Perry's Musical Magazine (July, 1928)
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ap | GD 47th Year JULY, 1928 : Oo. YS MUSICAL MAGAZINE ‘Single Copy 15 Cents $1.50 per Annum PRICE IN Contents: sees muex ON THE AIR. Radio Waltz - - Simmons 50 UNDER THE WILLOW SHE’S SLEEPING - Butler 25 BLUE RIVER WALTZ = ~ ~ Plunkett 50 LOVE’S DREAM. ‘Liebes | Traum ’ Liszt-Butler 25 JUST BEFORE THE BATITLE “..MOTHER. Variations » | - Hutler 50 THE -ZHEAVENLY COUNTRY. A Sacred Song for Med- ium Voice - Long 50 HATCHET BRIGADE. Burles- -. que Two-Step Wittwer 50 BATTLE OF SPION KOP. March ~ Butler 50 - “EVENING PRAYER” SEDALIA, MO.: io Published by A. W. PERRY’S SONS, Music Publishers.
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PERRY’S MUSICAL MAGAZINE VIOLINS. All 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. WO. 1. Stradivarius model, dark reddish brown, European manufacture, black keratol case, good bow with pearl slide, extra set of strings, rosin, etc. All complete, Ne ae ie ec rt ae eg ev cbaccisges $12.50 fo. 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, RAMEN MAE WT, OREN oa coca hose. deste cesdtu tame haec $15.00 a. 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 OI) uke EIOIM OME 8. yee ol ee ie oe $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 returned and money refunded. No fairer proposition could possibly be made. Low prices for other models gladly furnished pa gee application. 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. 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 Ozerny, 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, « A. W. PERRY’S SONS, Music Publishers, SEDALIA, MO. EXTRA—A beautiful Diploma, suitable for framing, is given with each volume. ~ WE ARE HEADQUARTERS FOR FINE STRINGS. FOR ALL INSTRUMENTS “QOUR,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 $5c each, we sell them: BH, 4 length. iOS Per doz $1.50 A, 2% length..____..15¢ Per doz. bles ihidbesncaheieancaee D, 2% length... _.....15¢ Per doz. 91.45 Every string and every length is guaranteed perfect i& 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 im 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 E, 3 A, 2 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 im 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, E, silk center, each, 20c. Violincello—A, fine quality, 25c; D, fine quality, 30c; G, ae gg = fine quality, 50c; C, wound, fine quality, 65c; complete set, $1.50. ; os eo Bass—Fine quality, G, 75c; D, $1.00; A, $1.30; 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. 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 Meadelssohn, Muzio 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. A beautiful gift for the music teacher to make their truly ambitious pupil! as a reward of merit,. etc. BARTL’S PIANO OR ORGAN PRIMER An indispensible little work for students of music. All the most important musical questions is herein asked and the answers given by one of the most prominent teachers. PRICE, 15 CENTS.
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a tari 47th YEAR PERRS 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 mentioned. , *-yygee soem may commence with any moarth de elred. LIVES OF GREAT PIANISTS. FREDERICK CHOPIN. (Continued From Last Month.) Madame Dubois states that Chopin made her begin with the second book of Clem- enti’s “Preludes et Exercises,” and that she also studied under him the same composer’s “Gradus” and Bach’s forty-eight preludes and fugues, a large number of which latter he used to play from memory. Of his high opinion of the teaching value of Bach’s pieces we may form an idea from what he said at her last lesson: ‘Practice them constantly, this will be your best means to get on.” The pieces she studied under him included the following: Hummel, Rondo brillant sur un theme russe (op. 98), La Bella capricciosa, Sonata in F sharp minor (op. 81), the Concertos in A minor and B minor, and the Septet; Field, Concertos in A flat and E flat, and several nocturnes; Beeth- oven, three Concertos in C minor, G, and E flat, and several Sonatas (the “Moon- light,” op. 27, No. 2; the one with the Fu- neral March, op. 26; and the Appassionata, op. 57); Weber, the Sonatas in C and A flat (Chopin, says Lenz, made his pupils play these two works with extreme care); Schubert, the “Landler,” all the waltzes, some of the duets, the marches, polonaises, and the “Divertissement a la hongroise;” Mendelssohn, only the G minor Concerto and some of the songs without words; Liszt, “La Tarantelle de Rossini,’ and the Sextet from “Lucia,” ‘‘mais ce genre de musique ne lui allait pas.” (Nothing of Schumann’s is mentioned here, and very little elsewhere.) As regards correct time, Chopin was scrupulously particular. It will surprise many to hear that he always kept a metro- nome on his teaching piano. His tempo rubato was not an eccentric swaying to and fro in point of speed. “The singing hand, he taught, may deviate; the accompanying must keep time!” “Fancy a tree with its branches swayed by the wind, the stem is the steady time, the moving leaves are the melodic inflections.” It follows that cer- SEDALIA, MO., JULY, 1928 tain “readings” of Chopin, which form the stock in trade of many an accredited vir- tuoso, are mere caricatures. He disliked exaggerated accentuation. . “It produces an effect of didactic pendantry.” “You must sing if you wish to play, hear good singers, and learn to sing yourself.” Every promising pupil was sent to his friend, Henri Reber, for harmony and coun- terpoint: “you ought to know what you are about, from a grammarian’s point of view.” Pupils were also advised to practice en- semble playing; duos, trios, quartets, if first- class partners could be had, otherwise piano- forte duets. He liked to have a second pianoforte at hand to accompany the‘ pupil and to show by example what he wanted. To a student the perfect finish of Cho- pin’s pieces affords ample evidence of the care and labor he has expended upon them. A comparison of the posthumous pieces with those he published himself shows that he must have rejected -copy enough to (fill scores of pages. As he preferred forms in which some sort of rhythmic or melodic type is prescribed at the outset, he virtual- ly set himself the task of saying the same sort of thing over and over again. Yet he seems inexhaustible; each Prelude, Etude, Impromptu, Scherzo, Nocturne, Ballade, Polonaise and Mazurka presents an aspect of the subject not pointed out before, each has a birthright of its own. Chopin ap- pears as one of the rarest inventors, not only as regards the technicalities of piano- forte playing, but as regards composition. That is to say, besides being a great master of his instrument, he is a great singer, in that high sense in which Keats and Cole- ridge and Tennyson are singers. He has told us of new things well worth hearing, and has found new ways of saying -such things. He is a master of style, a master of puissant and refined rhythm and har- mony, a fascinating melodist. The emotion- al materials he embodies are not of the highest. His bias is romantic and senti- mental. In his earliest productions, his mat- ter, and also his way of putting things, are frequently weak; in his latest, now and then turgid. He was particularly careful to avoid melodic rhythmic or harmonic com- monplaces; a vulgar melody or a halting rhythm was revolting to him; and as for refined harmony, he strove so hard to attain it that in a few of his last pieces he may be said to have overshot the mark, and to have subtilized his progressions into obtuse- ness. His pupils and other witnesses agree in using the same words and phrases to con- vey a notion of the effect of his pieces and his mode of playing them: “veiled, gradu- ated, .accentuated, evanescent,” “the har- monic notes vaguely blending, yet the TARE Ss MAREE TSA eT ET CSREES NUMBER 4 transitions from chord to chord and phrase to phrase clearly indicated,’ “ever chang- ing and undulating rhythms,” “indescrib- able effects of chiaroscuro” (i. e., effects of sustained tone produced with the aid of the pedals). One damaging remark can be_ applied without injustice to everything he wrote with orchestral accompaniments: the re- sult is more satisfactory if the accompani- ments are played upon a_ second piano! Chopin was not at home in the orchestra; his scoring is singularly inept; he does not know enough about orchestral instru- ments, alone or in combination, to employ them with proper effect. His tuttis lack sonority, and when the pianoforte enters, the would-be accompaniment fails to blend with the solo instrument. In his two Concertos he intends the or- chestra to play the roll it plays in the con- certos of Hummel and Moscheles; but with the latter masters, whatever is expected of the orchestra, be it ever so little, actually comes to pass, whereas with Chopin the case is often reversed. One or two fine effects, however, ought not to be overlook- ed—the lovely alternation of strings, pianis- simo and unisono, with soft chords of wood- winds, in the beginning of the Larghetto in the F minor Concerto, and the long tremolo of strings, interspersed with solemn piz- zicati of the double-basses, which supports the recitativo of the pianoforte in the same movement. Here the composer’s imagina- tion was at work. Notwithstanding the drawback of weak scoring, Chopin’s con- certos rank with those of Hummel in A minor and B minor, and Moscheles in G minor, which works, as far as Hummel is concerned, they closely resemble in design, rival in the novel and telling treatment of the solo instrument, and surpass in warmth and beauty. The Fantasia on Polish airs, op. 13, and the Variatiors on “La ci darem,” | op. 2, fascinating from a virtuoso’s point of view, and very clever as compositions, yet appear hardly worth offering to the public nowadays. The “Krakowiak,”’ op. 14, a bright and effective piece, akin to the ron- fos in the concertos, deserves, however, to be heard again. The orchestra here has little to do; and it is at least not a source of annoyance. With regard to the Polo- naise in E flat, op. 22, it will be best to do as Chopin himself did, that is, to drop the orchestra altogether. He was wont to play the introductory Andante spianato in G as a solo, and he permitted his pupils to do the same with the Polonaise. If the Concertos are to be played on two pianos,—certainly the most effective way—Mikuli’s arrange- ment of the orchestra parts for a second piano will be found serviceable, it is simple, and adheres faithfully to the composer’s text. The Trio in G minor, for piano, violin —
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and violoncello, op. 8, is an immature work. The Sonata in G minor, for piano and violon- cello, op. 65, betrays loss of power, despite of the pains he has taken with it. (To Be Continued.) THE COMPELLING FORCE IN MUSICAL | SUCCESS. By SENOR ALBERTO JONAS. When Success Was a Failure. “Hundreds of piano students in _ their teens have repeatedly asked me: ‘Am I too old to make a beginning?’ According to the traditions of my teachers, no one can become a successful pianist who has not accomplished wonders in early childhood. My life-work has embraced experiences with numerous prodigies, notably the celebrated case of my pupil, Pepito Arriola, who was the sensation of musical circles in Europe and in North and South America for years. In my own case, I was anything but a prodigy. My musical education in Spain was, to say the most, mediocre, yet I had an intense love for music that even my strong- willed parents could not turn toward busi- ness. “Not till I was eighteen years of age, how- ever, did I have sufficient determination to tell my parents that music and nothing but music was to be my life-work. Then I went to the famous conservatory at Brussels. The head of the conservatory at that time was Gevaert. “Brassin died, however, and my teacher was de Greef, who commenced his lessons by explaining to me how utterly impossible it would be for me to become a virtuoso, no matter how hard I worked. In the first place there was my age. I had reached the tot- tering dotage of eighteen and, _ therefore, according to all traditions, I could not be- come a virtuoso, but MIGHT become a sec- ond-rate teacher. Then there was my hand. My hand was impossible! Nevertheless, I was not discouraged, and determined to work harder and longer than any of my fel- low students. At the end of two years I was successful in carrying off four of the leading prizes — Harmony, Counterpoint, Score Reading and, most of all, Pianoforte. Applause Meant Nothing. “The final test came at the open competi- tion at which I was to play three pieces. At ‘the end I was received with great acclaim by the students and professors and a crowd of two thousand people, listening to excla- mations of ‘Bravo, the Spaniard!’ ‘Bravo, the Spaniard!’ etc. As I came down the aisle of applauding friends I never had such a sense of humiliation in my life, for I knew down deep in my heart that what I had ac- complished was almost inconsequental in comparison with what I had to accomplish in the future. I said to myself: “Don’t be fooled by this applause. You know next to nothing. You know only the First Movement of the Moscheles Concerto in G minor, the Caprice on the Ballet from Alceste by Gluck-Saint-Saens, the Capricco in E major by Scarlatti, and the Berceuse of PERRY'S MUSICAL MAGAZINE Chopin.’ A Repertoire of Three Pieces. “As a matter of fact, that was my reper- toire at the time of my graduation from the Brussels: Conservatory. Of course, I had read many of the works of the other great masters, but I did not know them—and best of all, I knew that I did not know them. Many students make the fatal mistake of fooling themselves. They master a few pieces which they manage to play before a group of interested friends, and they then consider themselves well educated musical- ly. It is utterly ridiculous. A musical edu- cation is not a smattering—it means a very wide and intimate acquaintance with hun- dreds of works. “When I left the conservatory I resolved that if I were to become a successful musi- cian it would be necessary to regard my conservatory training as a very desirable, but at the same time a somewhat insignifi- cant beginning. The compelling force which makes for success comes from within. A good teacher may give you the benefit of his experience, of his talent, of his knowl- edge. A great teacher will give you this a hundred-fold and, besides, the inspiring example of his own personality, of his own success as a virtuoso and as an educator. He will have the inestimable gift of insight, that is to say, the faculty of divining the hidden sources within yourself from whence may spring into life the blossoms of a beautiful art. And yet, withal, he can only guide, counsel, suggest. It is for you to win the battle. On you rests the burden of proof; therefore, no matter how excellent your educational opportunities may have been, if you have not the gift for working by yourself, prodding yourself, inspiring yourself—you are quite certainly doomed for failure. When I left the conservatory I realized, most of all, that there were cer- tain physical defects in my hands which the teachers had not been successful in cor- recting. By studying carefully the anatomy of the human body, and especially of the hands and arms, I was able to devise exer- cises which cured what my teachers had not cured. This, I believe,-is the reason why I have always been able to develop the technical ability and power of pupils whose hands seemed to debar them from pianistic success. A Definite Goal. “T then realized that I must have a defi- nite goal. This, I determined, should be the Rubinstein Scholarship at St. Petersburg (Petrograd). The prize was to be given to students from twenty to twenty-six years of age. The jury was composed of twelve men, one of whom was Rubinstein himself, and another was George Peabody, of Baltimore. Thirty-three pianists competed, one of whom was Busoni, then the head of the piano department of the conservatory at Halsingfors, Finland. Seven pianists were selected for the final competition, which was held at a great concert hall, crowded with people (who were not permitted, under any circumstances, to applaud). Of course, | the juror who counted most was Anton Rubinstein himself. The strain was enor- mous. Everyone was far too nervous to do his best. Finally the winner was selected. It was Dubozoff, one of Rubinstein’s own pupils, who played then in the manner of Rubinstein himself. His name is today un- known in the musical world, whereas Busoni and I have often met in the midst of our concert tours all over Europe and America. This brings to mind the reminiscences of Saint-Saens, as told by himself in his Por- traits et Souvenirs. Recalling a competition in which he and other young musicians took part, and in which he was not awarded any prize; Sain-Saens writes: ‘I got nothing, but do not ask me the names of the ones who received the first prizes; the dust of ob- livion covers their names. Requiescat in pace.’ : | “Rubinstein then accepted me as a pupil, but after I had been attending his classes for only three and a half months he had a disagreement with the authorities in Petro- grad, and decided to discontinue. While I have, therefore, never claimed to be a pupil of Rubinstein, I, nevertheless, learned many valuable things from him, especially in the matter of tone production and interpreting the classics. Tone, Tone, Tone. “Rubinstein’s. first consideration was Tone, TONE, TONE, TONE—that was his constant cry. He was a very moody man. At times he could be most encouraging and exceedingly kind (gemuthlich, as the old- fashioned German word puts it) at other times he could be quite the reverse—bitter, sarcastic and almost cruel in his remarks to erring pupils. Once he said to a pupil, ‘Stop! What do I care if you play all the notes correctly. You play without tone.’ Then he rushed to the piano and played a few notes, shouting: ‘This one tone is worth more than your entire musical career!’ One of the other teachers present told Rubin- stein that he though he was too severe with the pupil. The reply was: ‘How can one be too severe with a student who thinks that mechanical technic is everything and the soul nothing?’ “After my debut with the Berlin-Philhar- moniac Orchestra in Berlin, I toured for two years and a half playing in most of the European music centers with the great orchestras. Eventually I found myself tour- ing in Mexico and in Cuba, my Spanish na- tionality having been heralded in those countries. In Mexico City it was said that I was the first pianist to give a recital. It had been the custom for pianists to appear in concerts in which as many as twenty or more people took part. When I reached the hall I found an immense throng and was, of course, not a little proud of the fact that I had ‘attracted so many people. The man- ager, however, soon took down my conceit by telling me that the audience had not come through any particular desire to hear me or because of my reputation, but because they could not conceive how one man could last out an entire evening’s program. (To be continued.)
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nae DE PACHMANN CONFESSES. When De Pachmann, the incomparable player of Chopin, last appeared at Carnegie Hall, a leading music critic went out before the end, growling, “This is an outrage!” De Pachmann had dared to “be himself;” and every one knows he likes to talk while he plays. Another critic, perhaps under the spell of the pianist’s introductory tussle with the piano stool, began his critique with, “There was murder done at Carnegie Hall last night.” That phrase, of course, made everybody read on, tho what it had to do with musical criticism didn’t develop. De Pachmann was once put in a verbal straight- jacket by his manager and ordered not to talk while he played; when the concert was over the ban was removed and he was be- sought to talk in future to his heart’s con- tent. It is likely that America will never again hear the magical tones of his piano- forte, for the musician is seventy-nine and hates the ocean; but he is at present tour- ing England and the Daily Chronicle (Lon- don) has induced him to tell why he talks when he plays: “*You are a showman first and a musician afterwards.’ “How often has that accusation beea made against me by critics in all parts of the world! They would have me march on to the platform, perhaps in a uniform in- stead of Chopin’s inspiring old coat, stride to the piano, and without any adjustments of the stool sit down and play. Not a word may I speak until the concert is finished. If I am pleased, I must not smile; if I am angry, I must hide my feelings! “Nonsense! One would do better’ to listen to a concert on an automatic piano! I like to gamble, and once, for a wager, I did not speak one word at a concert. Next day Mr. Powell received two or three hun- dred letters from disappointed people, ask- ing why I had been silent. They came to hear my music, but they also like to hear me talk, because I can in that way explain the composer’s thoughts. “A stockbroker from London once wrote to me asking why I indulged in ‘preliminary fuss and adjustments of the piano stool’ at my concerts. He said that if he fiddled with his desk ag I fiddled with my stool his clients would think him mad and never do business with him again! “Ah, my friend, I think you must be one of those who would put a penny in the slot and turn on the music! Art and business are very different. You would not fill the Albert Hall with people to see you fiddling with your desk—and I do not fill it because I wear an old coat or take half an hour to adjust my music stool. I fill it because years of practice have developed my genius until I can play perfectly.” “I never consciously posed in my life,” declared the pianist; and doesn’t he deserve to be taken at his word? As he says: “I turn the piano stool this way and that because it is necessary. I can not interpret the music of the great composers until everything is to my liking. If the piano PEKRY'S MUSICAL MAGAZINE stool is too high, I am distracted all the time I am playing, and my performance falls short of perfection. “Often my audiences take me too serious- ly. I am not always Pachman the great musician and friend of Liszt and Wagner. Sometimes I am Pachman the jester. I creep on to the platform and look at the great audience. ‘What!’ I exclaim aloud. ‘I have been playing in Britain for more than forty years, and you still come to hear me? Mar- velous!’ Then I turn to the piano and give a start. ‘A piano! Whatis that for? Sure- ly you don’t expect an old man like me to play? My fingers are stiff, and I have not practiced for six years!’ “The audience is’ laughing. I like to hear them laugh, and get angry if they do not respond. I know that they have come, per- haps from a hurried luncheon, and have had to scramble for a bus in the rain. Naturally they are deprest! But when they laugh, then I can take them into my confidence, introduce them to Liszt and Chopin and Beethoven. “When people laugh they forget to sit straight up in their seats and become more human. “Most people think that music and humor can not walk hand in hand. Why Not? Wagner and many other great giants de- lighted in a little musical horseplay. sometimes when I play, Iam merry. I hold my right hand high on a rest and when it seems too late, strike the note just in time. Then I turn round and smile at the shade of Liszt, saying, ‘You dared not do that!’ I do not boast when I say that today I am the only pianist with a great platform person- ality. My so-called eccentricities, my little jokes, my whirling of the piano stool, my smiles and my grimaces, they are all the expressions of my personality. Paderewski is grand and majestic—but the others are too wooden. They are afraid to be human with music. It is the human touch that binds me to my music and my audiences. I love them, and I want them to love me.” HOW DIFFERENT NATIONALITIES VARY. Leschetizky is reported to have uttered an opinion recently on national musical characteristics based on his long experience in teaching pupils from all countries and of all races. The English Leschetizky de- fines as good musicians, but poor perform- ers, with the head better developed than the heart. The Americans are more spon- taneous. Accustomed as they are to keep all their faculties alert, they have rapid technical faculties, but, says Leschetizky, they study more from a desire to make a business of music than for any love of the art. The Russians, in Leschetizky’s opin- ion, stand in the highest rank. With prod- igious technic they possess musical passion, dramatic power and extraordinary virtuos- ity, and become marvelous executants when they have the patience to preserve to the end with their studies. The Pole, less im- petuous than the Russian, inclines mostly So ° to the poetic side of the music; his pre- dominant gifts are originality, refinement, exquisite delicacy and instinct of rhythm. The French Leschetizky compares to birds of passage who flit on high amid the clouds unconscious of what goes on below; in ex- ecution they are elegant, incisive and phrase well. The Germans are remarkable for their seriousness, their patience in noting the smallest particular, and they possess humble and deep-seated love of their art, but their presentation leaves much to be desired. The Swedes possess much talent and are exceptionally sympathetic to Les- chetizky, but he loves the Italians best of all, even though they never learn to play the piano well. From the foregoing it will be seen that if Leschetizky’s pupils have learned much from him during all these years he has also learned something from them. The passage relating to Americans hits hard. AN EMBARRASSING PAUSE. It is related that during one of the class lessons in the great Leschetizky’s studio a somewhat clumsy pupil stopped in the mid- dle of an octave passage with the exclama- tion: “How do you play octaves, Profes- sor?” The master, it is said, hag no pati- ence with one who hesitates—and to stop in the middle of the composition was what we would call “the limit.” He rushed to the piano, turned his hand with the palm up- ward, and tried to stretch his fingers to the octave; then he tried it with the second and third fingers, and very excitedly tried and tried to play octaves with all combinations of fingers imaginable, until finally he threw up his head and exclaimed: “Oh, so! so! so!” exhibiting the thumb and fifth finger in the position to take” the octave. The class of course was amused, though the demonstration was left for a future meeting, when the Professor was absent. JAZZING THE DECALOG. “My dear young lady,” said the clergyman, in grieved tones as he listened to an ex- tremely modern young woman tear off some of the very latest jazz on the piano, “have you ever heard of the Ten Commandments?” “Whistle a few bars,’ said the young lady, ‘‘and I think I can follow you.’—Chris- tian Evangelist. ARTISTIC ENJOYMENT. From the Washington Star. “Did you enjoy the grand opera?” “Very much,” answered Miss Cayenne. “I was assured by a number of people that my costume was the handsomest in the en- tire auditorium.” VERDI AN EXCEPTION. | A journalist breakfasting at a hotel in Milan heard some one improvise on a piano. It was only seven o’clock so he asked the headwaiter if piano-playing was allowed in the hotel at that early hour. “Not as a rule,” the waiter replied, “but we make an exception with Verdi.”
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ON THE AIR RADIO WALTZ LEON E SIMMONS Lento marcato . ii ¢ Valse moderato — MeN iy a tity Copyright MCMXXVII by A.W. Perry’s Sons,
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Ay Th eee eee “0 NY cS et evil IY Al ae [ il ‘ fll \ ill . I | me Sa k bZ itil lil al Fine S. Dd, On the Air. 2-2
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UNDER THE WILLOW SHE’S SLEEPING FOR PIANO OR ORGAN M. W. BUTLER FOSTER Andante legato mf mitt ies | Be 2 pos = = = Copyright, MCMXXV1I, by A. W, Perry's Sons,
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lI ) nd Under the Willow 2-2
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Blue River Waltz By WILLIAM L. PLUNKETT Hu A ER nee we Clam ema eR Seip cc. ow | i | « Ns * ¢ i + | Copyright MCMXXVI by William L. Plunkett
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TRIO Blue River W, 2
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LOVE’S DREAM FROM LISZT’S LIEBESTRAUM . me te ea be om pa . = E — fea) “ a & & 9 & | = S - ct S @) O o p 2 S © O © A, 2S O 2 A | 2 a OS es aR CAS SF ..4 Ge © BUR EO A SSO SE E,W GES I A ST A ee : Th i [tm | “ine TSke a Me 7 We 32 s1eBd. BW. a me *) ey i ~) S D ~ 3S &, Copyright MCMXXVII by A.W. Perry's Sons.
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JUST BEFORE THE BATTLE,MOTHER M.W. BUTLER Intro. Brillante _ Ee: & t ell] alll ue velit ~@il f ah | 1 call @—teth BRR ill K. | i sams { kt a Ty ° © ie a 3 a “n rs] : oO od w” ie 3 = 2 os . ( Oo he =< < oD) ae - : = o 3) = & @ et = m d 8 -¢ o a “HT Dy i wee
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OS CFOS SF OH ESSERE ESOC E ESS SOSH EESHLSSSESUARUCVSSSE Op Has ud yess ease FOR eRKte we wacenendneaseeenisennes ee de wweneneensennsstebes ma weupedmekeehencersennshnenenapuacnseneneragwes CUP ASROPO PEMEEES Cletases aweeeos z Pore ee brillante | Variations | h al > a DOSS SS SOSSES SSA SOCSETES SS RHESSESSEE BETES SOSSEERS . . SP SSHSSSSSSSSSSET SH SSESEHAL EME SE HT SH SHSEESHSETEe . . eee ere we ten eee eeeasesnassasens ~ Cd = Before the Battle. 2 -~ 7 Just Boefo re
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- wma tecsnr a Fee edeces wonngea eee 2. somctneenreeinatinn octet SSeS e8 en aes e wea teaneaer rT Iyiity ) Titi tiiiiiiirrrrrri Tritt itiiiiiilirttiiTtititi tir a Just Before the Battle 8 ws
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THE HEAVENLY COUNTRY A SACRED SONG FOR MEDIUM VOICE Words & Music by J.QOWEN LONG 3? > ‘In the Palace of the King Author of the peo-ple will nev-er grow coun - try, The beau-ti-ful home of read of a heav-en- ly I This nal, The 16... (ee: for. read coun-try, I ‘i I rut ah of no .mor- tal: hath seen it; eye The To Cr... and on for -' ey -- er live But splen - dor This told. er, - deem - Re praise their Copyright MCMXIII byA.W. Perry & Sons’ Music Co.
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No - ter, Can sick the fair - dim be bright - ness will will tear CYC>s dim, grow oS. nev — Hat il This it trys in this pure will ~ ly the On And = Coun in . TY a1 wee Heavenly Country 2
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ne le home es beau - ti ‘ ful saeae= ti. O 2 emer ta see; dor to - ing thy splen - long 7 ee _ Heavenly Country 3 —.
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“THE HATCHET BRIGADE.” BURLESOE TWO-STEP. For Piano or Organ. Composed by M. FRANCIS WITTWER. Suitable for a Polka ora Cake Walk. Intro. Moderato. . fe % eo oo = sees on Ba — | ——"———_ oo Copyright MDCCCCI by A. W. Perry & Sons’ Music Co,
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mv * bilaatas: Ta. | So eee : St Sa a (Ga ee Lo tH a eo oo a: $— 2" 2 wy é iw a Ww marcato vl} basso. 2° egy Bee : | | a at 2. » = 2. » ha rat oa i a fe 3 —|s-- oo = = 7 naa I-p-6—|— = —f2+____[ — iss . a 9 | | 2 “The Hatchet Brigade.’’ 3
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“The Hatchet Brigade.’’ 4
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‘J was present at the battle of Spion Kop and saw 350 Boers drive an army of 2500 English soldiers before them. When the fight began, a giant Boer, in the prime of strength and manhood, was seen carrying « small Boer flag; in a short time he fell to rise no more. Then an old white haired veteran picked up the fallen banner and, waving it, urged his comrades on. With flowing hair and flashing eyes the old man rushed on, but suddenly a shell laid him low; ere the little flag touched the ground, however, a bare- footed lad, only 13 years of age, who had been fighting in his shirt sleeves, leaped like a panther to the old man’s side and, snatching the flag from his grandfather’s nerveless hand, raised it aloft and pushed on. A mighty shout arose from the Boers as they saw that gallant deed, and with renewed courage they made a fearful charge; following the flag they rushed like an avalanche over the British trenches and Spion Kop was won. The Battle of Spion Kop. MARCH; For Piano or Organ. Composed by M. W. BUTLER. Boer bands playing national airs as they march to the attack. inn, 5 TS —— ey —_— ee beer pe ge ee ape = SSS eS pot |] Ht Ces nt eee oe hat eae boy ee Dy “EEE i oe et oe et oe $2 f 3 = ee : | Copyright MDCCCO by A. W. Perry & Son's Music Co. Copyright MCMXXVIII, by M. W. Butler
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s— > -— a eS sans at | —-————_ +} ——_ Cee at —- = F a 7 RSPR REE EEAES eee o— ES * ae aad & = ial e— aa ee Aa gi f*o-|— b— tl 4 Beene Ss of - ?_» a —e ‘ | | —s9—9—_o—-9—_|-» —s—s——_»—-»—-|-»—_+-— :— Chorus of soldiers. o——-@-—*5,-|-—_g9-———_- feee ere S British fife and drum on the top of Spion Kop The Battle Of Spion Kop. 4
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Ed a 2 a Bee = —t : -—~ NAY at nee eee! = ATT TT? iam Miya tir “Te We ATS ry “HTTP s THALL SA TIOTT BS | jelel | ele a | Pict | ul a English trumpets sound the retreat. — E : a E at =" s a © : Ta, —— cake On epeReRse a e_|@ __@ » _—4-—_| 9 #-» WAGES D.C. Al Fine. The Battle Of Spion Kop. 5
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PERRY’S MUSICAL MAGAZINE Complete copies of ‘‘Whispering Hope Waltz,”’ Duet, ‘‘Sweet Hour of Twilight,’’ Reverie, and other beautiful pieces will be published in the August number of PERRY’S MUSICAL MAGAZINE. Hen Totes Force LAN Ow WALTZ OR O ORG By M.W. BUTLER WHISPERING HOPE WALTZ lisa OR ORGA sg i RIMO ; By M. W. BUTLER Also Published as Solo, Price 50 Cents COMPLETE, PRICE 50 CENTS Sweet Hour of Twilight Moderato Dolce e cantabile everie 4 By G HOLCOMBE r’ 9 EPO 2 RANE HORSE tan EOE BIAS COMPLETE, PRICE. 50 CENTS» SB STUDENTS Composing Book SIZE, 5x7 INCHES. Contains 82 pages, ruled 6 staves to each page. Just the book needed for students of Harmony, singing etc. Adopted by many of the leading supervisors of music in the public schools and colleges of the United States. Single Copies, 10 Cents, by Mail. Perry’s Lesson Record and Memorandum FOR MUSIC TEACHERS This book was revised with much care and thought, and is expressly for music teachers. It enables the teacher to keep an accurate account of all lessons given, music sold and names of pupils. Price, 15 cents, post-paid. Address all orders to the publishers, A. W. PERRY’S SONS, SEDALIA, MO, SUBSORIBE FOR Perry's Musical Magazine BEST MUSICAL MONTHLY PUBLISHED SAMPLE COPY, 15 CENTS; $1.50 PER ANNUM. READ WHAT WE CLAIM FOR IT A year’s subscription is a volume of Vocal and In- strumental Compositions for the Piano and Cabinet Organ of the choicest variety. At least sixty-five subjects, list ing at Forty Dollars, valuable copyright music appear, that cannot be found in any other magazine. To the teacher, this magazine is invaluable as a prompter, with its useful hints as to proper methods of teaching furnished by the ablest teachers in the land. Misleading articles written by ignorant musicians are carefully excluded. Unsound advice, no matter how good intended, would, if followed, greatly injure, if not ruiz the progress of the student. “THE LIVES OF GREAT MUSICIANS” will be instructive, entertaining and inspiring. Each number always contains our latest pieces, and we are very careful to select such music that pleases the average musical ear, and some. of the easiest and medium grades, so that the beginner in music can derive as much pleasure and benefit as the more advanced player. Our Mr. Phil B. Perry selects the music for teaching purposes. Being a pupil of Leschetizky, a graduate of Kullak’s Conservatory, Berlin, Germany, and a success- ful teacher, he knows the requirements of teachers far better than the publishers of other magazines who have not enjoyed his unusual advantages. Our ‘‘Premium List,’’ which embraces most liberal! inducements for those who wish to act as agents, will be mailed free to any address upon application. Address all communications to A. W. PERRY’S SONS. Sedalia, Mo. 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.
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A DICTIONARY OF MUSIC. By W. 8S. B. Mathews and Emil Liebling. PERRY’S MUSICAL MAGAZINE ON THE MOST BEAUTIFUL HOME SONGS M. W. BUTLER’S BRILLIANT VARIATIONS FOR THE PIANO, and Defining Dictionary by Mathews & Liebling is beyond question the best vocabulary of musical terms ever published. Contains over 10,000 definitions of words and terms, many of which are encyclopaedic in character. Gives the correct pronunciation of each word. The explanations are up to date in every particular, embodying the results of the latest thought and investigation of musical scientists the world over. Price by Mail, Postpaid, $1.25 eT —|- rOrVrv_————e———————————————————————————— CC OC A er The Pronouncing CON. “The Star. Haunts Me S8till.’ Hoffman.’ 50 CENTS. My Maryland!’ of Smile “Maryland! Tales Bright at Home.” “Lovely Night. The “Her “My Old Kentucky Home, Geodnight.” “Old Folks Spangied Banner.” ‘Alice.” PRICE COMPLETE IN ONE VOLUME These charming compositions, published in sheet music form, would cost over six times the price of this book. TENTS: ‘Dixie’s Land.” MY NATIVE LAND Y) fx) W © aw Q a The days that I spend dear with. out you, My dearwhen I say that I - @€n won - der hap - py nev - er For some-times a prom - you? for Just what my love is if you dream of der Publishers, ia, Mo. usic Complete Copies of these beautiful pieces will be sent postpaid to any address, upon receipt of marked price. Address, A. W. PERRY’S SONS, M
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To Colleges, Schools and Teachers 1. We make ai specialty of College, School and Teach- er trade. 2. Our terms” are the MOST LIBERAL; our dis- counts the LARGEST, and from the educational stand- point, our publications are second to none. 3. Our Facilities are an- equalled. 4. All Orders are Filled by Experts. We pride our- selves on promptness and cor- rectness. Two important things for your consideration. 5. Our Own Publications are Noted for Accuracy and Mechanical Excellence. 6. Our Plan of Sending Music on Sale (full particu- lars sent on request) is Lib- eral, and only the latest and best Music is used for this purpose, iE. PERRY’S MUSICAL MAGAZINE SEND FOR OUR il. Complete Thematic Cat- alogue ef Classical and Popular Music. ii. Catalogue of Music Books and Studies for all Instruments and Voice, Addenda to Catalogue. (Latest Publications, 86 pages.) IY. ‘Teachers Guide—The- matic illustrations of over 500 of our most successful easy and medium grade Teach- ing and Recreation Pieces for Piano. We carry a Complete Line of All Foreign and Ameri- can Publications that is in de- 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. 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, each box. BLANK RULED MUSIC PAPER—12 staves, 1014x13l4 Inches, GOOD QUALITY, per sheet, 5c; per quire, $1.00. MUSIC MENDING—Hall’s Stykum Phast Cloth; will mend anything; 10 yards ina roll. Price, 50 cents. FRENCH GUMMED PAPER; transparent. Price, per roll, 5 cents. THE SHEI.P HINGE—The only Hinge Tape in one plece you can cut to any length wanted. Box containing 5 yards, 15 cents. | SCHOOL MODEL PITCH PIPES—Chromatic, price, 50 cents. No. 4 10 reeds; 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. 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.” “Las? Rose of Summer.” “Lauterbach Waltz.” “Beulah Land.” “Almost Persuaded.” “Romeo and Juliet Waltz,” Gounod. “Kathleen Mavourneen.” “What is Home Without a Mother.” “Believe Me if 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. Sounds From the Home A collection of the most beautiful melodies arranged fox the Piano or Organ by JOHN MARTIN Every piece is pretty and easy. Teachers -hould get them for their young pupils. They will not only instruct, but wil! 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, Da-ling Nelli« 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 at Home, *Old Oaken Bucket, Red, White and Blue, Star Spangled 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. LESCHETIZKY’S SCALE EXERCISES. Leschetizky’s Arpeggio Exercises. PRICE, 50 CENTS EACH The art of playing scales runs, etc., is known to compars.- 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 {a 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. 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. 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, 10c Each; $1.00 per Dozen, Postpaid. 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 EXTRA SPECIAL BARGAINS! MUSIC ROLLS AND SATCHELS No. 1. Music Roll. Gen- uine Barleykoid. Moire lined, patent end strip ts hold music from slipping out. Genuine leather strap. Nickel buckle. Size, wun- rolled, about 14x15 inches. Very durable. Color, black only. Our special price only $1.00, By mail, postpaid to any address. Retails many places for $1.50. The following three styles of Combination Music Bags are very popular and were selected by our buyer with great care. No. 2. Good seal grain Karitol; size unfolded for carrying theet music, about 11%x15 inches; folded, about 6x15 inches; genuine Moire lined; solid leather straps and two black metal ackles; a substantial leather handle. Our special price oniy $2.00. Easily worth $3.00. No. 3. Heavy seal grain Karitol, very durable. Solid lea- Wher handle, two solid leather straps and buckles; black. Size tamfolded for carrying sheet music about 13x15 inches; folded, »Zeut 7x15. Beautiful orange color lining. Our special price emly $2.75. Regular retail price is 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 oieces of music and studies. Made 1 of genuine Bar- 1 Leykoid; two f straps of same lurable material 1round the or ‘‘re bag; two .r.0und nxandles 1'so made »f same material. ; Sold saudler lea : ther strap and square nickel buckle. fined with beautiful Moire. Size 15x12 inches. Retails everywhere for $6.00. Our special price, by mail. postpaid. to any address, only $4.50. Sy x< ; WS No. 7. String Case. Every teacher or player of the Violin, Mandolin, Guitar, etc., should possess a 6one of our new and ma very beautiful little a) 6String Cases. Itisa genuine Barleykoid leather case with four partitions, and the size small, so can be carried easily | in your pocket. It is closed with a snap button. Price by mail, postpaid, only 50 cents. We can include a full set of our reliable (Our Leader) violin strings, E, A, D, G, for 50c additional, total, $1.00 for strings and case, which makes a fine present for any violin player. The above 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. 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. TS A A A EO TAT EP SM DAR SCE MEET METRONOMES BEST AMERICAN MAKE Guaranteed to be Perfect No. 1. Mahagony case, finely polished, without bell .......... $4.50 No. 2. Mahogany case, finely polished ,with bell ......0.... 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 Mwoun very high, making it a very expen- | (y \\ sive luxury for some. We have just » received from the manufacturers a \\ ” large quantity and are putting them ie eae 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. - BAWAIIAN UKULELES. The Hawaiian Ukulele is an exceedingly fascinating musical instrument and the recent appearance of several native Hawali- ans at the Panama Exposition, San Francisco, performing upon these instruments was so pleasing that now our own people are taking it up, and they ¢an now be heard in almost every city and town in the United States. It is easy to play and with a little study and practice the student will obtain surprising results in a short time. No. 1. Genuine Hawaiian Koa Wood, mahogany neck, un- finished pegs, decorated sound hole, highly polished, in- cluding self instructor and pick complete, onlv........................ $5.00 Extension Nut (used in raising nut on any Guitar for EAA WALIAN SEVER Yssssisacai etic hscerserc cicttictie seceeenereeenceng Steels for playing Guitar, Hawatian Style... ne. esssesemeeeeeee 50c Instructor for: Hawatean Guitar 75¢ Canvas Case for Ukuleles, leather bound Cd ges... .ccccnccccccccssscecnnn 1.50 Felt Bag with snagwe@itonsin a 85¢ MUSICAL NOVELTIES DASHING THROUGH THE SNOW. Composed by M. W. 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 effeet. Although this composition may be performed with or without the singing or bells, we guarantee you will be pleased with it. — 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 = Swiss) finger bells with charming effect. W. Butler. <A lively galop, full of beautiful melodies. Grade 2, without Octaves. ects We will fill your orders for above novelties fae, 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 them complete foronly 65 cents. — M. W. BUTLER’S FOLIO OF BRILLIANT PIANO- FORTE VARIATIONS ON FAVORITE SACRED MELODIES These beautiful variations, published in sheet music form, would cost over six times the price of this book, which contains 36 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. Butier’s Hymn Varia- tions have been a wonderful help to me. I use them with. success as Voluntaries or Preludes to our church service.” Imported Swiss Musical Bells