beyond domestic relations into our com- munal, national, aye, even into our commercial life. It may—possibly—tend to make our men of affairs less “hard-headed,” but. if, as an offset, it would make them a little softer “hearted,” it would not be stich a very bad exchange, and it would even fall somewhat in line with Christian teachings. By all means let our boys be instructed in music! The singing lessons in our public ‘schools are to be heartily welcomed; they help a little, and so do the boy choirs in our churches. But—my colleagues of the vocal persuasion must not think me ungracious for saying it—the skill of singing and a knowledge of musical art are not identical. Singers that are in a true sense “musical” are rare exceptions, both in opera and concert. While all musical utterances are formed in accordance with the human voice, it remains a fact, nevertheless, that the history of music was made exclusively by instrumentalists, though a few among them could also sing. It is for these reasons that the music instruction for our boys should include instrumental music. ‘The orchestra furnishes a“large variety of instruments to select from, not to speak of the one that has ‘the largest and best literature of all instruments in its favor—the piano. Such instruc- tion would: do more than parental teaching to allay those tendencies in our boys which make it at times difficult for us to regard them as children. Beware of Bucolic Prejudice The ear that has rejoiced in the “concord of sweet sounds” will soon lose all pleasure in the needless pro- duction of unearthly noises. The heart stirred to high, noble sentiments by a Beethoven Sonata will quickly renounce the “fun” of inflicting unnecessary pain upon man or beast. In ‘some mysterious way music begets a gentleness of manners which has no more to do with effeminacy than rowdyim has with manliness. As for the fear of effeminating our boys through music instruc- tion, one glance at the portraits of the great master musicians must dispel it instantly. A still more serious danger do we incur by withhold- ing a knowledge of music from our boys ; it is the grave danger of effeminating the art of music itself, of effém- inating “American music!” Whatever the future may bring us in the way of feminine art creations may be hopefully, but must be patiently, awaited. It were en- tirely premature at present to draw positive conclu- sions from the few estimable works in painting and music which a few exceptional women have given us. What the arts, as such, are to-day, they have become through the genius and work of men. The tendency to leave their cultivation almost exclusively to women is, therefore, fraught with grave dangers. .
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# - Page 682 OCTOBER 1918 Confucitis said, “Wouldst thou know if a people be well governed, if its laws are good or bod? Examine the music they practice,” and Homer’s word is well known: “Music was taught to Achilles in order to moderate his passions.” It might be objected that in the days of those men music was in its infancy, a new revelation, which, because of its novel charm, was over- estimated as to its effects. Let us see what eminently pfactical men of more recent times have thought of it. Said D’Israeli: “Music is a stimulant to mental activ- ity’—“were it not for music we might in these days say the Beautiful is dead.” Montesqieu, nearly two centuries before D’Israeli wrote: “Music is the only one of all the arts that does not corrupt the mind.” Luther, still earlier, wrote: “I verily think and am not ashamed to say, that next to Divinity itself, nothing is compar- able to music.” Somewhat in the same line, Schopen- hauer said: “Music is as a shower bath to the soul, washitig away all that is-impure”’—and this is what we aré withholding from our boys because of a bucolic prejudice! Help In Interpretation By John M. Williams "Ir js not the absence of fanlts but the presence of great qualities which cofstitutes a work of art.” Most teachers will recognize immediately the type of pupil at whom the above quotation is aimed. Excel- lent students, conscientious, hard workers, they fre- quently come to the teacher with the lesson perfectly leatned from a technical standpoint but missing entirely the larger significance of the composition—“the mes- sage” of the composer. As Edward Baxter ‘Perry, in ‘his illuminating little book, Descriptive Analysis of Piano Works, says: “If art is expression and music is an aft, then it must express something.” Some com- positions convey a direct message, others, notably the modern French school, simply suggest @ “mood.” If pupils of the above-mentioned class could be made to réalize that all the arts are correlated and that a knowl- edge of painting, for instance, is of the greatest assist- ance to the pianist in thinking out an interpretation, a great step toward the goal would be accomplished. Have the pupil who plays the piano in a “monoto- nously cofrect” fashion study Caffin’s How to Study Pictures and.then explain that a piece of music may generally be analyzed and proportioned much as a pic- ture. The focussing of the high lights, for instance, in Rubens’ celebrated painting, Descent from the Cross, on the Saviour’s head, with «the intenseness gradually lessened on the less important characters, has its anal- ogy in music. The climax in a piece of music should be planned and proportioned in relation to the piece as a whole, just as caréfully as a painter plans his picture. I cannot imagine anyone giving a really noble performance of a Bach fugue who has not heard (and hearing, understood) the expression, “Architecture is frozen music.” . Arnold Bennett says, “the duty of education is to make one curious.” When a pupil has studied a piece from many angles instead of one (the technical), a dawning of the larger significance of music will grad- ually develop. Encourage pupils who are playing Cho- pin, for instance, to tead Perry for emotional sugges- tion, Huneker for relative values of editions, as well as for the larger meaning; Ridley Prentice, for form, analyses, etc. I had much rather hear a pupil give an absolutely wrong interpretation of a piece than an entirely color- less one. The wrong interpretation is at least a posi- tive hypothesis to work from and is much easier to develop than the supine, listless performance of the latter type. The latter reminds me strongly of the postulate in eeometry that says, “Something cannot come from nothing.” I[magination is an invaluable asset to any artist, so encourage your pupils to read more, to see more and to heart more, for only by the cultiva- tion and usage of all the faculties may we develop to the utmost. Any course of reading that is mentally stimulating tends to awaken dormant brain cells, and this activity will make itself felt in the quickened, vi- brant reading given by former listless, languid, half- awakened pupils. _ parture. THE ETUDE Elements and Essentials By Mrs. Noah Brandt \ No student would be permitted to graduate from a university if he had skipped the work of one class. In similar manner no student should be permitted to ad- vance ftom one step to another until the teacher is firmly convinced that the pupil knows all the essentials of the grade and knows them 4s well as they could be taught by any teacher anywhere in the world. There- fore the first steps are of prime importance from the point of view of the teacher. There are four aspécts to the pfoblem: I. The names of the piano keys. Il. The notes. III. The position and action of the hand and fingers. IV. The elements of rhythm. The Names of the Piano Keys In learning the keys C is the natural point of de- It is recognized by its position to the left of the two black keys. Let the pupil find all the Cs on the keyboard. Next let him find all the Bs, then all the As. Passing to the right the same procedure is applied to D, E, F and G. F is also characterized by its position to the left of the three black keys. Having gone through the keys in their natural order the teacher now skips about until the subject is mastered. He does this by playing the keys and having the had namé them. The Position of the Notes on the Staif More difficuit is the problem of teaching the notes. This naturally falls into six divisions: { lines. 1 spaces. Notes above the upper staff Notes below the upper staff. Notes of the lower staff. bee Notes of the upper staff, spaces. Notes above the lower staff. Notes below the lower staff. Having explained the terms “staff” and “clef” we proceed to teach the lines in the upper staff, using some familiar sentence like Every Good Boy Does Finely. Then we pass to the spaces, with the word FACE } for a guide. After these havé been learned we add G above and D C below, thus obtaining enough material for the first pieces and exercises. _ We now proceed to the lower staff. It is advisable not to delay this unduly, otherwise the pupil will only habituate himself to it with difficulty. By way of intro- duction we add A above the upper staff and rub out the lowest line. Thereupon we obtain the lower system at a stroke. Here, too, we first learn the lines, then the spaces. Next we mastet the notes above the upper staff, up to G; then those below, down to F. Then we repeat the procedure for the lower staff, taking care in every case to apply what we have learned to little pieces. All this refers to absolute pitch. But relative pitch must also be learned. Taking little exercises with in- tervals up to a fifth, we ask the pupil to designate the successive intervals, ¢. ¢., up two, down one, and so forth. This is very important, and serves as the intro- duction to playing from notes, as will be shown later. Position and Action of Hand and Fingers The operation of the hand and fingers involves three factors: A. . Position. B. Condition. ' C. Action. Different positions are ‘advocated by different teachers. Personally we prefer that recommended by Leschetizky. But whatever the one that may be chosen, it must be practiced at the table and piano, with the arm resting and free. The members may be rigid, devitalized or gently stable. That is, they may be so firm as to resist inter- ference; so loose as to hang devoid of position, or just sufficiently tigid to be held in playing position, and still pliable enough to yield to pressure. The latter is the proper condition. Next comes action. This had best be approached at the table. The most natural point of departure is the separate practice of every finger, the remaining fingers being kept on the table in proper position, though with- out undue pressure. Hereupon the adjacent and alternate pairs are practiced successively, each finger completing its movement before the next one begins.. The transition from the fixed position (with unused fingers down) to the free one (with unused fingers up) would naturally be accomplished by playing Adjacent pairs together. Adjacent threes together. Adjacent fours together. All five together, which latter yields the posi- tion in which every finger is ready for action. From here on we begin to practice successive fingers with the unemployed fingers in air. And here is where practice at the piano logically sets in. Contrary to frequent recommendation we do not favor initial piano practice with the unused fingers down. Unless the fingers are very strong the effort involved tends to destroy correct position and stiffen the wrist. ) | First we practice adjacent pairs suctessively, then threes, fours and five. Then we teach the pupil a few “flieures,’ which he is to learn by heart and eventually play without looking at the fingers. The figures in question are the following: cdefgfed, cdcdefefofgfeded, cedfegdf, cfdg, cg. These involve all possible intervals in five-finger position. After this the pupil plays intervals at command, without watching his fingers. The commands are given just as the printed intervals were designated, e. g., up two, down one, and so. forth. The way has now been clearéd for playing from notes. The pupil has learned to recognize the intervals when he sees them, and also to play them without look- ing at his hands. Playing from notes will thts be com- paratively easy. He will be doing exactly what he did a moment ago, only the commands are given by the printed page instead of the teacher. The advantage of this two-sided preparation is that the pupil is now able to follow the notes without looking at his fingers, and the faster progress from now on more than compensates Uae S ‘for the time spent in preparation. The Elements of Rhythm The elements of rhythm complete our survey of the problem. Although rhythm is a stumbling block to many pupils véry little need be said about it at the be- ginning, since the complexities of the subject do not appear until after the initial stages of instruction have been passed. Much of the procedure as outlined here- with is based on the admirable presentation of the sub- ject to be found in Kullak’s sihencs of Pianoforte Playing. We may begin by regular counting in groups of four. The pupil accompanies the same by tones on the piano. Thereupon he plays once for every two counts, likewise for every four; later he plays two notes per count, and later still four. The teacher now explains that whole, half, quarter, eighth and sixteenth notes stand for tones of different length as just demonstrated, and he ex-. hibits the corresponding notes. The same procedure is adopted for the rests, the pupil pausing for one, two or four beats, and the teacher showing the corresponding symbols. After this, measures, bars and signatures are ex- plained, and at a subsequent lesson dotted notes and rests are elucidated. Questions are asked: concerning the mathematical relations of the various notes, and tables constructed. However, we do not deem it ad- visable to go beyond sixteenth notes at present, though the existence of shorter tones may be referrea to. As to the presentation of the various subjects, it is genetally best, with a half hour allotted for a lesson, to devote a little time to two of the four subjects. One of these will usually be the action of the fingers, which demands much attention and must be prosecuted for a long time. In the first lesson or two this will be accompanied by the learning of the keys, whereupon the pupil must begin to master the notes. Rhythm will later be interpolated as it is needed. : “INDEED throughout most of the artistic output of. Beethoven's ‘third period’ his aim seems always to be the same, whether conscious of unconscious,—a revela- tion of ‘central peace subsisting at the heart of endless agitation.” ””—GrorGrE GARDNER.
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Se ee <= - Ss Oe en ee ee ee THE ETUDE Page 633 OCTOBER 1918 How Can I Make My Practice More Intelligent? By PERLEE y. JERVIS An Address Delivered eT Pe the New York State Music Teachers’ Association Convention (New York City, 1918 ) Ir has been truly said that probably in no art is more time fruitlessly spent than in music. Thousands of players spend many weary hours each day in the effort to overcome technical difficulties. In many instances a large part of this time ‘is devoted to the practice of exercises, scales, arpeggios, etudes, and other technical forms. The remarkable feature of this practice is that such a large percentage of those who are doing it never succeed in getting anywhere. They cannot play pieces musically, neither have they an artistic technic. reason for this is not far to seek; technical practice, as it is very generally conducted, is nine parts brawn to one part brain; in fact, it never seems to occur to - some pupils that there is any connection at all between the brain and the fingers. A majority of students that I have qustiond could give no better reason for exer- cise practice than that it developed technic. When asked how any particular technical form would develop technic the reply was, “why just practice it.” “But sup- pose you do not get the technic, what then?” “Why— er—practice it some more!” This is a good example of unintelligent practice, and a very common one. Now, unless the player can tell just what any exercise does for the technic and exactly how it does it, he would better let someone else practice it for- him and save the wear and tear on his nerves; the final result would be the same—nothing. Brains, Not Muscle Piano playing to-day is almost entirely a matter of brains, not of muscle. It demands concentrated think- ing, a thorough knowledge of the basic principles of technic, and a constant application of them during practice. When lacking in these essentials the practice of exercises, scales and other technical forms is a waste of time. The average pupil takes no interest in these dry technical forms, and without interest there can be no real concentration. So- the player goes on, day after day, working his fingers, with his mind taking no active part in the process; is it any wonder that he never arrives? In contradistinction to this, what is intelligent prac- tice? In order to practice intelligently you should: 1. Know what you have to do. 2. Know how to do it, 3. Do it. You will notice the resemblance to the sonata form— first subject, second subject, working out period. Be- fore proceeding to the working out period three other questions should be answered: 1. What is the object of practice? The first answer that might occur to you is that the purpose of practice is to develop technic, but I believe that there should be a higher end in view. Primarily the purpose of practice should be to develop the high- est quality of sympathetic, musical playing. Without doubt, to do this requires technic, but the technic should be the means to the end, not—as is too often the case—the end itself. Music study that begins with mechanics instead of music, puts the cart before the horse, and the only time that it is safe to do that is— as someone has said—when you want to back! A fact that does not always receive consideration is that the real function of practice is to establish sub-conscious playing. What Technic Really Is Conceding, however, that the object of practice is to develop technic, let us ask, what is technic? Briefly defined, it is perfect control of the fingers, hands, and arms. In order to be a good pianist one must have every muscle absolutely responsive to the will. A muscle must act the instant it is wanted to do so, and if this fails to come about with even a few of the muscles brought into play in any technical passage no further reason need be sotight for the*failure experi- enced in playing it. The average player spends many hours in the wearisome practice of technical exerciszs The . and scales, in the effort to keep the fingers in that supple condition so essential to the execution of rapid movements. Much, if not all, of the drudgery under- gone in overcoming or try:ng to overcome technical difficulties is unnecessary. The real way to conquer difficult passages is not to go over them till one is sick and tired of them, but to get the hand and arm into the most perfect condition possible. This being done, the rest is a comparatively simple matter. This perfect muscular condition may easily be attained by means of a few special physical exercises, fifteen minutes’ daily practice of which—away from the piano—will bring ali the muscles used in playing under more perfect control in a few weeks than is usually secured after years of practice at the piano. The player can thus eliminate the old and stock forms of keyboard exercises and ‘employ the time saved in purely musical study. Three Vital Principles Let us ask next, what are the principles of technic? The piano technic of to-day’ is based upon three vital principles, Relaxation, Weight, and what—for want of a better name—may be termed Efficiency. Let me say at the outset that relaxation does not mean flabbiness. A muscle, in order to act, must contract: otherwise it would be impossible to move the fingers, hands, or arms. Relaxation means that contraction is confined to the muscles actually necessary to the performance of any act; all others should be kept in a condition of complete repose. In the forearm are two sets of muscles, the extensors and the flexors. The extensors, which lie on the upper side of the arm, raise the fingers at the knuckle joints and. the hand at the wrist joint. arm, close the fingers into the hand and pull the hand down on the wrist joint. When the extensors contract to raise a finger, the flexors—through muscular sympathy—are apt also to contract. There thus results a condition in which one set of muscles pulls against the other, a condition that is fatal to good tone production and ease of perform- ance and that makes it almost impossible for the player to overcome technical difficulties. What is true of the flexors and extensors is also true in regard to all the other muscles of the hand, arm, shoulder, and back. On this point MacDonald Smith says: “The contagion of the, weak muscle is a gross deterrent to muscular independence and control. When a strong muscle is used for work which it does easily, the nervous impulse employed for its contraction is small, and therefore does not tend, by spreading to neighbor- ing nerve centers, to cause contraction of muscles other than those intended to be used. “When, however, a weak muscle is used for work which it is incapable of performing easily, or when a strong muscle is called upon for an effort which is excessive, the nervous impulse employed for its con- traction is very great, and readily spreads to other centers, causing unintentional contractions of the cor- responding muscles. “Obviously, for such work as piano playing, neces- sitating independent use of a very large number of different muscles, from the fingers to the shoulder- blade, such stiffening or unintentional muscular con- traction is fatal, and it is almost equally plain that it will be best avoided by taking care that no one muscle be left in a weak state so as to disturb, when used, the action of others.” When, by means of physical exercises the weak muscles are strengthened and brought under perfect control, relaxation need hardly be mentioned to the pupil. Many technical difficulties arise from wrong muscular conditions; correct the conditions and dif- ficulties frequently disappear like snow under the sun. Dependent upon relaxation, and next to it in ‘im- portance, is the principle of weight playing, or tone production by means of arm weight. Weight playing has revolutionized technical study in, many respects, The flexors, on the under side of the * PERLEE V. JERVIS. notably in the elimination of the striking blow. The application of arm weight enables the player—while keeping the fingers in contact with the keys—to pro- duce a tone of any degree of power from pianissimo to fortissimo. A simple illustration will make the. matter clear. Holding this book in my left hand, I allow its back to rest upon the key, which is not de- pressed because I am supporting the book with the other hand. When the book is released its weight depresses the key, thus producing a tone; this is an example of released weight. Now, it will be evident that the loudness of the tone will be limited by the weight of the book. If more power is required than can .\be obtained by a simple release of the weight, I must, by muscular action, give an impetus to this weight. As power—or loudness—is dependent upon the velocity of key descent, the more energetic the muscular action, the more rapidly the key will travel down, consequently the louder the tone. You will see that there are two kinds of weight, released weight and weight set in motion by muscular impulse; in both, forms the book was always in contact with the key. Now for the book I will substitute my arm, the weight of which is held up by its supporting muscles, the fin- gers resting lightly upon the surface of the keys. When, by relaxing the muscles the weight of the arm is released, a tone is produced, which may be increased to the limit of power by the application of muscular impulse and without raising the fingers from the sur- face of the keys. Elimination of Waste Movement While relaxation and weight are being very generally applied in piano playing, there. remains another prin- ciple to which not so much attention is given. I refer to Efficiency, or the elimination of waste movement and energy. The player who examines his movements carefully will be surprised to find that many of them are not only an unnecessary waste of energy which accomplishes nothing, but are often a positive handicap in the effort to overcome technical difficulties. A few, of the most obvious examples of waste are all that can be considered here. In the study of passage work that is to be played at a high speed, many teachers enjoin slow practice with a high finger stroke. . Without entering upon a discussion of high finger action, it may be said, without fear of contradiction, that in rapid playing the fingers must be kept close to the keys. Slow practice with high stroke forms a habit which must be reversed before we can play fast. Why practice to form a habit and then practice to break it? Why not always keep the fingers in contact. with the keys, and thus establish the condition neces-
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OCTOBER 1918 sary in fast playing? Again, in chromatic octave pas- sages the average player strikes the white key near its end, and in order to play the black key pushes the arm forward. To play the next white key the arm is pulled back, again thrust forward for the black key, and this backward and forward movement is con- tinued through the passage. If the white keys are Page 634 played close to the end of the black keys, it will be possible to play the passage with an action of the hand at the wrist joint without the objectionable push and pull of the arm. Many finger passages composed of black and white keys will be played more easily when this lost motion is eliminated. Waste motion interferes seriously with accuracy; much of it may be eliminated by resting upon every key before playing, and by finding any key’s position as a particular distance from the pre- ceding key. There is another waste of energy which should be carefully considered. If the action of the piano be analyzed it will be found that tone is produced before the key reaches its lowest level. After the tone is heard, the key continues its descent till it rests upon the key bed. Now it will be evident that any pressure or exertion against the key while it rests upon this bed after the tone is heard, is a waste of energy that can- not affect the tone already produced, and constitutes a very serious handicap to the attainment of speed in passage playing, octave and chord work, and other technical forms. It interferes with relaxation and un- _ duly fatigues the player; therefore the instant the tone is heard all muscular exertion should cease and the key be held by just enough weight to keep it from rising. The player who has learned to do this will find not a few technical difficulties disappear, and will also ex- perience an unwonted sense of ease of freedom in playing. Continuing the simile of the sonata form, we now come to the working-out period and may develop our two subjects. The first of these—“know what you have to do”’—has already been partially set forth. To re- capitulate: The player’s problems are: 1. To secure perfect muscular control and through it relaxation. 2. To produce tone by the Sra of weight. 3.-To eliminate all unnecessary movements and energy. 4. To overcome the technical difficulties present in a passage. 5. To establish sub-conscious action. How to Do It How to do all this is another story. An elaboration of this theme is impossible in the time allotted me. Only a few suggestions can be made. Every difh- culty has its cause, and in treating a difficulty of any kind we should diagnose the case, discover the cause of the difficulty and know the remedy to apply in order to remove the cause. Take as an example the difficulty experienced by many pupils in attaining speed in passage work. It is caused either by muscular tension, lack of arm control, or unnecessary pressure against the key after the tone is heard. In order to play rapidly the arm must be so perfectly balanced or supported by its own muscles that no weight is car- ried on the finger tips. While the arm floats, as it were, over the keyboard, the tone must be produced by the action of the finger against the key unaccompanied by any downward action of the arm, the finger action ceasing the instant the tone is heard. Such passages should be practiced slowly with a finger staccato, the action entirely from the knuckle joint, the hand and arm taking no part in the movement. The acting finger should be in contact with its key and not pulled back as the key rises. The fingers that are not acting should rest. lightly upon the surface of the keys, which latter should not be depressed in the least. Thus the bal- anced arm, free from any downward movement, may be quickly secured and high rates of speed easily at- tained. Again, rapid legato runs are usually played legato during slow practice. In practicing such pas- sages slowly it is futile to practice them legato, as the attainment of speed depends upon the accuracy of their staccato production; hence the slow practice should be staccato. After knowing what one has to do and how to do it, the doing of it would seem to follow easily. As a mat- ter of fact, it is the hardest proposition of all. As has been said before, the real object of practice is to estab- lish sub-conscious action, or—expressed in another way—to form in the fingers the habit of following cer- tain keyboard tracks. This habit, like all others, is car- ried on automatically, with little or no conscious partic- ipation of the mind, To farm a habit requires many repetitions of the same act, without the least variation from the order of the initial performance. This is precisely the most difficult thing the average pupil has to do, as it de- mands clear, concentrated thinking and freedom from errors of every kind. Just at this point many pupils fail. It is safe to say that much of the practice hour is often wasted in making mistakes which, of course, have to be corrected. Practice that includes mistakes is worthless as, in so far as it establishes a habit it is a habit of falsity. Mistakes may be prevented by nam- - ing aloud each note and the finger that is to play it, then by resting the finger upon the note, after which it may be played. ) How to Preserve the Pupils’ Interest Finally: how shall this intelligent practice be se- cured? -In a word, by intensely interesting the pupil. This can seldom be done by administering heroic doses of technic. It can be done by applying the principles of technic directly to the study of pieces. THE OBJECT OF MUSIC STUDY SHOULD BE Music, NOT MECHANICS. Most pupils long to make music ; when, by allowing them to do so, they become keenly interested, they will, in most cases, cheerfully do any necessary technical work that leads to musical playing, and what is more to the point, through the interest developed, such work is _more apt to be intelligent. In summing up, it may be said that intelligent DEAE: tice would consist in 1. Bringing the muscles up to the highest state of efficiency and making them absolutely responsive to the will, by the use of suitable physical exercises. 2. In analyzing every technical difficulty, finding its cause and, by the application of the proper remedy, removing the cause, 3. In bringing any passage or composition up to the sub-conscious stage by many repetitions of unvarying correctness. 4. In remembering that the ultimate purpose of prac- tice is, not to obtain alone correct movements, or cor- rect muscular habits, but to secure complete command of musical expression. With this purpose in view we should never play a note without having in mind a clearly defined idea of the musical effect to be pro- duced, ; Does all this seem like a Utopian dream? I have not found it so. The youngest pupil can be taught the principles of practice a step at a time and with unceas- ing vigilance on the part of the teacher, the habit of thoughtful, careful practice will be gradually formed. When this habit is established results will be ob- tained in a few weeks’ time such as do not follow years of the kind of practice that obtains with the average student. ~ wnat OO Artistic Triumph. @ Rea ruggle FEVER HEAT —— 99— 95- tic terpretation ____.909.| Liusical Aesthetics g5.| [Expression —§— Pedaling —75—| | Hardest Work 70 STORMY ana A, i 8 SE ‘Self Sacrifice . vine Right Phrasing 55. | | Musical Form ae 50.) [Harder work hgh. 1 tre and Harmon Touch and Technic pid a5 MUSICAL istory . 3g_| Right Fingering SUMMER HEAT 36_| | Strict Attention 309_| | ht Time WARM o6 | | Slow Careful Practice __ 29.|._ Hard Work SLIGHTLYWARER15_| | Right Notes 10 Ambition and Will. MILD AND PLEASANTO Good Health . WHERE DO YOU STAND ON THE MUSICAL THERMOMETER? THE ETUDE Imperial Opera THE imperial restrictions which have been thrown about so many things in Germany by autocrats who have sought to impress their personal ideas upon every- thing, from music and art to beer and barbers, are by no means new. Frederick the Great, the first of the famous rulers of modern Germany, laid down the fol- lowing regulations for the guidance of opera com- posers. Because he was a fair performer upon the flute, he assumed that opera of the future should follow the lines of his inclination. 1. All principal singers must have big arias and different in character, as an adagio aria, which must be very cantabile to show off to good advantage the voice and delivery of the singer; in da capo the artist can then display her art in embellishing variations. II. Then there must be an allegro aria with brilliant passages, a gallant aria, a duet for first male singer and prima donna. III. In these pieces the big forms of measure must be used, so as to give pathos to the tragedy. IV. The smaller forms of time, such as two-four and three-eight, are for the secondary roles, and for these a tempo minuetto may be written. V. There must be the necessary changes of time, but minor keys must be avoided in the theatre because they are too mournful. VI. The instrumental accompaniments must be simple and clear. These restrictions may have seemed very sensible and necessary in their day, but to lay them down for any specific program is ridiculous in the extreme. Far better to follow the play of the crazy Ludwig, who gave Wagner a rein far freer than that ever enjoyed by any court composer. Rhythmless Pupils THE percentage of those who are actually “tone- deaf” (unable to distinguish pitch) is very small, al- though there are all sorts of gradations in acuteness of hearing,, and there are some who could never learn to sing in tune or play the violin in tune, who never- theless succeed in becoming fairly good, though never really fine, pianists or organists. Less attention has been paid to the existence of rhythm-deaf. persons. The writer himself has never met with any person absolutely devoid of all sense of rhythm; there are some who come perilously near it, and who, if one has them as pupils, need special and patient help in this line. He has in mind one, a fairly bright girl of fif- teen, who could not distinguish between 4/4 | | | oo and 3/4: | oe A thythm like 2/4 fe DE | | ; | | | | | ly, even after repeated explanation and repeated example, would be rendered simply as | 6 Piaget); Apparently a hopeless case; yet, by intensive study of rhythm, tapping various rhythmic forms on a table- top with the butt end of a pencil; later, on a single key of the piano; last of all, applying them to a melody with or without chords, this sub-normal characteristic was at last brought right. At one time it seemed to the writer that practice in dancing might serve as an aid in this matter, but qn conversing with dancing-masters, he found that they met with the same problem, occasionally, and were even more at a loss how to solve it. One of them gave an amusing account of a young man in his classes who was exceedingly attentive and anxious to learn, and indeed acquired the “steps” of various dances letter- perfect, but never would move in time with the music. At last he decided to give him a little extra private instruction, gratis, in an effort to overcome this fault. Keeping him after the class had been excused, he had him stand near the piano, and (the pianist playing very, very slowly) made him go through the proper motion at the striking of the bass, and at each chord of the after-beats. After a few minutes of this practice, the young man stopped and exclaimed: “I see now—you want me to step right along the way the music goes, don’t you?” “Why, yes,” said the dancing-master : “what else did you suppose we have an orchestra for?” “T never knew until now,” said the pupil, in perfect seriousness. “I thought it was just to make it more agreeable for us!” The moral of this is that teachers should not take too much for granted, as regards the pupil’s previous knowledge.
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THE ETUDE arerereratetetete te tetete te tetatetatatatatetatetetetetetete teense eras hte nate tetanaty he tgtatat tt tet eb etee. atatatatatatetetetetchetreebr erate tele te ete tatetetatetatatatatatetetetets mete tere brane tetate eta ta teats tat, Mint teh eele eee ate a ate ts tata ty" sale ete! AMonGsT the many peculiarities of modern musical notation one fact of more than ordinary interest is that notes are shortened rather than lengthened in value, by alterations to their appearance or by additions to their form. Thus the attachment of a stem converts the whole note into a half note; the filling in of its head changes the half note into a quarter; while the addition of one or more tails reduces the quarter note to an 8th, a 16th, or even a 32nd. In the Dark .\ges such things as stems, tails, and hooks were practically unknown in the sense in which we now understand them, or in the manner in which we use them at present. The brevis and semibrevis were virtually innocent of stems although the maxima and longa—huge oblong notes—had stems generally on the right hand side. A stem affixed to a white note was occasionally employed in the 14th century to represent variation in pitch to the extent of a semitone. During the same period. the position of the stem, up or down, affected the value of the note. And while both these anomalies were Of very short duration, and of equally limited application, the question of upward or downward stems is still a pons asinorum to many a young student, as is also the length to which each stem should be allowed to run. The latter and lesser important point is soon determined, since stems should increase in length in proportion to the number of tails the note requires or possesses, ¢. g., a 32nd note should have a much longer stem than an 8th note, and so on, pro rata. “Sprawling stems,” say the late Mr. Clement Antrobus Harris, show “the ill-equipped writer.” But the question of stem direction is not so easily settled. In the writing of more than one part on a single staff, the stems of the notes forming the upper part or parts are turned upwards, and those of the lower part or parts, downwards. This in all cases in which it is essential or desirable that the progression of the parts should be clearly shown; and in accardance with this ruling most hymn tunes and other composi- tions in “short score” are usually written. A sound produced simultaneously by two or more voices or instruments,—technically known as a unison,—should be written with a double stem, ¢ ° but in the case of two or more whole notes in unison, the note-heads should be linked together, e. g., As a general rule simple and dotted notes, indicating unisons of different lengths, should not be placed upon the same stem. Thus Ext Ex. 2 is preferable to the latter being liable to serious misconception. When on'y one part is written on a staff, were all the stems turned in the same direction, the musical manuscript, engraving, or printing, would have an ungainly or ill-balanced appearance. To obviate this we apply the simple rule that, with some exceptions to be noticed presently, the stems of notes above the 3rd line of the staff should be turned downwards (a), and the stems of notes below the 3rd line upwards (b), a note on the 3rd line being turned either up or down according to the connection (c). Thus, at (d) the context consists of notes above the 3rd line, conse- quently the note on that line has its stem turned down- wards. At (¢) the reverse is shown. When, however. the context consists of notes above and below the 3rd line the note on that line has its stem turned in the same direction as that of its predecessor if on an un- accented beat (f), but in the direction of its successor if on an accented heat (a). Thus the change of stems is made to occur upon an accented beat. Stems, Tails and Hooks A Lesson in Exact Notation By ORLANDO A. MANSFIELD, Mus.Doc. In the case of music for keyboard instruments, double stops and chords for stringed instruments, and in any case in which it is not necessary or imperative to so clearly indicate the part progression, if the notes of the chord are all above the 3rd line the stem is turned down; 7 4 = if all below the 3rd line, the stem is turned up; and if some be below and some above, the stem is turned in the direction proper to the note furthest from the 3rd line. Thus, in the chord , G is further from the 3rd line than E, consequently the stem is turned in the direction proper to G, 7. e., down- wards. The same rule applies to double notes and to Sves; e@. g., ; Ex.7 has its stem turned in the direction proper to E, that being the note of the chord furthest from the 4rd line: Ex.8 has its stem turned in the direction proper to lower E. while bas its stem turned in the direction proper to lower F. In combinations of struck and tied notes, double stems are preferable to single, e. g., Ex. 10 and when in a chord or double notes, one note is orna- mented this note should have a separate stem, e. g., Ex. 11 which might mean a double shake. When, as frequently occurs in music for keyboard instruments, the parts for the two hands are written on the same staff, it is usual and desirable to turn upwards the stems of notes intended to be played by the right hand, and downwards the stems of those intended to be played by the left hand, e. g., Here, perhaps, it may be well to remark that upward stems are written on the right hend side of a note or chord, but downward stems on the left hand side. But tails are always written on the right hand side of the OCTOBER 1918 — Page 635 S *, SSSI SIS SS SII DO he aaa GIN OCC Ne che SR stem, ¢. g,, . and hy. except when a longer and a shorter note are joined with a hook, e. Pes i enere the last note has its tail to the left. It is to John Playford (1613-1693) the good old Eng- lish “stationer, bookseller, musicseller, and publisher,” that we are indebted for the application to printed music of the hook or thick stem or beam, drawn across the stems of consecutive 8ths or shorter notes which, formerly, except in some few specimens of engraved music, had always appeared, whatever their number, with separate stems. The grouped or hooked notes Playford described in an edition of his “Breefe Intro- duction to the Skill of Musick for Song and Viall,” published in 1660, as “Tyed together by a long stroke on the Top of their Tails.” Playford’s application of Fis new idea was anything but uniform; and it was not until the 15th edition of his work, published in 1703, that he consistently employed grouping on the modern system, a process which he quaintly described as “Corrected and done on the New Ty’d Note.” The practice of the. English printer was quickly followed by his fellow-craftsmen in Holland, France, and Ger- many. But in Italy grouping made somewhat slower progress, a fine edition of Marcello’s Psalms, published at Venice in 1724, being “printed after the old manner.” The “new ty’d note,” however, had come to stay, and by the middle of the 18th century its employment was practically universal. : In the overwhelming majority of cases, notes must be grouped in accordance with the rhythm of the meas- ure, and in such a manner as to show, and plainly show, the beats. Thus 3/4 J | ’ | the grouping for 6/8 time, and should be written 3/4 oe better in common time, since 4/4 JJ | | | | would ‘06 be dotting a weaker accented over a stronger accent. A preferable way of writing the passage would, there- fore be 4/4) } | | 4 |. Sometimes a grouping across the accent is employed in order to draw attention to some very marked effect of rhythm or cross accent, or some especially prominent feature of the phrasing, e. g., would be incorrect, being - Nor would the grouping first shown be any Ex.13 Occasionally and, in our opinion, somewhat inadvisedly, grouping is made to show a change of harmony rather than of rhythm, especially in the case of repeated notes or chords. Here is an interesting example from Sul- livan’s “Orpheus with his lute :”— . This point, however, is one hich concerns the stu- dent of composition more closely than the student of musical notation. In order to preserve rhythmic grouping hooks are often extended so as to include both notes and rests, at Ex. 15 = But in vocal music the hooks are not only used to denote the rhythm, but also to show the number of notes to he sung to the same syllable, e. g., Ex. 16 The peo - plethat walk-ed in dark - . \
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Page 636 OCTOBER 1918 ‘ From the foregoing remarks and illustrations it will at once be seen that while short notes forming a single beat are usually grouped together under one hook, the grouping is often extended so as to cover two or more beats, especially if, as in the last measure of the pre- ceding example, such beats form half a measure. Groups of more than two notes, or of more than three notes of equal value, especially when consisting of notes shorter than 8th notes, are, in many instances, better expressed by being split up into shorter. groups. This is especially the case when regular and irregular groups occur successively. Thus 2/4 J 3 “(Bi erable to 2/4 pay ] . A repeated note is often an indication of the best place for group division, é. g., is better than Ex.17 & 18 $ Then when 16ths and shorter notes are grouped, the euter hook runs on to the half measure, the inner hook, or hooks being broken at each beat, ec. g., In regard to stem direction, grouped notes follow the rules laid down for single notes. But if, in a single part, a group of hooked notes includes some above and some balow the 3rd line, the stems, as in the case of chords, should be turned in the direction of the note furthest from the 3rd line, e. g., in which lower D and upper G are respectively the governing notes. To this excellent rule there are, however, two important exceptions. The first is the case of grace notes which are, or should be, invariably stemmed upwards, e. g., Ex.22 Then, in the case of keyboard music, when notes of a middle group skip widely, and are intended to be taken by different hands, the higher notes are written for the upper staff and the lower notes on the lower staff, the hook between them being placed between the two staves, ¢. g., Ex. 23 This figure is a very common one in song accompani- ments and pianoforte music. Many other rules relative to stems and hooks might be given, but we believe those stated cover all the - ground likely to be traversed by the average theortical student. The observance of these recommendations is more than desirable: it is imperative if the music written is to be legible, or if the music written, printed, or engraved, is to exhibit that combination of artistic elegance and technical accuracy which is always char- acteristic of the best examples of any department of the delineatory arts. In musical notation and penmanship it is well to remember the advice of Young in his “Love of Fame,” and to “Think nought a trifle though it small appear ; Small sands the mountains, moments make the year.” Developing the Pupil THE best points in a pupil, as in a plant, develop and expand by warmth. A chilling atmosphere is fatal. From the first lesson the teacher must make it quite clear that the pupil’s ideas on everything are welcome; no teacher can build up properly unless he starts from the level of the pupil’s point of view. To get to know what the pupil thinks, however mis- taken his idea may be, is a start in the right direction. There is a vast difference between a pupil taught by telling and a pupil developed by questioning. ‘Telling shuts up a pupil’s mind; questioning opens it—CHARLES W.: Pearce, in The Art of the Piano Teacher. pref- . — supported. THE ETUDE Cultivating a Perfect Staccato Touch By Mrs. “Noah Brandt NOTHING is quite so delightful to the ear as a perfect staccato touch. To attain it in all its clear, crisp beauty, practice incessantly for a pure legato, as the same depth, - strength and elasticity is requisite for both touches. The staccato is so generally misunderstood that it is usually performed in a haphazard way, with a “jerky,” upward movement on the surface of the keys, as the general impression is prevalent that it is merely necessary to produce a short effect. Equality is as necessary in staccato as legato playing; the finger must press to the full depth of the key, and straight lines in scales, chords and arpeggios be as rigidly observed as in the latter. For finger staccato, place the finger to be used directly above the key, separating it from the others, and without preparation drop to the full depth of the key, rebounding to its original position. The movement is instantaneous, being so rapid as to be almost imperceptible. Even the wrist is immovable, as the hands are too close to the keys to allow of any wrist motion. After training, the fingers move with great speed and lightness, as the pressure and correct attack produce a perfect result. For staccato chords and octaves (especially rapid passages in quick succession), the finger staccato is often in use, but generally’ in conjunction with the wrist. In any case, the latter is always light and un- restricted, as the sightest stiffness impedes the per- formance. When sforzsando is marked, a greater pres- sure from the triceps will bring the sharp, crisp staccato for the desired effect. A very efficacious method for gaining strength in the wrist is to close the hand, place it directly over the chord or octave to be struck, and without previous preparation take direct aim, rebounding to its original position with closed hands. Never approach a staccato chord when moving from - one to another, as it requires an extra motion, which interferes with the rapidity. One direct aim is suf- ficient, and when brought again to its original posi- tion, aim again, but do not: approach or feel for the chord, as it produces uncertainty and nervousness. Preparation involves so much time that virtuosity is greatly retarded, and neither chords nor octaves are ever executed with any degree of certainty. Aiming direct produces absolute security, and precludes any possibility of striking a wrong note, or interval, even with closed eyes, as the fingers become so sensitized and the attack so secure. The triceps muscles are in constant use when play- ing the staccato. With the correct attack and all other rules in use for the legato, a rich, round and crisp staccato will ultimately be acquired. All scales and arpeggios should be practiced with the finger staccato, and the chords in all forms from a short distance, and also from a great height above the keyboard. In dramatic works, where great resonance is re- quired, chords must be trained to fall from any height without. hesitation, never once striking a false note. Always practice aiming direct, and perfection will be easily attained. At the outset you may miss again and again, but with patience, the principle being perfect, the result will be equally so. In performing Kullak’s Octaves (Book 2), place the hand naturally inside the keyboard, relaxing the fingers and wrist. If the latter ‘has been strengthened by the slow, regular strokes from a great height, it will respond with tremendous speed and lightness, even though at first the endurance will not be so great. _ Endurance comes with practice, but at the puteek play only a short time, as, even with its correct use, the strength and endurance must be gradually attained. The hand and wrist are very precious to the pianist, and over-straining must be avoided. Hands and wrists can be irreparably ruined by stiff, injudicious practice, but as this contingency arises only when muscles are over-taxed or misused, firm adherence to a thoroughly modern system is all that is necessary. When select- ing an instrument for public use, take only one with a large, resonant tone and Jight repeating action. If the pressure is heavier than the one to which you are accustomed, it is impossible to do justice to the performance, as pressure playing is vastly different from the light, frivolous surface playing so much in use. If every note-is pressed to the full depth of the key, the muscles are taxed their full capacity, and even the slightest unaccustomed .weight means an added endurance. If, however, you have had an oppor- tunity to use the instrument, and understand it thor- oughly, it is a different matter, as the muscles will then respond to a heavier weight. In order to do yourself justice, the chair must be a certain height, an ordinary dining-room chair being about right for an adult from five to five and a half feet. Every detail is of the utmost importance when the ideals are high and great artistry the goal in view. The Value of Visiting Lessons By Ethel Van Sickle. OccASIONALLY a music lesson and visit may be com- bined to good effect. Give lessons at the home of each pupil about twice a year. a little extra work if you make one or two calls a week. On one such visit I found that the mother was nagging L—— to practice more than was really profit- able for a very young beginner. During the lesson the family sat in the next room and discussed the child disparagingly until she began to cry. I closed the door and told stories until she felt better. After the lesson L-— and I agreed that she would practice each part of her work a certain number of times. That relieved the mother of responsibility, and put the child on her honor. Incidentally the lessons improved, and after a year’s time I still use the plan. One boy became tired in about twenty minutes, and I found that he was sitting on a bench perhaps three inches too high. A chair of the correct height changed practice from a bore to a pleasure. A , a very bright and studious piano pupil, per- sistently held her violin too low, and as a result dropped her wrist into bad position. A visit revealed the cause: her music rack was too low and in order to see the notes she was forced to lower the violin, throwing her work all out of position. Several small children had the seat at the piano at the correct height, but allowed their feet to dangle un- A few words to the mother usually changed this condition. To swing one’s feet is tiresome, and will eventually lead to spinal troubles. Pianos were sometimes placed in a bad light, either for daytime or night work. Most folks are willing to change any condition working against their children if they are able. All that is needed, usually, is a sugges- tidn from some one trained to see such things. This will involve only Sometimes a visit will reveal the fact that some other member of the family plays some instrument, or sings. Your pupil may be interested in playing ac- companiments, or a trio, or even a quartette might be arranged. Perhaps the mother or a near neighbor will play duets if encouraged. Do your pupils really use their notebooks? I have always carefully written out the lesson assignment, with comments on the manner in which the work must be done, together with criticisms of the lesson just played. A written word of commendation is not easily forgotten, and one good grade stimulates a desire for other and better grades. This visiting lesson will give you an opportunity to discover the kind of music in use in the home. Ask your pupils to subscribe for a good musical magazine. It makes for broader musical interest, and gives a choice of different styles of music. Pupils usually are forced to play the music which their teacher prefers. Such music may not interest them, or be the kind they really can play best. After all, a pupil’s taste is not necessarily bad because it is not your taste. Each week I select an article from my chosen maga- zine for each pupil to read. Next lesson I ask questions, and explain the difficult points. Of course I choose carefully the articles which are intelligible for each pupil. The pupil does not receive all the benefit from this plan, I find. Every lesson contains some work in sight-reading. This is more interesting if new material is used than if the music is “stuff that has been lying ’round for years.” The musical magazine is a distinct help -here, and also in weaning a pupil away from cheap; trashy music, Try a few visiting lessons and ‘ ” see. ‘see what you can
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THE ETUDE © OCTOBER 1918 Page 637. Grieg’s great-grandfather, Alexander Greig (for so the name was originally spelled) emigrated from Scot- land to Norway in the troublous times following the defeat of the Scotch in the battle of Culloden, in 1745. Thus Norway owes her greatest composer to Scotland. Grieg’s father, Alexander Grieg, was a lover of music; but his taste was rather for the mild and conr ventional, not for such as his son Edvard liked and wrote. This same diversity of taste appeared in their love of landscape; when on walks together, the father admired fertile fields and tranquil lakes; the son, tow- ering precipices and raging torrents. Grieg’s mother, whose maiden name was Gesine Hagerup, was a highly talented musician, educated in Hamburg and in London, and, in spite of her family cares, continued to appear in public occasionally as a concert pianist. She began young [dvard’s lessons at the age of six years, and he could have had no bet- ter teacher. | Grieg had one brother and three sisters. His brother John, though he became a merchant, was a talented violoncellist, and Edvard dedicated to him his great sonata for violoncello and piano. Grieg was not fond of school, when a boy, and was ingenious in devising excuses for being late; on one occasion he stood under a dripping roof until his clothes were soaked through, so that the teacher might be obliged to send him home. Even when he was grown up, he looked back at his school life with no pleasant memory. Grieg received his first impetus toward a musical career through personal acquaintance with the great Norwegian violinist, Ole Bull, who had returned from his journeys in America. He was also born at Bergen, in Norway, but thirty- three years before Grieg. Grieg played some of his youthful com- positions to Ole Bull, and the latter, dis- cerning his great talents, taiked seriously with Edvard’s parents, who decided to— take Ole Bull’s advice and sent the boy to Leipsic. Grieg said that when he went to Leipsic he was like “a parcel stuffed with dreams.” He was very home-sick, but felt “sure that in three years he woul! go _ back home a wizard-master in the kingdom of sounds.” Grieg’s favorite teachers were Mos- cheles, in piano playing, and Moritz Hauptmann, in composition. He proved. rather a trying pupil to Richter and to Papperitz, his harmony teachers, as in- stead of working the exercises in the manner required by the figured bass, he filled them up with weird chords of his own invention. Grieg had several very talented class- ‘mates, among others Arthur Sullivan (known in later years as the composer of The Mikado and Pinafore). Sullivan was a hard-working, conscientious stu- dent, obe-liently performing every task set him, and it gradually dawned on Grieg’s mind that if he wished to succeed he must be. ready to do the same. He set himself to work day and night, scarcely allowing himself time to eat and sleep, and the re- sult was a complete collapse. His illness culminated in a case of pleurisy so severe that his health was seriously impaired all his life. Grieg went to live in Copenhagen, and came un:ler the influence of the older composer, Gade, who urged him to write a symphony. Grieg, fired with new ambition, en- deavored to act on this advice, but the opinion: of him. High Lights in the Life of Grieg Interesting Phases in the Career of the Great Norwegian Master work was never completed. The second and _ third movements, however, are now accessible in print as Op. 14, Two Symphonic Pieces for piano, four hands. Grieg became convinced that the North was entitled to a language of its own, musically speaking, and that he would make no effort to conform himself to classical forms and traditions. The Norwegian poet, Nordraak., had a great influence on him in this decision. Grieg, when at home on a visit, often enjoyed the society of Ole Bull, and with the assistance of brother John and his violoncello, they enjoyed trio-playing. Ole Bull and young Grieg also played Mozart's violin and piano sonatas together, and together they took long tramps over the mountains. Grieg’s first violin sonata pleased Gade immensely ; his second one he criticised as being “too Norwegian,” but this was exactly what Grieg was striving for. Grieg composed an overture Jn Autumn which Gade did not care for, at first sight, and told the young com- poser to go home and write something better, but afterwards the same piece took the first prize at a competition in Stockholm, where Gade was one of the judges. Grieg’s song, J love thee, one of the most impas- sioned and popular of all love songs, was dedicated to his cousin Nina Hagerup, to whom he had just become engaged and whom he married three years after. Grieg’s prospective mother-in-law had no very high “He is a nobody,” she said to a friend; “he has nothing, and he writes music that. no- body cares to listen to.” The singer Sternberg, how- ever, advised her to wait and see—that Grieg would become famous: Grieg gave a concert in Christiana in 1866, entirely made up of Norwegian music. It was a great success, and the Philharmonic society appointed him conductor. He remained for eight years, and was in great demand as a teacher. Among his intimate friends was Bjérn- son, the famous poet and dramatist. Grieg’s Sonata in F for violin and piano attracted the attention of Liszt, and excited his admiration to such an extent that he sought Grieg’s acquaintance and commended him most highly, both in private and public, which induced the Norwegian Government to grant Grieg a sum of money. He made a journey to Rome, where he met Liszt again. | Grieg returned from Rome and took up his resi- dence in Christiana again, founding a “Musical Soci- ety.” He now had another intimate friend in the per- son of Svendsen, who, likewise, was a distinguished Norwegian composer. Grieg and Svendsen were honored and aided by Norway at the same time and in the same way, an an- nuity of about $500 being granted for life, to each. Gade had, many years previous, received similar recog- nition from the Danish Government, the rulers of Scandinavia having set a noble example to other coun- tries by their treatment of native men of genius. Grieg now received an invitation from the great dramatist, Ibsen, to compose music for a_ theatrical production of Peer Gynt. This music is counted among Grieg’s masterpieces. Grieg could not compose if anyone was watching him. He had a little hut built for himself in a pic- turesque place among the mountains, but it proved to be too near the road and not secure from interruptions, Norwegian peasants gladly held a “moy- ing bee,” and transported it to a more secluded spot. Grieg furnished them with cakes and drinks, and when the cot- tage and the piano were both success- fully moved, sat down and played a Halling (a national dance) while some danced and others merrily threw pine cones at each other. Afterward he im- provised weird and beautiful music while they listened. Some years later he built the elegant villa Todlhaugen, in a still more beautiful and inaccessible spot, but took his little cabin there to use as a studio. Grieg was short and frail looking, his back somewhat bent, his hands thin and bloodless yet strong. His face was that of a thinker, a genius. His eyes were keen and blue, his hair long, straight and almost white, brushed over backwards like Liszt’s. He suffered much from asthma. Grieg and his wife were a very well- mated and congenial couple. They had one child only, who died in infancy. She sang his songs most beautifully, although in the latter part of her life she no longer sang in public, as her voice was not strong. Her sister also lived with them for some years, and was much beloved by both. Grieg was a very lively comrade when in good: company; fond of cards, es- pecially whist, and liked to hear and tell a godd square jest, but after all the key- note of his character seemed to be a gentle, melancholy resignation, and he soon relapsed into this mood when alone. Grieg was rather fond of dainty eat- ing; his favorite luxuries were oysters, caviare, Norwegian snow-hen, with a glass of fine old wine. One day while walking avith the American composer,
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Page 638 OCTOBER 1918 Mr. Frank Van der Stucken, he surprised the latter by stopping in front of an attractive delicatessen shop win- dow, and going into raptures over the display: “What an ideal symphony! How perfect in all its details, in form, contents and instrumentation !” Grieg’s favorite composers were Chopin, Schumann and Wagner, together with his countrymen, Svendsen and Nordraak. In literature his taste was for the best French authors, though the works of Ibsen and Bjorn- son were highly prized by him and had a great influ- ence on his career. Grieg was once presented with an “order” by the reigning Duke of one of the smaller states of Ger- many. Being taken by surprise, all he could think of was to thrust it into his hip pocket and say, “thank you.” The duchess, who was present, saved the some- what awkward situation with great tact. “My dear Mr. Grieg,” said she, “let me take it and show you how it should be worn,” and fastened the decoration with her own hands upon the lapel of his coat. Grieg’s favorites among his own compositions were the Second Sonata for Violin and Piano, (Op. 13), and the Ballade in G minor, for Piano Solo, Grieg once went fishing with his friend Frantz Beyer. After a while a musical theme came suddenly into his head, and he jotted it down on a small piece of paper, laying it on a bench at his side. Unobserved by Grieg, a puff of wind carried it into the water, whence it was rescued by Beyer, who read it, put it in his pocket, and then whistled the air. Grieg turned like a flash and said: “What was that?” Beyer answered nonchalantly, “only an idea I just got,’ whereupon Grieg retorted, “The devil you say! I just got that same idea myself!” Grieg was granted the degree of Doctor of Music by the University of Cambridge, in company with Tschaikowsky, Saint-Saéns, Max Bruch and Boito. Two years later Oxford also bestowed the same honor upon him. Grieg disliked making many new acquaintances, but became warmly attached to those who proved con- genial. Grieg became interested in a hitherto unfamiliar old folk-song which he heard a dairy-maid sing while milk- ing a cow. He laid a piece of music-paper against the cow’s side, and wrote down the notes while the girl sang and milked. He told his friend Beyer he had a new song, “fresh from the cow.” Grieg, at the age of sixty, wrote to a younger man: “Yes, at your age it is ever ‘hurrah, vivat, etc.’ At my age we say, ‘sempre diminuendo, And | can tell you that it is not easy to make a beautiful diminuendo. You will find this out for yourself some day.” Grieg received flattering offers to visit America and tnake a concert tour, but the state of his health com- pelled him to refuse. His manner of refusing, when he wished to put a final quietus to the matter, was to name terms so high that they could not be accepted. Grieg received a three-weeks’ visit from Percy Grainger, not long before his last illness, and highly commended Grainger’s playing of the Norwegian Dances. He insisted on taking his visitor mountain climbing, although so feeble that he could scarcely breathe when he walked: He became depressed in spirit, and predicted that he would never get up there again. This prophecy proved only too true. He was soon obliged to go to the hospital, and on September 3, 1907, Norway’s greatest composer passed away. Grieg’s burial place-is as romantic, as Norwegian, as his music. Projecting into the fjord there is a steep cliff visible from: Troldhaugen. Half way up is a natural grotto at a point where it can be reached by water only. In this grotto, selected by himself for this purpose, his ashes were deposited some weeks after his cremation. The grotto was then closed for all time, and a stone slab, with the simple inscription, “Edvard Grieg,” placed to mark the spot. There he had’ wished to lie, and there he lies. Grieg’s American biographer, Henry T. Finck, whose delightful little book Grieg and His Music has been widely read, says of him: “Grieg’s music is as fresh and inspiriting as on the day when it was composed; most of it is music of the future. It is only recently that what Mr. Huneker has so happily called the Greater Chopin jhas come into vogue. The day will come when the Greater Grieg will also be revealed to the public. The time is ripe for him.” Grieg’s musical ideal, as he himself put it into words, was this: “Artists like Bach and Beethoven have raised temples and churches on the: heights. I have tried, as Ibsen. says in one of his plays, to build homes for human beings, in which they shall be happy and com- fortable. In other words, I have noted down the popu- lar music of my country. In style I have remained a ‘romantic,’ but at the same time I have explored’ the rich treasure of the folk-songs of my fatherland, and from these manifestations of the Norwegian genius [| have tried to create a national art.” The Thumb and Its Agility By Harold Hubbs THE common figurative expression, “My fingers are all thumbs” is usually uttered without thought of its hidden “slam” on that somewhat awkward member of the hand. As a matter of fact the hand when taken as a medium of pianistic expression would suffer more from the loss of the thumb than from the loss of any two of the other fingers. For instance the effect on all kinds of chord playing would be appalling. Octave playing would be out of the question. Scale playing would be paralyzed, at least temporarily. The playing of wide intervals would be reduced almost half, since the aver- age hand can, by using the thumb, play tenths more readily than major sixths with second and fifth fingers. . In piano playing the thumb is dearer than eyesight. If yours refuse to do their work efficiently it is your. fault. The thumb being so unlike the fingers and because of its peculiar functions needs special and separate. training. | How often do we find scales and arpeggioes crippled by the tardiness of the thumb. What the thumb needs is individual dexterity. Let us get to the piano and try these exercises. Place the left hand at “C-E-G” just below middle C. Play C and E simultaneously with 5th and 3d, then follow with G played by thumb, again play the major 3d C and E, this time followed by “A” with thumb. Play back and forth in this manner allowing the thumb to ascend the scale to middle C and back. Keep the wrist turned out; not in, and do not allow the hand to rock. Keep the thumb curved and raise it each time till it — appears above the hand so as to get more power. Strike hard! But do not allow the thumb to steal from the arm. Practice slowly. Keep the hand quiet and allow it to relax frequently. Repeat this exercise in other keys and also with the right hand. A still better exercise is as follows: Place left hand at C E G (as above) strike G with thumb; follow by E with 3d. Then put thumb under on C, without shifting the hand strike E again with 3d and. bring thumb back to G. Go back and forth in this manner allowing the thumb to descend the scale under the hand to C and back. Use E as the pivot-key played by either 3d or 2d. Practice slowly at first, but after- -ward with increasing speed. Repeat in different keys and use a similar exercise for right hand. To make this matter more interesting as well as more convincing here is a special example in a great classic that ought to be an incentive. I know of no instance where neat and rapid thumb work is so imperative as is found in the Prestissimo movement of Beethoven’s Sonata Op. 2, No. 1, Have you ever tried to play this and wondered what was the matter? Then try again and watch the thumbs. _ It is said that Anton Rubinstein was especially fond of this sonata and of this movement. ful work and to know the real joy of playing it one must have nimble and self-reliant thumbs. It is a wonder- | | | THE ETUDE The Accompanied Trill OnE of the most brilliant bravoura effects of ad- vanced piano playing is the sustained trill accompanied by melody-notes in the same hand. To execute this in a masterly manner is indeed difficult, but not nearly so difficult as it looks, if one understands the trick. In the early editions of Cramer’s Etudes, there is one devoted to this particular point; the first measures read as follows: Nine out of ten pupils, unless otherwise instructed, would play it in this way, which is perfectly correct from a theoretical standpoint, but technically imprac- ticable and ineffective. | The true secret of execution is to make what is called a false trill—that is, to leave out one trill-note each time you strike a melody-note, as shown in Ex. 3, which is taken from Cramer’s Fifty Selected Studies as edited iby H. von Bilow. A false trill, well executed, is so effective as actually to deceive the ear: a fact well understood by .cornet ang flute virtuosos, who occasionally astonish the pub- lic by producing from their single-voiced instruments, - something that sounds like a simultaneous melody and trill; indeed, it is often written as such, and the execu- tion left to the ingenuity of the performer. We quote this as a fact instructive for pianists to consider. This device may be applied, with excellent results, to the accompanied-trill passages in the Rondo of- Beet- hoven’s Waldstein Sonata, Op. 53, the Variation V1 of the last movement of the Sonata, Op. Tog, and the closing page of the Sonata, Op. 111, by the same composer. Doing and Teaching It may seem to many that every perfect singer must also be a perfect instructor, but it is not so; for his qualifications (though never so great) are insufficient, if he cannot communicate his sentiments with ease, and in a method adapted to the ability of the pupil; if he has not some notion of composition, and a manner of instructing which may seem rather an entertainment than a lesson; with the happy talent to show the ability of the singer to the best. advantage, and conceal his imperfections; which are the principal and most neces- sary instructions. A master that is possessed of the above-mentioned qualifications is capable of teaching; with them he will raise a desire to study; will correct errors with a reason; and by examples incite a taste to imitate him.— Tost, in Observations on Florid Song, 1743.
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THK ETUDE A Practical Plan Which Should be of Much Aid to Self-help Students An Editoral Note Look at a page of Hebrew or Sanscrit; assuming that .you are ignorant of these languages, you will not find a single mark upon the page that would give you a clew ' to the thought buried away in the letter signs. At the end of a few months study, with someone who knows these languages, you will be able to make deeper and deeper excursions into the pages every day. ‘There ts an analogous condition in music: there are certain things which you must know and be able to recognize tf you hope to make rapid progress in any direction. The monumenial stupidity of some people is due to two things: 1. Ignorance and inexperience. 2. Failure to use all of one’s mind to grasp the main points quickly. Ignorance and inexperience can be corrected by patient, persistent work. Failure to grasp things quickly _can only be corrected by force of will-power and con- centration. Some music students go about their work as though every step were entirely new. As a matter of fact, much of the ground that we are continually going over in music is old ground that has already been covered. Some students never seem to realize this; every exercise and every piece to them is an entirely new piece, every page like a fresh page of Sanskrit to be deciphered. Most students are far cleverer than they even dream; if they would only see through things quickly their progress would be quicker. If one says the word “CORRESPOND,” for instance, and can say it dis- tinctly and understandingly, there is no reason why the word “CORRESPONDINGLY” should baffle the reader. In music, however, there are thousands of students who never seem to realize that a common chord, once played in one ptece, is no more difficult to play in an- other piece; a rhythm once learned does not have to be relearned. Make use of this—you do it constantly in reading—why not in music? 7 There are certain things that every ambitious student should take a pride in mastering thoroughly. They are: A. All the tonalities ; that is, the Keys. These should be learned thoroughly through tonality exercises and drill in scale playing. It always pays to do this right. B. All the Common Chords, Dominant Seventh Chords and Diminished Seventh Chords in all keys. One does not have to make an elaborate study of Har- mony to get these. Any good book of Arpeggios will give the main facts, although the study of Harmony is always beneficial where possible. C. The ability to see how melodic passages often seem to revolve around certain chords. Sometimes _ there may seem to be a note foreign to the chord, but frequently the backbone of the chord is perfectly obvious and only needs a little penetration to find. The opening notes of Chopin’s posthumous VALSE IN E MINOR is an indication of this. The opening run is nothing more than the minor chord on “E,” with a few foreign tones, such as are called in Harmony “changing notes” or “passing notes.’ These foreign notes are marked in this example by parenthesis. Observe, by the way, that in this particular instance each of them is just a semi-tone below the harmony-note which fol- lows. In learning, reading or memorizing such a pas- sage as this it is sheer stupidity to learn it note for \ How to Read at Sight and Memorize at the Same ‘Time By ELLEN AMEY note, or measure for measure. Grasp the thing as a whole; note the boundaries—that is, how the run be- gins and how it ends—these are notes of a chord, those are foreign notes, etc, etc. Then play it just as you would read this page—by word-groups, not by spelling out the letters. Miss Amey has given some very illuminating e-x- amples of how this may be done. The following article ts an extremely practical one for teachers to hand to pupils, with the recommendation that it be carefully read.—Epitor oF THE ETupE, THE fact that the ability to memorize and to play at sight, as natural gifts, usually appear singly, sometimes gives credence to the erroneous conclusion that these two accomplishments are antipodal and that from their nature, their cultivation must necessarily lie in different directions. There is, however, no line of demarcation between the two in the essential preparation, for the same knowledge and the same essentials for technic are needed for both. The Jack of preparation that is so often found is, in part, due to the fact that the student cannot be brought to realize sufficiently the necessity for adequate technic and the advantage of: knowing thoroughly pure basic forms. It is found that wherever there exists a strong de- sire for sight reading there is more or less antagonism to technical preparation, and any exactions for mem- orizing. But whether one plays from a sensation as in reading or from a mental image as in playing from memory, there is needed a reliable technic that has been developed through the practice of basic forms, since these are the nucleus or backbone around which are correlated the inventions of men. In the study and the practice of such forms’ the hand becomes accus- tomed to the reaches and skips found in music and can with definiteness prepare for them. It is not too much to say that an untrained hand and indifference to correct fingering will hinder both playing from memory and playing at sight. In a like degree a trained hand may be depended upon to assist by adjustment and its readiness to respond to a mental cue. The mechanism of technic is always bound to suffer if left to be developed through the emotions or through forms that excite feeling. The scientific or pure basic forms should be used for the development of all mechanism, and through their self-establishment one has the advantage of a mental training necessary in the application of: knowledge of such material in both memorizing and sight reading, The forms most often used are the major and minor triads and the dominant and diminished seventh chords. These chord forms should be self-established by build- ing them by intervals, as well as through the more simple cumulative process of putting together scale de- grees. With these forms thus known the student has at his command material in large units which requires only recognition, Choosing from old favorites perhaps no example more clearly illustrates the advantage of recognizing a single chord than the C# major triad found at the end of the second part of Rubinstein’s Kamennoi- Ostrow. With attention to a detail or two the passage can be memorized at sight, as easily away from the instru- ment as before it, and it may be played at sight, just OCTOBER 1918 Page 6389 as easily, by one who has developed the mechanism of technic through the study and practice of basic forms. This extract taken from the Grieg F Major Sonata for violin and piano, is clear to the musician, but may — require elucidation for the student who is not discern- ing. In the first four measures we find two chords, C and G major, the recognition of which maybe forced upon one by a well-trained hand, though the eye may not see it and the ear may not hear it. In the last four measures we find the material to be C major triad. Of this passage in sixteenth notes the upper of each new chord position is an auxiliary note. The rhythm of six-eighth meter may not assist the hand in the play- ing of a single measure, but it should make clear the fact that the second measure is like the first played one octave higher. The A flat major Impromptu by Chopinis full of intri- cacies that prove puzzling to the student, especially when memorizing it. In the first measure we find the motive in a clean-cut phrase which is repeated in the second measure, The musician sees at a glance that the notes of this motive are woven about the chord on the tonic or key- note for the first half of the measure (that is A flat, Cand E flat) and the dominant seventh (that is a chord of four notes founded on the fifth of the scale E flat, G, B flat and D flat) with its “ninth” (that is the note F) for the last half. Through the association of these two chords this material should become ineffaceably fixed in the mind, This passage which is found later, usually gives trouble. Analyzed, it proves to be a descending passage of chords in se- quence form, beginning each time on the second beat or quarter of the measure, and descending by half steps until four have been played. The hands are virtually placed to play the same notes one octave apart and start with the F flat major triad in second position, but the right hand is required to play an auxiliary note for the second eighth of the triplet, and this note is al- ways found one half step below the following note, the last of the triplet. The left hand gives the key to the passage in the pure chord form.
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Page 640 OCTOBER 1918 The combination of invented forms found in the fol- lowing extract, which is taken from a Mozart Sonata, will give less trouble in reading, and may be memorized at sight, if the two chords and their relationship are rec- ognized and the particular arrangement of the parts of tne chords are noted. taken from MacDowell’s Scotch Poem, may be more easily overcome if the mind is clear on the material to be played, which fact should insure the readiness of the hand. In each measure we find a dominant seventh chord, followed by its natural resolution, C minor in the first measure and F minor in the second. The con- struction of this composition is most ingenious, but wonderfully simple. It may be read or memorized with little trouble, if the technic is adequate, but the stu- dent should look to the forms the material of which, for the most part, is purely basic, as is shown by one hand or the other. In the Rachmaninoff C, sharp minor Prelude we have an illustration of the advantage of knowing and recog- nizing the diminished seventh chord, of which the com- poser has made an extended use filling twelve measures of the middle part. It appears in the ninth, tenth and eleventh measures thus: We find this chord in pure form on the first and third quarters of each measure. These six chords show two different forms, one of which resolves to F sharp minor and one to € sharp minor. While this passage is shown to descend, the chords are later found in an ascending passage of three changes, or three half meas- ures, after which the form is solidified, and these same chords are carried in a descending passage, two octaves below starting point. The upper notes represent the degrees of the descending F sharp minor scale, These twelve measures may be read and memorized through the two chord units of which they are made up. The reading and assimilation of the material of this composition depends upon two factors: First, a knowl- edge of music which should embrace, at the least, the scale form and the chords, C sharp minor, E major and the G sharp minor, as well as the dominant seventh on G sharp, in addition to the diminished seventh chord. Second, the recognition of a sequence form such as is found at the half close of the first theme, where it is carried through two measures, as follows: and later through one. When a return is made to the first theme, after the middle part, we find it again, but like the theme, treated with fuller harmony. Rachmaninoff makes frequent use of this chord in his less-known compositions, //umoresque and his Trio for piano, violin and violoncello, ‘dedicated to a great art- ist.” In La Fileuse by Raff we find three different elab- ‘orate treatments of this same chord. In Lavallee’s Le Papillon we find the chord thus: Among compositions of easier grade we find it in Pavon by Sharpe in this form: The importance of knowing the diminished seventh chord can be appreciated when it is found to be of frequent use by modern composers in music known in every musical household. | It may be supposed that every ambitious student antic- ipates pleasure in the fact that he may some day be able to play at any time and in any place, the compositions he has studied and to read at sight new compositions. Study should be a preparation for the consummation of this purpose which, in some degree, lies within the ‘reach of all. The hope of these acquirements should not be left to rely too largely upon natural gifts which are often allowed to exclude in a like proportion the study upon which achievement should be based. Every student should acquaint himself with the pure basic forms through study and practice, for sooner or later he will feel the inescapable need of scientific knowledge. In regard to memorizing, Elson says, “A good musi- cian remembers the sequence of musical ideas and har- monies.. He may often alter certain notes, but he will present the fundamental idea.” In sight reading, also, a musician reads ideas, not notes alone, through har- monies and note and chord relationship. Through the recognition of basic material he is able to grasp and assimilate the invented forms in large units and in such a manner that their intelligible meaning is never inter- fered with by mere notes. 7 Second Na‘ure in Music Can any one say that a piece is learned until it be- comes “second nature’? Certainly none of the great virtuosi would consider it learned. It is rumored that a great Polish pianist who always makes a practice of playing with his eyes shut, never thinks of putting a piece upon his programs until he has played it repeat- edly for at least a year. Then he does not have to give the slightest thought to the mechanical side of the performance. For centuries-the idea of practice until ‘accomplishment becomes second nature has. been known. Plutarch, Shakespeare and Montaigne make note of it, “Habit is second nature,” says the last named writer, and all modern psychological investigations point to the need for the consideration of this great fact in all éducation., An Interesting Suggestion for Advanced Pupils Give the same piece—one which affords opportunity for individual treatment—to several pupils, all of whom are in advance of it technically. Let each of them have two or three weeks allowed for the purpose of prepar- ing the piece unaided. Arrange for them to come on the same day and play it in succession, all being present. Then the teacher might give his rendering. An hour spent thus, with discussion, might do much to help in the unfolding of personality—-CHARLES W. PEARCE, .in The Art of the Piano Teacher. . tears, gold were less prized than grief.” THE ETUDE The Finishing Steps ADVANCED pupils, no less than beginners, present their own peculiar problems, yet there has been but little discussion of them in print. The teacher's final duty to advanced pupils points in four leading direc- tions: : I. To make a final and most serious effort to amend any faults or weaknesses that still exist, 2. To see that the pupil -acquires a sufficient and well-chosen repertoire for future public performance. 3. To train the pupil in proper pedagogic methods, in case he is expecting to become a teacher. 4. In general, to lead the pupil to independent resourceful habits of study. Strengthening Weak Points Any really competent teacher knows well what each pupil’s weak points are. With one it may be in the matter of rhythm and time-keeping, with another tone, with another memorizing, with still another, sight and reading. Whatever it may be, try most earnestly to help the pupil correct it before he leaves you. Often it is possible to arouse a spirit of conscientious effort at this stage which was lacking before. Review a few standard studies, such as Clementi or Czerny, and in- sist on their being played strictly at metronome speed— something which may have been impossible at their earlier study. This often reveals weak points. A Practical Repertoire Pupils often leave at the end of their course with either an absurdly small repertoire or one not suited to their future needs. There should be pieces of all styles represented, but chiefly of those styles in which the pupil most excels. The list should not be all class- ical or all modern; not all long, not all short. The custom of having each pupil prepare a graduation .re- cital is an excellent one, but even one good recital- program is not enough, all by itself. The pupil should be taught to judge of the probable tastes of his audi- ence—not the same in every instance—and to choose tactfully just the thing which suits the occasion. He should be instructed in the various little points of etiquette in public appearance—how to enter and leave the stage, how to bow, etc. Preparing to Teach Some of the most successful musicians, in the long run, are those who have at the start enjoyed very few musical advantages, and are largely self-taught. Tal- ent, coupled with determination, has accomplished won- ders, and the few crudenesses and errors which were unavoidable in such a beginning have been at last amended by study under competent teachers years after the early beginning was made. One most. serious drawback to this experience, however, is that a musi- cian of the partly self-made type has.usually no idea how to teach beginners, and will meet with disaster at first through not being versed in a properly graded course for the average pupil, and partly through ex- pecting from everyone the same amount of zeal and application which was his own even in early years. To such an one the teacher may be of great assist- ance by allowing him to be present and listen when he is giving lessons to beginners. He should also, from time to time, give hints as to the selection of music for young pupils, the choice of different editions and the constantly growing list of new and helpful studies and pedagogic works. | Develop Self-Reliance in the Pupil Every teacher knows how much detail work is nec- essary in giving a lesson to a beginner which is omitted “ in the case of a pupil even in the third or fourth’ grade. Following on in the same line, when a pupil is at last really growing into an able musician, a cer- tain amount of independence should be not only allowed but encouraged. The perfect teacher is he who at length makes his own help unnecessary. The advanced student should be led to realize that while there is no such thing as “finishing the study of music,” there is such a thing as reaching the point where one may with profit direct his own study. THE wonderful power of music to minister to the grief stricken has never been more closely observed than now. Music is one of our greatest treasures at this moment. Sophocles said: “If it were possible to heal sorrow by weeping and to raise the dead with do what gold cannot and it cannot be too highly prized in this time of national crisis. Music will —
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THE ETUDE we a Lo Stiffness and Position “1. Although playing some professionally, yet am much troubled with stiffness in my fingers. am employed in business during the day and do my playing in the evening, both practice and other playin Can you suggest exercises or medical attention that would relieve the stiffness? “2, Also at what height should a person sit upon @ piano stool?’’—A,. K. 1. It is difficult to “serve God and Mammon,” or, in other words, Art and Business. At the age of twenty this must be the cause of the stiff fingers. There are No special exercises that will affect the situation, except the general one of loose, freely moving fingers in every- thing you play. Stiffness is often caused by a cramped - condition of the hand, which in many improperly trained players is purely unconscious and involuntary. Spend much time working for fredom. If you feel that the trouble is physical you might sleep with oiled gloves on your hands. I am afraid, however, that as long as your entire day must be given up to business, and both professional work and practice be done only in the evening, that you will have trouble. You need more time for practice. 7 2. A player should so regulate his piano stool that his forearm is on a level with the keyboard. The ten- dency of the elbow should be to lie a little lower rather than higher. If the arm inclines from the elbow to the keyboard a punching motion is very liable to result, ‘downward from the hand, producing a hard tone. If the arm falls slightly lower a good tone may be pro- duced from the grasping position of the hand, but the freest and least tiresome condition, in my opinion, is that which very nearly preserves the level between elbow and keys, although under no: circumstances al- lowing it to be higher. ‘General Classes and Clubs “YT have a class of nearly fifty who are doing well, some having reached the fifth grade. My patrons now ins‘st on my having classes in theory or harmony for the older ones, and kindergarten for the younger. I would appreciate suggestions for class work. I have in mind classes for the first grade, for the second, and more advanced for the third and later grades. I would like some Also as to suggestions as to material for work. club work which some of my patrons would like, Should such a meeting be held after the pupils’ recitals, or on another day.”—M, R. Wuarever is done in class must be simple and practical, and not concern itself with matters that need individual consideration. The Kindergarten System by Batchellor and Landon will be most ex- ‘cellent for you in arranging 'a course of kindergarten work. In the advertising columns of THE Eruvr you will find from time to time announcements of other kindergarten methods, information in regard to which you can obtain by writing the various persons. Do not forget, as a few do, that the adver- tising pages contain much that will be of help and interest to you. It was Henry Ward Beecher who said that he gained as much information from ad- vertisements in regard to important things that were being done in the world as in the reading columns. In bringing new and valuable helps to your attention it is really the most important part of a magazine. You may have seen articles in THE EruvE from time to time on these and kindred subjects. From them you may infer that to lay out in the Rounp Taiz any detailed course of lessons for such a class would require the entire page for many months to come. The planning of lessons and programs for your kindergarten you will have to look after yourself, and arrange according to the necessities of each week, Theory and harmony study may begin in the sec- ond grade, but inasmuch as none of your pupils have as yet had any such study, you will find that elemen- tary work will at first apply equally to your most advanced students, Later you can have an elemen- tary class for your beginners, and a more advanced one for those whom you have started on their work. You will find the following very valuable books from which to arrange work for such classes: peshates cmap toe een, “ee The Teachers’ Round Table = 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 tothe Musical Questions Answered department. Full name and address must accompany all inquiries. A Primer of Fact About Music, Evans; Writing Book, Marks; The First Year in Theory, O. R. Skinner; The Standard History of Music, Cooke; Harmony Book for Beginners, by P. W. Orem; Pictures from the Lives of the Great Composers, Tapper. Send to the publisher for lists of collateral material as your work advances. : | In line with the information you give in your long letter, I should think, if possible, it would be wise to hold your club meeting on the same day as your pupils’ recital, since most of your constituency drives in from the country. Make your pupils’ re- cital short, say from two till three. They are always more successful when brief. Your club could then meet from 3.30 till 4.30. and thus give ample time for all to get home. Make your club organization devoid of red tape, but have a number of officers so as to make as many interested as possible by assigning them something to do. You can easily settle the problem of getting as many interested as possible by making a by-law to the effect that no one can hold office more than two years in succes- sion. Much hard feeling can be avoided in this, Things to do of interest will gradually arise as you get going. Make your fee small at first, but keep it until you can do something in a public way that will interest the community. Use the club to get the whole country around interested in music, Per- haps a similar venture may be able to send us some information that will be to your benefit. Arrange topics for study to take up a portion of your time. As you become established you will get in touch with other clubs in your State, and opportunities for interesting work will arise spontaneously. In a community where you are obliged to rely on your own mutual efforts for entertainment, you will be surprised at the numerous ideas that will be forth- coming from time to time. gressive State, and her clubs are noted for their endeavors to help each other. Begin, and your fu- ture will develop naturally. - Weak Fourth and Fifth “Will you please tell me what to practice to Overcome weakness of fourth and ‘afth fingers, which prevents om A playing little runs or scales smoothly? I neglected to study fingering when foarning. as this the cause of my present trou- There can be no question but that the neglect of any department of your work interferred with your development. A well-trained hand demands. thor- oughness in all technical study. In order to over- come this you should give detailed study to all de- fects. In this manner you may be able to counteract faults already contracted. The following exercise you will find excellent for strengthening the fourth and fifth fingers, and also increase expansion at the same time. It should be played by the third, fourth and fifth fingers in both hands Practice also so the accent will come on the fourth finger. | The following is also an excellent exercise for developing even strength for running passages. It should be practiced first with one note to a count, counting two, and accenting the first count with a firm finger stroke. Then two notes to a count. After this three, and finally four nétes to a count. Write out these exercises, as indicated in the illus- tration, so that the accent for the first count will come on various fingers. Such an exercise accom- plishes but little jf. the strongest accent is only ap- plied to the thumb. I have used the four notes to a count for the example, and you can apply the prin- © ciple elsewhere to great advantage, ‘I find that many students do not understand the principle in- volved in such changes of accent unless they write Kansas is a very pro-. 1918 esecersasstsietancaretecesonsneasroantacetenven ,* eecsseed sea tatatate etek them out so that the grouping is visible to the eye. Two other forms are possible besides -those given, Play very lightly when rapidity is attained. s a $ aie. Leth > SSerri Praise iS=225=-5:-=s= Hand Culture, by Anna Bush-Flint, is a work devoted largely to the technic of the fourth and fifth fingers, A Scherzo by Chopin “I am working alone on some piano selections, and am in need of a little advice as to Tempo for the Chopin Scherzo in E major, Op. 54. Any other suggestions as to interpretation will a be appreciated.”—W. L. These Scherzi of Chopin’s are in reality bravura pieces of a high order, and require a considerable vir- tuosity on the part of the player in order to give them their highest effect. This means great freedom and ease of execution in order to bring out their emotional content, which is very great. You may have noted by some articles on interpretation of given compositions in Tue EtupeE in recent months, that far more space is required for them than could possibly be found in the Round Table. Therefore only limited suggestions can be given along this line. The Tempo of the Presto may be taken at about 120 for the dotted half note, or full measure. This practically makes your meter groups consist of four measures each. You can best count four, one measure to each count. You may ask, why not write it in measure groups of four counts in triplets? Simply because in a four-count measure your accents would come on the first and third counts, while the feeling is for a sharper accent on the first of each measure as written. “The Pix lento should be played like an andante movement, with deep expression and feeling, ranging from 100 to 120 to the quarter note.. It is a lovely movement and worthy of all the care you ° can bestow upon it. Gradually work back through the accellerando to Tempo primo, and at the end close with all the brilliancy and dash you can command. Prizes “I am in need of some really Inexpensive books for prizés for little pants. Can you give mea list that would be suitable?”—A, L, The instinct for rewards is a very human one, and often helps ‘amazingly in inducing pupils to work. Little pupils, in particular, have small sense of progress in playing, so gradually does it come; but the extraneous prize makes an immediate appeal as something worth while to work for. Of books that are interesting to very little pupils there are not many along musical lines. Your prizes should be graded in accordance with the age and intelligence of the student. The only books I know of that are very low in price are the Child’s Own Book of Great Musicians, by Thomas Tapper. These are unique, consisting of pictures, etc., which _the child pastes in spaces provided for them, and when finished the entire book is written and made by the little pupil. The price is so low that you could use any number without feeling the expense. Mendelssohn, Schumann, Mozart, Schubert, Bach and Haydn are in the list. The Petite Library, by Edward Francis, is in nine volumes, and consists of miniature biographies of Handel, Haydn, Weber, Mozart, Beethoven, Mendels- sohn, Chopin, Liszt and Wagner. They cost but a few cents more each than those mentioned above. Then there are Reward Cards, attractively lithographed in colors, which are, of course, still less expensive, the cards coming in sets. The cards contain a colored photograph of the composer’s birthplace, and a short biography, with autograph and facsimile of manuscript. Any of these will answer your purpose admirably, a hint that could wisely be taken by many a teacher.
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Page 64@ OCTOBER 1918 The Art of Playing Accompaniments By Agnes M. Schaberg - A cecesratep English accompanist, Algernon Lindo, writes, “There is no art about which there is so little known as the art of accompanying.” Possibly he writes this because to most people it is no art at all—any facile pianist can play an accompani- ment—while to the studied accompanist it is so very subtle an art that hé feels he say very little about it that is doticrete atid helpful. However, since accotht- patiying a$ 4 profession being practiced by an in- creasitig ttumber of men and wornen, it may be inter- estin® to the musical reader to go into the subject a bit. With every enthusiasm the author would encourage students to this-most beautiful and fascinating art, although the demands of the profession on the technical side are without limitation. Let it then be remembered that te approach no road to knowledge from the top of the ladder, but climb, step by step, looking out from rung to rung to that measure of achievement for which we are individually gifted. upon more ascending planes and higher mountain tops, even though we may never reach the “stars.” _— But nowadays some accompanist goes with stencet every Star. There are few La Forges for a Sembrich, and it’s a long climb to a Schumann-Heinck, yet sev- eral women (at present Miss Evans) traveled with this star of first magnitude. Thus there is every encourage- ment to believe that with study, devotion, and deter- mination eveh the humblest player may reach a worthy After all; the successful man or woman is not always the most gifted. One with a fair degree of talent, pluck, enthusiasm and industry, personally and busi- ness ability often climbs the farthest. For every accompanist certain inborn capabilities are desirable, if not necessary, The first essential is the ability to read music fluently at sight. This can be aided and culti- vated to an astonishing degree by piano duct, trio and especially quartet playing, and by accompanying sing- ers or instrumentalists, i tempo, at sight. Acquire a Wide Repertoire. Sir Frederick Cowen said, “Never read anything, know -everything,”—which I would like to amend by saying, “Read everything and know everything as well.” It is therefore best to own standard: collections of songs, and arias, oratorios and opera scores, or col- lections of known instrumental works, trios, .quartets, etc., if he is busy with instrumentalists. I am taking for granted that the embryo accompanist is a well- grounded player, Who continues his pianistic studies, hearing great artists for interpretation. It is not necessary that the accompanist be a vip concert player or a singer; indeed, in that case his own ideas of interpretation may be too decided. Elas- ticity of idea and emotion to suit the mood of any singer must be the ideal. Many people earn their vocal training by éxchanging their services as accompanist, and this i¢ most valuable practice. Even more useful is a fong apprenticeship as “studio accompanist” in a teacher’s studio. Thousands of selections and dozens of petsonalities will then vary his experience. From the studio to the concert stage after pupils and concert recitals is not very far, but a concert career is rhore uncertain, and its success depends on a great va- | riety of circumstances, chance and financial backing playing a considerable part. To the amateur accomp?uist a few suggestions may be helpful. Practical Suggestions 1. It was. formerly not the habit of accompanists to put themselves in abeyance by playing softly. A great deal of piano and pianissimo work is now done, the soft pedal is freely used; only in solos and passages a raed dramatic intensity are forte and fortissimo ys pais playing rhythmically ; ; that is, by accenting core’ rectly, the first beat in 2/4 and 3/4 time, the first and third in 4/4 time and the first and fourth in 6/8 time, - erc., the playet is helping the singer express his medn- ings, as afl important words and accented syllables in poetty ate placed on the rhythmic beats. Playing Fhythrically with instrumentalists is of no less impor- tance, however. 3. Tempos should be followed as accurately as in- dicated. In singing one allows for breathing, thereby indicating the phrasing!'as well as keeping the mean- ing. European artists take far less Hiberties with the Oe ee eee tempo than American ones as a rule. As the ultimate ambition of every soloist is to sing or play with or- chestra, it is well to remember that instrumentalists and orchestra “wait for no man.” Legato playing, unless otherwise notated, is also to be cultivated intensively, especially by the vocal accom- panist. As it is the singer’s ideal to sing a perfect legato—to let the breath flow evenly, it must be also the aim of the player—aiding legato production by careful pedaling, one pedal flowing into the next. Many accompanists poke, or staccato their chords. The Les- chetizky method of locking them is a great aid to smooth chord legato. 4, Knowledge of several languages, especially the Italian, French and German, i is desirable and even nec- essary, for the accompanist should also be interpreter. Translations are seldom literal, often grossly untrue, owing to the necessity of rhyme and rhythm, therefore to grasp the subtle meaning of German nature songs, the fine nuances and delicate humor of the French and the dramatic intensity of the Italian, one should be a linguist—(See Doudd’s “Desert.”’) Women In Music The November Etude will be devoted in large part to the work of “Women in Music”— particularly American women. It will surpass in all ‘ways our Woman's Number put out ten years ago, an issue which proved deservedly popular. Americans ae A our country has been a land of glorious opportunity. for women in all branches of human endeavor. American men Pee Pe EE eR OA for the intellectual and personal efficiency . of women hardly equaled throughout the world. ° American women have accomplished wonder- ful things im music and this issue, with a music section composed almost entirely of the com- positions of women will be one of those Etudes which our readers keep for reference for years. In addition there will be the usual fine selection of ‘‘practical’’, ‘‘tell how”, *‘get ahead” articles which have made The Etude famous for its general usefulness. Cultivate the Imagination As the singer is dramatist, painter, poet, ieanatek 0 must the accompanist be all these things. He must itnitate everything, from the trotting of horses (Die Post, Schubert) to the hissing of waters (Liszt, Lorelei), t the deserts, express with tone color the quality of the orchestral instruments, and even the clarity of a star. 5. Therefore the imagination is one of the greatest forces of an accompanist. A vocal pupil remarked to her teacher, “I have never traveled. I think if I could see the things I must sing about, I could put more understanding into my songs.” “Then you must read,” said her teacher, and straight- © way the pupil began to fill her imagination from books until she could realize her dreams of the visible world: One can express nothing from a blank mind; words and tones must mean images and emotions, and the musician who sees and feels will ultimately convey at least part of his vision. He must learn from both “books and stones,” from “trees and running brooks,” from “sunshine€and storm,” but best, from life and its deepening emotions; translate into his art what he has. seen, beth with visible and the inher eye, with heart, brain and soul—then give unto the world his message and vision of Beauty thfough music—for— “Life. said to the Artist, ‘Show my dream. That men may know me loftier than I seem. Not only kin and servitor of the clod, But the veiled Image and the Thought of God!” THE ETUDE What Is a Good Piano Hand? By Alice M. Steede We are all so accustomed to regarding the shape and size of the hand as of importance in pianoforte playing that it comes with somewhat of a shock to read that a “good hand” or a “bad hand” for the piano is mere jargon, and further, that “the hand,. fingers and thumb must be sufficiently large to stretch an octave, but after this is conceded the: rest is idle talk!” And this from no less an authority: than Tobias Matthay; | and yet, there is snitehy something to be said on the other side! All the great teachers—McDowell,.'Mason, Letschitszky, are agreed on the necessity of ldéoseness, and we all know that. some hands naturally have this quality in a higher degree than others.. The queston then arises, Which type of hand con- forms best to the requirements of piano playing? There is a popular belief that the possessor of an artistic hand is naturally endowed with exceptional mu- sical ability. Like most popular fallacies, there is a grain of truth in this. As a rule, we find such a hand joined to a mind of quick perceptions and sensitive- ness. But it has its defects; the arm behind it is gen- erally too light for good tone production, and the fingers are weak. The opposite type of hand is still more undesirable—a stiff, unyielding member, short- fingered and jointed solidly at the wrist, the flesh re- sembling leather more than anything else, and devoid of spring as a piece of wood! To our mind, the ideal hand is of medium size and fairly compact, but very loosely jointed at the knuckles and wrist. The stretch between the thumb and fifth finger may not be anything remarkable, but good stretch between the fingers themselves is necessary. . When it comes to playing full chords and rapid sixths, that is what counts, not the ability to strike tenths. The thtimb should be long and loose enough to touch the base of the fifth finger, otherwise rapid scale and arpeggio playing is impossible. Another point of great importance is the correla- tion between brain and fingers. In the trained musi- cian, as in the skilful surgeon, this connection should work with lightning rapidity, and without it artistic play- ing is impossible, A quick sense of touch is indispensable. The hand of D’Albert does not bear any striking resemblance to that of Paderewski, nor was Brahms’ hand formed on the model of Chopin’s, yet all these performers niust have had the same essentials—sensi- tive finger tips, muscles like rubber for flexibility, and steel for endurance, and that instant connection between brain and fingers which is necessary for the true ex pression of the musical ideas. Saving a Precious Half Hour By Mrs. Jerry Porter In these days of golden minutes the whole world is striving to save time. Here is a way in which al- most any piano student can clip off fifteen minutes or a half hour from the thread of time and add it to the practice period. Did it ever occur to you that the first fifteen minutes of practice, and often the first half hour, is devoted to “warming up” the fingers? This simply means getting a better circulation. Of course, it can be done at the keyboard, but at a waste of time, One famous pianist had a way of soaking his hands alternately in: baths of cold and then hot water in order to stimulate the circulation, before practicing. Massage with alcohol, or witch hazel is quicker and often more agreeable. The physiological effect of alcohol is to dry the perspiration of the hands, which many pianists are afflicted with. If you don’t have the alcohol handy, use cold water and a little salt. Wet the arm from the finger tips to the elbow, take some salt in the -hand and rub it briskly and gently up and down the arm and then wash off with cold water. The sensation following this is usually a peculiar exhilaration and one that makes one all the more eager for practice. It'really does away with much of the sluggishness that one has at the beginning of the practice period. “One should seek for discipline in ‘beets and not in the formulas of a decrepit philosophy, good only for the feeble; do not listen to any one’s counsels, except as you would to the passing wind, or as we would recount the history of the world. = CLa vee Desussy, or etiare < ———-
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Fage 643 OCTOBER 1918 / ROSE LEAVES SONG WITHOUT WORDS THE ETUDE Grade IV. and melodic charm. A refined drawing-room piece of originality HARRY PATTERSON HOPKINS I jr ‘aN el b_42288 Ie am 9 & a 4 Thy tl ky Lf i rl Al adits i il aa lh eh lA [, ud P ie 4) © = ef: u = - 3 N o Boo bos = eS S I os a 0) a +3 : <— * Cee ah bozah i aga a ee | val ! sisal] ae th ad 41! a FR we Gh OM ent Ciel ee ee a British Copyright Susi Copyright 1918 by Theo. Presser Co.
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OCTOBER 1918 Page 644 THE ETUDE MINUET IN ANCIENT STYLE WALTER ROLFE Gan GS GED us mameaiihQenanee? wes GD mS aus \ it A Fina 3 ~~ c ° , = OP <e | 2 a a : Z ‘ 5 : we aS ie ¢ TY aS bas2 THEO SRE ty i ‘
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Page 645 THE PIUDE OCTOBER 1918 YELLOW BUTTERFLIES | WALTZ A lively drawing-room waltz, not difficult to play but requiring nimble fingers. Grade III. MATILEE LOEB-EVANS Z = 144 Tempo di Valse M.M.@ NG Gh HaK in TR rica | ay bal ll ag « NJ »- 4 ovVAZIA con British Copyright seeured % From here go to the beginning and play to Fine, then play rere. Copyright 1917 by Theo. Presser Co.
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(FE ATUDE r s fi} Pie 2 A46 OCTOBER 1918 N ai ~ 4 A. E. WARRI SALUTE THE COLORS " MARCH SECONDO d ——_ a oe eee a ae British Copyright secured Lee iM eiar Jj hee a ty & | 1 : 1 a aN 1 a i N. [Te ie 28 af : hd | 1 | x h t z a | aa@ He Te it il S if we \ol T S . a | S L2H Is ‘a . ci iS) ; 7 2, N oe pane | ys GH vl ; =f atts le ah Py - 288 m (ery Rk il t rT u uy ul rh een aD To oh AT Atl : : hil ll WT v fe Fhe ij oN , Nall ie a | rd Lt | : a Bier -¢ pak rh a dy * - a : T (Sr #2 a TL al 3 . a & i TH 7 . 22 | | ah I atl = : all 4 ; 3 fe l Hl iit x 4 oe i i 2 | : plat 0 pul n 2 one ae - 5 Se Ty e al i - Js ei : \ th > g Se Nw we ~. Ve Hh i : a < S 2B : HE Ts : =o S / i 5 ae ; ine : ~ ee | + ng Mt Tae: i. = To : | HA a: | is : : ——- ‘ af : a be al feTh) ah on M sak onl Shy 5 Ne wee
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Page 649 OCTOBER 1918 THE ETUDE Alf tl aN (SU) A.E,WARREN 5 Se fil. SSE ie a Bae | _— ia aa i a a 2 4 6 ee ee a ee a = co = 8 fo Sh ORR SMS Se Uh Ta iE AR Hine + nee 5s ee ee ee ee ee eee ee EE A 0CO0 LTANGUIzLLO > P 2 _— —- Didipncatniiee ngeraniininniieeebeigces ll biekdweyneiiee Sausignialiaien ey — ah _. SE Oe SER Ce RO RY a , = o |reewrre! | | | Tl je A MAO Od OO EE OO me EES oe ES eS. OR ET Re na rare Se ie oe Ee et a ee Re ee ee Te ae ne ey ee er On ee one ar A > : ff eR Bp. OR OY ae A Se eet eee mesa ee a aw ty Seeenenaa mee . o- 5 WCPO eee Bee Eanes aaa nnananeeen sees eneeae ee ‘| gi Ee © ey =126 => gr 4 P ie " | SS Aer SS A LO ea @* @ @ ee Ge eee eee ee ee 2 @ oe & SALUTE THE COLORS MARCH | PRIMO toso M.M.e- ae —— 1 —] @ | @ lta BS. FC, AE A a 7 o-e— "RS... AE a * a le. OS Bh Sa BE 2 RS Ae Sl Te oe I Oe a ae" Ge ee ee ee ee ee ee” ee nn 4 Tah RA a oe i ¢ a. y SS OS a AE SE a AS ; 3 ~The aay M.A ee ee te 1S AZO GO aM IRS SoA ArT SE TN A: TR ROR ee. NS Es | ee 0 eee eee ee odi Marcia Spir ore RR a ON mp apm ha ree he oh ae 5 me id fh ARE BES WS RG EO” i . io ; : in} | sia)! (Goal) . : i. , : L HS a OO LB) ! rh 2 ng l = ‘ n ae ry lb | ie ! ‘ 7) te KE a) ey) tee Ne MY Bezakal Tet Mee bud bud —~ | LTT Qa
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THE ETUDE OCTOBER 1918 Page 648 SECONDO SA RA BANDE From Sixth Sonata for Violoncello in Dma Tey tee tae TT eee eT 2 T\ UOMO Ti ie 2 if | nl Ie NGS aes 2 i ga a : i. ‘ ), IA ) SECONDO Arr.by B.Tours an I y abe a : ? Si Hi Ht : \ N , ( | Tt) Cd I + Qu) ‘Jaa tu 1\H qtt@ fae Ree z A 41 a \ a] = Aa E it = (al SUL \ Hae “ape it. ll Tig th iM ni Lat Thi 4090 dolce BLL = WERE, nat Salt Si #, 4 II¢ i ¢ A @ allt a Loy Hl mall hie ein ltt bieaisace S + Tr it & ati} If a \ oll IDE! IO)|b as il S, Sp baie h CTW Ws” 4g oH meg A lu bode + ~Ccrese. poco creése. gull ll ae =72 Lento M.M.d wal Imposing and expressive. One of the most moving of Bach’s slow movements, a | a a al 8 shal il telh MI
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THE ETUDE | OCTOBER 1918 Page 649 OO Oe OO OS OOOO OS SF FF OO 6 8 8 8 8 8 ee OS SOS SS SSS SSS BSNS SSH HSS SASS SSK OSHSSSH HSC KRBEODAER SSBB EBVASESeneneaesaenanaauneacac 5 — 3 FES 2s S i i Pe SA WN Re a RS RSA. ok DS RO ee ee () Mh ii M FS eee ee eee eae eee nee teas eaewaes se Ama me EE A SARABANDE From Sixth Sonata for Violoncello in D major Arr. by B.Tours PRIMO J.S.BACH Lento M.M.d=72 ‘ . a ae ie ao ss Owe Cena eo ee | a I TE aie SRS SRE ©. A EE Ss a eee eee ee 2 ee eee ae ee 2, ite a iid Mab ea sao SO OP i OS BE Ae DRS SO Ra OR ES ee = ra“ | SJ @ @ a2 a4 - Ir @ ¢y Ad. Wie A) ERE i PR ee el OTROS ER A RIED SS OTS. nied COOP A Ae ee RE Fe A AR SRE SN ARERR OS 2 I ES PR WPS) OR RC ta: ae AE LR ER BRUNE Pi Zi eS OR ER sR Me 5 aS = ® iva) DH ~~, = i) 3 © Be ® a) i) = A .3* {POP ELAS NE ER Ge: ed. ho ook OO OE RR A RN Ge a Se Ree: Te YES ET! TE SR SY eet Me eet ¥ oC OO NR ke UN OE OS CE Gated oe Pat Wee A A RR RE SR oe aS CST Ta IIIS: OE GRY Meee BHT try Tl 6) PE? ES A Me i Le ee ee Oe ee eo a ee ee er 2 ee er ee Cy aI a A OU MR Oe hf RS Se OO LR i OO ek We Rt 4 - - - had [Oh 2 2 iL fa? 4 CRE . A RE A ee le a a eS ee ee Be Ss Oe ET OE UE FR TS MET VI: TS SE oT a A eee 2 | ee ee | 27 RE 5 Op e REEDS Sees — ae «S.A ee ee = ee eee 4 5 5 Fn ee GRRE, ite z fe PIN ARN Ae SE RIS TN SS A en OS 2 ee i RS aS A-—__-_@— o-oo ay Lidge > - > oe t) @ Af.) men AS IE | im ® o QR ie: TE Ce mess oo OEM Sass aks moe Ls aind otaaaie EE RG PS EP a SE Aa ae Ria SENS SE A eee Xe ee ce Ra Be as ss lh. Ae ae OO ee Ta SS @ eo... | gg @ (4° a2 ia @* | -* Fr @gia ” - @ fF «2 | - = Re RE a | ee ee a A) eS a ed A: A CN A Se Y ~ wae ee es ROR: a ee = Ca a ee | eee | | ree pe Ae
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Page 650 ‘OCTOBER 1918 MAY NIGHT NOCTU RNE A graceful and melodious lyric, well worth careful study. Grade IV. Andante M.M.¢-=54 r | e pr eating f ‘ 4 ‘ pot ——————— PE PORES OR try 7_D oo URS IA my ) * FERRARI So ee At emt Sete mf molto legato te 0b t-€ a ~ ; , es 4 7 _ aia [Pe al Rittidid | = eee yee —— en gata meee Copyright 1918 by Theo. Presser Co, THE ETUDE HERBERT RALPH WARD 3 4 | ave ke pape aterm erarenveits ria oo be ~ Ld \ [ee neem ae ooo ee sea ki | Hl British Copyright secured
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Page 665i OCTOBER 1915 ETUDE + THE A OOK A OE TL | | at BRU ED SEER ORES SE HERO So’. TE GO eR a ayy | ee SE 2 in St Bs RS —ei | ||tligetstt ws: as EERE Ber: @ . SR 30 @ cE 4 f ane ae S| | . . 2 2. 5 J 4 ; THE SWING IN THE ORCHARD For so easy a piece, more than usually interesting in harmonic treatment, Grade II. LESLIE W. ABBOTT a! “(el BEC Y : ie - “He - wt { o Mt N d.=54 $0 , Tempo di Valse m.M. TS rll “a i mt AEF © SN eee ee ll ee Oo yong i . : ae Copyright secured Copyright 1918 by Theo. Presser Cg,
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THE ETUDE ‘ OCTOBER 1918 SOUVENIR OF ITALY TARANTELLE | An interesting farante//a movement lying unusually well under the fingers. Grade III. > LEON P BRAUN T Hl gas “4 i a ot lees ; i il 4 . Vivace M.M.e. A arr ee bwin scherzo q ar ps No Til ae ARP lil |p i TO leggie Ht | e : British Copyright secured Copyright 1918 by Theo. Presser Co. Prom here go back to% and play to Fine, then play Trio.
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A | L. LESLIE LOTH British Copyright secured 5 S& WALTZING ON THE PIER A melodious ai movement affording excellent practice in the production of the singing tone in either hand. Grade II. PL ell | i7 basso marcato —}----——+}+---}+— SAY Ser) Ms eC See. —_—_ FP — Fes S Reet Rk Beebe tees SERRATE oS! Re 5 Tempo Copyright 1918 by Theo.Presser Co THE BTUDE bs ah ee eg et i el te i tl
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THE £LTUDE OCTOBER 1918 Page 654 NEATH SUNNY SKIES S SPANI A vigorous characteristic piece by a popular writer. Grade IV. H DANCE ES — es “uy CO (oa) So. © Z an fx) mG 2 C) . \w A A ool | Sit T | 66 LP ¢ ATP 4.--7-—~ 3 | | } Allegretto M.M.e. tranguillo I, a ‘ alle x Ta | A. ME A AA ee. 4 4A. ae. 6D 4 a * a2? baad = ua ~~,” emg hs a aT . British Copyright secured Copyright 1918 by Theo, Presser Co.
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/ H Page 655 aa met es we ee ee A Ms xh Hil aa aii NS P all bi=7 | a A ai al | SCOUTS’ RACE PLATON BROUNOFF y, in the minor key. Grade III A good teaching or recital piece, Ml [E¢¢ NR | ast t i" Np “7 ~ a 5 ie “Tt mall ii scherzando M.M. = 108 Allegretto be=z nee EN British Copyright secured Copyright 1918 by Theo. Presser Co.
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Page 656 OCTOBER 1918 THE ETUDE CHING LING THE CHINESE DOLL . 3 | From the set of pieces 7hre Doiis, dedicated to Miss. Josefa Hofmann daughter of the famous pianist, Grade ITS CONSTANTIN STERNBERG, Op. 116, No.3 ¢ THE POETIC IDEA Aims to express the shrill contrast between the oriental and the oc- cidental. The Chinese melody strikes us strangely because the Chinese scale has only five tones; what we call the Fourth and the Seventh of our major scale are missing in the scale of the Qhinamen. Ag they, consequently, have no harmony in our meaning of that word ,theac- t Special attention should be paid to the proper holding of double stemmed notes, such as occur in the left hand of measures |7to 23and in both hands of measures 41 to 46. In measures 17 to 21 the left hand ai, companiment is made here from the occidental scale while the melo- dy adheres strictly to the Chinese scale. The Waltz movement, begin- ning at measure 50 must display all the gracefulness of the Ameri- ean manner of dancing, in order to make the contrast as striking as possible. THE TECHNIC Should learn to put the 3d finger over the 4th and do it without a break in the legato. . NOTICE ‘When playing the piece for friends or in public, the player may speak the words ( supposedly spoken to the doll) and hold the chords of meas- Now, Ching Ling, it is your turn! Show me one of your Chinese dances. | do not know the music, So you sing the melody and I will play some sort of an accompani Ty ICT ‘ Copyright 1918 by Theo. Presser Co. | ure 49 and 81 until all the words are spoken.
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Page 657 2 , 3. = = aise ems SST Ree ee ae TR ORR RRs Bee OOTOBER 1918 way _ ' les =D oS COE CROs eT A aS | Le SE . a GR SEs mae FOOT A CO, ks De : i | [. ae : a , : Oh, Ching Ling, our way of oe evidently does not suit you; so, you better 7% your own Chinese way. Heit. MR ES UE PERE ee ae 0 ae ohm a Rene _ SAS RS RENE ee ot Ching Ling, let’s dance us American way 3 ng measures may be played either softly or loudly, though the soft ending forms a better conclusion because the contrast withthe preceding fortissimo is more effective. pti tk a a NE a THY mn ‘4 a) The two concludi THE ETUDE : i
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THE ETUDE OCTOBER 1918 — Page 658 MINUET IN D One of the smaller gems by Mozart, striking in its anticipation of the modern employment of certain dissonances. W.A.MOZ ART rade IV ‘ ; ; } | ; } ’ ’ i ‘Ht en | ’ t. ; 3 ) a Ht i | i : s 18 : G ‘ . “Si a “ae 8 ~~ 2 re ee 2 ee 2 14. ree CENA Tes i a I oS SE a } i ’ Later S| tee
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Page 659 OCTOBER 1918 THe ETUDE BY MOONLIGHT of the promising younger American composers. Grade III a a Boe ili HOMER GRUNN 3 1 io 4 British Copyright "secured a ee & He es ee ee BY REPO NS A ROS eee OS ae) SAE RE cai ag nit sane a : | i Nl [+4 es ee x ee LS SY A a a rds by one 72 d: song without 2 erato M.M ee ee Theo. Presser Co. d of © a = a = NS 12 Z i ‘ | = z z ap nd % = tiie fig, a> > 2 ‘9 7 cy) ey) Ry La Rand Ras b= 5
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Page 660 OCTOBER 1918 ; THE ETUDE LA REVE A playable revital piece with excellent opportunity for practice ‘in tone production. Moderato VIOLIN PIANO ER OR... ome _Y —- 8 en ee Pus © Nn Sea meme LC” NI DRE ROE Cc A a 2 ES ae ee a RE A a A A OE AH ES A On RE SF" A SS ERR UN A AS AOA SE GA et NE Be IR RN EE aaa a a oe aa oe @ . 0 “ee ee eee 0 Se ° OW nce: a ae et oe eee ee ee ee ee oe ee ge 7 Qo. ae ae re a a RE SE SURREY TR So" A ee SS eae Be > a 4a i ES a a v4 : alll ae ee _-7 iO” M02. _ 0067 EGP hes Rite AMC hE Pee .§ 2 eee Dud - | 8 RS ud! 7 SECRET GE a SS a I ee — Ls |}, ji ance a nal ns nan er oa rer SEs te Case ee, ~~ es 4 ee. O54 SRS “aT eT, we a i linsnasentinal eee Biany Copyright 1918 by Theo. Presser Co.
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; T] iM Mf aa & ov aN T tH}, eS aaes : i, x ‘ re = oe ¢ | lll rill ill q is . OF ie HHI th allt 5 ep le) | ) ft || i Ht > 85 Hint oe il or | re os ae > oe iil 5 eis Dr id A lisa, aT] ie S if ( lil | oh a nse 1 | | hy ie . 5 an +H ! eS ‘i Ge 3D i ( HP be ul ak ttt \ - “ fil. | g o + Tal lit ra 1 ( I a fx) 4 s () iH it > mr As ¥ li | YY SR + ahs pas 2 ‘ie | ag Tf ) ah a, 2 i | | i 2 ‘ il nf 7 e : > be an 8 TW \ > eae - : | i Cs) + = ry - = : : ; uR F —) bi a ‘S = i ° a . Aste) |_| ol 2 hile : “ft ae E be dd | Toe TL : = i, -s 2 | Ee ii ; Lx Ay g E e By 2 - NENG H S hh £ a eS " 11 , a = es ay es : Z ee EN) < 8 - o) Sen Oo . = Ps alot? Soe: SMa Saeed. RNS ca aa 2 ee
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THE ETUDE OCTOBER 1918 Page 662 Sle eae ay ft H, til. mt 3 |TTITS S|| liibat ie 8 OD % z = i ; bed Hiiiit a _ fl : so = liga wc mPa vA i &S lene 25, (if aly agi *\ ix x [ & Oo & FF ae ay" © site ; esti | HiL.o Z | it d i i iis He a it : and S 3 a3 5 ~S [ i % pe = HUE iz tcl i. i = s= sll ‘4 7, = | 2 | 23 F sii i “4 7 Ma ns G oO > ~ 58 ; ; il ii | | (ee o © Mane es ed = : . li +i {Th “3 So y iste} Nh 4h il Pa &D iF ey “rs : Is ] call ink ton = Hl; » | S iS — A ae, im ~ S O ass lle _ EA wet ie 28 || 78 S 8 + Se 2 : oo : Sans sthiieemll hints Sle iii ra S wi = a ofa -e “i 2 [eat > et Tren tt ) i | a £5 a bd " g ai | i hi ~ Bee i 3 3 T SgiHyesie . ti $ =e , tte) 38 23 ea oi il ih e ape Slike: e # es | 3 ~ Deeg Lm \Ht Tee ss aoa \ = = : > wo SS # Sef re A pommel AR? C2 OM | aA <a yatta = . n 2 re BE € a A wy Mee En) in rite a rr a Rana 4 ; <= o Ml | ; , N| Cro owe cs = 3 Te TAN _ tt cn ME sat Tse Der. oO
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Page 663 RALPH KINDER OCTOBER 1918 SWEETHEART, I’M DREAMING OF YOU & CHARLES W.H.BANCROFT THE ETUDE : ae q al i racdiantweeh ; Wea Ss Vey Le British Secrrsiath secued ’ im ee re - mem-ber the | i p ae ad btb, Gi im aria _Thrilled by the PRES ear-ly or ee heart ,W hile sweet-heart I’m dream-ing tempo ad 1b, ff a - wait c a ' om Te lametiiidtietaes cid © ’ The refrain of this taking song is the principal theme of Mr. Kinder’s successful number for organ or piano entitled A+ Evening. far oer betes: a ee oe oe ee Ls oer or ane Seer it REP TET I et ~~ RE Oh eet! | Ee ee _ Where you love fills my Now I am ’ a - glow. Thoughwere a-part, A in dreams there I Moderato espressivo love-light your dear eyes true; And oft’ if et . as2 A ae=7 ee OS ee a bo2 bud OO eee xe <3 TY iY THY 4 Ae Baden Copyright 1918 by Theo. Presser Co.
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Puge 664 OCTOBER 1918 THE ETUDE RGtitessi LWidul@etl DEVOTION Prepare: ) oh Dulciana and Soft 8ft Flute ~ | Ped: Bourdon coup. to Ch. | SIBLEY G. PEASE A very attractive slow movement, with opportunities for tasteful Ee atte. Andante M.M.@=72 : Pe ge Sw. Solo, soft string, Trem. a i — Se - aS ™’ Pet He ft pol SUS: CR See. A A he h. MANUAL C legato eo? PTo le! = SE CC EY RE ORE RE GS OE OTS RE RE GS eee aT fr —— ~~ Rae Sa’ TS a SO ss ee a ao A Al Oe es Se Ree SRA RR Se? RET NTE SES — A little faste dil tC 8 Ge. "A 3.4 eee ee TT athe ORE TI RP eer Sor GE Bs senza Fed. . wk } er o primo v4 rings, soft 8’ | Sw. Sw. both hands Po Eee f+ — aa a PRR a ee aemnee LRT NTS a SOS aE? FS -tsagseel senses] GEST My MNT ie ill { hil 7 Copyright 1918 by Theo. Presser Co.» | | British Copyright secured
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THE KTUDE In keeping with its policy of supporting The United States Government In all its aims during the Great War Through Employing the Force of Music IN THE HOME IN THE CAMPS IN THE TRENCHES The ETUDE will Inaugurate A Department of War Music LIBERTY SINGS ARMY SINGS NAVY SINGS This will not be a news department but an educational depart- ment indicating how music is playing a:vital part in HELPING TO WIN THE WAR HERE AND ABROAD Secretary of the Navy Daniels Recognizes the Value of Song “FINE! A beautiful idea!” exclaimed Secretary of the Navy Daniels when told of the Philadelphia North American’s siggestion “of setting apart a time each evening when the folk at home and the boys in the trenches and the boys at sea and in camps shall sing patriotic songs. “It may be sentiment, but it is beauti- ful sentiment. It is sentiment that moves the world; not money, but sentiment; and it is sentiment that will aid us win this war. Yes; it is a beautiful idea. We now have as much singing as possible in the navy, and I think it fine that those at home should sing each day in honor of their boys.” Apropos of this same subject, we qucte one of the human interest stories of our ~ boys in France which are coming back through the American Red Cross can- teen workers, who are women: “One day a big, strapping young Amer- ican came into our canteen,” said Mrs. Jean Hull to a crowd of workers in a Red Cross surgical dressing room, “and I saw at once that he was just about ready to cry he was so homesick. What is Tue following excellent description of a “Chanty” is taken from notes printed in connection with Percy Grainger’s piano setting of the old Sea Chanty, One More Day, My John. The chanty is the sailor’s work-song. lm the latter years, when sailing vessels came to be so largely supplanted by steamships, and when even the “‘wind- jammer” came to have its donkey engine, there was less need for song as an aid to the heaving in of a heavy anchor, or the setting of sails, but in the old days of packet ships the chanty had a deal to do with the making of a first-class mer- chant seaman. It put life into him, made him forget bad. food, ill treatment, sore muscles, cold, and all the discomforts of vile weather; and every shipmaster then considered a first-rate chanty man (to lead in the singing of these work songs) the equivalent of four men in a watch. Whether rollicking or mournful, the chanty is always melodious—is a song of the past and a song for all time, the real folk-music of the sea. Frequently the chanty was made up of many stanzas or couplets, to be sung by the chanty man, with a refrain, repeated at the end of each stanza, sung by all hands. The present example, apparently, belongs in another class where the song “Cheering up the homesick boys is a leading part of our duties in the can- teen. So I jollied him along and finally asked him what was the matter.” “I wish I could hear my sister play the piano,” he blurted out. “Here was this boy who, under fire, would take any risk, all but floored by a longing for his sister, probably the only close relative he had. I took him by the arm and marched him over to the piano in the canteen. “We can’t bring your sister, but here is a woman who can play the piano to beat the band, and if you are hungry for music take your fill,” I said. “Pretty soon the canteen was filled with soldiers who gathered around the piano, and in 15 minutes that boy had forgotten his homesickness and when he left he was in high spirits. We know that General Pershing considers this phase of Red Cross work highly important in sustain- ing what soldiers call the ‘morale’ of an army.” a Chanty consists simply in a brief chorus, to be lined out first by the chanty man and then sung in unison. The following are its words: One more day, my John, one more day; O, rock me and roll me over, one more day. Mr.,. Grainger notes. on the printed score, that this chanty is “from the col- lection of Charles Rosher, F. R. G. S., painter, author, and collector of sea chanties,’ that it was noted down from his singing of it in London in 1906, and that, “here in the form of a Preliminary Canter for piano (short rambling pre- lude before starting off to play’), it was set in the Fall of 1915 in New York City. And he adds in a footnote: “I find it hard to make up my mind as to how far such chanties are of Brit- ish, American, or negro origin. Maybe various influences are blended in them. It will be seen that the tail-piece is a free addition of my own,’as well as sev- eral twiddles.”—P. A. G. All who have heard other folk-music settings by Percy Grainger do not need to be told that here is something both novel and highly individualistic. He has interpreted it with a keen appreciation of this chanty’s haunting melodiousness and with a fine feeling of artistic sincerity. HNC NE \\ wy CNA | AA | { AK Nav \ | il Al} LAA PTO SL IL Lee ULL PUT et en TEE 2 OCTOBER 1918 y ed < \ i —= = = / MTN ap f S emmaeatil lll Gen Sens ae MENS a j PL LLAZ LIS wy & This useful and handsomely encased tape measure will be mailed to you upon request KRANICH & BACH, 235 East 23d St., New York _Established 1864 Chicago: 235 So. Wabash Ave. Sai AANA OTS MSHI SHM MIS USIP LUIS ULL PLLA LLL Lobo be Harmony Book for Beginners | By PRESTON WARE OREM Price $1.00 Brief, Simple, Vital, Practical, New and Distinctive | Read this letter from JOHN PHILIP SOUSA, Famous Composer and Conductor: The system adopted in your Harmony Book is admirably adapted for the ‘student who requires an instruction book that is “as plain as a pike.”’ is so lucid that he ‘‘ who runs may read’”’—a decided virtue in any text book. I congratulate you on your work and commend it to the student of harmony. THEO. PRESSER CO. sift M“s'¢, PHILADELPHIA, PA. MMs sss sm SSI sis sn sr aoe YOU HAVE A BEAUTIFUL FACE BUT YOUR NOSE! In this day and age attention to your appearance is an absolute necessity if you expect to make the most out of life. Not only ,should you wish to appear as attractive as possible for your own self-satisfaction, which is @ alone well worth your efforts, but you will find the world in general judging you greatly, if not wholly, by your ‘‘looks,”’ therefore it pays to “look your best” at all times. ‘Permit no one to see you looking otherwise} it will injure your welfare! Upon the impression you constantly make rests the failure or success of your life—which is to be your ultimate destiny? My new Nose-Shaper ““TRapos” (Model 24) corrects now ill-shaped noses without operation quickly, safely and permanently. Is pleasant and does not interfere with one’s daily occupation, being worn at night. W rite today for free booklet, which tells you how to correct I[ll-Shaped Noses without cost if not satisfactory. M. TRILETY, Face Specialist, 872 Ackerman Bldg., Binghamton, N. Y. Please mention THE ETUDE when addressing our advertisers. sill i The text Page 665 Hi ec Ae MVNA tt | | \ AAA | LCA } ! } | | ! (NN il ACA MN } ANI | i i= Lays a strong foundation for future musicianship by giving the main essentials of the subject in such simple, understandable and interesting manner that it will prove invaluable in the class or for self-help work. Miiieiisiisi i siirsn nen misnn iment
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Page 666 OCTOBER 1918 i “Song Brings Some A HALF CENTURY ago, when I was a student in Italy, the old traditions of voice production still prevailed. Laryn- gologists had not yet invaded the realm of art, and nothing was known of the actual mechanism of voice. Effects, not causes, were the object of the teachers of the day. Voice was regarded by them as so much homogeneous sound to be sub- mitted to the- ear for both guidance and judgment. The famous old Italian masters of cen- turies ago, from whom the traditions of perfect voice production had been handed down, for the most part orally, from generation to generation, founded their ideas of the vocal action on the different sensations noted by them in the emission of the various qualities of tone. But few attempts had been made to formulate in writing any system of voice training, and such attempts as were made by Tosi and Mancini are most amusing in their in- genuousness of expression. New Candidates These old masters tested a new can-. didate for instruction in much the same way as one would look at a horse des- tined for the race course before betting on him. They looked in his mouth to see if his teeth were well formed and evenly set, as otherwise, articulation would be imperfect; they tested the strength of his chest, muscles, the ca- pacity of his lungs; and last, not least, they considered his personal appearance ; if they found nothing that was attractive, interesting or artistic therein, they would none of him! This custom still held in a modified form when I commenced my studies in Milan. The teacher’s dictum as, “If your health is good, if you have a natural voice and a sensitive ear, with diligent practice we can—in time—make a singer of you. . Without these require- ments it is useless for you to waste your time in trying to sing!” What a different story we have to tell to-day. If one has no voice the teacher undertakes to “build it.” If his produc- tion is bad he is taught to “place” his tones—to direct them toward some par- ticular part of his anatomy, to form each vowel carefully in his mouth and to gain firm control of his breathing muscles. Mental training of sound per- ception through example, imitation and practice has been practically abandoned. It is now considered advisable to show students, by mean; of charts and of pho- tographed plates, exactly how many over- tones are produced in singing the dif- ferent vowels, or in using one partic- ular mechanism of tone production rather than another, instead of giving them oral illustrations of two different kinds of sound—one more beautiful and more ef- fective than another, as did those old masters, who had never even dreamed of seeing the photograph of a vocal tone, and who did not deem it of any consequence to the singer or speaker to know just how nature attended to its own business. Department for Voice and Vocal Teachers Edited for October by CLARA KATHLEEN ROGERS of Itself a Cheerfulness That Wakes the Heart to Joy.’ THE ETUDE 0.8.9.8. Ba% Oa Me taPabe's ange atatetetetetaterprerererens ”. olen etetete® ©” Matetetecene’ ~ eceny seetetetetet sete! ‘ ’"— EURIPIDES. Personal Experiences in Quest of the Right Tone Production By Clara Kathleen Rogers (Clara Doria) We may pity the ignorance of these old masters—we may deprecate their lack of any “scientific basis” for the instructions they gave—but that does not alter the fact that ihere were great singers in those days—not a few, but many—the like of which we have never since heard. This fact is beyond doubt, to judge both from the description of those who re- member hearing in their prime Pasta, Malibran Grisi, Rubini, Tamburini, La Blache, Alboni, Perciani, Mario, Don- zelli, and other fine singers of lesser renown; also, to see the music that was written for them to sing. I -am, of course, considering these purely as vocal- ists and not as dramatic singers. These singers must have had such power of expression in their voices alone that dra- matic action, when it was either nil or of the clumsiest description, became to their auditors a matter of little moment. San Giovanni, my teacher in Milan, who was for many years, in his early youth, “repetiteur” to the great Alboni, described to me the thrilling effect on him of the mere tones of her voice, even when she was only practicing exercises. 1 also remember his telling me how he found himself with tears rolling down his cheeks as he sat in the anti-chamber while a singer named Sannazari was tak- ing her lesson in vocalizing—so over- come was he by the pathos expressed in her voice. He also described the tenor Rubini as melting the hearts of his audi- ence with the intense expressiveness of his voice in Spirto Gentil while his hands were absent-mindedly employed in pol- ishing the buckle of his belt. Such anec- dotes—and there were many more of them—awakened in me the firm belief that in the human voice itself there must exist latent power to express the whole gamut of emotions, and to arouse in others a sense of these emotions in all their depth and intensity. The great orators of ancient Greece and Rome must, according to tradition, have possessed this power of stirring the emotions by virtue of the mere intonation of voice which conveyed their message from soul to soul; a message of which language—in all its richness of eloquence —was only the messenger. How was this accomplished? While the training of the voice in speech was by the ancient Greeks con- sidered one of the most important fac- tors in education, so much so that three separate teachers, each one a specialist, were employed to instruct their young patricians in the art of beautiful speech, this same instruction, so effective in its results, was not on a “scientific basis,” as commonly understood to-day. It was, however, pre-eminently scientific in the highest sense of the word, that of ascer- tained truth or facts. The facts of voice production were by those ancients based on the results of certain practices, which gradually became welded into a system. The system being found to work, it was accepted and maintained. I hold this to be a firmer “scientific basis” for voice training than one founded on a series of physiological facts concerning the vocal action, ascertained under unnatural con- ditions and divorced from the dominating fact of volition backed by the artistic per- ception which prompts it. The above reflections, however, were mot made by me at that time. Far from it 1 was, on the contrary, passionately seeking for some positive knowledge of how singing was done; what its actual processes were, and-how far one could obtain control over the parts employed? Possessed by the determination to find the clue to this problem, I became an am- bulating note of interrogation. Every distinguished singer that crossed my path was pressed into service and victimized by my questionings: “How do. you pro- duce such and such a quality of sound?” “How do you sing such long sustained phrases without exhaustion of breath?” “How is it that when you sing you seem Clara: Kathleen Rogers (Clara Doria) Clara Kathleen Rogers, who edits the vocal depart- ment of THe Erupe this month, is one of the most suc- She is one of the most cessful writers upon the voice. experienced and musicianly singers of her. sex. father, John Barnett, was known as “the father of Eng- lish Opera,’ and was a second cousin of Meyerbeer. He was a singer all his youth. As a composer and a direc- His opera, “The produced:-in 1834, was described as He was a much be- loved singing master who wrote successfully upon the His daughter was trained in music from her in- fancy. At Leipsic she studied with Moscheles, Plaidy, Papperitz, Richter, David, Rietz and Goetz. She made her début im later coming to America with tor he had great fame in hts time. Mountain Sylphe,”’ the first English opera‘since Arne. voice. she studied with Sangiovannt. Italy as “Clara Doria,” Her At Milan the Parepa Rosa Opera Company and singing in. ail the large cities of the East. singing teachers. She then settled in Boston where she became one of She is the author of “The Philosophy of Singing,” “Eng- the leading lish Diction in Song and Speech,’ “My Voice and I” and “The Votce in Speech,’ books which have enjoyed great populanty and won her the praise of the most exacting critics. to be speaking as freely as though you were not at the same time emitting an independent volume of tone?” But none of them could tell me how they did it. Their answer was invariably “It came with practice.” Adeline Patti, once, on being asked what her sensations were in singing, replied after some deliberation, “It is all here and here,” pointing first to her chest and then to her head. That was as far as her knowledge of the vocal action went! But yet Adeiine Patti could sing ! She was, however, inooeatty describ- ing the actual basic facts of unobstructed tone production, namely, the lung action in its relation to the vocal cords in phonation, which constitutes the funda- mental element of voice, and the accom- panying sensations engendered by the free play of the complementary souad waves in the resonating spaces of the head. Garcia’s Laryngoscope When Manuel Garcia (about 1854): had perfected the laryngoscupe and the stub- born prejudice against any new dispensa- tion—by no means confined to the days of Copernicus and Galileo—was over- come, mainly through the illuminating demonstrations of Turch and Czormak, in Vienna, who were the first to recognize the practical value of the instrument, — both physicians and teachers of elocution and singing seized upon it with avidity. The result was that books on the physiol- ogical processes of voice production sprung up like mushrooms in all parts of Europe. With what eagerness I pos- sessed myself of their contents it would be difficult to describe! It+seemed that, at last, I was about to discover the “Open Sesame” to that Holy of Holies in the humzn voice which had so long been my passionate quest! I read greedily every- thing that I could get hold of relating to the functioning of the vocal organs. I studied pictures of insected larynges; of photographs of the throat in differént modes of phonation, until I seemed to have assimilated all that had been re- vealed of their intricacies. The study of these physiological revelations was un- speakably interesting to me. Hitherto, the throat and all that therein is had been to me a sealed mystery—as far from my thoughts as is the ore concealed in the bosom of Mother Earth distant from the currency in daily use. I could now picture to myself each separate action in- volved in voice production. I could pic- ture my approximated vocal cords yield- ing to the air pressure from below, and the different degrees of ‘tension in the cords producing the different pitches of tone. I even imagined that I could dis- tinguish between the primary vibrations of the vocal cords and the secondary vibrations of the column of air passing between them. The cricoids, the thyroid, the arytenoid, cartilages, the ventricles, the false cords, the epiglottis, the hyoid, the fauces, the naso pharynx, the soft
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THE ETUDE palate, the uvula,—all of these became living entities that engaged my attention. I practiced certain prescribed throat gym- ° nastics until I had obtained perfect con- trol over my tongue, my soft palate, and my uvula, which I could cause to entirely disappear into the body of my soft palate. And what was the outcome of all this newly-acquired knowledge and of all these exercises? Had my voice im- proved? Was I drawing nearer to my Holy of Hobhies? Not at all! The fur- ther I went on my newly-chosen road the further I seemed to stray from my goal. I was lost in a veritable labyrinth of mechanism. In the past I had been _ guided by a keen and highly developed sense of the different qualities of tone, but now, my mind was so taken up with the processes by which those sounds were produced that there was no place in it for any vivid conception of the tone itself. I began to realize that the spon- taneity which had always characterized my singing had given place to a deliber- ation which was robbing it of all charm. Other singers whose ill fortune it was to be studying with me during that transi- tion period showed plainly the same symptoms. Innumerable Methods Meanwhile, innumerable “methods” for voice training on “scientific principles” were projected into the musical world by earnest investigators in the field of vocal physiology. To these I turned, hopefully expectant of finding some definite work- ing system deduced from the known phys- iological facts. And what did I find? To my great disappointment and confusion 1 found that no two groups of these writ- ers were in agreement as to the essen- tials of good tone production. Let us take, for instance, the diametrically oppo- site instructions of Messrs. Browne and Benke to those of Dr. Holbrook Curtis. 1. Messrs. Browne and Benke urge that tone be initiated in the glottis by pressure of breath against the approxi- mated vocal cords. Dr. Holbrook Curtis says that the cords should not come to- gether, and that the attack of tone should be in the lips—in the pharyngeal passage —anywhere but on the vocal cords. 2. According to Messrs. Browne and Benke, the soft palate must rise in tone production; Dr. Curtis says it must be lowered. He also says that the thyroid should remain fixed during phonation, while Messrs. Browne and Benke show that the thyroid changes its position in the throat not only with the rising and lowering of pitch but also in the forma- tion of every vowel. 3. According to Dr. Curtis, Charles Lunn and a number of others the high, fixed chest method of breathing is best for singers, while Messrs. Browne and Benke approve “abdominal breath- ing” alike for singers and all other pur- poses. | It will readily be understood that the more vocal treatises I read the more ut- terly discouraged and confused I became by the veritable Babel of conflicting opin- ions set forth by both throat specialists and teachers. At last I set aside all of these theories and began to,try some well systematrzed experiments on my own account—not with instruments of inanimate matter, nor yet with a laryngoscopic mirror, but, instead, on living instruments impelled by the mental motor. A large class of stu- dents afforded me ample opportunity for these tests. I proceeded, however, with caution and discrimination. Moreover, being myself a singer, I could “try them on the dog!” These tests forced me to the final con- clusion that scientific research. as applied to the vocal instrument, is of little or no use to the student in an Art sense. All the facts ascertained by ingenious devices, such as the Laryngo-stroboscope, per- fected by Oecertel about 1895, which shows the intrinsic movements of the vocal cords and registers their rate of vibration; or the instrument invented by Prof. Konig, with which, by means of manometric flames, the different pitches of vowels spoken into a connecting fun- nel are seen to give their distinctive rib- bons of light, the different overtones of each vowel also being shown. While they are intensely interesting as a revelation of physical law and order, they cannot afford the singer any practical help in singing because he has no direct control over the parts of his organ engaged in producing these effects. When he sings he does not and cannot know what is actually happening within. He can only guess at it—he has no real test but the sound he makes. If the sound of his voice be beautiful, he may justly infer that its mechanism has accorded with the physical laws ascertained by those in- struments, but nothing more. He has no proof, whatever that the mechanical ac- tions of his voice were not entirely dif- ferent from those observed in the me- chanical instrument. In other words, the singer only knows what he hears—that which has actually taken place inside is purely a matter of supposition based on some theory! Could a ray of light be so projected from outside that the entire co-ordinated process of singing could be observed without introducing any foreign object into the throat, then, and only then, could we know what is actually taking place inside when the vocal tone is well bal- anced and beautiful, and what is wrong with its mechanical action when it is un- certain or ugly. But even if all this could. be made plain to us it would not help us singers to mend our ways any more than it could help a pianist to study the action of the hammers and dampers on the strings of his instrument. The one fact to which we must con- stantly return is that the physical me- chanism of voice can only be stirred into coordinate action by the intention of the singer directed to the sound he is to hear, —in other words, that the perfect action of voice can only be controlled indirectly by persistently demanding a_ perfectly balanced sound. We may add that the physiological facts of the vocal action alone are not only of no use to the struggling student but that they are, on the contrary, inherently misleading in that they are divorced from both Con- ception and Volition, which are the domi- nating forces in tone production as in every other physical action. Science Lies Concealed Far be it from me, however, to belittle the achievements of scientific investiga- tors or the great usefulness of the knowl- edge obtained from them, especially to teachers, but what I do maintain is that science is not the road to Art, but its goal. I hold that in every Art-expression, science lies concealed in a fold of its wings,—that it is the offspring of Art, born of its maturity, bone of its bone, flesh of its flesh, but that it is neither the creator nor the parent of Art,—that, therefore, in trying to reach Art by the road of Science we are going astray. Perfection in Art is reached by following closely an Ideal conception of our own,—an ideal which we feel to be attainable. Possessed by the ardent desire to realize our ideal, there is always a subconscious leading which never errs in pointing the way. The undaunted confidence, patience and determination which go hand in hand with this aspiration accomplish the rest. It ic very simple, this way of Art. 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Page 668 OCTOBER 1918 Schomacker Style F The quality of its tone enraptures the heart as its beauty of construction de- lights the eye. Schomacker Piano Co. Established 1838 Philadelphia, Pa. D. A. CLIPPINGER Author of The Head Voice and Other Problems, Price $1.09 Systematic Voice Training, Price $1.00 Prepares singers for all branches of professional work 617-618 Kimball Hall CHICAGO, ILL. Our Most Popular Ballad! MOTHER MY DEAR By BRYCESON TREHARNE High in F Low in D VICTOR RECORD 64765 COLUMBIA RECORD A2554 Sung by Evan Williams, Charles Harrison, Mabel Riegel- man, Mme. Heartt-Dreyfus, Dan Beddoe, Leon Rice, William Simmons, G. ‘Haydn Jones, ‘Galvin Coxe, ete. Send for free thematics and catalog (Selections sent on approval) Harold Flammer, Publisher ,New York City 56 West 45th Street the KINGS’ New, soul-stirring, patriotic songs recently written and . published by John Harvey Al- ‘Jeman. Just the thing to stir up enthusiasm in. mass meet- ings, patriotic exercises, choral societies, and religious gather- ings or Sunday School. ‘‘The Passing of the Kings’’ the song for which the book is named, has ali the qualities to make it the new anthem of the budding World Democracy. Book also includes ‘‘America,”’ ‘“‘Star Spangled Banner,’”’ and six other national patri- otie airs, words and music. Send 35c (stamps or coin) for single copy. $3.50 a dozen copies. Only a limited first edition. Don’t fail to get YOUR copy. Publisher, J. WH. ALLEMAN 185 South Wells Street, Chicago Beautifully Curly, Wavy Hair Like “Nature’s Own” Try the new way—the Sil- merine way— lend you'll never r again use the ruinous heated iron. The curliness will appear altogether natural. Liquid Silmerine is applied at night with a clean tooth brush. Is neither sticky nor greasy. Perfectly harmless. Serves also as a splendid dressing for the hair. Directions with bottle. At your druggist's. A Wholesome, Cleansing, Your Refreshing and Healing Lotion— Murine for Red- ness, Soreness, Granula- yes tion, Itching and Burning of the Eyes or Eyelids; ™ A After the Movies, Motoring or Golf will win your confidence. Ask Your Druggist _for Murine when your Eyes Need Care. M-13 Murine Eye Remedy Co., Chicago - Please mention THE ETUDE when addressing our advertisers. deflected from it by entering into the in- tricate byways indicated by science. I am constantly asked by my pupils, “What are we to do to get a good tone?” “Shall I keep my tongue flat?” “Shall I bring my tone forward ?—direct it to the head?” and so forth. My answer is, “Do none of these things. Take no heed of your throat. Do not attempt either to place or to direct your tone. Your only concern is, what particular kind of sound you wish to hear. Put your mind on that, and leave your body to satisfy your de- mand in its own best way. In that way you set your body free; in any other way you cause restraint and produce an un- natural tension which will beget a qual- ity of tone that you do not want.” At this.reply they shake their heads, as much as to say, “That advice is not the kind I want.” Where and How? It is a lamentable fact that the modern student always wants to know where and how, instead of what. They are so pos- sessed with the notion that their business is with Cause and not with /ffect that it is difficult, if not hopeless, to draw their attention to the conception of a sound which will be given to them by auto- matic processes, although it is actually on that conception that the codrdinate functioning of voice depends, It is true that the power to conceive tone that is beautiful is only natural to those who are inherently musical, but the faculty of imitation is shared by all in some degree, and in repeatedly imitating the perfected tone of the teacher or of some other singer the ear of the student becomes gradually familiar enough with it to conceive such tone independently, I may not leave this subject without some definite summary of my final con- clusions about voice production, and of the characteristics\ of voice in its per- fected state. 1. Voice is perfect when there is dy- namic balance between the fundamental tone (glottal vibrations) and the ac- companying head resonance. 2. This balance is not achieved when the attention of the. speaker or singer is directed to either the vibratory process or to the resonance spaces. 3. It is achieved when volition is in- fused into the conception of the vocal sound itself. 4. Both the stimulus and the agency of this voice conception are obtained through the auditory faculty alone. 5. The responsive action of the parts appointed for vocal expression is auto- A Word of Warning AN experience not at all uncommon to teachers is that a quite untutored singer when she enters the studio for the first time reveals the interesting fact that she has a naturally perfect tone production. In such cases, however, perfection mostly stops short somewhere. There is nearly always a “heel of Achilles’—a limitation of some kind—a grave difficulty to be overcome, which points to the necessity of learning to sing. When the process of learning com- mences, however, it always results for the time being in loss of the spontaneity which constituted the chief charm of the singer. It now remains to be seen whether the young aspirant has artistic sense enough—and above all, character RHYTHM is a skeleton, which (like fire) is a good servant, but a bad master. If one sings. in such a way as to reveal the skeleton, in other words to suggest the rhythmical exactions, the singer is the servant. If one conquers rhythm so conclusively that the skeleton is imper- ceivable, the singer is the master, Rhythm matic:—these parts act together coordi- nately as the singer wills to hear his voice give one kind of sound or another. 6. The sound he conceives is the sound he will hear provided the fundamental vibrations of the vocal cords be* not de- flected from their natural direction to- wards the resonator by muscular inter- ference above the larynx. 7. There will be no muscular inter fer- ence if this physical instrument, as a whole, has been rendered fit toe produce sound as he conceives it. 8. The fitness of his instrument con- sists in ‘being both normally healthy in all its parts, and sufficiently pliable to perform all of the nimble actions required for the constant changes in the adjust- ment of the various parts to suit the de- mands of the alternating actions of artic- ulating and vocalizing which occur in every word, either spoken or sung. If, then, the student be not physically handicapped, the direction of his effort is reduced to just two essentials: 1. To acquire the greatest possible de- eree of flexibility of all the parts em- ployed, in order that they may be able to respond immediately to any and every demand’ made on them, 2. To know what kind of sound to re- quire. If he does not know intuitively the sound of voice when it is well balanced and therefore beautiful, as do those who are naturally endowed with the “musical sense,” he must develop his sound percep- tion by observing the different qualities in the various voices he hears, and by an- alyzing mentally in what their beauty or ugliness consists. He should listen crit- ically to his own voice, as well as to the voices of others. He should experiment with it by postulating mentally various qualities of tone until he decides which way he wontld like his voice to sound. When his choice of sound is definitely established, that choice becomes his law. He must now work for the maintenance of that law. New and Good Habits With the already acquired flexibility of his vocal instrument, he will find that new and good habits are easily formed, and with the ready and efficient response of his vocal*instrument new vistas will open. The untrodden fields of expression and of interpretation will allure him, The voice which has hitherto been all in all to him will now be relegated to the office of a messenger and his attention will hence- forward be vested in his message. and Encouragement enough, to go. through the different phases of. mental confusion and painful discouragement which lie between her first glimpse of an Art Paradise and the attainment thereof through conquest. That first instinctive expression in sound which welled up—fresh and unconscious from the child nature of Art must first perish that it may be born again into lasting life. And this rebirth has its con- ception, its labor-pains and its dangers, without which it cannot come into exist- ence. But let the singer remain un- daunted—firm in faith, confident in the power to reach the promised goal, and work on bravely and persistently. It is worth it!—C. K. R. is altogether and exclusively a thing of the spirit. It has neither length, breadth or thickness, height or depth, heat or cold, youth or age, not even accent. It has not length, but it measures length; it has not accent, but it dominates accent. It is at once the most exacting and the most elastic thing in art. THE ETUDE in 7 ry Jar Chere is Beauty 50e and $1 see Ingvam's Milkweed Cream Keep the bloom and softness of aim 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. No other emollient will give you the same result. Since 1885 used by women of refine- ment the world over. Use it daily. “Tust to show the proper glow” use Ingram’s Rouge. Perfumed with exquisite delicacy. Safe. Comes in solid cake. No porcelain. Three perfect shades. 50c. Send us -a dime for our Guest Room Package con- taining Ingram's Face Powder and Rouge in novel purse packets, and Milkweed Cream, Zodenta Tooth Powder, and Perfume'in Guest Room otb6) Frederick F. Ingram Company Windsor, Ont. 43 Tenth St., Detroit, Mich. HA War, Competition, Higher Standards, make it imperative that a’ert and sensib’e musicians apply intense effort and more efficient methods to the conduct of their business. THE BAILHE BUSINESS RECORD BOOK FOR MUSIC TEACHERS WILL Schedule Your Pupils. 8. . Record Their Lessons. 9. 1. How to Collect Your Bills- 2 8. Post Debits and Payments. 4 Help You to Make Good; Musically and Financially- Give Daily, Monthly and Yc arly Re port of Your Business, made necessary by your Ineceme Tax Re- port to the Government. . List Your Prospects 10, 5. Index Your Teac hing Ma- terial. 6. Inerease Your Classes. 7. Show You How to Advertise. No bookkeping knowledge necessary. Indorsed byleading musicians. Price $3.50, postage prepaid. Money refunded if not entirely satisfactory. Send orders to Ft. Wayne Printing Company : Ft.Wayne, Ind. Your Music Is Torn! It will Take One Minute to Repair it by Using Multum-in-Parvo Binding Tape 5-yard roll of white linen or 10-yard roll of paper, 25 cents each, postpaid. Transparent Adhesive Mending Tissue 10 cents per package If your music dealer does not carry it, send to » Theo. Presser Co., Philadelphia, Pa. OR Multum-in-Parvo Binder Co. 624 Arch Street Philadelphia, Pa. THE SLIDING MUSIC RULER (SELF INSTRUCTOR) A musical device endorsed by prominent musicians. Maestro -Trucco’s Studio 329-331 Amsterdam Ave. - - - New York Free description on request. PARKER’S HAIR BALSAM A toilet preparation of merit. Helps to eradicate dandruff. For Restoring Color and Beauty to Gray and Faded Hair. 60c. and $1.00 at druggists. CLASS RINGS AND PINS Let us design your class or club .rings, pins and gold and ’ silver medals. Sketches and samples free on request. It will pay you to deal with us direct. THE COLLEGE SHOPS Mfg. Jewelers Attleboro, Mass. Arranging and Correction of Mss. A SPECIALTY A. W. BORST, Presser Bldg., Phila., Pa. Pianoforte and Church Music Please mention THE ETUDE when addressing ou advertisers. Composer of Cantatas, Songs,
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THE ETUDE A STAR Performer For Public Speakers, Singers etc. Relieves dryness in % the throat and keeps the voice clear. Carry Luden’s with you always. Lock for familiar Luden yellow, sanitary package. ‘Wm. H, Luden, Reading, Pa, LUDENS MENTHOL COUGH DROPS Dear Madam: Your copy of our Fall and Winter Magazine of Fashions is now ready. It is the most unique Fashion Book of its kind published in America and there is no charge. .Send for it at once. Yours truly, Newcomb-Endicott Company. Detroit, Mich. STUDY HARMONY and COMPOSITION by MAIL under the person: instruction of Dr. Alfred Wooler, winner of [nterna tional anthem competition, 19LI 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, Simplified Shorthan Learn in 5 evenings home es H = 0 . Approved ures, meetings + business; aid in your career. Used % in Army, Navy, courts, commercial schools: by public and private ste- nographers, teachers. Slichtcost. For busy people, in cluding YOU. Proof Lessons, Guarantee and Bro- & chure with testimonials free, postpaid. Address KING INSTITUTE, EA-147, Station F, NEW YORK Skin Smooth, Firm, Fresh — Youthful Looking To dispel the tell-tale lines of age, illness or worry—to Over- come flabbiness and improve facial contour—there is nothing quite so good as plain Powdered SAXOLITE Effective for wrinkles, crowsfeet, enlarged pores, etc., because it 4 “*tightens’’ and tones the skin and : — underlying tissue. No harm to ten- derest skin. Get an ounce package, follow the simple directions—see what just one appli- eation will do. Sold at all drug stores. Please mention THE ETUDE when addressing our advertisers. Keeps Musical Questions Answered No questions will be answered when this Always send your full name and address, has 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. What is the meaning of the strange characters on the staff just at the close of the first study (from Clementi) in Book VIII of the “Standard Graded Course’ ?—Curious, A. The last note in the right hand is a breve, a long note equal to two whole notes. The chord in the left hand is composed of dotted breves, equal to three whole notes in value, It was rather an affectation for Clementi te use notes of this form, as they were already nearly obsolete as far back as his day. The usual modern form of notation would be :— D) } a Q. Is there any specified number of meas- ures for a waltz?—E, G,. C. A, Generally speaking, yes. The waltz is composed of groups of eight, sixteen or thirty-two measures, The waltzes of Chopin follow quite different form from those of the popular waltzes of to-day or even the waltzes of the Strauss type. The Strauss waltzes were really groups of sets of waltzes. The Chopin waltz often employs no more than three set themes and sometimes only two. In the earlier forms of waltz there were usu- ally only two sections of eight measures each. Irregularity in the groups of measures is now found in waltzes of the concert type. (. Have any of the famous musicians been famed for their public performance upon more than one instrument ?—VERSATILE, A, Beethoven was capable of playing both the violin and the piano and Bach likewise. Mozart was so good a ‘violinist that his father expressed great regret at his giving it up. Handel played the oboe and was very fond of that instrument. Many of the mas- ters have been fine pianists and fine organ- ists (Saint-Saéns is a modern example. Har- old Bauer was an excellent violinist before he. become a pianist. Emil Pauer, formerly conductor of the Boston Symphony, gave con- certs at which he was conductor, solo pianist and also solo violinist. Mendelssohn played both the piano and the violin, also the viola, and was a fine organist, and the same could be said of the Danish composer Gade. Q. Why do so many of the famous singers tuke names other than their own? A, This was purely a fashion and is fortu- nately falling into disuse. ‘‘Melba,’? whose nume was Mitchell before her marriage to a Mr. Armstrong; ‘‘Nordica,’’ whose name was Norton ; ‘‘Nevada,’”’ whose name was Wixom, would probably choose their own names now, Just why Americans should feel that they should camouflage Higginson or Winterbot- _tom when continentals glory in Humperdinck and Witscherowskyvitch is hard to under- stand, . What docs Miserere mean ?—NovIice. A, The Miserere is the musical setting of a psalm Miserere mei Deus and is a part of the service of the Catholic Chureh called Tenebrae, sung late in the afternoon on three days only in the year—the Wednesday in Holy Week, Maundy Thursday and Good Friday. An excellent account of this impres- sive service as given in the Sistine Chapel at Rome will be found in Grove’s Dictionary of Music and Musicians. The oldest example of musical setting is by Festa. Q. What is an Ophicleide ?—ANTIQUARY. A. It-is an improvement on the instrument known as the serpent. It is made of brass and has twelve keys. It is a conical tube possessing the usual harmonic series of the brass instruments. The compass of the in- strument is a little over three octaves. It has a hollow tone and some have the feeling that it does not mix well with the other in- struments of the orchestra. For. this rea- son it fell into disuse. Mendelssohn was very partial to the instrument and Wagner used it occasionally. Ophicleide parts are now commonly rendered on the bass tuba, which has entirely replaced it both in band and orchestra. @. What is the real difference in the modern sense between the time indicated by a capital C and that with the same OC with a line through it?—VPUZZLED, A, The sign C commonly used for what is termed “Common time’ applies to four-four measure; that is, four quarter notes to u measure. When the line is through the € the measure is two-two, with two half notes to a measure. This, of course, is arithmeti- cally the same, but a conductor in leading music would beat four times to a measure of four-four and twice to a measure of two-two, The natural position of the main accents of the measure determines this. The differ- ence should be carefully observed, Q. Why is violoncello spelled thus and not violincello 2—AMA'TEUR, Because the violoncello is a smaller form of the violone or contrabass viol and therefore a diminutive of the word is used. @. Who are regarded as the leading comic opera composers of the world? A, The fame of the composer of comic opera is often very short lived—there are a few, however, that stand out and will endure many years to come. THE HErupe reader should also remember that many of the great- est of the masters have written light and even comic operas. Among the best-known men whose work as writers of comic operas has _brought them fame are: Offenbach, Genée, Lecocq, von Suppe, Millocker, Strauss, Sullivan, Audran, Planquette, Jacobowski, Sousa, de Koven, Herbert, Caryll, Friml, Lehar, Many musicians feel that Wagner’s Mastersinger is the greatest of all comic operas, Q. Are there any short rules for slurring that will cover all cases? If not, please give me a few general rules... How did slurs origi- nate ?—-YVONNE. A, There are no short rules that will cover all cases as phrasing (phrasing is preferable to slurring) is one of the most involved and intricate subjects in advanced music study. Hicre, however, are two general rules which cover a great many cases. Divide phrases into phrases of two notes and phrases of more than two notes. 1. Two-note phrases of notes of short dura- tion (quarter notes or less in slow time— half notes or less in rapid tempo) connected by a slur. The first note is generally ac- cented and the second played shorter and lighter. When the notes are half notes (in moderate time) or longer the second note is not usually’ shortened. In two-note phrases where the second note is longer than the first the slur is merely a legato mark. 2. Slurs of more than two notes. The student looking for generalizations in playing will do well to regard this slur merely as a legato sign until a through study of phras- ing may be taken up. There are many con- tradictions which are interesting as they are difficult to remember. Slurs are said to have originated in violin music, to show how many notes could be played with one stroke of the bow. Possibly they were also used at one time to indicate how many notes the singer could render with one breath. How to Use the “Etude’s” Educational Supplement PR biG the need for an appropriate portrait to supplement the biographical studies in Tue Erupr, we present with this issue a portrait which may be framed in a very ingenious and original manner at slight expense. Simply procure a good piece of window glass measuring exactly eight by ten inches, a standard size that can be procured in any store where glass is sold. Place the glass over the face of the portrait; fold over the edges of the paper so that the plain border on the back of the portrait covers the edges of the glass all around. Neatly remove unnecessary white paper margin and paste down in passe-partout fashion. A hanger may be made in the shape indicated above the biography from tough paper and pasted on the back. Schools, conservatories, private teachers and students will thus obtain a most ex- cellent framed portrait at the cost of a few cents, supplementing the study of the master in this issue of Tue Erupr, and providing the reader with a beautiful dec- orative picture for the study and home. OCTOBER 1918 Page 669 An Ideal Medium-Size Grand Style B Grand This beautiful instrument seems as nearly perfect as skill, experi- ence, and manufacturing facili- ties can make it. : Its tone is purely that of the Concert Grand, having great power and sympathetic qualities. Dealers in Principal Cities Emerson Piano Co. Established 1849 Boston Mass. Beautiful Songs for Special Purposes State your Requirements THEO. PRESSER CO., Phila. A Striking Concert Novelty American Indian Rhapsody On Themes Recorded and Suggested By THURLOW LIEURANCE By Preston Ware Orem Price, $1.00 This is the first genuine American Rhapsody—an attempt toidealize the aboriginal themes in a like manner as hes been done with other national and folk themes. The result is a brilliant and forceful composition which has already received the endorsement of many pianists of note. THEO. PRESSER CO., Phila., Pa. ATI : Reduce Your Weight OU can get rid of excess 5 flesh as sure as sunrise . a tomorrow. If you donot possess a perfect figure, cor- ret poise and abundant health, let me help you. You } can accomplish these things | in a simple way—in your room. é I know you can, because I've helped 85,000 women and what I | have done for so many I can do } for you. Don’t reduce by drugs or’ diet ; alone. You'll look old if you do. | You should have the proper exer- cise to reduce your figure just where & you want it reduced, a) : I build your vitality, strengthen your heart and teach you to stand, walk and breathe correctly, as I reduce you. If you send me your height, I'll tell you just what you should weigh. No charge—and I'll send you my 28-page illustrated booklet FREE. Write me. I'd like to tell you of my wonderful experience. ~« SUSANNA COCROFT Dept. 29 624 South Michigan Avenue CHICAGO, ILL. lease mention THE ETUDE when addressing our advertisers. A)
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Page 670 OCTOBER 1918 To maintain and increase the popularity of the organ as a solo instrument, a great deal depends on the choice of program. The fact that the technic of the soloist should be of a very high order. need not be discussed here. Sometimes the organ will fail to make its appeal because of the want of taste on the part of the per- former. . Some organists seem to be hopelessly of the “dry as dust” order, and even when they have a fine instrument at their disposal, fail to take advantage of the variety of tone color that a good organ possesses. Admitting that the organ is not an orchestra, the claim must at the same time be put forward, that a great variety of tone color can be obtained from a modern concert organ. The writer has known organists per- form a program consisting entirely of the heaviest and most severe type of music written for the instrument and the same time ring the changes on a very few varieties of stops. A Banquet Not All Bread and Meat A well-arranged meal consists not only of solid bread and meat, but contains at the same time a selection of lighter food, such as vegetables, sweets, etc. How often, however, will the organ recital program be found to consist either of meat or sweets only. Variety should be sought, coupled with real musical worth. Organ Recitals of Different Sorts One may divide organ recitals (and re- citalists) into several different classes. 1. The traveling concert virtuoso, who generally will play on first-class organs, and, owing to the fact that he: performs Department for Organists Edited by NOTED EXPERTS “The eloquent organ watts for the master to waken the How to Arrange Organ Recital Programs By Henry Hackett, F.R.C.O. on many strange instruments, usually per- forms the same numbers at each recital. His audience will generally be a different one for each occasion, and he is no doubt wise in keeping for each tour a number of pieces that he knows practically from memory, By this means he can give his attention largely to the handling of the many unfamiliar instruments that he will come across. 2. The public hall recitalist of a large town. His problems are quite other than those of the traveling virtuoso, as a considerable number of the same people regularly attend his recitals, thereby forc- ing him to extend his repertoire con- stantly, in order to avoid criticism for undue repetition. He will, however, possess the advan- tage of knowing his instrument well, thus enabling him to devote his attention to a wider musical culture, in particular to the study and introduction of new works that are continually being issued by well- known composers. ; 3. The organist who gives recitals in places of worship is restricted to some extent in the choice of music. To one having a proper sense of religious rever- ence, music of a garish, noisy or frivolous character will seem grossly out of keep- ing; on the other hand, all good music is in a sense, sacred, and there should be no real difficulty in planning a program that is both reverent and attractive. 4. Another type of recital to be men- tioned is that often given by a profesor before students at a college of music, or in the presence of a gathering of pro- fessional organists. As the audience on these occasions consists largely of per- sons who either play or understand the Estimating the Power of Tone of the Different Stops By Charles W. Landon THERE are, three mechanical reasons why organists rarely really know the amount of power of a given stop as com- pared with the other stops of their organ. The wind chest is almost always quite a bit higher than the organist’s head as he sits at the manuals; this allows the vol- ume of tone to float over his head as one might stand under a stream of. water from a garden hose and not get a thread wet. P The place of the different ranks of pipes on the wind chests and their loca- tion within the organ case is another fac- tor. Pipes that stand near the front give out their power of tone unhindered. Those that stand at the back of the organ are not only further from the organist, but his low seat hinders him from feeling their full power. There is yet another factor to be taken into account; the swell box. This is gen- erally very much higher than the organ- ist’s head and is placed so that its tones when the swell panels are open, are heard much plainer on one side of the building than on the other, for they often open at the side instead of the front. Where the Organist sits he cannot estimate tone power, and he is liable to give more force of accompaniment than of solo, or, some tone color in his combination will be too pronounced for a good effect. Therefore, let him make many of his favorite stop and color combinations and have a musical friend play a short pas- sage of each while he listens from three or four parts of the building, near its center, far back and perhaps on either side. He will make some valuable dis- coveries in this experiment; most of al!, probably, in regard to the balance of tone between the pedals and the manuals. organ, the programs are generally of a more severe type, being frequently chosen, either from a special composer, or with some particular purpose in view. ‘ Practical Suggestions for Variety Admitting that variety is essential, one might suggest that a program for a popu- lar audience may consist of the following types of pieces: A classical piece (which generally makes its greatest appeal in the middle of a pro- gram, thereby giving the listener an op- portunity of hearing some lighter things before settling down to the heavier fare). A march might with advantage be in- cluded in every program, and, either an air with variations, or a fantasia upon some popular theme, will generally make its appeal. Pieces of a quieter nature, calling for the use of the many soft tonal varieties, are always sure of a number of admirers. A toccata or other similar type of selec- tion will make an attractive number, espe- cially if played next to a piece of a quiet, reposeful type; and one must not forget that in addition to a large number of overtures originally written for orches- tra and effective when performed on the organ, there are now to be found a num- ber of good specimens of this type of piece that have been composed especially for the organ. A selection of say seven pieces might be arranged somewhat as follows: 1. Overture. 2. Soft piece (either original or tran- scription of some well-known vocal selec- tion). 3. March. 4. Soft piece for a variety of the quieter stops. THE ETUDE . SSeS Us 1 SESS MESS spirit."—DOLE 5. Classical piece (sonata, fugue or con- certo). ; 6. Theme with variations. 7. Toccata. When Outside Talent is Available Change is frequeritly sought in a pro- gramme by the addition of either vocal solos or pieces for other instruments, such as the piano, violin or violoncello. In cases where an orchestra is not avail- able, the organ has frequently supplied the want, providing the accompaniment to concertos written for these instruments. Consideration should be given to the type of audience one has to interest and the particular musical character of the dis- trict wherein the recital is given. The average listener is best satisfied with a mixed selection, as one piece at least will generally appeal to each per- son present. On the other hand, a more severe type of program may be laid before a musically educated assembly. Consider Local Conditions In districts where good concerts of choral music are common, it is not advis- able for choruses or similar vocal selec- tions to be included in the organ recital program; similarly should one be _ per- forming in districts where good orches- tral concerts are frequently given, it would be wise not to invite comparison with such, by playing on the organ, music written originally for orchestra. On the other hand, in places where fine orchestras are seldom if ever heard, tran- scriptions such as Beethoven’s Egmont Overture, or the Largo from Dvorak’s New World Symphony will be most wel- come, thus enabling music to be appre- ciated that would have no opportunity of ~ being heard in its original form, Playing for Choir or Congregation In his playing for choir or congrega- tion the organist must constantly decide between too heavy or too light an organ. It is a common fault to cover up the voices with heavy organ playing, which, while it inspires confidence and gives support to the singers, leaves the im- pression on the listener of an organ solo with vocal accompaniment. It is better to err on the side of too little support. Singers learn to rely on a loud organ ac- companiment, and do not develop their own independence. Besides, the heavy organ is apt to cover up a multitude of vocal mistakes. Choirs should frequently rehearse without accompaniment, for this reason. In fact, the finest shading and expression can only be produced when the voices sing entirely without accom- paniment. But when the organ is used with the voices it should follow the nat- ural and indicated expression of the words with fidelity, and be played for choir or congregation in such a way that. the rhythm is unmistakable, leading the vocal work with all-compelling precision, and counteracting any tendency either to drag or hurry—equally bad faults. The occasional use of a bright staccato touch will give a snap to the playing, especially of a congregational hymn, which helps considerably in clarifying the rhythm and correcting a tendency to drag. Play- ing the right hand part of a hymn tune in full chords, an octave higher, accom- panied by full chords in the left hand and octave pedals, will act as a steadier of rhythm. An alert congregation may be trained to listen and respond to the playing of an organist whose playing leads, even phrasing the hymns, accord- ing to his indications, singing with ex- pression, sometimes without organ, for perhaps one line of the hymn, and: also changing the tempo for different stanzas of the same hymn. Try it with your congregation, but do not let them lead you, as all large congregations will oc-
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THE ETUDE seat GUILMANT ORGAN SCHOOL DR. WILLIAM C. CARL, Director Six Free Scholarships Write for Particulars and New Catalog 44 West 12 Street NEW YORK CITY Hugh A. Clarke, Mus. Doc. | LESSONS BY MAIL In Harmony, Counterpoint and Composition 4618 CHESTER AVE., PHILADELPHIA, PA. R. HUNTINGTON WOODMAN offers a thoroughly practical course of training for Church Musicians ; Organ Playing; Improvisation; Theory; Practical Composition. Address 131 Hicks St., Brooklyn, or 212 West 59th Street, New York City 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, WARREN fi, HEDDEN Mus. Bac. Fellow of the American Guild of Organists Teacher of Harmony Counterpoint and Keyboard Work CORRESPONDENCE COURSES Studies Prepared for Degrees and Guild Examinations 170 W. 75th St. 32 New York Organists—Be Up to Date ! You cannot keep abreast of developments unless you Read The Diapason For 75 Cents a year you will receive each month all the news of the organ world—specifications of the large organs, pro- grams of the recitals of the leading organists (an average of 50 programs a month), reviews of new music by an expert, an excellent special department for moving-picture organists, special articles, etc. Send for sample copy and be convinced. THE DIAPASON 25 East Jackson Blvd. | Austin ()rgans 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. Chicago ( Austin Organ Co. i 165 Woodland St. Hartford, Conn. “esas HAS PRP UE RTL LT Please mention THE ETUDE when addressing our advertisers. casionally drag, particularly on old fa- miliar tunes like Federal Street, where the same note is repeated several times and the rhythm is hard to define. The writer attended a church service in a popular church in London, however, where the organ was unable to actually lead, as the congregation was so vast that their hearty singing of the various voice parts quite overtopped the big organ, which could only be identified by its heavy pedals, as it is a well-known fact that deep sounds travel farthest. How- ever, such hearty singing did not permit: of dragging, and the organist could then very properly accompany and not lead his congregation. Speaking of pedals— _for small choirs care should be taken to rest the pedal part at times, which makes it more effective on its re-entrance. The pedals should not be too heavy or the vocal bass part will become ineffect- ive, aS voices cannot compete against a heavy pedal of 16-foot pitch one octave below the voices. Especially in quartet accompaniment the pedals must be used sparingly, for this reason.—FREDERICK MAXSON. Suggested Gymnastics for Organists 1. Stand on tiptoe; slowly lower the heels until they touch the floor. Rise slowly to first position. Repeat ten times. 2. Crouch on the floor, soles of feet flat down, legs contracted, knees together, hands grasping the back of a chair. Rise slowly to standing position, as though pressing down the floor meanwhile. Five to ten times. 3. Stand erect, with feet flat on the floor. Slide the point of each foot to \ right and left, separately, rotating from the heel as a centre, without moving or turning the body. Ten times each. 4. Stand erect, leg extended in front of body, knee rigid, foot lifted about six inches from floor. Alternately lower and raise the point of foot by a free ankle movement; move point also to right and left, free ankle. Repeat each mo- tion ten times, then change to other foot. —FREDERICK MAxsSON, The Use of the Piano in Connection with the Pipe or Reed Organ By Hortense Marshall In quite a number of churches, even in the smaller places, and in some college chapels, we find both a pipe organ and a piano. In still more, possibly, we find a piano and a (perhaps disused) reed organ. An excellent way of adding power and variety to the music is by using the piano and the organ together. The piano may easily be tuned to the pitch of the organ, and this is of course a necessary preliminary. Modern pipe organs are usually tuned to International pitch (A435). By the way, tuning the church piano is’ an excellent idea, as I fear it is done much too seldom for its best good and the ears of the listeners. There is one thing which should be properly attended to, in connection with tuning—the piano and the organ are af- tected somewhat differently by changes in temperature, and will stay in tune to- eether only if tuned at about the same temperature at which they are to be used. Tf the tuner works in a cold church, as soon as a fire is made and the air warm, the instruments will be out of tune with each other, even though each is singly in tune by itself. Best Plan for First Attempts If a pianist has never played with a pipe organ, a very good way to begin playing with one, is to use the two instru- jents together, at first only on hymns. Later they may be used for accompany- ing anthems, and lastly, when some skill in ensemble playing is attained, pieces specially arranged for piano and organ (which may be obtained from any lead- ing publisher) may be used. Music listed “for piano and harmonium” is perfectly good for this purpose, the harmonium being the European form of the reed organ, Listen to Each Other In order to secure a good balance of tone, the players must form the habit of listening to each other, and observing the combined effect: in other words, the two instruments should be played as if they were one. That is not easy at first, but practice makes perfect. Interesting Material Available There are excellent arrangements of standard music by Scotson Clark, Alex- andre Guilmant and many others, for the piano and organ together, which would be delightful for a service or concert. Most of the music published for piano and organ together has the organ part playable on a reed organ, although of course far finer effects are possible on the pipe organ. Many beautiful effects are possible through the use of the various solo stops of the pipe organ, in connection with the piano, The pedal stops, however, require care- ful management, in order not to injure the effect by overbalance. Sometimes a third person, listening in another part of the room can judge of this better than the players themselves. Best. of all, many will declare, is the effect of the piano and organ used to- gether to accompany congregational sing- ing. If well done the effect is most inspiring, and will add much zest to the church music. ‘“On the Job” Are you able at the drop of the hat to play America, The Star Spangled Ban- ner, The Marseillaise, The Battle Hymn of the Republic and the other of the more usual national hymns of America and the Allies without notes and with such stir- ring force that the congregation must sing, whether it will or not? No gather- ing is complete in these war times with- out some manifestation of patriotism, and it naturally falls upon the organist in most communities to lead the singing, if he can. Here is an opportunity to do your bit. The musician has had little chance professionally to exhibit his pa- » triotism, so we must be sure to grasp eagerly at every opening that presents itself; for he does not want to be ac- cused, even unjustly, of being a slacker. As we.do not think much of our atdi- ences which cannot sing the national hymns without the words before them, so we must not be caught in the same trap by being unable to play the hymns with out notes.—J. L. Ers. | OCTOBER 1918 Page 671 Sha wit bial piano in the wo ae Steger Piano is a leader that represents the highest ideals of the art of piano making. Musical excellence and reli- ‘ ability have made the Steger Piano the favorite of thou- sands of American homes. ‘ ‘The superb Steger tone adds to its artistic beauty. Write for Steger Piano and Player Piano Brochure and convenient terms. Steger dealers eVer)where, STEGER & SONS PIANO MEG. Co. Steger Building, Chicago, Illinois Factories: Steger, Illinois Learn Harmony and Composition Taught by MAIL, successfully, practically, rapidly. Send 3-cent stamp for trial lesson. ‘Three Trial Les- sons Free. If vot then convinced you will succeed, you owe usuothing. You must know the rudiments of music nud menu business, otherwise don't write. Wilcox School of Composition Box E. 225 Fifth Ave., New York City, N. Y. 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 estinfates on request. M. P. MOLLER Hagerstown, Maryland THE “ORGOBLO” will solve your organ blowing problems. Over 12,000 equipments in use Write for new Console Catalogue No. 20, also new Student Organ Booklet THE ORGAN POWER CO. HARTFORD, CONN. Winners of the highest awards at Panama-Pacific and Jamestown Expositions MAKE The Leabarjan Perforator is a machine designed for the purpose of making mu- sic rolls in the home. Owners of Player Pianos will appreciate the pleasure of muking permuneut rolls of their favorite compositions, The operation is simple and fascinating. The Perforator has « capucity of four rolis 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 "AN UGREEN BOXES ONLY: Makes the Complexion Beautiful OFT AND VELVETY. Money back if not entirely pleased. Nadine is pure and harmless. Adheres until washed off. Prevents sunburn and return ot discolorations. A million delighted users prove its value. Popular tints: Flesh, Pink, Brunette, White. 50c. by toilet counters or mail. Dept. E. National Toilet Company, Paris, Tenn., U.S.A. Please mention THE ETUDE when addressing our advertisers.
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Page 672 ‘and cannot be taught. OCTOBER 1918 fi. THE ETUDE Mo Pe oS oem. awe! 2, wat oe" etete! ~~ ate. Se \ ~ “ Pe Behe Par atets De Pe’ * 5 o She ie . , e sai ° ° »\ Expression In Violin Playing AN inquirer writes: “How can I develop good expression in violin playing? My teacher says that I have good technic, but play without expression.” In the last analysis, expression in its highest forms must-come from within, The great poet is “born, not made,” and the great violin- ist must have a sensitive and poetical nature, to give out the deep and varied emotions which the composer of great violin compositions sought to portray in them. If one has nothing to express, how. can he play with expression? It is a good deal like the response of the Chi- nese photographer, to a lady who com-. plained that her photograph did not do her justice in that it “was not handsome enough.” He said, “But, Madame, if not have handsome, how can?” ete However, there are very few violin students who have natures so_ sluggish and unetotional that they cannot learn to play wit at least some expression if they do but go about developing it in the right way. _ Great Artists Criticised It is not students alone who are taken to task because their playing lacks ex- pression. Great violinists, of world-wide fame, are constantly criticised for the same shortcoming, whether it is deserved or not. There is no phrase more over- worked by the critics of the daily press in speaking of violinists than, “He is a great technician, but plays without soul and little expression.” Even so great a violinist as Jan Kube- lik was frequently accused of playing with little expression, by critics all over the world. It is quite likely that many of these critics fell back on this accusa- tion, because they could not find much else to criticise in his playing. . However, it was quite the fashion for a long time with the critics to condemn his perform- ances for lack of soul. I think this criti- cism was largely undeserved, for the most part, in the case of this artist, for, while there may be others with more poetical and emotional natures, it is ridiculous to contend that he plays without ex- pression and very exalted expression at that. -It is absurd to pretend that a vio- linist whose playing has delighted millions of hearers, who has worked his way -to the very pinnacle of his profession, and who has acquired a large fortune from it, could have so charmed his hearers if his playing was entirely unemotional and _ expressionless. Another of the many violinists who were accused by the critics of playing without expression, and of being a “mere technicians,’ was Cesar Thomson, the great Belgian violinist and teacher. Here again I think much of the criticism was undeserved, since Thomson had excellent success on the concert platform, even if his playing was not as deeply emotional as certain other violinists. Many other examples might be named. The critic loves a shining mark, and the great violinist with a supremely excel- lent technic, is very apt to be accused of Department for Violinists Edited by ROBERT BRAINE playing with insufficient expression, be- cause the critic can disparage his perform- ance in no other way, and considers it unprofessional not to be able to find any- thing wrong. Learning Expression There is not the slightest doubt that correct expression is the most important element in good violin playing. A. sim- ple melody, played with supreme expres- sion, gives much greater pleasure to the hearer than an elaborate composition played without the proper expression. This being the case the violin student should devote the greatest pains to give each composition he plays its appropriate expression. While few possess that rare, sensitive, poetic, emotional nature which is necessary to develop expression in its more exalted forms, there is hardly a violin student with a nature so dull and unemotional, but what his expression can be improved. Good Technic an Aid The first step towards good expression is good technic. We cannot fly without wings, and we cannot play with expres- | sion unless we possess the mechanical skill to produce beautiful tones, of any degree of volume, from the soft whis- per of the pianissimo, to the thrilling clarion call of the fortissimo.- We must also be able to swell or decrease the tone at will—one of the most .difficult of all technical feats in violin playing. All bowings must be mastered, and the sense of rhythm and accent thoroughly devel- oped. Left hand technic must be thor- oughly worked out. We must be able to play in tune even in the most difficult or intricate passage. We must learn how to play in time, for there can be no perfect expression without perfect time. Having mastered the technical side of a composition, the proper expression can be taken up. Every expression mark should be observed. The student should keep a musical dictionary constantly at hand to look up the meaning of words which he possibly does not know. He should have a metronome to get an approximate idea of the proper speed of each movement, in case metronome marks are given in the composition. everything ‘he should try to get the true meaning and spirit of the composition, as intended by the composer. Every com- position worthy the name has a “soul,” and a characteristic life of its own, which must be brought. out by the vio- linist in his performance of it. In the Berceuse, we must hear the mother ten- derly singing to her child, in the Spanish Dance we must feel the stirring Spanish rhythm, in a melody taken from a-grand opera we must hear it as it would be sung in the opera. A composition to be played with expression must be studied and analyzed in every detail. Each part has a special meaning. Here the com- poser may have introduced a passage imitating a trumpet call, there the note of a bird, here a song, in another part the shrilling of a fife, or again a charac- teristic national dance movement of some country, which requires special character- istic rhythm. Many another composition Above. REP AL Would Play First Violin We Could Get No Orchestra Together.”—R. SCHUMANN tells a story, which the player should know if he would do justice to it. Happy the violin student who has a teacher who is a master of his art, and who can point out the meaning of every part of a composition, and who Jksnows tradition, that is, the way the greatest violinists have played certain composi- tions as regards time, interpretation, rhythm, expression, etc. 7 | The emotional side of a student’s na- ture can be greatly developed by hear- ing good music, especially attending grand opera frequently, which will develop the dramatic side of his nature, symphony and string quartet concerts, recitals by ereat artists, and especially great violin- ists—in short, good music of every kind. In the case of young performers, ex- pression develops with increasing age and experience of life. The performer who has lived much, suffered much, and felt deeply, will naturally play with greater expression than one who has lived a quiet, uneventful life. A famous manager was asked to hear a young soprano just out of her ’teens, with a view to his giving her a grand opera engagement. She had extraordinary talent, but when asked his opinion after hearing her sing, he said, “She has no soul. She has not yet suf- fered, nor really lived. If some. one would marry her and break her heart, she would develop into the greatest singer in Europe.” Difficulty In Shifting A correspondent writes: “When shift- ing from one position to another, I often find it very difficult, on account of my hands becoming sweaty and sticky. How may I remedy this?” © While excessive perspiration interferes with shifting to a considerable extent in some cases, the main difficulty with most violin students, where trouble of this kind is experienced, is that they grip the neck of the’ violin too tightly with the hand when they shift. The violin should be held firmly by the pres- sure of the jaw on the chin rest, and very lightly with the left hand. Above all, the thumb should be flexible, and should be moved up on the neck in ad- vance of the hand when shifting to a higher position, and down in advance of the hand in going from a higher to a lower position. This is a bit of technic which the majority of violin teachers do not impart to their pupils, and,.yet it is highly essential to neat, rapid -shifting. It is much better to have the neck un- varnished, as the plain surface of the wood of the neck, sand-papered to a satin finish and rubbed down with linseed oil, offers a much smoother and more satisfactory surface for the play of the thumb in shifting than a varnished sur- face. Some violin makers varnish the neck, and when this has been done it is better to remove it. As yet there is no reliable remedy for perspiring hands, although many reme- dies have been suggested. One of the best is to rub the palm and fingers of the left hand with grain alcohol, although the perspiration soon returns. 7 An Important Detail In ’Cello Playing By P. Roderic Most new ’cellos come equipped with a metal end pin which is too short. Why this should be I do not know. Perhaps it is intended that the ’ceilo should be kept at the same height above the floor that it used to be in former times when the instrument was held between the player’s knees without the use. of any end pin whatsoever. The disadvantages of too short an end pin are obvious. The root of the evil is, that, with one, a cramped position must be assumed in playing. The ’cello has to be held up too straight. The knees interfere with the bow stroke. The player has to bend forward in an uncomfortable position. This latter disadvantage is ag- vravated, of course, if the ’cellist be fairly tall. Although the length of the end pin. should be greater than it seems customary to make it, the exactly suitable length must be largely determined by the indi- vidual ’cellist. Freedom of movement.in playing is to be sought. for first of ail. It is the primary consideration. It seems impossible to obtain an end pin of the required length in the average retail music store. The order must be specially given. I succeeded in getting one made for me. (of about fourteen inches) by a violin repairer who happened to have a friend who worked in a ma- chine shop. I have no doubt but that.a pin of the requisite length could be fur- nished by the larger musical supply houses, however. The removable wooden end pin, too, which is in use, is usually too short. A friend of mine made himself a long wooden end pin, which was designed to be adjustable like the ordinary metal one. This seemed to me to be an excellent idea. , The prejudice against metal end pins, however, seems to me_ entirely un- grounded. “No metal on a stringed in- strument” is a general rule, but if an exception can be made anywhere it cer- tainly can be made here. The difference in tone is negligible, and tone, after all, is the criterion. If the end pin of your ’cello seems to you too short do not hesitate to go about changing it simply because it “came with the instrument.” The makers are usually not players. | -A Non-Dining Violin THE great violinist Paganini was vio- lently opposed to the wiles of society leaders who tried to get from him $1,000 worth of violin music in return for the price of a dinner. On on@® occasion while concertizing in Paris he received a press- ing invitation to dinner at the house of a noted leader of Parisian society. The invitation set forth that a notable com- pany would be present, and a postscript added, “Do not fail to bring your violin.” Paganini sent back the invitation post- haste with the following endorsed across its face: “My violin does not dine.”
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THE ETUDE Educational. Violin Booklets Free Written by an expert on Violins, to every sub= scriber who sends $1.00 THE VIOLIN WORLD ESTABLISHED 1892 A monthly magazine which no violinist can be without 141 West 42d Street New York, N. Y. OLD & NEW epics sino GRAND PRIZES BEST STRINGS CHICAGO 1893 “ST.LOUIS 1904 JOHN & BRO. VIOLIN 279 FIFTH AVE OUTFITS NEW YORK. EST 1883 - OUR “SPECIAL” 10 Tested Lengths, 5 25¢ Silk Violin E, for 2 C Send for Violin and Cello Catalogue MUSICIANS SUPPLY CO. 60 Lagrange St., Boston, Mass. “In a Rose Garden” For Violin and Piano A tone poem of irresistible charm By PETROWITSCH BISSING Price, 30 cts, net The Allanson Publishing Company - CHICAGO, ILL. _ THE ETUDE VIOLIN STRINGS ETUDE Violin Strings offer players a chance to avoid 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 aré much less expensive, Three length E Strings.............. 20c. net Two length A’s or D’s, each........- 20c. net CS “SeeRS, ORT . 6 ac. eee Welenvees 20c. net 30 Strings, (1 Bundle) E, A, or D....$4.25 net THEO. PRESSER CO. Philadelphia, Pa. Tell Your Boy About This! Boys, you can make oo money each month selling The Boy’s agazine. Gives splendid busi- ness experience of great value later on in life. Write us today for 5 copies. Send no money. The Scott F. Redfield Co. Dept. A29 Smethport, Pa. The Standard Violinist Price 60 cents fin purchaser of this album will receive thirty-two selections suited to all possible occasions and within the range of the average player. The wealth of material offered is almost without equal in any other collection of violin and piano music. There is a separate violin part as well as the violin score in the piano part. A most desirable collection. , THEO. PRESSER CO., Phila., Pa. . cellence, c. $8. C.—In a slurred passage from C in the first position on the A string, to the G above, with the fourth finger on the A string, the second finger slides on the string to the note B in the third position, and the fourth finger strikes ‘the note G. The shift must be made so neatly that the intermediate tone is not heard. T, A, M.—Antonius Stradivarius is consid- ered by most authorities to have been the world’s greatest violin maker. He worked at Cremona, a small town in Italy, and dur- ing a long lifetime made a large number of the peerless violins which bear his name> For every violin which was really made by him, there are thousands of imitations, bear- ing labels which are fac-similes of the orig- inal. You will find an excellent biography of Stradivarius in Grove’s Dictionary of Music, which is in every vublic library, J. K, M.—The only way to ascertain whether the varnish you have prepared is a re-discovery of the genuine Cremona varnish, the manufacture of which is commonly looked upon as a lost art, is to give a specimen to a good violin maker, who is familiar with genuine Cremona violins. He could experi- ment with it and soon ascertain how i compared with the original. ies H. J. C.—As a rule, nineteen years is too late to start with the hope of becoming a good professional violinist, however, there are many cases on record where students starting that late have achieved fair success. There is a risk of losing much valuable time and money by so late a start, with perhaps fail- ure at the end of the years of study which are necessary to acquire much of a foundation in violin technic. A, M. P.—If you play the compositions you name really well, after a year and a half of study, you have done very well, but it all depends on how you play them. Starting at fifteen, it is ssible for you to become an artist, if you have a really good teacher, and first rate talent. You ought to try and ar- range for study in a large city where you could hear good music and good violinists constantly. It will be very difficult for you te advance much, living in a small town, where there as no advantages. Tur Erupe has already published many articles on the vibrato. You can obtain a book, The Vibrato, by Eberhardt, in which the _ subject is exhaustively treated. However, it is next to impossible to acquire a good vibrato from a written description. W. R. C.—Out of consideration for its ad- vertisers and subscribers, THE Evrupr has made it a rule not to recommend specific makes of violins, pianos, and other musical instru- ments through its editorial columns. Many of the leading American makers are advertis- ers in THE ETUDE. Almost any violin maker will send you one or more instruments on trial, so that you can judge for yourself, G. B. O.—J. Barbe, Pere (senior) was a I'rench violin maker, but of no great fame. However, many of these obscure violin makers occasionally make violins of surprising ex- The price you paid for it, $125, was not too much as violin prices go now days, provided the violin is in good preservation, Was artistically made by hand, and has a tone of really tine quality, with sufficient power. M. P. G.—I could not give an opinion as to your chance for success as a concert violinist without hearing you play. As you live near New York city, your most practical course would be to arrange to spend a few weeks there. You could play for leading violin teachers and get their advice as to your pro- ficiency, and if this advice was favorable, you could play for managers, and try to get an engagement, If you wish to do orchestra work, you could no doubt get an engagement, if you are a really finished, competent violin- ist. However, you would have to face the chance of weeks’, or even months’ delay in getting a good engagement. Cc. H, B.—Labels in a violin mean nothing, since labels are counterfeited by the million, It is also impossible to value a violin from a written description. A. F. S—For each genuine Stradivarius violin in the world there are probably 100,000 imitations, yet all have similar labels. E. P. 8.—You would probably find that the following will answer your purpose; Sixth Air Variée, by DeBeriot: Sohn der Haide, vy Kelar Bela; Meditation from Thais, by Mas- senet ; Cavatina, by Raff ; Souvenir de Wieni- awksi, by Haesche. H. R.—Your trouble with the frequent breaking of E strings may be due to a poor — al gest Music Printers West of New York ANY PUBLISHER IUR REFERENCE | RAYNER, DALHEIM & Co Expert Advice on Violin Problems ‘'Schradieck’s Scales. << T quality of strings, or come from profuse per- spiration. Some people find it impossible to use gut strings in the summer, owing to damp fingers. Silk strings resist perspiration better. Occasionally a violinist is so troubled with perspiration that the only recourse is to a wire E string. C. L. S—The Klotz family, consisting of several branches, was one of the best known families of violin makers of the Mittenwald, where violin making was carried on for generations in families, and the business often descended from father to son. The best known representatives of the family were Hgedius Klotz, George Klotz, George Klotz, Jr., Johan Karol Klotz, Joseph Klotz, Mat- thias Klotz, Michael Klotz, and Sebastian Klotz. The violins of Egedius and Sebastian Klotz are probably valued the most highly. Bauer, in his work on the violin, values the best specimens of Sebastian Klotz at from $500 to $800, and of Egedius from $200 to Cc. W.—I regret that it is impossible to assign the exact number of months which you should give to the study of each posi- tion, since so much depends on the talent of the student, the amount of daily practice he has to devote to the study of the violin, the skill of his teacher in explaining position work clearly to him, and his natural intelli- gence and aptitude. for position work, ete. In your case it is doubly hard because you have no teacher. 2. I am afraid you have very small chance of developing into an art- ist on the violin without the aid of a good teacher, especially since you have no oppor- tunity of hearing good violin playing. <A phonograph and some good vyiolin records might help some in regard to ‘the latter circumstance, H. C. 8.—You no doubt refer to harmonics in double stops, that is, a harmonic on each of. two strings, and played together as a chord. Either or both may be natural or artificial harmonics. You will find scales in double harmonics, in thirds, sixths and oc- taves, in the fourth book of Sevcik’s School of Violin Technics. The harmonic tone you describe made on a string, with two fingers, _ one firmly stopped, and the other pressed lightly, is an artificial harmonic. 2. It is hardly likely that the violin school you men- tion will be discarded simply because it is published with German as well as Englis text. A. M. B.—Yes, in changing position, the thumb anticipates the hand. The shift can be made more surely in that way. 2 and 3. Yes. 4. The following works give directions for making violins: Violin and How to Make It, by Honeyman; Repairing, Adjustment and Restoring of the Violin, by G. Foucher; Violin—How to Make It, by Broadhouse. C. R.—If you have not previously studied them, the following studies would no doubt be helpful (in the order named), Kayser, Books 2 and 3, Op. 20; Mazas Special Studies, Op. 36, Book 1; Mazas Brilliant Studies, Op. 36, Book 2, You ought, also, to study Following the list. of pieces you send. you might take-up:the First Concerto, by Accolay; Sohn der Haide, by Kelar Bela; Souvenir, by Drdla; Minuet in G, by Beethoven, and pieces of similar difficulty. U. D.—Instead of being a detriment, prac- tice on the guitar is a benefit to a violinist, as it develops the fingers of the left hand, especially as regards stretching capacity. Paganini devoted a great deal of attention to the guitar in early life, and was accus- tomed to say that his guitar practice had done much for his left hand. E. G.—The fact that your E strings break at the peg, after being on a few minutes, would indicate a poor quality of strings, or strings that are very old or in bad condition. Strings should be kept in a tightly closed box or jar. You can get a little, flat, circular aluminum box at the music store for the purpose, which you can carry in the string box at the end of your case. Possibly you tune your violin to too high a pitch. This would result in frequent breaking of strings. Always keep your violin tuned to interna- tional pitch. If you do not have a piano tuned to international pitch, from which you can get the correct A, get an interna- tional pitch A tuning fork. H. de S.—You will gain much benefit by. continuing your study of Viotti’s violin duets if you can find a good violinist to play the second violin part. After you go through a book of violin duets, it would be an ad- vantage to go through it the second time, you playing the second. part. In this way you will gain a knowledge of both parts. There is no better method of gaining exactness and steadiness in time than playing violin duets or other ensemble work. USIC ENE ee NTERS — Estimates _ » \Gladly Furnished /on Anything in Music WORK DONE BY ALL PROCESSES ~2060 W. Lake St..Chicago, IIL: Please mention THE ETUDE when addressing our advertisers. } : E generation. : offers youa selection of violins which is with- [ The Rudolph y; me about OCTOBER 1918 678 Page te yeart of arromact Babee Play It While You Pay NY of the instruments shown in our new catalog will be sent to you on trial. After you have played on it, and compared it with other instruments, you may either return it to us or pay the rock-bottom price at the rate of only a few centsaday. Getting the instru- ment on trial does not obligate you to buy. Two hundred years ago the Wurlitzer family first became makers of violins. Since then, the study of violins has been the heritage of each Today, the House of Wurlitzer out an equal anywhere in America. Ournew Fp * : Z catalog will be sent upon request. i In our new catalog you will find the finest products of the modern makers and rare treasures centuries old. All are yours to choose from. A certificate comes with each violin that guatantees its value for all time. We stem all of our violins whether made in rance or this country to be made by expert violin makers, and are not cheap factory imi- tations now being imported from the Orient. | i i Send the Coupon / aa The Rudolph Put your name and address Wurlitzer Ce, in the coupon now (or on. Dept, 9307 a letter or post card) and E. 4th St., Cincinnati ere our new catalog. S. Wabash Ave.,Chicago ou will be put under 4 Gentlemen:—Please send me your 176-page catalo absolutely free. Also tell r special offer “ direct from the manufacturer, Wurlitzer Co. / and how I can get a high grade Dept. 9307 Vv no obligations. Write for it today—now. iolin on trial, and pay for it in Bast Fourth St. # small monthly amounts. incinnati, O. vA sf Name see erees voeeerecvesee Pe vewere vecssveressveoves eweene sai Address 008 on corees eseweuureeereeeneveres: veeevcevcerervuCeweNeD Fg joy Your ee ae Use the Ellis Melodious Reproducer. It takes away all the “scratch” and “twang’’—brings out full harmoniés:of vocal or instrumental records. Reproduces true tonal value of every note. Makes a world of difference—you’ll get great enjoyment in hearing records. For all disc machines. Write for circular B. _ J.H. Ellis P.O. Box882 Milwaukee, Wis. Winn Method Popular Music And Ragtime Piano Playing Ethical Unif omy successful in quickly and easily teach- ing 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 invreasing body of progressive, enlightened teachers who have come te realize and are enjoying the gen- Practical Academic _erous financial returns resulting therefrom. You also can increase your income. We will help you. Write today for proposition to teachers Instruction Book No. 1. Instruction Bock No. 2 Net 50c Net On Sale Wherever Music Is Sold Your Dealer Will Supply You Sent Postpa:d 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 Winn School of Popular Music 155 West 125th St. NewYork — Established 1900 NO TEACHER Should despair of finding the exact educationa! material desired without first writing our Service Department. THEO. PRESSER CO., Philadelphia, Pa.
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Page 674 OCTOBER 1918 YS fe yp . eed 5°, ¢; * ee 1 : <I 50 (\ = Sh 4 October Ir hardly seems possible that summer is gone and vacations are over and the fall is here already. : October means school and study, music lessons and practice, and making ready for a good winter’s work.’ Are you busy? If you are not, you should be, so find something to do right away, and get busy. For some of you this might be the last year of music lessons. Whether it will be or not no one can tell, but it is well to begin the season w’'th the thought of stich a possibility in mind, and practice better than you have ever practiced before. See to it that your progress is more satis- | factory than ever before, in case this should be your last year for music lessons. Make these resolutions in October. Do not wait until New Year’s to make reso- lutions—the season is half over then! Keeping in Trim Ir you were a Beautiful Big Piano would you like it, if Ruth came to practice with sticky fingers and a dirty face? I’m quite certain that the Beauti- ful Big Piano did not like it at all. Think of the hours of labor that’ had been spent upon each one of its parts, the wood in its case had been seasoned for years, the ivory in its keys had come from miles across the sea, many men had labored over making it—no one but the Beautiful Big Piano knew. just how much time had been spent upon the pol- ishing alone—and here was Ruth sitting before this masterpiece of piano making, thumbing the case with her sticky fingers, her dirty face reflected in the shining polish. “ This was decidedly upsetting and, said. the Beautiful Big Piano, “I think all little girls, and big girls as well, should show more respect. To play upon me is a real occasion. I consider it a function, a ceremony if you please.” Now wasn’t the Beautiful Big Piano right? To play beautiful music on a fine piano is a cere- mony. Before you begin, wash your hands and face, brush your hair and see that your nails are cut the proper length. This is “keeping in trim,” and you will see that it pays to be painstaking. Let me tell you what the members of the Flonzaly String Quartet do. Apart from the weeks of daily practice, the members devote many hours each season to research in the music libraries. They try to find unknown works and through their careful study many musical master- pieces have been discovered. They take great care to keen their instruments in trim. If you are reading this, Ruth, I’m sure you will have clean hands and face the next practice period, and between us I think, if you keep in trim, your music will sound better and better as time goes — on—J. S. W. | “NIN 'P? x on: Meas NAS © “JUNIOR aaa (ime i § EBD) an <Qr CONDUCTED BY ELIZABETH A.GEST The Parade By Helen Hicks Bates Brodersen Twelve little notes awoke at dawn And thought that the night was not yet gone. They thought the light was that of the moon X And wondered why they had waked so soon. Then they all sat up and rubbed their eyes And leaped from their beds in glad sur- -prise; ae) Alas! A tree they could not find, But just in a minute they did not mind, For they found a glorious, high, old fence And then, indeed, was their joy intense, They scrambled this way, they scrambled that, And one lost his balance and one his hat, a? | a LOE a A Musical Game to Teach Kinds of Notes By Laura Roundtree Smith The children are in a row seated; they all say :— “Whole notes, half notes, quarter notes, see, Notes that stare at you and me, Who can tell them all by name? For it is a jolly game, Sixteenth, thirty-second too. Sixty-fourth will also do!” A child stands in front of them hold- ing up an envelope with a note printed upon it. The first child to name the note correctly receives the envelope which con- tains a §mall picture of a musician. The game continues until all have re- ceived envelopes. They take out their pictures and those who can name a com- position written by the composer whose picture they have, may keep the picture. W page. ‘And HAT do you want most in Junior Etude? Remember, it is your page and if you will write us and tell us what you want it will help us to give it to you on this Provided enough of our young friends want similar things we shall do our best to provide them. For they heard the sound of a fife and drum, With a toodle-tee-too and a r-r-rum-tum- tum. And they knew that the soldiers would soon march by, Proudly holding their flag on high; And they rushed pell-mell to find a tree, lor each one wanted so much to see. some crawled under and some between. Such an excitement never was seen. When each was perched on his favorite rail And the fine parade was in full sail, They said to each other—well, what did they say? You can very soon guess, if the notes you will play. The Orchestral Conductor In 1882 in New York City, Theodore Thomas conducted a festival orchestra made up of one hundred violins, thirty- six violas, thirty-six ’cellos, forty double basses, six harps, six flutes, two piccolos, seven oboes, two English horns, six clari- nets, two bass clarinets, six bassoons, two contra basoons, nine horns, two Sax horns, eleven cornets, three trum- pets, one bass trumpet, nine trombones, three tubas, eight kettle drums, two cymbals, three small drums, two triangles : —three hundred and six instruments in all. Every year some new invention or some new instrument is added to the orchestra, but my dear little pianist, no more fingers can be added to your hands, and it is not likely that any more keys will be added to the keyboard, and you will continue to read from two clefs as long as you study piano, so take heart, my dear, practice and he ditigent ; in com- parison with the orchestral conductor, your tasks are few.—J..S. W. THE ETUDE A Hallowe’en Recital By L. A. Bugbee-Davis FacuH child should come in costume, representing a character from Mother Goose or some fairy story, or something appropriate to a Hallowe’en, A pleasing introduction to the musical program could be in the form of a sur- prise, The teacher seats herself at the piano and plays a waltz, while a little girl, the smallest and most fairy-like of the children, waltzes gracefully into the room waving a gold wand and reciting the following verses: I am a little Fairy Queen Who greets you one and all I love to be here with you To. make a little call. I've brought with me a merry band Of fairies gay and bright Although they're here, you just see me For they are out of sight. Now that we are ready We'll let the fun begin, Remember we are with you No fear can enter in, You'll play your nice selections The best that you know how. All ready, no more waiting We'll hear the program now, Upon finishing the recitation § she waltzes from the room waving her wand. If there are no printed programs it is more interesting to have the little Fairy Queen announce the numbers in place of the teacher. The musical program may consist of pieces with Hallowe’en titles, and if verses accompany the music they should be recited. After the recital have some interesting amusements. One very good one 1s the game of Geese. Pop Corn is thrown upon the floor and each child is provided with a small receptacle in which to gather the pop corn. The children are told that they repre- sent geese and they are supposed to be eating the crn as it is picked up. The game commences with music and ceases immediately when the music ceases. Then the kernels which each child gath- ered are counted. Great is the surprise when it is an- nounced that the child having the fewest kernels wins the prize, as«that is the least greedy goose. A Hallowe’en souvenir may be used for a prize. The final game may be guessing the characters represented by the costumes. Each child is provided with a fancy card afid pencil attached, and many amusing guesses are made.
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THE ETUDE Last, but by no means least, is the Hal- lowe’en supper served in. a dining room decorated for the occasion with the om- hipresent lighted pumpkin for: the ‘table centerpiece. ; It is scarcely necessary.to add that such a recital is thoroughly enjoyed, and though the preparations may seem a lit- tle elaborate, there is nothing involving much expense. Even the gold: wand tar- ried’ by the Fairy Queen is (in private life) known as a brass sash-curtain rod! Junior Etude Competition for October THE JuNior Erupe will. award three pretty prizes each month, for the best original stories or essays, answers to puz- zles, and kodak pictures. on musical subjects, Subject for story or essay this month, “Something I shall never forget,” and must contain not more than 150 words. Write on one side of the paper only. | Any boy or girl under 15 years of age may compete. All contributions must' bear name, age and address of sender, and must be Sent to “Junior Etude Competition,” 1712 Chestnut Street, Philadelphia, before the 15th of October. | | The names of the winners and théir contributions will be published in the December issue. | NOTICE , You must send your correct address, plainly written, wken sending anything to the competition. ere : We One of the July winners..was Amelia Harriss and we sent the prize to the address she gave, but the post office sent it back, marked “unknown?” * > Prizes are scarce, you know, so beware! Puzz_E CorRNER. Answer to August Puzzle. SEASONS ~ ALCE Ss Ts MAZARIN r OS 8 I“ SOLOMON BENNETT SE As ©:3:s PUZZLE «> The initial letters of the following ‘will form the name of a well-known French opera. 1. A wind instrument. 2. The name of a French opera coth- poser. 3. A letter in the word “music.” 4. The name of the greatest song writer. 5. Another name for a horn. Ruth was always worrying, And said with pensive gaze, “T’d give almost anything To play as Alice plays.” Teacher took her little hand, And said “It always pays; Sister Alice has no trick— Just watch her busy days.” MUSIC AS A NECESSITY (Prize Winner.) ¢ _What an awful world this would be if there were no music! How could we do without it! Through music, everything can be expressed. We go to it in our happiest dr our saddest minutes. To-day music is the inspiration of every American soldier or sailor. Let us close our eyes and think of the boys in the trenches. Some dreary day when they are tired and thinking about home, and a big attack comes up—when they hear a band ringing out all the’ na- tional airs, how do they feel? Their thought of beautiful music inspires them to do or die. . Again too, in our dear country, it is music which inspires us to do more than ur bit. Never before has music been so neces- Sary as in these trying, times. There- tore, let us call music the “Inspiration of Everybody.”. Lro Potskee (Age 10), Memphis, Tenn. MUSIC AS A NECESSITY. (Prize Winner.) From the ancient ages down to the modern times music, in all its forms, has found its way into every race and nation- ality. So déep are its charms buried in the hearts of the people that it readily can. be claimed as one of the vital neces- sities in the world’s interests. There is a prett¥ little story, a favorite among the Russian and Siberian peasants, about an old man who lived in the woods secluded from all human beings. This hermit’s sole companion was a_ violin. When he was thirsty, he quenched his thirst by playing a tune resembling rip- pling water, and when hungry, his fiddle bespoke of feasting and merriment which satisfied his hunger. Of course, we mor- tals would be unable to subsist upon such a diet, but this goes to show what appre- ciation even a rough, uneducated people can show towards music as a necessity. Puitip TAPPERMAN (Age 13), Detroit, Mich. MUSIC AS A NECESSITY. (Prize Winner.) Music is one of our most essential as- sets in wartime. Nothing cheers our sol- diers and expresses glory more vividly. A soldier was once brought to a hos- pital, severely wounded. Though badly in need of food, drink and dressings for his wounds, his first thought was of music, after which his nefves were calmed. Let us, therefore, hear no more non- sense about music being a luxury, like a gréat feast or a ball. We cannot give up music in. wartime, without taking a great, soul-tonic away from qur soldiers and civilians. Music helps win the war. To oppose it is an act of disloyalty to our country. Music is necessary, as we should all see, as it plays so great a part in the “Cheer Up” and “Carry On” policies of the nation. While it is necessary to America to have true, good, brave men jit is also necessary to have good inspiring music. RutH PLuMtey (Age 14), Ubel, Ind. HonorABLE MENTION. Ruth Elliott Mildred Goe Elizabeth E. Harris Fay Henry Elizabeth May Dawn Janette Reed Elizabeth Simmons Lucile Steininger May E. Torrence Instrument Making turers price. We have supplied the U. S. Gov t with trumpets for 55 years, Send the Coupon jx: Pt your name snd address on 7 also Rell about Four spec ycpizyney 22y92 LS BSD aS SSS SE SSD npienbe b OCTOBER 1918 Page 675 gkieoncniceme SES == Ci 200 Years of Write Today for Our -— 176-Page Catalog fr The Rudolph a Wurlitzer Co. ? §. 4thSt., Cincinnatf, O. Wurelzer ‘The name “Wurlitzer” stamped on tmusica) instruments has stood for the highest quality for nearlytwo centuries. Weare the manufacturers or importers of every known musical instrument, every one sold to you at direct-from-the-manufac- 7’ &.WabashAv.,Chicago, IIL, ’ Gentlemen:—Please send me your {7e-pene catalog, absolutely free. 7 Also te the coupon now and get ourbig, + new catalog absolutely free. Please state what instrument you are in- uf 'N terestedin andwe ll send you the big 176-page book free and prepaid. y AME srreovesvereressverscovereeessseeeeees cows ey The Rudolph Wurlitzer Dept. 2307 FTE ET en RE ee Pe East 4th St,, Sie Ohio—South Hoses Ave., Chicago, a a ; Laman trberested 6th..cc.....ccccccceseecceceees conegees a (aise of Lnetrument bere) SRE BS SBD DSSS IOS BEE SSE DSSS SDSS SSS SS SD a A O8 astering the Scales and A ios = Mastering the Scales and Arpeggios © Price, $1.25 By James Francis Cooke & S _ | Covers the entire subject from beginning to end de Read these unusual testimonials from es World Famous Teachers and Virtuosos: vs Gabrilowitsch: “Unusually solid and valuable book. Sure to arouse 3 keen: interest.” Alberto Jonas: “Masterful from a ‘pedagogical stand- ws point. I recommend it to every earnest musician.” Katharine Goodson: ‘se ‘Most excellent. Extremely thorough and comprehensive.” M. Rosen- aS thal: “Very valuable and useful.” Emil Liebling: ‘Most practical! us presentation imaginable of an all important subject.”’, | . Ne OS OS aE SESE SRESRE SES Re nen ne bee <b An ever increasing sale among progressive teachers is its best advertisement Send for a copy “‘On Sale”’ THEO. PRESSER CO. PHILADELPHIA, PA. ARAARA ARAN LRA LAA LRA AAR AR AAR AAR GAR AR ARAM AMARA RE A PRONOUNCED SUCCESS THE STUDENT’S BOOK j School of the Pianoforte By THEO. PRESSER PRICE, 75 CENTS Intended to follow THE BEGINNER’S BOOK or any other first instructor, this volume has met with a flattering-reception. It bridges the gap between the instruction book and the graded course ’ or the conventional series of studies and exercises. Send for a copy for examination THEO. PRESSER CO. _ Philadelphia, Pa. A NOVELTY IN NOTE SPELLING BOOKS SPELLING LESSONS — TIME AND NOTATION By MATHILDE BILBRO This is the onJy book of its kind which introduces note values, time and rhythm in connection with the spelling of words upon the staff. ‘The names of the lines and spaces are most readily fixed in the mind by word spell- ing and the interest of the young student is immediately aroused and the imagina- tion stimulated. By the judicious, gradual introduction of note values and time combinations elemen- tary notation is covered completely and thoroughly in a manner most agreeable to the student. Price 30 Cents THEO. PRESSER CO. M68, RRR, novse PHILADELPHIA, PA. Please mention THE ETUDE when addressing our advertisers. ORR
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Page 676 OCTOBER 1918 ?? Who Knows??? 6. What is the difference between time and rhythm? 7. When was Mozart born?» 8. What isan accidental? 9. When was music- printing eented? 10, What is this? 1. WHEN: and where was the first opera produced? 2. What is a gavotte? 3. What is a rondo? 4. What is a spinet? 5. Who wrote the Rosary? | The answers to these questions will be given next month. The series will be con- tinued and maybe used for music clubs or classes. M@rits may be given to those answering the most questions each month, or a record may be kept throughout the series, as the class desires. ] The Spirit of Industry One beautiful day Lucile and some of her friends went down to the water to gather river lilies. Soon Lucile had a bunch of lilies much larger than her friends’ and they were jealous of her beau- tiful bouquet, but they had wasted their time by throwing stones in the water and watching the ripples spread. Presently, Lucile laid her flowers under a thorn tree by the water’s edge and wandered away by herself to watch the clouds float by. She laid down in the deep grass and looked up at the fluffy clouds, and it seemed to her that the earth was a big boat sailing past the sky. She sailed.on and on and was.soon entering the harbor in the land of dreams, then her boat an- chored and a tall fairy came on board and began to talk to her, and he asked her where she came from. “From the land where the river lilies grow,” she said. ig | have been gathering lilies all after- noon.’ “That is a beautiful country,” answered the fairy, “and you gathered more lilies than your companions, did you not?” “How do you know?” asked Lucile in surprise. “T knew it because you did not waste your time,” said the fairy. “How do you know that?” she asked. “Well, you see, that is part of my busi- ness. I am the Spirit of Industry, and I know a great deal about such things.” “Where do you live?” questioned Lucile. | “T live in the land where the stars are, but I spend most of my time on the earth with people so I can help them reach their goals.” “What kind of goals do you help peo- ple to reach.” she asked. “Whatever they are working for,” he answered. “Sometimes it is art, some- times it is music, sometimes it is science— most anything at all. What is yours?” “Mine is going to be music. You see I am only a beginner, but some day I hope to be a: wonderful musician.” “Well, that is your goal then, and IT will help you reach it.” “Oh, will you?” cried Lucile, delight- edly. “How?” ‘Never mind how,” he teased. “I won’t tell you that, only you must promise to work very, very hard and never waste your time.” “{ promise,” said Lucile. “You see, even in little things I reward the people who do not waste their time. Do not forget your big bunch cf river lilies,” he said, as he winked at her. “Did you' help me to’ get such a big bunch ?” asked the little girl in surprise. “Of course, I did, and I will help you always, and you will reach your goal be- fore you know it.” “Oh, how wonderful,” said Lucile. “Well, I must be going now,” said the wonderful fairy, “I’ll see you soon again, but don’t forget to work hard,” and he vanished, Lucile felt her boat sailing again and opened her eyes and saw the clouds, and she heard her companions calling to her, for it was already sundown, and time to go home. As they went across the meadow her companions laughed at her for being so quiet and said she was asleep, but she did not mind their teasing, for she was think- ine about her wonderful talk with the Spirit of Industry. Wagner’s Heroines By Jo-Shipley Watson Wirnout looking it up, who can place the following Wagner heroines in the right opera? Write the name of the opera in the blank space following the heroine’s name. evar ia tagice (.. od ble de oh ahah coe ce vi the Irish princess who could love and hate so passionately. Second, Brunhalda. © sss.» -oimeon- iY noble woman and tenderly human god- dess. Third, the self-sacrificing' Senta (...... . Oh, That French Pronuncia- tion! There was a young girl of Marseilles Who practiced for years on Vaceilles And said I’m a gonna Be a real prima donna If I tra-la-la ’til I deilles. © RE ES ae eee ree +! weak and loving princess of Brabant. Sixth, the charming and coquettish Eva 0 Ae tnt eta ie POTD GEO y Following their important and conspicu- ous sisters come three minor heroines. eT Ot POU GO FIN Os ea OLS, ), Quéen of the Gods, upright and jealous of her own dignity, Secpen, Gastrua’ 1 5 iis db. 2... SOCRRCR y, great lady of a great house, young, ro- mantic and filled with the spirit of ad- venture. Third, the beautiful Sieglinda (........ | Pek Wat Nata coh Oh s vaste Bee ). In Memory of a Lost Book of Studies Dr. Practice had a patient, They called him little Ned. He wouldn’t take his scales and ‘chords, So now his music’s dead. THE ETUDE GREAT OFFER Teachers and Music Students Sherwood’s Normal Piano Lessons These weekly lessons, examination papers and lectures on the Art of Teaching contain the fundamentals of a broad and solid musical education, and the principles of success- fulteaching. They contain the vital principles in touch, technique, melody, phrasing, rhythm, tone production, interpretation and expression. Physical exercises for devel- oping, strengthening and training the muscles of the fingers, hands, wrists, arms and body are fully explained, illustrated and made clear by photographs, diagrams and drawings. HARMON A knowledge of Harmony is absolutely essential to round out your musical education. 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, by Mr. Adolph Rosenbecker, famous Soloist and Conductor and pupil of* Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Director and Teacher. Each lesson is an orderly | step in advance, clear, thorough and correct; not the mere mechanical application of “dry-as-dust’’ rules, but an interesting, practical method that grips your attention from the very beginning. A written examination on each lesson, in connection with ample original work, develops your knowledge and firmly fixes the important principles in your mind. UNPRECEDENTED SPECIAL OFFER! Take the time now to write us a friendly letter about your musical ambitions—how long you have studied music—what particular course you are interested in, and whether you have studied Harmony. Tell us 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. We will then send you 6 lessons selected from the course you want. These will not be mere sample extracts or abridgements, but the genuine, original lessons exactly such as we send to our regularly enrolled students.We will send you our large catalog explaining the Sherwood Normal Piano Course, Students’ Piano Course, Harmony, Voice, Choral Conducting, Public School Music, Violin, Cornet, Guitar and Mandolin Courses. Make your selection now and the O lessons will be sent you with full details of the Course. You will be under no obligation to us. UNIVERSITY EXTENSION CONSERVATORY CLARENCE EDDY, Dean 4736 SIEGEL-MYERS BLDG., CHICAGO, ILL. TEACHING PIECES By mrs. a. M. VIRGIL ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS 150 for GRADES 1 to 6, ON SELECTION. GRADED CATALOG. VIRGIL PIANO CONSERVATORY, 11 W. 68th St., NEW YORK The Standard History of Music A First History for Students at All Ages By JAMES FRANCIS COOKE Price, $1.25 The Romance of Music Told in the Most Fascinating Manner in a Thoroughly Practical Text-Boo 250 PAGES 40 STORY LESSONS 150 ILLUSTRATIONS Hundreds of successful Teachers have greatly enhanced the interest of their pupils through this excellent work which has been strongly endorsed by such musical celebrities as Fannie Bloomfield-Zeisler, Emil Sauer, Isidor Philipp, Vladimir de Pachmana, Henry T. Finck, Louis C. Elson and others. 2: The 40 story lessons fit the 40 weeks of the school year. They demand no previous experience in teaching musical history. All foreign words self-pronounced. All tech- nical terms explained. 300 foremost.masters discussed, including great present-day virtuosos, composers, teachers, as well as composers of lighter pieces (Godard, Sinding, . Schutt, Chaminade, etc.). The work has 250 pages, 150 illustrations. Bound in red cloth, stamped with gold. | The Most Popular of All Musical Histories THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. ZABEL BROTHERS MUSIC PRINTERS ann ENGRAVERS SEND FOR ITEMIZED PRICE Lisi 48U SAMPLES SiC SUPPiLeEMENFS Or TmiS MAved NN sr £"™ §Y PHILADELPHIA, PA. our advertisers. JS ABOUT ANYTH NOG COLUMBIA AVE et ee ST Please mention THE ETUDE when addressing
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THE ETUDE Growth of Musical Taste in England Oscar BERINGER, in his interesting little hook, Fifty Years Expertence of Piano- forte Teaching and Playing, comments Uptimistically on the steady, even if slow, imiprovement in public taste in music. Speaking of the time when his experience as a teacher was just beginning, he says: “Amateur ambition had hitherto not soared above the playing of such wishy- washy stuff as Badarzewska’s Maiden’s Prayer, Ascher’s Alice, Where Art Thou? La Pluie des Perles, by G. A. Osborne, and Warblings at Eve, by Brinley Rich- ards, who was also responsible for Warblings at Dawn; for the rest of the twenty-four hours he was dumb. The melodies of all these pieces were of a childishly sentimental description, and were harmonized almost entirely in the tonic, dominant and sub-dominant, while their modulations were bald and obvious in the extreme. , Now, however, a change had come over the spirit of the amateur’s dream. Throughout the country they were show- ing an appreciable tendency to play a better class of music. The most popular piece now was the Sonata Pathetique of Beethoven, with his Moonlight Sonata run- ning it a close second; next in favor was the same composer’s Op. 26, in A flat; while of shorter and lighter pieces Men- delssohn’s Rondo Capriccioso, and three of Chopin’s works, to wit, the Valse in D flat, the Nocturne in E flat, O 9, and the Fantasie Impromptu in Ct minor, were all prime favorites. The less ambitious were content with such pieces as Rubinstein’s Melody m F, Grieg’s Norwegian Wedding March, Lit- olff’s Spinnerleid, and other compositions of the same ciass.” These same statements, though descrip- tive of the state of music in England, would hold true with but slight change as regards America. Sick Pianos — By Frank L. Gale Few people can realize. that pianos. get sick from climatic troubles and that their cure depends largely upon the ability of the owner to supply the proper atmos- pheric conditions artificially or other- wise. Better let the tuner,—the expert— determine how it is to be done. Don’t try to do it yourself—you may ruin your piano, ‘It is a well known fact that some pianos which sound exceedingly well in the damp humid tropics become -mere rattle boxes when removed to a dry, cool locality. In an article which appeared in an old issue of THE Etupe I find the following sentence, “A piano should never be placed against an outside wall, as there it is more apt to be affected by cold or dampness.” Now in all cases this is not true. Heat and cold do little lasting damage to the piano, or to any one’ tuning of the piano. The piano may go temporarily out of tune from either of these extremes, but the result is not apt to be lasting. What we should fear with pianos more than cold and heat is wet and dry. Suppose your piano rattles. This is usually caused not by heat but by dryness; the only two cures are, first a tightening up of all the screws, and, second, more moisture. In many cases where old people in a home require heat to such an extent that it has kept a room too dry, I have without hesitation ordered the piano’ set against an outside wall, or wherever it seemed to me the dampest part of the room was. Again we often have pianos where the action swells and sticks because of too much moisture; if I found such a piano against an outside wall I would order it placed against an inside wall at once. There is no set rule. A sick piano must be treated like a sick person, and given the things to remedy its weakness. A piano which has been regulated in a fairly damp climate can be shipped into a western or middle western state where the winters are long and severe and lose many pounds weight in a season, moisture of course; and the proper treatment of a case like this, is more moisture, even if some of it has to be gotten from the outside wall. Twelve and Twenty a By R. E. Farley '. THEY met in a city music store; when the writer overheard the following con- versation: Twelve years old: every day?” Twenty years old: “I should say not! I practice only once a week.” : Twelve years old: “I never practice until just before I go to take my lesson.” _ Whether you are twelve or twenty, if you are simply “taking lessons” without practicing you are neglecting an oppor- tunity for learning an essential art. Music is now considered a part of one’s education as much as any other branch of study. — “Many of our public schools are includ- ‘ing music study in their curriculums and ate giving credits for outside musical work. To-day if you wish to be consid- ered as educated you must know some- thing of music; and, “He that would have ‘the fruit must climb the tree.” ‘Fifteen minutes to-day, one hour. to- morrow ‘and no practice for the rest of ‘the week will get you nowhere. Kegular practice is what counts, “Do you practice If you neglect your practice you not only cheat yourself but you wrong your teacher. His reputation as a teacher de- pends upon the progress of his pupils. The greatest teacher on earth can do no more than give the lesson to the best of his ability ; he cannot compel you to prac- tice; that is up to you. If you refuse to do your part, you make no improvement and your teacher is blamed for your failure. Remember that your teacher can tell how much practicing you do and doubt- less he continues to instruct you in the hope that you will do better work. So, if you are neglecting your practice, make’a firm a to do your part—to play fair, i Set aside a certain period each day for your music study and let nothing what- ever interfere with it. Concentrate your mind on your practice and your interest will increase, your progress will be certain and this, with the consciousness of work well done, will amply repay you. - Just Out! SENOR JONAS By ALBERTO JONAS OCTOBER 1918 Page 677 An Absolutely New Teaching Aid M PIANOSCRIPT BOOK=} FOR PRESERVING IMPORTANT ADVICE AND LESSON NOTES IN PERMANENT FORM Price, $1.00 SENOR JONAS, THE DISTINGUISHED SPANISH VIRTUOSO, and teacher of several famous Pianists, has rendered the profession a real service by providing this book, which is self explanatory and fits in with. all methods. MOST TEACHERS OF STANDING IN THESE DAYS know that no matter how excellent the teaching material and editions they semploy, they must continually give special exercises to meet special conditions. THE PIANOSCRIPT BOOK is in no sense a blank music book in the or- dinary meaning of the term. True, there is ample blank music staves and blank pages for the writing in of plenty of new exercises for special needs. In addition to this, however, Senor Jonas has written a large number of special exercises and. ea URED so that the teacher will have no difficulty in knowing how to proc THERE ARE TWENTY-FIVE SECTIONS or Departments in the book, each one marked by a marginal thumb index, like a dictionary, so that the student can turn instantly to the right page and keep all lesson notes in order. The book is handsomely bound in cloth, stamped in gold—something the student can keep a lifetime as a valuable souvenir of student days. IT PRESERVES THOSE THINGS FOR WHICH THE STUDENT PAYS THE HIGHEST PRICE—that is the teacher’s advice and instruction. No student would dream of going through College without making copious notes, yet this is done in the most desultory and wasteful manner by most music students. The Pianoscript Book should add immensely to the value of every music lesson. Copies sent ‘‘On Sale”’ to established teachers. THEO. PRESSER CO., Publishers, PHILADELPHIA, PA. THE GEMS OF CZERNY ARRANGED AS A GRADED COURSE OF STUDIES Selected “Czerny” Studies Revised, Edited and Fingered, with Copious Annotations, by EMIL LIEBLING IN THREE BOOKS 32 PRICE 90 CENTS EACH 9 RTT and noteworthy addition to the technical litera- ture of the pianoforte. This work represents a diligent sift- ing and careful selection of material from the entire works of Czerny, including all bers together with equally meritorious editorial work has been painstaking character and interpretative are of real practical terest. The three carefully and closely ing arranged in pro- in difficulty from the enth grade. Czerny’s tail and his mastery of truly remarkable; he writer. The object of CZERNY the popular opus num- many less known, but studies. Mr. Liebling’s of the most exact and from both the technical sides; the annotations value and musical in- volumes, which are graded, tie studies be- gressive order, range early second to the sev- mastery of technical de- musical expression are was a most voluminous this present compila- tion is to present his very best studies of all grades in attractive and convenient form for general use. of the most flattering character. ever offered. The success of this work has been It is the best work of the kind It is printed from beautifully engraved special plates and substantially and thoroughly bound in heavy paper. THEODORE PRESSER CO., Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers,
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Page 678 OCTOBER 1918 oP USM oe TALEAAL i lly ial i bp ihaeye mu LLL THEEEEU THEE iin i Nee «qld cl NEW WORKS. Advance of Publication Offers— Special October, 1918. Offer Price Album of American Composers........ .50 Album of Piano Pieces by Women Com- DOUG eee EES TE Ce .05 Birthday Jewels, Geo. L. Spaulding.... .20 Bohm Album for the Piano............ .05 Celebrated Compositions by Famous NOE a a nw sk A ulin. Geis Waa olbe ss 200 Comprehensive Violih Method, Mr. and Dees MEME cc ae e soba sf) cee -40 David Bispham’s Album of Songs...... -50 Eroticon, Emil Sjogren.............., 25 Hymn of Praise, Mendelssohn......... 25 dy ATt G0 Clavier, Wack. .6dasy .% seaw -50 Marchesi’s Elementary Prog. Exercises Me A ONOG a 5 co ve g.de baw oe} eS Ut .25 New Orchestra Folio, Parts .......... 15 New Orchestra Folio, Piano .......... -25 Paul Wachs’ Album... oo S566 8. a 25 SE SO, ROG yoo: e Theis oop ois bye we oe .50 Scale and Arpeggio Studies for Violin, Book I, Blumenstengel ............. .20 Spaulding Album for the Pianoforte.... 25 eee: Ber SULT, URE 2 hay wep ie oS .25 Tschaikowsky Album for the Young.... .30 Opening of a New Teaching Season During the recent months there has been much quiet speculation and some concern as to the war’s effect on certain professions and industries not positively identified either as “essentials” or “non- essentials,’ and some of us may have hes- itated before it was recognized that music as a profession, an industry or an art, is in every sense and in all its classifications a real necessity in civil life. The music teachers of America seem to have sensed this fact and are making their plans accordingly, very properly assuming that of all times in our history this is pre-eminently the one time to hold the banner of music aloft and to give. this branch of education every facility for its progress and development. As a publisher of educational music this house, through its wide connection with the teaching profession, is able to say that from present data the number of pupils enrolled or expected is considerably above the average for previous seasons. This is as it should be and promises a busy season for all connected with music, and we take this opportunity to congratulate the pro- fession on these excellent p-ospects. Incidentally we wish to direct attention to the importance to the teacher of having an individual supply of suitable teaching material ready at hand when the: pupils present themselves. Such a supply, if not already ordered and delivered, should be sent for at once as some allowance must be made for transportation delays and it is annoying to be without the needed studies, pieces, etc., when work begins. A great number of teachers put in their fall orders for delivery late in the summer and no doubt they are now enjoying the advantage of this plan and have nothing to worry about on that score. But it is not too late to get a supply of music promptly if the order is entrusted to us as we have made special preparations and in spite of some handicaps due to the war we are still living up to our reputa- tion for promptness and reasonable prices. Teachers unacquainted with the “On Sale” plan should write for information and order blanks, or if pressed for time the order may be sent at once with such in- structions as will enable us to make up a desirable assortment based upon the num- ber of pupils and the grades represented. Phx 5 Of] FE Seni) VOU RLUGRRUELURRRATER ET ERTEGEE eli) ° 4 , : Publisher’s Notes A Department of Information Regarding New Educational Musical Works || Il ‘wo aaa en ee ee It Sh © 1 Palle p , ii re CL TETECOECTTT y IM \ Sa ulllt a Js TINT x - ely , ym CHAEOTENOTATUNOTENTCU ANDO Uc 7 emmmmmmme )(-<:s' ill “e Ih ‘lisse TOM On Sale Packages of the 1917-1918 Season A large number of our patrons have not as yet made a settlement for their On Sale accounts of the past season. In so far as this affects the music that has not been used we are entirely agreeable. In so far as we are affected by the non-pay- ment to us for that part that has been used we are very much interested. We desire a settlement, of course, for every- thing sent out last season On Sale or otherwise, which has been used, and a set- tlement once a year is a most liberal ar- rangement. Let all teachers in schools who have not made their settlements and returns for last year’s On Sale account, either make their returns and let us send a statement for the balance due, or if the package is made up of such material as would be valuable for the current season do not return it but correspond with our bookkeeping de- partment with regard to making a pay- ment which will cover that part of such an On Sale package as has been used. This will be found to be very easily ar- ranged. This keeping over of the package from one season to the next will be of greater value this year than ever before for two reasons—Ist: the saving of transportation two ways, a great advantage to the cus- tomer; 2nd: the convenience of having the package on hand when it is most needed, right now, and the great help that this will be in these shortage-of-labor times: in our Selection Department not having to make an entire new selection for the com- ing season. Of course we are short of help but not so short that we are not go- ing to give satisfaction, but every economy should and must be practiced. A suppie- mentary selection to leaven the one of last year and the sending of Monthly New Music On Sale Packages are both sugges- tions of prime importance to such schools and teachers. Year Book for Music Teachers Our Year Book for Music Teachers is a welcome gift of considerable value to every music teacher, sent gratis by the Theodore Presser Company to any teacher who asks for it. It furnishes an entire bookkeeping sys- tem, pupils’ directory, lesson schedule, sheet music account, cash account, memo- randum pages, all specially made by most experienced hands and minds for the music teacher. There are other features contained in the book, selected téaching material for various grades, pronouncing dictonary of musicians, ete., ete. A copy of this will be sent to every teacher who will ask for them. oa Advance of Publication Offers Withdrawn Every month our new publications are announced under this head, those that have been on special advance of publica- tion offer and which have now appeared from the press and upon which the special offer price is herewith withdrawn. The books are now on the market and copies cheerfully sent on inspection at the regular professional rates. The following are those announced as being on the mar- ket for the current month: ~ - Mozart Album for Piano. Price, $1.00. Lost, A Comet—Operetta by Geo. L. Spaulding. Price, 50 cents. Biehl, Op. 44, Books 2 and 3. Easy and Progressive Studies for the Piano. Price, 50 cents each, L’Art du Clavier | By Theodore Lack. Opus 289 We have in the course of publication an original work of piano technic by the celebrated French composer and teacher, Theodore Lack. The work is not intended for a beginner. It is an artistic presenta- tion of the difficulties of piano techtiic. Neither is it a book of pure technic, such as scales and arpeggios, but it. is a spe- cially artistic presentation of some of the difficulties of the key board. The exer- cises are short, and there are exactly one hundred of them. Those ,in search for something out of the usual line in piano technic will be very glad indeed to know of this work. The grace and finish of the French musician is apparent on every page. The work is of decided merit and is bound to take its place among the prominent educational works on piano playing. © Our special price in advance of publi- cation is 50 cents a copy, postpaid. Pedal Book By Joh. M. Blose We announced in the last issue of our journal a book on the study of the pedal, by Dr. Joh. M. Blose. This work is in its well advanced stages. It is a work of ele- mentary character that goes to the bottom ot the study of the pedal, which never te- ceived any special treatment by the aver- age teacher. This work is intended to set every teacher right on this important branch of piano playing. If you want to enrich your teaching force, add to it what Dr. Blose has to say in this volume. It is a practical, systematic course on pedal- ing from the very beginning. There will be no more guess work or haphazard study after going over this work. Our special advance of publication price is 50 cents a copy, postpaid. Album of American | Composers | One thing the war has certainly stimu- lated and that is the American composer, who is now receiving more appreciation and moré advantages and is becoming more prominent as the war continues. European composers are almost entirely cut off from us, which is an excellent thing, and we should be glad that this has been brought about by the war, because it is producing a wonderful stimulus among the native writers. We have been inspired to bring out an album of pieces by the best American - composers-of music. We have some ex- cellent material for this purpose, and we are going to make a volume that will be a credit to American music. We will not include any of the difficult pieces, but only those of medium grade and of spegial merit. The advance of publication price is 50 cents a copy, postpaid. Tschaikowsky Album for the Young Tschaikowsky’s Album is a collection of twenty-four pieces for the young. It is similar to Schumann’s “Album” for the Young,’ Opus 68, and just as original and delightful. It is one of the volumes of easy pieces that should be_ better known and will be better known as time goes on. . Our special price in advance of publi- cation is 30 cents a copy, postpaid. Album of Piano Pieces by Women Composers Women composers have made wonder- ful strides in the domain of art. There are now quite a few women, especially in America, who have a knowledge of the intricacies of musical composition equal to that of any of the male composers. There is a delicacy, a refinement and a tenderness displayed in the compositions of women composers. This album con- tains some of the best representative compositions of successful women com- posers. Our special advance price is 35 cents a copy, postpaid. © THE ETUDE Celebrated Compositions By Famous Composers ; In our catalogue there has been missing a volume of the kind we are here announc- ing; that is, a collection of the works of standard writérs of medium grade, such as the best-known compositions by Chopin, Mendelssohn, Jensen, Godard, Moszkowski, Chaminade, Beethoven, Schubert, Rubin- stein and 80 forth. The most prominent of the works of composers of this kind will be in the volume and only those that are of medium grade, and of medium length. We expect to have this volume ready for publication this fall. You will run no risk, in ordering at least one volume. | Our special advance price is 35 cents a copy; postpaid. - Eroticon ae Five Pieces for the Piano | By Emil Sjogren This charming: set of pieces by Sjogren entitled “Eroticon” or “Love Song,” . will be added to the Presser. Collection in one volume. These songs without words are in the modern style, refined and elegant. They may be ised as studies of. style; expression and tone production, or for re- cital work. They should be known to every advanced student. The special introductory price in ad- vance of publication is 25 cents, postpaid. Spaulding Album For the Pianoforte The lovers of Mr. Spaulding’s piane pieces are many. All will welcome this new collection, which will contain all of his most popular compositions for the piano of intermediate grade. Mr. Spauld- ing’s music is acceptable alike to both teacher and pupil, giving both pleasure and profit. The special. introductory price in ad- vance of publication will be 25 cents, postpaid. | Birthday Jewels By George L. Spaulding In this unique little volume there is a piano piece for every month in the year, each piece named after the jewel appro- priate to the month. Each piece has characteristic verses which may be sun ad lib. The volume is a second obhite book. The special, introductory price in ad- vance of publication is 20 cents, postpaid. Hymn of Praise Symphony Cantata By Mendelssohn Mendelssohn’s “Hymn of Praise” stands in the first class among Oratorios and Cantatas. While it is not so long as some of the other standard works, it is no less important. Any choral society which sings Mendelssohn’s “Elijah” or Handel's “Messiah” should also sing the “Hymn of Praise.” Its popularity is increasing. Our new edition is superior in all respects. The special price in: advance of publi- cation is 25 cents, postpaid Comprehensive Violin Method By Mr. and Mrs. Frank T. Benjamin One of the chief qualities of this Violin Method is that it is one of the few in- structors which is really adapted for self- instruction. By means of a complete sys- tem of diagrams and illustrations it shows not only the .position of the violin anc the player, but the exact position of each finger on the strings. The busy teacher will find that .a book of this sort does much for lightening the labor and lends itself as the most pleasant medium of instruction. Besides the necessary scales and exercises it contains easy duets for violin and piano and some playable ar- rangements of many of the old favorites, The more advanced exercises are selected from standard studies. It is a compre- hensive, practical work throughout. The special advance price for introdue- tory purposes is 40 cents, postpaid,
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THE ETUDE Bohm Album For the Piano The piano compositions of Karl Bohm set a very high standard for all drawing- room music. ‘They are ~representative compositions of their class. All are play- able and musicianly, besides having a de- cided melodic charm for the general list- ener. In our new Bohm Album there will be included all the most popular of these drawing-room pieces, chiefly of interme- diate difficulty. It will be a most desir- able volume. Our introductory price in advance of publication is 35 cents, postpaid. Trial by Jury Operetta By Arthur Sullivan This is one of the best of all short operettas suitable for amateur produc- tion. The text is throughout bright and full of real humor. The music stands among the best of Sullivan’s early works. There is no spoken dialogue and the act- ing goes right along with the music. Cos- tumes, property and scenery are very easily obtainable. Our new edition of this work has been carefully revised in all re- spects. The special introductory price in ad- vance of publication is 25 cents, postpaid. Scale and Arpeg¢io Studies for Violin, Book I By A. Blumenstengel These studies are among the most used by all teachers. They are adapted not only for instruction in the intermediate grades but also for daily practice for considerable periods. Scale studies in all the major and minor keys, also arpeggio studies in all keys are included to be practiced with a variety of bowing. The studies have been carefully edited by. the well-known violinist, Mr. Sol Marcosson. The special introductory price in ad; vance of publication is 20 cents, postpaid. New Orchestra Folio This new folio is now about ready, but the special offer will be continued during the current month. In this folio will be found assembled all the gems from our catalogue of orchestral music. They are all so scored as to be played effectively from piano and one or two instruments up to the full combination. The pieces are all of intermediate grades, tuneful, richly harmonized and well arranged, in- cluding marches, waltzes, reveries, ete. The special advance of publication price is 15 cents for each separate orchestral part, and 25 cents for the piano part, postpaid. Marchesi’s Elementary Progressive Exercises for the Voice Mathilde Graumann, who later became the famous Mme. Marchesi, pupil and assistant to the great Manuel Garcia, teacher of the most eminent prima donna in Paris, was fortunate in having for her husband the Marquis Salvatore Marchesi (pupil of the elder Lamperte), who was also. an accomplished musician. For years he worked to embody the simplest and best vocal exercises in a few elemen- tary books. The best of these is the one we are now publishing. Although it has been in use for nearly seventy-five years it has not been superseded by any work in its class. It is used by thousands of teachers the world over. It has been the ambition of the Theo. Presser Co. to pro- duce an edition of this work of superior character. Accordingly Mr. Nicholas Douty, whose long experience as a tenor soloist and teacher has given ‘him front rank among American artists, was en- gaged to translate, edit and revise this work. The special advance of publica- tion price is 25 cents, affording teachers an opportunity to secure this work at a reduced rate the moment it is issued. David Bispham’s Album of Songs The great American baritone, David Bispham, whose career in opera as well as on the concert stage is one of the very bright lights in American musical history, has now arranged to pick from the great mass of vocal literature those songs which in his ‘experience are the most effective for the general use of the teacher, the student and the music lover at home. His collection will be one made with great care as to texts (somz2 of which Mr. Bisp- ham has virtually translated himself) and as to the editions. The book will be put out with revisions marking the sing- er’s understanding of the subject. It will be a singer’s book—made for people who love to sing. Some of the songs are accompanied by lessons especially pre- pared by Mr. Bispham. The advance of publication price is 50 cents. Paul Wachs’ Album The late Paul Wachs was one of the most successful .writers of high-class drawing-room music. A Frenchman him- self, he wrote in the modern French man- ner, and his works contain rare melodic inventions as well as brilliant musician- ship. This album will be the best collec- tion of Wach’s compositions ever issued and in the compilation will be his most favorite pieces. Our special advance of publication price is 25 cents, postpaid. Special Renewal Offer For the month of October, THe Erupe makes its readers the following liberal offer for renewals of subscriptions: Every reader who renews his or her Ervupe subscription, or sends a new sub- scription, during October, may have the year’s copies of Tue Ervunpe, together with any one of the following music albums, for 15 cents additional—a total of $1.65 ($1.90 in Canada) : OpERATIC SELECTIONS. Piano. Just We Two. Geo. L. Spaulding. Lirrte Home Prayer. Piano or Organ. Sranparp Briwwianr ALBuM. BreGInNER’s Book For THE PIANOFORTE, Theo. Presser. Erupe readers should take advantage of this offer in renewing their own sub- scriptions and those of pupils and friends, during October, adding 15 cents to the regular subscription prices. For Violin and Magazines at Low Prices if Ordered This Month Higher rates of postage and increased costs of production have compelled many of the best publishers to advance prices. The higher rates become effective, in many cases, on November first. THE Erupe therefore advises readers to send in renewals and new subscriptions at once, to take advantage of present prices. If the clubs listed below do not include all the magazines you want, write us. We'll promptly quote the lowest prices on any combination you want. Send or- ders directly to THe Ervupe. Canadian and foreign postage extra. HTUDE.. .o4e% CEA! ' $1.85 PHM BTUDE .. 3)... oe. eed $9 10 McCall’s Magazine ...... weer ene Sein abe THD ETUDE ...4. Seamer, Special Notices: ANNOUNCEMENTS and sere ee | WANTED and FOR SALE Rate 10c per word WANTED—Small or Baby Grand Piano, not over five years old, in good condition. Steinway preferred. One that will stand a tropical climate. ‘L. C., care of Erupg, Phila- delphia, Pa. WANTED— Piano teachers to use fasci- nating system. For special rates address Unger System, Montclair, N. J. FOR SALE—Forty- three orchestrations ; good standard music; bargain at $4.00 for quick sale. A, W. Burpee, 168 Eastern Ave- nue, Framingham, Mass. ANNOUNCEMENTS | Rate 20c per word MUSIC COMPOSED—Send words. Man- uscripts corrected. Harmony, correspond- Dr. Wooler, Buffalo, N. ence lessons. ODD SIZE—Tape measure to be had for ne asking. .The Kranich and Bach Piano New? York, desiring to call attention to “The Smallest’ Ultra Quality Grand in the World,” is giving out a tape measure exactly the jJength of the piano to impress upon musicians its smallness. See advertisement on Page 665. :
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Page 680 OCTOBER 1918 | A Successful Song Writer’s Most Recent Efforts ee ee oaey oe KNOWN BY ALL THROUGH HIS SUCCESSFUL “SOMEWHERE A VOICE IS CALLING,’’ HAS BEEN FORTUNATE IN MELODY INSPIRATION AS THESE NUMBERS WILL PROVE TO THE SINGER WHO OBTAINS THEM ae DREAMING OF LOVE AND YOU Published in three keys, Low, D, Med., F, High, G | Price each, 50 cents A song that has already made a place for itself in the vocal world. Filled with all the tenderness of love that words and music can portray, the attractive- ness of this number makes it an excellent recital numbér as well as an exceed- ingly fine teaching song. UNTIL THE DAWN Published in three keys Price, 50 cents - One of the very latest offerings of Mr. Tate. The words of this song con- tain a beautiful sentiment and the musical setting is all that could be desired. Possesses melody that gives promise of its success. DINGLE BAY Medium Voice Price, 60 cents A quaint love song of the ‘‘Green Isle’’ with the characteristic suggestive touch in the music that properly fits the words. . THE DREAM RIVER High Voice Price, 50 cents Another meritorious song worthy of special notice. As usual with this writer's numbers it is not too difficult for the average singer. A SONG OF THE SPRINGTIME High Voice Price, 50 cents Does not go above “G” and is a graceful, blythe spring song that much could be made of by use in’teaching. ” ROSES OF REMEMBRANCE Medium Voice Price, 60 cents A strong rhythm waltz-time vocal number that will find a place in the hearts of lovers of the waltz style in song. Any or all of the above numbers may be had for inspection according to our usual “On Sale” Plan :: PHILADELPHIA, PA. THEO. PRESSER COMPANY : IMMENSE WAR SONG SUCCESS ‘“‘Send Me a Rose from Homeland”’ By J. F. Cooke Price 50c. As introduced by Mme. Schumann-Heink, Henri Scott, Mae. Hotz, Sousa’s Band and many successful artists and organizations “The words of this song are the daily prayer of the boys over there. It is like an inspired message from the front,” —Mr, Albert Zink, Prominent Y. M.C. A. Leader with the American Forces in France Singers constantly secure many encores with this timely, high-class war number Low Voice, High Voice, Band, Orchestra, Mixed Voices Published by Theo. Presser Co. : Philadelphia, Pa. and carefully selected ENCORE SONGS by ENCORE SONGS ors? sicaet5ceesnde The entire list, or any numbers from it, will be sent freely, “ON SALE” to any who may be interested. (H. High; M, Medium; L. Low.) In the appended list are some choice Alone Upon the Housetops....H or'L Galloway $0.25 | Listen to My Tale of Woe........ M Smith $0.40 April First (Humorous) .......... H Lieurance 25 | Ma Li’l Starlight................ M O’Hara 60 April Foolin H Robinson 40 Mah Blackbird.................. M Niedlinger 60 pri "Vt oRRE St SERIES MRA! fr ; “ Memew's Li'l Bebo... ii orL Burleigh ‘* Aunt Sally spibierere 6008 0 :0.6.0. €.84 ele © he M Clar . Mammy’s Song enue re OR Oe) H Gillette 40 Blossom and the Bee ............ M Lee 50 Maying with You...... bt Sah M Spooner "40 Cupid’s Conquest...............- M Steane 50 | My Brown Rose .......... eee Calloway .50 one SORT CPE Le M Robinson .25 | My Love, She’s But a Lassie Yet..H Marshall-Loepke .50 George and his Father (Humorous) ..M Lieurance eT BION in. 5s 0H enn so c' 00 00s M Stephens .60 Grandmother Brown (Humorous) ..M Gottschalk .30 | Near the Well (Humorous) ...... M Quinlan 25 Heart of Mine.............. M or L Galloway PR RS ae ee or L Pigott 60 Hills O’Skye....... ek ie H Galloway MO 1 NN ait 04s « ctretnet- or L Johnston .60 PNY INS 25.5559 G4 ce oR A H Clark 50 | Possom An’ De Coon ............ M Clark .60 Honey Town ...:.......6...-055: M Widener ..40 | Pray Don’t Tell........ bin Se aa M Bischoff .50 I Know aLittleGirl.............. M Steele 40 | Rockin’ In De Win’ :...... H or L Niedlinger 50 I Met a Little Elfman............ H Robinson 25 | Rose of Cherokee................ M Cadman 25 I’ll be dar to Meet yo’ .......... M Burleigh Se | Be IR aon bi Fk «Aes wes M Huerter 50 Indian Cradle Song............-. L Clark .60 | Squirrel and the Bumble Bee. HorL Niedlinger 60 Bee NS, i ec FEN 0 RN H O’Hara .40 | Sweet Miss Mary .......... HorL Niedlinger 60 Mate Orsddy oid il L Neidlinger .60 | There Little Girl Don’t Cry..M or L Norris 50 Keep a Good Grip on deHoe...... M Burleigh . .50 | Three Lucky Lovers (Humorous) ..L Sudds 50 Li’l Boy,................-+..5)..M Neidlinger -40 | When Love is Done....,... M or L MacLean .25 BN ul: aug be dy Hor L Neidlinger 6 en the Kye Come Hame ..M or L Nevin 50 0 , THEODORE PRESSER COMPANY, PHILADELPHIA, a) |> Please mention THE ETUDE when addressing our advertisers. - age person. Tum Ohio Music Teachers’ Association held its thirty-sixth annual convention at Cincin- nati in June. ConcEeRTS continue in Paris, despite the . bombardment, and there seems to be no pre- judice shown against the older German clas- sies, such as Haydn and Mozart, in the make-up of programs, RuDOLF GANZ, the eminent Swiss. pianist, has cancelled his contemplated trip to France and Switzerland. ‘ ALBERT MILDENBERG, prominent in America as a composer and pianist, died at his home in New York City on July 3, at the age of forty-six, THE New England Conservatory of Music, for the first time in the United States, has established a summer school of band music for men in the war service. CLARENCE BIRD, a brilliant young Ameri- can pianist, has received his commission as first lieutenant on General Pershing’s staff. MASCAGNI’S new opera, Lodoletta, had its first production at the Lirico Theater in Milan early in the past summer, ; EDWARD SHIPPEN BARNES, the _ talented New York composer and organist, joined the Naval Reserves at Pelham Bay July 26th, Tue Fischer Studio Building in Seattle, Wash., which housed over sixty music teach- ers, has been leased for conversion into an Music as an Imitative Art TuHERD is also a large class of ‘“‘music lovers’? who believe themselves on an intel- lectually higher musical plane than the aver- They revel in what may be termed the imitative side of music. For them, the imitations of well-known scenes or familiar sounds—those countless “murmuring brooks,” “rippling waves” and ‘chapel bells, which are daily invoked on pianos in thou- sands of homes—represent the best that music is capable of. These poops sometimes reach to an appreciation of the imitative side of many great composers; when indeed they feel they have struck the very rock-bottom of music,. In‘ reality, if analyzed, music to them is not an independent art at all. It is little more than a medium for the visualization of a picture, By hearing the imitation brook, waves or bells, they are enabled to form a mental picture based on familiar brooks, waves or bells. And in time this process of translating music into images becomes the only way to gauge the merit of any music they may hear. If they are enabled success- fully to visualize a piece of music they “understand it.” Even among people of more advanced musical knowledge this tendency is ganeral——zrReM ZIMBALIST, The Public, New pe’, Ke. Fe Debussy a Hermit Composer Debussy was a hermit artist; he shunned by nature every sort of assembly. During the last fifteen years of his life he lived a retired life in a house near the Bois de Boulogne, hardly leaying it except to betake himself in summer to some very quiet water- ing place. He went nowhere; we saw him in the theater or concert hail only upon those exceptional occasions of the performance of some work not only new but likely to reveal. a novel manner of expression. The rest of the time he lived secluded, or almost so, in a study looking out upon a garden, a room arranged with the greatest taste, well lighted, ornamented with a few works of art chosen with the most minute care, and gar- nished with the books that he loved, par- ticularly modern French works and a good many translations from the English. I ve never seen anything better ordered than the work table of Claude Debussy; it was un- encumbered, the objects upon it were simple and refined, tended with fastidiousness, always perfectly arranged, and yet without anything of “bureaucratic” faddiness. From the very sight of this work table one rec- ognized an artist of well-ordered. mind, care- ful of detail, a lover of form, working without haste. ‘Debussy was always considered difficult of access, ither from early experiences or from his very nature, a sort of misanthropy came upon him; he had little pleasure in the society of his fellows and asked nothing at their hands. No one ever’ worked with so little idea of reward or favor. In youth he had obtained the Prix de Rome. In this he found no cause for yanity, and to it he attached no importance; rather he made it a pretext for invective agetpat academic laurels. Above everything he loved liberty, and his own he preserved scrupulously.— G. J. AuBRY, in The Musie Student (London). ' The World of Music (Continued from page 625) The Musical Digest THE ETUDE apartment house or family hotel, and the ‘teachers are said to be having the greatest difficulty in finding suitable quarters for their work, VicToR HERBERT has written a new light opera, The House that Jack Built. Book and lyrics are by Edward Childs Carpenter. NORFOLK, CONN,, has been obliged to forego the usual and expected midsummer music festival, owing to an unfortunate combina- tion of events. - THE Carl Rosa Opera Company, of London, has been organized for fifty years, and dur- ing that time has sung to some 80,000,000 people. Their specialty is Grand Opera in English. MANY army song leaders are recommending that the Star-Spangled Banner be transposed into the key of A flat for community singing, as its compass will then become much more practicable for a miscellaneous assembly of voices. THE Municipal Orchestra of San Francisco at a recent concert brought out (in concert form) a number of excerpts from a new opera Egypt, by W. J. McCoy, of San Francisco. COLONEL WILLIAM Boyce THOMSON has been elected president of the Russian Sym- - phony Society of New York. He has always taken a special interest in Russian affairs and but recently returned from that unfortu- nate country, where he was serving as head of the Red Cross Mission, A Musical Association Three Centuries Old THe Worshipful Company of Musicians (London), who kept the festival of their patroness, St, Cecilia, last month, claim to have been founded originally as the ‘“Com- pany of Minstrels’ in the fifteenth century. Their first charter dates from 1604, when James I gave’ them extensive powers over music and dancing within three miles of the city of London. .No freeman of the company | was permitted to play any instrument ‘‘under the window or lodging of any nobleman, knight or gentleman” without leave of the guild. The musicians hold some freehold property at Clapton, but rank among the ponent of .the city companies. Having no all of their own, they generally use for their periodical gatherings Stationers’ Hall, where they find among the decorations a picture of their St.. Cecelia, Musicians are proverbially an impecunious folk, but the building of a Musicians’ Hall in some future better times would be a suitable project for the considera- ped of this Worshipful Company.—Musie, 400 on, Why Grand Pianos are Superior THE term “grand piano’’ connotes not only a particular tone but a particular shape, It connotes principally. in fact, the horizontal soundboard and the hammer which drops back by gravity from the string. Now the grand action is superior to all others in that it permits a more delicate control of velocity and particularly: in permitting a more rapid and sure retraction of the hammer. Thus, greater opportunity is given to the pianist to control hammer. speed and therefore tone. That is one point and a point of essential importance. -So long as the grand action is used, the piano which uses it will, other things being equal, have a better tone than if it were less efficiently equipped in mechanism. No matter how small a grand piano may be, therefore, its superiority over the upright of any size will be manifest in this important particular.—Music Trade Review, New York. Pruning the Pupils’ Recital “How shall [I make my pupils’ recitals more interesting to the public?” said to me a Chicago voice teacher, who is willing to learn, “Two things will do it,” was the reply, “First, make them shorter. Prune unmer- eifully, Forget your usual cry that you have so many who absolutely must be represented, and cut the time down to an hour and a half at the maximum, with an hour and a quarter referred, And then, make your recitals more uman. Forget ‘methods’ entirely and when your pupils appear in public tell them to think of interpretation. he publie cares not a hoot about method, and in nine cases out of ten wishes the story only. . Of course, method has to do with good .toné, and musi- cianship and musical style are’alSo essentials in the closs room, but do not obtrude these on the public. Instead, let your pupils learn to ‘tell the story’ of the poem in musical terms and the publie will inevitably like it,’ —The Music News, Chicago,
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| during the present economic conditions. a THE ETUDE FAD ‘D *S TTR he fon Schools and Colleges Jy“ OCTOBER 1918 Page 681 py —— CAT haf 'Iiag@. CHICAGO AMERICAN CONS repeal Offers modern courses in Piano, Voice, Violin, Organ, Violoncello, Orchestral In- struments, Public School Music, Harmony, Composi- tion, Physical Culture, Dal- ¢ ‘# croze, Modern Languages and Dancing. Walton Pyre School of Act- ing and Expression. Superior Normal Training School, supplies Teachers for Colleges, Pupils prepared for Lyceum and Chautauqua engage- ‘ments, Desirable Dormitory accom- modations. Numerous lec- tures, concerts and recitals throughout the school year. Teachers’ Certificates, Diplo- Karleton Hatkett John J. Hattstaedt Asso.,Director President and Founder gon! pete _ Asso. Director mas and Degrees conferred by authority of the State of musical center, in the new, magnificent sixteen story Illinois. Students’ Orchestra. Many free advantages, Thirty-third annual session begins September 9, 1918. 571 Kimball Hall Kimball Hall Building. ESTERN CONSERVATOR 200 Partial Scholarships O7Send for Application Blank. bs j Under State Charter Chicago Musical College The Leading and Largest School of Music in America—53d Year FALL TERM NOW OPEN Unsurpassed faculty of 100 eminent instructors Caer and private lessons in Piano, Voice, Violin, Organ, Theory, School of Opera, Orchestral Instruments, Expression and School of Acting. | Teachers’ certificates. for teachers of Piano, Voice, Violin and Public School Music. Diplomas and Medals awarded. Public Recital week!y in our own Recital Hall, seating 800 people. Unrivalled Free Advantages. Dormitory accommodations. 60 Free Scholarships and 140 Partial Scholarships given to worthy talented students by compet- itive examination. Enrollments at any time. MASON & HAMLIN CO. offers special prize of $1200.00. Parlor Grand Piano to best player in Graduation or Post Graduation Classes. CABLE PIANO CO. offers special prize of $1,000.00 Parlor Grand Piano to best player in Senior Diploma Class. Special prizes to vocal and violin students. a Complete new catalog on request, CARL D. KINSEY, Vice-President and Manager, 620 S. Michigan Blvd., Chicago, III. FELIX BOROWSKI, President Dr. F. ZIEGFELD, President Emeritus THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS Winter Term Opens September Ninth, 1918 Courses in PIANO, VOICE, VIOLIN, CELLO, EAR-TRAINING, KEYBOARD and APPLIED HARMONY, DALCROZE EURYTHMICS, DRAMATIC ART, TEACHERS’ TRAINING COURSES Opportunity for performance FOR CURRICULUM, Address: 801 LYON and HEALY BUILDING, CHICAGO OLUMBIA SCHOOL OF ‘MUSIC CLARE OSBORNE REED, Director ' s m A School for the Serious Study of Music @ m Free year book. Students may enter at any time | a = Students’ Orchestra and Chorus. g Piano, Theory, Voice, Violin COLUMBIA SCHOOL OF MUSIC J ee ee Louise Burton SOPRANO Available for Concerts, Ora- torios and Costume Recitals. Pupils nccepted. Address forbulle- tin 800 Lyon & Healy Bldg., Wa- bash & Jackson Blvd., Chicago, til. YCEUmM RTS : ONSERVATORY ( INCORPORATED) ELIAS DAY, DIRECTOR ‘‘Definite Preparation for a Definite Work”’ A superior jaculty, teaching every branch of Music and ‘Dramatic Art. Diplomas given; degrees conferred. More than 300 of our students have secured concert positions in the last five years. Fall Term opens September 9, 1918. Write for detailed information and free catalog. Address Frank A. Morgan, Manager. Normal Training, Advanced _ Inter- pretation and Post Graduate Courses. Kindergarten Ear Training, Sight Read- ing, Orchestra Conducting, History of Public School Music Methods Music, Demonstration Children’s Classes. Box 87. 509 So. Wabash Ave., Chicago, Ill. Prestige can be gained on Dept. E ‘ 1 d ee 600-610 LYON & HEALY BLDG., Chicago merit properly advertised. \ schulte, | Heniot Levy, Allen Spencer, For free catalog and general information, address AMERICAN CONSERVATORY OF MUSIC THIRTY-FIFTH YEAR especially issued by the Conservatory Board to en- cqurage the study of Music under superior advantages E. H. Scott, Pres., Kimball Hall, Chicago PUBLIC SCHOOL MUSIC CREDITS ‘Constructive Drill Book Nos. 1 and 2, one dollar each, over 400 construc- tive drills in each. EARN MORE Teach adults and children partly in classes, one-half. hour private lesson, one hour class lesson per week. HELP YOURSELF Improvise, Play and Write 95,220 Modula- tions from one given tone. Develop Musical Memory, Intellectual Memory and Fore Feeling. Create Keyboard and Written Harmony. Teach with Scien- tific Pedagogy. Prices $10.00 to $220.00. Teachers may join a class any time. Address EFFA ELLIS PERFIELD 218 S. Wabash Ave., Chicago, Il. 109 West 45th Street, New York City ST. JAMES HOTEL WILLIAM wi” SNYDER Director Decatur Musical College; Decatur, Ill. Member Faculty Sherwood Music School, Chicago Pupil of Leschetizky and Sherwood. SPECIAL COURSES IN PIANO & ORGAN PLAYING and TEACHING. SPECIALTY: LESCHETIZKY PRINCIPLES BusH CONSERVATORY CHIC AG KENNETH M. BRADLEY e EDGAR NELSON President and Director °® Associate Director An Institution of National Prominence The Conservatory is univer- sally recognized as a school of the highest standards, and is one of the largest musical institutions in the country. Eighty artist - instructors, many of international repu- tation. A partial list follows: Karleton Hackett, Adolf Weidig, Wilhelm Middel- Enrico Tramonti, Herbert Butler, Victor Gar- wood, Silvio Scionti, Ragna Linne, Walton Pyre, O. E. Robinson, Arthur Olaf An- dersen, E.Warren, K. Howe, | Lovise Robyn, and others of i equal prominence, The Conservatory is located | in the heart of Chicago’s | PROFESSOR Chicago, Illinois EXPRESSION LANGUAGES Be, PHYSICAL CULTURE MUSIC DANCING New Building offer- The Faculty of more than 50 famous artists includes ‘ainia guicsas Annies: bullet . . CHARLES W. ‘e-engag M , Pianis ing Unsurpassed RICHARD CZERWONKY. Violinist MME. JULIE RIVE-KING, Pianist Equipment FALL TERM OPENED SEPTEMBER 16th (ae SPOT CR EAT RR Fc DEAD RS IT OTR SS TLE TE ES TTS Write for free illustrated catalogue ‘‘E”’ giving full description of courses of study, complete list of faculty, and magnificent new building. Address, Registrar, 839 North Dearborn St., Chicago Only Conservatory in Chicago maintaining Student Dormitories A School of Musical Arts KNUP F ER STUDIOS WALTER KNUPFER, Director; All branches of music. Eminent faculty. Teachers’ certificates and diplomas issued by authority of the State of Illinois Master School of Piano and Violin playing under the direction of Walter Knupfer and Harry Weisbach. A_ Limited Number of Scholarships to Pupils of Exceptional Talent Fall Term Starts September 9th ADDRESS 630 FINE ARTS BUILDING, CHICAGO, ILL. EAN “Over There with Pershing’ A-REMARKABLE BOOK Not Sold but GIVEN for ONE Yearly Subscription to THE ETUDE {|e a = ni il ill HN | A 64-page book with an attractive cover in colors. The book is pa- per bound and is ten.by fourteen inches in size. The world war and the work of “Our Boys’ and Allied Soldiers is exhaustively treated. HUMOR HI li | | Contains Twenty-four Maps wo page maps of the world, the SSS SSS == United States, Europe and the Western Battle Front are given. The last mentioned map shows various battle lines at different stages of the war up to March 2Ist, 1918. Other » maps treat in detail the Italian and various ‘battle fronts and also show Austria, European-Turkey, Bulgaria, Roumania, Serbia and Montenegro. UA UA | Profusely Illustrated Showing Allied troops in action. Also the flags SSeS and coats-of-arms of twenty-five nations are reproduced in colors and illustrations explaining the insignia as used to desig- nate the rank of officers in the United States Army, Navy and Marine Corps. Hi ll REMEMBER THIS BOOK IS GIVEN AWAY WITH ONE YEARLY SUBSCRIPTION TO THE ETUDE AT THE REGULAR SUBSCRIPTION PRICE OF $1:30 (CANADA) ENMU HA MUA TA lina Please mention THE ETUDE when addressing our advertisers.
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pie 682. OCTOBER 1918 fares slog pp ~\tuen? ae SSS ‘ere Bak Schools and Colleges NEW YORK, NEW ENGLAND AND CANADA DSSS QQ QQ 6°.” yg THv| Kd }Qq} fi NEW YORK SCHOOL OF MUSIC AND ARTS Opposite Central Park, cor. 95th St., New York City $3 RALFE LEECH STERNER, Director & | New York City’s most beautiful and home-like School devoted to Music and the Allied Arts with UNSURPASSED BEAUTY No advance in rates and with the same celebrated faculty including Arthur Friedheim, Ralfe Leech Sterner, Aloys Kremer, Harold A. Fix, Clarance de Vaux Royer, | Illuminato Miserendino, Frank Howard Warner, S. Reid Spencer, Mable Rivers Schuler, Mme. Clara Lopez, Helen Wolverton and others. DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE WITH MANY SOCIAL AND RECREATION ADVANTAGES. OPEN THE ENTIRE YEAR. PUPILS MAY ENTER ANY DAY. TWO PUBLIC CONCERTS EVERY WEEK. TERMS, INCLUDING TUITION, BOARD, PRACTICING, ETC., ON APPLICATION. —E..EREU YYW kl) yg Q,ww0WW wy oo>»=—»r_, qn °E="=»=o’?EivT—éC VEHLIN PIANO USED EXCLUSIVELY NS... We ee 0 = °°"? °° °°" THE ETUDE DRNBRXXX£?£O_CR?}’MA AAS SQ WwW" FF" "”vwwy7y7rj1Y° °° > AQ GG ”’>™"?»“5ssy§$§$$ nq q_ oo OF SCENE FACING CENTRAL PARK caiman i, Ze. & SEND FOR BOOKLET AND TEACHERS’ BIOGRAPHIES DUNNING SYSTEM ” eaee The Fletcher Music Method Has over 1000 Teachers—Classes Larger Every Year—Teachers Earning $2500, ree and $4099 Introduced into America under the auspices of the New England Conservatory, Boston, in 1897, this method a Year with the Dunning Work Alone—Why is This?" HAS JUSTIFIED EVERY CLAIM MADE FOR IT Because its standard has never been equaled or such phenomenal results obtained P ; by any other plan for teaching beginners. . : In Ys of ne 4% scr copies of the Fletcher Method, the demand for it is MRS. CARRE LOUISE DUNNING NORMAL CLASS FOR TEACHERS, New York City. Normal ns shea 6 sah! si + ee ie wn ) ? : to meet the demands which Mrs. Fletcher-Copp’s lectures on American Musical P d - Classes, Portland, Oregon, October 9th; Chicago, October 18th. i ‘ities ing. War or no war—Parents are awakening to the fact that the F'etcher wheal Method “aloaniproparee Mrs. Addy Yeargain Hall, Normal Classes, Davenport, Iowa, Dec. 17th. Address Musical Art the Child to meet and grasp his potential possibilities, and that his country will need him musically in eee E tectatad, Nestrollle, Teesss, deldy Oba) baicioocks: Als, Bop. 40th; Mobue,-Al a emo Mrs. Oscar E. Busby, Nashville, Tenn., July ; Little Rock, ° pt. ; Mobile, Ala., ‘ iy 11th. ; j : ‘Normal Class opens October 15th in Brookline, Mass. Mrs. Anna Craig Bates, Normal Class, San Antonio. Address 3303 Coke St., Dallas, Texas. + . Mrs. Harriet Bacon MacDonald, Normal Ae City, July 8th; Chicago, August in response to demand. For full particulars, apply 12th; Dallas, Octoker 28th. Address 1727 Chase Ave., Chicago. 2M “ Miss Clara Sabin Winter, Normal Classes, Wichita, Kans., Sept. 3d; Topeka, Kans., 31 YORK TERRACE ® EVELYN F LETCHER-COPP : BROOKLINE, MASS. Nov. lith. Address 117 E. Third St., Wichita, Kan. Mrs. Carrie Munger Long, Normal Classes, June 5th, 1918, Birmingham, Ala. Address 812, W. 7th St., Ft. Worth, Texas. Mrs. ‘Scandia C. Fuller, Normal Classes, July Ist, 1918, Rochester, N. Y. Address 50 Erion GR ANBERRY PI ANO SCHOOL Crescent, Rochester, N. Y. Mes. Wesley Porter Mason, Normal Classes, Dallas, Texas, April 20th; Denver, Colo., June 9 e e 20, 1918. Address 5011 Worth Street, Dallas, Texas. Yainin Courses Mrs. Harry A. Prentice, Normal Clase, New York City, June 28th. Address 78 W. 103d St., Teachers T al g New York City. Mrs. Mattie D. Willis, Normal Classes, Waco, Texas, August 5thand Sept. 16th, 1918. FAELTEN SYSTEM. Booklet Address 617 S. 4th St., Waco, Texas. Full information and booklet of Foreign and American endorsers. 8 West 40th St., New York City CARNEGIE HALL = - NEW YORK GOETSCHIUS’ American Institute of Applied Music| (METROPOLITAN COLLEGE OF MUSIC) 212 West 59th Street New York City Recent additions to the Faculty VOICE, Lotta Madden: Arthur Leroy Tebbs: Sergei Klibansky. VIOLIN, Theodore Speering, Supervisor: Nicoline Zedeler-Mix. 33rd Season—October 1, 1918. Send for circulars and catalogue M. I. DITTO, Cor. Sec’y. SYSTEM OF HARMONY ‘COUNTERPOINT AND COMPOSITION taught through mail by E. KILENYI, M.A. 20 E. 90th Street New York Cit y Endorsed by Dr. GortTscuivus. Individual attention. The Courtright System of Music.1 Kindergarten Oldest and most practical system. Write for particulars of correspondence course. Mrs. Lillian Cotfrtright Card, 116 Edna Ave.,Bridgeport,Conn. The eer Conservatory of Music offers unexcelled opportunities for bringing ambi- tious students before the public. iff Nit ts . a precsaitiits i F L. WILLGOOSE, The pupil with real ae talent is given oppor- tunity to make g Principal & Head of Ss re) Department. ingers, Pianists, r- ee er ganists, Violinists are now holding important positions through being brought out by the Conservatory. W vite for Curriculum 356 Dundas St. - London, Canada LOTTIE L. ARMSTRONG, Registrar ssaasse HL il 6°" yy i ye °° ”. OF THE CITY OF NEW YORK Y U; : Y : Y ° . 7 7\\ FRANK DAMROSCH - DIRECTOR ] Music Teacher’s Class Book j | Y A little pocket note-sized volume, bound in boards that takes the place U 120 CLAREMONT AVE, Y of nine separate record and account books. Y ; | y There is I—An index - pupils. 2—Memo of state for lesson and y S : ‘ 0 h 14 h % account. 3—A ledger. 4—Sheet music account. 5—Teacher’s account Z j with business houses. 6—Record of daily earnings. 7—Memoranda. j sean opens ctober t Yj 8—Bill forms. 9—Receipt forms. It is a wonderfully convenient record Y Yy and saves many a dollar which might otherwise go unaccounted for. Z er dae pte J Y Examinations for admission y Price, 60 cents Theo. Presser Co., Philadelphia Z September 30th to October 10th SS w~ © AWWW SW wv e °°°®°e °° °°)” ' = 7 6° eo ee ew " MXC MAMA Please mention THE ETUDE when addressing our advertisers. ,
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| THE ETUDE nf CYT AY hn (oy “OR 1B) GOL OER EEE CET fh, fa SPRL ESTABLISHED 1857 ABOD BALTIMORE, MD. a HAROLD RANDOLPH, Director One of the oldest and most noted Music Schools in America. OOO ua aAMN)) WSN MG Hahn Music School Chas. D. Hahn, Director The School for your Daughter Our catalogue tells why 3919-s Junius Street, Dallas, Tex. Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH Advantages Equal to Those Found Anywhere Fall Session Begins September 2d, 1918. Students may enter at any time. Send for Catalog. GEO. F. LINDNER, Director Peachtree and Broad Streets, Atlanta, Georgia NS : “CO 3 / FALL TERM, ’ MUSIC :: EXPRESSION :: ART Public School Music and Teachers’ Training Course : Students’ Orchestras, Operatic and Dramatic Productions, Numerous Recitals. Plays and Lectures, Inter- pretation Classes and Observation of Teaching among Free Advantages. Theoretical branches free to DORMITORY FOR LADIES Charles Norman Granville The Noted Artist and Teacher S IMPORTANT ENGAGEMENT = As Head of Voice Department a Mr. Granville is one of the foremost artists in America. His phenomenal success as a teacher is me evidenced by the large numbers of his students holding prominent positions in opera, concert, churches fs and as teachers. , WRITE FOR CATALOGUE AND LITERATURE. LOUISVILLE, KY. . Mrs. CROSBY ADAMS Private and Class Teaching Musical Technique Address: MONTREAT, NORTH CAROLINA ZECKWER-HAHN PHILADELPHIA jin3c Academy 1617 Spruce Street, Philadelphia Modern equipment, thorough instruction, eminent faculty. For prospectus, address CHARLTON LEWIS MURPHY, Managing Director Interpretation Consrrvatory.% Music pn Sines a Because of its distinguished faculty, original and scientific methods, individual 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. All branches. Normal Training Course for Teachers. Public School Music Supervision. Four Pupils’ Recitals a week. Two Complete Pupils’ Symphony Orchestras. Reciprocai relations with University of Pennsylvania. A SCHOOL OF INDIVIDUAL INSTRUCTION (Theoretical and Applied Branches Taught Privately and in Classes ) Faculty: Gilbert Raynolds Combs, Piano; Hugh A. Clarke, Mus. Doc., Theory; William Geiger, Mus. Bac., Violin, Nelson A. Chesnutt, Voice; Herman Sandby,Violoncello; Russell King Miller, Organ; and 75 assistant teachers. THE SCHRADIECK VIOLIN SCHOOL Organized, developed, and for 22 years conducted under the personal direction of Henry Schra- dieck, the world’s greatest violin teacher. Under William Geiger, Mus. Bac., for many years Schradieck’s colleague, the school will be conducted along the identical lines originated by the late master. All the assistant teachers are graduates of the school and were personally trained by Schradieck to carry on his great work, . DORMITORIES FOR WOMEN In addition to delightful, homelike surroundings in a musical and inspirational atmosphere, the dormitory pupils have advantages not afforded in any other school of music or e'sewhere: Daily Supervised Practice, Daily Classes in Technic, Musical Science, Theory, Concentration and Memory Training, Physical Culture, Vocal and Instrumental Ensemble and Public Performance. 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, Diente Offices, Studios and Dormitories Broad and Reed Streets ‘\ SM \|\W.W.WWw_ 7a 0... g..ID[N AN SEPTEMBER 3RDf & students of one or more major subjects, ae Faculty of Artists and Teachers of International Fame oe OCTOBER 1918 — Page 683 4 Schbole and Colleges PENNSYLVANIA, SOUTHERN AND MIDDLE WEST CONSERVATORY 9 WW —npvvygunrAANNF %Y QQ '°’="Frt BEV :: LANGUAGES § ATOR RA Ae * -* ‘ Eto Let => % — a , ra ge i lair , — a % ah’ A — - CINCINNATI CONSERVATORY of MUSIC: EstaBuisnen 1867. CLARA BAUR, Foundfess, «5 Schools Half a Century in the Front Rank of American Music Unsurpassed in Faculty and Equipmeut. All Departments Open During SPECIAL SUMMER SESSION { bos Elocution—MUSIC—Languages Special Courses in Public School Music and Progressive ~ Series of Piano Lessons Location and surroundings ideal for summer suns oi For Catalog and Circular, Address ¥ : MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, QO. DANA’S MUSICAL INSTITUTE WARREN, OHIO THE SCHOOL OF DAILY INSTRUCTION IN ALL “BRANCHES OF MUSIC Address LYNN B. DANA, President . Desk E, WARREN, OHIO C. W. H. BANGS, President REX ARLINGTON, Director HUNTINGTON COLLEGE CONSERVATOR Music Department of Huntington College, Endowed, with absolutely no expense, so can offer very best of advantages ut very low cost. Aim is to educate, not make money. Faculty of unquestioned standing.. d- VIOLIN, PIANO, VOICE, HARMONY, HISTORY. OF MUSIC, PUBLIC Courses Offered: SCHOOL MUSIC, LANGUAGES, EXPRESSION! and DRAMATIC ART Special Courses Giving Teachers Practical Work Applicable to Their Needs BOARDING FACILITIES EXCELLENT—NO BETTER ANYWHERE The secretary will be pleased to furnish full Ad dress, Be G08 ee HUNTINGTON, INDI AN A details and supply any information desired. SCHOOL OF MUSIC Accredited VALPARAISO UNIVERSITY (io csss-=2,.. The University School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public School Music. Students may attend the Music School an 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. PITTSBURGH|| MUSICAL INSTITUTE, Inc. Fall Term - September 4259 Fifth Ave. PITTSBURGH Michigan State Normal College Conservatory of Music Ypsilanti, Michigan Courses in singing, piano, organ, vidlin 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. 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 50 Artist Teachers Year Book Free on Request Dir. Milwaukee-Downer College Milwaukee, Wis. | Department of Music Offers Piano, Organ, Violin, Voice Training, Theory of Music and a Teachers’ Course in Publiz School Music. The degree Bachelor of Science in Arts is offered for music specialists. A diploma course is given. For catalog ‘‘U,’’ address REGISTRAR lake Forest , University School of Music The best in musical education in a cultured home en- vironment. Internationally trained teachers. Four years’ course required for Performer’s and Teacher's Certificate. Special courses in Keyboard Harmony, History of Music and Appreciation. Schoo: orchestra, chorus, and recitals. Credits allowed by Lake Forest College and Ferry Hall for Music School Work. Addres3 MARTA MILINOWSKL., B.A.. Dir. Box 105, Lake Forest, Tl. 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. : FOREST PARK * "io" Norpstrom Carter, Voice. 58th Year Junior College Prep. Graded School } College of Music aspire er pai St. Louis COLLEGE AKE a few minutes to study the school announcements.on these pages. Here are the best Colleges, Conservatories, Schools in America. | THOSE MANY POINTS REGARDING WHICH MUSICIANS DISAGREE ARE THOROUGHLY DISCUSSED AND PRESENTED IN LOUIS C. ELSON’S BOOK we Miszazkes and Disputed Points in Music and Music Teaching CLOTH BOUND -_ PRICE, $1.25 .. THEO. PRESSER CO., PHILADELPHIA, PA. i . Please mention THE ETUDE when addressing our advertisers.
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Page 685 OCTOBER 1918 Schools and Colleges DETROIT and CALIFORNIA [ DETROIT INSTITUTE OF MUSICAL ART i, —— ~~ -«|:s« “Strongest Faculty in the Middle West’’ ing greater factors in education. Usually the demand for teachers of music and drawing A School which offers every advantage incidental to a broad musical education. Fifty artist teachers. Highest standards. Artistic environment, GRACE CHAMBERLIN, Business Manager 1117-1119 WOODWARD AVENUE - DETROIT, MICHIGAN Be a Teacher of Music and Drawing in the Public Schools SPECIAL ONE-YEAR COURSE Every year music and drawing are becom-’ = a iF ie \ . See . e wae For Catalog Address ing positions for more than 29 years. We offer a complete and thorough course in Public School Music and Drawing that may | Indispensable ’ THE ETUDE ——x== Music Works THE MOST SUCCESSFUL IN THEIR LINE EVANS, M. G. Primer of Facts about Music. Price 50c. Questions and Answers on the Elements of Music. For the use of teachers and students. ‘ . . . . . More than a primef, covering all the essentials in a practical, progressive manner. BILBRO, MATHILDE. Spelling Lessons in Time and Notation. Price 30c. Differing from all others in that it combines note values and time together with word spelling on the staff. TAPPER, THOS. Child’s Own Book of Great Musicians. Price 15c. Each. (A Series of Biographies.) Bach, Beethoven, Chopin, Handel, Haydn, Mendelssohn, Mozart, Schumann, Schubert. Taking advantage of the child’s delight in cutting out pictures, it affords the young student an opportunity to work out and recreate the life of each great master for himself, all necessary material being supplied. PRESSER, THEO. Beginner’s Book. School of the Pianoforte. Vol. 1. Price 75c. A Modern Elementary Work for Young Piano Students, from the beginning up to, but’ not including, the Scales. The best and most understandable of all instruction books, leading the young student along by easy and natural stages, and Presenting nothing but the most tuneful and enjoyable material throughout, making practice a pleasure. _ SPAULDING, GEO. L. Tunes & Rhymes for the Playroom. Price 50c. First grade pieces to be. played or sung, or both together. Each piece is in characteristic ag Seat Di nipacusg vein. Most successful with young students. precy nen pons mbar CRAMM, H. L. New Rhymes and Tunes for Little Pianists. Op. 20. Price 75c. supply. The Strong fas Easy and progressive pieces of real musical and educational value. field off lty;beau- bie’ anlanes s4ful lo VERY FIRST DUETS FOR THE PIANOFORTE. Price 50c. and bigger cation; Beginners’ four hand pieces, carefully graded, of about even difficulty in both parts. Very opportu- adeq u ate melodious. nities to equipment. _ both men and women. We have been grad- Special Courses in Secretarial and Com- MATHEWS, W. S. B. Standard Graded Course of Studies in 10 Grades. 10 Volumes. uating teachers and placing them in well pay- mercial Work. Price $1.00. Standard in name and standard in fact, the first and foremost of all courses. Revised and Catalog sent free on request. For detailed information, address av atiched Dab iadte Hine. 1 Aleks ih the lead. THE SECRETARY, 3029 West Grand Boulevard, Detroit, Mich. Thomas Normal Training School MASON, DR. WM. Touch and Technic. 4 Volumes, Each $1.00. The leading and most authoritative American technical work, endorsed by all the great artists. For Artistic Piano Playing. CZERNY-LIEBLING. Selected Studies. 3 Books. Each 90c. The best studies of all grades, selected from the entire works of Czerny, carefully edited and arranged in progressive order, from the earlier to the more advanced grades. OCTAVIA HUDSON’S : , Established 1874 . YOUNG PLAYERS’ ALBUM. Price 50c D ETROIT pas hs See Re Any CE HOM E NORMAL C OURS E A Collection of Melodious Parlor Pieces for the Pianoforte. A feast of good things for the CONSERVATORY: o ee Musical Kindergarten—Primary young player. Seventy pieces of easy grade, in all styles, every one a gem. Vice-Pres. Complete—Modern—Practical | : Fase Intelligent Musicianship ALBUM OF DESCRIPTIVE PIECES FOR THE PIANOFORTE. Price $1.00. Conservatory Artistic Interpretation A unique collection, every piece being in characteristic style. in the West ‘ inion gee te scene ere Phase of ei RD CONCERT ETUDES. P $1.00. F d d tudy and Art of Piano Playing during First Three STANDA . Price $1.00. For advanced study. Especially adapted Offers courses in Piano, Voice, Violin,Organ Years of the Child—Selected from Practical Work as a continuation of Mathews’ Standard Graded Course and all other Greded : Theory, Public School Music and Drawing. of Author—Child Specialist—Composer of ‘‘Melody Courses. Master studies by the greatest writers. Oral Interpretation, etc. Work based on wane Mats peceey Stories”, “Musical Picture KINSON, CHARLES W. Well-k P Sol H : Ase ook’ Musical Poeme’’, ete. WILKI ’ . ell-known Piano Solos. ow to Play Them. i -50. Se Seer: cel wipers A 0 Complete Course—Twenty Subjects—Analyzed—TIlus- t what ish k bout tl ieces which a oe ayes Ag iijoughout the rorbeny ncerts an ecitals trated in Detail, Each § ubject Obtained que one wishes to know about the pieces which are most played. Practical and ; : ‘ parately esired, 4 | Branch Studios. Excellent Dormitory Ac- Not a Correspondenge Course—Adaptable to Any 4 commodations. a Teachers’ certificates, dip- System of Instruction. - OREM, P. W. Harmony Book for Beginners. Price $1.00. 1 onferred, Many so Personal Normal Instruction — Graded as te ; he 5 : * : free advantages. We ownour ; School of Music, Los Angeles Descriptive Litera- ie eistaeecooelaele hammers years.” ‘Tells the beginner what is necessary to be known in ows Sullding, located a ture: 132 South Hidalgo Ave.,. Alhambra, Calif. jeavironment.. : : COOKE, J. F. Standard History of Music. Price $1.25. A First History for Students of all Ages. A popular and readable presentation of the subject. ar nee ‘ 3 p ee : yi School rofessional The most widely used-of all musical histories. For detailed Na pes 8 q of " ; bee " VAS icture Playing A practical work of reference for the busy student. Compact and handy. James H. Bell, ; i Individual and class instruction. Practical work GROVE’S DICTIONARY OF MUSIC AND MUSICIANS. 5 Vols. Complete. Price $25.00. address See., Box 7, . : $ gi j ‘ . : “4 with running picture. Organ, piano, orchestra. A monumental work, the greatest musical encyclopedia. Four thousand pages, covering 1013 Wood wardAve, 3 ; ; Detroit, Mich. ee oe Sure employment for graduates, Send for folder. all possible subjects. P. O. Box 582. LOS ANGELES, California WATSON, MABEL MADISON. Bel Canto Violin Method. Price $1.00. A real beginners’ book for the young student. Melodious throughout, proceeding by easy stages, covering each detail in a thorough manner. AN IMMENSE SUCCESS | ce ini Bs i ove 5 gaan igenendetiag Melodious numbers of medium grade for all REDMAN, H. M. Pronouncing Dictionary of Musical Terms. Price 50c. occasions, | Sung by Mme. Julia Culp and Other Great Artists ARTISTIC VOCAL ALBUM. For High or Low Voice. Price $1.00. All works sent postpaid upon receipt of price. . | e A collection of songs by modern and contemporary writers, songs that will live and grow in y the aters of Minnetonka popularity. Por home or recital use. ’ All works sent postpaid upon receipt of price. An Indian Love Song | By THURLOW LIEURANCE Prices advanced temporarily 20% during the war period High Voice, in A (With Violin or Flute ad /ib.) SSIwarMces Low Voice, in G flat (With Violin or Flute ad lib.) | Teachers will receive upon request for examination, subject to return, any of our e ° e 1 ; ; l ; Price, 60 cents Also for Piano Solo—Price, 40 cents publications at professional prices Mr. Thurlow Lieurance has had remarkable success in transcribing the various i. : tribal melodies, having lived among the Indians for that purpose. In his work, Mr. The Mail Order Music Supply House for Teachers, Lieurance adheres faithfully to the original melodies and harmonizes and accom- Colleges, Convents and Conservatories of Music panies them in such a manner as to preserve, if not enhance, all their original atmos- ii we BS phere. By the piles ati of Minnetonka seems to have struck a popular chord, so C successful has*it become. ‘The melody is quaint, naive and singable and the accom- ' paniment ripples along in a delightful manner. : THEO. PRESSER O. ) Send for a Circular of Mr. Lieurance’s Complete Works 1712 CHESTNUT ST. HILADELPHIA, PA. THEO. PRESSER Co. ss $3 Philadelphia, Pa. The Sheet Music and Music Book publications of all publishers carried in stock Please mention THE ETUDE when addressing our advertisers.
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- INO) ) \NONOANG _ NCA NON OAL OHNOLO)NOLOLON GAOL OOO" { -& J INO)! iN & AW yennnenener 4 > yagenngny yy yecenyenneyncaneynnneyneyngangnyeans ry oe QONONONONONONONONONONG) (aN \WOLLON NL ON NOL ONONONONONOING) NNO GANON CANN OLSON ON ONGLOANGL LON OLN ODN OLON DV ONOVLDN ONG a: BAKER'S BIOGRAPHICAL DICTIONARY OF MUSICIANS (THIRD EDITION) REVISED AND ENLARGED BY ALFRED REMY, M. A. ITH over 2,000 new biog- raphies, including those of every musician (composer or performer), every writer and the- orist on musical subjects, and every man or woman who has played a part in or exercised an influence on the art of music in recent years, this new, revised and greatly enlarged edition of this famous work, will be a veri- table masterpiece of reference and enlightenment. Not only are all the chief facts and important points given A Specimen Biography Prévost (pra-voh), Eugene-Prosper, b. Paris, Aug. 23, 1809; d. New Orleans, Aug. 30, 1872. Pupil at Paris Conserva- tory, of Jelensperger, Seuriot, and Le Sueur, winning the Grand Prix de Rome in 1831 with the cantat Bianca Capello. Conductor at Llavre Theatre, 1835-8; was then conductor and singing teacher in New Orleans until 1862, excepting one year’s conductorship at Niblo’s Garden, NewYork, in 1842; 1862 chef d’orchestre at the Bouffes-Parisiens, later of the Champs Elysees concerts, Paris; returned to New Orleans in 1867. He produced several operas in Paris, and one (Blanche et René) at New Orleans; also composed oratorios and masses. about each subject, but a list of each’s works also.. Americans have been given special promi- nence by the editor and this fact ought to make the book practi- cally essential toevery American musical library because no other reference work or dictionary even approaches the new book for detail and authenticity in this regard. ‘The number of pages will be about 1100, and the mechanical production will leave nothing to be desired in effectiveness and beauty. ADVANCE SUBSCRIPTION PRICE $4-00 of pieces at a nominal price. the best-selling *Fifty-Cent Collections on the market. Seven Volumes Covering Seven Grades Suitable Material for Study or Pleasure HE PRICELESS INTEREST in Piano Study and Practice, which (POSTPAID ONLY WHEN CASH ACCOMPANIES ORDER) REGULAR PRICE $5.00 (net—No piscounrT) Address, G. SCHIRMER, 3 E. 43rd St., New Yor MANIA WAU WIA WI WU OUTST OTT OT OVO VOW WWW VOY VOTO OV OV OVO OY OY OY OV OV OVO OVO OVW WW YATAS ALLAN ENNEVaNNEVENNLE NN ENNEAONNOINeaNNINNONemINNUNINBeLNInnnnmacrmnneanenanarernerrnelaeeeareyarnernaenereenreer? Albums or Music ata Popular Price The Oft-Styled *Fifty-Cent Collections that enable one to obtain an excellent and large number The Theo. Presser Co. has established a reputation of producing Here are some of them. The Sixteen Albums Listed Below are Exceptionally Large and are Well Bound *PRICE EACH, 50 CENTS NWA ONTO WAWOW, ee HAGA Fi i RAT AAGAMAGTGUAG OVO TUDO x all teachers seek before everything else, is often dependent POPULAR RECITAL REPERTOIRE PIANO PLAYERS’ REPERTOIRE 2 ‘upon giving just the right piece at the right time. Phase dig anlar in grades four and five- Pel 9 yea rine mostly lying in the third 2 Of the vast number of teachers, who, year in and year e 5 out, find ever-increasing success in the use of the STANDARD BRILLIANT ALBUM STANDARD PARLOR ALBUM nS 3 STANDARD GRADED COURSE OF STUDIES zene UCN AT 2 SNE Ee , Melodious and entertaining are the forty-one PY (Compiled by W. S. B. Mathews) pieces in this album. i x erect are many who do not yet know that there is a companion series STANDARD ADVANCED ALBUM POPULAR HOME COLLECTION 5 7) nown a , Twenty-eight classic and modern composi- Forty-six pieces. Will please the average lis- [Ax z * STANDARD GRADED COMPOSITIONS tions for lovers of good music. tenor and player. y zs These seven books of carefully selected ‘‘interest-stimulating”’ pieces YOUNG PLAYERS’ ALBUM STANDARD FIRST PIECES 3 = parallel the first Seven Grades of the Standard Graded Course, grade Seventy melodious numbers for piano stu- Seventy-two little classics, semi-classics and |? 5 for grade. Every student studying the Graded Course will be delighted dents of the earlier grades. popular numbers in this album. S z nk ee he ha eso book in the corresponding Grade always on STANDARD STUDENTS’ CLASSIC ALBUM STANDARD DUET PLAYERS’ ALBUM ‘§ 3 Waly are Forty-eight compositions chiefly of a type Twenty-nine numbers in different stylesfor [ix 3 STANDARD COMPOSITIONS FOR THE PIANO known as semi-classical. febtlal: divereion or study. : x Carefully Graded and Compiled by W. S. B. Mathews. Admirable f i Q 3 dhaigetitis ick all Ctalied crawaaes. 4 hs ig ¥ i na " Rincalenpebipedich age fdrli a ariri nie _ THE STANDARD VIOLINIST iS 5 Volume Ons, Fire Grade. Yolume Three, Third Grade Volume Five, Fifth Grade ene pratt ten. Thirty-two selections within the range of the iS = Volume Seven, Seventh Grade THE STANDARD ORGANIST : " ‘ s 3 *PRICE, 50 CENTS EACH THE STANDARD VOCALIST 5 x y : Forty - th derate- length iti NE cheer teres aie vets ete vetoes esas eoalay Oe acai fuadgatenlenets compositions pity saored and seeular snes of nny com- Sr 1 oeeth solute dieiente 4:compiation ck-aumbers that the. best’ planiet’'would Hoan SINGERS’ REPERTOIRE ‘STANDARD SONG TREASURY iS a) worthy of notice. Thirty-six medium voiced songs worthy of Contains forty-eight recital, concert, sacred [% 4 any singer’s library. and classic songs. 3 *Owing to existing high production costs these prices are advanced Twenty Per Cent. s $Y - 1 MUSIC PUBLISHERS, THE PROMPT MAIL-ORDER} 3] DEALERS AND IMPORTERS’ ¢¢ Theodore r resser Company, P hiladelphia, Pa. :: music supPLY House {s y) = re BAAR AT ART ATAR RTD AT FUT UT UAT TD AT ATTN UUNAUAA UA UAHA SANG Ee SEES ETE ES EEE i MARA I
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hed = —- sae me = Soc ie ptieaoreseetees SMneTsessc2iyz SIfTISI=== eee ewe eee Seoeoeeeeetesssasp so Sen ne nee eeren ue ye <a il ys + 1S 1SSUE. gerup Grieg—1907 é€ in th important notic ; ac! 1843—-Edvard Ha ee 3 Hii HF SURCERERELERAURERGEORCUEE iy i? aa ae i Srcsase bo osi2sueatiaccasisiseiaasiesee Supplement to Tue Etrupe for October, 1918
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A SHORT CRITICAL BIOGRAPHY OF EDVARD HAGERUP GRIEG Born at Bergen, Norway, June 15th, 1843; died at Bergen, Sept. 4th, 1907 When Grieg’s.Compositions first com- menced to appear in the musical world, they were greeted with delight because of their naturalness, wonderful charm Here then, was a new the glorious fjords of and freshness. note from Norway. Grieg’s first teacher was his mother, but it was Ole Bull who urged him to go on to greater triumphs. Accordingly, he was sent to Leipzig in 1858 and re- mained there until 1862. While in Leip- zig, he fell under the influence of Men- delssohn and Gade but his strong racial proclivities spared him from becoming too weak an imitator. Accordingly, upon his return to Norway, he sought to em- body the spirit of the folk music of his native country in almost-everything that he wrote. It must not be thought, however, that Grieg permitted himself to become nar- row and provincial in his ideas. Despite bodily frailty, he travelled quite exten- sively in Europe and during some time spent in Rome, he became acquainted with Franz Liszt, who saw in the work of the Northern Composer, much that was new and fascinating. .In introducing his songs. With the performance of his Piano- forte Concerto, a truly great work, in 1879, at the Gewandhaus in Leipzig, Grieg secured wide attention in the mu- sical world. The music for Peer Gynt, several masterly songs and a long series of delightful pianoforte pieces brought him popular attention. It was possible for Grieg to let his fancy run from the gossamer delicacy of his Butterflies to the thundering brilliance of the last num- ber of the first Peer Gynt Suite “In the Hall of ‘the Mountain Kings.” Fortunate in having a wife who was an accomplished singer, he made a great many successful appearances with her The couple was immensely popular in London. In 1894, Cambridge University conferred the degree of Doctor of Music upon him. His works embody sixty-seven opus numbers, many being groups of several pieces. His sonatas for piano and for the violin are recognized classics. Grieg never produced an opera, but his highly dramatic work for solos, choir and or- chestra Olav Trygvason indicated clearly what he might have done had he written for the stage. | ETUDE PORTRAIT COLLECTION