Perry's Musical Magazine (January, 1928)
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No. IO AGAZINK f A. W. PERRY’S SONS + 7 | f) = ees PERRY'S MUSICAL
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PERRY’S MUSICAL MAGAZINE VIOLINS. Ali Guaranteed DEPENDABLE VIOLIN OUTFITS FOR EVERY PURPOSE All outfits are carefully examined and instruments correctly adjusted by our experts before shipping. These outfits come in three sizes—Full, Three-Quarter and Half-Size. When ordering please state what size is desired. «0. 1. Stradivarius model, dark reddish brown, European manufacture, black keratol case, good bow with pearl slide, extra set of strings, rosin, etc. All complete, only ‘ So. 2. Stradivarius model, light yellow brown, finely polished, of European manufacture, fine tone; in- cluding fine bow with pearl slide; in substantial black keratol case with lock and key; extra set of strings, RMN EWALD ON Pe oo ca gsscnise decanters $15.00 3. Stradivarius model, fine hand polished, medium mahogany color, also of European manufacture, ebony trimmings; elegant tone, suitable for Orchestra or Solo work; including black keratol case, flannel lined, with lock and key; a bow with pearl slide, suitable for such a violin; extra set of strings, and Beem ad OUR, OUT i ooh Sc tisie Boece ae $17.50 Our space allotted to violin outfits is limited, and we only mention three of our most desirable styles. We have cheaper instruments from $7.50 and upwards. All our Violins are sent out, and upon arrival should they not prove satisfactory, can be returned and money refunded. No fairer proposition could possibly be made. Low prices for other models gladly furnished upon a: plication. We guarantee our prices on every instrument of similar quality to be from $5.00 to $15.00 lower than majority of retail music houses are now offering. Address all orders to A. W. Perry’s Sons, Sedalia, Mo. METRONOMES BEST AMERICAN MAKE Guaranteed to be Perfect No. 1. Mahagony case, finely polished, without bell No. 2. Mahogany case, finely polished ,with bell We realize that there are several inferior makes of Metronomes on the market. Ours is the best. Every musician and teacher of music should have a Metronome. Heretofore the prices have been very high, making it a very expen- \ sive luxury for some. We have just KY received from the manufacturers a large quantity and are putting them on the market at the above low prices, which places them now within the reach of all. Add 35 cents, if you desire us to prepay the Express charges, or send by Parcel Post. M. W. BUTLER’S FOLIO OF BRILLIANT PIANO- FORTE VARIATIONS ON FAVORITE SACRED MELODIES’ These beautiful variations, published in sheet music form, woulé cost over six times the price of this book, which contains 3&8 pages. CONTENTS: “Just As | Am Without One Plea,” “The Ninety and Nine,” “He Leadeth Me,” “At the Cross,” “Blessed Assurance” and “Jesus, Saviour, Pilot Me.” Price, 50 cents. A LETTER FROM M. H. STAINER. “Just a few words to tell you that Mr. Butler’s Hymn Varia- tions have been a wonderful help to me. I use them with - guccess as Voluntaries or Preludes to our church service.” WE ARE HEADQUARTERS FOR FINE STRINGS FOR ALL INSTRUMENTS “OUR LEADER” VIOLIN STRINGS After handling for years nearly every kind of string for Violin, we have settled on one which we call “OUR LEADER.” This, we believe to be the best all round string on the market. They are made to order for us by one of the best string makers in Europe. They are clear and bright in color, but not white or trans parent; feel smooth to the touch, but not polished and glassy. The artist will seldom want a softer solo tone, and the be ginner or student, with their great durability and the fact that every length is a perfect one, will find none cheaper, besides, we sell them at the usual price of cheap strings. Strings of this grade are retailed everywhere at from 25c to 85c each, we sell them: EK, 4 length... GF) Pet d06.0 Se A, 2% length Lassa OC Per doz. Ree D, 2% length seesseeneee LOC P@r G66. 91.75 Every string and every length is guaranteed perfect ir tone, and guaranteed as to durability, except in moist climates and moist seasons, and under perspiring fingers. For these troubles we have the best waterproof E string in the world, single length 10c; 3 for 25 cents. The best academic silk, 15c. Aluminum D, good quality, 40 cents. Violin—E, A, D, best steel, each, 5c; G wound on best steel, 10c;' pure silver G, wrapped, 50c. - American wound G, guaranteed, 15 cents. A full set of “OUR LEADER” violin strings with fine Silver Plated G, 50 cents. An assorted dozen, 6 EB, 83 A, : D, 1 G, or an assortment near this, $1.50. We can supply dealers with bundles or assorted bundles of 80 strings, 15 E, 8 A, 4 D, 3 G, or near this, in attractive boxes for show cases, at prices not offered by any other importer. Prices on application. We can furnish high grade strings for any kind of an in- strument. Mandolin Strings—Best steel, E, A, each 5c; D and G, each, — 10c. Guitar Strings—Best steel, E first and B second, each 5e; G third, each 10c; D fourth, each, 10c; A fifth, 15c; E sixth, each, 20c. Complete set, 65c. Guitar Strings—Gut, fine quality, E, B, G, each, 15c; D, A, BE, silk center, each, 20c. Violincello—A, fine quality, 25c; D, fine quality, 30c; @G, wound, fine quality, 50c; C, wound, fine quality, 65c; complete set, $1.50. Double Bass—Fine quality, G, 75c; D, $1.00; A, $1.30; HB, $2.50. Banjo, Zither, Autoharp or any kind of an instrument sup: plied with strings in sets or single. These prices are net, no discount. MUSICAL NOVELTIES DASHING THROUGH THE SNOW. Composed by M. Ww. Butler. This is one of the liveliest pieces published, and represents a party of young people out sleighriding. It is played with sleigh bells which are attached to the hands of the pianist. There is a vocal part which produces a grand effect. Although this composition may be performed with or without the singing or bells, we guarantee you will be pleased with it. i FALLING SNOW, an Idyll, composed by Perry. Descending snow flakes, the jingle of sleighbells at hand and their vanishing in the distance, inspire the motive. The author has woven in beautiful melodies throughout this creation and to emphasize he has introduced ee Swiss) finger bells with charming effect JINGLE BELLS GALOP, composed by M. W. Butler. A.lively galop, full of beautiful i Grade 2, without Octaves. We will fill your orders for above novelties and send by mail, postpaid, at the following prices: Music for each piece, only 15 cents. Bells for each piece, only 25 cents. Should you desire a copy each of the music and one set of the bells, will furnish duels complete foronly 65 cents. LESSON AND PRACTICE RECORDS 25 CENTS PER PACKAGE OF 25 CARDS Each card has space for twenty lessons, with provi- sion for the amount of practice for each part of the lesson and for a daily record of practice, day and hour for the lesson, etc. Designed to promote improved practice by the pupil and systematic instruction by the teacher. Imported Swiss Musical Bells
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46th oo gppgataae a Perry’s Musical Magazine. Issued Monthly on the Ist of Each Month. A. W. PERRY’S SONS, Publishers. Entered as Second Class matter, at the Post Office at Sedalia, Mo., under the act March 3, 1879. Change of address should reach this office before the 10th of the month. Where change of address Is desired, the old and new address should be mentiened. ; hn race may commence with any morth de 8 . SELECTIONS FOR THE MONTH One Sweetly Solemn Thought. VRTImerens,... chien... Butler 50 The Artist Waltz........ Holcombe 25 Dancing intheSunbeams Butler 50 Oh! Susanna March.......... Butler 25 Whispers From Home and Mother. Reverie........Mergen 50 Echoes From the Old Homestead i A Ramble for the Piano..Long LIVES OF GREAT PIANISTS. FREDERICK CHOPIN. (Continued From Last Month.) What, and how, Elsner taught Chopin can only be guessed at. In a letter written to Chopin in 1834 he speaks of himself as “your teacher of harmony and counterpoint, of little merit, but fortunate.” Liszt writes: “Blsner taught Chopin those things that are the most difficult to learn and most rarely known: to be exacting to one’s self and to value the advantages that are obtained only by dint of patience and labor.” Probably neither Zywny nor Elsner put Chopin through any severe scholastic drill; they appear to have permitted him rather to de- velop his singular gifts in his own way. Chopin himself was very grateful to Elsner. Allusions and messages to Elsner are fre- quent in his letters, and from first to last there is abundant evidence of affection and esteem between the two. Frederick Chopin entered the fourth class at the Lyceum, and twice managed to gain a prize for something or other. There is no trace of his having taken up Greek or ad- vanced mathematics, or that he ever ex- ceeded the average schoolboy’s modicum of Latin. His schoolfellows liked him for his lively ways and the scrapes he got into for lampooning the Dons. He often took part in private theatricals at his father’s house, “being always ready with an _ improvisa- tion when another fellow happend to forget his part.” A Polish actor who was stage manager on such occasions, gave it as his opinion that Frederick was born to be a great comedian, PERRY'S - MUSICAL - MAGAZTAE SEDALIA, MO., JANUARY, 1928 In 1825 he again appeared in public, play- ing the first movement of a concerto by Moscheles, and improvising on a newly in- vented instrument, the aelopantaleon,—an attempt at combining the effects of the har- monium with those of the pianoforte. There is no direct record of the quality of his playing on this occasion, but a Warsaw cor- respondent of the Allgemeine musikalische Zeitung, Leipsic (this is the first profession- al notice of Chopin), reported that “young Chopin distinguished himself in his impro- visations by the abundance of his ideas.” Soon afterwards he played upon the aelo- melodicon, another instrument of the har- monium kind, before the Russian Emperor Alexander I., who rewarded him with a diamond ring. In 1825 also was published Chopin’s op. i. “Premier Rondeau,” C minor. From this time onwards to 1827, when he left the Lyceum, it is clear that the study of music had got the upper hand. He seems to have tried his best to get through some school work as well: perhaps to the detriment of his health, as it has been suggested. At the final examination he just managed to pass without distinction. Henceforth, with the full consent of his parents and the encouragement of Elsner, music was to be his sole aim and his pro- fession. Taking the little Rondo in C minor as the gauge of his attainments in 1825, we must suppose that his powers developed rapidly; for in 1828 he was allowed to start on a journey to Berlin. He must have practised assidiuously, with a view to ob- taining novel effects; and with the aid of the new pianoforte technique, which then dawned upon him, to have striven hard to get out of the beaten tracks in composing for the instrument. Excepting the Variations on ‘La ci darem,” op. 2, and the Trio, op. 8, which was then almost completed, and which he published himself, the efforts of these years are contained in the posthumous works: the Polonaises in G minor, D minor, and B flat, the Nocturne in E minor, the Rondo for two pianos, the Sonata, op. 4, ete. In 1829, Hummel, then in the zenith of his fame, but with his powers as an ex- ecutant beginning to decline, visited War- saw. Paganini soon followed him. Unfor- tunately no trustworthy record remains as to the impression the performances of these masters produced upon Chopin. Chopin in those early days closely studied, imitated and emulated the concertos and_ certain minor pieces of Hummel; and we know that he continued to hold Hummel’s work in high esteem all along, particularly for teaching purposes. Yet, admitting that Chopin in his early compositions appears as a disciple of Hummel, it is doubtful whether the ex- ample of Hummel as a player counts for much in the development of Chopin’s style. NUMBER 10 Of Paganini, who so powerfully influenced Liszt, there is hardly a trace. About the middle of July, 1820, Chopin set out, accompanied by three friends, on a journey to Vienna. Some time previously, various manuscripts of his had been sent to Haslinger, a leading Viennese publisher. On presenting himself at Haslinger’s with a let- ter of introduction from Elsner, he was re- ceived with profuse expressions of good will, and told that one of his compositions would soon be in the print, the Variations on Mozart’s “La ci darem la mano,” op. 2. “Count Gallenberg, who happened to come in opportunely,” urged him to give a con- cert at the Kantenerthor theatre, of which he was the lessee; a lucky chance, as it seemed to Chopin and actually proved to be. He paid many visits in Vienna. And wherever he went he got the same advice: “Give a Concert.” Capellmeister Wurfel (one of Haslinger’s people), who had known him at Warsaw, asserted that it would be “a disgrace to himself, his parents, and his teachers not to make an appearance in public,’ and that “no one who has com- posed anything new and wishes to make a noise in the world can do so unless he per- form the work himself.” Moreover, he was assured that the newspapers would say pleasant things. In short, Haslinger, an astute man of business, who had a vision of monetary success with Chopin’s pieces, was pulling the wires with a will! Various pianoforte makers offered their instruments. “As I claimed no honorarium” (of course, there was none to be had), “Gallenberg hastened on my appearance.” On the 11th of August, 1829, when all the world was out of town, the concert took place, and Has- linger’s journals are ie it a great suc- cess. Chopin improvised on a theme from “La Dame Blanche,” and on a Polish tune, “Schmiel,” which although it did not satisfy himself, pleased the audience. “The mem- bers of the orchestra cursed my badly writ- ten music” (i. e., the defective band parts) “and were not favorably inclined towards me, until I began the improvisation; but then they joined in the applause.” On the 18th of August he appeared again; produc- ing the “Krakowiak,’ and repeating the Variations. There was a paying audience on this occasion; professional musicians were struck by the charm of his style; the critics appreciated him at something like his true value; everybody appeared kindly disposed towards him. es One of his peculiarities as an executant touched upon in the report of the “Theater- zeitung” was: “There were defects notice- able in the young man’s playing, among which we may specially mention the non-— observance of the indication by accent of .tho ‘commencement of a bar,” that is to
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say, he was remarkable for just and delicate phrasing, and did not choose to beat time with his fists! Another account emphasizes the fact that “he is a young man who goes his own way,” and that “he desired to pro- duce good music” rather than to please. “He executed the greatest difficulties with precision and accuracy, rendering all sorts of passages with the utmost neatness.” The principal stricture amounted to no more than that his tone was “insufficient for a large room.” He in his turn asserted that the Viennese people had a taste for thump- ing, and that he would “rather be told he played too delicately than too roughly.” “It is my manner of playing.” One likes to hear. of his making friends with Count Moritz Lichnowski, Beethoven’s friend, to whom the Sonatas op. 35 and 90 are dedi- cated; and with Schuppanzigh, Beethoven’s leader of quartets. With Czerny, Chopin played duets on two pianos. “A good man, but nothing more;” on bidding farewell “Czerny was warmer than his compositions.” A young and pretty lady pianist, Leopoldine Blahetka, openly set her cap at him, of- fered her compositions as a souvenir, etc. (To Be Continued.) DON’T EXPECT THE TEACHER TO DO IT ALL. By the Noted Musical Author-Critic, HENRY T. FINCK. (CONTINUED FROM LAST MONTH) A Letter to the Writer. During my long career as a musical critic I have received ever so many letters from young girls and men asking for advice as to what they ought to do. When I have had time I have answered those letters, although it seemed a useless proceeding, for to give valuable advice I would have to know a great deal more about these writers than they could tell in a letter. Here is a short extract from a letter of that kind: . “IT am seventeen years of age and have studied but one year. From as little of my- self as I have told you do you think there is any possibility of my becoming prominent in the pianistic field? As far as_ liking music is concerned, let me say that I can- not enjoy myself in anything which is not concerned with it. I practice five hours a day and sometimes more. If I am not at the piano I am thinking about it. I would do anything to become a great musician. But as you no doubt believe yourself, this does not always bring desired results.” Quite so; thousands upon thousands feel as if they “would do anything” to become great musicians. But unless there is a natural talent combined with an _ infinite capacity for hard work, it’s no use trying. Destinn Tells the Truth. The famous Bohemian opera singer, Em- my Destinn, once said to a journalist that “domestic work may often be drudgery, but it is a picnic compared with the drudgery — those have to undergo who want to become opera singers.” To young girls who aim at success she says: “It is mostly a question PERRY’S MUSICAL MAGAZINE of what one is willing to give up. If you really are prepared to sacrifice all the fun that your youth is entitled to, you may have your reward.” The trouble is that, as she continues, “barely one in a hundred of the girls who aspire to stage honors has the courage or the brains to make such sacrifices and do such work. They practice mechanically, read no books, dodge honest teachers and place themselves in the hands of charlatans who promise, for a certain sum, to land them in the opera houses in a few months.” “TI have emphasized the words “dodge honest teachers” because they are a home thrust which reveals the cause of more than half the failures in the musical world. It is the charlatans who spoil the business of decent teachers and flood the market with mediocrities. Liszt perhaps went too far when he said that mediocrity in music is a crime, but the activity of these mediocrity-makers is a crime which ought to be punishable by im- prisonment. It makes me very sad to think how many thousands of young music students there are who patronize these charlatan teachers, in the expectation that they will “do it all” for them. For these “teachers” are too shy to ask their foolish pupils to do any hard work. That’s what makes them popular. The Delights of Work. Yet work is, when you look at it the right way, the greatest and most enjoyable thing in the world. One need not go so far as that blase Englishman who said that life would be quite tolerable if it wasn’t for the amusements. But it is certainly true that if you don’t work you are likely to be bored (idle rich folk are horribly bored most of the time); and Schopenhauer said _ truly that boredom is the worst of all tortures. Hard workers who “strike oil” or _ retire from business for other reasons, usually die soon. They cannot live without labor of some kind. Ergo, ye music students, work, work, and again work. Don’t wait for your teacher to show you what you want to know but find it out for yourself. That will please him immensely and make him take off his hat to you—unless “he” happens to be a woman. Let me give you a very special reason why it is important that you should not let the teacher do it all for you: You are like- ly to forget what he tells you, even if he says it repeatedly; but what you find out for yourself you never forget. I have found this proved by my own experience hundreds of times. : Children who learn how to make their own toys enjoy them much more than those who get their ready made. Nothing is more foolish than to do things for them that they could do as well for themselves. It is really cruel, for it deprives them of much fun— the pleasure of finding out things for them- selves. A few examples of what I mean by find- ing out things for yourself may be desirable. At a recital by Paderewski, or Novaes, or Grainger, or Schelling, or some other great pianist you attended the other day, you were delighted, I am sure, among. other things, by the beauty of tone. Now sit down at your piano and see if you cannot by varying your touch (in combination with the right pedal) produce similar tonal effects. Listen intently and you will soon be fasci- nated by subtle tonal differences. No teach- er can do this for you. Listen to Great Singers. If you are a vocal student take every op- portunity to hear the famous singers; and when you get back home try to produce similar tones—similar, I mean, in quality and beauty. If at first you don’t succeed, try, try again. Edison sometimes tries hun- dreds of chemical combinations till he hits on what he wants. The teacher can give you hints, but he cannot do it all for you, I repeat once more. If you have in your mind a concept of the kind of tone you want (after hearing it at a recital), as Edison has in mind what he wants, you really can in this way greatly improve your voice. Just as you think of C or E or some other tone and then sing it exactly so you can gradually train the organs and muscles in your throat to give you the tone quality you want. This is truly wonderful and it is a point of superlative importance to every student of singing. On this method, hearing the vocalists and trying to echo them so far as tonal quality is concerned, the masters of the old Italian bel canto (or beautiful sing- ing) based their marvelous success. Of course you cannot, in this way, acquire that individual peculiarity in a voice which makes you exclaim “that’s Caruso,” or “that’s Emma Hames,” or “Geraldine Far- rar;” but you do not want that. What you . do want is an approximation to the tonal beauty of such great voices; and to that you will add your own individual touch.” You cannot avoid that, and it-is to be hoped it is an engaging individual touch. Voices differ—like faces. If they are engaging you get engagements. Benjamin Franklin’s “God helps them that helps themselves” (which, by the way, is a maxim borrowed from Sidney), fits into this literary music lesson admirably. Practicing at Morges. Help yourself, work by yourself, as the great artists do. You cannot avoid drud- gery—the greatest artists cannot do that. Twelve years ago I spent a fortnight at Morges as the guest of Paderewski. He was preparing the great Liszt sonata for his next tour; and he practiced daily for hours. He did not play the sonata through from start to finish but repeated passages hun- dreds of times. He also played what we call five finger exercises. When I asked him if he didn’t find that a great bore he replied that it was terrible—that it required all his iron will to make him keep at it. But that’s what made him Paderewski. I once knew another pianist who always, when practicing, played a piece through from beginning to end, though he knew most of it as well as he would ever know it.
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PERRY’S MUSICAL MAGAZINE NR PS IM tn I AS AE RS, AI SA EN I IETS SSIS NEE OE EP SES AE SILT BEE OODLE USED, IIIA EE EBLE EA OE DLO DE EGA LEDER SAPP DEB CI SPEE ERIE VLE LER LEL DELLE A BS ESET LE IE ELON He always stumbled over the same difficult places, made an angry exclamation, repeated them once or twice and then hurried on. He never fully mastered the difficulties; while the piece as a whole, after all these repeti- tions, palled on him so that he could not play it before others with the interest nec- essary to interest them. You cannot fool an audience. If the piece you play bores you, it will surely bore your hearers. It is with music as with books. If the authors take no pleasure in writing them the readers get no pleasure from perusing them. And this brings us back to the super- lative importance of learning to enjoy your work. Life isn’t worth living if you don’t. Almost anything can be made enjoyable if you go about it the right way. The dryest technical problems set by your teacher can be made entertaining if you tackle them your own way, putting some of our own mind into them. He can- not make your fingers limber and nimble; you must do that yourself. Nor can he pos- sibly indicate to you every shade of accent and pace which invests playing with life and emotional interest. It is as unreasonable to rely on your teacher for these details as it is to run to your doctor every time you have a headache or an attack of indigestion. Correct your faulty habits of eating and you will need him only in emergencies. So with your teacher. The poor man is probably over- worked. Do not bother him with trifling things that you can find out for yourself. To develop your muscles you must walk and climb, not ride. Relying too much on your teacher is like trying to get muscular exercise by means of massaging. That is all right for invalids—but you are not a musicial invalid, are you? LESSONS BY BEETHOVEN. “To the acrobats of the key-board who abounded in his day,” says Henry T. Finck in Success in Music, “Beethoven referred contemptuously to pianists ‘who prance up and down the key-board with passages in which they have exercised themselves— putsch, putsch, putsch; what does that mean? Nothing. ...As a rule, in the case of these gentlemen, all reason and feeling are generally lost in the nimbleness of their fingers.’ “Regarding Beethoven’s method of teach- ing, Riis says: ‘When I made a mistake in a passage, or struck wrongly notes or leaps which he often wanted specially em- phasized, he seldom said anything; but if my fault was in expression, or a crescendo, or in the character of the piece, he became angry, because, as he said, the former was accidental, while the latter showed lack of knowledge, feeling or attention. He himself very often made mistakes of the former kind, even when playing in public.’ “To Czerny who was instructing his nephew Beethoven wrote: ‘With regard to his playing, I beg you, if once he has got the right fingering and plays in good time with notes fairly correct, then only pull him up about the rendering; and when he is arrived at that stage, don’t let him stop for the sake of small faults, but point them out to him when he has played the piece through. Although I have done little in the way of teaching, I have always adopted this plan; it soon forms musicians, which, after all, is one of the first aims of art, and it gives less trouble to both master and pupil.’ ” MARK HAMBOURG. Mark Hambourg, in an article on How to Play the Piano, in The Ladies’ Realm, No- vember, 1905, says: “I do not think a man can interpret the works of the great com- posers unless he be possessed of broad in- telligence, experience of life, and a knowl- edge of travel, and is familiar with the writings of the poets, philosophers, and historians of ancient and modern times. These are the food for the mind of any great artist, and the result finds expression through his own special metier. * * * To get the most out of life it is necessary to be in touch with all that is going on about you; and if you do not get the most out of life, in its best sense, your Art will be the sufferer. That is why I say, practice an hour at a time rather than four hours at a stretch, but by no means waste those other three hours.” And again: “When practicing, I should never advise a student to play a piece through from beginning to end till it is well learned. A piece should be studied as poetry—idea for idea. It should be played slowly and evenly, and when perfected, the next idea should be treated in the same way, and then the two played until they go smoothly, and the third is taken up.” The great teacher, Kullak, used to give particular attention to the pedal, and when a pupil pedaled badly he was declared to be no pianist at all. No matter how great the pupil’s dexterity might be Kullak was not satisfied unless the pedal dexterity was cor- respondingly great. He said, “The pedal draws a cloud like a veil, a deeply romantic dimness over the tone picture. The effect will be more certain if not applied too often. The ‘cantilina’ (singing melody) will thus sound grander and loftier, and there- fore the pedal may be used most frequently in singing passages.” | ILL. EFFECTS. When Bloggins, Sr., on the occasion of his annual party, was obliging his guests with “’Tis Love That Makes the World Go Round,” Master William Bloggins, Jr., seized the opportunity to retire for a few minutes behind the Japanese screen with his sire’s half-smoked cigar. The applause subsiding, Master Bloggins was observed by one of the company to be looking far from well. His face had taken on the hue of putty, and his eyes stood out like small hat pegs. “Good gracious, Willie! ter?” cried Mrs. Bloggins in alarm. lieve you’ve been smoking.” Willie shook his head. “Taint that,” he declared, untruthfully. “If it’s true what father’s been singing about, I—I re—reckon I’m in love!” What’s the mat- ‘T be- The musician who considers merely the entertainment of others in the exercise of his art works his own punishment, not only through the deterioration of his artistic ideals but by engaging in a task unworthy of freemen and fit alone for hirelings.— Aristotle, OUR GREAT HOLIDAY OFFER In order to enlarge our now very large subscription list, we will, until FEBRUARY ist, 1928, mail our Musical Magazine to any address for only ($1.00) ONE DOLLAR FOR 12 NUMBERS, OR ONE YEAR. Also as a premium we will send any four pleces of Sheet Music selected from our Thematic Catalogue or Sample Sheets, to every annual subscriber. As each number of PERRY’S MUSICAL MAGAZINE contains an average of seven or more pieces of music, the subscriber, in one year, will receive over 84 pieces of new and up-to-date copyright music. Could you give another, for so small a sum, a nicer Christmas gift? Music teachers should take advantage of this offer, as all the music that appears in this magazine, is published in Sheet Music form, thus giving them splendid opportunity of selecting good music for their classes. Only new and valuable copyright music its published in our musical monthly. In showing our appreciation for the hundreds of new subscriptions we have received in the last few months, we have greatly enlarged the Magazine. While a great many periodicals in the United States have reduced their size in pages and added to their subscription price, owing to the advance in price of paper, we have so far been very fortunate by making advance purchases, thus enabling us to keep our subscription price the same as heretofore. TO THOSE WHO WISH TO ACT AS AGENTS AND SECURE SUBSCRIPTIONS FOR PERRY’S MUSICAL MAGAZINE — At the above special Christmas offer rate, we will send to anyone who sends us in a list of Six Annual Subscribers at one time, the Magazine free for one year, also send Four pieces of Sheet Music as the Agent’s Premium. At this low rate of $1.00 per annum, to everyone, it will be quite easy to secure this club of six or more. bear in mind that the subscriber also will Please receive Four Pieces of Sheet Music as a premium, and in addition to the above liberal offer to Agents, we will send to the one that secures the largest number of subscriptions, a fine Violin, Guitar, Mandolin or Ukulele. We assure you a faithful account of all subscriptions sent in by agents will be kept, and the extra reward will be given to the successful one. When ordering the 4 pieces of premium music, please state whether you want the Sheet Music for Piano, or Organ, also whether Songs or Instrumental, or both. Also degree of difficulty, easy, medium or difficult, and we will use our best Judgment in your selection. Remember, this offer only holds good until February 1st, 1928. Address all subscriptions to the publishers, A. W. PERRY’S SONS, Sedalia, Mo.
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ONE SWEETLY SOLEMN THOUGHT BRILLIANT VARIATIONS Andante a SR eS 4 : ote ep «Br & = a” mss @. area Fee TRS WR ee a ae ee meee wr ivy @ et fa eye eIn # Gai THEME Dolce espressivo » $l | ¥ vr] ow cel wl —= | EES PENS AO BOM OL ES Ue RW PN A S| GES Re RR NE A Ae RG Te a ee ee ee ee ee we 3 EGS! MG Me ne ee ee a ay a » f g Kay = BW. Copyright MCMXXVI by A.W. Perry’ Sons
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effet, Oa 99 “to 2 SRS Wee EINE CTY SUPRISE ‘ cet Tra. | ae) ee ee ee ee tt ee ee Rn pr a ppg at 3” RR. Aa a OM Uae re eee re — i a o_o = ae a Sas: eo LE ES LA SN BS SN ee ae KBD, «Be. ice RD & a : OT ES + OR PE lh SINE RS I RE ce NS Ry RE REE Rr se eT Beat iy Me ee ee eee ee ee CP AE et I cele SR RE I oe SE UE otis CAR” RN RR a GD A a 46+ _p—_4 8 ay DG ed EA es i) PR HE ER NT AR CON ae OL nD ER A He: A A A: a A 7 oe i Li... ee ee 2 She a ee a Se ee ee ee a mm “a a. ee 6 R 6 > _ ; a ee ee ee A hee ee ee BD, Rd, KBD, # Ba. HRD. & Be. BM One Sweetly, etc. 4-2 | | - ee Pape,
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el SES FOR 1 Pe A A Qe Se Re MU 8 ee Qo, Van se Tan. Noo. xe Sa 6k COOK MD % _ oo atin # kas Pr Pe a ry el RT F et ee o1_»—__—_-+~# ~~ + — gett Co... ROS Gk Ge ae ee Me Ae ek ek Ue ee OO ee eee SD ERs Se eae. $$ pe | — ees tes — 8 ae bam ics RS RS, ee ee ee ee ae ee ee ee ee et ee ity —fevpt—_ret— Riza Mi. Rew ee Be’ eS et ee eee. je tt part ee Se AO = | Ue ee ee ee a a | ae ase Be Fe ey Se iy ee oe ge PA — a es ee —_—— — a ES REE r ee a . y «\ a - _ : . — f\ —T | sot A P,P ET AER, 5 BS TO Cl we oe swe an: — pt} er = ° - i yy - e) 6 sR A oo a One Sweetly, etc. 4-3 x e1), % OD, x,
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Gn sen nee hacen nee ceen nate rewmnn ne sentanerseneee nesses dl @Seeeee ' Tempo Primo 0 SN A RT WN a La) TOY A RE Wey Osh SRR EME OES A Re “SES see SRE ME AT UE PRES TS Ba RE YY BO SRR wl: TERA RT Rk AO EE RR I OE TNE GR ty cE A is SSE ARE ol GME SS, NY te «OY A Hs 1a 1 {eee Ieee 2 ae ee es SR es, ae ea ee Pee ea Me ee Cc at — Pet —} —} ot jf 1 5 rpm tt et tpt t+} het —t = =~ = —— ae == we a — » > i “SR hu aes OS 20 Cae) SG «de. ee a ee ee PAS th get regs 4) —epet 4 jt | |__| _qg —_____» a = — = —— as Se We | _ a) RIESE ARSE Ar A AR LT A a : sad th et SES PR Bee wee OF 7... OS as A AR AR RE AE ESE a RL ee at OO UE BS Se ell Stet tee tet TE el ee Ga Om WR IAL BOs ee OO ee a ee Ba ASTOR, OR WS RES Boe BRS TIM WRF : “YS i BD) ae co RETREAT ese rei so RAE RE EE EI OS TES TRE. Al ANTES i iy Se ey ae! _—— a a |t@ 4 PR EB esr Se eee OR —_— 4 a: MTSE LAE ET OL GE PTOI GRE ROL Oh A, SIRE NTE LPNS 2 SE so OS OE Se a we ae UR PERNT ee So Ss — a) a ae Son. x = Rp, 0 % One Sweetly,etc. 4-4
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THE ARTIST WALTZ G. HOLCOMBE ah 4 eb | A . il ; i ut , Yel Til} ée a! ee HEL Hil TT i} Mtr ink bail rer it aT il Ac A oh (eae al)! iE i: ‘al! Copyright, MCMXXVII, by A. W. Perrys Sons ie
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P wT # S . totam pa ouasesecsdsscegdsueasseseased bag eade Tl Brillante Fine aN | D. Ctl Fine The Artist Waltz 2-2
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M. W. BUTLER peer Se FOR PIANO OR ORGAN 3 1 DANCING IN THE SUNBEAMS 5 1 Tempo di Valse a Copyright MCMXXVI by A.W. Perry’ Sons
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® ® ~ ~ Ss SS ™ ~ y B a rrr? TTT TTTETrTt itt? Pitt SSBF OHOSEHASEEHOSEREAEEBEAHEDOO S- -2 Sunbeams 2 Dancing In The
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OH! SUSANNA MARCH As played in “THE COVERED WAGON”? M. W. BUTLER Be DR Bore Re Se Bp: cores ER ba] oO ee. a aR SG AEE AS a CAR CC ok ra) RE RT ee OR RS TS. “RS UBS AR ae 01) SORTS GR AANA WR KY So OL ART OR ER ee RE BY ONT ARETE CR SASS SPE oe — — , oye — Pl to eet ot ee) or te ot. tae Copyright MCMXXVI by A.W, Perry's Sons,
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d d & es e 4 EET AREY: WF ET SS SWS CANE AR, RN Ce BER IOT TUNER AIRE IS te! iP eG ORIOLE MOREE “ aideies et AAS Cs: Tee Oe I aE TE Oe Ge DDE SOREL E A. UMAR Ts EN OO eS 2 I A Oe ES ee BR ee, Sa ES 5 5 4 4 2 | t . 4 ey 4+ ool (ee OR See ee ee ee ee ene Ce Oe ee ee ee ee ee ee eee a ed OF EAM ET WR a a a a ee ee a a ee ee EE _ PO cE SER jp ———} eet |_| _ologee_| | ____ss"_-¢ of a “Oh! Susanna 2-2
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WHISPERS FROM HoME AND MorTHER REVERIE E.J. MERGEN Andante affettuoso Copyright. MCMXII by A.W. Perry & Sons’ Music Co.,.
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‘ \ tal ore eeronsenesareceumpess SOROS SS OES EOESOWOT HSH EOSEE TOSSES EHESSSHSTEASS HPO EEEEOSEEEOESE ES ES EEE HS COOPER EOE EERE EEE EEE Reet Heeenes SOROS OEE HS EERE EEE EERE EEE EEE RAE EERE ERE EE EEE EE ER EOE EERO SES eccccccevc pee cep Rnheh Seb weceregseccesesoe POSE RS © oe PDHSOPSCOKSHSS SS OHOESEESEH SSEHHEESS FPECPRE SSCS OE SSS 6 OCBFSEOESSHPSEROSSSSSSHH SS SESEETOSESOEODEEEEEH EE + © HEED EEEAOESEREREEO REAR EE emonseeeeaseaneseseseeoes i — Whispers from 8, ~~
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CPSP ESSE SH SSH SEHEEEEEEESSE ESET SERS Whispers from 4
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Echoes From the Old Homestead A, Ramble for the Piano J-OWEN LONG 5 ae oa | IE pa || INE OMT oy | IRENE ™N 5°) ~ z “2 ~~ , ‘555 Sema ae Cadenza___. ist..Wandering T_T] « ’ ite haunts ae A RAREES eT ES A ER SSE ES RO A ES er A, IRR aS EO AR RY or SRB ARR CEI A, RO AE EY RM The orchard was one of our favor ; ih i qi ns’ Music Co. a & _ Copyright MCMXIII by A.W. Perry & So
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fh : ail ae to = DN. vee eee oS oe i eee 7 . . 7 . . . + . . | 4 - [ feeweewersesserrerestes ot Oe wee SC STO TeeSeeeeour ‘ ee ewer emer eseeeeseeees ‘ 8 eesor” emcee war eese esses sereneess w to-huntthe four leaf clover A 8 FP SSCS SES SO SREES CECE CE MSS Re ‘ ‘ Then came a race for the meadg Old Homestead 3d
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4 de to sing ahymn of |prais 4th. At Eventide we gathered around the fire on eee eee ¢ re ¢ Wl oth. All through the silent night visions of the day crept into our slumbers TT ' ; 6th In the morning’ fair we gathered the sweet scented clover blossoms wet with dew 0] d Homestead 3
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' + PS AO SSO OS OOOE SE C“COSSSs 9 e eet eocenececec coduscace 8 & 2 Oe wee 00 cee 082 bc eseseees —— _——— —z eri SL | | SE ee pe mmw eee weeeesesebessons - cabo we aewe eee geese eetesere LL! Pail Wrealdll 00 § 4.=3:°°2.4°:2: 8-4 ils fod issed the merry d Andjthe lijtle stream at the foot of the hillsk 7th Old Homestead 4
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4 [ 3 : I 3 u ht el | ‘fal 3 | Ae om = ‘INES ce ith | i # bahl - | x ae : : x H ‘ ee : oe ll | : : °. | na < Dei te et . hs gs T aa s ARH’. abhi koi 0 ESR aa : oe I aa) ell : oe hee es io re ; as ved : ™. ; : ~ : - : : ~ ioe co co we - | iy // : fh : fell : : for eG 3 mee Seas ces os SS ae ace ; : omer : : + e : : Ow : | ; : ‘ : ere 3 SAR. | Oe | ~ t eo Li || : | | Be, us f ex oer ae Md t Q9 = | : bie 8 2 ee sare a § , NO} | s ~~ 7 a Yop, BA ww oe N om N <0 one 3 — eee: Sire 1 L ; SSE MPS ee SEs Then hurried awa ~~ § * erveenan Old Homestead &
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PERRY’S MUSICAL MAGAZINE Complete copies of ““Vesper Bells,’’ ‘Dance of the Daisies,” “Red Rose Waltz,’”’ and other beautiful pieces, will be published in the February number of PERRY’S MUSICAL MAGAZINE, mR . =] wy tT w Sa a PB Ags g 3 a8 Pr ages Bogak Ye Z 1 Bene fas = “2098 Bes, 3B: a Seelegsed Beede= & BREESEESES EF 77} me O's & SHesgs 4 a 5p so D “Aa lah oR sh gaash S EBEgewgessg g23 eet BiOewctcre SAH otmA Ee OD BY SaO85.- S ea ord D palm CHES ReECH sun eassebeeh ES PEs eee cS Sense ag ea ar ne 8 eee ee Seok Saye By e°o oe 2 Ss po re] a ial o a SR aS be ma So, 28c. a Uc 8 $ pn > @ Helo Bo hae 3 & SSae SORES S BeSSan wa T ¢ ip Oe ses e2s Ss 2g ad bho A SS ft go 2 Bb fami © > E oor re Cfassud RET SesTM Ae HBEEF Bey a e erm © ° ma S pb sm 92 MASSEeS oe TG. o (Li © DRS? pote ae CES ESS oe aa erst ) Oo om “ey D So 8 Bn 2 rj (O ie M 8 ; = He Hag Paegs pte eneeekias see de es ‘ is SE OR bee ee ee oO een oe 888. ee a O 5 Hs SRS BSS UEe SOE oS 88 on PR RBEH PEG Z ee ee ea ed re A o. Beis SS od ek he ett hte £5 9d 2 Pona la poses SS UP ea APES Be Seas ess > Fe] Ay Si Ex, = ws thi pete Sb n : | ® 3. Be) been ok hgas ce og pSebk Els. a8 aes calli s| “8S el pega s FR aeg eo pas §eogss ? ~ Ess £3 gh2 2 e263 EeeSS 33 2 = aoe 7 = x i : | eal a se re As “lls m: ~ 4 HN iii NE ~ : eS pL. Wie 8 : > BW iL os 3 ; E IF @ ) uf’ : mE it: Hihd IN al| = Hi <6l| - VESPER BELLS Gracefully a eS | SE ET es SS SEES TOK REE or ICR Tempo diValse RED RO Gradually faster
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PERRY’S MUSICAL MAGAZINE CHARLES E OVERHOLT ressione Melodie Romantique arcato la m te Andante con es ni zi Oo: be = Zz, = om] ra | ~ ~ Home To Our Mountains From Verdi’s Grand Opera, “Il Trovatore” ‘Andantino — : mill CG PO ors ge Le ans COMPLETE, PRICE 50 CENTS The Beaut , vs §4 = <5 alll ge Fel Suse =| wad all a 88 = hh mi Sas a} | Zee aa < 939 = {I Os af of sii Bagk og SH Manmo2Z Bp° IN oo BE, All wv Hse Og it O#eS= =8| OFBoll Sel Zoe as fei 5 285% . 2 a5t -_--———---- lava E ee8 < 38% faa) = p 4.8 EE G. HOLCOMBE ful Isle. i WALTZ COMPLETE, PRICE 50 CENTS % BD. price. Publishers, Sedalia, Mo. d to any address, upon receipt of marked pai usic Address, A. W. PERRY’S SONS, M KR 2, r= wa 2 Qu GS + § eo} ® o Ko} ~~ eal © o ‘Be © i) o a. 3S
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PERRY’S MUSICAL MAGAZINE To Colleges, Schools and Teachers 1. We make a specialty of College, School and Teach- SEND FOR OUR er trade. I. Complete Thematic Cat- alogue ef Classical and Popular Music. Il. Catalogue of Music Books and Studies for ali Instruments and Voice. 2. Our terms are the MOST LIBERAL; our dis- counts the LARGEST, and from the educational stand- point, our publications are second to none. $8. Our Facilities are an- equalled. ili. Addenda to Catalogue. 4. All Orders are Filled (Latest Publications, by Experts. We pride our- 86 pages.) selves on promptness and cor- | py ‘Teachers Guide—The- rectness. Two important matic illustrations of things for your consideration. over 500 of our most 5. Our Own Publications successful easy and are Noted for Accuracy and medium grade Teach- Mechanical Excellence. ing and Recreation 6. Our Plan of Sending Picken tor Plano. Music on Sale (full particu- lars sent on request) is Lib- eral, and only the latest and best Music is used for this We carry a Complete Line of All Foreign and Ameri- ean Publications that is in de- purpose. mand. There is no feature of the music teaching profes- sion with regard to which we are not prepared to be of prompt and practical assistance, either by furnishing the necessary material or by giving helpful informa- tion or advice at all times. We solicit your trade, and are positive that we can Save you time and money. Accounts opened with responsible parties. A. W. PERRY’S SONS, SEDALIA, MO. THE LATEST AND BEST OF ALL METHODS FOR THE PIANOFORTE! Butler’s Correct Method for the Piano SEND FOR SPECIMEN PAGES MAILED FREE TO ANY ADDRESS Contains Over 250 Pages, Full Sheet Music Size Volume 1 for Beginners Volume 2 Medium Volume 3 for More Advanced Players. Volume 4, Difficult Volume 5, a Grade More Difficult PRICE OF EACH VOLUME, $1.00 The well-known composer and teacher, M. W. But- ler, has adopted in his method the best lessons of the old Masters, such as Czerny, Haydn, Beethoven, Leschetizky, etc., together with his own modern ideas as to the proper method of teaching, making this instructor for the piano- forte what we claim—an absolutely correct one. We want every teacher of the piano to examine the work thoroughly and will be pleased to send a complete copy of either Volume 1, 2, 3, 4 or 5 to any address, post- paid, upon receipt of $1. 00. We hope to receive your order for at least one of the volumes, for we are satisfied you will in future adopt it in your classes in preference to all other methods or studies. Address the publishers, fe A. W. PERRY’S SONS, Music Publishers, SEDALIA, MO. EXTRA—A beautiful Diploma, suitable for framing, is given with each volume. LESCHETIZKY’S SCALE EXERCISES. Leschetizky’s Arpeggio Exercises. PRICE, 50 CENTS EACH The art of playing scales runs, etc., is known to compara- tively few. The editor of Leschetizky’s Scale Exercises, M. W. Butler, has studied under some of the best American teachers, but none of them called his attention to the fact that he was not using his thumb properly in the execution of scales and runs. In 1883 he departed for Germany for a five years’ course of musical study in Berlin and Vienna. In Berlin he studied piano-forte playing with Kullak, Klind- worth and Reif. All seemed satisfied with his touch. It was not until he arrived in Vienna when Leschetizky pointed out to him that in order to execute with the right hand a rapid as- cending scale or run evenly with the greatest velocity it is. absolutely necessary that the thumb should pass quickly under the fingers (towards the next key it is to play instantly) as soon as the second finger has struck its key. It retards velocity and creates an uneven touch to wait until the third or fourth fingers have played before passing the thumb under. Lesche- tizky personally taught the editor his exercises for preparing the hand to execute scales, runs, etc., evenly and with the great- est velocity, all of which are published complete, and with full explanations as to how they should be practiced in Lesche- tizky’s Scale and Arpeggio Exercises. These books also contain instructive remarks by Paderew- ski and his teacher, Leschetizky, lessons explaining how all pianoforte music should be practiced. PERRY’S ALBUM OF CLASSICAL MUSIC FOR THE PIANO This book contains the most celebrated pieces composed by the great masters. They are correctly fingered for teaching purposes, and contain explanatory remarks showing how they should be interpreted. These compositions published in sheet music form would cost over ten times the price of this book. The following is the contents: BACH—‘“Gavotte from the Eng- lish Suite in D Minor.” BEETHOVEN—“Adagio from the Son- ate Pathetique.” MENDELSSOHN—“Wedding March.” SCHU- MANN — “Traumeri.” DONIZETTI-BUTLER — “Sextet from Lucia.” SCHUBERT—“Greeting and Kisses for My Beloved” and “Serenade.” WAGNER—“Lohengrin Wedding March.” “PERRY’S ALBUM OF CLASSICAL MUSIC FOR THE PIANO” will be sent postpaid to any address on receipt of 15 cents. GEMS FROM CELEBRATED MELODIES A collection of the most famous compositions, arranged for the Piano or Organ, by M. W. Butler. This book contains the following beautiful pieces, which, if purchased in sheet music form, would cost over NINE times the price of the book. CON- TENTS: “Intermezzo Cavalleria Rusticana;” “Columbia, the Gem of the Ocean.” “The Palms.” “Rocked in the Cradle of the Deep.” “There Is a Happy Land.” “America, Variations.” “Last Rose of Summer.” “Lauterbach Waltz.” “Beulah Land.” “Almost Persuaded.” “Romeo and Juliet Waltz,” Gounod. “Kathleen Mavourneen.” “What is Home Without a Mother.” “Believe Me 'f All Those Endearing Young Charms.” “Battle Hymn of the Republic.” “Lohengrin Wedding March,” Wagner. “Sweet Gen- evieve.” “Marseillaise March.” “Traumerie,” Schumann. Price 25 cents Each. Complete in one volume, 50 Cents. M. W. BUTLER’ S BRILLIANT VARIATIONS FOR THE PIANO, ON THE MOST BEAUTIFUL HOME SONGS These charming compositions, published in sheet music form, would cost over six times the price of this book. CON. TENTS: “My Old Kentucky Home, Geodnight.” “The Star. Spangled Banner.” “Her Bright Smile Haunts Me_ Still.” 4Alice.” “Old Folks at Home.” “Maryland! My Maryland!” “Dixie’s Land.” “Lovely Night. The Tales of Hoffman.” PRICE COMPLETE IN ONE VOLUME, 50 CENTS. PERRY’S ALBUM OF SACRED SONGS, PRICE 15 CENTS A new collection of the latest, and most beautiful sacred songs and quartettes, with piano or organ accompaniment printed from large size music plates. These new songs, pub- - lished In sheet music form cost over ten times the price of the book, which will be sent post-paid to any address on receipt of 15 cents.,
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PERRY’S MUSICAL MAGAZINE Sounds From the Home A collection of the most beautiful melodies arranged fo. the Piano or Organ by JOHN MARTIN . Every piece is pretty and easy. Teachers should get them for their young pupils. They will not only instruct, but wii encourage the pupil to greater effort, as they will be entertain: ing and enjoyed by themselves, parents and friends. CONTENTS: *Annie Laurie, *Battle Cry of Freedom, Davsling Nellie Gray, Dixie, Hail Columbia, *Happy Day, *Happy Dream Waltz, *Home Sweet Home, How Can I Leave Thee? I Can Not Sing the Olc Songs, *In the Gloaming, *Listen to the Mocking Bird, *Love’s Old Sweet Song, Massa’s in the Cold Ground, *My Olé Kentucky Home, Good Night; Old Black Joe, Old Folks ai Home, *Old Oaken Bucket, Red, White and Blue, Star Spangleé Banner, The Old Cabin Home, *Yankee Doodle. The pieces marked with a Star (*) are written with the Treble Cleff in both hands. Price, 25 Cents Each. Complete, in One Volume, 50 Cents. GUMMED STARS—In great demand for teachers of music, Primary and Sunday Schools, etc., using them for merit marks. 100 Gold Stars in a box, No. 2— 75 in No. 4, a little larger star. Price, 15 cents, post paid, cach box. | No. 4 “BLANK RULED MUSIC PAPER—12_ staves, inches, GOOD QUALITY, per sheet, 5c; per quire, $1.00. MUSIC MENDING—Hall’s Stykum Phast Cloth; will mend 10'4x18% anything; 10 yards ina roll. Price, 50 cents. FRENCH GUMMED PAPER; transparent. Price, per roll, § cents. THE SHEIL.P HINGE—The only Hinge Tape in one piece you can cut to any length wanted. Box containing 5 yards, 15 cents. SCHOOL MODEL PITCH PIPES—Chromatic, 10 reeds; price, 50 cents. A and C combined, in metal box, only 15 cents MUSIC STANDS—Black Iron, Japanned; folding; each, $1.25. The same, nickel plated, $2.00. MUSIC STAND CASES—Good quality imitation — leather, $1.50. Genuine leather, $2.50. If you are wanting any kind of musical merchandise not ' listed above, write for our lowest prices. LIVES OF GREAT MUSICIANS No. 1. John Sebastian Bach, Carl Philipp Emmanuel Bach, Louis Moreau Gottschalk, William Vincent Wallace. No. 2. Ludwig Van Beethoven, Von Weber. No. 3. Johannes Brahms, Bartholdy Felix Mendelssohn, mus? Clementi. No. 4. Frederic Chopin, John Field, Eduard Hagerup Grieg. No. 5. Francis Joseph Haydn, Camille Saint-Saens. No. 6. .Franz Liszt, Giovanni Sgambati. No. 7. W. A. Mozart, Sergei Rachmaninoff. No. 8. Anton Rubinstein, Alfred Jaell, Joseph Joachim Raff. = No. 9. Franz Schubert. No. 10. Robert Schumann, Ignaz Moscheles. No. 11. Carl Maria Von Weber, Niels William Gade. PRICE 25 CENTS EACH NUMBER Postpaid to any address. Order by No. or Author’s name Per dozen, singly or assorted, $2.50, post paid. When ordering always state Perry Edition. Every pianist, music teacher or student of music should have these volumes in their library. teacher to make their truly ambitious pupil as a reward of merit, etc. BACK NUMBERS OF PERRY’S MUSICAL MAGAZINE We have had so many calls for back numbers of PERRY’S MUSICAL MAGAZINE we decided to print a limited number of extras each month, and as long as the supply lasts we will sell at the low price of $1.00 PER DOZEN,ASSORTED, OR 15 CENTS SINGLE COPY. _» Address all orders to the publishers, A. W. PERRY’S SONS, SEDALIA, MO. A beautiful gift for the music: . fery durable. EXTRA SPECIAL BARGAINS! me ROLLS AND SATCHELS No. 1. Music Roll. Gen- uine Barleykoid. Moire lined, patent end strip to bold music from slipping out. Genuine leather strap. Nickel buckle. Size, un- | : rolled, about 14x15 inches. Color, black only. Our special price only $1.00, zy mail, postpaid to any address. Retails many places for $1.50. The following three styles of Combination Music Bags are ery popular and were:selected by our buyer with great care. No. 2. Good seal grain Karitol; size unfolded for carrying iheet music, about 11%x15 inches; folded, about 6x15 inches; genuine Moire lined; solid leather straps and two black metal eackies; a substaniial leather handle, Our special price oniy i2.00. Easily worth $3.00. No. 3. Heavy seal grain Karitol, very durable. Solid lea- fer handle, two solid leather straps and buckles; black. Size sntolded for carrying sheet music about 13x15 inches; folded, iwout 7x15. Beautiful orange color lining. Our special price «iv $2.75. Regular retail price ts about $3.75. No. 6. Music Bag and Band Master’s Case, Color black only. Closed ends. Es- pecially adapted | to the use of band | leaders and music | teachers that are | called upon to carry a good many pieces of music and studies. Made i of genuine Bar ieykoid; two ; straps of same jurable mat-rial around the ®r ‘re bag; two .ound | candles :'so made ma 69 same scaterial. Solid saudler lea- ther strap and Lined with beautiful Moire. Size 15x12 Our special price, by square nickej buckle. inches. Retails everywhere for $6.00. mail. postpaid. to any address, only $4.50. pea ——- , No 7. String Case. Fvery teacher or player of the Violin, Mandolin, Guitar, etc., should possess one of our new and very beautiful little String Cases. Itisa genuine Barleykoid leather case with four partitions, and the size small, so can be carried easily SE SS 1 in. your pocket. It is closec with a snap button. Price by mail, postpaid, only 50 cents. We can include a full set of our reliable (Our Leader) violin strings, EH, A, D, G, for 50c additional, total, $1.00 for ae and case, which makes a fine present for any violin player. The avbve line of Music Rolls, Bags and Binders, we believe is the best on the market at or near their prices. We buy _ direct from the manufacturers and all middle men or dealers’ profits is here given to our customers. We sell direct to the users of Music Carrying Cases, and hope you will send vour orders direct to us. ‘We mail postpaid to any address. A. W. Perry’s Sons, Music Publishers, Sedalia, Mo. DIPLOMAS Music teachers, or teachers of any art, giving diplomas to their pupils, should adopt those manufactured by us. The finest style of engraver’s art is adopted; also best quality of paper used. Our Diplomas are so worded that they can be filled out by the teachers for pupils who have finished the different grades; also for graduation purposes. Suitable for framing. Price, 10¢ Each; $1.00 per Dozen, Postpaid.