The Etude: Presser's Musical Magazine (October, 1916)

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EEO CPR REIL, RRS zs ee THE RECEPTION COMMITTEE Painted by Edward V. Brewer for Cream Copyright 1916 by Cream of Wheat Co. of Wheat Co.

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=| — I IAA HIN Lee ee A MI "| =U TNA THE ETUDE AAU ‘‘Jesse French, a Name Well Known Since 1875’’ tJ ‘The Piano of Pianos” Some great artiste has truly said that the grand is “the piano of pianos.”’ vie When it is a Jesse French & Sons Grand piano it is sure to be a masterpiece of melody. Of course, tonal supremacy is expected in a Jesse French & Sons piano—looked for by the expert player, relied upon by the beginner. Jesse French & Sons Grand ‘‘Unquestioned Excellence’’ If you are earnestly striving to find your ideal instru- ment—if you have made up your mind that you must have the very best piano, at a’surprisingly attractive price, then you want a Jesse French & Sons grand, upright or player. Why not write for our illustrated catalog? You’re sure to be delighted with Jesse French & Sons instru- ments. Liberal exchange offer on your old piano. And very convenient terms, if desirable. Write us today. It will pay you. JESSE FRENCH & SONS PIANO CO. 1810 Seventh Avenue, New Castle, Ind. Chicago Salesroom, 978 Republic Bldg:, State & Adams Sts. 1 i thi Hl AUT ATE ATTA | HONEA ATTA TAAT T T HAUT l TATION MAU NAAT = A Food—A Confection—A Dainty Pick up the tongs and help your- self to the choicest, plumpest, mellowest and most luscious fruit in the world—Dromedary Dates. Pass them around the family table—or to company— for everyone loves the sugar- Dromedary Dates are easily digested. They belong in your daily menu. Children prefer them to candy and they are much better for them. Learn to know this yellow and brown dust-proof package. Learn 689 laden Dromedary Dates that how good Dromedary Dates are come from the Garden of Eden. as a food—confection—dainty. Let Us Send You a Trial Package of Delicious Dromedary Cocoanut Ten cents (stamps or coin) will bring you a “One-Cake” package, enough fora nice “company cake,’’ and if you send your grocer’s name we will include a 10c Dromedary Cookie-Cutter and a Book of Cocoanut Recipes. THE HILLS BROTHERS CO. Dept. 37 375 Washington Street, New York Dromet Dates AN OPPORTUNITY A few minutes of your time and any of these premiums are yours. For the Children Premium F— Child’s—Given for ONE new yearly ‘subscription. A dainty little Child’s Bag of assorted silk, morean lined, with mirror to match. Given for ONE new yearly subscription Premium A—6206 —Black seal grain morean lined Pocketbook, 6 inches long by 3 inches deep. Hand strap on back. Capea aaa as CN NRE SN Given for THREE yearly subscriptions Premium C—6235 —Black silk moire, silk lined, fancy design Bag, 6% inches deep by 7 inches wide. Mirror and change purse included. A bag of distinction. SEIS SRR a RR a Ce CA CR Given for TWO yearly subscriptions ; Premium B—6274X—Black crepe grain, morean lined Bag, 6 inches deep by 6 inches wide. Includes. mirror and change purse. Given for THREE yearly subscriptions aft) Premium D — 6212—Beautiful goatskin, silk lined Bag with purse and mirror to match. ~ Six inches deep by same width. Very latest design. May be had in black, blue, gray or tan. Given for FOUR yearly subscriptions cee Premium E—6237—A handsome genuine goatskin Bag (black) of superior manufacture, silk lined, purse and mirror to match, 7 inches deep by 7 inches wide. This Bag represents the latest and most popular style, THE ETUDE, 1712 Chestnut Street, Philadelphia, Pa. Please mention THE ETUDE when adiressing our advertisers.

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690 THE ETUDE | | | 3 L ut _ 4 iL TWO MODERN BUILDINGS ; PROGRESSIVE MUSIC TEACHERS ~ | with over 30,000 square feet of floor space need the Theo. Presser Co. Our chief aim is to are devoted to our business—with an incom- 3, publish and supply promptly every possible need in a parable stock, unequaled i in variety and com- musical education. In all grades, from the most pleteness. All is placed at your command 3 elementary to advanced virtuosity, we are equipped | through the services of over 200 thoroughly for all demands. Primers, methods, text books, sheet : trained music: clerks, No order is too small music, (including teaching, recital and_ exhibition ee Our mo 4 bil abtent rr pieces) exercises, studies and technical works. In ad- . _ cat Seated tee ee Sct sk Ngee: 98 dition our stock includes all that is best and most . available from other publishers, as well as everything No g hited abt pace ha Ny big wont pene ; used in music teaching—metronomes, satchels and music house offers precisely the same facilities an rolls, musical pictures and post cards, reward cards, economies as though the purchaser came to us in person. eS blank music paper. and books, record tablets, music fil- The parcel post bridges all distances from your studio , : * an : i aut ktore. ing cabinets, music stands, jewelry for music lovers, etc. ; Sa mm, ed CHE ODORE 174 PRESSBER LLLAMAULLJALAAMULAAAAAG = ~ A SELECTED LIST OF THE MOST OUR USUAL LIBERAL DISCOUNTS APPLY PIANO TECHNICS AND STUDIES—Continued PIANO INSTRUCTORS—Continued PIANO TECHNICS AND STUDIES—Continued LANDON, C. W. Method for Piano. Board bind- KOHLER, L. First Studies, Op. 50.............. 50 SCHMITT, A. Preparatory Exercises, Op. 16a.... $ 25 ing. Introduces Mason’s system.......... $1 50 +. 12 Ee Settee, On: 187. 5 os. 5 oss eee 40 SCHMOLL, A. Studies and Study Pieces, 3 vols. “ Foundation Materials for Piano......... 1 00 “« 12 Preparatory Lessons, Op. 151............ 50 An abundance of materia! furnishing techni- Leads to solid musicianship through an “Very Easiest Exercises, Op. 190............. 40 nal equipment as well as a sense of the : easily graded, pleasant and interesting “Small School of Velocity, Op. 242..>......... 50 mOen Me. 04 or. ok sb Roeek 1 00 PRESSER BUILDING course of practical study. KUNZ, K. M. Two Hundred Short Two-Part SCHNECKER, P. A. Melodious Studies in Style WAGNER, E. D. First feaeractioen Book tor the Cena RES. ooh fend ee cea oie ee 75 and Mechanism. To develop especially Piano, 1S CR tay Es eer: ie 1 00 LEMOINE, H. 50 Juvenile Studies, Op. 37...... 60 fluency, continuity and good style......... 1 25 " ’ aaa: ae sa The Modern Pianist. ‘es SHIMER- A a oe a ete. ae ee 25 ee) Pee eee eee reparatory Touch and Technic. ; lil Ry LOESCHHORN, A. Selected Studies, two vols. Introduction to Dr. Mason’s great work.... 1 00 i : The best selecti f short, ati fic, techni- SMITH, WILSON G. Special Exercises in Scale PRIMERS—RUDIMENTARY works | PIANO TECHNICS AND STUDIES cil iba. Melee 1 00 Playing, 2 vols. For independence of thied, : BACH, J.S. Little Preludes and Fugues a 60. “ Op. 65, Studies for the Development of Technic i fourth and fifth fingers, each.........%. 4, 1:00 ; ; DO eC get ey and Expression, three books, each......... 50 Eight Measure Studies, 2 vols. Daily practice CLARKE, H. A. Theory Explained to Piano Inventions for'the Piano................... 50 “ Gp. OS: comes... Pee 1 00 for third, fourth and Gith fihgers, eacli-... 1 00 a me Spat KER DELS . , nee ee : ‘% pis § First Study of Bach (Leefson). $4O0 CATED Es bes 50 “ Op. 66, Etudes Progressives, three books, each 50 STANDARD CONCERT ETUDES Berta 3 Ae 1 00 song anh. ST ae ge . BERTINI, H. 25 Studies for Pianoforte, Op. 29... 40 “ Etudes Progressives, Op: 66, complete....... 1 00 STREABBOG, L. Twelve Melodic Studies, Op.63 75 eee gle ei “25 Studies for Pianoforte, Op. 100........... 40 MacFARREN, ALTER. Comp-ehensive Scale ““ Twelve Easy and Melodious Studies, Op. 64. . 75 = - CUMMINGS, W. H. Rudiments of Music. With | BIEHL, A. Elements‘of Piano Playing, Op. 30.... 60 and Atpensie Mami. 20.5550. .04005 5. 1 50 |. VETER, HERMANN. Melodie Pianoforte Studies = ee a ee kn ae, en, | -BALBRO, MATHILDE, General Study Book...... , Dr. WM. Touch and Technic: Part I, o follow any first instructor.............. 75 EVANS, M. G. ‘Primer of Facts About Music... 59 | BILBRO, MATHILDE. Tenerat ier and wecrex. MON the ee Finger Exercises; Part Il, The VOGT, J. 24 Octave Studies, Op. 145... 75 A compact musical encyclopedia. Imparts tions, well adapted to accompany or supple- Scales; Part III, The Arpeggios; Part IV, . WIBCH, FY Phe Gites 20h 5 oe ce hewn 75 all the essential fundamental facts necessary ment any instruction book or method. The School of Octaves. 4 Books,each.... 1 00 For detailed description of the above and other to a musical education. ‘ BUGBEE, L. A. Second Grade of Melodic Studies 1 00 One of the most remarkable works in the piano studies consult our ‘‘Piano Study Guide,” ILLO , G. ©. Gibbon's Catechism of Music OP; ies” entire range of pianoforte pedagogy by an mailed on application. : 36 ish pei A cl N ad m A volume to succeed ‘First Grade Studies th al co wer Feet eurched gg ‘ = tions an nswers. otation, author re time ase intervals, scales, keys, chords, es Biles gliel First Grade Studies. Easy of all American pianists and teachers. IV embellishments, etc. original Pat study pieces... ‘ : 1 00 ett Ca B. . _— oe in Phrasing. . ; + ORGAN WORKS iti Musi ils, . a” at Sheena we “« Studies in Phrasing, Book I................ ; EE sie oblate a aac for Music Pupils gq _| BURGMULLER, F. “rae ome ol RE “ Studies in Phrasing, Book Il......-......... 150 | CLASSIC AND MODERN GEMS for Reed Organ 1 00 “ Writing Book for Music Pupils, Book I....... 30 6 a. oe mag a ones mover ee 5 2 ** Standard Concert Etudes........... . «..- 1 00 LANDON, C. W. Organ Melodies.............. 1 00 “ Writing Book for Music Pupils, Book II... .. 30 18 Etudes de Genre, Characteristic Etudes, “ STANDARD GRADED COURSE OF STU- An album of transcriptigns for the pipe or- A practical and easily understood pre- Op. 108... G - Ae d Par cha att palmate Fyn : DIES. 10 ar i grades, 3" a's 1 00 gan, ir classic and modern masters being hi tabl - CLEMENTI, M. Gradus ad Parnassum.......... This is the original, and in spite of dozens represented a ee plea Bee 0, CONCONE. J. Selected Studies................ 1 25 of imitators, still the one universally used LA N, C. W. Reed Organ Method.......... 1 00 at datatiohe” “ 95 Melodic Studies 5 Rr 40 course of a study, sar and eon . Schoo of Reed Organ Playing, 4 vols., 4 grades, LA A oR eR ing everything essential for acquitsag es perrect, MIE aie nice voce ee yen bs eee 1 00 MARKS, E. F. Writing Book............... 15 COOKE, J.F. Mastering the Scales. ............ 1 25 knowledge of as well as finished skill in piano OREM, °P. W. The Organ Player—Pipe Organ Has pages alternating he pan tenes and Enables the teacher to start scale study playing. eo, RB eae ey oS | 1 50 ealalis Me A MOdcAl Ontation oat Gppe- os lige Rebel ae fon dahl he i eda PARLOW, E. First and Second Grade Study Pieces 100 | ORGAN REPERTOIRE. Pipe Organ Collection. 1 50 1 es r yy f r . te page. Very practi pllsst Crectoe'mebedd y vitees oo, | PHILLIE, . Bearine in Reales Uae. (PRE Te Tiey Sooken eae MORRIS. M.S. Weiting Primer. .......+. ..;. ” Many original features‘found in no other work. “. Preparatory School of Technic. Daily practice '| REED ORGAN PLAYER. Collection of classic No previous knowledge of music required. CRAMER, J.B. Fifty Selected Studies.......... 1 50 in technical essentials.................... 1 00 and . modern -GitCGSis. 2.0... eee 50 Beginner learns the rudiments of music by CZERNY, C. One Hundred Studies, Op. 139. 50 “. School of Technic. An exhaustive compen- ROGERS, J.H. Graded Materials for Pipe Organ. writing simple exercises. 100 ‘Recreations ee a rs Ee ay Ws on eae 50 dium of modern technic.......... re Gata 1 50 An instructor especially for pianists........ 1 00 SUTOR, ADELE. Note Spelling Book........... 30 * Scheol of Velocity, Op. 299................. 60 “The New Gradus ad Parnassum,ineight books: — TAINER: Dv. 5. The Geeee.. >... 5. i. FE 1 00 This is one of the most successful devices " Sipe of Velocity, Op. 299. 4 bocks, each... 25 Book I, Left Hand Technic; Book II, Right STANDARD ORGANIST. Pipe Organ Pieces. ... 50 for teaching notation to the young. “ 6 Octave Studies, Op. 553.................. 30 Hand Technic; Book III, Hands Together; WHITING, GEO. E. 24 Progressive Studies for the First Pianoforte Instructor, Op. 599.......... 50 Book IV, Arpeggios; Book V, Double Notes; Pipe Organ. To follow the elementary stage. 1 25 II Preliminary School of Dexterity, Op. 636... .. 3 Book VI, Octaves and Chords; Book VII, “« The Beginner’s Pipe Organ Book. A standard * Art of Finger Development, Op. 740......... 1 25 The Trill, Book VIII, Various Difficulties: technical practical instructor.............. 1 00 RUCTORS Sr Ae wes © WOE) COED ics oko ges cts es lees 30 NIN i Cab ctsces FS GERE MS Pd) canon en 1 00 S T Th t ib t f Isidor Philli f V = CZERNY-LIEBLING. Selected tudies. Three e contributions of Isidor Phillip, o ABBOTT Mrs. A. T. A Method for Gaining a SRA URES MINA ee SC re anear, 90 the Paris Conservatory, to the literature PIANO: COLLECTIONS Perfect Knowledge of the Notes........... 25 Cc Ri EG EE PO AR He of pianoforte study occupy a front place —_——— BATCHELLOR-LANDON. Musical Kindergarten and rattalued in seaeHak: and progressive in modern piano teaching. His most ALDEN, RUTH. What They Do in Wondertawn.. 50 Method 1 50 b ° : mpage te successful and most widely used works are BACH, J. S. Album of Favorite Pieces .......... 50 - cyhigdae WIRD SET ia hapa oa order by an expert in piano onsen gh named above. BEETHOVEN. Selections from Piano Works. .... 1 00 : For the nursery and classroom. Ths work DUVERNOY, J. B. Ecole du Mecanisme, Op. 120 50 PRESSER, THEO. Selected Octave Studies. “Easier Piano Compositions. .. 50 is unique in its design. at iy et a 50 Equal savolpeeepi of both hands, flexibility BRAHMS, J. re ae ag Dances, Piano Solo, two BEGINNER’S METHOD........................ 75 GURLITT, C. School of Velocity, Op. 141........ 75 geil dee Re A te Be en 75 Ee Fe RS RRR WERE, fi 1 00 = Intended for the youngest beginners and HANON, C. L. Virtuoso Pianist, Complete... 1 50 ROGERS, J. H. rete Siege ae pars maar BUGBEE-DAVIS, a a 0 ea 0 Child- a = fectly adapted to their needs and insuring HELLER, TEPHEN. Thirty Selected Studies. ing, musical studies of great technical value 1 00 hood Times. Vocal or Instrumental... ... ee aa east but rapid progress. Phe- ste a tden cs from es most popular opus bo Double Note Velocity Cells bb “ahah eas ak oy witha te oe 1 00 CHAMINADE, Cc. Album “La EROS eet te Te 75 nomenally popular with teachers who instruct ) SE RA ee 1 50 SARTORIO, A. 12 Instructive Pieces in Melody CHOPIN, F. Complete Waltzes................. ' 50 oung pupils. “ a Stadion, On. 48..¢...'......-s 1 00 Playing and Expression, Op. 368.......... 1 00 im Lighter Compositions for Piano.............. 100 young pup 25 Melodiou: , Op. | + 3 PSSi0! 6 2 BEYER, F. Elementary School of Piano Playing 50 o Progressive Stdies: Op. 46... ..5.065-55 me 10 Melodious Studies in Velocity, Op. 380. . Complete Neetarge io. es ccc Seco ke 75 #4 ANO STUDY 1 00 NOR, FUE is oie ih as Bay aks oes 1 00 Delightful melodies, richly harmonized.... 1 00 Selected Works (I. Phillip)................. 1 00 FIRST STEPS IN PIANO STUDY ..... ...... “ Etudes of Expression and peas we} 125.. 75 66 Musical Fairy Book. Illustrative little CLEMENTI, M. Sonatinas for Piano.......... 50 A concise, practical and melodious intro- HERZ, H. Scales and Exercises. . 50 tuneful treble clef pieces with words....... go | CRAMM, H. M. New Tunes and Rhymes for duction to pianoforte study. Carefully graded. A OP ee 50 ‘* Melody and Velocity, Op. 872 . 1 0) Lille Wieslsth oy UR eae 75 Material for nine months of pleasant work. LEAN WUCEOINA ce) ice oie p pecans cress - Ten Melodine Shadies for Advancing Players, For children. To be taken up in connection HUDSON, H.B. ABC of Piano Music.......... 50 KOELLING, CARL. Study Pieces in All Major and CO Is «ccs asec bathe nee Kaen 1 00 with any primer or instruction book as a help A keyboard primer. A capital “tryout” Minor Keys..... cece eee ee eee ee cena 1 ‘* Melodius Second Grade Studies, Op. 901... 1 00 in learning the staff notation. for the young child. This work takes the pupil in the second or ‘* Twelve Melodius Studies in Embellishment, __. DUTTON, THEODORA. The First Progress...... 50 KOHLER, LOUIS. Practical Piano Method, Op. third grade through all the major and minor WU, WU c s ckclo Rice: Seakins Vieeea tree ne 1 25 A very desirable book of first grade pieces. 249, Vols. I, Il and III, each.............. 50 keys with suitable studies and study pieces. ‘** Ten Brilliant Octave Studies, Op. 1044...... 1 50 BAST PRU AUBURN K frase sid ee cccd keene 50 THEODORE PRESSER CO., Publishers Tp

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THE ETUDE THEO. PRESSER CO. “ON SALE” PLAN A stock of music on hand at all times to select from, for every purpose, the same large discount as though the music was purchased out- right, and a guarantee of satisfaction if you will but name a few pieces or studies, so that our information Send your order, guarantees satisfaction. will be of a comprehensive nature. no preliminary correspondence is necessary. You pay for only what you use and return the remainder. Music not used is returned to us but once a year. are to be made at least once a year, preferable in June or July. NEW MUSIC AND NOVELTIES ON SALE From November to May we shall be glad to send every month a selection of about ten pieces of new music or novelties, under the same conditions as regulate our ‘‘on sale’”’ plan. This includes new and use- ful compositions for piano, voice, octavo, organ and violin. which branch you are interested in. Settlements CATALOGS THAT ARE CLASSIFIED GUIDES of musical works, including Hand Book of Piano Music, Singer’s Hand Book, Piano Study Guide, Hand Book for Violin Music, Hand Book for Pipe and Reed Organ, Choir and Chorus Hand Book, Hand Book’for 4, 6, 8 and 12 Hands, Catalog of Juvenile Musical Publications, Thematic Catalogs and complete Catalogs of Vocal and Instrumental Music will be sent to you on request, without obligating you to buy. Our Octavo Catalog is extensive and comprehensive, continually increasing Mention with many notable accessions. choruses and part songs, all styles, and in all degrees of difficulty. We aim to assist in every way possible the busy organist and choral director. We publish anthems, ERAN AAALAC AAA AAALE AAA ALL SED WORKS IN MUSIC EDUCATION SENT ON EXAMINATION TO RESPONSIBLE PARTIES PIANO COLLECTIONS—Continued ENGELMANN,H. 24 Pieces for Small Hands... . “* Album of Easy Pieces. 26 most popular teach- OR NN nee Ne i ek 5 ot Album of Favorite Pieces. His best drawing room pieces, including “‘Melody of Love”. . PERE BOAICG ALBUM . oo ic dicks tan vieacine Pee PERI PIBCES cia cc odie ees 4 Ry Rg TURN oie uaa chase cos vee ed's vee GURLITT. Album Leaves for the Young......... “Album of Selected Compositions (Mathews). . HANDEL ALBUM (Presser)..................... ROE as CORR WOE, Bs oo ws cc's’ eres arias ee i RA SN Sea ee AOS HUDSON. Musical Poems for Children......... Original melodies with appropriate text. Teaches rythm, style and expression in play- ing. For early grades. “’ Masical Pictare Boole co.cc dcvacccacs.. A recreation book in large notes for elemen- tary pupils, supplementing any instruction book. KROGMANN,C. W._ Five-Note Recreations. Ten excellent little teaching pieces............. LEEFSON, M. Modern Sonatinas............... LICHNER, H. Sonatinas, Ops. 4, 49, 66.......... LISZT, F. Album LITTLE HOME PLAYER. Piano or Organ....... MacDOUGALL. Studies in Melody-Playing. Carefully prepared material for Junior pupils to develop taste. 2 vols.,each.,.......... MacDOWELL, EDWARD. 6 Poems after Heine. . MASTER PIECES. The 21 best compositions from the greatest masters..................0.. MATHEWS. Standard First and Second Grade PUNO. . cach Sevaeb ki oa Gace ol d@kraderwece Standard Third and Fourth Grade Pieces .... “ Standard Fifth and Sixth Grade Pieces. Large collections for teaching and recreation RN a yin CNS CR is dain Wek. wot Standard Compositions, Vol. 1, Grade I to Vol. VII, Grade VII, each.... ........... ** Standard Compositions, Vol. IV, Grade IV,.. ** Standard Compositions, Vol. V, Grade V .. ** Standard Compositions, Vol. VI, Grade VI... ** Standard Compositions, Vol. VII, Grade VII. ** Standard Concert Etudes ..... ..........5 sche macy Songs Without Words (Com- UE Wa ay time «lee eae OW eae es oaks d's MODERN DANCE ALBUM ..................... MODERN DRAWING-ROOM PIECES.. MODERN SONATINAS “é od ee | Sonatas, Comp ET ER ee PARLOR and SCHOOL MARCHES... ioe Rar hog S REPERTOIRE OF ‘POPULAR So | POPULAR RECITAL REPERTOIRE. . ROWE, DANIEL. Tone Stories for Boys and Girls eo Rede eb) rite ae ain Oak SF Large notes; suitable for young pupils or kindergarten work, Lively and pleasing. DARAIN ALBUM s Vel. Poids sieve visi scowetees SCHOOL AND HOME MARCHES.. ...+.......6. SCHUMANN, R. Selected Works.............. “ “Albums for the Young, Oni GB... 6 eek cece od ** Scenes from Childhood, Op. 15.............. «Album for the Young and Scences from Child- hood, Ops. 15 and 68 combined. .... WF SMITH, HANNAH. ress gid we pace poe Ae A work intended for the very first study of the piano, consisting of short pieces with words. 1712 Chestnut St., PHILADELPHIA, PA. I | | | , $ 50 50 50 — = o Mi /PIANO COLLECTIONS—Continued SONATA ALBUM, Vol. I, 15 Sonatas by Haydn, Mozart, Beethoven............... eee OPPO EEE, WOR, Mle. os vs csc ceceyeneces SONATINA ALBUM (Louis Kohler).............. “(Abridged edition), Kohler.................. SPAULDING, GEORGE L. Souvenirs of the Masters. Introducing famous melodies. . ** GEO.L. Tunes and Rhymes (with words).. Fourteen mirthful little selections to be played or sung (or both). “ Youthful Diversions (with words)...........- Introduces 14 well-known children’s melo- dies, mostly in the Keys of C, Gand F. Mel- ody and text combined. * Well-known Fables Set to Music (with words) Sixteen little pieces to be played or sung (or both) with versified texts based upon as many fables selected from ASsop. How many of fEsop’s fables can you tell off-hand? STANDARD OPERA ALBUM.. ae Melodies from the great operas ‘arranged in the best manner in intermediate difficulty not beyond the fourth grade. Subjects with which all should be familiar. VI 50 50 PIANO COLLECTIONS—FOUR prone BILBRO, MATHILDE. In the Greenwood........ Easy ieces for four hands, suitable either for ree a or pupil, or for two pupils, CHILDHOOD DAYS (Harthan). Instructive Duets for Teacher and Pupil ........6: 6.0 .ccecees CONCERT DUETS. DIABELLI. SPONSE MU Mtr bos vans bas vegioneed DUTTON, THEODORA. Mother Goose Duets... FOUR HAND MISCELLANY..................-. FOUR HAND PARLOR PIECES................. ee ON By 9. JUVENILE DUET PLAYERS.................... LOW, JOS. Teacher and Pupil, two books, each. . DE MRI. Sana, he fa Wo Gh lbs Gio Sno tose MOSZKOWSKI, M. Spanish Dances. . NEUMANN, F. Sixteen Four-Hand Piano Pieces. An original musical work in grades Ii and III OPERATIC FOUR HAND ALBUM... SARTORIO, A. Instructive Four Hand Album. 20 Melodious duets for Teacher and Pupil. . “ Pleasant Hours, Eight Instructive Four Hand Pieces, Op. 1042 PB ety) SE Pre ee ore ne re Pho Loo, .. Up eee Oe epee erry VERY FIRST DUET BOOK...........--.cseee A collection of‘easy four -hand pieces in the first and second grades, which may be played by two students of very nearly equal attain- ments. WOOD, D.D. Musical Zoo. Melodious duets for teacher and pupil. Words............... YOUNG DUET PLAYERS (Harthan)............. VII eee eee eee ee eee eee eee eer ene oe © OOO ee ee eeer ree eeeeene 75 50 VOCAL METHODS AND STUDIES MARCHESI, S. 20 Elementary and Progressive Vocalises for Medium Voice, Op. 15 MYER, EDMUND J. VocallInstructor A practical guide to artistic methods................. PETRIE. H. W. Ten Vocal Studies. Melodious and pleasing, to promote style, flexibility and execution. REDDALE, F. The School Singer. For normal classics; includes a large collection of songs ee | RE ee eee eres er 1 00 1 00 VOCAL METHODS AND STUDIES—Continued OOT, F. W. Methodical Sight Singing. The . | PC ape buscar rutr yeh: > Mpastp ft 50 “ Methodical Sight Singing, Through the Keys. 50 “ Methodical Sight Singing, Progressive Musi- CHROMED, .6i4- rcanahageshhe<ss teres 50 “Introductory Lessons in Voice Culture....... 1 00 “ Guide tor Male Veies............2ckvupeers 1 00 SCAMMEL, A. E. Two part Exercises for Sight- Singing and Class-Work.................. 30 SIEBER, F. Elementary Exercises, 36 8-Measure Studies, Op. 92, Soprano................. 50 “ Op. 93, Mezzg-Soprano.................... 50 Op. 94, AQF. Ot Fi Bass as BAI a 50 VACCAI, N. Practical Italian Vocal Method...... 75 WHELPTON, G. Vocal Studies for Soprano and Tenor Tee ree Hoek oi reer eee e i thaens 1 00 “ Student’s Manual of Sight Singing. Clear, COMCISG CRPOSIIEN ..0.0 5 sie cqueninmeeewaions 60 VIII VOCAL COLLECTIONS BUGBEE, L. A. Musical Thoughts for Little Tots 50 CHURCH AND HOME. Sacred Songs, High Voice 75 “« Sacred Songs, Lew Voke.................., 75 GALLOWAY, TOD B. Friendship Songs......... 1 25 “ Seven Memory Songs...................... 1 25 JUVENILE SONG BOOK... .......5......5..00% 75 NEIDLINGER, WM. H. Little Folks’ Song Book 75 SACRED DUETS. For all Voices................ 75 SENOUR, CARO. Juvenile Musical Poems. 29 Children’s songs for school, kindergarten. . 75 SINGER'S REPERTOURG. «<3... c04ecs.6 +s eee 50 STANDARD VOCALUBE, « «css c00d4 oss cudbnene 50 IX MUSICAL THEORY, REFERENCE BOOKS, GENERAL MUSICAL LITERATURE BALTZELL, W. J. History of Music............ 1 75 Adopted by leading schools, colleges and conservatories of music. Many illustrations and portraits. BENDER,G.C. Business ManualforMusicTeachers 1 00 BOWMAN, E. M. Master Lessons in Pianoforte Playing. A Series: “Letters from a Musi- cian to His Nephew’”’ by this leading Ameri- Ce ee Pn ps hE BONE a © 1 00 CLARKE, H. A. Harmony, A Text-Book......... 1 25 Intended to enable the pupil to grasp easily and comprehensively the facts and rules of the art of Harmony. “* Key to Harmony, A Text-Book.............. 50 * Counterpoint, Strict and Free.......... hae ea 1 00 4“ ‘Peonowncing Dictiomary:......0:. 2.0.0.6 .0508 1 00 “ Student’s Pocket Dictionary................ 25 COOKE, J. F. Standard History of Music..... 1 25 A first History for Students at all ages. 40 story lessons in music lore. Most readable; 150 excellent portraits and illustrations. COOKE, J. F. Great Pianists on the Art of Piowelarte Pidyliets oc. ed: och ees 1 50 Personal conferences on Technic, interpretation, expres- sion and style with our most distinguished virtuosos. ELSON, L. C. Mistakes and Disputed Points in Music and Music-Teaching.......... .... 1 25 FILLMORE, J.C. Lessons in Musical History.... HAWN, H.G. Diction for Singers and Composers. ' Good diction is the result of good schooling and no one is better fitted to give advice upon the subject than H. G. Hawn. HEACOX, ARTHUR E. Ear Training... 75 A course of musical study for the develop- ment of musical perception, beginning with the elementary stage and proceeding by grad- ual steps to the higher cultivation of the ear. PRESSER ANNEX MUSICAL THEORY, REFERENCE BOOKS, GENERAL MUSICAL LITERATURE- Continued HEPLER, E. A. Studies in Time and Rhythm, Covering the average pupil’s weaknesses. . PAUER, E. Musical Forms..................... PERRY. Descriptive Analyses of Piano Works... . “ Stories of Standard Teaching Pieces....... These companion volumes furnish a wealth of Romance, Anecdote and Educa- tional Information without which students and music lovers might easily miss an in- telligent understanding of many well- known and standard compositions. Stw dents, teachers and concert-goers should get acquainted with these books. POLKO, ELISE. Musical Sketches ............ Musical Stories of the great composers for the young. PROUT, E. A Treatise on Instrumentation....... REDMAN, H. N. Pronouncing Dictionary of Mesieal Teeeba}.s.00 <s)ddtaes ob ee RIEMANN, Dr. HUGO, Dictionary of Music and WIRIOUNES «So et ced eae ekee ae SKINNER, O.R. First Year in Theory........... Appeals to the student’s musical intuition and taste, and tends to develop good musical sense and correct judgment, together with the ability to do original things. STAINER AND BARRETT. et of Musical CCHS COCO CHAOS CH OCC COTO KCC ER Oe ESO CS tion SL i: RUS ERE Ta te ks idl APS STREATFIELD. Life Stories of Great Composers TAPPER. First Studies in Music Biography... ... A History of Music for Children. Direct, readable and never heavy. Full sketch of each composer’s life with portraits and other illustrations. ‘¢ Education of the Music Teacher............ WILKINSON, C. W. How to Play Well-known Piamebddte 6016. 6066.64 cod dsce ce heste A ready reference volume to be consulted by players as to the execution and interpre- tation of all the standard repertoire pieces about which one wishes to know. WODELL, F. W. Choir and Chorus Conducting. . . Xx VIOLIN AIQOUNI, K. H. Practical Method for the Young Vee Sg de pekeh es ke ease es cue FRANKLIN, F. A. Operatic Selections ¢, Bebediad Classes ical! bei eas ls ca eae HOHMANN, C. H, Practical Violin School, Ger- man and English Text, complete Same in 5 Books, each..................... KAYSER, H. E. Elementary and Progressive Studies, Op. 20, Book I STANDARD VIOLINIST TOURS, B. Complete Instructor for Violin.. .. .. Oe Foleo CCB om Cee o- ee CoP FCeeereovnegeese ese evee . $ 691 lita WH} 150 . 1 50 150

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692 THE ETUDE ROTHERS’ OUGH DROPS SUE eee “YUU UUULUUDEULATASUUUUUUUULSUUEOCUUAAQUCUU EU EEEN TTA = uu It 5 hn Steinway Individuality ae STEINWAY piano is not wholly the outgrowth of an advanced knowledge in piano construction; nor is it the immediate result of a higher musical culture. It is an evo- Jution that has proceeded as slowly and as surely as the unfolding of a bud or a flower. No mere environment of dexterity could bring out the STEINWAY as it exists today. Its roots penetrate deep into the soil of the nation. It has expanded with the development of taste and musical knowl- edge and become a part of the esthetic aspirations of the people ; each year a larger factor in the higher life until now it belongs to the warp and woof of American society. The logical sequence of persistent, ideal endeavor has made it the type of surpassing art in piano construction and has advanced its prestige to that point where the STEINWAY piano is a vital and dominating force in the musical life of the country. Absolutely Pure. Just enough charcoal to sweeten the stomach Steinway Grands from $825 upward Steinway Uprights from $550 upward The Usual Sequence Rainy day—wet feet—sore throat—voice gone. For three generations Smith Brothers’ Cough Drops have robbed wet weather of its terrors. Relieve the first throaty feeling with an S. B. Cough Drop. Always take one at bedtime; it will loosen the phlegm. : Sold on convenient payments Other Pianos taken in exchange Strinmay & Snausz STEINWAY HALL 7 107-109 East 14th St. New York Represented by the Foremost Dealers Everywhere SMITH BROTHERS of Poughkeepsie Makers of S. B. Chewing Gum and Lasses Kisses Your G-andpa Knows Us INE TTETUTTTTUTTTTETTTT TTT ETUETUTTETTTRTTTTTTUTUTTETTTVTTETT TTT ETETTTTETITT ETI TT ETT ETU TTT ITEC ENMU EMOTO U ECU LUC UIUC TUL OUI UCUCUU LEU L ULC UUEO UCU COU EUULO COCO ULL Cee eee LM eee eee ITTTTETUTUTHTTTTETETTTTUTUTHTTTTUTTTTT OUT UTETVTVTTTTTTUTTTTTVTV TVET TV OTETATT TV ETETH TVET THOTT TETHER OLEH MLE U MEUM UUM UUUOMUGGUUUGI UU UMUMUU ULI UL UU ULC SSL eee eee, = silill MITTIN CLL ELLLOLLLOLLOLLLLOOLcoeLoo ss For Your Smif Mean Confort Milk Chocolate Frowns Mean Corns _ —-— EATMORS Now more than ever are these pure chocolate morsels appreciated by big brothers, big sisters and parents. With epidemics rapidly spreading all over the country, one naturally hesitates to give children candy scooped out of a pail or pan and frequently handled. Not so with ZATEK Milk Chocolate EATMORS. ‘There are 28 or more swect milk chocolate tid-bits in each dust-tight tube. Packed by machinery at the factory and untouched by hand. ‘They always reach you crisp and fresh, pure, sweet and wholesome. EATMORS are easy to divide equally among children. You can give your children ZATEK Milk Chocolate EATMORS with perfect safety. Sold by druggists and confectioners. “HOCOLATE Containing MILK PENNSYLVANIA CHOCOLATE CO. Pittsburgh, U. S. A. Dainty footwear develops corns. One hardly can avoid them. But what you can dois to end them before they pain you twice. Apply a Blue-jay plaster. Wear what you will then, and the corn won’t hurt. In 48 hours it will disappear for good. Painful corns are needless since 15 and 25 cents At Druggists Please mention THE ETUDE when addressing our advertisers. Blue =jay corms BAUER @® BLACK, Chicago and New York, Makers of Surgical Dressings, etc. Blue-jay was invented. Stop paring them. Stop using ancient treatments. Use the gentle, modern, scientific Blue-jay. Millions of people keep free from corns in that way. Your own friends and neighbors do it. Don’t let corns spoil your happiest hours when a little Blue-jay ends them. Ends Also Blue-jay Bunion Plasters

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; : Subscription Price, $1.50 per year in United 4 States, Alaska, Cuba, Porto Rico, Mexico, per year. Single copy, Price 15 cents. All other countries, 25 cents. of Shanghai. In Canada, $1.75 per year. for its safe arrival. lishers are pleased to extend credit covering a T welve Months’ subscription beyond expiration of the paid- _ |! 4" up period. Those of our subscribers not wishing to i do not wish to miss an issue. avail themselves of this convenience.of remitting later will please send a notice for discontinuance. SS > = > > bo 3 > => © =" S= = = = = = SS) = = = = => = = & = = => = => = = = = = FF SS, SS a E Ee Philippines, Panama, Guam, Tutuila, and the City land and Colonies, 9 Shillings; in France, 11 Francs; in Germany, 9 Marks. All other countries, $2.22 In Canada, 20 cents. REMITTANCES should be made by post-office or ex- press money orders, bank check ordraft, or registered letter. United States postage stamps are always received for cash. Money sent in letters is dangerous, and we are not responsible DISCONTINUANCES.—Owing to the educational character of THE ETUDE a majority of its readers _ (| Therefore, the pub- 4 THE ETUDE Hawaii, In Eng- = => = A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke Entered at Philadelphia P. O. as Second-class Matter Copyright, 1916, by Theodore Presser Co. ‘The World of Music “How many a tale their music tells” At Home YSAYB will tour America in 1917. Tirro Rurro will sing with the Chicago Opera Company next winter. HENRY LL. MASON has been elected president of the Boston Choral Union. Rogpert Grau, brother of Maurice Grau and one time the manager of Adelina Patti, died August 8th. AN OPEN air performance of Wagner’s Tannhaiiser was given on a pretentious scale by the students of the Kirksville State Nor- mal School, Missouri. Mrs. Orro Torry SIMON who was asso- ciated in the work of her husband, the well- known Washington teacher, died on August 6th. WILLIAM RoGeRS CHAPMAN has just con- ducted the 20th annual festivals at Portland and Bangor, Maine. Geraldine Farrar was the leading soloist. Mr. CLARENCE Eppy will make another transcontinental tour in March 1917 during which he will give numerous organ recitals. Tur death of Albert J. Holden on July 16th last marks the passing of one of the most popular composers of church music in America. Holden was for many years or- ganist of the Church of the Divine Paternity in New York City. Mr. CHARLES FRENCH, manager of the “Musical Leader’ of Chicago, died in New York on Aug. 17th, as the result of a street car accident. Mr. French .had hosts of mus- ical friends in the West. WALTER KELLER has just received the de- gree of Doctor of Music from De Pauw Uni- versity of Chicago. Although Dr, Keller is not a Catholic, but the son of a German Methodist minister, he has been organist of the largest Catholic church in Chicago for thirteen years. A “1000 people” cast performance of Aida was given in San Francisco in September with Emmy Destinn in the leading rdle. Fifty years from now, when ‘50,000” people are marshalled into performances in the Grand Canyon, will the art of music be any greater? Mr. ALBERTO JONAS has been given a verit- able ovation in Salt Lake City where he has been engaged for the second time. One hun- dred and twenty-five of his pupils and friends, including the governor of the State, gave him a splendid banquet at a leading hotel. THE instruction in musical theory at the University of Nebraska is in the hands of a Jewish rabbi, Jacob Singer, M.A. Born in Russia he is descended from a long line of rabbis and cantors. He is also a very fine pianist and has won a prize for a history of Jewish music. THE splendid band of the Bethlehem Steel Corporation gave a concert in Central Park in August. Mr. Charles M. Schwab, the head of the industry, is intensely interested in music and has been the large financial factor in the Bethlehem Bach Festivals. He chart- ered a special car to take the band of 100 members to New York and back, . Max HEINRICH died in New York on: August 9th. He was sixty-four years of age. Born in Chemnitz, Saxony, he spent forty- two years in America. He was splendidly trained in pianoforte playing, singing and composition. He was at one time a student at Leipsic Conservatory. Those who have heard his inimitable song recitals cherish a rare memory. member of the Metropolitan Opera Company. THE Home Music Co. of Chicago was last week denied the use of the mails by the 9 His daughter Julia is a- Post Office Department. It is alleged that the company also traded under the names of J. Cook and Co., United States Card Co. and Star Company. It is charged that the company advertised a book of songs which led the public to believe that it would re- ceive the words and music of three hundred songs. The book contained 80 songs with music and the balance were merely the verses of the songs. ETUDE readers will do well to investigate thoroughly before dealing with unknown music companies. THE National Federation of Musical Clubs will hold another contest for young pro- fessional musicians. Contestants must be entirely American trained. They must be under thirty years of age. The winners as a reward will be given a public appearance at the Tenth Biennial Festival to be held in Birmingham, Alabama, April 1917. Further particulars may be obtained through the president, Mrs. A. J. Ochsner, 2106 Sedg- wick St., Chicago. The judges will include Mrs.’ H. H. A. Beach, Mr. George W. Chad- wick, Mr. Franz Kneisel, Mr. Giuseppe Fer- cee Mme. Louise Homer, Mr. Charles W. Clark, MILTON and Sargent Aborn, who have done much to popularize opera in America by giving really good performances at a low rate of admission, are again in the field with dollar opera. They state that opera at theatre prices ($.50 to $2.50) has been abandoned, as neither ‘‘one thing or the other.” It is too expensive for the masses and not exclusive enough for the elite. The new organization will include many members of the more pretentious Century Opera Com- pany which thé Aborns managed in New ork, Thomas Moore Liberal premiums and cash deductions are allowed for MANUSCRIPTS.—Manuscripts should be addressed to THE ETUDE. Write on one side of the sheet only. Con- tributions on music-teaching and music-study are solicited. Although every possible care is taken the publishers are not i) responsible for manuscripts or photographs either while in their possession or in transit. be returned. ADVERTISING RATES will be sent on application. Advertisements must reach this office not later than the Ist of the month preceding date of issue to insure insertion in the (lll/ following issue. : THEODORE PRESSER CO., Publishers, ' <q RENEWAL.—No receipt is sent for renewals. On _ [ii the wrapper of the next issue sent you will be printed the date on which your subscription is paid _ |"! up, which serves as a receipt for your subscription. II obtaining subscriptions. : Unavailable manuscripts will — | 1712 Chestnut Street, Philadelphia, Pa. Abroad MME. MELBA has inherited $200,000 from the estate of her father. KORNGOLD has recently produced Krongold is ERICH two short operas in Vienna, now nineteen years of age. Sir GEORGE ITENSCHEL has written a new mass for eight voices. It has been highly praised by the English press. THERE are so few men in British church choirs at present that a publishing house has issued a catalogue especially for boys and women. THE Berlin Singakademie has recently held a festival celebrating the 125th anniversary of its foundation. Zelter, Mendelssohn’s teacher, was for many years the conductor, George Schumann is the present conductor. Tur Fall of the Bastile (July 14th) was celebrated in Paris this year with elaborate musical events. RaFr’s daughter recently presented the Royal Library of Berlin with a large collec- tion of unpublished manuscripts by her father. The list includes five unpublished operas, among them King Alfred (produced at Weimar under Liszt.) Hamisu MacCunn, the well-known British composer, died in July. He conducted many English Opera companies in his time. ScuvuBert’s Erlking is just one hundred years old. There had been several settings of Goethe’s poem made previously,—one in- (World of Music continued on page 754) CONTENTS FOR OCTOBER, 1916 | World of Music Editorial Etude Day Getting Results Through Right ERO UCB Ask e Mark Hambourg Points in Sight-Reading A, G. Mahon What’s Wrong with My Piece Hrnst Eberhard The Teacher and His Business A. T. Granfield The Building of Music...F. Corder Self-Help Road to Success Overcoming Stage Fright Common Sense in Pianoforte Touch and Technic. Mrs. 'H. H,. A. Be&ch Why Should I Study Theory H, B. Gaul Some Facts About Pitch The Composer Agnes and Egerton Castle What Every Student Should Know About Phrasing Niecks Depending on One’s Self L. S. Ashton Gallery of Musical Instruments... Teachers’ Round Table. N. J. Corey Honor to the Teacher.D. C. Parker Mendelssohn’s E Minor Scherzo Rdwin Hughes Notes on Etude Mnusic.P. W. Orem Facts About Our Kevhoard H. V. Goodwin Helps in Sight-Reading.B. H. Wike The Teachers’ English G. M. Greenhalgh Department for Singers George Chadwick Stock Department for Organists ' Percy Chase Miller Department for Violinists. Rk. Braine Department for Children Jo-Shipley Watson Publishers’ Notes Questions and Answers New Books Reviewed Mendelssohn’s Letters From Swit- zerland Scherzo, Op. 16, No. 2 F. Mendelssohn . Three Favorite Preludes. Ff. Chopin Pastorella Lack Triumphal March (Four Hands) E. R. Kroeger R. Howe . Norris Over the Footlights Mother’s Goodnight .. In the Twilight The Training Camp ..P. Brounoff Tdle Hours . KK. Henyaner 7 The. Merry Hunter . Renk Nocturne, from ‘‘Midsummer Night's Dream” F. Mendelssohn Sylvia ! . Spenser Fields Abloom . Spenser Lelken (Violin & Piano) ~- O. J. Lehrer Minuetto from “Septet” L. van Beethoven Elegy (Pipe Organ) .G. N. Rockwell It’s a Beautiful World My Darling (Vocal) H. Tourjee Into My Life She Came (Vocal) Tod B. Galloway The First Primrose (Vocal) FE, Grieg deed was made by a woman composer, Corona Schroter, GERMAN and Austrian conservatories pre- sented excellent programs at the end of the past season despite the war conditions. Opera productions have been given regularly in all the Teutonic cities. MAuRICE RENAUD, the famous French bari- tene has had the cross of the Legion of Honor bestowed upon him for bravery at the front. He is a lieutenant in the 166th regiment of infantry. THE London Musical Opinion reports that the war has had the effect of reducing the number of music students in England, as might naturally be expected. This however in the eyes of the English editor is not so disadvantageous as it might otherwise ap- pear. It has had the effect of cutting out the poorly prepared teachers and throwing more work to the teachers whose preparation has entitled them to continued patronage. CARRENO recently played the Tchaikowsky concerto in Berlin. This, it is said, is the first time since the beginning of the war that a Russian composer's name has appeared upon such an occasion. THE conductor of the Philippine Constab- ulary Band is a colored man born in 1872 at St. Paul, Minnesota. Ile is Major Walter Howard Loving. He was educated in Wash- ington, Boston and Leipsic and was given a commission of lieutenant in the United States Army for honorable service. Pres- ident Taft had him appointed to the band which later participated in the inaugural ceremonies of Taft at Washington, D. C. Loving now bears the title of Major, U. S. A. retired, He is a highly cultured man, speak- ing five European languages fluently and also many of the Philippine dialects, AT LAST the English censorship has touched THE Erupr. Very few German periodicals reach our offices these days and we have been dependent upon hearsay for the con- firmation of some of our news. While it is very unlikely that any German musical pub- lication would be used for the transmission of military news the chance is evidently con- sidered sufficiently great to oblige the cen- sors to choke off every possible road for in- formation. The whole scheme of war in all countries at all times is rooted in suspicion, hate and unfairness. Taking it all in all however, we have found many instances where British censorship has been .very lib- eral and reasonable. Let us hope that the dreadful conflict will soon be over and that our brother musicians in all of the European countries will be again permitted to go on i Pi beautiful work of enriching the world. THE ETUDE notes with deep regret the death of Karl Klindworth. Klindworth was born on Sept. 25th, 1830, in Hanover. At Weimar he became the pupil of Franz Liszt. Among his fellow pupils were Dr. William Mason, Hans von Biilow and Pruckner, In 1854 he removed to London where he re- mained for fourteen years as a teacher, pian- ist and conductor. In 1868 he became pro- fessor of pianoforte at the conservatorium of Moscow, returning to Germany in 1882 as a conductor of the Berlin Philharmonic Concerts. He established a school of music in Berlin which lasted until 1893, when it was merged with the Scharwenka Conserv- atory. His last years were spent at Potsdam as a private teacher, one of his. best-known pupils being our own Ethelbert Nevin. Klind- worth was a man of very high artistic ideals, great kindliness and great industry. His editions of Wagner, Chopin, Beethoven, Men- delssohn and others show great erudition and extreme care,

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694 on eRe: THE ETUDE Bent Pianos HE Bent Piano adds to the joy of every occasion. Refined in appearance, re- sponsive, with a fullness of tone of rare quality, it is a pleasure to behold and to play upon. And Bent Pianos are known to retain these qualities for a lifetime. ‘ FREE—Valuable Booklets. Send for our booklets which explain piano value, also what to look for in the selection of an instrument for your home. These booklets contain real piano information, and 3uided by them you are sure to select a 300d piano. They are free for the askin3. Ask for series “A.” Please mention THE ETUDE when addressing our advertisers. GEO. PP. BENT COs BAe. Manufacturers—Est. 1870 214-216 South Wabash Avenue, Chicago, Illinois | | | ~ 48 Annee nin nin nan einigiinn pa hides thbisddadanssbdinibiapiinshiihsisapanppaaptin iiidiaabicddbinaiios tila ibspiapinihiaidrsbapemmnipitinttedaasisarnbbcccapipiititiay iid oo

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OCTOBER, 1916 “VOL. XXXIV -No. 10 The Master Dreamers “Hope is the dream of the waking man,” great men of all time have always beet dreamers. said Aristotle. The master dreamer is he who realizes his dreams. The daily phantoms of grand achievement which pass through the brains of millions of dreamers are caught by the master dreamer and turned from nebulous thoughts to towering cathedrals, magnificent painting, wonderful inventions and powerful nations. Richard Wagner was one of the greatest dreamers in the whole realm of music. . The whole vast world of kaleidoscopic beauty which he built were once the wraiths of that marvelous brain that sleeps in the little garden at Bayreuth. How did Richard Wagner differ from the myriads of dreamers who have passed into their eternal sleep unknown. Richard Wagner The glorious symphonies, — planned and worked. No man ever made more elaborate plans setting - forth what he proposed. His plans make a veritable literature in themselves. There are’ whole volumes indicating his theories, his designs, his intentions, his ambitions. Ambitions, hopes, aspirations, theories, dreams are worthless unless they are harnessed to work by a practical, sensible, workable plan. ‘The average business man looks ahead for months—years. The average musician has no mind-picture of what he proposes to accomplish in one year or in ten years. A plan on paper is worth a hundred in the mind. Some day-in the near future sit down with paper and pencil in hand. Give your- self over to a period of solid constructive thinking on the most im- portant thing you have to think about—your own career. Cross- examine yourself until you find out what you really want to do. Then make a plan of how you propose to do it. Stake off certain time limits. Your work may take you longer to accomplish than you estimate, but time limits are a great incentive. The connecting bonds between the dreams that grew in the brain of Sir Christopher Wren and the magnificant St Paul’s Cathe- dral in London were the plans which the master architect put down upon paper. ‘The bonds between your dreams and the career you are building are the plans you will put down on paper. Destiny reserves the heights for those who dream and plan and do. Tue retiring president of the Century Company of New York in a recent interview in the New York Times frankly stated his opinion that college education has a tendency to make a young man of literary inclinations, a critic rather than a creative artist. Mr. William W. Ellsworth, who through his long association with the great publish- ing house has examined thousands of manuscripts, says that the percentage of manuscripts accepted runs only 41 in 1,000. He finds that very few new names of consequence have come to the front in the field of fiction in the last fifteen years and this despite the fact that colleges are turning out vastly greater numbers of gradu- ates. Mr. Ellsworth also points out that over half of the sixty promin- ent literary men in America from 1800 to 1900 were not college men and that many of those who were college men had in numerous in- stances more limited advantages than the average student of a good Over-Critical 695 ' -_ interim between lessons like the metronome. high school has to-day. He then gives a list of famous writers who were not college graduates. It includes Washington Irving, Whit- tier, Whitman, Mark Twain, Bret Harte, Bayard Taylor, John Boroughs, William Dean Howells, Henry James, George W. Cable, Mary E. Wilkins and Hamlin Garland. Take these names from American literature and a very serious gap would be left. Yet no one but a very stupid person in this day would argue against the advantages of a college education. Tur Erupe has urged the special desirability of the music student securing a broad and liberal training. Nevertheless, those who are most familiar with musical conditions in America must realize that much of the work done in teaching composition often serves to make the students very fine critics but very insignificant composers. Music demands a thorough training under specialists. Writing is quite another matter. Men like Arnold Bennett, William Black, John Masefield, George Bernard Shaw, Israel Zangwill, write their powerful thoughts in strong English witheut the aid of a college education. If they were to learn French, or German or Italian thoroughly they could use the foreign medium with the same facility, but they would first of all have to learn the language. That states the difficulty of the musician. He is forced to learn a foreign tongue and a highly organized tongue it is. Unfortunately much compo-. sition study is so focused upon the grammar of the language that the substance is ignored. ‘There are armies of conservatory gradu- ' ates who would find it literally impossible to make a mistake in harmony but could no more write such a beautiful tune as My Old Kentucky Home than they could fly. In the end they become so over-critical that everything they write smacks of the school room. Alas, many American composers have been only too content to have some one else do their thinking for them. Every now and Bien: some one : neleiles Pc Binihe:i saying, “I have Just heard that the metronome is not now being used any more.” This is just about as silly a rumor as that which runs that scales are being used less than formerly. The metronome and scales are used more to- -day than ever before. There is no more exacting master than the metronome. There is nothing that will keep the pupil’s work ‘“‘together’* during the The teacher who knows how to use a metronome and who can insist upon its use with the pupil always produces better results than the one who neglects the little instrument. We know a teacher who always laughed at the need for a metronome. Once we asked her to test one of her own pieces with the instrument. In a few minutes she realized that what she thought was good time, was really a very straggly and unbeautiful thing which disfigured all her playing. If women made their dresses by guess — instead of using a pattern imagine what the dresses would look like. The metronome is first of all a good pattern. It is more than that. It is an incentive for the pupil to go ahead. It gives the pupil something to work for. ‘There are many ways in which it can be used with profit. ‘The editor always insisted that his pupils should play every piece at least ten degrees faster than the metronomic marking required. What was the result? The student could drop back to the actual speed and® play with far greater confidence and accuracy.

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O18 1: Ceo =) ''6' =) 118 +e ES I We “Knowledge Is Power’’—Bacon ETUDE DAY A Monthly Test in Musical Efficiency TOD ON’. CE aKa Oo ~What ETUDE DAY its and How to Conduct It Tue Erupe will contain every month a series of questions sim- ilar to the following with sufficient space for writing the answers right in the issue itself. Answers to the questions will be found in the reading text. This enables the teacher or club leader to hold an Erupr Day every month as soon as possible after the arrival of the journal. The pupils assemble and each is provided with a copy of THE Erupk, or, if the teacher so decides, the copies may be distributed in advance of the meeting. On Erupe Day the answers are written in THe Etupe in the proper place, thus giving each issue the character of an interesting text book, insuring a much more thorough and intelligent reading of the journal itself, giving the student a personal interest in his work and at the same time providing the class with the occasion and the material of a most interesting monthly event. The questions may be taken all at one meeting or in groups at separate meetings. After the session the teacher may correct the answers and if she chooses award a suitable prize for the best prepared answers. Under no circumstance will THE EtupE attempt to correct or approve answers.. Such an undertaking would be too vast to consider. How- ever, if the teacher is interested in securing a prize or series of prizes suitable for these events, THe Erups will be glad to indicate how such prizes may be obtained with little effort or expense. Address your letter to the Editor of Tur Erupr, Philadelphia, Pa. . Some years ago when Tue Erupk started the Gallery of Musical Celebrities we were immensely helped by friends who wrote us tell- ing us what they thought of the idea.’ Will you not kindly write us and let us know how you propose to use this page and how it could be improved to better suit your needs. Make your letter short and to the point. We shall appreciate it. State particularly whether _—* a3 140+ C<e ee ee

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Written expressly for The Etude by the eminent Russian Piano Virtuoso MARK HAMBOURG a hee a I AM devoting this short article entirely to the sub- ject of how to ptactice the piano, and shall try to point out here what I have found from my experience to be the most efficacious way of setting about it. Broadly speaking, the cardinal rules to be observed in all practicing should be, first, great attention to detail; second, avoidance of overfatigue, both mental and physical. It is also most necessary for the attain- ment of the best results to set up from the outset some fixed schedule of practicing. Systematically ordered tuition is such an-inestimahle help in all stages of piano-playing, hut even more especially in the elemen- tary one, as | myself well know. For [ had the good fortune to start my. pianoforte education with teachers who were steeped in the best traditions. My first one was my father, Prof. Michael Hambourg, who had been a pupil of Nicholas Rubinstein; while my second, the famous Leschetizky, had studied with Czerny. And Czerny especially represents the school of piano- forte playing which has produced many of the greatest pianists of modern times, his influence extending through Liszt, Anton Rubinstein, Tausig, etc., down to many famous pianists of to-day. Therefore I am a ereat believer in starting to study according to a good method, or school, as we call it, Such a method will train the mind and. fingers in a definite and organized trend of technical development, Of course, it is a good thing as well ‘to acquire a theoretical and general musical education, but I think, especially in the train- ing of children who intend to become professionals later on, that it is. imperative that their main energy and time should be directed first of all to learning how to master the techhical difficulties of their instrument. I do not believe: that musical children learn much with profit away ftom the piano, at least they cannot derive the actual mechanical facility of playing except at the keyboard. *I wish to lay stress on this fact, because there are in fashion just now so many clever systems of educating children musically. For instance, they are said to be’ taught how to compose fugues in imitation of -Bach after a few hours of. tuition, etc. These kinds of instruction are doubtless of advantage in stimulating genéral musical knowledge and, above all, for training untmusical little ones and developing the faculty which might otherwise be completely lost to. them; but in the education of the young pianist such systems must never be allowed to obscure the main issue, which has alWays to be, first of all, the acquire ment of absolute proficiency at the keyboard. Practicing in eatly childhood should never in my opinion extend fora period of more than half an hour at a time, and the whole amount to be done during one day should not exceed one hour. Also care ought to be taken to procure music for children to study which will appeal to their imaginations, and even their exercises should be in pleasant forms of sound and rhythm, which willshelp to keep them interested. And the best thing is to instil as soon as possible into the mind of the clhtild the desire for beauty of touch and clearness of execution, No Child Should Practice Alone No child ought. to be left to practice by himself; someone should always sit with him and see that he gives each note its full value. To attain this object it is excellent to make the little one count out aloud while playing. The pedal should never be permitted, and each hand ought to be practiced separately. For Gecing esate Thivarh Right Practice A Talk to Students THE ETUDE if the two hands are worked together the concentra- tion of the mind is divided, instead of being directed to one thing at a time. Besides, a certain amount of covering up of the sound goes on when both hands are playing, which is bad, and impedes clearness of execution and conception of the difficulties to be con- tended with. These remarks about the separate prac- tice of each hand are intended to apply mainly to the purely mechanical exercises, such as are used for the articulation of the fingers, etc. It is important also that such exercises should be easy and not strain the hand, for very serious results can develop from over- straining of the hand in childhood, Exercises and scales must be practiced in all the keys, not only in C major in which they are generally written, as it is of great benefit to the child to be able to play as easily in one key as another. Another good maxim to be observed is not to allow exercises to be repeated ad nauseam over and over again, as the mind only gets blurred with the unceasing repetitions, and no result can then be obtained. | I am speaking here at tome length about the prac- ticing of a child, as, if the routine of good systematic work is acquired in early youth, it becomes a habit and continues naturally throughout life. I now arrive at a further stage, when, havingbeen carefully initiated, the young student begins to con- sider the piano as his life-work. His problem then becomes: that of all pianists, both great and small, namely and principally, how to practice in such a way as to obtain the maximum of economy in time and effort, to keep always fresh in mind and to avoid too much repetition. I have never been an advocate of long hours of practice; indeed J think very few people can do really good, hard concentrated study on the piano for more than two hours at a sitting. There is no doubt that far more benefit is derived from several short periods of practice during the day than from long continuous work, Altogether I advise that the average practice of an advanced student and, indeed, of any pianist be not more than five hours a day, and not less than three, under ordinary circumstances. Those who have no technical talent at all and have great difficulty in ac- quiring adequate mastery of means, or those whose musical memory is weak, can practice more, and often do, but on the whole very extended hours of study only tend ta staleness. In any case the student should ‘devise a systematic way of dividing up his hours of practice if he wants to get the best profit out of his work. For until he has experience in concert playing and the frequent opportunity of performing in public (which thing, of course, impedes practicing and also obviates to some extent the necessity of it), he must always give a certain definite time every day to purely technical study. A Regular Daily Course To this end the pianist ought to draw up for him- self a regular course to be pursued, such as the fol- lowing: Scales to be played in four different keys each day, with their accompanying arpeggios in every. development, also the chromatic and contrary motion scales, Thus if four scales are done each day, the whole range of scales will be got through every three days. After these scales ten or twelve five-finger exer- cises, comprising all the positions of the hand, can be worked at. Hanon’s Exercises are the ones which I particularly recommend; they are quite excellent for 697 helping to acquire a good articulation of the fingers. The reason why all this technical daily study is so essential is, because to obtain a supple, easy mastery of the piano, it is necessary to possess a real athletic agility of fingers, hands and arms. And just as an athlete in training does a fixed amount of regular exercises every day, to keep the muscles of his whole body in elasticity and fitness, so must the pianist go through a similar process to train his arms, hands and fingers. Common Sense Practice Ideas Now there are many common sense axioms to be observed in the details of practicing, which the stu- dent will find out by experience. For instance, if he has to play on a certain day.a piece in which many octaves and double notes occur, he should.on that day make a point of practicing scales and exercises for the simple articulation of the fingers. He should take care during his working hours not to study the same octave and double-note technics as are to be found in the piece that he will “be playing later on in the day, for if he does so he will risk suffering from lameness of the hands. Such lameness will appear from working the hands too long in certain extended positions as are peculiar to octave playing, etc. Therefore great variety of motion must always be aimed at, in order to keep the hands fresh and vigorous. Also should the stu- dent experience the slightest fatigue in the hand when playing scales and passages, let him instantly cease until that feeling has quite passed away. I do not find elaborate studies very efficacious for the purely mechanical development of technic, as the embellishments and harmonies which make the palat- ableness of such studies only distract the student’s mind away from the main point of advancing the technical power, and thus cause loss of time and effort. For the only really valuable study. is that which concentrates its whole energy in pursuing the true object to be achieved in each particular branch of work. And it is far more profitable to practice for a short time with absolute concentration on the technical problem in order definitely to surmount it, than to pass several more or less wasteful hours dallying with the difficulties wrapped up as they are in elaborate studies with a pleasant gilding of har- monies and progressions. Also many of the studies which are given to students with a view to helping them technically are in themselves bad. music as well as indifferent mechanical aids. Of course, these re- marks with regard to studies in general are certainly not meant to include real concert studies, such as those of Chopin and Liszt, etc., but it is scarcely necessary to say that these are not purely studies for technic, but are rather beautiful musical problems to be un- raveled when a certain amount of facility has already been acquired by the student. Advanced students should also endeavor in their practicing to prepare themselves along certain lines of study, with a view to making a repertoire of pieces, which will be useful to them when the time comes for them to make up programs for their concerts. Now as regards how to start the study of a piece, it is as well first of all to look at it from the technical point of view alone. For until means have been mas- tered no proper musical expression or interpretation can be adequately conveyed. First of all, then, the pianist ought to dissect the piece from the mechanical

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698 side and find. out where the most difficult passages occur. Technically speaking, of course, all pieces are merely collections of scales, thirds, passages, etc., har- . monically treated in different ways and used as the vehicles to express the composer’s iceas. Mastering Difficult Passages Having decided which are the most awkward pas- sages to master in his piece, the student should not then just play them over and over again, as so many do, hoping that by much repetition the difficulties will finally be surmounted. He must rather play his pas- sages once or twice, then stop and think about them for a minute, and try to get a clear definition of them in his mind. Then start afresh, and having worked a little more, pause again. By thus stopping to think and, keep his mind lucid he will both master and retain passages with much greater ease and rapidity than by confusing his mind through continuous reiteration without ever pausing to listen properly or to consider what the passage should sound like. It is also a very good thing when first learning a piece to divide it, tak- ing, say, each eight bars or so at a time to work at, and thus getting to know the component parts well before: reviewing the work as a whole. Another branch of practicing which is too often neglected by the young pianist is the study of the bass or frame work of the music he learns. Many times one hears something THE ETUDE played in such a way that the bass part is completely swallowed up, and nothing can be heard but the right hand. This defect is the more, difficult to conquer, because the left hand, to which the bass is entrusted, is naturally with most people the feebler member. Yet’ weakness in the bass parts is a very serious fault, for it often undermines the whole construction of a piece and upsets all the harmonies. After all, music, like everything else, must have a good, stable founda- tion. Therefore the student must give much care and attention to the bass parts of his piece. Letting the Music Speak for Itself When the pianist has mastered the technical diffi- culties, he should next set to work to try and analyze _the music harmonically, and, above all, attempt to find out what the composer intended to convey. And the true artist should not only be content (to borrow a stereotyped phrase of critics) “to let the music speak for itself,” as such a passive attitude is merely like looking at the musical art from the standpoint of photography. No! rather must he endeavor to: step into the composer’s shoes, so to speak, to feel again what the composer felt, to imagine with the poignancy of the composer’s imagination, and by so doing to re- kindle in the music the living spark, the power of fantasy, energy and individuality with which it was originally endowed by its creator. Points to Remember in Sight Reading By Anna Guilbert Mahon Point I. Your first aim should be a smooth, un- _ broken performance. | As in reading a book in which we are deeply inter- ested.we read. straight along, glossing over words not always understood, in our endeavor to get the gist of the story, “the plot, ” so it is with reading music. What we seek now is the interpretation of the piece as a whole. To acquire ‘this as accurately and smoothly as possible is the aim of sight reading, the cultivation of which is the source of the greatest pleasure and benefit to the student, as well as pleasure to his friends and the public. Pornt II. In learning to read by sight select pieces well within your grasp. You should choose a piece well within your ability to perform. For study, of course, more difficult pieces should be practiced, but for sight reading only it is generally conceded better to try only those pieces which can be correctly executed. Especially in reading before an audience you should never attempt anything too hard, or which you fear may cause you to stumble. Pornt III. Learn as much about theory, harmony, etc., as you possibly can. To be a successful sight reader, you must, of course, possess some knowledge of musical theory, chords, transpositions. This knowledge will help you to keep up the harmony and render the composition smoothly, even if unexpectedly difficult passages are encountered. | Point IV. | Look before you leap. An important point to remember is not to attack the piece too suddenly. Before putting fingers to.the key- board you should note carefully the key in which the piece is written, making a swift mental appraisement of the sharps or flats contained therein. Time should also be carefully noted. The piece should then be hastily scanned—before putting a hand to the piano— for the highest and lowest notes, for any unexpected run or intricate passage which may cause stumbling. “Marks of expression should also be noted and a hasty glance cast at the phrasing. Of course, in reading at sight before an audience one cannot give much time to this preparation, but if it is practiced when alone it will become almost second nature, the eye can quickly ‘ scan the essential points without undue loss of time, and the principal things be noted while you are adjust- ing yourself at the piano. Point V. Don’t stop for mistakes. Having: accomplished these ‘preliminaries, attack the piece boldly, endeavoring to get the spirit of the com- poser, to keep strict time and to go straight ahead, stopping for nothing. If you make a mistake, go right on—you are practicing sight reading now, nothing else, and you must cover up your errors as: well as possible and go on so as to get the spirit of the composition, the correct expression of the piece as a whole. You must make it sound as it should when played straight ahead, connectedly. After you have played the composition through—if you are practicing by yourself—go back to the parts you have stumbled over. See where you made your imistake, practice the intricate passage until you can play it accurately, just as a reader or student makes a note of unfamiliar words to look them up afterward in the dictionary. Point VI. Keep several measures ahead. Read ahead. Remember, too, that in sight reading you must culti- vate the ability to read ahead. Try to take in a phrase at a time and interpret.it correctly, still keeping the proper time and giving the right expression. : Point VII. | Practice every day in sight reading. Finally, remember that if you would cultivate ac- curate sight reading, you must practice every day. You must read anything, everything, that you can. Albums of really good music are so inexpensive now that one can procure a number of them and have no end of material for practice daily. Practice reading every- thing, not only pieces, but accompaniments to songs and other musical instruments. If there is someone with whom you can play duets or who plays some instrument that you can accompany, this is a splendid means of practice; but remember that it is “practice that makes perfect” in this as well as in all other achievements. You will soon find that it is as easy and delightful to sit down with a volume of new music and read it as you would read a new book, as it is to read an inter- esting novel, and you will find, too, that when you are called on to play unfamiliar accompaniments or pieces in company you will have confidence in yourself. Point VIII. Don’t get flustered. - Above all, remember to keep calm and deliberate when asked to play at sight before people. If you allow yourself to get flustered or nervous, you will not be able to do anything. What is Wrong with My Piece? By Ernst Eberhard “WHAT is wrong with my piece?” A _ thousand things may be the matter with it, but the vast majority of these things are traceable to one definite lack: failure to separate each melody note from its accompaniment. How many readers can hum the melody of the piece which has just been memorized? Just try to pick out the melody without hesitation from any moderately intricate piece which you have played scores of times. Take a “theme and variations” and trace out the theme development as it is presented; take a Bach /nvention and see if you can always tell which is the main theme. There are many advanced students of piano who make mistakes, and plenty of them, too, when asked to sub- mit to these tests. Yet there is surely no excuse for a player not to know the tune of his piece, for he can- not expect others to understand and hear what he him- self does not understand. Nothing can be accomplished until what is to be accomplished is plainly understood ; and when once comprehension of the object to be at- tained is grasped, accomplishment soon follows. It is well worth while for anyone to play the melody of his newest piece by itself. If he then plays his accom- paniment as a solid chord with the melody note on top, he will grasp the chord connections in their correct relations as to discord and resolution. It is surprising what a flow of new ideas this will bring. Then sepa- rate the melody into its little motives, phrases and sen- ' tences, seeking to make the tonal flow of one balance the other. This preliminary knowledge, self-teachable through careful thought and listening, will bring a coherence and intelligibility of phrasing which the aver- age amateur (and many professionals) is sadly lack- ing in. Try to imagine just how your piece sounds and analyze it until you develop the ability to write it down from memory, or still better, until you can go over your piece visually with no reference to the sound of the music, putting each note in its proper place with its appropriate expression and accent. Just spend five minutes in seeing how well you are able to respond to these little tests. If you can answer the requirements, you can do more than the average performer; if you cannot, then you will realize the value of these ideas s by your failure. The Teacher and His Business By Arthur Traves Granfield KrEP your studio in good order. Dust cloths are quite inexpensive and are easily operated. Remember that the months slip around with sur- prising regularity and the landlord has no use for a musician simply: as a musician. He is looking for his rent. If you have a diploma, it might be well to frame it and hang it up. It fills up wall space and perhaps sometime a pupil might read it. Don’t forget, however, that it is not the diploma that counts, but the results that you are able to produce. If it be your intention to open a studio in the down- town district, remember that a small back room in a well known studio building will meet your requirements quite as well as a more expensive one. If you intend to open a studio in the residence sec- tion, see to it that it is situated near car lines (if there be any), and especially in that section of the city from which you expect to draw your class. Thirty or forty minutes is now the recognized time duration for lessons. If your pupils would like more time have them take two lessons weekly. (Talented pupils in limited circumstances are genertily dealt with more leniently.) Think independently. Learn this, at least.. Don’t be forever quoting your former teachers as to what they used to do. Pupils come to you for music lessons— not for a recital of your experiences. When you discover a certain piece that stimulates interest and produces definite results be sure and tabulate it—its name, grade, composer and publisher. Keep adding constantly such pieces of specific merit and in time you will have a most valuable list. This is important. A neat, clean appearance is a most valuable asset in your profession. Pupils expect this of you, and justly so. The long-haired, slouch-hatted, baggy- kneed musician of the past is buried with the past. Peace to him, but don’t imitate him!

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THE ETUDE (eS aa Wbtcwcsstsecencsslead a péansetibdeasars gear seititisisea same eee amen “Corer eee 699 UT a MTT Se SS Se SS See ee ee | ‘The Building of Music A Practical Lesson in the Principles of Musical Form Especially Written for THE ETUDE By FREDERICK CORDER Professor of Composition at the Royal Acodemy, London I HAvE often said that the general idea of music- making is that the composer.is a kind of pump, of which the Creator works the handle and a stream of music flows forth. There is not an atom of truth in this view. Music, good, bad and indifferent, is consciously pieced together from tiny scraps, just as a beautiful cabinet is pieced together from pieces of wood, but very much more simply, and the most unintelligent and souiless person on earth can learn to do it with- out ever knowing much about it, provided he has the power to realise and remember sounds. The words I have italicized define what is meant by the musical faculty or “gift.” There comes to me a never-ending stream of music- students saying helplessly, “Please, won’t you tell me something about Form?” “Certainly,” I say. “What is it you want to know?” “Oh, well, I don’t know anything at all about it, and in my exam., you know, there is an awful paper with all sorts of questions about Binary and Ternary Form—what do they mean by Binary and Ternary?” I groan in spirit and thcn proceed to expound this simple matter, when the stu-_ dent is surprised to find that she knows all about it already, and it is, only those hateful, technical terms that keep her in a state of fogginess, from which she will never escape. For the female student, however clever, never did and never will realize abstract terms. I once wrote an elementary text-book, called The New Morley, in which I surveyed the whole field of musical grammar without the use of any unfamiliar words. It was felt to be a great boon to the begin- ner: can we not survey the process of music-building in the same simple manner? Let us at least try. Here are two familiar tunes. Hum them, or play them over until you realize that the one was made to fit a verse of two lines and the other for a verse of three lines: Mid - pleas-uresand pal - a-ces er so humble, there’ no nb placellilee home. roam, Beit ev Oh, where! and oh, where! is your High-land lad-die gone? He’s gone to fight the foe, for King George up-on the throne;and it’s oh! in my heart, how I wishhimsafeat home! A tune (or piece) that divides up into two halves | is called Binary, and one that has a first part, a sec- ond part and the first part over again, like our second quotation, is called Ternary. ‘The words Two-part and Three-part would be much better, but unfortu- nately the word “part” is employed in another sense in music. Now the building up of all dance-tunes (which are the fuundation of all music) was, in early days, Binary, simplicity. being the chief requirement; but if a dance went on for long the music was found to be insufficient. The obviotis way to remedy this was to have two tunes, and play them alternately. This was done, and it was soon found that it was nicer to leave off with the first than with the second of the two: thus the principle of recapitulation, the most important principle of music-building, forced itself on people’s minds. ous kind of music than this. Observe that the Bluebells of Scotland tune has to have its first part twice over, or it wou_d sound lop- sided. Amateurs who do not remember the sound of what they have played, but only the bit they are just playing, always dislike repeats, and omit them if they can. Their instinct is to “get through” the piece, and they look upon a repeat as a mere hindrance. But if the composer is smart enough to realize this and have his piece printed out at length they never dream of shortening it. Now, why does the musician feel it necessary to avoid the -effect of lop-sidzdness in music? Simply because he has two arms and legs, and his heart has a two-fold beat, so that he cannot move or live with- out Nature drilling into him the one—two, one—two perpetually. And although the worthy monks of old (who were the first to cultivate music as an art) de- clared that the triple time was Perfect Time, because it symbolized the Holy Trinity, and Common Time was Imperfect, Nature contradicted them, and every- body, both then and now, could not but feel that wo—four—eight and sixteen were the normal and natural ways of multiplying beats, bars and phrases in order to build up music. But you must remember that an Art is different to a Science;. we do not want to be always logical and mathematical. Hence the abnormality of triple time is far from displeasing; the building up of a piece in irregular portions—especially where these are large— is even preferable to real symmetry. Such a simple tune as God Save the King! (America) owes much of its dignity to the six bars of its first half, and the Austrian Hymn is also removed from the common- placeness of the Russian Hymn by being made in three four-measure phrases. On the other hand, La Marseillaise is of such a complex rhythmical structure that, vigorous as its melody is, the ordinary person finds a great difficulty in remembering it correctly. The Rise of the Canon The making of a perfectly symmetrical tune like Home, Sweet Home! was therefore looked upon as too mechanical and obvious a task to be called Art, and from a very early date composers—especially the monks, who were for long the only practitioners— sought for means to make a more subtle and continu- Probably the earliest device was that of Canon, the singing of the same melody by two voices, one starting later than the other. The extreme difficulty of making them fit in passable harmony for more than a few measures prevented this device ever becoming popular, but the earliest known composition we have—the famous round, Sumer ts icumen in, which is believed to date from about 1350—is in this form. A more practicable variation -of the same device consisted in writing some tune in very long notes—so long that the tune became unrec- ognizable—and building music in- much shorter notes upon this ground work. Masses for the church were always thus written in the Middle Ages, but they seem to us devoid of any musical interest. This led the way to a kind of vocal music, chiefly secular, called the Madrigal. This consisted generally of a medley of canonic imitations ever desisting and recommencing. When effected with skill this was delightful to the performers, though less so to the audience. At last, about 1550, when instrumental music came to be wanted, a new style of thing was demanded. At first madrigals were played, but this kind of music, bereft of the words which dictated the component phrases, seemed rather pointless, and composers turned with more success to the primitive dance-tunes, dressing these up in various ways.: Naturally they sought to disguise them, in order that the interest should be transferred from the tune to its writer, for that is the ‘corresponds with Homie, fixed idea of the composer. If you will look with a technical eye (and ear) into a suite by Bach, Matthe- son or Couperin, you will find that this so-called set of dances has as little of the dance as possible. There is first a Prelude, which is just aimless extemporizing of nice passages, then a Couwrante, or Coranto, which was the name of a lively dance, but. is here generally a piece of tangled rhythm and slow movement. Another, called an Allemandc, is more curious. still. There was once an early English dance called an Almain (German) and this, being entirely forgotten, its mere name was taken and applied to a little move- ment, the only character of which was that it was in common time and as unlike a dance as possible, thus affording the needed contrast to the comparative trivi- ality of the other movements. The Sarabande, the Gavotte and the Minuet were allowed to remain pretty much like their prototypes. Then there was sometimes a thing called an Air, which tried to belie its name by having no _ recognizable theme, and the usual finish was a lively movement called a Gigue, which was founded upon the still pop- ular Engiish Jig, cleverly disguised by being turned into a kind of /ugue—that is with the parts chasing one another somewhat after the fashion of a Canon, and thus obtaining more continuity than the other movements could achieve. Remember that no one in particular invented all this, or laid down any rules concerning it. Musicians simply copied one another’s procedure unthinkingly, only one clever soul now and then venturing to make a daring experiment. And it is only the names of the innovators, ancient or mod- ern, that survive; the rest had their day of popularity and were forgotten. This went on for about a cen- tury, the dance element constantly dwindling and the preludial or ornamental element improving, until the Suite was gradually transformed into the Sonata, or Symphony. The idea of a set of pieces in different character survived, but as the possibilities of instru- mental music grew the separate movements got ever bigger and bigger until Beethoven developed them to such an extent that the Sonata had to be reduced from four movements to three, and eventwo. But each move- ment still retained,and always must retain the outline of one of the two tunes we have quoted above; if you have ever such a lot to say you must say it—get away from it—come back to it; you must have one portion of your material in one key—another in a related key, and on. the repetition have both in the starting key. All abstract music must, in the main, conform to this natural law of shape, though, of course, the details may be infinitely varied and are hardly alike in any two pieces, except of the lowest class. Every instru- mental movement of any importance, then, takes the following shape: Introduction (perhaps). First portion of material. 7 Second portion of ditto in a related key. (All this except the introduction used to be repeated, but is seldom so now.) Middle section, vague. First portion over again. Second portion ditto, but now in same key as fiat: Now, would one call such a piece binary or ternary? As far as the statement of musical material goes it Sweet Home! but the entire piece is certainly on the same plan as The Bluebells of Scotland. This is where these well-intended tech- nical terms seem to me insufficient. Such a movement is, in point of fact, spoken of as binary, and a smaller piece, such as a Minuet and Trio, which consists of two little Home, Sweet Homes played thus—A, B, A— is spoken of as ternary, yet the two structures are identical. It seems to me as if these insufficient tech-

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700 nical terms were invented merely to worry examination candidates. Say to yourself rather, there is only one musical form; that of a sandwich. Musical Scrap Books Pieces of music called Fantasias or Pot-pourris are generally not pieces at all, but musical scrap-books; a series of tunes (operatic generally) connected to- gether by a few display passages. The Hungarian Rhepsodies of Liszt, made on gipsy melodies, are the most :inportant examples of this kind of thing. It nearly always sounds scrappy and unsatisfying, be- cause of the lack of connection in the ideas. The only other form possible for a piece of music is the Rondo, which is a double sandwich, thus—A, B, A, C, A, B, A —C being an extra portion of musical material. Applied music, such as vocal and dramatic mus’*, would naturally be written with less regard to fo1_a than to the words to which it is attached; but in the wildest scenes of Tristan or Gétterdimmerung you will find, if you look closely enough, that the natural laws are never wholly disregarded. Even in the freak music of what are called “the moderns,” where tonal- ity, melody and cadences are all abandoned, there is always a return to what the writer did at first, how- ever disgusting. About thirty years ago, writing on the subject of the future of the symphony, I pointed out that Wagner’s Siegfricd Idyll, then a novelty, was likely to become a type, and that in years to come the symphony would probably be largely superseded by viv- idly descriptive pieces of one movement only. This has come to pass, not only in the symphony, but in the sonata, in spite of the fact that even an educated lis- tener finds it very difficult to listen to a “potted” sonata with four movements—Allegro, Andante, Minuet, Finale—boiled down into one. In order to comply with the irresistible law this involves repeating much of the first movement in the Finale, and the strain upon one’s memory is apt to prove greater than we can bear, inducing weariness instead of pleasure. Although nothing ever really goes back, I clearly foresee that the next change in music must be a reversion to an earlier type of rhythmical melody and a temporary abandonment of the elaborate structure which, in the works of the genuine composers of to-day is being found well-nigh impossible for the ordinary ear to grasp. The present popular craze for nonsense-music is, I think, the natural result of this over-elaboration of musical architecture. The Coda I have tried to write the foregoing as tersely as possible omitting many important branches and side- tracks for the sake of clearness, but on reading it over I find the end needs rounding off. So it is in music (and in sermons); one needs to chew the ker- nel of one’s subject a little before it can. be made digestible. This “finally and in conclusion, my breth- ren,” is called the Coda (Italian for “tail”—used in the sense of postscript) and is a feature in all good musical composition. The early writers did not em- ploy it, and real dances had no use for it, but it gradu- ally invented itself and became ever more and more important till now it is the most essential part of a work. The more smooth the course of a piece of music has been the more we feel the need of a rous- ing climax to finish with. Exactly how this is con- trived would be too technical a matter for me to explain to you, but if vou have ever heard the tran- scription of the Hungarian Rakocsy March, introduced by Berlioz into his Damnation de Faust you will have a clearer idea of the dramatic and sensational value of a coda than any words can give. One seems to be pelted—bombarded with fragments of the several tunes in the march, and at the same time this perora- tion is cunningly devised to portray a furious battle, so that when we reach the end our imagination has been stirred far more than by the bulk of the piece. So, in the present essay on music-building, whatever impression my review of the art may have made upon the reader, I want to take him by the button as I utter my last words, and assure him that unless he teaches himself to listen intelligently to music and to analyze it as it goes along he is losing the better part of what that music tries to tell him. It is difficult, but well worth while. Also, he must teach himself by con- sciously training his ear to recognize cadences and keys which are the roofs and walls of a musical strue- ture; without a perception of these he is like an unedu- cated tourist in a cathedral, only bored by the mani- fold beauties by which he is surrounded, and wonder- ing which is the way out. - THE ETUDE The Self-Help Road to Success in Music THE remarkable development of English music dur- ing the last two or three decades is due in no small measure to two men who “self-helped” themselves to success. These two men are Sir Edward Elgar and Dr. Henry Coward. Of the two careers, however, Dr. Coward's is by far the most instructive; for Sir Edward [-lgar was blessed from the start with that rarest of all gifts, creative genius. Given determination, industry and a suitable musical environment, it was inevitable that Elgar should rise head and shoulders above his plodding brethren. Coward, however, is a man of different stamp. Musical creative genius he has not, and he never acquired the skill to play any instrument decently. The quality of leadership he has to excess, however, and a fiery zeal for music. These qualities are responsivie for the fact that he is to-day leader of the Sheffield Choral Society and the recreator of the best traditions of English choral music. He is cer- tainly the greatest chorus leader in England and prob- ably in the world. Few of us are blessed with creative musical genius of a high order, and the Elgars among us can be left to take care of themselves. The more homely virtues of Henry Coward, however,are possessed in some degree by most everybody, and it is instructive to observe how he has used them to elbow his way to the front. He was left fatherless at eight, and was obliged almost at once to earn his own living in the Pittsburgh of Great Britain—Sheffield. He was apprenticed to the cutlery trade, and it is significant that he made a success of that. When he was twenty-two years of age he had to decide whether to go on being a well-to-do master cutler or to be a school teacher at a salary of $100 a year. He became a school teacher—and this in spite of the fact that his early education had been neglected. “A period of almost incredible toil began,” says J. A. Rogers in his biography of Henry Coward. “When he left the workman’s bench to serve for three years as a pupil teacher he could not decline a noun, or work a ‘sum’ beyond long division. It may be realized, there- fore, how much leeway there was to be made good. He set aside five hours a day for sleep, rising at five A. M. in summer and six in winter, to study before leaving for school. He won a science scholarship at South Kensington, of which he did not avail himself. Other local certificates (Cambridge) were also taken, all being done in minimum time. He read voraciously Only an abnormal brain and body could have stood the strain.” Very soon success came in this career, and he had the good luck to tumble into a “soft snap’—the headship of the “Free Writing School,” with only sixty scholars and a salary of $1,000 a year. But what of music? Music from the start claimed him for its own, but Henry Coward recognized with the good judgment which is in no small measure re- sponsible for his success, that his work-stiffened hands were ill-fitted to enable him to win honors as a pianist, violinist or other instrumentalist. Neither was he en- dowed with a voice. Yet this man, who is neither com- poser nor performer, is one of the most brilliant musi- cians of the day. A paradox! Before Henry Coward was twenty, the Tonic Sol-fa movement was coming to fruition, and he recognized_ that in this lay an opportunity to become a teacher and conductor. He accordingly set to work to master the subject and to teach it to others. A lifelong friend and pupil of Henry Coward gave Mr. Rogers the fol- lowing description of how Coward made a beginning along this line while he was still a cutler’s apprentice. “The youth started teaching in the dungeon-like room underneath Queen Street Chapel. His method of teach- ing was of the lightning order, and there was always a stock of dynamite on hand. The amount of modula- tor work we did was awful, and would have killed anv- one less enthusiastic than teacher and scholars were. The way we schah-lahed up and down that modulator, worked at time exercises, listened to mental effects, got pulled up in the middle of an exercise, and were da- capo-ed back to the start are memories that haunt one still.” When in 1887 there was a “shake-up” in the educa- tional field, Henry Coward lost his position as head- master of the Writing School, which, in fact, was abandoned. He determined to become a professional musician. It must be made clear, however, that his ahility as a conductor and leader had already made him known in Sheffield. He had in 1876 formed a choral body, known as the Sheffield Tonic Sol-fa Asso- ciation, which afterwards developed into the famous Sheffield Choral Union, often spoken of as the “Sheffield e a Choir.” He had also done much musical work for school children choirs,: formed an amateur orchestra, etc. So upon losing his post at the school he determined to take the best musical degree open and to make a success of music. In an incredibly short time he got the Oxford degree of Bachelor of Music, subsequently gaining the Doctor’s degree. Once more his faith in himself. was justified. He soon established himself as a keen but kindly critic on a local newspaper, and in addition was in request as conductor, teacher, lecturer and examiner. Before long he became nationally known, and to-day, thanks largely to the tour of the world made by him and the Sheffield Chorus, he is an international musical figure. He has put choral conducting on a new basis. Thanks largely to his influence the old-fashioned English chorus, year after year plodding in a dull, mechanical way through The Messiah and Elijah, is a thing of the past. In its place is the modern plastic body of singers capable of singing—in fact, calling into being—the exacting choral compositions of such modern English comnosers as Edward Elgar, Granville Bantock amd Walford Davies ; compositions that are intensely dramatic in fceling. What are the factors of success that carried this boy onward and upward from the workman’s bench to the conductor’s rostrum? First of all comes the dynamic force of the man in whom physical strength and men- tal balance are united to an extraordinary dezree, Then again, his courage. He never feared to tackle any undertaking that he felt capable-of mastering; and he never feared to leave the safety and comfort of a present occupation for something that offered a better prospect to be won only with toil. When he was preparing his choir for its world tour he compiled a booklet for the guidance of the mem- bers. In this booklet occurs in bold type half a dozen times the sentence ‘‘Method is the Secret of Success’”’ And it is surely to this that Dr. Coward owes much of his preeminence. One incident will suffice to show how thoroughly he carried out this principle. While he was on tour in Germany with his Sheffield Choir he received the information that he had been appointed to the coveted post of conductor to the Leeds Choral Union. “To celebrate the occasion,” says Mr. Rogers, “he invited a small party of traveling companions to dine with him at an open-air café. From time to time he was seen to take out a paper from his pocket, glance at it for a few moments, return it, and then join in the conversation, At last one of his friends asked what he was doing—if it was the multiplication table he was studying. ““No,’ replied Dr. Coward, ‘it is a list of the names of the chief officials and committees of the Leeds Choral Union (some forty in number). I am memoriz- ing it so that when I get back and am introduced to various people there I shall know something about them and their position in the society, People like to. think they are already known, if only by name,’ In jest someone offered to hear his lesson, and he agreed. In that short time he had thoroughly memorized all the names and initials of his future colleagues.” And the lesson for you and me, dearly beloved brethren, is that he not only learned the names of his future colleagues, but that he had a list of those names to hand in case he was appotnted to the post. A case of preparedness! Overcoming Stage-Fright As a rule teachers do not fully sympathize or try to aid pupils who are overcome with nervousness when playing in public. I think it as essential to improve this as any point in teaching, for no nervous pupil does justice to himself or teacher. The fol- lowing plan has proven most beneficial, as well as pleasant: Once a month eight or ten pupils are called to- gether for an impromptu recital, requesting each to bring a member of his family or a friend. At these recitals each pupil plays the last solo piece worked up—sometimes a duet or trio is ready—and varies the program. To the pupil showing most composure —regardless of age or grade—is voted a prize— either a musician’s photo, musical or poem booklet, a pot-plant, box of candy or some such inexpensive gift. It has not only benefited them in gaining con- fidence and easy manner, but keeps them upon solo work, as they do not know just when they may be called upon.—W. B. C.

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53 THE ETUDE Se reas a = — FI |IIIHIIIIAAIITITALTAUTA AE tse 701 . Common Sense in Pianoforte “Touch and Technic ° The Distinguished American Composer-Pianist To say that Common Sense is the most uncommon sense that we possess, is to repeat, not only what mumerous writers have expressed in language of vary- ing intensity, but to echo the thoughts of every one of us who work out art problems of any kind. It is so easy for us to learn formule by heart, and then attempt to solve each question that arises, by applying some hard-and-fast rule, instead of using our common sense. This most uncommon attribute, if called into play, should teach us many things about art upon which we need to dwell. For instance, the use and abuse of technic. And by abuse I mean the applica- tion of the hard-and-fast rule on all occasions. Surely common sense would suggest that different emergen- cies require different action, and that one’s technical equipment in any art should be sufficiently elastic to allow free adaptation in whatever direction our tasks lead us. Especially should this be true in art which is of necessity so closely dependent upon mechanism as is the art of pianoforte playing. The instrument contains within itself so many aspects of the mere machine, that we ought continually to strive against adding further to its unyielding qualities by the impo- sition of a rigid technical employment of them. Of course, we must have technic, and plenty of it. In order to express our own thoughts, or adequately those of others, we must first acquire a sufficient com- mand of language. This, in relation to the art of pianoforte playing, means command of technic. I hes- itate to repeat the trite statement that, without ade- quate technic, it is absolutely impossible to express in all its fullness the meaning of any composer or com- position. In the face, however, of the incompetency which so frequently meets us, it seems wise to repeat, and again repeat, the maxim that “a good workman is master of his tools.” A diligent practice of octaves, scales, trills, exercises, of whatever nature seems most necessary for the individual development. or the correc- tion of individual faults, a firm grounding in all the preliminary requirements of good pianoforte playing,— all ‘these must be worked out according to the indi- vidual needs, under the guidance of some teacher gifted with “common sense.’ And we have many such right here in our own country! It is not neces- sary to go elsewhere to find as good foundation-work as may be found in the world. Not.until the pupil has reached the stage of near-virtuosity should it be found wise to leave home and home influences in search of wider culture and experience. The Use and Abuse of Technic Now, as to the use and abuse of technic and the hard-and-fast rule. Many times I have been asked by apparently intelligent students whether I play oc- taves with a loose or stiff wrist. It always seems to me as if one should ask, “do you use a knife or a spoon in eating?” Our old friend, Common Sense, rises to explain that, in a half-dozen octave passages, each one expressing a different musical or emotional idea, precisely six kinds of octave playing would be necessary. Again, the matter of chord-playing in passages of great force brings up several questions as to whether it is “right” to play the chords with the pressure touch, to pounce upon them from various heights above the keyboard, or apparently to throw them up in the air as if the keys were red-hot. What should Common Sense teach us about this, and all other similar prob- lems? In order to produce perfectly even tones at great speed, how should one finger the “rheumatic scale?” (This from a pupil whose teacher recently Mrs. H. H. A. BEACH gave me her mournful confidence.) Which fingers should we use in the trill? How much hand or arm movement should be used in playing the successive notes of a /egato melody? There can be but one answer to all such questions. We must adapt the method used to each.separate phrase, according to its musical and emotional significance. I use the words “musical and emotional,” for each must have its place in our study and yet they belong together, It is only by mastering both that we suc- ceed in eliminating the mechanical elements in piano- forte playing. The Musical Meaning Having acquired the technic necessary for the inter- pretation of whatever grade of composition we may be considering, we come, first and foremost, to the ques- tion, “What does this music mean to me?” Is it merely a placid salon-piece, or does it bring sugges- tions of deep earnestness or heart-rending tragedy? This is taking us into deep waters, I know, for we bring up many strange and unaccountable associations of ideas when we attempt to describe what music “means.” : The placid salon-piece generally bears its label in plain sight, and can be disposed of in few words. Usually its technical requirements are comparatively simple, and it matters little whether we employ one touch or method or another in any given passage. It is when we cross the threshold of the Temple, and enter into the atmosphere of music that has meant a part of some composer’s very life, that we must pause and search with all our faculties alert. Analyze this human document, study it over and over, from begin- ning to end, and try to discover what kind of message it brings ‘us individually. If the piece appeals to us, its meaning comes out gradually under the developing fluid of our repeated analysis, until the picture takes shape, and-we can then begin to think about coloring it according to our personal inclinations. Then, scalllill IIlleZe COC HI TO TOT HOC ar ( i TUOAHUTUGUVEHUTOUOOHUTUOGNHUTTTOTONIOUTUUTUOTNOTOTITONOTRTTONTITTUCAALL vile a aT })/ 7) AAU OP x AY 4 O44, Us a SSSR ERS Mrs. H. H. A. BeEacu. 2 ote and only then, comes the time for attacking the tech- nical problems with the means best adapted to the solving of each separate one. There are so many interesting points connected with the study of a composition new to us. The develop- ments of the main idea, its various harmonic and rhythmic changes, all the subsidiary phrases that serve to enhance its importance, where the climax occurs, (if the piece contains one) where that climax begins to work up, etc. It seems as if we should be swamped by so much that must be considered before we begin to employ technical means for the expression of musical and emotional details. A new composition re- sembles a picture puzzle, and sometimes seems about as unintelligible as the latter when the colored bits are tossed out onto the table. Yet we can patiently put the bits together into a cohesive whole if we con- fine ourselves to one difficulty at a time. Some of us are able to read through a composition quickly, away from the instrument, as we read a book, and can thus get a good idea of the music or even learn it before taking it to the piano. There are numerous anecdotes on record about great pianists and their feats in this line. A notable one is that of Von Bitlow, who, while traveling one day by railroad, studied a very difficult manuscript which he had never before seen, and, committing it to memory, played it that same evening in a concert. Naturally such feats can belong only to great musicianship, but the analysis of compositions away from the keyboard can be made a regular study with valuable practical results, and considerable ability, even in memorizing, can be ac- quired by patient and persistent work. A Practical Application Let‘us take up briefly three well-known examples of modern music, differing widely in character, which may serve to illustrate many points that we have been considering. First, Rachmaninoff’s Serenade, Opus 3. At first glance this looks like a simple piece in waltz form, graceful in the outlines of its phrases and with no complicated development. No exciting climax is suggested; rather, a monotonous repetition of slight changes in the main idea. After the introductory page which merely hints at a figure of the principal sub- ject, the Tempo di Valse begins. The theme suggests the viola in character as well as register. Indeed, per- haps we may better understand the entire piece by imagining it as written for orchestra, so suggestive is its orchestral coloring throughout. The accompani- ment might be for piszicato strings, with an occasional background of soft. wind instruments. The viola theme is easily traced as it permeates the whole com- position, with comparatively slight changes. It is accompanied by a simple waltz figure played sometimes above, sometimes below the melody. The | harmonic changes are strangely Oriental in their sug- gestiveness, and the persistent organ-point on the third and dominant seventh produces an effect of indescrib- able melancholy. It hints of Oriental mysteries, of indefinable longings. I know of no instance where this latter most unusual chord-note is employed as organ-point for so long a period. Tschaikowsky’s use of the third as organ-point (Pathetic Symphony, second movement) produces a a a8 7 wo "3 38 4 ate eT ig yx ( BO eA TRS oA) fossil wi

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702 similar effect of melancholy, unrest, emotional exhaus- tion. Are these unusual uses of the devices of organi- point peculiar to the Russians? The question opens up interesting possibilities for discussion and comparison. To return to our Serenade, the viola continues its mournful song, after a short codetta, in a rather more impassioned phrase, thrice repeated: This brings us to the only suggestion of a climax that the piece contains. It is short and unimportant, for the first hopeless melancholy is at once resumed. The melody now lies in a higher octave (the oboe?) against the alto of the viola. The Serenade ends simply, with a repetition of the little codetta. Now it may seem as if I had made “much ado about nothing” in selecting so comparatively simple a piece’ for minute study in piano technic, when its technical demands are apparently so slight. There is certainly nothing sensational here, but as to its being such an easy matter to bring out all the charm of this little gem of pianoforte literature, there may be several opinions. The melody gives opportunities for a sing- ing tone of ineffable beauty and variety of color, while the accompaniment must be worked out until it is as delicate as a cobweb. As for the emotional significance of the piece, and its effect when well played, let any well equipped, sensitive pianist experiment with it and discover ! | For an example of the climax and the working up to it, I know of no better instance in modern music for the pianoforte than Sgambati’s Nocturne in B minor, Opus 20. It is a bit of real Italian life, as it might be portrayed in a miniature opera. In its most impassioned moments one can almost see the tenor advance to the footlights and make his unfailing ap- peal to his ardent listeners. We need not enter into detailed description of this piece, another gem of rare charm, for its character is so unmistakable throughout that one could hardly go wrong in its interpretation. The contrast between its two themes is marked, and demands like contrast in the playing. I remember that, when I had the great and often repeated happiness of piaying this Nocturne in the dear old composer’s presence (some years ago in Rome), he cautioned me against playing the second theme too fast. I have among my treasures a copy of the work in which he added with his own hand several changes in harmony and dynamic marks, that he had made since it was published. I may add that the more dramatic expressiveness I put into it, the more he was pleased. Technically, its difficulties lie mainly in the production of the two kinds of singing tone demanded by the two themes, and in the force- ful playing of the chords and octaves at the climax. One more illustration, a gem which we all know and love, Brahms’ enchanting transcription of an old Scotch Lullaby. in his group of pieces, Opus 117. Here again we have a singing melody, perfectly direct in its ap- peal, simple in its musical form, In this case, the greatest technical difficulty lies in the fact, that the melody often runs throygh the middle of chords, like a golden thread through beads. It must. be brought out with sufficient prominence against the surrounding chord-tones, and yet it must sing. To do all this with one hand is not easy. On the emotional side, Brahms has changed the entire character of the little melody by the-insertion, between its two occurrences, of a second section built on different melodic and rhythmic ideas. The black tragedy of this interlude adds a new pathos to what at first seemed.a simple lullaby of rather placid character. When this returns, although the notes remain the same, it is hard to recognize it as the same melody. It has become intensified by passing through the valley of the shadow, until it glows with a deep spiritual radiance. Now what has technic to do with all this? Every- thing. These three pieces, none of them demanding great virtuosity, must be played with as different a touch as if we played them on three kinds of instru- ments. Each one has its own story to tell, and the technic must be suited to the telling. Here we come to the real value of technic: a means of expression. How often do we hear a comparatively simple com- position so buried beneath the avalanche of a stupen- dous ‘technical display, under the hands of some virtuoso king, that its true character vanishes! If technical command be analogous to command of language, we are here reminded that “language is given to conceal thought.” Many pianists might study, to THE ETUDE their inestimable benefit, the interpretation of songs as given by the greatest singers in the recital pro- grams of to-day. Each song is a complete drama, be it ever so small or light in character, and no two are in- terpreted in the same way. Even the quality of the voice may change absolutely, in order to bring out some salient characteristic of the composition. Technical perfection. may indeed be there, but so completely subordinated to the emotional character of the song that we lose all consciousness of its existence, Adapting the Means to the End It is this power of adapting means to ends, that distinguishes the greatest pianists in like degree. The ability to make each piano piece, whether a master sonata or a simple nocturne, into a life-drama carry- ing the hearer along a torrent of emotional intensity while the brief story unfolds itself, belongs only to the very greatest among them. .Who thinks of the technic while De Pachmann plays a Chopin Mazurka? He may be doing wonderful things in touch and technical detail, but it is our hearts that respond to each motion of his hands. Imagine stopping to con- sider technic when D’Albert plays a Beethoven sonata, or Gabrilowitsch the G-major conerto, or Carreno the Emperor, or Paderewski—anything when he is at his best! Technic is like.most of the important things in life; a power for good or evil. It must be the servant, not the master, of our musical equipment, ready to re- spond at all times to whatever.demands we make on it, and equally ready to illustrate the idea that the greatest art conceals art. If we play each musical composition in such a way as to make it a well-rounded entity, symmetrical, fully deVeloped and beautifully colored, we shall do much toward removing the stigma cast upon the pianoforte as merely a mechanical instrument. And if we bring out the emotional side of that com- position in such a way as to make it tell a story, we shall do even more. Do we pianists like to hear people say “No, I never go to piano recitals. . They are so monotonous that they bore me to death?” Then let us make every effort to play music that is not monotonous with so much expressiveness that each piece sings; with a due regard to the proper arrange- ment of our programs so that every work may be “hung on the line” and yet not “kill” its neighbor. Our noble instrument with its marvelously rich literature, will respond bravely to our love and devotion, and exercise its real power over its hearers, whether we play octaves with a loose wrist, or not! Some Facts About Pitch THE tuning fork, for determining pitch, one of the most important factors in musical acoustics, was in- vented in 1711 by John Shore, a celebrated English trumpeter, who played in Handel’s orchestras. It was later developed to a more cxact and scientific degree by Rudolph Kecenig, of Paris. While the number of vibrations per second of the highest tone commonly used in music is 4138, it is con- sidered that overtones with frequencies of 10,090 or more enter into the composition of sounds used in music and speech. The standard pitch to which musical instruments should be tuned has greatly varied from time to time. In the days of Handel and Mozart the A (violinist’s A) of the keyboard was as low as 422 vibrations per second. The modern American Concert Pitch of A is as high as 461,6—a condition which has proved a great strain for artist and instrument alike. Some vears ago a committee of the American Piano Manufacturers’ Asso- ciation investigated the matter and decided to adopt the so-called International Pitch. A—435. A sim‘lar conven-' tion of physicists established it at 440. Whi'e very little difference is practically existent between the two figures, the lower one is now almost universally re- garded as the most sat'sfactory figure, and piano owners should see that their instrurvents are tuned at A435. This is variously known as “low pitch,” “International Pitch” and “Diapason Normal.” It is wise for music teachers to possess themselves of a tuning-fork for A at 435—International Pitch. Tuners of the less responsible kind are sometimes apt to tune a piano below pitch when it suits their conven- ience. When this is done it is hard for the next tuner to restore the original pitch, and still harder for the piano to maintain it. When the musician has a tuning- fork handy he can test the tuner’s work for himself. Why Should I Study Theory ? By Harvey B. Gaul Tue other day I happened in a friend’s studio just as a girl pupil was departing. He, the teacher, was telling her about some reference books which would be helpful for a fuller comprehension of Brahms. Among other things he suggested a book on theory. As the pupil was going out, she said: “Why should I study theory?” : The question was guileless and took the teacher by surprise. He looked at her, smiled, and. said: ‘Why should artists study anatomy, or school teachers psychology? Simply because those studies are indispensable for a thorough equipment in their professions. Next Tuesday,’ continued he, “I will tell you in detail why you should have a working knowledge of theory, providing it doesn’t dawn on you before.” Many pupils must wonder why they should study theory. Theory to many a pupil must be like Latin to school children, a study which they think appar- ently useless.. In school-boy phraseology, ‘“What’s © the use?” If theory does nothing else it assists, as,does a college education in the training of the mind. The reasons for studying theory are manifold and incontrovertible. First: Theory will give you a discriminating mind, which is as essential in music as in literature. When you listen to music you will do it in a critical and understanding manner. You will not carp, but comprehend. Second: You will know why you like certain kinds of music and why you dislike others, which is as necessary as knowing why certain pictures have an “appeal” and others have none. Third: It will enable you to look through reams of music, and to choose the wheat from the tares, as you choose the good from the bad drama. You will know why certain pieces contain advantageous teaching material and why divers other pieces are empty and unprofitable. Fourth: You will be able to judge a true com- poser from a musical constructor, 7. e., one who has a message and not merely an imitative faculty. You may readily believe that composers who have something worth while to say are not too numer- ous. They are quite as rare as real poets. Fifth: It will aid in your interpretation of music and that is the summum bonum of the whole thing. You will know why such a piece should go thus and not. thus, because you have knowledge and the traditions, and know how and why a piece was written. Sixth and Lasily: You are not a_ well-trained musician “unless you have a thorough knowledge of music, and music is not merely playing the piano; it, like every other art, has its theoretical features. One cannot be a good actor unless one knows why people, under certain conditions and circumstances, do certain things. One truly cannot be a _ well- trained musician unless one knows al] the condi- tions and circumstances. Theory is an inclusive study; that is, it has many subdivisions. They are harmony, counterpoint, fugue, form and history. These, beside an execu- tive technique, form the modus operandi of music. Harmony is the grammar of music, and is useful every day; counterpoint is the rhetoric, and is nec- essary; fugue is syntax, and without it we cannot arrange nor analyze; form is composition, and is essential to thorough appreciation; and _ history, well, history is history. If we would know the story of music as the story’ cf peoples and nations, we must learn the story of. music. Some pupil may say he or she lives in a small town where there is not a teacher sufficiently ad- vanced to teach theory. What of it? There is still the public library and there are many reliable text- books and “ponies” which will at least give some insight into the study. To-day there is really no excuse for one claiming ignorance. Knowledge and opportunity are of a truth knocking at our doors. Tf one hasn't even recourse to a public library, there is, at least, the much maligned “correspond- ence school method.” Through the correspondence school the subsidiary studies may be learnt, and learnt well. If a dentist is not thoroughly prepared for his work unless he has a well-founded knowledge of medicine, how can a musician, and especially a teacher, be thoroughly competent unless he has eone through his theory from harmony. to. history? The answer is, he can’t. ee ea ee ee

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THE ETUDE ARESBDE==<s0e aa Semmes gp Ly wes ta [eSeHAAATT SE = Se SSL —— The Composer SS In 2 703 A Powerful and Fascinating Romance of Modern Musical Life CHAPTER I. _ “Jounny,” said Lady Caroline Pountney, “T want you to take me down to Warbor- ough House.” “Oh, I say!” said Johnny. It was not that he had any solid objec- tion, but the average young man of his set ejaculated, “Oh, I say!” on every oppor- tunity. And Johnny was a very average young man indeed. “Do, Johnny,” said his godmother, coax- ingly. ‘Lady Warborough made such a point of my going. And it’s so lonely here, in these wretched lodgings. London people are much too busy to spare a moment for an old woman with a sprained knee. I’d go by train, only I’m such a cripple.” “Well, if I must, I must, I suppose.” Sir John Holdfast resigned himself with perfect equanimity; rose and extended a broad, sunburnt hand to assist the lady in her effort to hoist herself out of her chair. He further supported her filially to the door, wondering as he did so, how any one afflicted with so much difficulty in locomotion could hanker to find herself in the middle of a distracted crowd. It was fun enough at Warborough if you could roam the garden with a pretty girl; but, to be able to get Lady Caroline from motor to tea-room, and from tea-room back to movor, it was as much as the most* sanguine could expect. “You’re a dear boy, Jchnny,’” said she, “and I'll leave your wife all my emeralds when I die.’’ Lady Caroline Pountney loved smart, good-looking young men, She loved Johnny with special affection besides—a_ childless woman’s regard for the only piece of*lusty youth that she might consider as belonging to her. The car duly wheeled in between the great guardant lions into the cedar avenue which is the most noted feature of Warborough House park. Sir John Holdfast, the crook of his cane to his lips, gazed contentedly out across the shadows of the avenue upon the golden green spaces beyond. <A curve of the road brought them in view of the terraces and the noble pillared house, <A vision bright with color; from the stone vases blazing with geraniums to the delicate tints of dresses and parasols in the shift- ing crowd and the subdued glory of the rose arches against the green lawns. A vagrant gust of music caught his ear. He felt an odd stir within him; something like the ting’e of éxcitement with which his blood was wont to greet the first cry of the hounds on a hunting morn, Lady Caroline, reminiscing beside him upon her initial garden party at Warbor- ough, rambled on unheeded: 7 lease “T was just eig rhteen and quite lovely, dear! When my.mother brought me up to Lady Warborough—that was the grandmother of the present man, Johnny— she just took my hand, and looked at my mother and said: ‘Je vous fais mon com- pliment!? And Dizzy was standing beside her, and he gaid: ‘A Titian dressed by Reynolds!’ He Johnny !” “Oh, I say,” said Sir John, ‘‘what a pretty girl !” The car had drawn up below the terrace steps; and over the balustrade a face had looked down upon him as they swept past. He leaned out—the open window was on his side, but the face was gone. A flash of bright eyes, a smile of red parted, eager lips; a face delicate and pearl-hued, illumined by that smile. MTonest Johnny, twenty-four, felt a little giddy as he flung his long, legs out of the motor. “Good gracious, child, what are you gap- ing at? Aren’t you going to help me down ?” There was some difficulty in getting Lady Caroline up the steps to where the hostess did | indeed, By the distinguished writers AGNES and EGERTON CASTLE Authors of ‘*T he Pride of Jennico’’, stood with her smiling welcome; but Johnny accomplished the task manfully. Lady War- borough, tall, gracious, still youthful enough to be known as young Lady Warborough in spite of her grown-up daughters, received them both as if the whole entertainment had been planned in their honor. Lady Caro- line was an old friend of the family; and Johnny was a cousin—indeed, he was cousin to most people—and something of a favorite besides, “No, Johnny, you must not leave me. My dear boy, you forget I’m a cripple—yes, Lord Hadersham, wasn’t it stupid? I twisted my knee at the Foreign Office reception, last month.” Ag a matter of fact, she had done the deed at Euston Station. But, if we are not pictur- esque in our so- |. cial talk, where are we? ‘‘Agon- jes, agonies ! — only for dear Count d’Hich- wald a (It had not been the ambassador in question but a benevolent porter who had picked her up; but let it pass.) ‘Yes, dear, I’m_ here. Isn't it wonder- ful? My godson brought me down in his car. He insisted. ORK You know Sir John Holdfast? —Yes, jOIO0r Amy’s son; he’s got her eyes, hasn’t he?—- Johnny, this is Mrs. Mauprat. Is your girl here? Yes, do have tea with us, Johnny, bring that chair for Mrs. Mauprat.”’ Johnny obeyed, but remained standing as if in absent - minded- ness. His eye was upon the open doorway, measuring the distance for flight, Mrs. Mauprat surveyed him a moment or two with an apprais- ing glance. She was a_ hard-fea- tured Scoteh- woman, the moth- er of a bevy of unmarried daughters and possessed a keen scent for eligible young men, While her hard eye roamed over the un- conscious youth, her mind revolved. “A fine old place in Yorkshire, a castle’ on the Border, and coal or something in Dur- ham. . . Where is that tiresome child ?—I told her to keep within sight!” “Sit down, Johnny,” said Lady Caroline, than Wagner. vivid character penned. anxiously. Then Mrs. Mauprat spoke. “Yes, Caro- line, I brought my second girl with me.” She looked round, as if expecting to find her at her shoulder. “Dear me, what can have become of her?—Sir John, you are standing up; tell me, do you see any one with a white muslin and a yellow sash on the terrace? You could not mistake her: I am positive she is the only girl in white muslin with a yellow sash here.” “My mother always made me wear white THE COMPOSER. The central character of this fascinating story is a great composer, a superman, greater The manner is portrayed in chapters of this romance makes it one of the most notewerthy pieces of musical fiction ever ‘“‘The Bath Comedy’’, etc. muslin with a blue sash,’’ began Lady Caro- line with much unction, “The first time I ever came to this place, Dizzy was here, Dizzy was standing just there beside our hostess—he was still Dizzy then. . te “Shall I go and look for your daughter?” eried Sir John with such alacrity that the harassed mother turned upon him, first with surprise, and then with a positively melting expression. “Look for her!’ exclaimed Lady Caroline from the midst of her reminiscences, with ex- treme tartness, “look for a creature he has never seen, in this seething crowd !—My dear Mary—-I don’t mean it personally, but what a wild-goose chase !”’ said her dear Mary, setting her countenance into lines of rigid firmness, “He can’t mistake her,” can’t mistake her,” echoed Johnny with extreme cheerfulness, “White muslin and a blue sash,”’ A scream of “yellow!” pur- sued him, just as a_ successful dive brought him out: of range of his godmoth- er’s extended hand, Negotiating the tea-tubles and the blocking groups, he reach- ed the garden terrace in safety. ¥ “Shecan’t run after me, poor old girl . and I haven’t got a sash tied be- hind, thanks be !” He drew a long breath. ‘George, what a_ stew!”’ Johnny ran down the steps. He had seen a large hat wreath- ed with pale ‘roses, beneath him, and plunged across theslopes ; only to shy away, with a friendly smile, from the eager greeting of a Yorkshire neighbor’s daugh- ter. He passed the beguilements of thestrawberry tents and the clashing appeal of the Hungarians: it was only when he reached the steps of the sum- mer-house and met an amused stream emerg- in which this succeeding ing from the contemplation of the pigmies . at tea, search. His honest heart gave a leap. She was standing somewhat apart from a group of laughing girls. Her voice had a full ring that struck John, Holdfast as extraordinar- ily different from any he had ever heard before; and its utterance was so clear and measured as scarcely to seem quite English, though there was no alien accent to be de- tected. Now that he could contemplate her at his ease, what struck him most about her were the black, straight-drawn brows, which, as she stood, frowning slightly, made almost a bar across the white forehead. She turned on her heel and set off by herself across the turf with a rapid free that he came sa the object of his Copyright MDCCCCXI by Agnes and Egerton Castle step. He noticed a flutter of primrose rib- bon from her waist. Her skirt, too, blown back by the swing of her passage, was, he saw, of some filmy white stuff, that might well be muslin. Was ever young man so favored by Fate? As he strode after her, he was conscious of an increase of that remarkable agitation— - mixed exhilaration, and something else. At the sound of his rapid steps behind her she stopped and turned round. Johnny took off his hat. “I beg your pardon,” he stammered, while the color rushed hotly to his forehead, ‘I have been sent to look for you.” “Indeed?” A smile came into those lumi- nous eyes that a moment before had shot such an unencouraging gleam at sight of his unfamiliar face. “She told me I could not mistake you f . that you were the only young lady with a yellow sash and white muslin.” “Indeed!” The girl lifted a fold of the diaphanous fabric that floated about’ her. “Are you sure she did not say chiffon? Come now, didn’t she?—She called it shif- fong, I daresay. So you thought muslin safer.” “Shiffong, of course, I should have said.” Fle corrected himself in all innocence, She laughed—and Johnny was a lost man. Johnny was on the. point’ of explaining, surprised, that he was the ambassador of a mother, not of an aunt, when the whole pitfall of the truth opened before him. He just saved himself from toppling in, by an unwonted mental effort. There were then at least two yellow sashes at Warborough this afternoon, after all! “FT rather think,” he said slowly and ‘sol- emnly, ‘‘she wanted me to bring you back to tea with her,’ The marked disfavor of the “Oh!” with which this announcement was received en- couraged him to continue. “Tea,’’ he repeated with emphasis, “in the hall over there. Such a stew°as you never felt! And everybody talking together, and standing in each other’s way!” His blushes had left him. ‘Your aunt,” he went ‘on, “has got hold of my old godmother—and once they’re got you, they'll never let you go; they’ll talk and talk and talk till it’s time to go.” “T will not accompany you baek to tea,” announced the young lady with great for- mality and decision. “I wouldn’t,” said the delighted young man. A mischievous light danced in her..eyes. “You'll explain it very politely,” she hinted. ‘‘Say I have had tea,” “Oh, I say!’ “What then?” A bold and brilliant idea flashed upon him. “Look here, do let me take you for a turn on the lake, Oh, I say, do! It is jolly. There’s a ripping canoe.” She hesitated, glanced toward the house, toward the straggling crowd; and then down the green glade where, between parted bushes starred with bloom, the waters glimmered. Then she gave a quaint nod, He helped her into the canoe; she laughed to feel into what a fragile bark she was trusting herself; and she had a little ap- proving smile to note his balance, and the mastery of his hand as he wielded the paddle and pushed off. Both. were silent for a while. He brought her jealously away toward the extremity of the lake into a solitude of still waters, patched with dreaming lilies, bordered with overhanging willows, mirroring a _ glorious sky. She leant her chin on her clasped hands, and looked out across Johnny into some distance far beyond the lake horizon, her eyes dark with thought. Johnny looked at her. She did not seem to mind that. Indeed it would have required ultra sensi-

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704 tiveness to find objection in a gaze at once so guileless and so earnest, Johnny was actually thinking hard—won- dering who she might be, whence she had come, i Vaguely he knew that her speech was different from that of his com- patriots. . ,She seemed on intimate terms with the Warborough set, if one might judge by the tone of the conversation out- side the summer-house. How was it that he had never seen her before? “A penny for your thoughts,’ he said at last, She started a little; frowned a little, and then smiled. “What would you do with them if you had them, I wonder?” Her tone was not in the least coquettish ; rather patronizing, such as the _ schoolgirl might use toward the schoolboy. “T’d—oh, I’d be pleased, and honored, you know—and I'd——’’ What the dickens was - Then face. 99 a fellow to say to such a question! he beamed all over his good young “T’d take awful care of them, you know, he said upon a humorous inspiration, She nodded at him amusedly. “I’m sure you would—wrap them up in tissue ‘paper perhaps—but you wouldn’t understand them,” “Tyy me!’ he cried eagerly. She shook her head. Wild Birds “No, no, There’s a poem I read once that says our thoughts are birds that come and go. Mine are wild-birds-——they fly where they like. Why, if I tried to catch one and give it to you, it would slip through my fingers and be gone, so far, so far!’ At her sudden wild gesture, the rocked, tended alarm, “do not throw me into the water. If you threw me into the water you would not know what you were murder- ing.” “Shouldn't i. jnee?”’ heat, and then sagely added: out ‘all ‘right.’’ “No,” she said, with a provoking look, “that’s just what you might not be wet to do. Oh, you might save my body, right enough, but not my soul! ‘Now I’ve puzzled you. ‘Take me back to the shore, at once. My soul is too precious to be risked in a cockle-shell that rocks if one moves one’s hands. Take me back!” she repeated imperiously ; and those eyes, of in- definable color, that seemed dark and light, as her mood varied, shot fire upon him now. The canoe rocked. indeed as he drew it to the shore and she stood up to spring out. He was not sorry for this, because he had to clasp her hand so closely; and even, at one moment, to fling an arm about her. “Whank you,” ghe said briefly, “It has been nice—-and not too long to be spoilt!” ’ She shook out her misty skirt, glanced down at a lichen stain, sirugged her shoulders ; and, one foot poised on flight, gazed back at him, “7 don’t even know your name,” she said. He lifted his hat: “fam Sir John Holdfast.” Then her sudden laugh broke out again. “Holdfast?”’ she repeated, as if the name were a joke. With that she was gone from him, run- ning like a nymph up the slope, leaving the echo of her laughter behind her. Johnny lost all trace of his lady at last, in the conflicting stream of terrace and gar- den; but, conjecturing that under the im- pression he had mendaciously conveyed, she would be likely to seek her chaperon in the tea-room, he proceeded thither himself at a more sober gait. Here unfortunately he was arrested. A nodding plume of lilac feathers became vio- lently agitated; and Lady Caroline’s pierc- ing tones hailed him in accents of bitter re- proach, “Johnny, Johnny, Johnny—oh, Johnny !” A score of amused faces turned in his di- rection: it was useless for the poor young man to pretend unconsciousness, Almost every one here knew who “Johnny” was. “Sit down, Johnny,” said Lady Caroline in resistless tones of command, ‘You've cot to take me away in ten minutes; and out of my sight again you do not budge.” Johnny mopped his brow and cast a dis- traught eye about him. “Dear me, how odd you look!” commented his tormentor, “Mary Mauprat went off in a towering huff. I never saw such a plain girl in my days! Image of poor Mary!” “T bee your pardon,’ said he vaguely. “Was there not a primrose glimmer yon- der? Surely yes!” He sprang to his feet. “Good gracious!” began Lady Caroline testily, then broke off. Her hostess was ap- proaching; she was resting one hand on the shoulder of a slender white-clad girl, and smiling down at her as she came; and the girl was smiling back from under the shadow of a large, rose-wreathed hat. ‘““felp me up,” said Lady Caroline, “I may as Well say good-bye now.” And while canoe he exclaimed with “T’d pick you “Above all,’ she exclaimed in pre- - THE ETUDE an effusive farewell took place between the ladies, Johnny had yet one more delirious moment with her whom he only knew as Sarolta, - “You mustn’t “stop me,’ she said to him.’ “T haven’t found my aunt yet.” “Oh, I say, let me help you.—What is she like?’ While she paused again, not unkindly, her gaze wandered interestedly beyond him; then lit up. “Ah, there she is!” The back view of Miss Sarolta’s aunt was large and shinily clad. The front view, which was immediately presented caused the young man a sharp sense of surprise and disillusion. From the crown of. her. black head to the point of her toe-capped boot, his vision’s ‘‘aunt’’ was unmistakably Jew- ish, unmistakably not a lady; more, she was aggressively vulgar. How had she come to be included among Lady Warborough’s guests? How, in the name of heaven, could there be any connection between her and Sarolta ? As he came up to them, he was aware that they were talking rapidly together, in odd guttural sounds that surely did not belong to French; nor, he thought, to German. Upon his bashfully-uttered request, the girl, with perfect unconcern, performed the desired ceremony : Sarolta’s Aunt “Tintchen, this is Sir John Holdfast— Mrs. Mosenthal.”’ A fat kid-gloved hand was instantly of: fered, which he shook with a cordiality in- creased by the knowledge of some quizzical eyes about him. “Lovely, here, ain’t it?’ said the lady, meltingly. The subsequent observation anent “the Marchioness of Warborough” was interrupted by the advance of that personage herself. “TI am sorry to say, Johnny, that Lady Caroline is going. You will find her at the head of the steps.” Sir John hesitated. A wild idea of offer- ing seats in his car to Sarolta and the . lady was struggling in his mind, when that person fortunately spoke. “Well, I'll have to be trotting myself, I suppose. Good-bye, Marchioness, good-bye, Sarolta.”’ “Aren't you going back with your aunt?” asked Sir John, disappointedly, “No, indeed,” said Lady Warborough, tak- ing the girl's hand, and slipping it within her arm. “We are keeping Sarolta. We are go- ing to have a great treat to-night, I assure you, Mrs. Mosenthal.” “Well, and I think you will, ship.” “Shall I never see you again?’ he said in Sarolta'’s ear. “IT really don't know,’ she said, with a laugh. But to this cruel phrase added an- other—“‘Who knows? Are you going to Mrs. Morton's concert next week? I shall be there.” He had not the slightest acquaintance with Mrs. Morton but le answered bravely that he would “turn up’’—and registered the vow, as he hurried back to his neglected duty, that no power on earth would keep him from that promised place of meeting. your lady- CHAPTER II. Mrs. JAMES Morton, the handsome ambi- tious wife of the city magnate—whose father’s name it was whispered had been Mordecai—gave handsome ambitious parties, which, winnowed year by year, had moreover become very select entertainments indeed. Mrs. Morton had wisely fixed upon music as the best medium for attaining social success } and her concerts were now reckoned among the season's events. Music was not in Sir John Holdfast’s line; and though, from April to the end of July, cards for dances were showered upon him thick as Vallombrosa leaves, nobody had ever dreamed of sending him a card for the big mansion in Carlton House Terrace. He had no difficulty, however, in obtaining the de- sired invitation. Young men in Sir John Iloldfast’s position rarely find any London door closed to them which they wish open. He hardly knew himself during the inter- vening few days that separated him from the moment when he was to see her again. His dreams were haunted by her face; his wak- ing moments were spent in futile endeavors to obtain information about her. “IT say,” he would ask the most répandus youths of his acquaintance, “have you. ever come across any girl called Sarolta?—no end of a pretty girl,’ he would add in an off- hand manner that was belied by the earnest- ness of his gaze. “Eyebrows that meet nearly right across, don’t you know.” Some were serious, and some jocular; but none of assistance. “Might be Russian,” opined the Foreign Office young man, in virtue of his superior know'edge of languages. ~“Don't have anything to do with her, Johnny, my boy,’ warned an experienced eyes, Coldstreamer. ‘‘Hyebrows right across ?— devil of a jealous creature !” “Hallo,” cried a third, sympathetically, “got it bad, old man?’ This was an Eton com- rade and a particular crony. So Johnny dropped his indifferent air, and tapped himself ruefully over the region of the heart. ‘In the bull’s-eye!”’ he groaned. He was almost the first guest to arrive at Mrs. Morton's; and vaguely holding the Jap- anese-vellum programme pressed upon him by a powdered footman, promptly ensconced him- self in a coign of vantage to watch each arrival. Johnny’s Long Wait Many he knew—-among them Lady War- borough, who swept in with the royal group. There were a number of pretty married women. There were some young men of the type he had himself generally avoided: dis- tinguished dilettanti, who wore ties of which Johnny did not approve and their hair in what he called ringlets—which meant half an inch longer than his own thick, close shorn locks. ‘There were at least three ambassadors and their wives: mindful of the Foreign Office youth’s dictum, Johnny watched eag- erly to see if any of these dignitaries should be followed by the light, lithe figure that had taken possession of his thoughts. But vainly, There were indeed very few girls present, Nearly every place was occupied; yet there was no sign of her. Had she only been mocking him? Had she changed her mind at the last moment? He looked disconsolately at his programme: there were names upon it which (had he only known) ought to have made him consider himself privileged indeed. Vaguely he surmised that the fat, pale- faced man, who played such a long, tiresome affair on the violin, must be “an awful swell at it.’ This other, too, who bounded on to the platform and looked round with fierce curling a truculent moustache before opening what Johnny thought the biggest mouth he had ever seen, was probably a no less distinguished personage; for he heard a murmur. run around the decorous room, and when the song was finished, at least ten peo- ple in his vicinity remarked, “Divine!” Johnny, in a deeper depression of spirits than he had ever known in his prosperous existence and tired of craning his neck to- ward the rose-wreathed doorway, wearily counted the remaining “turns’’ he would have to sit through before he could escape. One more froin the vigelinist; two more from the celebrated tenor; then a quatuor WMinstru- ments anciens—whatever that might mean, And then, divided by what was apparently a pause, a Miss Vaneck was to sing three songs: “The Little Birch Tree,’ “Oh, My ITeart!’ and “How. Do You Know?” by Sir Arnold Pringle, accompanied by the composer, . «. The names meant nothing to him but further boredom. Well, he would steal away in that pause. . . No, he wouldn't, not while there was a soul left in the room; not while there was a ghost of a chance of Sarolta walking in. Some people did evaporate: royalty having retired to supper with a dozen distinguished intimates, among whom, of course, was Lady Warborough. Meanwhile the commoner herd—if such a word could apply to Mrs. Morton’s rigid selection of guests—partook of elaborate refreshments downstairs. Johnny went with the rest, but was too cross to eat. “Have you heard the new singer?” some- ‘one said near him, as he drank that glass of soda water which was all his injured feeling could condescend to. “IT hate new singers,” said the man ad- dressed, who was, though Johnny did not know this, the most distinguished musical critic of the day. “I should be off. now, only I positively daren't—Lady Warborough would never forgive me.” “She’s bringing her forward, isn’t she?” said the interested lady, helping herself to a quail, “She is—and two or don’t let's talk about it! I know what it will be. I’m sorry for Mrs. Morton—‘pon honor I am-—-to have to give us such a des- sert after divine Barolo. Fact is, she had a crucial disappointment to-night—she = ex- pected Lothnar,” “Lothnar!” ‘ejaculated the lady, in the awed tones of the lion huntress, pronouncing the name of an unattainable celebrity. ‘You don't say so. Lothnar! How could she get him? I thought he went nowhere.” “She didn't, you see,” grinned the other; “there was a talk of his coming to London, and Costanza promised to try and bring him. Old Mordecai—beg pardon, Mrs. Morton—was ready with a thumping cheque toward those Frankheim schemes. It wouldn't have been bad business for Lothnar, but he never came over after all; changed his plans at the last moment. Poor Mrs. Morton had to fall back on Lady Warborough and royalty, and that entailed Lady Warborough’s prot¢ég¢ée—d'you see? “Oh, but Lothnar, three others. Oh, Lothnar! To _ think that he might have been here!’’ sighed she, “Do you know, Mr. Christie, I positively made three pilgrimages to Frankheim to try ¢ and meet him? But it. was all in vain. He lives shut up in that old house for months at a time, and every gate in the park is double-locked. And the gatekeepers—oh, the gatekeepers !” , Johnny went back to his seat, wondering who on earth Lothnar was, and why any one should be so anxious to meet him. Al- most every hope of Sarolta’s belated arrival had left him; but he was doggedly resolved to depart only with the last guest. He saw royalty reappear, benevolent and expectant; saw how Lady Warborough was again summoned to take her place at its side, and how animatedly they were conversing. Then, all at once -he had, in the doorway by which the artists entered upon the plat- form, a momentary vision of a countenance that was, yes, unmistakably, that of Mrs. Mosenthal! - Ilis heart leaped; he stared, amazed, al- most painfully expectant. A lank yeung man ran up to the piano, spread some music sheets, and then ushered toward the key- board a smiling, dapper individual with grizzled hair, red face, and pointed mous- tache,, who looked far: more like a_ retired cavalry officer than any one even remotely connected with music. «This was, of course, Sir Arnold Pringle. He bowed genially, sat down, and the next moment it was Sarolta who walked quietly out of the inner room to the platform, and stood facing them all— Sarolta herself! She was in white. Her dusky hair was tied back with black ribbon into a kind of girlish knot; she seemed even younger than at Warborough House and very pale. <A sort of dimness came over Johnny's sight; when it cleared he saw that her lips were tremb- bling. The man at the piano struck a chord, and looked at her over his shoulder. She looked back at him and nodded. And then Johnny became aware that her’ hands, hanging down in front of her, were -tightly clasped, and that, in spite of that, they were trembling too. “She's frightened!” he said to himself. And only at that moment, so taken aback had he been by the ynexpected apparition, cid he realize that Sarolta was Miss Vaneck of the programme, Lady Warborough's new singer, There is no denying the fact that it was a shock to Johnny. The connécction with Mrs. Mosenthal, their presence at Warborough ITouse, all was now explained. His nymph, his divinity, was just a girl with a_ yoice, who was going to sing for her living. But the next moment a high, clear noite, something birdlike and: sweet and _ piercing, rang out into the room; and Johnny was mentally down on his knees, asking pardon for that first and single instant of wavering. When the song was, finished, there was a moment's silence; and then the faint ap- plause, which was all that the presence of royalty admitted. Johnny saw Lady War- borough turn a flushed face toward the ex- alted lady beside her. , She began another song. This time the pure notes quivered. She was indeed fright- ened, poor child, delicate, lovely creature, standing up there before them all, piping for their pleasure, all her hopes in life evidently hanging upon their approval! Just in his own line of vision, Johnny be- held the anemic counténance of one of those youtbs whose artistic neckwear he con- demned, gazing up at the platform. He noted the expression of rapt admiration min- gled with an odious condescension—admira- tion (as, with unwonted swiftness of per- ception, Johnny saw) for the young. fresh beauty; condescension for the immature singer. A sudden fury leaped in his breast. If he had wanted to assault him who had shaken a disapproving head, he wanted badly to murder the owner of the eyes that leered, appraised and patronized, “It's no life for her!’ he cried to him- self, with a rush of tenderness, wrath, and chivalrous disgust. Ahd the next moment, fll the turmoil of the-last days crystallized itself into a passionate determination. “It vege be no life for her. I'l) take her out of it!” The Princess Applauds The audience, led this time by the good- natured Princess, applauded with a more enthusiasm and Sarolta gathered suffi- cient courage to give the last song without that pathetic uncertainty that had gone to John Woldfast’s heart, “She sings like a thrush,” he thought. Hie sat on a moment or two, unconscious of the movement around him, in a condition which he himself would have described as “struck silly,” when ‘he suddenly realized that the room was emptying, and that the one purpose of his presence here was unac- complished. He rose in a great hurry and went boldly up the length of the room to- (Continued on page 741) little. ——<<<“—_" <= ES a ee ee ee SS ee -

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ee — a ee a a= ee = = == =— 2) | EI 1. The Problem and Its Possibilities Do Not expect to find in what follows a set of rules that will enable performers to phrase correctly every piece of music that may come before them. To formu- late such rules is an impossible feat, indeed, a feat that never has been done and never will be done. If I pretended to be able to do it or, worse, to have actually done it, I should be either a visionary or a humbug. This confession of inability is not in the least an exhibition of modesty; it is purely and simply a clear-eyed recognition and honest acknowledgment of the conditions of the problem. The subject of art is a thing of the imagination, and things of the imagina- tion cannot be confined within a system of mechanical rules or any system whatever. What, then, is possible? To give indications, and these of the greatest possible definiteness, as to how to proceed in order to attain the object aimed at—namely, the intelligent reading of music, the proper interpretation of the composer’s meaning, 2. The Two Means: The Notation and the Conformation of the Music To become masters of phrasing we have to learn first what the notation tells us explicitly or implicitly of the how of the rendering of the music. The amount of information thus given varies greatly in different periods. Compare, for instance, the notations of J. S. Bach and Chopin. The latter is immensely fuller and more minute. Nevertheless both are inadequate, for to the more developed notation corresponds a more ex- acting content. We may generalize and say: the more emotional and individual the content, the more needful is a detailed and subtle notation. In short, with the music of whatever period the performer has to deal, he will discover that the notation does not supply all the help he needs. He has to look beyond, to the second means pointed out by me, the Conformation of the Music (the subject of Part II), and try to make © up in this way for the shortcomings of the notation. But what is meant by the somewhat obscure expression “conformation,” the thing from which the performer is to extract the supplementary information? I mean by it: (1) The rhythmical groupings of the music; (2) The melodic designs with their ups and downs, steps and leaps, continuity and division; (3) The harmonic combinations and. progressions; (4) The tonal play of rest and unrest as seen in the characteristics of the degrees of the scales; and (5) The form or architecture, in other words, the rhythmical groupings on the larger and largest scale. Therefore the performer who wishes to be armed from head to foot must have not only a thorough knowledge of notation, but also a knowledge of rhythm, melody, harmony, tonality and form. However, even all this is not yet sufficient to secure always an altogether satis- factory result. 3. A Further Requisite To draw right conclusions from the conformation of the music, the performer must be guided by a partly inborn and partly trained musical intelligence and feeling. Of course, the possession of this and all the other requisites in perfection is a rarely attained ideal, except where natural talent, excellent education and abundant opportunity of hearing the best music have gone hand in hand. Still, it is well to keep this noble ideal before our eyes, for only thus will the student comprehend the task and more or less succeed in accomplishing it. — RING GAS ARUP ZG QA N THE ETUDE ae) Oh A What Every Student Should Know About Phrasing "Especially Written for THE ETUDE ‘By DR. FREDERICK NIECKS | : | TT : ee J Emeritus Professor of Music at Edinburgh University, Scotland A close study of this article and an ensuing one on the same subject, will be found very profitable TMT =4 | WE ZN SY . By Sire nig SBF IZ AGN 4. The Difficulties, Though Great, Are Not Hopeless The demands made upon the student are, as the reader has seen, undoubtedly very considerable, nay formidable. But they need not discourage him. If the difficulties are’ faced with determination they become less and less terrible and overwhelming; and if they are faced in a systematic way and under fairly favor- able conditions, they disappear altogether. The proper course-is to begin the study of the art of phrasing in the first lessons and under the tuition of a good master. In this case example and precept will be combined. That good phrasing is to a large extent an acquired habit, no one can fail to notice. The example of good teachers and other good models lays a foundation of good taste, and the precepts: explain the example. Precepts alone will not do. It is the same with the acquirement of good phrasing as with the acquirement of good manners, where of course example is the indis- pensable and most important factor. Given these favorable conditions, you have, to secure certain and easy progress, to start from the simplest structures, and continue to the most complicated ones step by step and’ without haste. The student less favored in his upbringing, either without a good master or without opportunities of hearing well-performed music, must try to approach as nearly as possible the method in- ~~ y ‘Pror. FrebertcK NIEcKs. | Dr.’ Niecks is one of the most noted writers upon musical subjects in the English language, notwithstanding the fact that he was, born in Germany and lived there until he was twenty-three years of age. He then settled in Scotland, where he has since remained for nearly fifty vears. He has lectured with great success before learned. British bodies and shas been a regular contributor to English musical journals. His life of Frederick Chopin is considered the most comprehensive and important work upon the Polish tone-poet. In 1890 he became Professor of Music at the Edinburgh University. 705 ~~ - STU TTATT) >— Bes dicated by me. The attempt at a later stage to make up for the early neglect by swallowing at one gulp the medicine intended to be taken in small doses cannot have the happy result desired. 5. The Meaning of the Term ‘‘Phrasing,’’ Accent, Punctuation and Tempo I am afraid the term “phrasing” suggests to us very different ideas, and to some no ideas at all, at least no definite ones. Well, let us @ndeavor to clear our mental atmosphere, and come to a common under- standing. Phrasing is fundamentally the same in music and in speech. The means, too, are the same in both. The difference is solely one of degree. Without phras- ing, speech as well as music is unintelligible and in- expressive. Do not forget that both the intellect and the emotions are concerned. It is generally assumed that there are two means employed in phrasing, namely, Accentuation and Punctuation. These are certainly the most important, the least dispensable. But there is a third one which especially plays a part of immense con- sequence wherever emotion is involved, and that is Tempo, rate of movement. Observe attentively the speech of a good actor, reciter or orator, and you will easily notice these three factors: Accentuation, with varying force of certain words and syllables; Punctua- tion, by pauses of varying length; and Tempo, varying rate of movement, which movement may be steady or gradually quickening or slackening, and modified momentarily. The incorrect use of these factors obscures, alters and even destroys the intended mean- ing. In music we find the same—only, there these factors are much more developed, having a larger com- pass-and an infinitely finer gradation. Accentuation in music may be anything between a forceful blow and the lightest of pressures, nay, it may be merely a slight broadening (lengthening). Punctuation in music, although it corresponds to punctuation in language, is something more subtle. Marks of punctuation are marks of silence indicating different degrees of finality, incompleteness, detention, interruption, separation, in- terrogation, etc. The full stop, colon, semicolon, comma, etc., of language do not suffice the musician, his needs are greater. Let us note also that almost all modern music is verse; prose, as in recitative, is rare. To find it in larger quantity we have to go back to the old polyphonic music, say, to the music of the six- teenth and earlier centuries. In the phrasing of verse, in music as in language, the performer has to attend to two aspects—the formal of the verse structure and the expressional of the sense and feeling. For much that is required in satisfactory phrasing our notation has no signs. How much is wanting in it is to some extent shown by Dr. Hugo Riemann’s phrased editions of the classics, which, whether we approve of them for ordinary use or not, may serve as an introduction to the mysteries of the art of phrasing. In them an attempt is made to make up by new signs and a stricter utilization of the old for the shortcomings of the gen- erally current notation. As to Dr, Riemann’s theories with regard to phrasing I must confess my skepticism, and find myself unable to accept his theory of the in- variable unaccented beginning of phrases, and the occa- sional preceding, independent, accented starting note. But whatever our objections to the great theorist’s theories and interpretations may be, the musical world owes him much for his ingenious labors. They have advanced us a considerable bit on the way towards a more satisfactory state of matters. Defective, how- ever, as the generally current musical notation un- doubtedly is as a phrasing notation, there is no denying

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706 equal portions, and the time-signature shows the amount contained in the portions. Now so far nothing has been said in connection with the time notation about Accent and Punctuation, which were stated to be the most important factors. Of punctuation I shall now say only that it can be indi- cated by rests, but that many breaks needed for this purpose in phrasing are not indicated at all. More of this later. Let us confine ourselves at present to ac- centuation. This our notation does not give explicitly, but has it implicitly. That is to say, there are certain universally accepted rules as to the accentuation of measures, the different groups of metrical members that make up the content of a bar. The fme-signature at the beginning of a piece or part of a piece, such as 2/2, 3/4, 9/8, etc., indicates the measure that prevails and continues to prevail till another signature appears. Now what are the rules about the accentuation of the mettical members or beats? They are easy if we know that measures are either simple or compound, and how the compound measures are compounded. A contihued series of sounds of equal length and loudness bores us because it is unintelligible. Indeed, it is so unsatis- factory and so intolerable to the hearer, that he un- consciously forms it into groups. If you hear a clock strike, and the strokes are of equal force, your mind will order this inarticulate succession into measures of two members (simple binary time) consisting of an accented and an unaccented beat; or measures of three members (simple ternary time), consisting of three members of one accented and two unaccented beats; or compounds of these simple measures, which com- pounds may be duphe, triple or quadruple, and re- spectively have- two, three and four accents, of which the first is the principal and more considerable. The most rational classification of measures—which is not the usual one in England or in Germany or anywhere else—-seems -to me to be as follows: SIMPLE MEASURES. (a) SrmpLteE Binary Time: 2/1, 2/2, 2/4, 2/8. (b) Simple Ternary TiME: 3/2, 3/4, 3/8, 3/16. CoMPOUND MEASURES. (a) Dupre Binary: 4/2, 4/4, 4/8. (b) Trrere Binary: As the fractions with the numerator 6 are assigned to Duple Ternary, there is no satisfactory signature for Triple Binary, and we must be content with borrowing the signature of Simple Ternary (see the following musical illustrations). (c) Dupte Ternary: 6/2, 6/4, 6/8, 6/16. (d) Tripte TERNARY: 9/4, 9/8, 9/16. (e) QuapruPLe TERNARY: 12/4, 12/8, 12/16, Besides the regular compounds we find sometimes also irregular compounds, that is, measures com- pounded of one binary and one ternary measure—such as 5/4, which may consist of 2/4 and 3/4, or of 3/4 and 2/4, and 7/4, which may consist of 3/4 and 4/4 or 4/4 and 3/4. This, however, introduces no new diffi- culty. The first constituent has the principal accent, and each has its usual proper accentuation. In the simple measures, then, there is only one accent, and in the compound measures two, three or four, ac- cording as they are compounded of two, three or four single measures. The first accent of ‘the compound measure is the principal accent—thus the third beat in 4/4, the fourth beat in 6/8, the fourth and seventh beats in 9/8, and the fourth, seventh and tenth beats in 12/8 have lighter accents than the first beat. In the latter case, where the measure is compounded of four simple measures, there is yet to be noted a difference in the force of the accents. The third accent, that at the beginning of the second half of the bar, though less strong than the first, is stronger than the second and fourth, that is to say, in order to make the articulation clearer, the quadruple measures are treated not as if they were compounded of four simple measures, but of two compound duple measures. Let me illustrate this by A of three different sizes, the larger the sign, the stronger the accent. Compound Measures Duple Binary . Simple Ternary Duple Ternary A Binary Quadruple Ternary A * & THE ETUDE The theory of accentuation does not stop here. For not only are the bars articulated by accents, but also the divisions and subdivisions of the bars. So that besides the above described primary accentuation there may be in more ornate music secondary, tertiary, etc., accentuation. These further layers of accentuation are repetitions of the primary one on a more and more reduced scale, reduced in force as well as in duration. The Adagio of Beethoven’s pianoforte sonata in F minor Op. 2, No. 1, will show what is meant by ornate. The first part of the menuetto of the same sonata presents an example of plain music. In the following illustration the secondary accentuation is indicated by dots, the more dots the stronger the accentuation. Now, in the time-signature and the bar, and the system of accentuation implied in them, the composer has a most ingenious means at his disposal to express his rhythmical ideas. But we must not overlook that all this is only a mechanical contrivance which the composer makes use of to serve his purpose, but does -not allow to tyrannize over him. At his pleasure he can displace the regular accents of the system, as he does when he writes syncopations or puts a forsato mark wherever he lists. Indeed, the whole system of accentuation is so out and out mechanical that it stands frequently in need of modification. The melody, the harmony, the intended expression, etc., call for such modifications. One may go so far as to say that the accent theory as given is false. In most music the accents are not sharply outstanding peaks with inter- vening low plains, but. more usually summits of gradients—or, in other words, they are not a matter of isolated blows, but an alternation of crescendos and decrescendos. Of this I may have more to say by and by. There is yet another point to be considered, one often misunderstood. Those equal portions, which we call bars or measures, into which since the 17th century music has been divided, have no artistic significance. Only a- comparatively small number of composers’ rhythms begin with the first beat of the bar, the greater number begin with upbeats. The following examples show first a rhythmically inarticulate series of notes, the others the way in which composers can spread out their rhythms across the bars, and thus utilize the fixed accentual system for the purposes of their un- fettered imagination. In the second part of this essay we shall be chiefly concerned with the aids to phrasing furnished to the composer by the conformation of the music. Learning to Depend Upon One’s Self By Leonora Sill Ashton ONCE or twice a week, when the music lesson recurs, in a certain sense, the responsibility of performance rests upon other shoulders than those of the pupil himself. Then it is that the latter knows that every mistake will be singled out for him: every incorrect motion of the hands and fingers righted; and although he may be painstaking in the extreme, these lesson hours will have a peculiar significance, in that the mind, perhaps all unconsciously rests upon another. The teacher’s highest aim however should be, to guide you to depending upon yourself: and you should always bear this in mind, as well as the rules and regu- lations he lays down for you. Here are a few suggestions as to the matter: In your practice hour, try to imagine, if you can, a keen-eyed teacher, seated beside you, his gaze fixed on your hands one moment, and on the page of music the next; and continuing the imaginative scheme en- deavor to call.to your mind, and keep there, the many things to which he would be constantly calling your at- tention. First: Place the hands squarely on the piano, play- ing firmly with the tips of the fingers, always remember- ing to have the knuckles, wrists, elbows and shoulder joints, as loose and limber as possible; letting the strength of your touch arise, rather from a sense of weight, than one of striking the piano keys. Second: Keep a police guard over the printed page. In your anxiety to read quickly; to find the melody, the rhythm to play, you will very naturally slight and overlook many an item, which during the lesson, it would be a watchful teacher’s first care to point out to you. Dozens of little errors will creep in, if you are not constantly on the watch to avoid them. Faulty time; rests unobserved; dotted notes hurried over; marks of expression unheeded; to say nothing of the sounding of wrong notes, and,the omission of notes in a choral or even in the barest melody. There are so many things to remember, and it is so easy to leave most of them in a teacher’s care. A good way to foster, this self-reliance is this: Before attempting to play any new composition, take it away from the piano, and spell it out note by note, measure by measure, not leaving a dot or a double bar unnoticed. Thus the mental side of the music is con- quered first. After this, sit down to the piano, and conquer the technical part. Then combine the two:—and, much has been accomplished. The same kind of constant guard is needed over the practicing of scales, arpeggios and exercises: for re- member, it is the daily routine of practice of these, that makes the fingers strong and skillful, rather than the performance of a few of them during a lesson. Keep the thumb curved well under the hand in play- ing the scales and arpeggios; and except when prac- ticing them with the different staccato touches, strive for a smooth, perfect legato. It is in these practice hours that the true artistic spirit shows itself, in willingness to work. The pupil who “hurries up” a lesson, just in time for the teacher to hear it fairly well played; scarcely deserves the name of a pupil: but the one who for love of perfecting the work, takes the responsibility of searching out, and remembering, things for himself, will develop into a genuine musician. By following these suggestions, and struggling day by day alone with difficulties, you will find, in time that the imaginary teacher beside you, has become your constant, and most: trusted guide. Later you will learn, that he is not: an imaginary person after all, but yourself, in whom you now rely, because you have learned and tested your own intel- ligence.

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THE ETUDE 707 ——EEEaE Galle | I =i |—= | Instruments photographs from Mr. Dan of Musica for the use of the %. . ry ——s == Co, They Do chestral “The Or ellent book later issues S exe in ll be presented ° ’ wi. l Gregory Mason a . de sty che following uments of the Modern Symphony Or str ther In O a eG . W. Gray Instruments and What ETUDE is indebied to the FE 1 a TH. FAA - 7—_—_——— = - “ “tet —-> ~~ / GLOCKENSPIEL BASS DOUBLE

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‘ 708 THE ETUDE CD. = LB? seful Addition to t AUT \ y SN) S(( —) * SS Thousands of Erupe readers made collections of the Gallery of Musical Celebrities which A in Tue Etupe a few years ago. These will make a fine addition to former collections. * Simply cut out the pictures following the outline on the reverse of this page. Paste on margin in a scrap book or use on a bulletin board for class or club use. Es VK OU = Sg, . ~ / MT ; C ean Me. Meant, las Se pees —S _—_ = Om ma Mig AA | The Violoncello THE violoncello, a descendant of the viola da gamba of the 16th and 17th cen- turies, is midway in size between the huge double-bass and the small violin. It is held between the knees of the player, and its four strings are tuned C, G, D, A, an octave lower than those of the viola. Practically all of the bowing and other effects possible on the violin and viola © can also be done on the ’cello. The bow, however, is somewhat heavier and the strings longer and thicker, with the result that the instrument is better suited in graver music. The main orchestral function of the ’cello is to play the bass, usually an octave above the double-basses. The singing quality of its upper tones, especially those on the A string, makes it exceedingly valuable as a melody instru- ment. Frequently it sings above the vi- olas, and there are many works famous for melodies given to the ’cellos, such as the andante from Beethoven's Fifth Symphony, the second theme, first move- ment of Schubert’s Unfinished Symphony, Goldmark’s Sakuntala Qverture, etc. A unique passage for ‘cellos is found in the overture to Rossini’s William Tell, in which five ’cellos and two double-basses play a septet. Apart from the orchestra, the ’cello is popular as a solo instrument, and indeed is second only to the violin among string instruments in this respect. (The Etude Gallery.) The Glockenspiel Tue glockenspiel, meaning in English “chime-bells,” was originally a toy imita- tion of the Flemish carillons. It con- sisted of tiny little bells giving a fairy- like effect. Handel used an instrument of this kind in his oratorio Saul, probably for the first time in a serious work. Mozart also employed one in his Magic Flute, with charming appropriateness. The modern glockenspiel consists of a number of small steel bars arranged lad- der-like on a horizontal frame, and struck by means ‘of little hammers. The one most usually employed has a compass of two octaves sounding sometimes one, sometimes two octaves higher than writ- ten. Three octave instruments are in ex- istence but are less frequently played. A small keyboard is sometimes employed similar to the piano keyboard. | The prin- cipial function of this little instrument in the symphony orchestra is, according to Forsyth, to “brighten the edges” of a figure or melody heard in the upper reg- ister. It is frequently combined with a piccolo or an E flat clarinet for this purpose, and in such cases is audible above the din of an orchestra playing forte. The glockenspiel has been used by Wagner in Walkiire, Siegfried and Die Meistersinger. Meyerbeer, Délibes, Mas- senet and many other moderns have used it also. (The Etude Gallery.) Cut out on heavy black line, paste along this margin and insert in scrap book. Cut out on heavy: black line,.paste along this margin and. insert in scrap book. SSNS eS SS Sa SS SS SS S NSS SES The Viola THE viola is identical in shape with the violin, but is one-seventh larger.. The four strings are tuned a fifth lower than those of the violin, C, G, D, A. The in- strument is held and played the same as the violin, and all the bowing and other effects possible on the violin can be pro- duced on the viola. The tone of the in- strument is somewhat mournful; in the words of Berlioz, “The sound of its low strings is peculiarly telling, its upper tones are distinguished by their mourn- fully passionate accent.” The viola was formerly the cinderella of the orchestra; its lower tones overlapped those of the ‘cello, and the upper those of the violins, with the result that the older composers used it mainly for “filling in” the har- . monies. Very frequently the viola simply doubled the bass part, and where a very light effect was desired: was (and still is) uséd as a bass instrument. An in- stance of this occurs in the Miniature Overture of Tchaikovsk’’s Casse Noi- sette Suite. Modern composers have given the viola a more prominent place, espe- cially where a mournful quality is needed, though Méhul’s attempt to replace vio- lins entirely with violas in his opera Uthal was not a success. Elgar gives the viola a lovely solo in his Jtalian Overture, and others have done the same with ex- cellent effect. (The Etude Gallery.) The Harp THE modern double-action harp as used in the symphony orchestra hgs a compass of six and a half octaves, and is tuned to the scale of C flat major. Seven trans- posing pedals corresponding to the scale names are used to neutralize the flats, 1aising the strings a half-tone or tone as desired. The harp can, therefore, be tuned to all keys. The\complicated mech- anism renders the harp ill-adapted for rapid chromatic scale passages, and even for chromatic modulations unless these are carefully contrived. An additional “forte pedal” increases the loudness of the instrument. The tone quality of the harp is the purest of all “plucked string” instruments, and is very valuable when- ever ethereal or poetic effects are desired. In a passage almost impossible to play, Wagner has used the harp for the flicker of the flames in his Magic Fire music; Gounod used it very effectively in the Garden Scene in Faust and again in that work for the heavenly ascension of Mar- guerite at the end. The word “arpeggio” suggests the kind of music best suited to the harp, but it can also produce solid chords, play an effective “glissando” and even sustain a legato melody piano-fash- ion. While the harp is one of the oldest instruments of the orchestra it has changed less in general structure than any other. (The Etude Gallery.) os Cut out on heavy black line, paste along this margin and insert in scrap book. Cut out on heavy black line, paste along this margin and insert in scrap book. The Violin THE string instruments, first and second violins, violas, ’cellos and double-bagses, form the main body of the symphony or- chestra. They can play sustained or de- tached tones at all speeds; their compass from the lowest tone of the double-basses to the highest of the violins is practically that of the piano keyboard; they com- mand all dynamic effects from pianis- simo to fortissimo; and their tone-quality is the least tiring of all to the human ear. The violin has four strings, tuned G (below Middle C), D (above C), A and E. The tone of all viol instruments is produced by drawing the bow across the strings, setting them in vibratory motion. This motion is communicated by. the bridge to the hollow wooden body of the instrument, which acts as a_ resonator, greatly reinforcing the tone. A violin is made from some seventy pieces of wood, of which only ten, the bridge, fingerboard, etc., are movable. The rest are built into the structure. A “mute” placed on the bridge somewhat deadens the vibra+ tions, muffling the tone if desired. By allowing the finger to rest lightly on certain points of the vibrating strings, flute-like “harmonics” are produced. One may play sustained tones on two strings at once or detached chords on three. or four strings, this process being known as “double-stopping.” (The Etude Gallery.) The Double-Bass THE double-bass is the largest of the string group. The older three-stringed instrument has now given place to the four-stringed instrument tuned in fourths, E, A, D, G. The E is the lowest E ob- tainable on the piano keyboard. This instrument is the foundation of the or- chestra. To it is confided the bass part, and though in very loud passages it is sometimes reinforced by the tuba or the contra-bassoon, its deep, booming tones are usually adequate, and indeed must be used with discretion to avoid heaviness. In waltzes and two-steps, etc., the double- bass often plays pizzicato on the accented beat of the measure only. It is a some- what tiring instrument to play, as the strings are long and thick, and the bow necessarily heavy, but it is capable of playing rapid passages. Gluck took ad- vantage of its low rumble to imitate the howling of Cerberus, the hound-like guardian of Hades. Beethoven frequently gave the double-bass rapid passages as in the scherzo of the Fifth Symphony, and in the Pastoral Symphony. A_ fa- mous Beethoven passage is the recitative in the Ninth Symphony. Berlioz, Dvorak, Tchaikovsky and others have divided the basses to produce three- or four-part harmony with lugubrious effect. Music for the double-bass is written an octave lower than it sounds. While not a solo instrument, concertos have been writ- ten for it by Dragonetti and Bottesini. (The Etude Gallery,) Cut out on heavy black line, paste along this margin and insert in scrap book. SS ee ee : 4 | - Cut out on lLieavy black line, paste along this margin and insert in scrap book.

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STH TT TE LAA ALARA mae’ TTT TE STIMU Reed Organ “1. I have a beginner on the reed organ who is bright and apt. Is there any graded course suit- able for such pupils similar in excellence to Czer- ny’s Hxercises for piano? I am using Landon’s instruction book, and Short Melodious Studies. 2. I am also using for my piano pupils The New Beginner’s Book, and Mathew’s Standard Graded Course, and Czerny-Liebling studies. Is this a good course for them? 38. Will you also tell me if _ Mason’s Touch and. Technic would be helpful for my pupils in reed organ and piano who are in the first and second grades?’—J. D. C. 1. In addition to Landon’s Reed Organ Method, there is by the same author a School of Reed Organ Playing in four volumes of four grades. There is also a Graded Course of Study for Cabinet Organ, by Mor- ris. Then there is a collection of Velocity Studies for Cabinet Organ, by Theodore Presser. Classic and Modern Gems for Reed Organ will provide interesting pieces, as also Familiar Dances for same, which is of a lighter character. The Little Home Player and Laus Organi are also two excellent collections. Examine carefully all piano pieces of the earlier grades that come into your hands, and you will find many that are well adapted for the reed organ. You can determine this by trying them yourself. 2. Your Erune selection is a very good one. 3. Some of the principles in Mason’s work might be applied to the reed organ, but not the book as a whole. To use it with the piano you should make sure that you thoroughly understand it and its principles and the proper method of their application. I have known some teachers who made but a sorry mess of. the Mason. books because they did not understand them themselves. To study them out for yourself correctly you should have had the advantage of a thorough musical and technical training. Lacking this it would be better if you could go over them with an expert teacher. Technical Studies “T have a pupil who has reached what I would ' term the finishing stage. She has had such studies as Moscheles’ 24 Characteristic Studies, both books - of Kullak’s Octave School, and part IV of Mason’s Touch and Technic. I would now like some book of exercises so comprehensive and so economical in the matter of consuming time, that my pupil may have all the threads of per past experience bound together in a masterly technic. Are the Tausig Daily Studies suitable?’’—S., Is your pupil able to play all the scales and arpeg- gios in the various forms prescribed by Mason with the highest brilliancy? Also the scales in double thirds, sixths and tenths, the chromatic scales both single and double, and the unusual seventh chords as well as the dominant? With most players these things constitute a life-long study. Tausig’s Technical Studies had a considerable vogue at one time, but in recent years have been supplanted by other things to a large degree, although they contain many excellent tdeas. If you will procure a copy of Complete School of Technic for the Pianoforte, by Philipp, I think it will provide you with much of the exceptional work you are looking for. There are a number of books by Philipp which are most comprehensive, and by providing yourself with them you will be able to make selections for your pupils of various degrees of progress. Exercises out- side of the standard, routine, however, are hardly possible with any pupils, except’ those who have ample practice time. :Pupils who are in the high and graded schools are usually scant of time for even the routine work. Don’t overdo the technical idea. In advanced compositions there are innumerable passages which must be made into technical exercisés before they can be learned. The many short cadenzas in Lizst’s works, for example, as well as the “kinky” passages. eeueuveveseeseee| ml = UUAEUETATIAULL euvuvesee AAS YALA LAA LAJASAIALALAASAAILAYALZ AABRALALAMW This department is designed to help the teacher upon questions pertaining to “How to Teach,” “What to Teach,” theory, history, etc., all of which properly belong. to the M usical Questions Answered department, Full name and address must accompany all inquiries. THE ETUDE | . Conducted by N. J. COREY. Saaacansernsrsenransnsansscarcanacacatncuesreranaineacsacsies Miers i ecineaesiianasassaTannTannaiieeeeerne ACA Individuality in Touch “T have a pupil who plays with a great deal of feeling, but her touch is rather light, and she never seems to make the big climaxes. She would be a brilliant player were it not for this. -I have had her work a great deal on octaves and chords, but she does not. develop much strength, although she can play them heavily enough when I stand right over her, She is eighteen and can play thirigs like the Chopin Ballades well. Is there any special work I can give her that will be better than what I am doing? C. E. r I should lintes from your description, that you have in this case entered what might be called the domain of natural aptitude. The type of player you mention is very frequent. I have watched their progress with many teachers, but they never seem to rise out of the style of playing for which nature intended them. This is a question very largely of individuality on the part of the player, and with the teacher lies the necessity of determining along what lines’ special emphasis should be placed in training. With those teachers who. only have one cut-and-dried process in their methods, which they apply to all pupils, there can, of; course, be no question. They do not realize that any standard curric- ulum which may be laid out, exists largely to be broken. ,It suggests the main highway to be travelled, but makes no ailowancé for individual bent, and this the teacher must study. Every tedcher, when he has learned and thoroughly understands the application of this standard course of .study, should at once begin the study of musie suitable for the exceptional cases, which will be surprisingly numerous. Sometimes such cases can be covered by suitably selected pieces which embody the principles desired; sometimes special etudés need to be looked up, and again a special course of technical training will be necessary. There seems to be something in the physical or nerv- ous constitution that determines the natural touch of the fingefs. There are some whom no end of musical study can make sympathetic in their playing; others seem to acquire this faculty without special effort. I have in mind now two young men, both of whom had less than a term of lessons when children. One has a tenor voice of exceptional beauty and a winning style of singing. The other is simply a businéss man. The latter’s only accomplishment is Nevin’s Narcissus, which he plays, inaccurately, with a touch that is so musical that it immediately arrests attention, and is the result of néither effort nor training. The ténor has vainly tried to learn to play a little for his own assistance. The tone he produces is hard, clumsy and terrible, disagreeable even to the unmusical. Further- more, he does not seem to realize how bad his touch is, in spite of the fact that his ear is so sensitive in regard to singing. Cases of this sort could be multi- plied. They only go to show how infinitely varied is human nature, atid how difficult it seems to be to make the human system respond to sensations to which there are apparently no corresponding nervés. I say appar- ently, for it is often surprising how rhuch may be ac- complished in the development of these latent nerves by a long and systematic course of study and listening. The touch of some is naturally brilliant; others soft and caressing; others limp and flaccid, and some hard and brittle. Whatever the natural characteristic may be, that will be the predominating feature of his or her playing. Corrective methods of training, for those who need it, often accomplish wonders, but the one whose touch is naturally unmusical never accomplishes quite as much as the one more favorably endowed. Furthermore, individual characteristics of touch which are beautiful and expressive should be cultivated and the most made of them. Even though you may strive to add brilliancy to the one with a natural cantabile touch, yet the: cantabile should never be slighted, but constantly fiourished and added to, as the player’s reputation may depend upon it, that being his or her TTT id DT AR ITLIFIFTTTTITIISIIIIIJIJIJIJIJISAJJIALIAAAA er a el The T eachers’ Round ‘Table etc., and not technical problems pertaining to musical 709 Al il « e e € « ‘e e « e e € a ¢ « ~ < < € 5 all se et cee bee me _——— ~~ ———e ead oe — se oe a _—— oe ee aus Ore eam eae were en se we ene —— ve mee pees eames: teal _——, _—=— so mee ell oe Sere Sect oe eer ~ re Neeroms ay = TS Doar a4 noon = gift. Your function as a teacher is not only to cor- rectly lead a student through a well selected course of study, but to show insight in determining native gifts and by teaching the pupil to make the most of. it. Whatever you may add to this should only serve as contrast in causing the player’s individual talent to stand out with the greater emphasis. Nearly every artist has a certain well-defined individuality, and to that, he has a right; and should strive to make the most of it. | Your pupil who troubles you now by lack of bril- liancy, but whom you say is talented and inordinately fond of practicing, should have much practice of the hand, arm and shoulder touches, and work on several “big chord” etudes. Octaves are not necessarily effica- cious. Mason’s fourth book of Touch and Technic will afford you many ideas, and suggest many useful etudes and pieces for study. The accentual study of appro- priate exercises and studies is especially useful. At first let the accents be much exaggerated, until a pupil gradually acquires'a feeling for them. It is the lack of accents that makes so much playing seem lifeless and devoid of brilliancy. Work for these and the big chord effects, and through it all do not neglect the pupil’s natural ability to play with sentiment and ex- pression. Nothing will be gained by adding that for which the player has little feeling at the expense of the natural aptitude. The pupil should know that natural sentiment will be ineffective without the great contrasts. “Try, Try Again’’ “I now have a pupil of fifteen years who has taken forty lessons of fairly good teachers, but is unable to find the notes correctly on the key- board. When asked to play the treble clef she makes manhy mistakes. When given bass and treble she cannot strike them together, and in either hand often plays chord intervals of two notes upside down. Would you advise her to take up Mathews or Czerny Studies?’—cC, H, A pupil of this sort hardly seems ready to advance farther, but would better follow the old adage, “If at first you do not succeed, try, try again,” and review practically from the beginning. Can you not convince her, or her parents. that it would be inestimably to her advantage to go over the preliminary ground again with you thoroughly and carefully? Such a review might help to bring her into line and enable her to continue her work in a more satisfactory manner. _ Included in this review should be a generous amount of note-reading work until she learns to read and locate the notes better. Select a treble part with many notes, passage work, perhaps, like Czerny etudes, and, regardless of note ‘values, read each one aloud and locate upon the keyboard. Use similar exercises for the bass, and continue for a number of weeks, or until reading becomes more automatic than it is now. She has evidently tried to advance beyond the point which she is able to read, and a thorough drill in this may produce excellent results. When you find a pupil with any given sense seemingly deficient, you should try and adapt work that will give it special drill until the de- fect is in a measure overcome. For the two-note in- tervals, let her read the lower first, and then the upper, and strike together. For the bass and treble, read aloud from the bottom up, the left first, then the right, then strike the chord both hands together several times until they come together. After she has been thor- oughly drilled in this manner for several weeks, giving her very easy little pieces for recreation, you can try her on the simplest things in the Standard Course, and at the proper stage, the Cserny-Liebling. Without doubt the natural aptitude of this pupil is small. Therefore you will have to train her patiently and carefully. Do not try speed work with her too soon, but try and train her to play quiet little pieces cor- rectly until speed slic in scales and etude pas- sages,

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710 Etude Betterment Believing that the cooperation of our readers will assist us immensely in caring for their musical tastes and needs THE ETuDE herewith offers A Prize of a Complete Set of - Grove’s Dictionary of Music and Musicians (Valued at $15.00) for the best letter of not more than 200 words containing the most original, the- most practical, the most useful and the best expressed ideas for new ETupE features ‘that will make THe ErupE more valuable to its great body of readers, ideas that will make our journal even brighter and more helpful to the greatest number. In addition to the letter itself we shall expect each contestant to answer the fol- lowing questions frankly, tersely and in such a manner that we may get a more definite idea of what phase of ‘Ture Erupr seems to be the most needed. Erupe Friends can help immensely in improving the magazine by joining whole- heartedly in the following: Please answer the questions in the order given. 1. To which department or page do you - habitually turn first when you open a new issue! Which ten Erupe articles during the past year have interested or helped you most? 3. Name twenty pieces from Tue EtrupE of last year of the type you prefer to ag use in your own work as a performer or | as a teacher. Are there any things about THe ErupeE which do not meet with your entire approval, anything you would like to see changed? Which do you look for most? Articles on Technic, Articles on Interpretation, Articles on Biography, Articles on Criticism, or what? Self Help Articles, “How to Teach” Articles, Musical or Fiction. | Would you like to see more illustrations in THe Erupe or fewer illustrations ? For what feature principally do you take Toe EtupE? What is your most severe criticism! Suggestions This is not any easy way in which to earn a fif- teen dollar set of books. The letters will require thought, time and care. Do not sit down and dash off a few words and expect them to receive serious at- tention. As eal ee ie Our sole purpose is to invite honest, constructive criticism. By helping THe Erupe in this way our readers are really helping themselves and others to a brighter, better, more useful paper. _ Write on one side of a sheet of paper and make your letter as brief and to the point as possible. No letter will be returned and the only notifica- tion of the winning of the prize will be that published in Tue Erupe. Do not write about other matters in your letter. Do not fail to give your full name and address. Contest Closes October 30th - Address ETUDE Betterment Contest 1714 Chestnut St., Philadelphia, Pa. 7 THE ETUDE Honor to the Teacher By D. C. Parker CIVILIZATION may be measured by the respect that people give to the teacher. “It is only the ignorant who despise education,” runs the maxim of Publius Syrus. With all its compensations the réle of the music teacher is not always an enviable one. He is usually more or less in the background. If the pupil prove to be a. Melba or a Paderewski the public remem- ber the name of the. new artist and the teacher must content himself with the increased clientéle that such reflected fame brings. If the pupil be a failure there is always the chance that he will tell his friends that he studied’ with So-and-so! Teachers, like poets, are born, not made, but it is possible to say certain things about teaching which experience tells us is valuable. The first of these is that an instructor must free himself from prejudices. I do not mean that a teacher should throw off all convictions, for a teacher of per- sonality is more likely to develop the personality of a pupil than one who is devoid of character. But I mean that successful teaching depends very largely upon the ability of the teacher to adjust himself anew to every student who enters his studio. One youth is boisterous and given to taking everything flippantly, another is deadly dull; one girl is sensitive and romantic, another woefully lacking in imagination. Is it to be supposed that a cast-iron rule which treats them all alike will be productive of good results? The teacher should give every pupil the impression that he or she is the one in whom he is most interested. That we hear so little about the tutors of great musicians is often quoted as evidence that they owed little to study and could have got on without it. The assumption is ill-founded. I believe that of the very great it is true to say that their best masters were themselves. Beethoven was the severest -critic of Beethoven. But the view to which I have referred has its origin in the fact that teachers of the great were ablé to do only a certain amount for their illustrious pupils; the rest they did for themselves. Now, this ought to be a consolation to those who find that, after years of patient moulding, the pupil shows a tendency to go a way of his own. There comes a time when the teacher can no longer be the sure and certain guide to the young spirit, and when this point is reached the teacher should not be discouraged at a failure. For it is not a question of failure. It is not the function ofa teacher to produce replicas of himself, but to equip the. youth of the country with the essentials for the artistic pilgrimage. You can at most give the learner anzidea of perspective; you can train his eye and ear, enlarge his culture; widen his knowledge. To ask him to’ submit to more than this is not to ask him to be tatight, but to ask him to surrender his soul into your keeping. Respecting the Pupil 7 do not think that teachers sufficiently realize what powerful instruments in the formation of taste they are. There are hundreds of them who give their pupils third-rate music to play and sing. This stuff_is bad enough when one has to listen to it once, but when one is asked to practice it, it amounts to an insult. Never take your pupil too cheaply. You are better to scare a pupil by giving him a piece that is intellectually above him than to scare a serious student by giving him music that ought to be beneath his notice. Many,homes are musically ruined by the stupidity of teachers who give their pupils potboilers to study. By doing this they are blunting the artistic perceptions of their charges and ‘making more difficult the real work of education. Another matter which teachers might well consider is the subject of musical history. This applies, espe- cially to singing teachers. Many girls sing songs and operatic excerpts and do not know by whom or at what time they were written. I have never been able to understand the kind of music-lover who, when you asked her what she would sing, said Serenade or Ber- ceuse. When a pupil is given Je Suis Titania or Depuis le jour to study it is the duty of the teacher to see that she knows by whom it was written and to what school it belongs. By this means we should be spared the ridiculous criticisms of the half-musical concert-goer, who gravely assures us that Lohengrin is far more im- mature than The Flying Dutchman, and wonders why Gliick’s operas seem so old-fashioned compared with those of Puccini. George Noyes Rockwell Mr. GrorcGE Noyes RockKwett, whose death on July 23rd last will be deeply lamented by Erupe readers, was the composer of many very successful works for piano, voice, organ and choir. Mr. Rockwell was born in Utica, New York. He studied piano with well- known local teachers in his youth, but was for the most part self taught. He was an organist of pro- nounced ability. His best known compositions are The Lord is My Shepherd (sacred solo), Shout the Glad Tidings (anthem), Crown Him Lord of All (an- them), Festal Postlude (organ), Melody in F (organ), By Lantern Light (piano), Installation March (piano), Ballade Militaire (piano). Some time since he sent the Erupe the following poem, with the suggestion that we publish it. The _ poem now makes a very beautiful elegy, showing Mr. Rockwell’s beautiful ideals and spirit. bn mo Yu yoney MY SO = Puffs By Alice Coles SENSIBLE people are getting more and more dis- gusted with the whole idea of “puffs” in print. When printing presses and publications were fewer there was something of a novelty in seeing one’s accom- plishments set up in type. Now any little street urchin who throws a brick at a trolley car in a strike can have his genealogy published in the papers if he desires it. There has been a deliberate business in _ tickling human vanity. There are human ghouls who watch the newspaper death columns. When father dies the sons and daughters receive a note saying that the career of the late and noble deceased has been so important that the “Year Book of the Immortals” has decided to ini- clude his biography next year. You have the privilege of subscribing for the book at the rate of $5.00 per copy. If you do not subscribe you find that father’s name in some mysterious manner has escaped the immortality that the book might have conferred. Musical “puffs” are so easily secured nowadays that their importance depends entirely upon the publication in which the puff appears and its reputation for being uninfluenced by money or advertising considerations. Most of these puffs are absolutely worthless except as a sop to the vanity of the advertiser. Legitimate ad- vertising and legitimate news are always important. But, if you have given a trifling little pupils’ recital and are persuaded that the world wants to know about it and you for the consideration of so much per col- umn, you are likely to be forming a habit, at which any advertising man would laugh heartily. Note to Old Etude Friends Tue Librarian of Congress desires to pro- cure copies of Tue Etrupe for November, 1883; December, 1883; January, 1884; Sep- tember, 1884; November, 1884; December, 1884 ; all issues of the year 1885 (Vol. IIT); all issues of 1889 (Vol. VII); March, 1896, and April, 1896. These issues are out of print, and THe Etvunpe regrets its inability to supply them to our national library. Those who possess copies of these numbers are re- quested to write directly to The Librarian of Congress, Washington, D. C. It is highly desirable that the file of Tur Erunpr at the Congressional Library be kept complete for historical purposes.

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THE ETUDE 711 = “ScCHERZO,” literally translated from the Italian, means a joke. Its use among German composers as title for a composition in joking, playful mood is an old one. The word appears even among the works of Bach, once at least, as heading for a lively movement in 2-4 time in the A minor Partita, although this particular piece, to modern ears, seems hardly deserving of its title. As an example of musical humor it is hardly to be compared with the Preambulum of the G major Partita, for instance, not to mention some of the fugues in the Well Tempered Clavichord or the rollicking gigues of the French and English Suites. Haydn introduced the Scherzo into string quartet literature, as a change from the everlasting Minuet, but it is to Beethoven that the credit must be given for the final establishment of the Scherzo as a musical movement of importance. It first appears among his piano works in the A major Sonata, Op. 2, No. 2, and in his orchestral compositions in the. Second Symphony. Subsequent works contain numerous examples. The tempo is largely 3-4, as in its forerunner among sonata movements, the Minuet, but there are also examples in 2-4 time, as in the Sonata, Op. 31, No. 3, and the trio to the Scherzo of the Pastoral Symphony. A\I- though at first holding to the simple three-part song form of the Minuet, the dance character was quite absent, and in time Beethoven adopted a freer treat- ment of the Scherzo, giving the possibility of thematic development, as in the Sonata, Op. 31, No. 3, where the middle portion of the movement, (bearing the title Allegretto vivace), is nothing other than a development of the theme of the first part. In this Sonata the slow movement is replaced by a Minuet of stately character, following the Scherzo. In the Ninth Sym- phony the development is much more elaborate, so that finally, in the hands of Beethoven and other composers, the word “Scherzo” came to indicate more a style of composition than a form. Not only did Beethoven extend the formal scope of the Scherzo; it became also the vehicle for the expression of other moods as well as the jocular. With him the humor sometimes takes on a grim quality, and even exhibits aspects where the term humor is hardly applicable at all. Notable Examples of the Scherzo As for the Scherzo as pianoforte composition, there are delightful examples:in the works of Schubert and Schumann, the former holding in the main to the more playful mood and the simple form, the latter using in some cases a larger cast, as in the Sonatas in F minor and F sharp minor, and extending the charac- ter of the musical content beyond the mere jocular, often to the bizarre and grotesque. Chopin gave the word Scherzo an entirely different meaning in his mighty efforts. bearing this title, so that one can speak of his stormy Scherzi as marking a new departure in the stereotyped forms of pianoforte composition, just as do his Ballades. The Chopin Scherzi are no jokes; on the contrary, they belong to the composer’s most serious works, rich in emotional content and interesting in formal structure. Only in one of them, that from the B minor Sonata, is there anything of the spirit of play. Brahms, in his Opus 4, bid fair to become a serious rival of Chopin in the Scherzo form. Although Raff held Brahms in suspicion for having been a trifle too familiar with Chopin’s B minor Scherzo while writing his own Opus 4, the imputation was an unfair one, as Brahms had not even heard of the Chopin A Master Lesson Mendelssohn’s Scherzo in E Minor Analysed and Interpreted by EDWIN HUGHES For Many Years Assistant to Theodore Leschetizky composition at the time. The Scherzo in the piano Sonata Op. 5 is as boisterous an example as one can find anywhere, but Brahms could also play in a finer manner at the keyboard, as is proven by the B minor Capriccio and by the C major Intermezzo from Op. 119, Scherzi in character if not in name. Of all the composers, however, there is one whom the mention of the word Scherzo brings immediately to the mind of every musician—Mendelssohn. “Scherzo” has long lost its original meaning in musical parlance. For the broader or more grotesque forms of musical humor, for the real musical joke, al/ja burla seems the correct appellation. The spirit of light playfulness, of sprightly, tripping rhythms, which the very word Scherzo calls up, is something which Mendelssohn has expressed in a happier manner than any other com- poser. One writer has it that Mendelssohn “brought the fairies into the orchestra and fixed them there,” and surely fays, elves and pixies have never danced to more appropriate measures than those of the Scherzo in A Midsummer Night's Dream. Perhaps the particularly happy surroundings under which Mendelssohn grew up and the practically un- broken success which followed him throughout his en- tire career, had much to do with that entrancing light- ness of touch and that sheer bubbling over of high spirits which find such delightful expression in his Scherzi and similar compositions. Mendelssohn’s Care-free Life Perhaps also this very fact that his life knew no shadow of care, at least until the death of his father in 1835, accounts for there being so few among his compositions in which the note of genuine, deeply-felt emotion is sounded. Contrast the bright, sunny exis- tence of Mendelssohn with the life-struggle of Beetho- ven against a relentless fate which had laid upon him the almost unbearable burden of an ever-increasing deafness, or with Wagner’s youthful struggles with poverty, or with the blight which a martyred father- land cast upon Chopin, and you have the reason for the care-free gaiety of the Mendelssohn Scherzi and the lack of depth in so many of his other compositions. Among his larger piano works, there are but two which can lay claim to a sustained depth of emotion, the Fugue in E minor, written, so tradition has it, at the deathbed of a beloved friend, and the splendid Varia- tions sérieuses. Of the shorter compositions it would be hardly fair to omit mention in this respect of the brief but exquisitely beautiful Song Without Words in F major, Op. 53, No. 4. Had not his life, outside of the periods of intense concentration over his work, been one round of successes, of intellectual and material pleasures, of unremitting adulation, there might have been more of these moments of deeper insight. Mendelssohn’s Delightful Scherzi Passing over the Scherzi in the Symphonies and chamber music, as well as the tripping, elfish finale of the violin concerto, we find among the piano compo- sitions of Mendelssohn numerous examples of delight- ful Scherzo writing, in various forms and in all varieties of duple and triple time. The youthful Capriccio, Op. 5 (1825), seems almost an anticipation of the Chopin Scherzo in scope and purpose, while the Rondo Capric- cioso is a true Scherzo in Rondo form, fairly bubbling over with laughing good spirits. Of the Character Pieces, Op. 7, the one bearing the inscription “Light | ETC CT TC and Airy” belongs among the most delightful of all Mendelssohn’s Scherzi, and the exotic Scherzo a Capriccio, with its strong oriental tinge, is one of the most strikingly effective of the composer’s creations in Scherzo style. Among the Kinderstiicke, Op. 76, there is a charming little Scherzo in F major, and for com- pleteness’ sake, we may mention the Scherzo from the youthful Sonata, published posthumously as Op. 106, and the short Scherzo in B minor, without opus number, the latter written as musical supplement for the Berlin Allgemeine Musikalische Zeitung in 1829. The two last mentioned compositions are Mendelssohn’s weakest attempts at Scherzo writing. Among the pieces for piano and orchestra we find in the Rondo Brillante an elaborate composition in Scherzo style. The finale of the D minor Concerto is a Scherzo in enlarged and developed form, and the last movement of the popular G minor Concerto, while not actually labelled Scherzo by the composer, might almost, from the vein in which it was conceived come’ under this heading. Mendelssohn adopted the Scherzo style to various forms of compositions, as we have iust seen. Curiously enough he avoided almost entirely the three-part song <form, the form in which the Scherzo was originally conceived by Haydn and Beethoven. Of all his Scherzi for piano, only the Capriccio, Op. 5, is composed in this form. The Scherzo in E minor, Op. 16, with which we have especially to do in this article, is in reality a miniature of the sonata form, as we shall see when we come to look at it a little more closely. It was composed in 1829, when Mendelssohn was in his 21st year. In April of that year he had crossed the channel for the first visit to England, following an invitation of the London Philharmonic Society, and after con- ducting his C minor Symphony and appearing in public as pianist with the Beethoven Emperor Concerto and other works, he set off for a pleasure trip through Scotland, the north of England, and Wales. While in the last named country he went for a visit to the country home of Mr. John Taylor at Coed-du, near Mold, in Flintshire, spending a very happy time in the company of the three daughters of the house, sketch- ing, composing and amusing himself generally. It was here that the three piano pieces, Op. 16, came into being, composed for the three daughters of his host. The first and third of the trio of compositions have fallen into the neglect which has long ago overtaken a large . part of Mendelssohn’s pianoforte music, but the second, the Scherzo, deserves its popularity, of the composer. A Little Trumpet Piece Mendelssohn used to call this Scherzo his little trumpet piece, and indeed the pianist who would do full justice to the delicate workmanship of this dainty creation must have in mind the fine finish of the scor- ing in the composer’s own orchestral works. Technic- ally the piece requires from the performer the posses- sion of a light, piquant staccato for its effective exe- cution, not the staccato of the thrown hand, which would be far too clumsy for this case, but a staccato played very near to the keys, the latter more plucked than struck, and the wrist elastic and firm, not loose. This manner of controlling the wrist gives delicacy and perfect distinctness, even in the lightest pianissimo, avoiding the flop of the hands on the keyboard which comes from the loose wrist. is as popular to-day as ever and well as it is one of the finest fancies

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712 The introductory trumpet call of the first few mea- sures must have the metal of the instrument in it, without exceeding in tone quality the piano indicated by the composer. Let the second finger of the left hand, which has the accented notes, be held nearly vertically and quite rigid, the wrist high and firm. Now play with both hands as near the keys as possible and the requisite trumpet timbre will come out beauti- fully, the “triple tongueings” clean and distinct, and: yet the whole unobtrusive and piano. Take the pedal _ before beginning to play, and hold it throughout the trumpet introduction. A very slight slackening in the tempo towards the end of the phrase is to be recom- mended, and the last note of the pair of trumpets may be held just a trifle longer than indicated, to avoid any impression of haste before the a tempo beginning of the phrase that follows. In regard to the tempo of the whole, the indicated metronome marking, (j—96), gives the author’s tempo, approximately, in actual performance. This or any other set tempo for that matter, must, however, not be regarded as a rigid, mechanical indication for time-keeping throughout the entire composition. The metronome mark must be understood as giving the approximate “ground tempo,” from which there will always be variations even in the course of compositions like the one under present consideration, in which rhythmic exactness plays such an important part. The necessary lightness for the following measures can be best obtained, paradoxical as it may appear, by playing with an extremely firm wrist. Let the move- ments away from the keys be slight, but sharp and exact; remember that the staccato depends on how quickly you leave the keys, far more than on the manner in which you take them. The movement must be one of plucking, not of striking, and the hands must be raised but very little from the keyboard after each eighth note. Think of pizzicato strings in the orchestra, and let the upper voice of the three be distinctly stronger than the lower two, keeping the whole, how- ever, in pianissimo. Play the grace note B, in measure seven, immediately after the last eighth in the preced- ing measure, just as though two-sixteenths had been written here, and imitate the sharp accent on E in the right hand when the same occurs an octave lower in the left hand, in the second half of the measure. The remaining grace notes in the phrase, as well as those in the phrase beginning at measure 20 and in similar passages later in the piece, should be played almost simultaneously with the main note, but lighter, of course, in tone quality. In measure eight, take advantage of the pedal at count three to leave the quarter in the left hand as quickly as possible, and prepare the hand for the com- ing staccato figure in the bass. Large skips in such rapid tempo can only be executed with certainty through lightning-like preparation of this sort. The staccati in both hands precisely as before, extremely near the keys and with very firm wrists. Let the right-hand octaves, as accompaniment, be pianissimo, so as not to divert attention from the melody of the left hand. Give a bit of color to the phrase by a slight crescendo in the left hand to the upper G of each measure, fol- lowed by a corresponding diminuendo. At count four of measure 10 the trumpet ‘sounds its high B again. This and the following B in the suc- ‘ceeding measure require slight accents with the firm little finger. In measure 15, the use of the pedal for the first half of the measure adds a bit of color and relieves the dryness which would result from a con- tinual playing of the staccati without pedal. In measure 16 the trumpets bring anew the theme from the beginning of the Scherzo, this time forte and in conjunction with portions of the pizzicato pas- sage. Differentiate very strongly between the forte of the right hand and the piano of the left, keeping the trumpet notes brilliant and metallic throughout the phrase. As before, the hands very near the keys. The fingering of the second (E-F sharp in the left hand, measure 19) may seem odd at first, but it enables the player to keep the two hands out of each other’s way and ensures a clean execution of the repetitions. In the latter, let the sixteenth notes be much less forte than the dotted quarters, and where the two trumpets play together, keep the upper well in the foreground. For the following phrase of four measures, what has THE ETUDE been said above about the shortness of the grace notes must be repeated. The slight use of the pedal breaks the dryness of the staccato, and the crescendi and decresendi indicated in measures 22 and 24 bring a little color into the passage. wi. In the passage which follows, use the same finger throughout for the repeated high D. The idea that such repeated notes, even in moderately fast tempo, must be played with continually changing fingers, be- longs to the antiquities of fingering. If the notes were sixteenths instead of eighths, the matter would; of course, be different. By playing with the same finger, the wrist held firm’and elastic, an even tone quality is assured for these accompanying note-repetitions. Give color to the melody of the left hand by alternating meszo forte with piano, as indicated. In measures 30-31 and 33-34, the accented motive in the left hand well brought out, like sharply-blown horn tones. Hold the wrist. high and the third finger and thumb nearly vertical, so that the entire weight of the arm can be utilized for the accented notes. Avoid the-use of the pedal at the second appear- ance of the horn motive (measures 33-34), as otherwise a blurring of the accompanying staccato thirds in the right hand would result. The latter must be taken throughout the whole passage very near the keys, .the wrist tense, and the movements up. and down of the hand very slight. A Perfect Fanfare Barely touch the keys in the measures which follow (35-39). Beginning with the last two-sixteenths of measure 39 we have the trumpets in a lower octave. A second takes up the motive two measures later, then a third, until finally we have a perfect fanfare, played double forte from a.trio of lusty lungs. Keep the right- hand staccati unobtrusive during the whole; think of violin passages played with light, springing bow. “The finale of the trumpet fanfare, f, must fairly make the welkin ring, and must be executed with quite stiff wrists, which, however, must become immediately pli- able again for the succeeding passage. Take the pedal at the beginning of measure 46 and hold it without change until the end of measure 51, letting the brazen tones of the fanfare sound throughout the waving figures of the arpeggio passage. The con fuoco in measure 48 is: more an indication that the spirited tempo is not to be relaxed inthe slightest. Begin the passage in a. clear-toned piano, building up a gradual but powerful crescendo to* its climax in measure 54, and then continuing the full- throated fortissimo unabated through the following phrases. From the end of measure 53 we have trom- bones instead of trumpets, giving out the triple-tongued motive in strident tones. The repetition of the octave B in this low position on the keyboard is a technical matter of extreme difficulty for oné not possessed of veritable wrists of steel. The hammers are heavier of movement than those further up in the scale,-and the left hand is, in addition, seldom the technical equal of the right. The manner of execution indicated (an innovation of Thecdore Leschetizky) has the advantage of avoiding the technical difficulty of the repeated octave, without altering appreciably the tonal effect: of the passage. The wrist is held high and perfectly firm, the thumb almost vertical, and the proper inten- sity of tone secured by rotating the forearm fromthe elbow, the movement, but rapid and vigorous. Let ‘the right hand play the accented note at the beginning- of each group (measure 54, etc.) with a strong sforzato, the remaining three notes of the eroep much less vig Orouiay, t the etid of themsufre 57 tafe the ltt hard slightly from the keyboard, so that the fo lowing B, on count one of the next measure, may be taken quite by itself, and with a powerful accent. This last is best accomplished by placing the thumb quickly under “the second finger of the hand, so that the whole weight‘ of the latter comes to its assistance in producing the ne¢es- sary vigorous sforzato. The hand must, of courtse, quickly regain its proper position for the following ff octave passage, which is played with high, firm wrists, martellato, action from the elbow. Make but slight ‘use of the pedal i in this passage, as indicated. More would destroy the staccato and result in an unbearable blurring. — ‘¢ > . ’ Broaden the tempo slightly toward! the end of the octave scale, and when tonic E is reached at the bot- tom, imagine the entire orchestra let loose, trumpets, horns, trombones, tympani, and all. Here, at measure 62, the original tempo should be again taken, which is quite possible even for the pianist of moderate technical | equipment, when the method for playing the repeated sixteenths given above is followed. The a tempo exe- cution according to the original, with repeated octaves, will make difficulty for even the pianist of more than ordinary wrist development. Remove the pedal just before the eighth at the end of measure 63, so that the heavy vibrations of the bass - octaves may completely disappear when the light stac- cati in the treble begin. Make the tiniest pause for breath just before the repeated sixteenths at the end of measure 64, and let the repeated C, especially in the right hand, ring out clean and distinct. Also before the sixteenths in measure 67 a tiny pause, such as at a comma in reading. Execute this fortissimo with trum- pet-like brilliance until the beginning of the diminuendo in measure 69. The pedal remains down, as indicated, giving a tonal effect of much beauty. Let the dimin- uendo in measure 67 be a sharp one, so that the desired contrast between the fortissimo of the trumpet passage and the piano of the following expressivo may be realized. The fingering given at measure 78, et seq., is, as mentioned before, preferable to a constant changing of fingers. When the second is kept constantly in contact with the key and held firm, the repetitions at the re- quired tempo are quite easy of execution. In the tripping staccato passage for alternating hands, beginning at measute 88, slight crescendi and dimin- uendi, as indicated, to avoid the blank monotony of no shading. The octave E in the left hand, measure 96, with a slight, but distinct pressure, and the following trumpet passage forte and with clarion-like brilliancy. The change from minor to major at measure 99 is not exactly easy of execution, and, if it is to be done without any blurring, requires a deft handling (or foot- ing) of the pedals. Press down the left pedal (una corda) immediately after the last high B of the trum- pet is struck (end of measure 98), and do not let the execution of the following three grace notes be too hasty. Change the damper pedal precisely when the octave E is struck on count one in the left hand. The whole of this delightful E major close of the Scherzo must be heard as from a distance, but far off—‘the horns of elfland faintly blowing.” Keep one pedal from the beginning to the end. The right hand passages must be fairly rippled, with lightly thrown fingers. In the left hand, imagine softly accented horn tones in the first three measures. Note the right-hand accents on count three of measures 102 and 103, ac- cents in piano, not louder. Let the airy lightness of the dancing staccati become even more pianissimo towards the close, so that at the end mere rhythmic pulse beats of far-off players are heard, and finally all vanishes in thin air. Exactness of Rhythm Exactness of rhythm plays a most important role throughout the entire composition and the student must be on the guard against the use of senseless ritardandi and accelerandi, and against even a tinge of the much- misused tempo rubato, which has no place in this piece. An occasional trial with the metronome will serve to show up any such faults. The amateurish mistake of coming too soon on the principal metrical and dynamic accents must be doubly guarded against. The proper points for rhythmic alteration have been sufficiently indicated in the text and the music. As far as the form of the piece is concerned, it is easy to trace the miniature first-movement Sonata form in the composition. The first subject extends to meas- ure sixteen. Then appears a short bridge passage, in which the trumpet motive and the first staccato phrase are used’ in conjunction. The second subject enters at measure 21, the development, based largely on the trumpet theme, at measure 40. At measure 62 we are again in the key of E minor, and a quasi recapitulation of the first subject begins, followed by the second sub- ject in the key of the tonic at measure 74. At measure 96 begins the coda, going over into the key of E major after the three first bars. A Master Lesson by S. Stojowski upon Mendelssohn’s Spinning Song, will appear in November and one by Alberto Jonas on Chopin’s C Sharp Minor Polonaise will be published in the December ETUDE :

Page 27

713 THE ETUDE SCH EAL Hughes in Edited by Edw F MENDELSSOHN-BARTHOLDY , Op.16, No.2 | d= 96 Presto M.M. y Ae leggtertssitmo ppuna corda a ee ee a 2a ul Ure IN TY a2 Qa

Page 28

THE ETUDE 714 il 1 a) | as & > I o . a i t ‘ ‘ ' t a ‘ i ’ ' ' ' t ' i ' ' ‘ ' ‘ f 4 4 ‘ ! ‘ 4 ' ' 1 1 ' ' ' ' ' ' ' f é ' ‘ ' 2 ' ‘ ‘ ' i ’ e ' 4 ' ‘ t t ' ' ‘ ‘ tt to Bi ese ita otto pies 7

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715 THE ETUDE an-|| | | : ' “ r } 3 a « “at Be ae » una corda lial. l/l ae GEE. A:| =” YR i ee . 7" a RR; FOE Sv DORN Sy > By CSpresst 2 + . i ¥ i 1 ~ ; a | lv a eee. Ye 3 SS b RS CR OR RR, SRT Be Ve SE . a US 2 2 SE 2 Oy 0 MS ee ee oe ill ¥ | Ne beth a1 Sah

Page 30

92. | THE ETUDE | THREE. FAVORITE PRELUDES | FR.CHOPIN 7 | Asta. M.M.e rh Sean 716 Ped. simile a is f fe ¢ tT we | wi aaaaiaa@asas-saaia 4a 2. 2.—— oe a a te a AD CE RE a : Lento assai; M.Me p 2. 2) FA a A a So eS CE a ae ee . _y

Page 31

TA7 THE ETUDE PASTORELLA A Pastorale is a piece in rustic style. A Pastoreila is a miniature Pastorale herdesses, with their airs an TTT H laine) 4 hk THEODORE LACK Op 263 , reminding one of Watteau shepherds and shep- =108 ito M.M.e and out-door gayeties. Grade 33 spir al | ir d graces, Allegretto ben tranquillo e con Grazloso is SPs & | Ae & oer “GE A AGS Oe Ber oe ee om spir7itoso — [ie a Copyright transferred 1916 to Theo. Presser Co. Copyright 1907 by Theodore Latk

Page 32

THE ETUDE TRIUMPHAL MARCH E.R. KROEGER, Op. 88 SECONDO = 160 Allegro energico M.M.¢ “GN_&h Ay eo .- ch Hl eh Slt e h British Copyright secured Copyright 1916 by Theo. Presser Co.

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719 THE ETUDE TRIUMPHAL MARCH - o mee ; ca ry . y So th] || | (ft. nag : TTL: : exe ) TI co - & . Jel ~ inl 3 oO , t i lit © i : we ail A st STR o = 4" gishis enn Ie ‘ : : Ws il s ll g 9 alt bf on 4 & UES - laa la fx) e 2 fx) ed oa e Sx —_ E28 a 8 oO ae 0 © = cS A} 53 57 N = cD a s “ j WO & = ox Ss Tc Tn st = ° SO ia n & ce Oo = NM S ES) oS. wafe Das 23 Po ° = =: =» om oD il Ne ES ee 2h ° 3 = 5 . nit “2 8 S : SS %& : | 1 | = es fa 8 ram a TT Tal a (oe) " aot, |e | : | t } ae = ~ é : C+ AD A a ie is ae: ne wn “ - Oo ri Mg T i : OD Sem & } Ww 4 : . om <% eo a, Y os ~ “- 1¢ i¢ Fs He | Al ot mu . ie . Va oe Heo He bod Se

Page 34

THE ETUDE 720 SECONDO ane rm lh il Vil lh ihe ban i i ee ee Ne Hl ; Ae. Wi all i a ee i S i ah \ ll =Pe Aa Sah NS A

Page 35

724 THE ETUDE PRIMO & HB 4 itt f alt ah Tan iS) | a / e ~ ( - ee oe his £m & C7 mod eat [{{t, Hl ‘y Bxa is z A fs. e mill ) ) Bi SY ae eee

Page 36

THE ETUDE OVER THE *FOOTLIGHTS T22 VALSE -room piece, this waltz might ri ql Me RAYMOND ROWE bal It ) ee a at 6 % Although intended as a drawin be used for dancing. Grade 3 r= S S 8 ghithe+ IITs “he * we Ss mill 1 hs Andante con moto Fatt tL alt ii if Bs oe le “i ilk eS | t ‘ Te RD) bh | 2 FH TRY° GP oN Ng A modern waltz movement, somewhat inthe nature of an arr de ballet. The principal theme is particularly taking and original, contrasting well with the smooth and graceful Trio section. British Copyright secured Copyright 1916 by Theo. Presser Co.

Page 37

| | fe i dal. Hi al pl iF in uy Gun | dace: a * fis S| dh. British Copyright secured ~* NI § ili D ms fs alll wail fet 3 “aT NS heeedine ii cca S C in tt Hes se ih it ‘ : Me inci | o Fe : il =i ef : ati ea fa : iN “Tit . S o | | BD INES sill a #2 Hl le i : i S2 te i Lk law ‘ ; BN ee ny Copyright 1916 by Theo. Presser Co.

Page 38

THE ETUDE 124 2 © Ie rot 2 24 ae x) o eni- Ke q >—4 . 31, No.1 GEORGE POSCA,Op tended as a piano piece it should prove equally effective on the organ. Grade 4. George Posca is a successful contemporary writer, with a A = -. 0co Creésc., jf lly in- was origina =100 ‘it SS a. 4 a let # all (LF ah e{ afi] Tie Ls ! ny ‘A lic: if a N hi oS an aad © | sa s Nes ma Copyright 1916 by Theo. Presser Co. c ia a 2

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aa tall i 725 tal PLATON BROUNOFF thirds are considerably more difficult to play. It is a good aco creésc. thing to learn double note playing as early as_ possible Grade 2-3. MARCH in THE ETUDE lary useful for this pur- ev = , bo Copyright 1916 by Theo. Presser Co. Sa

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THE ETUDE IDLE HOURS 726 E.K. HEYSER WALTZ eft hand melodies. This little waltz has two, its first ar Se M.M.a-=7 i third themes. Grade2 9 ~ ent likes to play | Tempo di Val FP on Every young stud ESPressivo = qT | oN ne in Copyright 1916 by Theo. Presser Co. ™“

Page 41

727° THE ETUDE To Mr. Otto Fritsch THE MERRY HUNTER , based on familiar horn passages. Pieces of this type should be with strong, almost abrupt accentuation A lively six-eight movement in the traditional hunting style ,at a good rate of speed. Grade 3. played in the snappy manner, = i. te mn T i zi 2 r “e iil = Fe = rs e = < aay a : ‘ . wey ttt At | Pp misterioso c i ime 2 _ AN British Copyright secured Copyright 1916 by Theo. Presser Co.

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THE ETUDE NOCTURNE from“MIDSUMMER NIGHT’S DREAM” A very effective and pianistic transcription of the famous Wocturne from the incidental music to Shakespeares romantic 728 Hi aon r j INT PC aNN Dhiba nae ili ; ‘\ F. MENDELSSOHN ben sostenuto well sustained i a ee es | Se — Grade 4. aa 46 ee ee ees ) eee eee 6 ee iv in music. 4 ore tt) s es ting Fairyland 1c ¢ Faull pli “UAL ' ~ x 8 © =e ~ < 8 © & 8 S g S w Andante M.M. | Je if play. Mendelssohn excelled in dep ay) NAN

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THE ETUDE RLS Se RR RR A So RE ae ES Oe QE ee NO EE ae JP : a ———— a) —— a ——— __ a a —— —— 4 it sempre animato co agttato crescendo Fee ths REESE MES RARE po en a en Ey - Ur [? 4 aplges ee eee ee ee io ee ee 2 ee 2 ee? ee oe ee a ee de ee ee 2”. de ee Td ee Ee ee ee ee ee molto erese. poco jorte ae ERIE <eoc .ty EI St PAR BE Oe SEO A Es ee cee ew at tins <a ne ree AN | “ © = w D Stl | s—-4+ - . Le ee ee W +e £2 SRR oo ier enema * oelteh el enh eae t- a ud } J SR ee enn epee MT he LI REIN Ce I Re Cab A AR NEE Ge OF ee Oe 2 ee ae Oe {Re ae CP AAieky te SS a es oe ea ee a el a a SYLVIA Introducing“WHO IS SYLVIA?” Spenser has supplied some appropriate and interesting introductory material. “Who is Syivia?’is one of Schuberts most beautiful songs, set to words of Shakespeare, from the play‘Two Gentlemen Pd ? of Verona’ In making this into an instrumental number, Mr. GEORGE SPENSER 104 Moderato con moto M.M. ¢ Ur te |} all our swains com-mend her? a Oy Oa British Copyright secured Copyright 1916 by Theo. Presser Co.

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THE ETUDE FIELDS ABLOOM GEORGE SPENSER , well contrasted, lying well under the hands, and affording good practice in nimble finger work. WALTZ TT PRE i a H TILE te hot alll ‘ ii ot on* British Copyright secured LELKEM SWEETHEART Hungarian Song and Csardas OSCAR J. LEHRER play. Mr. Lehrer has caught the true spirit of the Hungarian’ Folk Songs and Dan- Lento molto dolce estoso % Bee British Copyright secured 730 ) o . 7 3 1 Oo ws ° us 7 = i = B 3 = Sb = ~~ -) Fee = ‘* 23 = i ho o . ; — ~y - = & i me 2% = ; ® a = % ae = DN bs ~~ O oan a o¢ _ a m = ae =) = SD am -> 0 Ss ey : g 9 : m= Te ae — v o 1) omy tC — ~ 2 _ Os oa cae Copyright 1916 by Theo. Presser Co.

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734 THE ETUDE sostenuto ba=4 ME , rt oo =126 ~ sostenuto Oo zingara M.M.@ Sire moderat in a aS eee f iBails eS LS . k S iT : tt ah eer ee = EM) e SH cdi i SHUN TSR | x creésc. 144 aa vivace a _ it ue ad Hl wih : , ae al 3s & Ra T ater 0 Vivace M.M.e

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Music.’ st eight measures. Beethovens L.van BEETHOVEN, Op. 20 Arr.by Hans Harthan Septet is his most famous piece of “Chamber ity, however is only in the fir Grade 3. “SEPTET” It is interesting to note that Beethoven has employed the same principal theme for both the Minuet from the Sonata, from Op.49, No.2,and the Minuet from the Septet. The similar- MENUETTO THE ETUDE 732 7) a a SG Ae. 2.4 es ee 2 ee eee eee ss ee tee alll a Se 5 ME os 5 NR 8 NO A _— [7 TAT D.C.al Fine e ee tet ere ae on ey a Ba e. => 5 _e& “ OU || a2 & @ @& /Jeé | reads a i A: es i el A hk 3 Ts a A 2 et eS ee ee LA OC eee 3 | "RE A YO EE A Ve 1) VAS Cl OF TORU FF ee ME eee 1 He 5 e 4 ing ee ES A SE see Re RES 1 A a om INE YEE EE eee GRRE Ro ae OY eg ee oe ew eS OS oe ey e a ee eee eee ee ee ee ee ee ae ee ee eee _ SS. 62 Oe ee eB AEF aS OO OR NE ST EE PE A SE a 2 SS ee See wr, ~~ . 4 “ a Copyright 1916 by Theo.Presser Co.

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733 An appreciative biographical notice of Mr. Rockwell will be on another manual by a quiet accompanying style, preferably The plaintive and delicate theme should be delivered with | found on another page. Grade 3. well’s final composition for the organ should be in the form of | of stringed tone. ELEGY It is eminently fitting that the late Mr. George Noyes Rock- THE ETUDE using an appropriate solo style, balanced much expression, an Elegy. lia < ail tt ‘ S. - ae it Mh Full « 4 é 8 TTS? < 884 3 A= Ul S ‘ + GEO. NOYES ROCKWELL ii aT ls 3 fe i | Ri au. ly ; A oat, = biidl., sade In} ed 3 / : : | ‘ Cure uel Hae if] Rs | s 2 ¢@ aE: te 2 =\\ lees to's GS eo TTT oé “ . ane wy ie i A MANUA ah acs2 ee <goen—e On British Copyright secured Copyright 1916 by Theo. Presser Co.

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THE ETUDE IT’S A BEAUTIFUL WORLD MY DEARIE 134 > peas tee ey HERE eae FES | TTT ae ee - 4 |: Egg i 5 E Mike : 4s te Li = bite é " é : |: © = SS) = b 3 |e b~ ¢ al ioe 3 oe roi 4 © a, > ‘| ~ ae: ; im - i ami : : ‘a = = . fs es. - 7 za D i me S ' $ S i a wn _ @ 8 bo Ee a) -_ oS komt = ‘ oo Bg. ~ o © 35 : E O i o o ]o 8 cot i PL be = : Vo re. * 2 Pr ive) eo w *" » 2. @ =4 oh mE 1S ah ed Ne nae on=2 b= Ne RY Oo eee tt ea eee sean Se

Page 49

British Copyright secured Vex) Ne ene Re ee Ce ER ee tee on ee eee es oe eo Po Z aay ze a em ii , : all Ni ail RS WSS Hl x¢ “4 te : 33 ; TTS 2Ciete alin B [2 1 a2] ly i = a bo saaall base panel Sg © @ ? w ly » SS Oo ® fut fg : Th ire EE = ue IN = . mod emg B it et 33 age : ‘ ss | an if maeuP i - . = a td fn Sw < i ¥ g§ I | my dear air where. I ‘al a-part As an May. blaze € a Scams RRR ae aE the Vi tsusBY the grance in ey won - der-ful world, fra - glo the = By the THE ETUDE It’s a heart has been kept on nights semsoarest Hoes stars out Dw Sa fas Do a ~— — Rn os z as blos-somscome In - to as as Ww grance in know your sf ly, tid | : she she Bom ._} 2 Oo Tt Tees tt fiNss Stil - en INTO MY LIFE An artistic text with a tender sentiment, delicately expressed. The musical setting is sympathetic and broadly melodious. at sempre crese. y knew that of lifésgold - on - — knew th on- | all | MO . K wart Ye TS Me? SR? GP mH° BN) SNS AE Nee BN wo AO a —— Set wee GRACE DENIO LITCHFIELD Copyright 1916 by Theo. Presser Cv.

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(1843-1907) EDVARD GRIEG simplicity, yet strikingly original. One never tires of this sort of song. (Composed in 1876) THE ETUDE THE FIRST PRIMROSE MIT EINER PRIMULA VERIS al , appealing alike to the theorist The First Primrose is wonderful in its Grieg’s music touches both the brain and the heart. It has gretto dolciss J.PAULSEN (1851 - an atmosphere all its own and the music lover. 736 VE i ae ult a Hite eee i a — '* 1 2 = lh Ei ¥ 4 t afr &D 2», i ~ q & ‘~ % ai Ss & — a — 2 © SS. = Hh 232 |; ae = ! 2 ~ 3 8 al Go = §6 Bs . g~ el S's © se = ‘ Us mS S i ait ws ! ' q3 i 55 — Mm Ss 7~ I e § m os Las wt & il ns ot ww a oath. ='s PY) ‘ hs te zs ~ ee i oO «~ *& Eo A 3 + 33 % 2 £3 3 5% § mS = ' i mR . ~ 2 “m Ss 8 4 ER o 8 ow e & ES jas f :% is = % 28 2s | EI bs —_= = Ly - a § BS aS ek B mk June Ro da - fur rap - ture yield, mo Alle 2% 2 3 nae = ~ e's o © > ~ het! tals ~S f tos N S % ~ ey S cs ht et QQ ee fy % on % & s % = ~ § re .~) Ses Tes x i * ite 4 3 “pe §& 38 cs 2 ox ° 8 = a § - Me o d es rh 5g | =" a a \ 2 Ps) Bite il 1 o § 2 % aS oft Se 5 & , Be | es il Hii ee e | te *. | |: fee Bh, BN se TH? TS i THY? _ GN See

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‘already grasped. THE ETUDE Facts About Our Keyboard By Hazel Victoria Goodwin Ir is doubtful whether Archimedes him- self could have evolved a more beautifully symmetrical system than the circles of major tonalities. Nor is this symmetry confined to the Circle of Perfect Fifths. From the keyboard, itself, comes a per- fect marvel of symmetry. Beginning with C, which has no signature, immediately to the left and immediately to the right we find keys with five sharps and five flats respectively (B and Db). A whole step to the left and a whole step to the right lie two flat and two sharp tonalities. The next half-steps each way (A and Eb) show three sharps and three flats. Four flats and four sharps, one sharp and one flat, six flats and six sharps succeed, and the order of succession of flats and sharps going to the left, or going to the right is alternate. Another example of symmetry is fur- nished by the following. Traveling to- ward the left (or right) from C, we find that the first pair of keys have flats and sharps amounting in number to seven; that the second pair have flats and sharps amounting in number to seven; that the third, fourth,—each succeeding pair down to C again follows this law (allowing the midway key its two aspects of F sharp and G flat). : Again, the flats and sharps of all keys whose names are derived from a com- mon letter, when added, make the same mystic number seven. (Reference, of course, is to major keys that are not merely theoretical.) For instance Band B flat derive their names from a common letter, “b”’; B has five sharps and B flat has two flats and five and two are seven. One knows which is the key with flats, furthermore, for every key that has “flats” in its key name has flats in its signature (with the one addition of F of the single flat) ; for, every key—with any signature at all—that has the simple letter fot its key name, has sharps for its signature (with the one exception of F sharp of the greatest number of sharps). There is a fourth example of keyboard symmetry that suggests the visualizing of major scales as well as the learning of them per the time-honored whole and half step rule. Consider the three major scales that employ all the black keys: one, B has five sharps; one, D flat, has five flats and one, F sharp (or G flat) has six sharps (or six flats). Helps in Good Sight Reading By B. H. Wike Goop sight reading depends upon fine points, anticipative power, ability to listen, muscular control, a careful study of some of the most common and _ import- ant technical forms met in ordinary work, and a clear mind. Reading groups of notes like words be- comes easy to one who really knows his notes and keeps up his practice regularly and faithfully. Anticipation is most im- portant. While the eye is taking in a certain part of the score, the hands and fingers are performing what the mind has This looking-ahead habit is to be encouraged, both for the sake of overcoming hesitation and favor- ing the growth of sight reading. It can be cultivated by taking new pieces at a speed slow enough for it to be done fairly well; then gradually increase the speed as improvement is noted. Pieces that are too difficult either wholly or partly may be gone over at the desired speed prima vista; in which case the intention is to get a fair idea of how the piece would go if played more correctly after more practice. Right here comes up _ the “stuttering” habit which once formed is usually hard to break. It comes about through frequent stops to correct mis- takes, especially when going through a piece the first time. “Listen” is but an easier way of saying “pay better attention to your playing as judged by the ear.” One should never play a chord even without listening very closely. Inattention plays a great part in more than one failure when a per- former seeks to gain public favor. Ears trained to recognize mistakes in wrong notes or bad phrasing help us all to do what good sight readers are expected to do, A great many sight readers think noth- ing of the loss of muscular control due to the daily grind. Unstrung nerves, brain- storms, and whatnot can be traced to too much coffee, flurries and unpalatable fancies of society, late hours and too little exercise and fresh air. Muscular control may be developed by careful practice of regular technical work done with con- sideration as to what the muscles can stand or by certain gymnastic work in physical culture. The Teacher’s English By Gertrude M. Greenhalgh S1ncE the teacher’s English is the means through which she conveys her instruction to the pupil—the bridge be- tween the master and the student—the teacher cannot be over careful that the language she employs should be all suffi- cient. Moreover, the time has passed when an illiterate music teacher could make her way merely upon her musical knowledge. American parents are becoming better and better educated, and they know the value of example. The teacher who gives her lessons in bungling, ungrammatical sentences will have difficulty in competing with the teacher whose language is correct and adequate. Remember the Scriptural quotation, “By your niouth shall ye be judged.” Teach the little folks in a well-modu- lated voice, using simple, concise words. The teacher must not feel, however, that her language need be that of the stilted purist. Some teachers feel that a just use of “slang” is sometimes most expres- sive to the little boy. Perhaps it may be better to tell the active youngster, “John, you played that ‘bully,’” than to say, “John, you rendered that composition ex- quisitely.” It is hard to get close to the boy without overstepping the mark. The least use of familiarity is liable to set the young man loose, and you will have a volley of slang that will upset the whole lesson like the teacher who asked a pupil to define the name of Concone’s famous piece Extasy. The answer was, “Extasy is when you are ‘nuts’ over anything.” | | | | Your skin, like the rest of your body, is continually changing. As o/d skin dies, mew skin forms. Every day, in washing, you rub off the dead skin. This is your opportunity—you can make the mew skin what you would love to have it by using the following treat- ment regularly. Just before retiring, work up a warm water lather of Woodbury’s Facial Soap in your hands. Apply it to your face and rub it into the pores thoroughly—al- ways with an upward and outward mo- tion. Rinse with warm water—then with cold—the colder the better. If possible, rub your face for a few min- utes with a piece of ice. Woodbury’s Facial Soap is the work of a skin specialist. This treatment SECOND SUITE FOR ORGAN by JAMES H. ROGER I Preambule II Theme and Variations III Pastorale with it will make your skin fresher and clearer the first time you use it. Make it a nightly habit and before long. you will see a decided improvement—a promise of that lovelier complexion which the steady use of Woodbury’s al- ways brings. _ A 25c cake of Woodbury’s Facial Soap is suffi- cient for a month or six weeks of this treatment. Get acake today. Itisfor sale at dealers’ every- where throughout the United States and Canada. Write today for sample—For 4¢ we will send a “*epeek’s sige’’ cake. For 10c, samples of Wood- bury’s Facial Soap, Facial Cream and Powder. Address The Andrew Jergens Co., 2131 Spring Grove Ave., Cincinnatt, O. In Canada, address The Andrew Jergens Co., Lid., 2131 Sher- brooke Street, Perth, Ontario. IV Scherzo + V Epilogue ’ The fact that the first edition of this work was, sqld in about six months after date of ggg indi- cates its popularity. It is not too difficult for the orgafuist of average attainments; it is useful both fer recital and for church ‘services; Let us send you a copy for your examination. be Philadelphia, Pa, THEO. PRESSER CO., Publishers ~ Please mention THE ETUDE when addressing our advertisers.

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a & i a oe | ie re == = SABRI SFL th} > ~~ Fy, ” Ce a) AANA DANTE == Department for Singers Editor for October, Mr. GEORGE CHADWICK STOCK A Goal Worth Striving For THOUSANDS of young men and women throughout the United States will take their first lessons in singing during the months of September and October. It is safe to say that every one of these be- ginners is filled with the desire to sing well. It is necessary, however, for each one to understand that final success in this, as in all other undertakings, de- pends upon mastery of unvarying prin- ciples, earnestness of purpose,—which means a fixed determination to win out— and unbounded enthusiasm. In order to attain eminence as a singer, you do not have to possess a voice of ex- ceptional power and range, neither is it necessary for you to surpass the world in vocal agility or in astonishing climac- teric and dramatic outbursts. If you have a musical voice you can make it of rare quality if you work under inspiration and true guidance. You can achieve dis- tinction as a singer by coming into a full realization of the power and influence of the spirit of truth and sincerity in song. Become a devotee at the shrine of pure miusic and you will learn how to refresh the world with a delightful simplicity of utterance in song. The world hungers for such a message, and you will do more for the love of good singing through simplicity of achievement inthe art of presenting folk songs, ballads and sacred songs of worthy composers than can ever be accomplished by austere and sophisticated forms of vocal music. Be- hold Julia Culp! Spiritual sincerity in song is recognized and loved by all the people of the world at all times and un- der any conditions. The heavier vocal creations are restricted in scope and per- formance and necessarily confined to met- ropolitan, or, in other words, to sophis- ticated localities. There is an immense field in which the singer of melodious songs can work. Equipped with twenty songs that have be- come a part of his very soul, each of which he is able to sing as, for instance, Gadski sings In the Time of Roses; as Julia Culp sings Long, Long, Ago; as Schu- mann-Heink sings His Lullaby; as Bis- pham sings Danny Deever; as Wither- spoon sings Flow Gently, Sweet Afton or as Jessie Bartlett Davis sang O Prom- ise Me—if he can do that he will find friends and admirers wherever he goes. Let him fill his soul with a small group of really tuneful songs and he can travel and sing with unqualified success for years, repeating the same old songs— old songs that are ever new because of being sung with inspired feeling. I have said that the field open to such a singer is immense. It is. There are thousands of cities and towns in the United States where audiences of from 500 to 5000 people will assemble to hear a David Bispham, a Julia Culp, a Kittie Cheatham or a John McCormack. Sing- ers of the kind I have described are far too few. Whenever and wherever they appear people flock to hear them. We. have room for thousands of them—we possess only dozens. Try to perfect yourself then for this choicest as well as most useful sphere of action. It is a goal worth striving for and it is within the reach of a talented singer who really tries. Little Matters of Big Moment Nature's way of unfolding a bud into a beauty of form and fragrance contains a world of meaning for the student who is unconsciously conscious of the deeper significance of song. The solution of the more difficult voice problems will be found within, not outside of yourself. An hour spent with an enthusiastic stu- dent seems much shorter than a minute with an indifferent one. Does it do singers any harm to smoke? Does it do any good? To all students this: In your train of thought see to it that none of the cars gets uncoupled. Avoid becoming a metronome artist. A song is true only when the soul expresses it. The swell ———_—=— is one of the most important vocal means that can be used. See that you have it at your command. The more perfectly you feel the pitch of a tone the closer you will come to an ideal realization of it. Even an artist is not always on the alert; not always ready for his best song. There is considerable misunderstanding among singers regarding the meaning of the much used term relaration. It really reans that all rigidity should be absent itl singing. Important for Singers to Learn How to Read - CareFut and repeated reading aloud of both prose and poetry is of inestimable value to singers as well as speakers. Com- mit many passages to memory, for in this way you will have material to work on when books are not conveniently at hand. All songs should be memorized. When you read or recite, speak each word clearly. Be sure to articulate the con- sonants distinctly and give full value to the enunciation of the vowel sounds. The aim should always be to make your listen- ers hear every word uttered, together with its inflection, emphasis, pause and accent. By all means become skilled in the art of reading. In reading any passage the pitch of the voice will vary according to the inflection. But there is a fundamental pitch to begin with, and it would be a beneficial prac- tice to change this fundamental pitch within a limited range, say, four or five notes, care being taken to preserve the chosen pitch throughout the reading, al- lowing of course the necessary variations for inflection. Inflection is the basis of the vocal art. Vocalists who fail to grasp this principle will never become speakers or singers of either merit’ or distinction. Melody, in the last analysis, is‘sreally nothing but heightened inflection. eo SE — ase _ BBB BEBE ES we > SS sawrTc VFS a ~ — . = \ 7 ———— 2 =— 5 a * » A u = J rt} Th ~—, lo x 3% — ey ~ | ' = HAN =: — 26 ref, = ‘ jf 2 —Fe yy =—— J => = || Se SS Se SS SS SS NCS SS Class Room Vocal Instruction for Children “THe child is father of the man.” The same statement holds true when extended to their voices. All-teachers who drill class room children in vocal music should have a clear conception of what to do in this department. The following sugges- tions are offered for consideration: Make sure that each child uses a clear light quality of tone. All singing to be done without the slightest strain or forc- ing. The tender and undeveloped vocal organs must not be subjected to any practice that overtaxes them. All exercises and tunes should be within an easy compass, preferably between C and F. The length of time for singing periods rarely to exceed half an hour. The endurance and compass of the average voice should be the standard to govern the preparation or selection of song material. It frequently happens that composers who write music for children, and others who select such music show a surprising lack of judgment regarding the average child voice. Teaching TEACHING is not a science, teaching is one of the fine arts. Teachers, like poets, are born, not made. Like begets like. It takes fine art to develop fine art. Intellect alone has never yet pro- duced either a real teacher or any other kind of an artist. It is of course desirable to possess a refined understanding, but it is of vastly greater importance to possess refined feel- ings. It is not a difficult matter to make an- other understand something which you yourself understand, but it is quite a diffi- cult matter when you try to make some- one else feel what you feel. Do you get A Vocal Lesson THE cry of an infant is the quintess- ence, even if it is not the most attractive feature, of pure vocal sound. The ex- planation of this is that the near com- ing together or adjustment of the vocal chords is so perfect that no breath gets through that is not in active vibration. The vocal organs of the infant spring’ into correct’ position and action auto- matically, and the cry that follows has that remarkable intensity and tellingness of tone which carries to the farthest reaches of the largest auditorium. Such a tone is the result of unconscious effort and perfect balance of the forces en- gaged in producing it, the primary ele- ments of which are breath pressure and cord tension. _There is one other thing that must be taken into account:—the pristine perfec- tion of the infant. The nerves, muscles and the vital forces are at their top-notch of efficiency and in as perfect form and health as they ever will be. He has yet to become the imperfect being that human ailments and sophisticated society will make him. An infant cries with its mouth wide open and the initial sound, as one accus- All unadaptable music should be re- jected, and will be rejected by supervisors who know their business and have the children’s welfare really at heart. It is a mistake to burden children’s minds with frequent allusions to vocal technic. They will acquire a right use of the voice through correct singing. The compass of their voices will be quite nat- urally extended in time through practice. Compass should be considered secondary to quality. Time, rhythm, accent and pause—the inherent characteristics of tunes—are ab- sorbed and mastered by children uncon- sciously through the medium of the text. They should not be alluded to as things in themselves. : The aim then should be to teach chil- dren to sing, and not how to sing. This field in which to advance the love of vocal music is an exceedingly im- portant one. Those in charge of educa- tional affairs should make every possible effort to get efficient and experienced in- structors in this branch. The voices of maturity will in a great degree depend on how they were cared for in childhood. Is An Art the point? If you don’t, sit down and think it over until you do. If you have a teacher who, you feel, is really developing your natural endow- ments to their utmost limits, stick to him —"“grapple him to your soul with hoops of steel”—as far as you are concerned he is priceless. The best vocal instruc- tion for an American singer is that which he can get in the United States. He can get instruction that is just as honest as his money; that will advance him just as inevitably as every hour advances his age, provided, of course that he has the God-given spark within. from the Baby tomed to critical listening to the human voice can tell, proceeds from or is set up at the bottom of the throat, in other words within the larynx, which is the original source of vocal sound. Each time the infant renews its cry, if you know how to listen, a glottis-stroke can be detected, varying in audibleness ac- cording to the loudness and intensity of its cry. This denotes the utmost economy of use of the breath wrought by nature into vocal sound. Place your hands in the region of the ribs, diaphragm and underneath the shoulder-blades, and you will feel how evenly, regularly and unit- edly the muscles of the thorax contract in their effort to expel the breath from the lungs. As the cry grows in intensity, increased contraction of the breathing muscles will be noticed. This amplifies the sound waves through increased breath pressure or density of air in the wind pipe. We learn from Helmholtz that “in- tensity or tellingness of sound is depend- ent upon the density of the air in which it is generated” and thus it is that the unconscious babe is the greater Helm- holtz, since the baby. does by nature what Helmholtz, only described.

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= s—<‘; CSt:t — THE ETUDE 739 Tone Talk for Singers WE do not need to be told when we are fooling away time, we know it ourselves. It we don’t, the case is hopeless, and no- tice may be sent to the undertaker. The teacher of singing who really is a teacher of singing is the one who says: This is the right way, and then proves it. ‘This is the test of teaching efficiency. A teacher must measure up to this level or take the consequences. Question your teacher frequently. Keep a record of what he says. This plan enables you to see if the last les- sons of a term tally and hold together with the first. There is no sound that can approxi- mate the quality and attractiveness of the human voice in song. . There are two harmful tendencies prev- alent in the training of voices. One is to compel contraltos to sing too high, and the other is in training baritones to sing in the tenor range. Both actions -are barmful. Voices thus trained reveal the strain to which they have been subjected in deterioration of tone quality. There is a cure. Quit it. Sing with the voice God gave you. There are many evidences that the germs of unanimity of thought on the de- velopment of the singing voice are growing and spreading. Scores of letters trom Erupe readers convince the writer that there is agreement among teachers, widely separated as to locality, that me- chanical means of training voices are incorrect. There is an undeniable trend towards a wholesome Standard of Voice Culture in America. A Helpful Expedient MANY years ago a teacher with whom I studied said to me “Close your eyes. You will sing better.” : ‘When closing your eyes or dropping your eyelids you do get a better tone and will probably find yourself possessed by the spirit of the song in a much greater degree than when not doing so. That is so simply because the homogeneity of your ego is not broken up by external influ- ences coming to you through your eyes, and the consequence is that the emotional message of the song, as well as the qual- ity of your tone, reach their highest level. Try to make your ego stronger. Culti- vate self-possession—not through the medium of pride nor through the medium of humility but through the conscious- ness that you really have a message for the world. When you have come into full possession of yourself you will probably be able to sing as well with your eyes open as closed and your tone will lose none of its quality. Never sing for ap- probation. Let your soul dissolve its joys or sorrows in song, simply because you cannot help it. Then your song will be irue at any rate. Whether people like it or not should not matter much. Christ was crucified, as you know. The American Singer’s Handicap By John C. Rau . THe. American singer’s handicap is im- patience. Our very independence makes us uncomfortable under restraint. In Europe a more tractable student submits readily when the maestro says, “Your | vocal course will take four years.” By dint of our natural talent, our great en- ergy, our surprising initiative we some- how make up for the time we lose through blunders brought about by short cuts. This does not mean, however, that there are not many other singers who might become famous in America if they could bring themselves to see that voice training is an art that takes time and work. In all professions the standards are ris- ing. In medicine one must have from one to four years’ college training to. enter any first class medical school. In music the student who does not realize the oncoming pressure of competition is des- tined for failure. Get as good a train- ing as you possibly can, and get as much of it as possible. Then remember that there are thousands who have had a good training and that you are in one of the swiftest and most difficult races in the world in which not one minute may be wasted. Monotones By Albert S. Watson Every chorus leader has encountered the individual who sings blissfully away on one tone, perfectly unconscious of the fact that he is making hideous discords with every note. That some people are really tone deaf is a common discovery of the voice teacher. I remember a pu- pil with a very fair voice indeed who sang with great accuracy exactly one- third above any given note, and thought that she was singing the note. In congregational singing in church there are frequently heard earnest mem- bers of the church who devoutly inter- rupt the best efforts of the good singers by singing so far out of tune that the whole effect is disastrous. This, in fact, is one of the great difficulties with con- gtregational singing. Usually those who sing out of tune are those who sing the loudest. The only remedy for those who sing out of tune and who have voices worthy of reclamation is drill, drill, drill. A patient, hard-working teacher can some- times accomplish wonders by means of drill. Play the right pitch on the instru- ; ment, and then have the pupil sing. The pupil fails! Well,—try it over and over and over again. There have been some cases where the results have been very satisfactory and the ear has been well enough trained to enable the pupil to de- tect false tones without delay. The Isolated Singer THIs singer, who for one reason or another cannot get into touch with a teacher, is by no means helpless. No singer is really separate from all chances of improvement who realizes that in pos- ‘sessing mind, soul, gift of voice and musical talent he has at hand assets of incalculable value. With these great ad- vantages and the aid to be found in good voice books and magazine articles or de- rived from interviews with other singers he can accomplish much by himself to- wards his own development as singer. The talking machine is also a means by which to obtain many useful points. This course is especially valuable to all stu- dents in getting ideas of style and inter- pretation. Where there is a will, the way above indicated can be turned to good personal account. (] Ly US Le ) RR mal) sin 4 {ib cs fe, = . ¥ \y AS AW EE <a \) O/ Seti Tk NGS Uinta \) [iitttmne, A} io Wt t 3 ii} ir pea aul Ran 6 -_ = = 7 7] . = Y _ a — = we = i = =. TREO) aac COT eo ot TT Weer ROTI i Le quay Maa TTL TTS a a i ae TT) Be =/(A\= =e Zee Sea it | Al JAN A Lt =es =ys =: sae eS =8= TZonantidl LOT) ‘i= als UL TRO ean 4 ea s esounaul i Farid ROT ees Our Smallest Grand ilk ee This piano presents in the smallest com- =A | AA pass we believe desirable, those qualities of “lk =e= . . AS A tone and touch which make the grand incom- ae ate parable. Less elaborate and expensive than as Al most high-class grands, yet in materials, AN Fr workmanship and finish, it is as artistically ane iz perfect as our largest grands. Our latest catalogue—an invaluable guide to intending purchasers interested in what is latest and best in piano designing—mailed (free) on OR iT eteenay \aanittl TROT) aaa aK iit} a i Uy ie € / request. | : | Ivers& Pond | = TT) Tar eet Wael: I PIANOS AN == “| are of but one grade—the best; built to com- (lz TROT I pete in quality rather than in price. They have the individuality of every true art prod- uct, yet show ultimately unsurpassed econ- omy. Recognizing this, over 400 American Educational Institutions have bought Ivers ALE & Pond Pianos for their own use, in numbers | Fr from a single piano to over 300. PTL Ur het qeeeaen ‘ea Ly a esrrir ie eet ul 3 COT os mn Wi ¢ : Th 3 ROL I j easel a aiisan ul a il } i éeoort Gr ROO) Re How to Buy If no dealer near you sells the Ivers & Pond, you can buy from our factory as safely and advantageously as if you lived nearby. We make expert selection, prepay freight and ship on trial, in your home, in any State in the Union. Liberal allow- ance for old pianos in exchange. Attractive easy payment plans. For catalogue and valuable information to buyers, write us now. IVERS & POND PIANO CO. 141 Boylston Street Cena Uy € ay (aaue [Zouwenel im iW TOOT Lonnatt Fe) ee eee .3 ait =a ttl ifCsaanntit TTR ic pets Boston, Mass. z Bens Le Please mention THE ETUDE when addressing our advertisers. ; sig 8 =), any pees) pause (Ti pauer parser) ToT, 2 ’ ACL) auscg eneaay STITT) LETT | CTT T | ITTT) IT Ss / @!

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Its Possession Proclaims Musical Judgment In New York and Philadelphia at the Wanamaker Stores only. Dealers in Other Principal Cities SCHOMACKER PIANO CO. Established 1838 23rd and Chestnut Streets PHILADELPHIA, PA. A New Booklet by Mr. Stock HELPFUL SUGGESTIONS to Young Singers “There is more information for students compressed into the few pages of this brochure than any one vocal lesson, could possibly contain.” A quarter in your letter will bring it to you. Address Geo. Chadwick Stock VOICE STUDIO: Y. M.C. A. BLDG. New Haven, Conn. Author of “Guiding Thoughts for Sing- ers,” etc. $1.00 postage prepaid NEW VOCAL MUSIC “ON SALE” Have your name entered for the receiving of a few small packages of new music ON SAL uring the professional season, no guarantee as to ‘amount to be kept; discount the best obtainable; the only responsibility the small amount of postage; returns of unused music to be made once each year; a pos- tal card will stop the sending any time. Thousands of teachers receive piano music from us in this way; they say it is most convenient to have 8 or 10 new compositions coming along from time to time. We send piano, vocal, octavo, violin and organ music in this way; any or all to ‘responsible persons. THEO. PRESSER CO., Philadelphia, Pa. MAME BARBEREUX PARRY Price AUTHOR OF V | Limitation and OCal \ Its Elimination § $1.00 A Definite WAY to develop RANGE and RESONANCE _.- . Studio: 514 FINE ARTS BLDG., CHICAGO READ Systematic Voice Training By D. A. CLIPPINGER It Will Interest You in His Special Work in Voice Production and Interpretation. Circular. Address 1210 Kimball Hall, Chicago, Ill. Harry Munro, BARITONE Teacher of Voice arid ‘Singing from the Mental standpoint Author of‘ Voice, ts Origin and Divine Nature”’ CARNEGIE HALL, NEW YORK Walter L. Bogert Teacher of Singing NEW YORK CITY No. 114 West 72nd St., CHARLES TAMME TEACHER OF SINGING 7 STUDIOS New York -- Philadelphia -- Newark packs: and terms upon request RESS: THE RESIDENCE-STUDIO 123 ORCHARD STREET, NEWARK, N. J. Please mention THE ETUDE when addressing our advertisers, THE ETUDE Reform in English Methods of Teaching Singing THE ETUuDE is in receipt of a special report issued by the Society of English Singers. This organization includes many of the representative men in Eng- lish musical life. including Sir Charles Villiers Stanford (president), H. Plunkett Greene, C. Haydn Coffin, W. A. Aikin, Percy C. Buck, Ben Davies, William Shakespeare, Arthur Somer- vell, and others. The recommendations are directed particularly toward schools and conservatories, but the report is in- teresting to private teachers as well. The report follows: “There is unanimous agreement among members of this society that the present system of education offered in our insti- tutions to those who wish to become singers is inadequate and on unsatisfac- tory lines. “Owing to the great changes now tak- ing place on all:sides, it is regarded as opportune to suggest that if a true Eng- lish School of Singing is to be estab- lished, the time is favorable for a com- plete revision of the conditions under which singers are trained in this country. Therefore the society sets forth the fol- lowing criticisms upon the existing con- ditions, and suggests what it holds to be a comprehensive system of teaching: 1—Insufficient technical training and Supervision, “The present system of half an hour or twenty minutes twice a week is wrong in principle. The number and duration of lessons should be elastic and regu- lated according to individual needs. Be- ginners require daily supervision, either individually or in classes, in the technical study of vocalizing and diction, and pro- ficiency in these should be secured be- fore attempting more advanced work. “The period of study should be cap- able of being extended to five years. 2.—Absence of any general principle co- ordinating the whole training. “The subjects: Technique of Vocalizing and Diction, Study of Musical Works, Sight-Singing and Interpretation should be taught upon common principles and a progressive system. 3.—Absence of Ensemble Classes for solo singers. “Ensemble work is as essential a part of the training of a singer as it is of an instrumentalist. 4—The “single teacher” system. “Each department should be in the hands of the teacher or teachers specially qualified for it. The students should be pupils of the institution and not of par- ticular members of the staff. It is inad- visable that any pupil should be trained in all the various branches by a single teacher. 5.—The physical side of training. “The career of a singer depends upon his physical well-being for its success. In the interests of the development of his physical powers, such theoretical studies’ as Harmony and Counterpoint should not be made compulsory. 6.—Neglect of the English Language. “The first duty of every English singer is to sing his own language perfectly. To this end the English language should form the basis of his training. | “The society wishes to urge the adop- tion of a system under which the singing school is to constitute a separate depart- ment, supervised by a person specially acquainted with the art of singing and its requirements, and conducted by a body of teachers, each of whom teaches his own subject or subjects in agreement with his colleagues. “The pupils should receive technical in- struction in vocalizing and diction under the daily supervision of their teachers in the early stages, and be passed on to the higher branches when they have acquired proficiency in technique. They should study singing side by side with the proper declamation of the English language, together with sight-singing, en- semble singing, repertoire, memorizing and pianoforte accompanying. “To. these subjects should be added dancing, fencing and stage technique for those who intend to follow an operatic career, “The student will thus be enabled to take his place fully equipped on the con- cert platform or the stage. “There should be such an entrance ex- amination :as would ensure a definite standard of ability and intelligence in every pupil. “Lectures and demonstrations should be given, which the whole school should be required to attend.” Vocal Dynamics By Karl Klinger IN no instrument are there greater pos- sibilities for quantitative tonal shading than in the voice. From fff to ppp is a comparatively small distance in the voice, but in that distance it is possible to get every imaginable degree of vocal shading. The difficulty is that very few students attempt to get anything more than mere loud and soft. A great deal of the variety and interest in the voice is due to the intelligent regulation of the force. A good way to try this out is by means of the scales. Start a scale pianissimo and then increase the force with every degree. Returning, diminish the force with every step. Don’t Hurry in Choosing a Teacher Tue final decision should be in favor of some one of. the better teachers in the locality in which you live, provided you remain at home. Prospective stu- dents of song, before deciding upon an instructor, should listen attentively to what well-informed persons, be they sing- ers or otherwise, have to say about teach- ers. But bear in mind that such talk should not be allowed to enter too deeply into your final decision because reputa- tions are not always built upon rock-bot- tom foundations. Investigate for yourself by interview- with voices. ing teachers. Very few of them will ob- ject to being questioned about their work Should any refuse you the privilege of satisfactory interview, drop them. They are not likely to prove de- sirable. ! It is your money that is to be spent and it is your voice that is at stake. Are these not sufficient reasons why you should make the fullest possible investiga- tion in this very important matter of choice of a teacher?—Grorce CHADWICK STOCK, FALL FASHIONS The early showing of Fall Fashions at the Knox Shop for Women will be appreciated by women of discernment. They realize that the standards of fashions em- anate there. Hats for every occasion. Sport Suits and Coats for every pur- pose. All in distinctive taste and typically Knox. KNOX Correspondence Solicited Smart Hats and Sport Clothes for Smart Women FIFTH AVE. AT 40th ST. Downtown 161 Broadway, NEW YORK Clayton F. Summy Co. The Musicians’ Music Store offers its patrons Trained Service, Co-operation and Educational Helps Write to the Question and Answer prmertment of the STUDY-SER- VICE SHEET. Published period- ically and mailed free to piano teachers. CLAYTON F. SUMMY CO., Publishers 64 E. Van Buren St. 3: Chicago, Ill. Send for catalogue and advantages offered to teachers The Crowning Attribute of Lovely Woman Is Cleanliness DRESS SHIELDS Free from Rubber Can be Sterilized Sample pair No. 3 regular for 25¢. Guarantee with every pair. The C. E. Conover Co., 101 Franklin St., N. Y. City Tindale Music Cabinets Noted for their convenience, and for keeping music in order where it may be quickly found when wanted; also protecting the music from damage. Used in hundreds of homes, studios and music schools. 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THE ETUDE The Composer (Continued from page 704.) ward that inner chamber into which the musicians had disappeared. He stopped a moment on the threshold, the glance of his gray eyes flying unerringly to Sarolta, who stood the centre of a group. Her cheeks were flushed. He had thought her beauty was enhanced by her usual pallor. Now, thus incarnadined, it seemed to him adorned as if by jewels. As he stared, he became conscious that many eyes were fixed on him: those of his hostess severely, of Lady Warborough with a smile, and of Princess Wilhelm with curios- ity through her uplifted eyeglass. Sir Ar- nold Pringle had a shocked expression, and Johnny was vaguely conscious that, from a retired corner, Mrs. Mosenthal was gazing doubtfully upon him. But Sarolta looked at him not at all, and he could spare no thought to any one else. “It was awfully jolly,” said Johnny. Her highness smiled more broadly at this: then advanced a step, with the unmistakable movement of departure. There was an in- stant flutter; Lady Warborough, Sir Arnold, Mrs. Morton, gathered about the: august one; a small, eager, black, hook-nosed man sprang forward from the outer room, summoned as if by magic by his wife’s imperious gesture to proffer his escort. As the cortége moved away, the Princess nodded a pleasant fare- well to Sarolta. Johnny drew an audible breath of ep on finding the coast clear. “Oh, I say,’’ said he, coming up to Sarolta, “you were stunning, you know!” She gave a little start and regarded him as out of some very far-off, entrancing dream. Then he saw, with a stab at his honest heart, that for a moment she did not. recog- nize him. “T am glad you like it,’ she said formally: stereotyped answer to the expected Com PH ment, But, even as she spoke, her face lit up. Johnny only felt, without analyzing, the fas- cination with which light and shadow alter- nated on her countenance, _ “So it’s you!” she exclaimed. “Yes, it’s me,’’ he responded in his special language; and thought that, upon this, he might shake hands. He took her fingers; them ice-cold ; held them. “You never told me——” he began, but his moment was gone: a loud, excited voice clamored for attention. “Sarolta! "Here she is, madame.” And Mrs. Mosenthal laid her hot clasp upon: her niece’s arm, “Sarolta, tanza !” A magnificent being in pearl-colored satin, conveying, as she advanced, the impression of a ship in full sail, pushed the Hebraic lady on one side, and took the girl bodily into her embrace, Two kisses resounded like pis- tol shots, Still holding her there by the shoulders, she gazed in Sarolta’s face with a pair of gorgeous, hawk-like eyes. “You are a treasure! A mine of gold!” ‘she cried in rich tones. Sarolta had turned very pale. The glance she lifted was full of awe and ecstasy. Johnny saw that she was trembling again and wondered who this explosive Panjandrum might be who seemed to produce so much greater an impression onthe singer than had a Queen’s daughter. “Yes, my child,’’ went on the lady. ‘You don’t know how to sing, of course, no—not for nuts, as you say in England. You don’t know how to breathe. Above all, you don’t know how to attack the note, poverina. You don’t know: how to phrase. Your voice is not even placed, to begin with. It is execrable. You have already a thousand tricks. Mais :a¢ ne fait rien macht nichts, The gold is there—a treasure !”’ wondered to find Sarolta—here’s Madame _ (Cos- A Golden Voice At the first words of this ruthless criticism Sarolta had winced as if the large, jewelled hand that gripped her shoulder had struck her in the face. From pale she grew a pain- ful scarlet, and tears of intense mortifica- tion sprang to her eyes; she set her teeth not to shed them. But she was angry too. Behind those unshed tears her eyes flashed, and those level brows were drawn so fiercely as nearly to meet. Nevertheless, as the other rattled on, and appreciation succeeded con- demnation, Miss Vaneck’s expressive face lost its tense indignation, and quivered into be- wilderment. And Madame Costanza _pro- ceeded as if these signs of emotion were quite outside her notice. There was no unkindness, though, in the keen glance that saw all—only a genial, if determined pur- pose. She bore down an apologetic attempt at interruption on the part of Mrs. Mosen- thal, “And to think how little I expected such a discovery! These great ladies, with their little new singers—a@a me connait! They pick a linnet out of a hedge and call it a nightingale; set it twittering, and swoon with rapture. . till the next linnet hops up!” She broke off, drew back, and flung out her forefinger. ‘‘Who has been teaching you?” she inquired, with an acute change of tone. Obsequiously Mrs. Mosenthal answered, be- fore Sarolta’s trembling lips could articulate speech : “The Marchioness of Warborough was hav- ing her taught by Sir Arnold Pringle, Ma- dame Costanza.” “Sir Arnold!” repeated madame, “ah!’’ The long drawn-out note held a world of sig- nificance. “And that was why you were trotted out to sing ‘The Little Birch Tree,’ and ‘Oh, oh, oh! my Heart!’ Tell me, child, do you want to go on with that kind of thing? Have you no better prospect than to be the little pipe for the little tunes of a Pringle? Oh, you might get an engagement now and again at a ballad concert, and at teas in Mayfair and make perhap fifty guineas a year at the height of your fame! That is your ambition, hein? And never to know any better than to run up to your note, like a sailor up a rope, quite pleased to get there, after all, hein? Is that your idea of art?’ Salorta leaned forward with parted lips; all her wrath and humiliation seemed to have passed from her; she was hanging on the other’s speech as if it held life or death. “I will make of you,” said the great one slowly, “an opera singer of the first order.’’ “Oh!” cried the girl. “There, Sarolta!’’ It seemed as if Mrs. Mosenthal, too, were hardly able to. con- tain herself with the joy which this prospect offered. But Johnny felt his blood run cold. It was bad enough to have her set up to amuse a fashionable party; but Sarolta, an opera singer! “Yes,” proceeded the teacher in a breath-. less silence, “I, I, Costanza, I take you. You come to Paris. I ask you no fees. I ask you nothing but to be a good child and do as you're told. And if you’re not the best Isolde I ever launched, may I uever train an opera singer again.”’ Johnny listened with a sinking heart, his mouth dropping open in dismay. He felt as if he were looking on at a play, as he saw the girl now seize Madame Costanza’s out- stretched hands and press them to her lips; while Mrs. Mosenthal, her head inclined at an intense angle of sentimental rapture, clapped her fat palms and exclaimed in- coherently : “Well, Sarolta, of all the lucky! Of course she can go to Paris, madame. There ain’t any difficulty about that. I'll go with you myself, love.’’ “Allons, allons!’ cried the superb Cos- tanza, impatiently but with good-bumor. “It is ‘settled then. I carry you off for an hour, petite. At the hotel we can talk. I leave to-morrow morning for Paris—the first boat. Oh, ld, la! those boats! You can come with us now: also, madame, if you like. -I will send you both home in my taxi.’’ Johnny stood forlornly gazing after them. She had not as much as glanced back. She had forgotten his very existence! CHAPTER Til. THE crest of the Holdfasts was a “cubic arm’’ with a clenched fist; and their motto ran in similar canting manner. ‘“Holde Faste.’”’ A legend was, of course, current in the family. But, without entering into the ques- tion of its authenticity, there was no doubt that they were an obstinate race, who, from one generation to another, thoroughly up- held the imposed tradition. Johnny, the last in the direct line of that sturdy stock, had certainly no idea of modeling his thoughts and deeds upon any conventional standard. Yet, in his modern way, he was no less stub- born than the far-off ancestor who had: won name and preferment by the sheer strength of his grip, in holding his Northumbrian castle for Plantagenet. From the time of his childhood it went characteristically against nature with him to give up any- thing once he had laid hold of it. On the other hand, his desires were few, so that he passed among comrades as an “easy-going, good-natured chap.” For three days after his disappointing evening, Johnny moped about in a dissatis- fied way very new to him. He went to a couple of balls and to some races, and de- rived about as much pleasure from them as an acutely dyspeptic man from a series of good dishes. Other fellows’ jokes could not produce a smile; the company and conversa- tion of the girls he generally liked were ‘aimost more than a bore. On the morning of the third day, however, (Continued on page 747.) It comes to you ready cooked INCE we started to cook Spaghetti in the Heinz kitchens four years ago the demand for Heinz Spaghetti has increased with ‘such rapidity that it has become a great national dish: Every family that once tries it-will surely make it a regular dish. Ready-cooked, with the delicious Heinz tomato sauce and cheese, it makes an appeal to everyone’s appetite. Wholesome, nutritious. It is to be found in every grocery store. INZ comes to you sete coded with Tomato Sauce and Cheese All Heinz neil sold in Canada are made in Canada Please mention THE ETUDE when addressing our advertisers.

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ae all / —— i sith ie —— ——— THE ETUDE Department for Organists Editor for October, MR. PERCY CHASE MILLER, M.A. MZ = 4 7A < me CC ~ ———— , SSS Ss ose: 7 aT ed oe ee oe eo ee ee ee Se a fe om a A aS <a rs EPP ZEN TT SEES Sgro A NY DSSS = ee A AO ae ee ye f — ~~ oF Ann « - S =) SD) ea yp TR ye ee? POD AY CO Dy ESS DM BD Shy ts, SES OI OD OOS : eee <a How to Make Organ Recitals Worth While | : Wate the organists who are able to confine their professional activities entirely to the giving of recitals are as scarce as the proverbial angels’ visits,—or the equally proverbial hens’ teeth, yet’ most of us have more or less opportunity for this branch of work, even if it be only in connection with our regular playing in church on Sundays. Many organists make a regular practice of playing a short recital in connection with one or the other of the regular Sunday services,— either before or after,—and while this close connec- tion with the service imposes limitations that do not apply on other occasions when the organ may be used for what we may designate as purely concert work, still a recital it remains. Many organists, and this for a number of reasons, never have other opportunity than this, and many organists thus limited never real- ize their splendid opportunities for benefitting them- selves, and for giving pleasure and satisfaction to others as well. The educational value of a good re- cital program, well played, to both performer and audience is very great, and too many young organists, otherwise ambitious, persistently neglect this opportu- nity that lies waiting at their very doors. For one thing, the organist who uses his instrument simply in accompanying the.service, and in playing the smallest excusable minimum (counted either in time or in ef- fort) by himself, be it preludes, or postludes, or offer- tories, will find himself rapidly becoming careless and slovenly. It is remarkable how easily one can fall into careless habits in accompanying, especially where there is at least a fairly-trained choir to carry things through. For one thing, congregations almost never listen to the organ during the service, except as a background or support for the voices. This is a sad thought, but cases where it is not true are, I firmly believe, the exception. If so, how great the tempta- tion which often comes to the organist, to put as little of effort and of enthusiasm into this part of his duties, as is possible! And if he regards his playing in this light, how easily he drifts into regarding his position as merely a pot-boiler, as it were—merely an easy way of making a little badly-needed money. I think the greatest value of recital-work to a young organ- _ ist lies in the fact that it puts him on his mettle, be- cause the thing is obviously not worth doing at all unless it is done well, and he will learn more of the possibilities of his instrument, be it-ever so humble, and see more ways of making it interesting in service-playing and otherwise by playing one really conscientious recital than by going through, in a mere routine, hundreds of services. My advice to the young organist then is this, play all the recitals you can, in your own church or out of it, if you are paid for them, so much the better, but play them anyway, when- ever you have the chance. The educational value of the recital to the player is very great indeed. Education of the Audience It is also very great to the audience. Most people are not only willing, but anxious to admire anything worthy, only they are all “from Missouri,” they “want to be shown.” A well-chosen program, well-played, often falls flat because the people simply don’t know that they ought to admire it; they take it as a matter of course. And just as the ordinary congregation will start chattering and gossiping the minute the postlude - begins, so an audience at a recital often regards the instrumental part of the program as merely a means of filling in the time between solos, so that the singers can take breath and have a little intermission for rest. The excuse for this is the same as Doctor Johnson once gave for a faulty definition that somehow or other got into his great Dictionary—‘“Pure ignorance, Madam.” A recital ought to be announced in a way to call attention to it as a matter of serious artistic endeavor, and a printed program is practically indispen- sable,—if it can be annotated, so much the better. An organist who plays a recital, either in connection with a church service or not, without adequate announce- ment, and without programs, is wasting his time; while with proper publicity and a printed program, a recital, or better yet, a series of recitals, can do much to stimulate public interest and public appreciation wherever the organ is used, so that recitals under proper auspices will almost invariably react favorably upon performer and audience alike. Taking it for granted, then, that the recital is worth while, what are some of the points for the player to consider? First of all, the program. The greatest fault of most recital programs is this,—they are too long. Just as it is a test of a good public speaker, be he parson or politician, to say what he has to say, and then sit down, so the organist at a recital. should know when to stop. If he has been working hard on his repertory he may have so many new things at his fingers’ ends that he wants to play that it is hard to ‘limit the number; but it is a great mistake to go on playing all night just because you happen to be inter- ested yourself. As a rule, an hour is enough, and if the recital is given in connection with a church service; half an hour should be the limit. It is much better to let your audience go away wishing you had given them more than to have them getting up and slinking out one by one during the last part of your program, or, what is worse, going to sleep, even if they don’t snore. |] have on my desk at this moment a program of two inaugural recitals on a new organ, played by one of the most prominent recitalists in this country. It is a good organ, and they are good programs, but they have the fault of which I am speaking,—they are too long—much too long. Half of those two audi- ences will get fidgety before the program is finished, and when a listener gets fidgety, all pleasure in the recital is gone for him, and, most likely, for his neigh- bor as well. An hour gives the player ample scope for variety, and is quite enough for any but an ex- ceptional audience. | The Right Kind of Program ‘Then as to selections, don’t be too serious all the time. Remember that your audience is not made up largely of trained musicians, but the reverse. Only an audience of organists could enjoy a program made up exclusively of the most serious literature for the instru- ment, and the chances are that even if you had such an audience they would pick your renditions unmercifully to pieces. The average audience is ready to be pleased, but equaliy ready to be bored; to please them should be your first aim, and to avoid boring them, your sec- ond. Play one serious, scholarly work, if you lke,— a Bach Fugue, a Rheinberger Sonata, a Widor. Sym- phony, or what not, if your audience will stand for it, as the saying is,—but be sure to give the people plenty that they can understand and enjoy. If they can get pleasure out of the majority of your selections, they will give you the benefit of the doubt as to the others; but if they feel themselves lost most of the time, the chances are they will not come the next time you play, and you will have lost an opportunity to help educate them towards that standard of the ideal audience which you have somewhere in the back of your mind. There is plenty of good material that is grateful to the player, musically excellent, and yet not above the heads of an average audience,—use it. As to whether you shall play Handel’s Largo, or the Meditation from “Thais,” or Lemare’s Andantino in D-flat, I don’t pretend td advise you, but if you think your audience wants them, play them by all means. You and I perhaps think they are rather stale, but they are, after all, good music, though of small scale, and rather hackneyed. Perhaps, however, they are not hackneyed to your audience—have you ever thought of that? The player who doesn’t please his public will very soon find that he has no public to please. Once you get an audience interested, and on your side, you can put in something a little above their heads, if you like, and the next time they hear it they will thank you for introducing it to them. Nothing is so stupid as to be where the talk is over one’s head all the time. If you play some- thing very serious and intense, it is often best to lead — up to it gradually instead of doing as so many pro- gram-builders do, and that is to put it on at the very beginning, so as to have it over with. It is the best to begin with something fairly compelling, so:as to leave no doubt in the minds of your audience that you - really have begun, and it is also well to wind up with something fairly jubilant, so as to send your audience away, so far as in you lies, in a good humor; though if your recital is a prelude to a service immediately following, a piece rather quiet in character may make a more appropriate transition. I said above something about the desirability of an- notations on the program, where possible. A few words telling your audience what to be on the watch for will not only aid them in an appreciation of the music, but, better yet, it will give them very genuine pleasure when they pick up the clues you indicate, and they become from that moment particeps criminis with yourself. I do not say this as in any way disparaging the average audience, but I do insist strongly that if you can, by means of annotations, or in any other way, take your listeners into partnership with you, and ‘let them know what to watch out for, and what to admire, and why, the audience that will not respond must be very dull indeed. As to soloists, most audiences will relish a little vari- ety of this kind, and as a rule a singer makes the most intimate appeal, owing to the intense personal inti- macy of the singer’s art. Next to a singer, the violin, as probably the most intimate of all instruments, fur- nishes an almost equally great contrast, and is so to be recommended, but other instruments in combination with the organ are very effective, and the organist’ in arranging his programs will have to be governed by a number of conditions that cannot be treated in a short paper of this kind. yore There are, however, plenty of occasions where it is perfectly allowable, and even desirable, to do away with an assisting soloist altogther. When the recital is given in connection with a church service, where there will be, in due time, plenty of singing to listen to, it will perhaps be just as well to confine the program to organ numbers, or to numbers of other instruments in com- bination. There are other instances,—when the interest is primarily in the instrument, or in the performer (such things have been known) so that the presence of an assisting artist on the program is regarded as a sort of impertinence,—there it is better to do without one, but in ordinary cases, it is probably best to have some little variety of this kind—but never too much. For an hour’s program one interpolated number by a singer, or other instrumentalist, is probably sufficient, and two is the maximum. | Sanity in Playing ) As to the manner of performances,—make everything you do carry its message. Over-phrasing is of course a serious fault, but it is better to show off the struc- ture of some noble composition in this way than to jumble it all together in one large smear, as so many players, especially those brought up on the old theory that a legato touch should always and invariably be in evidence, are apt to do. Frequent changes in registra- tion are fussy, and monotony is fatal, the successful recitalist must steer a middle course, but if thé me- chanical equipment of the instrument will not permit much variety without seriously interrupting the. prog- ress of the rendition, it is usually better to preserve the continuity at the expense of variety of color. This last observation is for the benefit, and consolation, of those hampered by antiquated and obsolete consoles, the player with a modern instrument at his command will not need such caution. In San Diego, California, a very interesting experi- ment has been tried with great success,—the building of a concert organ for use in the open air, taking the place, in a sense, of the traditional brass band, and with the growth of such use of the organ as this, as well as with the large and very rapidly growing use of the organ in motion-picture, and other theatres, the instrument is coming more and more to being ade- quately appreciated for its own sake, and no longér merely as an adjunct to the church service.

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GUILMANT ORGAN SCHOOL DR. WILLIAM C. CARL Director A Practical | School for Serious Study Students aided in securing positions Send for new Catalog 44 W. 121n ST. NEW YORK HUTCHINGS ORGAN COMPANY BOSTON NEW YORK Plant at Waltham, Mass. No Advanced Prices as yet on our PUBLICATIONS Send us your liberal order now for Selection or otherwise and be ready for the coming season. We can furnish the best of Everything in Music. MILWAUKEE CONSOLIDATED MUSIC CO. Successor to Rohlfing Sons Music Co. Nau & Schmidt Music Co. MILWAUKEE - ~ WIS. ESTEY CHURCH ORGANS Estey standard maintained. Maximum facilities. Highest grade of product. Pioneers and leaders always. Examine stop action and wonderful 7eedless Oboe, Saxophone, Clarinet, etc. ESTEY ORGAN CO.., Brattleboro, Vermont, U. S. A. Retablishea 1846 THE BENNETT ORGAN Co. ORGAN BUILDERS ROCK ISLAND - - ILLINOIS The organs we build are as near perfection as skill and money can make them. TSTEERE ORGANS CORNELL UNIVERSITY, BAILEY HALL 4 manuals, 79 stops; dedicated won te. 8th, 1914 SPRINGFIELD, MASS. MUNICIPAL ORGAN 4 manuals, 87 stops; dedicated June 25th, 1915 YALE UNIVERSITY, WOOLSEY HALL 4 manuals, 154 stops; now building. To be dedi- cated October, 1916 J. W. STEERE & SON ORGAN CO. Springfield, Mass. Established 1867 Established New York, 1851 St. Louis, 1878 GEO. KILGEN & SON Pipe Organ Builders ST. LOUIS, MO. One of the most complete Pipe Organ Plants in the United States. Best of References. The only organ blower to receive THE MEDAL OF HONOR the highest award in organ blowing at the PANAMA PACIFIC INTERNATIONAL EXPOSITION Over 10,000 or in use. Write for booklet. THE ORGAN POWER CO. HARTFORD, CONN. (Also Winners of the GOLD MEDAL at JAMESTOWN) Please mention THE ETUDE when addressing our advertisers. THE ETUDE Getting the Best from a Small Organ By Mrs. John Edwin Worrell Every young organist in charge of a small organ reaches a point in his work where he becomes dissatisfied with the limited number of stops his organ af- fords. He has worked the same combi- nations over and over until he grows sick of the monotony. He makes substitutes in pieces which call for oboes, trumpets and vor humana until he feels, (and with reason) that he is at the end of his resources along that line and that he can only make further progress when he has a larger instru- ment to work on. He imagines that with its wonderful resources he could make fine music, and as far as tone quality is concerned, he is right. But does he realize the importance of some of the other things besides tone quality, which go to make up good organ playing, and\has he really (as he imag- ines) in the acquirement of these things exhausted the possibilities of the small organ at his command? It is barely pos- sible he may have overlooked one or two things in combinations, so we call his attention to the following: Coupling the Manuals 1. In case his organ has only one pedal stop (which is usually too loud for the softest manual stops) does he use it constantly or does he make an 8 ft. pedal by shutting off the real pedal stop and coupling the pedal to a manual? More Variety 2. Does hé invariably use the Dulciana for accompaniments when he has a piece with solo and accompaniment? In pieces of a sandwich type (two loud sections with solo and accompaniment between) it is sometimes very effective to play the solo on an open diapason or other bold stop on the great and put the accompaniment on the swell. Technical Now as to his technical attainments. 1. Has he mastered the true principles of pedaling? 2. Is his legato with both hands and both feet perfect? 3. Has it ever entered his head to find out what phrasing is? 4. Is his sight reading good? 5. Has he perfect independence between hands and feet? 6. Are his accompaniments all they should be, limited only in stop selection? 7. Has he studied Harmony to get an insight into what he plays? 8. Can he play a hymn in five sharps, and does a. hymn with six flats put him out of business? If he is not well up in all these things he is by no means ready to jump to trumpets and oboes, but he should look at his small organ with eyes open to its won- derful possibilities as an aid in acquir- ing a solid foundation in playing. It offers no obstacle to a good legato, none to correct fingering. It affords as good pedal practice as a large organ with the possible difference of a few less keys at the top of the pedal board, but it has been the writer’s experience that very few compositions exceed the small or- gan’s compass of pedal keys. It stimulates ingenuity in finding suit- able stop combinations, and it demands speed in making them as its mechanical appliances are so few. By working unceasingly and using the small organ to the very limit of its pow- ers, the organist will soon find himself placed where he will not have to jump but can step easily into a better place. Badly Registered Accompaniments By W. P. Mero Wirt the vastly increased resources of the modern organ the organist who is young in experience is often tempted to use registrations in accompanying that are not only in bad taste but actually detract from the character of the anthem or the hymn. ‘ It is always well to remember that the devotional side of the music is after all the first consideration of those who go to a house of worship. With hymns it is always best to rely upon the solid stops avoiding the fancy combinations. In working out the registration of an anthem consider first of all the appropriateness of the stops to the text. The same dia- pasons that are so effective in giving the background to a hymn often sound hol- low and “hooty”’ when accompanying an anthem. Don’t think that careful atten- tion to registration will go unnoticed by the congregation or by the music com- mittee. They may not be’ capable of un- derstanding technically what you are seeking to do but they will unconsciously feel that you are providing an appropriate service. While such a combination on the swell manual such as Bourdon (16’), Viola di Gamba (8’), Dulciana (8’), Vox Angelica (8’), Oboe (8’), coupled to the Choir Hohl Flute (8’) and Lieblich Ge- dact (4’), swell box closed, may be very effective for an evening text such as “Softly Falls the Light of Day” it would be ridiculous with such words as “Stand Up, Stand Up for Jesus.” Bach and the Organ Pedals By Clarence Whitman PossisLy: the best cure for the one- legged organist is a good dose of Bach. Even the easy preludes and fugues are excellent pedal drill, W. T. Best knew that and it is said that after one had been through a course of Bach with the ereat English organist one did not have to think about the pedals. The organ student should realize that in adding the pedals he is practically adding another pair of hands. He be- comes a four-legged musician instead of a two-legged one as is the pianist with his one manual. The organ pedals need drill work just as much as the fingers. Woe be to the organist who can only stumble around the middle notes of the pedal keyboard. Every good organist should be able to play the notes at the extreme end of the pedal keyboard with almost as much ease and facility as those in the centre. Guilmant apparently could and that was no small feat (no joke in- tended) when’ one remembers the short stature of the brilliant little French or- ganist. Bach, Bach, Bach, and then more Bach if you would acquire pedal skill. If you have ‘little pedal skill do not we to be a real organist. 743 Austin Organs HE Great Salt Lake organ recently rebuilt by us and increased from sixty odd stops to one hundred and twenty-four stops, will take rank with the most famous organs of the world. This instrument is the third in size in America. THE CHOROPHONE is one of our late developments, fur- nishing a complete pipe organ of the best voicing, and the iden- tical construction system of our large organs, and equipped with our modern electric console, elec- trically controlled, but at a price within the means of smaller i churches. It would be worth while to look into this. Austin Organ Co. 171 Woodland St. Hartford, Conn. Church Organs Latest Approved Methods, Highest Grade Only. Established 1827 Main Office & Works “@X?yk GREEN: MASS. Hook & Hastings Co. BRANCHES: Boston, New York, Phila., Chicago, Louisville, Dallas THE HALL ORGAN Co. 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Te ee SSS ES SaaS ESS SSS SEE 1} Hi =| —— aa fT ZSRBEaEBEHE Us —O ELLER — —— UoUWSSSTe=> a ® a & _& a oe : I — a @ .t © mt = me mm Sa ony —S=—=——_, Se = S= ——S ES a ee eo —_— SS SSS = SS SS SS SS SNCS SES The Repertoire of a Concert Violinist A viotinist’s “repertoire” is the num- ber of compositions which he has mas- tered technically and artistically, has committed to memory, and would be able to-play at a moment’s notice, or at least with very slight preparation. How many pieces should the repertoire of the violin- ist contain, for him to be dignified by the, name of artist? Hans Von Bulow, the famous pianist and director of or- chestra, used to declare that no pianist could justly claim to be considered an artist, whose repertoire consisted of less than two hundred compositions, worked ouf to the last degree of finish, and thor- oughly memorized. This great musician certainly justified his opinion, in his own individual case, as the amount of music which he had mastered and memorized is one of the wonders of musical history. It is said that he knew all of Beethoven’s Sonatas by heart, in addition to an enor- mous number of piano pieces of every description. When he directed the or- chestra he used no score, as he always memorized the parts of the entire orches- tra. There is little doubt that Von Bulow would have considered that a violinist’s repertoire should be as large or larger than that of a pianist, since a page of violin music can be ordinarily memorized mutch quicker than a page of piano music, as it is much less complex. _ As a matter of fact, however, it is dotibtful if there are many violinists, even well-known professional ‘concert players, who have a repertoire of as many as two hundred pieces. Many a concert violinist gets through the season with three or four programs, consisting of eight or ten compositions, which prove all‘that is necessary, considering that the bulk of his appearances are in different cities, and he rarely appears more than’ twice during the season in the same cities. Inthe case of violinists of the first rank, who have a great popular following in the large cities, a very large repertoire is of course necessary, since they play re- peatedly during the season in the same city, and a great variety. of programs is‘expected. One of the most prominent violinists played twenty-five times in New York city during a single season, a year or so ago, thus requiring a large number cf compositions. Violinists who do lyceum work, or who are connected with concert companies, who fill “course” dates in the smaller cities, often make a couple of programs serve the entire season, as they seldom play twice in the same town. Among violinists, a repertoire of one hundred pieces, thoroughly mastered and memorized, is considered large, and one of 200 is exceptional. ' Every violinist should possess a reper- toire, even if it is a small one. It is his stock of trade, just like the goods and capital of a merchant. He should con- stantly strive to add to it, and if his duties are such that he cannot do that, he can at least keep it in good order. A famous musician once stated that a vio- linist should make it a point to memor- ize one page of music each day, thus making over 300 pages per year. At this rate, a repertoire. would build up very fast. Another violinist, a successful and busy teacher, stated that he had very little time for personal study, but that he did what he could. He always made it a point to master two important violin works each year, such as concertos for the violin, or miscellaneous works of the rank of the Ballade and Polonaise by Vieuxtemps, or the Faust Fantasia by Wieniawski. Some years a grotp of smaller pieces, would take the place of one of the more important works. In this manner this teacher managed to acquire quite a good sized repertoire as the years went on, and was always pre- pared for a public appearance. The concert violinist is expected to number from six to a dozen or more violin concertos in his repertoire, and it is these which take the time to master, as they are very lengthy as a rule, and difficult technically. If they are to be played with the orchestral accompani- ment, he must spend much time in famil- iarizing himself with the _ orchestral parts. Mastering a-single concerto often takes as much time as learning eight or ten smaller compositions, Many violinists who have, in their stu- dent days, studied a- great part of the literature of the violin, fail to keep up their studies, when they become busily engaged in teaching and orchestral play- ing. In a few years they have no reper- toire whatever, and if a solo engagement offers, they have nothing to play. In this failure to keep up their repertoire they make the greatest mistake, since “he, who is not advancing, is receding,” and the violinist -who has “nothing to play” is like a merchant whose shelves are bare of goods. Even a half dozen pieces, if of standard grade, is better than nothing, in the case of a violinist, who has few cells for public appearances. The Vienna Meisterschule of Violin Playing Tue Meisterschule (master school) of Violin Playing at Vienna, with the famous technician, Ottakar Sevcik, at the head, is ‘one of the world’s most famous violin schools. Sevcik is known the world over as the writer of voluminous text-books for the study of every conceivable prob- lem of violin technic. These works are coming more and more into general use with violin teachers, who accomplish re- markable results with them. In the hands of their author, they have produced a legion of fine pupils, headed by Jan Kubelik, one of the world’s most famous violinists. The school, which is known as the Im- perial Academy of Music, is divided into four courses, the elementary, intermedi- ate, the finishing school and the Meister School. The elementary course lasts two years, and the next two courses three years. In the Master School a student cannot enter for less than one year. Any student can enter any of the classes for which he is far enough advanced. There are frequent students’ recitals, orchestra concerts, chamber music even- ings, reading at sight, lectures on musi- cal. history, etc. 3 LF 5S > i | The War and the Violin Market In the language of the street, the mar- ket for both old and new violins is all “shot to pieces” on account of the Euro- pean war. American importers of both new and old violins say it is almost im- possible to get their orders properly filled, and the prices are, of course, much higher. The world’s principal stocks of genuine old violins are principally in the large European cities, and owing to the chaotic condition of transportation of all kinds between these cities, shipments of valuable violins can only be made at ex- treme risk. It would be worse than folly to try to ship violins worth thou- sands of dollars by any of the ordinary methods of transportation. Sending the instruments from town to town by mes- sengers is little less dangerous, for only the most roundabout ways, through neu- tral countries, are open to ordinary trav- elers, to the countries at war, and travel of this character is hedged about by the Most annoying and dangerous restric- tions. A violin dealer of Paris relates that before the war he went to Petrograd, to buy a Stradivarius ‘cello, for a customer, and the journey lasted just ten days. During the war he made identically the Same journey to buy another Italian in- strument in the same Russian city, and the journey lasted just three months. This gives an idea of the difficulty the old violin trade is experiencing in Europe. Then, a large number of fine instruments are owned by musicians, and amateurs, who are at the front, and in many cases these instruments are packed away, and cannot be sold until their owners re- turn. Altogether the situation in regard to genuine old violins is in a complete state of chaos. | The situation in regard to the trade in new violins is about the same. Violin makers in Europe are at the front, many of the factories closed, and the exporters find it practically impossible to fill their orders promptly. The situation is the same as regards musical instruments of all kinds, small goods, trimmings, etc. The American importers and wholesale music dealers have abandoned their cata- log prices, and hardly know what they can sell goods for from week to week, as they cannot place orders with their European correspondents with any cer- tainty of having them filled correctly.’ This condition of affairs has resulted in quite a boom for American violin mak- ers, and manufacturers of similar mu- sical instruments, but this does not help much in the case of very cheap violins and similar goods since the unprece- dentedly high wages now prevailing in every line of manufacturing in the United . States, makes it impossible to produce such goods at less than double or treble the prices at which they were turned out by the cheap labor of Europe. . The Nut of the Violin. THE nut of the violin is the little piece of ebony which occupies a position’ where the neck joins the head, the strings pass- ing over the nut into the string box. Like everything else about the violin the nut must be perfectly adapted to the vio- lin, and adjusted properly in every detail. Inexperienced violin makers and repairers often make many errors in fitting the nut which greatly inconvenience the violinist. One of the principal faults is spacing the strings at the wrong distance on the nut. In the case of a violin with a neck and fingerboard of average size the spacing is about as follows: Peer Bes GoD A <f Extra wide necks and fingerboards are often used by players with extremely large fingertips, and large hands, and in such cases the spacing of the strings is wider. Inexperienced violin makers and violinists who fit up their violins them- selves, frequently place the notches for the G and E strings too near the ends of the nut, and consequently these strings lie. too near the edges of the fingerboard, the result being that the thumb and fore- finger get against the G and E strings respectively, and cause a buzz. The spacing is often done unequally also, making some strings lie too close to- gether, and others too far apart, thus making certain combinations in chord and arpeggio playing impossible. Another mistake in adjusting the nut is to cut the notches for the strings too deep, and too narrow for the strings. The result of this is that the strings stick in the notches and fail to respond readily to the turning of the pegs. Where the notches are not properly cut so that the strings slide easily in them, it is often almost impossible to tune the violin ac- curately, as the strings stick in the notches and move only by jerks. It is very important also to have the nut the correct height, so that the strings will lie slightly above the fingerboard at the part of the fingerboard close to the nut. The strings must not lie too high, as this would make it too hard to press the strings firmly against the fingerboard, and would also interfere with the into- nation by making the notes close to the fingerboard play too sharp, owing to the great pressure in forcing them down. The strings must not lie too near the fingerboard either, as the pressure of the bow would force the string against the fingerboard in playing on the open Strings, causing a buzzing sound. Right at the nut the strings lie about the thick- ness of a medium thick cardboard above the fingerboard. The ends of the nut should be nicely smoothed off so as not to interfere with the fingering,

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THE ETUDE The Adult Beginner oe ee By R. E. Farley THERE is an ever-increasing number of grown-ups who are beginning the study of music—men and women who, as children, had no chance to learn music, or neglected their opportunities. A large percentage of these pupils are musical failures and the reason is not far to seek. When the adult beginner in music fails to make progress, in nine cases out of ten it is his own fault. Why? Simply because of his mental attitude. Generally he begins the study of music possessed of a fair amount of enthu- siasm; but, unfortunately, mingled with his enthusiasm is a secret doubt as to lis ability to learn, and after a few lessOns he suddenly decides that he is too old to accomplish anything and gives it up; when, if he persevered he might be reasonably successful. The average adult beginner allows himself to be too easily discouraged. It looks easy to play the piano or to sing; but, he fails to comprehend that it takes time and a lot of hard work to make it look easy. He thinks that he should be able to learn faster than a child and frequently he dislikes to do the necessary rudimentary work. lie wants to “play something” and when, after a few lessons, he finds that he cannot play a piece, he thinks he cannot learn music. Mtsic is unlike any other study; it is hard to understand, particularly at first. Ordinarily the pupil has to work for some time in the dark; not seeing far ahead nor just how things are go- ing to come out, and this is the period when he must have implicit trust in his teacher if he expects to accomplish anything. © One reason why a child learns more readily than an adult is that a child has no preconceived notions as to his abil- ity to learn nor as to how things ought to be done. He approaches his study with an open mind. He seldom says: “QO, I can never do that!” or “I don't believe [ can ever learn music; he sim- ply does what he is told to do and relies on his instructor’s ability to make things clear. To be sure, the adult pupil has better judgment as regards practice and meth- ods of study than has the child; but, much of his beginning work must necessarily consist of the same exercises that a child is obliged to study, and if lie will stop putting up the barrier of doubt and keep at his music study long enough, he will see results; many times, beyond his expectations. Above all, never’ doubt your ability to learn. ‘I can't” and “I don’t believe I can” are negative thoughts and will never get you anywhere. On the con- trary, every time you entertain such thoughts you are raising insurmount- able barriers to your progress. Culti- vate the right mental attitude and per- severe and the results will more than repay you for all your efforts. Use and Production of the Vibrato Tue vibrato, when properly used, is an indispensable aid in the production of good tone, but its use should be gov- erned by good taste and moderation. There is the excessive vibrato: affected by the would-be temperamental players, in which the rocking movement is so wide as to cause a very noticeable vari- ation of pitch, much to be deplored, The effect is of sentimentalism, rather than of wholesome sentiment, Then there is the stiff, nervous movement which is some- times used for vibrato, quite often tried by young players before they have ac- quired a sufficient command of the instru- ment. The effect is agitated, uncertain, artificial, certainly not the warm, smoothly flowing wave to be heard in the tone of an artist. Vibrato is not a superficial quality that can be studied as a thing apart, then, so to speak, clamped on to tone, for the pur- pose of beautifying it. Rather it is a tonal quality in itself, a manifestation of emotional,- intensity. In rapidity and character it varies according to the per- sonality and mood of the player. It may be produced by a slight rocking move- ment of the finger, or hand. Not con- spicuous td the eye, and not sufficient to produce an appreciable variation of pitch, Care should be exercised to prevent grip- ping the violin neck between the thumb and the base of the first finger, In passages demanding technical dex- terity, or rapid fingering, the vibrato should not be used, It would tend to prevent incisive articulation, destroy the stability of the hand and develop a ten- sion detrimental to the highest degree of fluency and facility. Students having learned to-use the vibrato are apt to at- tempt its,application on any and all oc- casions—OrLey Ses in “The Violinist’ Chicago. Pre-Application of Fingers It is very rarely that violin students, unless very well taught, givé much atten- tion to the pre-application of the fingers in playing. It is a fundamental rule of the violin that a finger must never be removed in playing unless necessary. It is also a rule of great importance that wherever possible the finger should be ap- plied to the string in advance of the bow. Following this rule is conducive of neat- ness and accuracy in fingering and cor- rectness of intonation. The following passage illustrates this. principle; ne In playing this passage, the second and first fingers are placed on the string while the D, produced by the third finger, is still being’ played, and when it is time for the bow to attack the C and B pro- duced by the second and first fingers, the fngers are‘ already in position. The ma- jority of pupils in playing such a pass- age would change the finger simultane- ously with the bow. If pre-application of the fingers is taught from the very begin- ning, the, player falls into the correct habit, which is of the greatest import- ance in producing neat, accurate finger- ing and géod intonation. 745 2100 EE eee He Bic 3 F CLELES IE TER Tir ‘ A Natural Aid to Singers An unhampered use of all the muscles con- troling the breathing is absolutely essential to perfect voice development. A new scientific corset has been constructed which meets every requirement for the singer and in putting it on cnly a single motion is necessary at the side lacers to adjust it as desired. CAMP AsbominaL CORSET This new scientific garment fits the natural figure perfectly and adapts itself instantly to every movement, position or proportion of the body. The result is absolute freedom in breathing, comfort, assurance of health and a graceful figure of supreme attractiveness. 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Not only should you wish to 4) appear as attractive as possible for your own self-satisfaction, which is f alone well worth your efforts, but you will find the world in general judging § you greatly, if not wholly, by your “‘looks,”’ therefore it pays to “look your best”’ at all times. Permit no one to see you looking otherwise; it will injure your welfare! Upon the impression you constantly make rests the failure or success of your life—which is to be your ultimate destiny? My new Nose-Shaper ‘““Trapos” (Model 22) corrects now ill-shaped noses without operation, quickly, safely and permanently, Is pleasant and does not interfere with one’s daily occupation, being worn at night. W rite today for free booklet, which tells you how to correct Ill-Shaped Noses without cost if not satisfactory. M. TRILETY, Face Specialist, 596 Ackerman Bldg., Binghamton, N. Y. 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Buy Direct from the Workshop © You Save One-third Our 200-page catalog contains 10,000 articles of Diamonds, Watches, Jewelry, Leather Goods, Novelties, Toiletware, Tableware and associate lines. . The corner coupon is attached for your conven- ience in sending for this money-saving book. Every article is guaranteed to satisfy you or we will refund your money. We guar-, antee free, safe and prompt delivery. - \. es Gentlemen: Please send me your 200 page catalog con- taining 10,000 articles of jewelry. R0 silverware, novelties and gifts. pi ~ | a DE Bh ans reread “st di i sic a we sii Ng ioe oo se acne iat hd ie LE SBSERS REESE REESE REE SE. LUDENS Stop ‘Throat Tickling Throat irritations won't disturb your sleep if you use Luden’s. Clear the head—soothe the throat. Many uses. In ‘‘ Yellow Box’’—5c WM. H. LUDEN Mfg. Confectioner Reading, Pa. MENTHOL COUGH DROPS n Smooth, Firm, Fresh — Youthful Looking To dispel the tell-tale lines of age, illness or worry—to Over- come flabbiness and improve facial contour—there is nothing quite so as plain ‘Powdered SAXOLITE a Effective for wrinkles, crowsfeet, enlarg: pores, etc., because it **tightens’”’ and tones the skin and underlying tissue. No harm to ten- eh derest skin. Get an ounce package, follow the simple directions—see what just one appli- eation will do. Sold at all drug stores, Please mention THE ETUDE when addressing ' our advertisers, K eeps Ski THE ETUDE I. G. N.—1. I do not see how doing finger exercises on the typewriter would assist in reducing the size of your finger tips, which you state are abnormally thick. It will no doubt improve ‘your ability as a typewriter, but if your object in doing them is to im- prove your violin playing, the time had better be spent directly on the violin. 2. lor ac- quiring ‘‘limber’’ wrist bowing, you had best practice on the open strings ten or fifteen minutes daily. Draw the bow very lightly over the strings, without pressure, as if the bow were “breathing’’ on them. Strive to produce as soft and pure a tone as possible. Try to keep the wrist as flexible as possible, and the elbow and shoulder joints loose. See that the wrist goes through the proper series of curves, as the bow is drawn up and down, assuming, as it approaches the frog of the bow, a slightly convex shape, and a slightly concave shape as it approaches the point. Cc. A. B.—Between De Bériot (exercises in first, second and third positions) and Rode, try the following in the order named: Kayser, Op. 20, Books 2 and 3; Mazas, Special Exercises; position exercises in the Herman Violin School, Book 2; Mazas, Bril- liant Exercises; Kreutzer, Etudes; Fiorillo’s Caprices; Rode’s Caprices. Other courses might be mapped out, but the above is thor- oughly practical. H. H.—Inscription in your violin means, ‘Made in the style of violins of the city of Cremona by Nicolas Caussin,.Sr.’’ It is prob- ably a French instrument, but the maker is of no especial note. J. R. T.—Many different lists of studies leading up to Rode have been published from time to time in THe Etrupp. There is an im- miense amount of material available for violin study, and teachers vary in regard to the works chosen for study and the order in which they are taken up. Many different courses could be mapped out which would give a pupil a sound technic. A good course would be: Hermann’s Violin School, two volumes, or Schradieck’s First Position; Kayser’s Stud- ies, Op. 20; Mazas’ Special Studies; Schra- dieck’s Scales; Sevcik, First Studies; Mazas’ Brilliant Etudes; Kreutzer Etudes; Fiorillo Etudes. This would bring you to the Rode Caprices. Of course each work would not be used, taking all the exercises from .cover to cover, in the .order they appear. The teacher requires the finest art and judgment, in choosing material for study, in the order which will develop the technic of the pupil in the most solid and symmetrical manner. 2, The Hohmann studies are very largely used for beginners, A. B.—In the second and third positions the lower part of the left hand should not touch the side of the violin, as, if this were done, the fingers would not fall in the proper position on the finger-board, and the position of the hand would have a tendency to pull the fingers up too far on the finger-board, making a constant tendency to play sharp. When the fourth position is reached, the lower part of the hand rests against the side of the violin. I. G. N.—I have never been able to see much advantage in pasting a chart on the finger-board of the violin, showing where the fingers should be placed to make the various tones. in the very beginning, but I have never known of any important teacher of the violin making use of this device. The student must learn to locate the various tones on the finger-board by the ear alone. You can readily see that it would be quite impossible for a violinist to keep watching a chart to see where to put his fingers while he was playing. You sneak of a pianist having the keyboard to guide him, but you should remember that a piano student is expressly forbidden to look at the keyboard while reading music. Even in teaching type- writing .the leading commercial schools use the system of ‘‘touch” typewriting, in which the student is taught not to watch the key- board. If, however, you feel that the chart on the violin is of such great assistance to you, you can readily glue a paper chart cn the finger-board. When the chart is worn out cr you do not need it any longer, you can easily wash the finger-board clean without damaging it. Another better way would be to draw fine white lines of paint on the finger- board with a camel’s hair pencil. 2. It is possible that the typewriting exercises you speak of may be of some assistance to you in your violin work, since any light muscular exercises of this kind for the fingers might assist in giving them strength and agility. M. W.—If your daughter: has not studied the Kayser Studies, Op. 20, they would no doubt prove what she needs. 2. Although you destine your little daughter for the pro- fession, and intend to give her a thorough musical education, you should remember that it is important for her to have a good gen- eral education as well. She ought to go through the high school at least. Probablv you cculd arrange to have her go to school only half a day, so as to give her more time for her music. S. L. B.—Commencing the study of the vio- lin at the age of 37, I fear it is quite imnos- sible for any one to hope to beceme a great concert violinist. However, to jydge by the list of studies and pieces you send which you have mastered within two years, you have Some Violin Questions Answered It might be of some slight advantage. made excellent progress, if you play them really well. I would advise you to study the three books of Kayser, Op. 20, if you have not cone so. 2. Your ancestry could not be better from a musical standpoint. 38. You should practice not less than two hours daily. 4. There is no reason why you should not play in public if your teacher thinks you play well enough. It would be an incentive for you to keep up your practice. 5. Your letter indi- cates that you have an ardent musical tem- perament, and as you get so much pleasure from the study of the violin, it would be a pity not to continue. As a rule the amateur gets more pleasure out of music than the »rofessional. Fr. W. M.—Trills should be played with even, perfect rhythm. Solo artists often play trills with an accelerando, that is, start slowly, and gradually increase the speed of the trill. 2. The vibrato should be executed with perfect evenness. The speed of the vibrato is often increased or decreased for the purpose of making special effects in solo play- ing. 3. I know of no division of spiccato bowing into “natural” and “‘artificial’’ spic- cato. 4. The studies of Sevcik, Op. 8, bave shown excellent results with pupils when properly taught. They are extensively used by Sevcik himself and his pupils, who have a teachers of his method all over the world. P. R. D.—-Going twelve miles to the near- est teacher, on a bicycle, and carrying your violin in the bargain is quite an undertak- ing, but, as you say the roads are good, I am inclined to think it is worth while if the teacher you go this distance to study under is a really good violin teacher. Violin playing is such a difficult art, and it is so hard for the beginner to acquire the proper motion of the bow arm, and the. positions of arms and fingers, that some instruction at the start from a good teacher is invalu- able. Some especially talented individuals occasionally learn a limited amount of violin playing by themselves, but it is usually where they have constant opportunities of hearing and seeing good violinists at least. 2. Al- most all instruction books and methods for the violin are designed to be used with a teacher. Probably the Dancla Conservatory Method would be about as good as any for self instruction, as it contains many ex- planations accompanying the exercises. 3. It would not injure your violin to carry it on a wheel, provided you had it snugly packed in the case, with a padded cushion over it, so that it would not rattle around in the case. 4. The fact that you play the organ would be greatly in your favor, since music is one universal language and the different instruments are simply different ways of expressing it. J. J. D.—There are millions of violins in the world containing Stradivarius labels just like that you send. A very few of these violins are genuine, and worth thousands of dcllars. An expert would charge you five dollars for telling you whether your violin is genuine or not, but the chances are thou- sands to one that you would pay out your money for nothing. As you live near New Orleans, maybe some of the violin makers in that city would ex- imine your viclin, and give you an opinion free of charge if you took it to them. D. R. G.—While it would be possible to use common rosin for your bow, it would be much better to use prepared rosin, which is especially adapted for violin playing. In preparing rosin, various ingredients are ad- ded to it, and it is made of the exact degree of hardness to give the best results. Double bass rosin is much softer than violin rosin. The leading manufacturers of violin -rosin spend much time in selecting the best raw materials, and in experimenting in combin- ing the ingredients in such proportions as will prcduce the best results. C. McT.—The variations on God Save the Queen, by Paganini, are extremely difficult from a technical standpoint, aud unless you have a tremendous technic, you will waste your time in trying to play it. R. R. T.—Having just completed the Kav-- ser Studies, and wishing to study some violin and piano music on themes from the standard operas, you would probably find the operatic fantasies by Singelee, about what you would want. These cover. all the leading grand operas, and can be mastered by anyone hav- ing completed the Kayser Studies, and hav- ing a fair working knowledge of the positions up to the fifth. L. H.—You can improve your tone greatly by practicing the scales with full length of the bow, .counting eight, twelve, sixteen, or twenty-four on each note. Commence by counting eight, and gradually work up to twenty-four, as you improve. Bow very lightly and evenly, and after a few months of practice in t*is way, practice with a gradual swell in the middle of the tone. If your time for practice is limited, even ten minutes a’ day spent in this manner, will accomplish excellent results. CC. K. I.—For a “weird” violin solo, you could not do better than to get the Orientale, Op. 50, No. 9, by César Cui. This is an extremely beautiful composition, in oriental style, and not very difficult. There Is Beauty In Every Jar VERY wo- AK Ve y F; man has a ‘“‘nosition.”’ Whether social, 4 business or artis- | fF) tic she holds it 7 better when aid- } ed by good 'ooks. | This is why so many depend, for skin-health & and fairness, on Ingrams Milkweed Cream 50c and $1.00 at Dr, Preserves Good Complexions —Improves Bad Complexions It is used for skin disorders and sallowness, as well as. undue redness or sunburi. . Send us 6c in stamps to cover cost of packing and mail- ing, and get free our Guest Room Package containing Ingram’s Face Powder and Rouge in novel purse packets, and Milkweed Cream, Zodenta Tooth Powder, «nd Per- fume in Guest Room sizes. Address Frederick F. Ingram Company Established 1885 . Windsor, Ont. 43 Tenth St., Detroit, U. 8. A. . Ingram’s Velveola Souveraine Face Powder y = Sir is Powdered Perfection for the Complexion. Four shades: pink, white, flesh and brunette. Price 50c at drug stores or by mail, postpaid. ei) Channell Chemical Co. » CHICAGO > TORONTO: LONDON. — DELATONE Removes Hair or Fuzz from Face, Neck or Arms ELATONE is an old and well-known scientific preparation, in powder form, for the quick, safe and certain removal of hairy growths- no matter how thick or stubborn they may be. You make a paste by mixing a little Delatone and water: then spread it on the hairy surface. After two or three minutes, rub off the paste and the hairs will be gene. When the skin is washed, it will be found clean, firm end hairless—as smooth as a baby’s. Delatone is used by thousands every year, and is highly recommended by beauty authorities and experts. Druggists sell Delatone; or an original one-ounce jar will he mailed to any address upon receipt of One Dollar by THE SHEFFIELD PHARMACAL COMPANY 339 So. Wabash Ave., Dept. D.K., Chicago, Illinois Please mention THE ETUDE when addressing cur advertisers.

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The Musical Season Begins in September NOW IS THE TIME for violinists and ’cellists to have their instruments properly adjusted by experts. Our latest bookle, *‘The Re-graduating of Violins’’ is full of information that every violinist should know. It is mailed free upon request. No matter who made your violin we can improve it. Proper exterior adjustments $5.00. Remarkable Collection of Real Old Violins at prices that will surprise you. The World Famous ‘““GEMUNDER ART”? VIOLINS,,. endorsed by the World’s greatest artists. Send for catalogue E. AUGUST GEMUNDER 8 SONS Artistic Violin Makers 141 WEST 42d ST. NEW YORK Violin Teachers Please send us your name today so we can mail you copies of our two latest Violin Catalogs, now in press. One cata- log is of Rare Old Violins and the other of Modern Violins. ‘These catalogs are illustrated in colors, contain much authoritative information, and will make’ a valuable addition to your library. Besides they will render the selection of good violins for your pupi!s— profitable and pleasurable to you and highly satisfactcry tothem. Sent free to violinists, WRITE TODAY. LYON & HEALY 51-52 East Jackson Boulevard, CHICAGO FINE OLD VIOLINS On Easy Payments 30 Days Free Trial P allowed, no matter where you live. If not more than pleased with our values return violin At’ OUR EXPENSE—and no harm done. Ability to play the violin brings social and financial success. Get a violin with a rich, mellow tone aad it will create in you a desire to master it. FREE! Magnificent Album-Catalog * containing portraits of the world’s greatest violinists since Peganini’s time, a half-tone of “Stradivarius in His Workshop, and the romantic story of The King of Musical Instruments. A postal brings all to you FREE— no obligations. RS CREMONA VIOLIN SHOP £4: Dept. R-596 Chicago New Violin Music “On Sale” Have your name entered for the receiving of a few small packages of new music ON SALE during the professional season, no guarantee as to amount to be kept; discount is the best obtainable; the only responsibility the small amount of postage; returns of unused music to be made once each year; a postal card will stop the sending any time. Thousands of teachers receive piano music from us in this way; they say it is most convenient to have 8 or 10 new cdmpositions coming along from time to time. We send piano, vocal, octavo, violin and organ music this way; any or all to responsible persons. THEO. PRESSER CO., Philadelphia, Pa. HAWAIIAN UKULELE. Latest Musical Craze. Anyone can learn, easy to play. Cau be used in all Glee Clubs and Concerts. With every Ukulele pur- echesed, we give Instruction Bi ok and music. : GENUINE HAWAIIAN UKULELE, Music and In- struction Book sent postpaid to you for $5.00. Send money order. Complete Line Hawaiian Instruments UKULELE COMPANY Sales Office: 312 American Bank & Trust Bidg., Savannah, Ga. OUR ‘‘SPECIAL’’ 10 Tested Lengths, | 25¢ Silk Violin E, for 25¢ Send for Violin and Cello ' Catalogue MUSICIANS SUPPLY CO. 60 Lagrange St., Boston, Mass. OLD & NEW VIOLINS BEST STRINGS GRAND PRIZES CHICAGO 1893 -ST.LOUIS 1904 JOHN FRIEDRICH & BRO. VIOLIN OUTFITS $57°$100 Please mention THE ETUDE when addressing our advertisers, 279 FIFTH AVE NEW YORK. EST i883 out of her composure. THE ETUDE The Composer (Continued from page 741.) he awoke and found a certain decision formed in his mind, before which the clouds melted away, and life stretched once more cheer- fully in front of him. He whistled over his dressing, partook of an excellent lunch at the. club, and, at the earliest conventional visiting hour, presented himseH at Lady Warborough’s house in Belgrave Square. He was received by that charming woman with her usual Mrability ; but upon the im- mediate exposition of his purpose, a shade of stiffness, not unaccompanied by doubt, came over her. “Miss Vaneck’s address ?—She’s left Lon- don.’ Then the lady added, in the reserved tone that cloaked unspoken disapprobation : “T’m not likely to hear any more of her, Johnny; she has placed herself entirely in Madame Costanza’s hands.” “Oh, I gay!” said Johnny, in a non-com- mittal way. He was sharp enough to notice the underlying streak of bitterness in Lady Warborough’s well-bred tones, Lady Warborough’s Protege “My sister and I,” said Lady Warborough, ‘had made ourselves responsible for the child’s training. My sister, Selina Dorien, you know, first came across her, through Mosenthal, Augusta’s violin master. Sarolta was some kind of relation of his, a distant one—in fact, I believe Mosenthal’s mother and hers were cousins, both Poles—I don’t know what her father was. But she was left destitute, and they took her in, and brought her up with their own brood. Ex- traordinarily charitable these artists are! Mrs. Mosenthal had a dozen of her own already.” “Mrs. Mosenthal,” echoed Johnnie, pro- foundly attentive, ‘“‘That’s the Jew aunt!” “T suppose they are Jews,’ said Lady War- borough indifferently. ‘‘Not Sarolta, though. Poor Professor Mosenthal was very proud of that strain of Polish blood, I believe. Well, my sister used to have her to sing with Augusta, And when Mosenthal died, we decided to come forward and help them. We did everything for Sarolta—she was quite a pet of mine.’ Lady Warborough paused, swallowed down a rising bitter phrase, and proceeded with a return of her chilly, detached air: ‘Mrs. Mosenthal is taking a great responsibility. I am afraid she is dazzled by the idea of a second Melba and millions, of which she will have her share. Sarolta is much too pretty, much too fragile, and I must add, I fear, much too headstrong—poor child—for such a life.’’ “A jolly rotten lot, I suppose,” Johnny chimed it, trying to conceal the agitation in which these words threw him, “Of course, Selina and I never dreamed of, never would have permitted, anything but concert singing for her. It’s just what she is fit for, in my opinion—and indeed in Sir Arnold’s—and so we told her. I sent for Sir Arnold—poor man, he was much annoyed, and no wonder. But we might as well have talked to the wall. . Sarolta came here, I must tell you, ostensibly to ask my leave for her new career, but really to inform me of her intentions. Anything more deter- mined—backed up by Mrs. Mosenthal, of course—-well, one must not expect gratitude. To think,’? added Lady Warborough musingly, “that I actually contrived—oh, my dear Johnny, after endless difficulty—in arrang- ing such a splendid début for her, only to this end !—Well, well, I must not think any more about her, I am done with her.” “But I’m _ not,” said Johnny to himself. “T suppose,’ he said aloud, “she’s got her in a school, or an academy—whatever they call it over there—in Paris, this Madame fat French woman ?” “No doubt she attends her classes,’ Lady Warborough said wearily. She had made her complaint; and after all, the subject did not warrant prolonged discussion. A new.aspect of it, however, seemed to strike her; she gave Johnny a searching look from limpid gray eyes: “You take an extraordinary interest in Miss Vaneck, young man. Where have you known her, may I ask, and how long?” Johnny blushed, but he boldly returned the lady’s quizzical glance, “T do take an interest in her,’ he said, negleeting the questions. ‘“‘The fact is és Ile hesitated, THis companion’s gaze was be- coming more amused and less disapprov- ing, Lady Warborough had _— successfully married all] her daughters. “T say,” he proceeded lumberingly; ‘‘you will think me no end of a fool, Cousin Vera, but the fact is I have never seen any one I liked in that way before. And. I know I never shall again. I want to marry Miss Vaneck.” “Good heavens!” she ejaculated, startled “Seems jolly quick, I know, and all that,” he went on, “but I’ve got to do things in a bit of a hurry, now, haven’t I, to keep them from putting her on the stage?’ “You can take a little time for refiec- tion,” said the other with gentle irony. “She won't appear this season, you know—nor for many seasons to come. My dear Johnny !” Laughter overcame her. Then, contemplat- ing his serious countenance, she strove for gravity. ‘“Ilow old are you, may I ask? You were of age last year or so, weren’t you?” Four and Twenty “Tt am twenty-four,” said Sir John Hold- fast firmly. “Dear me,’ said Lady Warborough. ‘And I understand you to say this is your first love. Well, Johnny, my advice is: wait for your third.” “Thank you awfully,” said Johnny irrele- vantly, rising and holding out his hand. “T’ll have to be off now; I’m afraid I’ve been a bore.”’ “a “Wait a minute,” she said, retaining his strong hand in hers, “Warborough and I have been planning a cruise in the yacht, ending up with Cowes, you know. Won’t you join us, Johnny? Warborough will be delighted. Johnny pumped her hand up and down. “It’s awfully good of you,” he said grate- fully. ‘Afraid I can’t, though. I’m going to Paris, Cousin Vera,’’ he went on, his bold, clear eyes defying the scarlet on his brow. “T say, would you mind giving me the Jew lady’s address?” “Certainly, I should mind!” Lady Warborough’s cheeks were flushed, too. She was holding herself very erect, and she had dropped Johnny’s fingers. “Oh, well, it does not matter—she’s in Paris, anyhow. I’ll run that Madame Cos- tanza down in a jiffy, I expect.” He went to the door, and paused to look back with a good smile, just to show he bore no malice, and departed in evident high spirits. CHAPTER IV. JOHNNY’S search was not, however, con- ducted altogether with such ease as he had anticipated. Madame Costanza was soon enough “run down,’’ as he said, and he ob- tained an interview without any difficulty. But when she found the nature of his errand he was treated to the mest profitless and unpleasant ten minutes that he had ever known, : The hawk’s-eyes were flashed upon him; the lady’s forefinger was flung out with dra- matic directness. “And what do you want with her—with this Miss , Vaneck?’ demanded madame of him, Johnny jerked back his thhead resentfully. What business was it of this fat French woman what he wanted with Sarolta Vaneck ? What business was it of anybody but just of Sarolta and himself,? But on second thoughts he realized that perhaps it was just as well the lady should look after the inter- ests of her pupils—especially in the case of such an uncommonly pretty girl. Accord- ingly he smoothed the anger from his face, and, after that rebellious pause, answered cheerfully stammering : “The fact is, I’ve come to Paris to ask Miss Sarolta if—to—well, to marry me,” The extended finger dropped; the splendid flashing eyes passed from the fire of anger to coldness of contempt. “En vérité!’ said madame, in tones of high satire. ‘‘You’re already on such terms with Miss Vaneck—Indeed! And yet you want her address?” ‘‘T__I—-”” the young man stammered. He hardly knew what she was striving at, but it was surely something “jolly nasty.” Yet how: could he explain his ignorance of the beloved’s movements, the extraordinary scan- tiness of their acquaintance? “Alle jeune homme!” said Madame Cos- tanza, and she indicated the door with a dramatic sweep of the arm. “Oh, I say!” he exclaimed, then dived for his hat. What was the good of speaking to any one capable of such a suspicion. It was just like a French woman, he told himself. 3efore he reached the door, a final remark of the lady’s struck his ear: “T admire your audacity,” she was saying. “You come to me—to me—to assist you.’’ “T am very sorry I did,’ said he in honest indignation. “T don’t doubt it,” she answered him. “Ah, mais—it was a little too much to expect, wasn't it? Only an Englishman would have had: tne treat eee It was certainly only an Englishman who would have left her, as Johnny did, without | even an attempt at explanation. Yet, as he went along the Boulevard St. Germain, where was situated Madame (Cos- tanza’s well-known residence, entre cour and jardin, a sudden awful qualm seized him— What would the woman say to Sarolta? And (Continued on page 755.) Your Health is largely in yourownhands. * Your Weight can be reduced or increased. as you wish. Your Poise can express uprightness, or downright negligence, which affects your health. I have helped 79,000 of the most intelligent, forceful women of Amer- ica to regain health and keep it. This magazine would not have. ad- vertised my work for fifteen years if I had not “made good.” Tell me your defects in health or figure. lf my work is not suited to yous will direct you tothe help you need. I will also send you a booklet free which tells you how to stand cor- rectly, and gives many points of interest to women. SUSANNA COCROFT Dept.29,624 MichiganBlvd. Chicago Miss Cocroft has well been called the ‘* Health Engineer’’ for woman, ; ZA i} 7AM ii fh Ni il HA ‘TIN “= Ukalele/,) Hawaiian Made //)\ Made of genuine Hawaiian Koa wood, possessing quality of tone found only in the native instru- ments. Now used in up-to-date college, a ee ty i school and other musical organizations. id i P rice, $7.50 and upward (Includin g , Vis Instruction Book) Vip" Hawaiian Steel Guitar Its weird, appealing harmony captivates its hearers. Eo to your nearest Victrola shop and ask to hear some of the many ° records of both these instruments, and you will quickly appreciate the beauty and effectiveness of these instruments. Price, $8.00 and upward (including Steel and Set of Three Thimbles for playing and Instruction Book) - / | 44 WRITE FOR CIRCULAR MS Yi, ee LYON & HEALY 51-59 JACKSON BLVD. CHICAGO Your Music Is Torn! It will Take One Minute to Repair it by Using Multum-in-Parvo Binding Tape 5-yard roll of white linen or 10-yard rollof paper, 25 cents each, postpaid. Transparent Adhesive Mending Tissue 10 cents per package If your music dealer does not carry it, send to Theo. Presser Co., Philadelphia, Pa. OR / Multum-in-Parvo Binder Co. 624 Arch Street Philadelphia, Pa. “EASY VIOLIN MUSIC”’ For Solo Work. Sunday School, Church and Ama- teur Orchestras, fine melodies, good harmony and good print. Liberal discount to Teachers, Schools and professionals. : — “Root’s Fine Violins” and ‘“Root’s Special Violin Strings” our leaders. Send for catalogues. E. T. Root & Sons, 1515E. 55th St., Chicago Faust School of Tuning The standard school: of America. Piano, Player-Piano, Pipe and Reed Organ Courses. Year book free. OLIVER C. FAUST, Principal. 27-29 Gainsboro St., Boston, Mass. Arranging and Correction of Mss. A SPECIALTY A. W. BORST, Presser Bldg., Phila., Pa. Please mention THE ETUDE when addressing our advertisers. ‘-

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748 The Great Grove Dictionary The Keystone of Every Musical Library Grove’s Dictionary of Music and Musicians Five Large Volumes Bound in Red Cloth and Gold. Price, $25.00 See these splendid musical books in your own home. What the Encyclopedia Britannica is to General Information the Grove Dictionary is to Music. | There is no better Musical Refer- ence Library at any price in any language. Unabridged in any way. ee This is the latest revised and enlarged edition of Sir George Grove’s masterpiece of musical scholarship. There are 4,000 pages and over 5,000,CO0 words from great authorities upon all phases of musical learning. The books are liberally illustrated with cuts, half-tones and notation examples. Thousands of subjects are discussed: Biography, His- tory, Musical Science, Theory, § Musical Industries, Instrumenta- | tion, A’sthetics, Musical ‘Terms, etc., etc. The work is the most notable musical compendium in any language. Now issued in America exclu- sively by Theo. Presser Co. The Purchase of a Lifetime These books are of such high character, of such vast scope, and are so substantially bound that they will last a “lifetime.” As the years go by the original purchase money will seem insignif- icant in comparison with the con- tinuous service you will get from the books. The early editions cost $25.00. , This greatly enlarged latest edition costs only $15.00 Notwithstanding this dow price made for cash we have decided to accept. orders subject to pay- ment within 12 months. Write for terms. The set is also given ag a premium for the send- ~ ing of 15 subscriptions to THE ETUDE at f $1.50 each. P Remember that the house of Theo. Presser stands behind this transaction in every way. Send your order to Theo. Presser Co. Sole Agents PHILADELPHIA, PENNA. Please mention THE ETUD# when addressing our advertisers, belek ETUDE = TEC ATTT TS | iii iii oT To Sh Department for Children Edited by JO-SHIPLEY WATSON ~~ Beethoven’s Pastoral Sympohny A Wonderful Tone Picture of Nature It has been said of Beethoven’s, Pas- toral Symphony that “The man, who listening to the Sinfonia Pastorale, can- not see the beautiful landscape, sit down ~ beside the brook, dance with the peasants, get drenched through and through with the storm, and give thanks to God when the rainbow first gleams in the sky, must be dead alike to every sense of poetry and art.” : Beethoven was about thirty-eight years old when this symphony was written, he had been working on it some three years, and when it was first performed it was announced in the programme as, “Recol- lections of Country Life.” | Beethoven, you will remember, had a very passion for the country. He was familiar with the fields and lanes about Vienna, he knew the music of the birds. “The yellow hammers up there, and the quails and nightingales and cookoos round about composed me,” he said sare the Scene by the Brook. . His sketch books and diaries are filled with allusions to nature. Every summer he took refuge from the heat of Vienna in the beautiful wooded neighborhood of Hetzendorf, Heiligenstadt, or Dobling; in Beethoven’s time these little villages were absolutely in the country, now they are absorbed in Vienna. What must have been Beethoven’s thoughts-after the first production of this beautiful work? It was objected to—even sneered at—by the German public. There was a scant audience that cold December night in 1808, the symphony was con- sidered “too long,” “a series of repeti- tions,” etc. To-day every measure ‘is ap- preciated and its popularity is boundless. “Awakening of Cheerful Impression upon Arriving in the Country.” This is the title Beethoven gave to the first movement. It is marked Allegro and opens very quietly. One of the most poetic synopsis of the symphdny is written by Hector Berlioz, the French composer. The following is a translation which appeared in a music journal of Cincinnati. I give it with a few: omis- sions and additions: What GENEVIEVE came onto the stage too fast, and seated herself on the wrong side of the chair. Her playing was unusually good, but the effect was marred /by the awkward tilt of her skirts and a too wide expanse of pink stockings. Please learn to walk upon the stage properly and prac- tice seating yourself, before the next re- cital—the public is exacting in such mat- ters, Genevieve. Ethel did fairly well, she kept time with her foot. People will know how musical you are, Ethel, without this outward sign, First MoveMENT. “This astonishing landscape seems composed by Poussin and drawn by Michael. Shepherds move about on the meadows with their nonchalant gait; their pipes are heard afar and near; ravishing phrases caress your ears deliciously, like perfumed morning breezes; flocks of chattering birds fly over your heads, and now and then the atmosphere seems ladén with vapors; heavy clouds flit across the face of the sun, then suddenly disappear, and its rays cast upon field and forest torrents of dazzling splendor.” The Seconp Movement he calls Scene by the Brook, It is marked Andante molto moto. “Beethoven, without doubt, created this admirable adagio reclining on the grass, his eyes uplifted to heaven, ears intent, fascinated by the thousand varying hues of light and sound, looking at and lis- tening at the same time to the white scintillating ripple of the brook that breaks its waves o’er the pebbles of its shore. How delicious!” At the-very end Beethoven puts in the score some odd little motives and for fear you miss them he puts in the names of their authors: Nightingale, Cookoo and Yellow Hammer (Wachtel). The nightingale is done by the flute; the yellow hammer by the oboe, and the cuckoo by the clarinet. The Tutrp MovEMENT is a Scherzo and is called Happy Gathering of the Country People. “They dance and laugh, at first with moderation; the bagpipes play a gay air, accompanied by the bassoon which can play but two notes. Every time that the oboe strikes up the bagpipe song, fresh and gay as a young girl in her Sunday clothes, the old bassoon comes in puffing his two notes; when the melodic: phrase modulates, the bas- soon shuts up, counts tranquilly his rests until the original key permits him to come in with his imperturbable f-c-f. This effect, so charmingly grotesque, generally fails to be noticed by the pub- lic. The dance becomes noisy and furi- ous. The rhythm changes; a _ coarse phrase in two beats announces the arrival of mountaineers, with their heavy wooden — shoes. The hair begins to fly and flutter over their shoulders, for the mountaineers have brought in their noisy gayety; they clap their hands, they yell, they run and rush furiously when a muttering of thunder in the distance causes a sudden fright in the midst of the dance. Sur- prise and consternation. seize the danc- ers and they seek safety in flight.” FourtH MovEMENT. The Storm. “Storm! Lightning! I despair of be- ing able to give an idea of this piece. Listen to those gusts of wind, laden with rain; those sepulchral groanings of the basses; the shrill whis- tles of the piccolo, that announce the horrible tempest about to burst; the hur- ricane approaches, swells; an immense chromatic streak starting from the high- est notes of the orchestra, goes burrow- ing down into its lowest depths, seizes the basses, carries them along and as- cends again, writhing like a whirlwind, that levels everything in its passage. Then the trombones burst forth, the thunder of the timpani redoubles its fury. It is no longer a wind and rain storm; it is a frightful cataclysm, the universal deluge, the end of the world. Many people, listening to this storm, do not know whether the emotion they experience is pleasure or pain.” Firth MOVEMENT. Glad and Thankful Feeling after the Storm. “The Symphony ends with the grateful thanksgivings for the return of fair weather. Then everything smiles. The shepherds reappear; they amswer each other on the mountain, recalling their scattered flocks; the sky is serene; the torrents soon cease to flow; calmness returns, and with it the rural songs, whose sweet melodies are restful to the soul just before frightened by the magni- ficent horror of the foregoing picture.” Happened at the Children’s Recital Jessie May played the easy passages fluently, but used too much loud pedal on the hard places. I fear, Jessie May, that you depended upon the inspiration of the moment to carry you through, It is better to practice the hard places first and let the easy places take care of them- selves. Jennie coughed apologetically before she began her piece, and that seemed to un- -settle the audience and to make them expect a breakdown. Jennie ended ab- ruptly after playing over the first page of her piecé three times in succession. ten in the piano-playing game. Be -natural, Jennie, and don’t unsettle your audience by any sort of apology. Ruth was much too serious, she looked tragic. Smile, Ruth. A smile counts If your hands are cold and your knees shake, just wait a moment before the first chord. Never begin before you are thoroughly settled in your chair. By the time you have found the two pedals with your feet and the center of the keyboard with your hands the shaking knees will have stopped and all of the tragedy will have disap- peared. women’s tee

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a UP. Nien Ssanatinaran nie a Hh eit it: ll We ‘Ue \ Uh efi}}) } } ie ie "7 oY 1 TT) "i ~— ~~! _— — — —_— — —_— Si a Ae ae in WORKS. Advance of Publication Offers— Ss oe er | October, 1916. oe ‘Catechiam. Liv Jouse@. ....6. 55.0000 $0.10 Child’s Own Book of Great Musicians. ee eg ee cies dais ae aleia am Children’s Songs and Game;. NN a ae oe ao cde pial! ont ae Easy Octave Studies” ...........00c es Elementary JMethod-for Beginners, Op. BS. Gee Ee WOMIAEDS. 5 cvs vines vein tie Elijah. By Mendelssohn.............. .30 Godard Album for the Pianoforte...... : Harmony Book for Beginners. By Pres- SOG Wee CE OURra UA bik soa btlme eee Melodies . Difficult -Keys for the Piano- forte. By M. Bilbro Melodious and Progressive Studies, By es NIN... ckk ory Bin tn a2 4 h)s Oks eae .25 Melody and Technic, Op. 37. By © NRE Kate Scr W bars Ole sa ee ercte s ve 15 CST SED a Ss 00. 0.) .30 New Method for the Piano. By A CE i ol a a, oat 5 gcd Waa bin 08 .30 Piano Primer. By Burrowe........... .10 Pictures from Storyland for the Piano, ea. O82 ee MGeee chee ee aa .25 Progressive Piano Student, Theo RAEN ROE ee ER HS A Pe .20 Sacred Piano Music Collection......... .35 Sacred Two-part Songs............08.05 15 School of Violin Technics, Vol. I. By pe Ae ney ae ee .20 Sixty Progressive Exercises. J. Pischna .25 Standard First Grade Piano Pieces..... .20 Technics for the Piano. By R. Schwalm .20 The First Twelve Lessons at Piano- forte. By A. Diabelli, Op. 1 The Greatest Gift Christmas asians FSW We i REO As Nak bow ee ees oe The "King Cometh. By R. M. Stults. The Musical Booklet Library— Two copies Five copies Nine copies The Organ (New Edition). John Stainer .30 ae ares Violinist, Op. 10. By G. cht. Thirty-five Easy Studies, Op, 130. * BLO 0" Oth. we) Oe 6 GO 6 'S.6 bre Oe 'e SO By BOER SRE PAREINC OS 0T SS d r 15 es ‘Tempered Clavichord, Vol. I, By on Young Foiks’ Musical Study Playlet. ‘By Carol Sherman On Sale Accounts Returns and Settlements Some of our patrons have not yet re- turned or arranged with us to keep their On Sale music through the coming season. A settlement for the On Sale music is required at least once each year, the usual time being the months of June, July and August. The On Sale plan is a most lib- eral one; patrons have the privilege of a whole season’s credit and it is not asking a great deal of them to arrange a settle- ment with us during the summer months after their season. has closed. To all of those who have overlooked this important matter, we request that they give it immediate attention. If the selections on hand suit your needs for the coming season you can arrange with us to keep it by writing at once. We re- quire a suitable payment covering at least the value of the selections used or dis- posed of up to thig time. On receipt of such payment we will transfer the balance to the 1916-1917 On Sale account, but the matter must be arranged at once, If you have any undesirable selections in your stock on hand these should be returned in any event without’ further delay and be sure to put your name and address on the outside wrapper of the package for iden- tification, otherwise there is bound to be delay in properly crediting your account with the music returned. We will be pleased to supplement any On Sale selections you wish to retain with some of our newer publications in order to freshen your material on hand. . ws th RAE PE MERTEEPS THITATIVETTAT ITAA TANTATA te aay se et Si ili THE (Sime ar I va KG Publisher’s Notes A Department of Information Regarding New Edu- cational Musical Works — et a a ‘ rilll’ge | Mail Order Music Supplies Now that the teaching season is again in full swing and every one who is in- terested in musical education, whether teacher or student, is keenly alive to the needs of the situation, the question of suitable and necessary supplies in the way of teaching material naturally comes to the fore. This house has created an ex- ceptional place for itself in providing not only a mass of teaching pieces, studies, instruction and text-books of its own pub- lication, but also by making its product accessible to teachers at a minimum cost and with the least possible restrictions as to quantity or credit within reasonable limits. The largest measure of success in an undertaking of this kind is possible only when the output is given a wide cir- culation, thus reaching and testing every variety of educational requirement. The experience gained through thirty years of meeting the wants of the music teaching forces of the entire continent has placed us in the leading position as a dependable source from which to draw whatever is needed in the teacher’s work. The physical link between the merchant and the out-of-town or distant customer is thee MAIL ORDER SERVICE, This service we have so systematically devel- oped that music buying by mail is now as simple as telephoning to the grocer. Every mail order that reaches us is given minute attention and mistakes are less lia- ble to occur with the written than with the spoken order. The mail order plan saves time for the customer and secures a perfectly satisfactory service without the least trouble or inconvenience. We cannot, of course, shorten the actual dis- tance but by invariable promptness in fill- ing orders we can and do make deliveries even at distant points in less time than is usually anticipated. Music teachers every- where know the Presser publications and a vast number buy direct from us; the number grows year by year because it is readily discovered that in all essential particulars our mail order service is the most dependable and our publications the best for teachers’ use. To simplify music buying by mail we operate the ON SALE PLAN under which any responsible teacher may obtain an assortment of piano or vocal music or both, also studies, methods, text-books, etc,, with the privilege of returning any- thing so supplied if not used. Details of the plan may be had for the asking and it is worth any teacher’s while to get ac- quainted with it. The Greatest Gift Christmas Cantata By H. W. Petrie This work is now ready, but the special offer will be continued during the current month. The work is out in ample time for rehearsal for production during the com- ing holiday season. Mr. Petrie’s melodic gifts are well known, and they are dis- played to the best advantage in this work. It is brilliant, dramatic and_ effective throughout, without being at all difficult. The chorus writing is very fine, and the solos throughout are all that could be de- sired. We predict a very great success for this cantata, and we have no doubt that it will be sung extensively, not only this season, but for many seasons to come. The special price in advance of publication is 30 cents, postpaid. ETUDE Etude : Prize Contest The complete announcement of the win- ners in the various classes of THe Erupr Prize Contest will be made in the Novem- ber issue of Tue Erupe. The Contest closed formally on August Ist, but it has been impossible to announce the decisions of the judges in an earlier issue, owing to the large number of manuscripts sub- mitted, and to the closeness of the Contest in all three classes. We have been only able to reach a deci- sion as to the anthems, a full notice of which will be found on another page. We wish to compliment those who en- tered the Contest upon the general excel- lence. of the work submitted, requiring very careful sifting on the part of the judges and considerable deliberation. Music Teacher’s Window Signs We have had two very artistic window signs designed for teachers. The signs are fourteen inches long by eight inches high, One is printed in black on white stiff cardboard and is lettered Music Srupto the other is printed on rich buff card card- board in dark green and is lettered Piano Instruction in ordering state which lettering you de- sire. If you wish your name lettered in the space we have left for that purpose, write it precisely as you want it and enclose 25 cents in addition to the special advance price which is 20 cents. Name and initials must not be over 11 letters in length. Such a sign as this would be very ex- pensive if you had to pay the original cost of designing and making. Only by making them in a quantity can we put them at such a price that any teacher may have one. They are great business builders. The signs are in splendid taste and are suitable for the most dignified teachers. The First Twelve Lessons at the Pianoforte By A. Diabelli. Op. 125 This’ well-known easy study book is to be added to the Presser Collection. It is a work which has stood the test of time, and which is being used more and more. It consists of twelve little study pieces suitable for first grade work. It may be used to supplement any instructor. It is good both musically and technically, and the practice of these little studies will re- sult in much benefit to the student. The special introductory price in advance of publication is 10 cents, postpaid. School of Violin Technics Vol. 1. By.H. Schradieck This book is now nearly ready, but the special offer will be continued during the current month. It is one of the standard violin .works which is to be found in the curriculum of all teachers, It covers all the remaining ground which is not covered in Mr, Schradieck’s work, “The Scales.” The special introductory price during the current month is 20 cents, postpaid. Burrowe’s Piano Primer We will issue an edition of Burrowe’s Standard Primer, which has been in uni- versal use for the last generation, and there is nothing that has appeared in later times that is an improveiment. Just the same thing might be said of Czerny’s Piano Studies: There are a number of editions of this kind that have been tampered with by editors in such a way. that they have completely destroyed the original force and directness of Burrowe’s, but in our . edition there is nothing at all that will interfere with the original text. There are a few additions that we will make in the way of an appendix of musical terms. The book will also close with a guide to prac- tice. The plates of our edition will be the very best, to be published in strong paper binding. This book will remain on special ofter only a very short time. The special price in advance of publication on this work is 10 cents, postpaid. . M. Stults. 749 Young Folks’ Musical Study Playlet By Carol Sherman No new feature in educational work aas been received with greater favor than aas the idea of presenting great history in dramatic form for young folks. The stu- dents who have acted the landing of Co- lumbus know the historical details far better than ix they have merely read them. In this forthcoming work we have interest- ing scenes from the lives of eight great masters presented in dramatic form. The playlets are not intended to be done with elaborate scenery or costumes, In fact they may be used without action, simply as an interesting reading book, each in- dividual student taking one part and read- ing that. Anyone who has ever noticed the eagerness with which children read dialogue in preference to descriptive mat- ter will realize at once the advantage of this form of making the actors speak and live again in the child's imagination, Children are born mimics and actors. They have imaginative powers far greater than their elders are willing to admit. The main facts in these plays are historic- ally accurate and follow standard works such as Grove and the best biographies. The plays are real playlets. The author is an experienced teacher and a playwright as well. He loves children and has sought to contribute to their happiness as well as to their early education in music. Little compositions designed to be used with these playlets are simple and easily obtainable. The Masters represented in the collection are: Bach, Handel, Bee- thoven, Mendelssohn, Mozart, Schumann, Chopin and Wagner. The advance of publication introductory price upon these interesting and novel playlets will be 40 cents. The King Cometh A Cantata For Christmas By R. M. Stults We take much pleasure in announcing the publication of this new choral work by the well-known composer, Mr. Robert Mr. Stults’ work needs no in- troduction. It is always melodious and singable. Into this new choral cantata he has put some of his best efforts. It is a work suited for the average chorus or volunteer choir, The text, with the excep- tion of a few hymn verses, is taken en- tirely from the Scriptures, telling the story of the Incarnation in its entirety. The work is divided into three parts: “A King is Promised,’ “The Incarnation,” “The King is Born.” There are pleasing and tuneful solos for the several voices, interspersed with interesting chorus work. This cantata is just of the right length to be used in church and in, special musical services, The special introductory price in ad- vance of publication is 30 cents per copy, ‘postpaid. The Young Violinist G. Wichtl. Op. 10 Wichtl’s Young Violinist is one of the standard instructors.. It has been used for many years and still holds its popularity. Our new edition is superior in all respects, and we take pleasure in recommending it. Wichtl was himself a practical violinist and teacher, and this work contains the essentials of violin playing presented in a- logical and pleasing manner, The special price in advance of pytiication: is 30 cents, postpaid. Sacred Piano Music Collection There is always a considerable demand for piano music suitable to be played on Sunday and at special gatherings, religious meetings, etc,, or even at church services where no organ is to be had, We have in the course of compilation just such a vol- ume containing music of an artistic but quiet and devotional character, All the great masters will be represented, as well as a number of accomplished modern writers. Many of the pieces have been especially written or arranged for this volume, The special introductory price in ad- vance of publication is 35 cents, postpaid.

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750 ‘‘Last Chance’’ Magazine Club Bargains The 100 per cent. increase in paper costs makes the withdrawal of the Special Clubbing Prices of all leading magazines inevitable. Due only to the publishers of the maga- zines listed below having favorable paper contracts running until the end of this year are we able-to make these real maga- zine. hargains, prices being good until November 10th, 1916, only. These clubs will never again be offered at such attractive prices. Explain to your friends that prices are going materially higher after November 10th, point out to them the importance of placing their sub- scriptions NOW, get together with them and make up a club of your favorite periodicals, send in your order to us before November 10th, 1916, and we will enter all subscriptions for the different addresses. Even though your friends are already subscribers to Tue Ervupe or other publi- cations listed you should not overlook this Dollar-Saving opportunity to extend your subscriptions at prices that will never again prevail. Your present subscriptions will be extended one year from the now recorded expiration date. | These Offers positively expire November 10th, 1916. UM MME 6s vu gisele aise’ he $ To-Day’s (free pattern) , t 1:76 6) OO +6 Ler ae 6, Oye SoS 2 McCall’s (free pattern)............. Save 75 cts. MN NIN a 00 os Vk bdo ioe Se $ Modern Priscilla i. 0.6. ce cutee } 2.10 Save 40 cts. Oe Bee eta. SFE, 30 00 Mother’s Magazine .............0. ' i : Save $1.00 RES vo Fildes tin. rik ne at $ ME UROETU fC ce dae eee eee 2.60 OS SIRE ae era be 8 Re ea Save 40cts. eo nas t 3050 WUCUNNAT SROVEOWE: oi .5 a'ein o's oak aid'n e h's x . «3 spine Save 50cts. UE INE i iuid kU eee’ cde ba a ' 50 50 Woman’s Home Companion......... q Save 50 cts. THe ETUDE ..... Petes Loe, ee LANE $ ? NE UN oo oe wo olde ava uc) e-a.hie sin 3 2.85, MeO. PTIMOMIG Ck Ec ee wy ba ee j Save 65 cts. JE I SAT ae Oe a ) $28 00 OE WINE be nic an ee Bee e's Save $1.50 EE TEENS. Soa O68. oboe 8 dah vine kee $ NE as so 66 ae Liew e slee hee ‘ 3.00 is i kg ti Abs Som 005 Save $1.50 Must go to same address WEIN tay ides isis 1) $0 QE Pictorial Review ....002ecccceces 3.35 Det PUIBOLIIG iis. alee es alse es Save 65 cts. eS yh i Pe one eee ae $ Woman’s Home Companion......... 3.25 American Magazine Save $1.25 a Ge eT MER, Guede! otois $ eS | a ea t 3.90 Review of Reviews ......i....e000. Save $2.50 ee MN CEP eid sé det Bie cw biath ge b.0'8 0 $ Woman’s Home Companion......... \ 3.75 ERE SROWEOW ns oN cb middse tee cine '.) Save 75 cts. EG Ma PATER. dp, Ho as 6 Bie. 4 om 6.0 8 80.108 $ Review. Of Reviews ...-.ctc cece ee } 4.00 \\oman’s Home Companion ........ Save $2.00 Sun page 752 of this issue for additional offers. Pischna’s Sixty Exercises Josef Pischna, the author of the famous Sixty Progressive Exercises, was really a Bohemian, although he is commonly re- garded as a Russian. This is because he taught so very many years in a conserva- tory at Odessa, Russia. There it was that he evolved these exercises which have come into world-wide use. Russian virtuosos touring America were the first to draw, the attention of American students to them. “How did you get such a remarkable technic?” asked the student. “Pischna,” was very likely the prompt answer. Amer- ican teachers commenced using them for advanced pupils, and found that with careful exacting work splendid results could be obtained. That is the story of Pischna in America. Hundreds of teach- ers use the “Little Pischna” (Der Kleine Pischna) for elementary students. . That, however, was not written by Pischna at all, but by Bernhard Wolff. Now we have planned a complete new edition of the ._ Pischna “Sivty Evercises.” It is being edited by Mr. Maurits Leefson. It will be the finest edition of Pischna obtainable. The advance of publication price is only 25 cents. THE ETUDE THE MUSIC STORE IN YOUR OWN STUDIO Just as electricity has linked the industries of America to mighty cataracts and power houses the United States Mail has put great buying forces at the disposal of the public. All the music purchasing advantages of a huge Metropolitan Music Store can now be brought right to your own studio with the same ease as Niagara turns busy wheels hundreds of miles away. A trial order is the ‘‘Push Button’”’ which starts this splendid service for you. Hosts of teachers have found it so simple, so economical and so satisfactory that- you should have no hesitation in starting it at once. This does not mean that we will merely send you a collection of catalogs (although we shall be glad to do that if you wish it) but we will at your request send you “On Sale”’ a very liberal quantity of the music you need itself, so that you can actually have a real music store in your studio. If you do not know just what you want let us mail you with our compliments a graded list of 900 compositions which we have had prepared by teaching specialists as the outline of a model course in ten grades. Just say ‘“‘Please send me the Selected Graded List of Pieces, Studies and Books.”’ Why not try that ‘‘Push Button”’ Trial Order To-day ? THEO. PRESSER CO. 1712 Chestnut St. Special Offer for Immediate Renewals The response to our Special Offer of an Album of Music appearing in the August issue has been so much greater than was anticipated and so many orders have been received by us after expiration date of the offer, that to give an equal op- portunity to those not yet having taken advantage of the Greatest value offer ever made by Tur Ertvupr, we are extending the time limit. To every reader of Tur Erupe renew- ing his or her subscription or sending us a new subscription at $1.50 on or before October 31st, 1916, we are going to make a special offer of our Popular Home Col- lection for the Pianoforte, containing 46 highly attractive pieces, for the slight ad- ditional remittance of 15 cents, or a total of $1.65. The pieces are not difficult; are NEW and ORIGINAL; sheet-music size, clearly lithographed on fine quality paper and strongly bound. This is one of the greatest values ever offered by Tue Ervupe; is good for only the month of October, 1916, and whether your subscription has expired or not, re- newal order will be accepted from you during the specified time limit. You may, if you choose, substitute any one of the following: for the Popular Home Collection: Singer’s Repertoire.—Thirty-six songs, in- cluding studio and recital songs, suit- able for medium voice. Piano Player’s Repertoire.—Thirty-nine pieces, of various styles—caprices, songs without words, reveries, and sim- ilar characteristic numbers. Popular Recital Repertoire.—Thirty-one pianoforte pieces, including standard and original modern works. Every number a gem. New Pipe Organ Collection.—Thirty ef- fective but not difficult pieces. An ideal collection for the organist. Pictures from Storyland for Piano. By Slater. Op. 98 This little volume of twelve pieces is suitable for the first and second grade. They are very much like Schumann’s “Album for the Young.” They all have appropriate names, and some of them are quite descriptive. This little volume will sell for 25 cents, postpaid, while in the course of publication. - Phila., Pa. The Organ By John Stainer When Sir John Stainer wrote The Organ he embodied in it the best traditions of organ training. As a composer, conductor, teacher and organist of wide note he real- ized just what the organ student needed. The slow but adequate development of pedal study in this work gives the organ student something he will never forget. There are a number of illustrations in the new edition we are preparing, and the new plates will have the foreign fingering and not the fingering with the cross for the thumb which confuses so many American students who have used English editions. Secure your copy now while the advance price on our new and improved edition is only 30 cents. The regular price of the book is $1.00. Melody and Technic 25 Studies for the Pianoforte By C. Stamaty, Op. 37 This standard set of studies will be added to the Presser Collection, complete in one volume. It is one of the best study books for students just leaving the second grade work, approaching the third grade. The studies are all well contrasted, each one exemplifying some special point, such as legato, staccato, the singing touch, syn- copation, five-finger work, scale work, left- hand melody, double notes, etc. Each study is just two pages long, or somewhat shorter, just the right length in order to avoid monotony or sameness in practice. This work has been published previously in sheet music form in two volumes, but it is very convenient to have all the studies in a single volume since all are well worth playing. The special introductory price in ad- vance of publication is 15 cents, postpaid. Child’s Own Book of Great Musicians. By Tapper It has been our hope that we would be able to send the last of this series of six to the subscribers before this issue was printed. That work, however, is now on press, and will be delivered during the current month. The price on that one book, Handel, is 10 cents, and we will hold the price of 50 cents for the entire series open for one month, until October Ist, 1916. REQUISITES FOR THE MUSIC TEACHER BUSINESS MANUAL FOR MUSIC TEACHERS, $1.00. This book is a compen- dium of the latest and best ideas upon the most practical methods of compelling your pro- f fessional work to yield you a larger income. CLASS AND ACCOUNT BOOK. E. M. Sefton. 50c. Pocket size, contains record of all business transacted by a music teacher. PUPIL’S LESSON BOOK. Price 10c each, $1.00 per dozen. THE STANDARD LESSON RECORD. (35 records with stubs.) 25¢. A practical method for the tea-her to keep a complete record of pupils, studies and accounts. “ LESSON AND PRACTICE RECORD. (Package of 25 cards.) 25c. THE STANDARD PRACTICE RECORD. (Pad of 100 slips.) 15e. Furnishing a weekly form upon which to record directions for prac- tice as well as results. er AND RECEIPTS. (Package of 100.) Cc. BLANK BILLS. 50.) 25c. MUSIC TEACHERS’ DESK TABLET. (Package of 100.) 15e¢. For all memorandums, especially practice directions to the pupil. CLARKE’S HARMONY TABLET. Pad of. 100 ieaves ruled music paper, 7x10, 25e. STUDENT’S HARMONY TABLET. 75 leaves ruled music paper, 7x7. 15e. BLANK MUSIC COPY BOOKS. Prices, 10c to 35c. BLANK MUSIC PAPER. 12, 14 or 16 lines and Vocal, size 14x22 inches, per quire, 40c. (Postage llc extra.) Octavo size, 7xll. 10 or 12 Staves. 25¢ per quire. Medium size, 9x12. 12 Staves. 30c per quire. BLANK MUSIC PAPER. 100 leaves 7x8% with wide spacing. 25c. BLANK PROGRAM FORMS. For Concerts or Pupils’ Recitals. 50c per hundred. DIPLOMA FORM. 21x19. Price 15c. Parchment, 25c. ' TEACHERS’ CERTIFICATES. 11x8%, 5c. MUSICAL PRIZE CARD. 6%x4¥ inches, 10c. é‘ REWARD CARDS. Set of 16 cards to the pack, no less than nine colors on each face. Price of set, 50c. MUSIC WRITING PENS. Per dozen, 15c. | PROFESSIONAL OR VISITING CARDS. 50 for 35c, 100 for 50c, 500 for $1.50. Neatly. printed in either Script, Old English or Plain Roman. RUBBER STAMP AND INK PAD. One line 30c, two lines 40c, three lines, 50c. A handy article for putting name and address ~ on orders to publishers, etc. It prevents errors. ROLL BLACKBOARDS. 2x3 ft.,. $1.80: 2%x3%, $2.50; 3x4, $3.20. CHART PAPER RULED. Price 10c a sheet. 32x44 containing four staves of heavy lines. MISSED LESSON PLACARD. Printed in ° two colors on a buff, gilt, beveled edge board, size 6x9. Price 10c. The same printed in one color on paper, envelope size, package of 100, 20c. ADHESIVE PARCHMENT PAPER. (Trans- parent.) Per package, postpaid, 15¢; the same, 12 yards in a roll, postpaid, 10c; the same, 4 yards in a roll, postpaid, 6c. YEAR BOOK FOR MUSIC TEACHERS. Daily Help. A booklet, including blank pages ruled for every business use of the profession, including many other valuable features. Price 10c. MANILLA WRAPPERS. 14x22, the best ma- nilla paper, per hundred, 50c. The best rope manilla, per hundred, by express, not pre- . paid, $1. BUSTS. Prices from $1.25 to $10, according to size and workmanship. Send for list. MEDALS. Go!d, Roman finish of substantial weight, engraved to order, net, postpaid, $5.’ The same in silver, net, postpaid, $3. PLATINOTYPE PORTRAIT POST CARDS. 5c each, 50c per dozen, postpaid. This list includes almost every known musician of all times. A list of over five hundred subjects sent upon application. MAELZEL METRONOMES. American make, . no bell, $2.50; with bell, $3.50. Trans- portation, 32c each, extra. Pocket Metro-', nomes, postpaid, 50c. MUSIC ROLLS. Cowhide, smooth, 14% inches, ‘black, brown and wine, $1.16; 15% inches long, $1.42. Seal Grain, 15% inches, colors: black or brown, $1.42. Same, lines and bound, $2.15. All postpaid. Send for list. MUSIC FOLIOS. With strings for tying ends, ; 65c. The same with heavier board sides, leather | back, handles for carrying, 95c postpaid, net. MUSIC SATCHELS. Half sheet music size, ' $1.60 to $3.00. Ful! sheet music size, $3 to $4.50. Postpaid. Send for list. MUSIC CABINETS. $10 to $28. Send for list. MUSIC STANDS. 8&4c to $1.60, postpaid. Send for list. PLASTER PLAQUES. Made of hard plaster. size 4% x 6%, provided with a-ring for hang- ing. Following Composers: Bach, Beethoven, Chopin, Handel, Liszt, Mendelssohn, Mozart, ’ Rubinstein, Schubert, Schumann, Tschai-~ kowsky and Wagner. Postpaid, 50c each. (Large size 6x, package of Pad of Letus send free a copy of owr catalogue, “Music Teachers’ Ilandbook”’ containing descrip- tion of above, and lists and prices on Busts, Plaques, Jewelry, Medals, Pitch Pipes, Forks, Kinder-symphony Instruments. THEO. PRESSER CO. 1712 Chestnuc St. - Philadelphia, Pa. Please mention THE ETUDE when addressing . our advestisers,

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Harmony Book for Beginners By Preston Ware Orem The special introductory price on this new theoretical work will be continued during the current month, after which it will positively be withdrawn, as the book is now ready. The wide interest shown in this work in advance of publication has been very flattering. It will undoubtedly be adopted very generally as an elemen- tary text-book in harmony. It is concise and practical, with many original features —a book that may be readily understood, suitable either for class, private or self- instruction. The special introductory price during the current month is 30 cents, post- paid. Melodies in Difficult Keys for the Pianoforte. By M. Bilbro The special offer on this new work will be continued for another month. This is an original yet very necessary volume. Its purpose is to familiarize the student with the lesser known keys, especially with the sharp keys. The material is all of a very pleasing and melodious character, not at all dry or pedantic. For intermediate players such a work will prove almost in- dispensable when it is once used. The special introductory price in advance of publication is 15 cents, postpaid. Elementary Method for Beginners on the Violin F. Wohlfahrt. Op. 38 Wohlfahrt’s Elementary Method is one of the standard violin instructors. It is one of the best for young students. It proceeds by easy stages of the method, is tuneful and attractive. Our new edition has been prepared with the utmost care, and is edited by a well-known teacher and writer, Mr. Robert Braine. It is now nearly ready for publication. We com- mend it to all teachers and students. The special introductory price is 25 cents, post- paid. New Method for the Piano. By A. Schmoll In presenting this work to the American public we want to impress the fact that the work has been an enormous success in France. It has gone through no less than twenty-nine editions in the original French. Schmoll is a Frenchman with a German education. He combines the two nations. We wish our patrons to realize that we are offering something of unusual merit, and don’t let this chance of a special offer go by. The work is quite well along, and may be withdrawn at any time. Our special advance of publication price on the first part of the work is 30 cents, postpaid.’ Bach’s Well-Tempered Clavichord. Vol. 1 Volume 1 of the Well-Tempered Clavi- chord contains the first twenty-four of the celebrated forty-eight preludes and fugues by Bach. This is the volume which is the most played, and which should be studied and known by every advanced student of music. Our new edition ef this work will be printed from especially engraved plates, but it will follow the famous edition by Czerny, with only the really necessary editorial oversight. Nothing in the whole curriculum of study, both from the theo- retical and pianistic standpoint will ever replace Bach’s Well-Tempered Clavichord. The special introductory price on this volume is 30 cents, postpaid. Melodious,and Progressive Studies. By Greenwald This work presents most excellent second grade material of an instructive character. The studies, if they may be called such, are in the form of study pieces. There is design in most of these numbers. For in- stance, the “Arabian March” is a study on terms and grace notes; the “Mountain Trail” is a study in syncopation ; the “Bubbling Brook” .is a study in broken chords; the “Jolly Clown” is a wrist study. The work has a charm within itself, and we predict great<«popularity, and advise its adoption. Our advance price is 25 cents, postpaid. THE ETUDE Progressive Piano Student We had hoped to announce that this work would be ready for delivery by Octo- ber Ist, but we regret exceedingly to have to disappoint our patrons in this respect. The work has yet the finishing touches to be put upon it, but we hope to have it out in early October. Considerable orginial thought has been put upon this work, and we beg indulgence of our patrons a short time longer. In the meantime the advance offer price of 20 cents will be still in force. 35 Etudes Faciles By Gurlitt. Op. 130 There are thirty-five of these little pieces, and all without octaves, and all in the second grade. This is a work of study pieces; that is, pieces containing technical interest. There is no modern writer in modern times that has excelled Gurlitt in writing interestingly for earlier grades. This Opus 130 is one of his most popular opuses. During the course of publication we will sell this work for 15 cents, post- paid. Elijah. By Mendelssohn Messiah. By Handel We still offer these works at the ad- vance, price of 30 cents each, postpaid, while in the course of preparation, but it is expected that only one copy of each of these works will be filled at these prices. It is not intended to furnish an entire choral society with these works at advance prices. They are sent out as sample copies. Comments are unnecessary, as these works are so well known. The voice parts in our edition will remain precisely as they have been written by the composers, but. the accompaniments will be somewhat light- ened, Easy Octave Studies This work will be both original and com- piled. It will contain studies that are a suitable preparation for regular octave work. There is no work of a similar. na- ture on the market. It will close with a number of easy octave studies that can be — taken up by any pupil in the second or third grades. Our special advance of pub- lication price is but 15 cents, postpaid. Musical Booklet Library The demand for these little, practical helps in teaching is most gratifying. Most of the books are especially valuable for teachers who desire to give special in- formation which takes expensive time to deliver at the lesson. The booklet on pedaling, or the booklet on trills for in- stance, contains the main principles and _ yet they may be bought at a price so low that the pupil gets for a few cents what would cost him very much more if the teacher gave it in person. The pupil al- ways appreciates economies of this kind as they mean more rapid progress. This in turn brings added reputation to the teacher. Here is the list of subjects which will be issued shortly. 1. How Edward MacDowell Taught the Piano. By Mrs. Edward MacDowell. F Progressive Ways for Securing New Pupils. By Allan J. Eastman. . Making a Success of the Pupils’ Recital. By Perlee V. Jervis. 4. Trills and How They Should Be Played. By James Francis Cooke. 5. First Step in the Study of the Pedals, By Carol Sherman. 6. Profitable Physical Exercises for Piano Students. By Dr. W. R. C. Latson. 7. Passing the Dead Line in Music Study. By Thomas Tapper. 8. Peer Gynt, A Dramatic Prose Reading. Arr. from Notes of Richard Mansfield. 9. sarepst to Use the Metronome Correctly. By Prof. Clarence G. Hamilton, M.A. i) Patrons ordering these booklets in ad- vance of publication may have them at the following prices: Two copies for 15 cents, and five copies selected for 30 cents, the entire nine announced above for 45 cents. The books are ready to go to press at once, so they will be upon ad- vance offer but a very short time. Some of the single copies contain the best of a $2.00 lecture or a $5.00 lesson. Sacred Two- part Songs This is a collection which will be wel- comed by many organists and choir- masters. The various numbers are suit- able to be used at religious gatherings or in church where sopranos and altos are to be had, but no tenors or bassos. The book is also suitable for junior choirs, etc. It contains anthems both original and ar- ranged, also hymn arrangements. It is one of the best books of the kind ever offered, and we predict an instant success for it. Those who are interested should not fail to obtain copies for examination. The special introductory price in ad- vance of publication is 15 cents, postpaid. Jousse’s Catechism This work covers the same ground as the Burrowe’s Primer and is equally famous as a work of the elements of music. We have long desired to have an edition of this work of our own, and we have now entered this in our own catalog. The work will be published to that of Burrowe’s. This little Primer is so well known that com- ments here are superfluous. We will allow the work to remain on special offer for only a short time. The special price in advance of publication on this work is 10 cents, postpaid. Standard First Grade Piano Pieces In no one volume is so much general excellence to be found as in this collection of first grade pieces. It was printed from special large plates, thus enabling an un- usual number of pieces to be included. In addition to this these pieces are the best of their kind to be found anywhere. In this volume the busy teacher will find just the needed material for the students’ recreation, home playing, and elementary recital work. The special price in advance of publica- tion is 20 cents, postpaid. Children’s Songs and Games By M. Greenwald We are now announcing for the first time a new compilation, “Children’s Songs and Games.” This book will contain twenty-five children’s songs, derived chiefly from familiar and traditional melodies. Each song is given complete, with the words and melody, so that it may be either played or sung, or both together, and each melody has several instrumental variations. In addition, at the beginning of the book, complete directions are given for acting out or playing these games, in addi- tion to merely singing them. It will be one of the best and most tuneful books for children that has ever been published. The compiler and arranger is Mr. M. Green- wald, who has had a large and successful experience in this line of work. The special introductory price in ad- vance of publication is 30 cents, postpaid. Godard Album for -the Pianoforte Benjamin Godard was one of the great- est of all writers of drawing-room music of the highest class. His “Second Ma- zurka” and “Second Waltz,” and other well-known pieces, are played wherever piano music is heard. This new and hand- some volume will contain all the favorite numbers of this composer. It is a book which should be in the library of every pianist. The selections will range from Grade 3 to Grade 7 in point of difficulty. The special introductory price in ad- vance of publication on this volume is 20 cents, postpaid. Technics for the Piano By R. Schwalm A useful book of piano technics in some- what condensed form. Every phase of modern technic is treated in an interesting manner. This work will be brought out in our usual form in the Presser Edition. It has enjoyed European reputation for many years, and we take great pleasure in offer- ing it to our patrons. The advance of pub- lication price is 20 cents, postpaid. Theo. Presser Co. 14017 14074 14075 } 14061 } 13816 13875 13876 } 13928 18939 13942 13959 13956 13957 13965 14006 14012 | 14015 14020 14033 14059 14065 185719 13813 13896 13909 138917 13918 13951 13953 13952 13954 12936 13967 13973 14029 14032 14050 14054 13908 13937 12658 13907 13916 13919 13920 Publications Issued Sept., 1916 Any of our works sent on inspection to teachers, upon request, at our usual large professional M. Greenwald Oberon Waltz.M. Greenwald Humoresque Valse, M. Greenwald Love’s Greeting Waltz, | M. Greenwald Pansy Polka...C. Sherman Primroses...A. T. Granfield BOG coe ee G. Spenser ree ts rey G. Spenser 2 The Happy arn Ashford The Winner.. a Garland ADCUMN ais: oho G. Spenser Saint Saéns..... P, Lawson Dancing Mermaids, G. Spenser 2 Gliding Fish....G. Spenser 2 Hark! Hark! The Lark! F. Schubert Fields Abloom Waltz, S. Spenser Evening Song Valse, M. Greenwald 2 Minute Waltz, M. Greenwald In Full Uniform, E. K. Heyser Patriotic France.G. Spenser The Moon Flower, ©. Sherman Chinese March, M. Loeb-Evans Dance of Gnomes.A. Noelck When Twilight Comes, 3: Clark Call to Arms, F. H. Brackett Humoresque Orientale, W. Rolfe Evening Reverie, L. W. Abbott Coquette Dance, L.. W. Abbott .T. Dutton .T. Dutton Gypsy Dance... Mazurka Noble.. Summer Night Waltz, ‘T. Dutton Russian Dance...T. Dutton Rosy Dreams... .G. Menuetto, Op. 20, L. von Beethoven Cachoucha Caprice. a . Raff Confetti Fly Away St. Nicholas March, BoP Cristtani The Angelus.F. N. Shackley Valse Vanity..... W. Rolfe Valse ich Spenser J. F. Frysinger Woodland Shadows, H..H. Pike Reflections ....... W. Rolfe En Masque.F. H. Kittredge Serenade d’Arlequin, G. Almayrac Entree de Colombine, G. Almayrac 13921 Colombine et Arlequin, Almayrac 13929 Gavotte in F.. P. Martini 1ISB30; Ombae » 20s occ eee M. Bilbro 18931 Anite... 3:2 iucee .M. Bilbro 13971 The Brooklet....L. Gautier 13972 Lydia ....... Oe Abbott 13890 Valse 1’ Arpeggio, : H. M. Hahn 13922 Valse in F....G. Almayrac 13933 La ee 13985 13986 13913 13963 18927. Gottschalk Trios Tubeonsaaele Ss. Stojowski Mazurka, Op. 8, No. 2, S. Stojowski Valse Russe, Op, 118, No. 2, . A. Strelezki Ballade in G Minor, Rheinberger -Murmuring Breezes.E. Sauer wo wb YD NY NY NHYNWNKNYDY NNWDW Non wo wb discounts. Use the number, not the title, in ordering. PIANO SOLOS No. Title L98TT -BAtee 6 ucts G. Spenser 18878 Louise ......... G. Spenser 18679 “REMEe Sa ore G. Spenser 13924 Song of the Brooklet, : E. L. Ashford 13935 Little Tease.....G. Spenser 18940 Spring ........ G. Spenser 16941 Summer ....... G. Spenser 138943 Winter ........ G. Spenser 13955 Parade of the Submarines, r. Spenser 12958 Russia the Red Sarafan, P. Lawson 12982 United States of America, P. Lawson 14008 Valse Barcarolle, M. Greenwald 14009 Fanfare Militaire March, M. Greenwald 14010 Invitation to the Dance, M. Greenwald 14011 Carmen Polka.M. Greenwald 14013 Maiden’s Prayer Waltz, M. Greenwald 14014 The Awakening of the Lion, M. Greenwald 14022 Idle Hours....E. K. Heyser 14016 Monastery Bells Valse, non i) Ns $55 Fy 7 On 5 6 6 6 7 751 Composer Grade Price 29 »50 75 THEO. PRESSER CO., Philadelphia, Pa. our advertisers. Please mention THE ETUDE when ee:

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DUST:: PREVENTION , is easier than its cure Regular use of BISSELL’S VAC- UUM SWEEPER prevents dust and dirt from accumulating in your rugs and carpets, keeping them hygienically clean in a hygienic manner; always looking fresh and clean, always a safe playground for the children. This would seem a more practical system than allowing dirt to accumulate until drastic methods are needed to remove it; methods which are often destructive, resulting in excessive wear. With the BISSELL’S, three sturdy bellows pumps create a suction of large volume; au- tomatic adjustment to all grades of carpets prevents scraping of the nozzle and consequent wear; dust-bag comes out with the nozzle in one piece and empties from the rear without even soiling your hands. For the many little sweeping jobs where extreme handiness is the first conutees tion, and where the combination machine is not required, the BIS- SELL CARPET SWEEPER is still an indispen- sable convenience. Both machines sold by the better dealers everywhere. Booklet on request. Vacuum Sweepers, $7.50 and $9.00. ‘‘Cyco Ball-Bearing Carpet Sweepers, $3.00 to $5.50. Slightly higher in the West, South and Canada. BISSELL CARPET SWEEPER CO. Largest and Oldest Exclusive Manufacturers of Carpet Sweening Devices in the World Dept. 247, GRAND RAPIDS, MICHIGAN Made in Canada, too. (307) BISSELL ae Me a — | FINA Seay ky eS * VACUUM SWEEPER. The Cupid Grand The first small grand piano ever made was the product of Sohmer. That was over twenty- nine years ago. In this over a quarter of a century we have been constantly striving to perfect this type of instrument. The result is a piano without an equal among diminutive grands in which tone is inno manner sacrificed toarchitectural requirements. Length 5ft. 4”, width 4ft. 5”—price $675. Terms arranged. Send for illustrated catalog and full information. Sohmer 315 Fifth Avenue New York, N. Y. NORTHWESTERN OHIO SCHOOL OF PIANO TUNING 1ith Year. D. O. BETZ, Director Diploma. Free Catalog. ADA, O. Patents on Musical Instruments NORMAN T. WHITAKER, Patent Lawyer and Me- chanical Engineer. Recent Assistant Examiner in Music Division U. S. Patent Office, Suite 22 Legal Build- ing, Washington, D. C Please mention THE ETUDE when addressing our advertisers. THE ETUDE Questions and Answers Q. Is it desirable to put oil on the rod of the metronome on which the weight slides? L. O. J. A. Not unless the rod is very rusty. Too much oil on the rod might cause the weight to slip down by its own weight. . LI am told that it was once the cus- tom to omit the last flat from the minor signature. Is this so? A. Yes. In the time of Bach and Handel it was quite common. Up to about 1730 there was no regular arrangement of sig- natures on the staff. In two flats for in- stance, the E flat might come before the B flat. In Handel’s Messiah, “And With His Stripes”’ in I Minor has a signature of three flats in- stead of four flats, the D flat being marked by an accidental each time it appears. Q. What are the numbers of the Mass? on Whe A. Kyrie, Gloria, Credo, Sanctus, Bene dictus Agnus Dei and Donna Nobis. Q. What is the difference between the trill and the shake?—kK. S., A. None. The “shake” is the term used in England for the trill. Q. How old is the hymn “Old Hundredth” ? —NSel de V. A. Uncertain. The oldest known version appears in a Swiss Psalter in 1542, Q. When were upright pianos first made? —G. P. K. A. The upright piano 1730 by Del Mela. was invented in Q. Occasionally I find in hymn books such figures as the following at the top of a hymn: 8, 6, 8,6. What do such figures mean? —S. F. A. The figures are short way of showing the arrangements of the syllables in the verses of the hymn, The example you have given is known as Common Metre. ‘Trans- lated it means that the stanza has four lines or verses. The first line has eight syllables ; the second six; the third eight; the fourth six. Formerly these special metres were known by many different names, such as common hallelujah, eights, elevens, long, par- ticular, etc. Now they are mostly expressed in numbers. The main object is to assist the organist and the clergyman in finding musical settings in the hymnal that will fit special metres. Q. Will you kindly tell me why a grand piano is superior to an upright, also if it is possible to use the sounding board of a grand in an upright case?—A. B. A. Despite the fact that there are num- berless upright pianos that are very superior instruments, the grand piano is preferred— first, because of its size, which as a rule contributes to its sonorousness. A _ large grand is very much more sonorous than a small grand. .Many prefer it because of the action, which is very different from that of the upright piano, the hammer striking same below and falling away from the strings, whereas in the upright piano the hammer strikes on the strings. The grand piano al- lows for a larger sounding board. The posi- tion of the piano is also advantageous. The pedals are also different. The damper or loud pedal, as it is mostly called, is the Same on a grand piano and on an upright piano, but in the upright piano the soft pedal operates by moving the hammers nearer to the keys, so that they have a shorter distance to strike. In the grand pianos the hammers are shifted, so that instead of striking the three strings they strike one string or wire. Q. In playing grace notes as in the follow- ing examples should the grace note be played with the accompanying chords or before them? ——-BD. G; 8: 2 ae Ee EO Sensei A. Example 1 is that of the short appoggia- tura. The rule is that this grace note is played with the principal note. The time occupied in playing the short appoggiatura is so infinitesimal that’no attempt is custom- arily made in rapid playing to give it definite time value. The dash or line through the stem differentiates this from the long ap- poggiatura. Kxample 2 and example 8 are long ap- poggiatura. Note the absence of the stroke through the stem. This form of grace note is somewhat rarely seen in modern editions, as the time value is written out in large notes to avoid uncertainty. In example 2 the rule is that the grace note is played with the principal beat, the grace note taking one-half of the value of the note it precedes. In example 38 the grace note precedes a dotted note, in which case the grace note takes two-thirds of the value of the note it precedes. New Books Reviewed The Science of Musical Sounds. By Dayton Clarence Miller, D.Se. Published by the Mac- Millan Company. 286 pages. Bound in cloth, numerous illustrations. Price $2.50. Remarkable as were the investigations of Ifelmholtz and the apparatus of Koenig, the science of musical sounds is much more highly developed to-day than it was in the last de- cades of the nineteenth century. This book, by the Professor of Physics at the Case School of Applied Science, is in no sense a book for the novice in music. One does not progress very far before recourse to higher mathe- matics is necessary to define the processes employed in modern investigations of musical sound. There is much, nevertheless, which the general reader will comprehend even though he is baffled by logarithms and cosines. Much of the progress shown in the science of musical sound is along the line of making sound waves visible to the eye. Prof. Miller describes in detail the wonderful apparatus called the Phonodeik, which responds to 10,000 complete vibrations (20,000 move- ments a second). The Phonodeik is Prof. Miller’s own invention. Samuel Coleridge-Taylor: Musician. His Life and Letters. By W. C. Berwick Sayers. Illustrated. Published by Funk & Wagnalls Company, New York. Price, $2.25, net. The story of Coleridge-Taylor’s brief career has often been told in THr ETUDE. Our readers will, therefore, be all the more ready to welcome this almost Boswellian biography. The author has gathered very diligently every scrap of information available about his sub- ject and set it before the reader with the utmost detail. In fact the book would have gained by more reticence. No point is omitted from the time that the future composer of Hiawatha was discovered in the streets of Croydon “holding a small-sized violin in one hand, and playing marbles with the other,” to the last sad moment when, smiling and con- ducting an imaginary orchestra as he sank back on the pillows, “his beautiful spirit set _ on its voyage to the land of the Here- after.”’ If the author, after long acquaintance with Samuel Coleridge-Taylor, is disposed to rank him more highly among composers than is strictly due, he is not altogether to blame. For this dusky son of an African father and an English mother was so winning in person- ality, so wholly devoted to his art, so child- like in his simplicity, so loyal to those he loved, that he loomed large on the horizon of all who knew him. Yet it must be admitted that Coleridge-Taylor wrote so much and so rapidly that not all of his work attains to the high standard of Hiawatha, A Tale of Old Japan, Bamboula, and some of the songs, such as My Algonquin, or such violin pieces as Deep River. These works, while not in any sense profound, are full of life and color and rhythm, They will surely keep alive the memory of the greatest composer yet pro- duced by the Negro race. All honor to the sweet and gentle soul that passed all too soon, Studies in Musical Education, History and Alsthetics. (Tenth series. ceedings of the Music Teachers’ National As- sociation at its Thirty-seventh Annual Meet- ing. Published by the Association (Waldo S&S. Pratt, Secretary, 86 Gillett Street, Hartford, Conn.). Price, $1.60, postpaid. West of the Mississippi, $1.70. The papers this year include the reports of excellent discussions by such men as J. Law- rence Erb (President of the association), The- odore Spiering, Dr. Frank Damrosch, Dr. Geo. C. Gow, Prof. Walter R. Spaulding, Le Roy B. Campbell, Hans Schneider, Frederic Lille- bridge, Frederick W. Wodell, Carl FE. Sea: shore, Karl W. Gehrkins, Will Earhart, Fred- erick Schlieder, Hamilton C. MacDougall, Peter W. Dykema, T. Carl Whitmer. Waldo S. Pratt, William Benbow, Harvey B. Gaul and others. The collection of essays is excep- tionally fine this year. Tonal Functions, Harmony, Scales, and In- tervals. By Dirk Haagmans. Book I (third edition). Published by J. Fischer & Bro. 150 pages, bound in cloth. Practically speaking, there are no rules of harmony, but there are certain laws and principles based upon the usages of the best writers of the past and present, the art of music being in a constant process of evolu- tion and development. The fascinating sub- ject of harmony may be approached from many angles, consequently there is always room for another book on harmony. ‘The good old “figured bass,’’ originally only a system of musical shorthand, has outworn its usefulness as a system of harmony teaching, and although it dies hard, many modern writers are abandoning it. Mr. Dirk Haagmans, although educated in the older school, is to an extent a follower of Hugo Riemann. His book, Tonal Func- tions, eliminates the “figured bass’’ entirely, and to a very large extent throws the pupil upon his own resources, after first thoroughly explaining and analyzing the necessary laws and principles, placing all structural develop- ment upon the tonic, dominant and sub-domi- nant relations. Although it contains much of practical - mel and interest, this is hardly a beginner’s s00k. ; Boston Papers and Pro- , | tractive things. teachers. contains 66 numbers. grades, all fingered and phrased. 753° admired by those. whose ability, education and position in the world of music, give to. their preference the conclusive proof of unique merit The Emerson ELECTRIC Player Piano Dealers in principal cities and towns. Write for catalog. Emerson Piano Co. Established 1849 Mass. Learn Harmony and Composition Taught by MAIL, successfully, Send 2-cent stamp for trial lesson. Three Trial Les- sons Free.. If uot then convinced you will succeed, you owe us nothing. You must know the rudiments of music and mean business, otherwise don’t write. practically, rapidly. Wilcox School of Composition Box E. 225 Fifth Ave., New York City, N. Y. Kindergarten MYSo iar Secures and holds the child’s interest. Color Bird Scale, Staff Peg Board, Folding Music Buards, Keyboard Diagram and many other at- Send for Catalog. DANIEL BATCHELLOR & SONS R. F. D. No. 1 - - Chester, Pa. KIESLING’S TEACHING PIECES For Piano, are sold by most music dealers in Greater New York” Chicago, and other cities, and used by hundreds of piano Why not become acquainted with them? Catalog Easy waltzes, epolkas, schottishes, marches, rondos, Ist and 2nd grades. Mazurkas, caprices, } reveries, romances, transcriptions, duets, etc., 3rd and 4th Send postal and receive a 32 page Thematic catalog, and rates. KIESLING, Composer, 1035 Gates Ave., areal , N.Y. Hugh A. Clarke, Mus. Doc. LESSONS BY MAIL In Harmony, Counterpoint and Composition 4618 CHESTER AVE., PHILADELPHIA, PA. STUDY HARMONY and COMPOSITION under the personal by MAIL instruction of Dr. Alfred Wooler, winner of Interna- tional anthem competition, 1911. A simple, concise and practical course. Send for prospectus and rates. Composers’ MSS. corrected. ALFRED WOOLER, Mus. Doc. 322 W. Utica St., Buffalo, N. Y. POMPEIAN OLIVE OIL ALWAYS FRESH THE STANDARD IMPORTED OLIVE OIL Please mention THE ETUDE when addressing our advertisers.

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ee seme Ec SEE A Perfect Complexion Your social duties demand that you look your best at all times and that your appearance be in good taste, Ladies of Society for nearly three- quarters of a century have used Gouraud’s ne Oriental Cream to obtain the perfect complexion. It purifies, protects and beautifics, The ideal liquid face cream. Non-greasy. Its use cannot be detected. Use it on the | hands. Re-| moves all\ discolorations, Send 10c. for trial size FERD. T. HOPKINS & SON 37 Great Jones St. New York City SUBSCRIBE NOW FOR THE RAGTIME REVIEW A Monthly Magazine for Amateur and Pro- fessional Pianists—Devoted to Ragtime and Popular Music—Covering the field of Vaude- ville and Picture Piano Playing—Edited and Published by Axel Christensen, Vaude- ville’s ‘‘Czar of Ragtime.” Contains piano music every month—new and snappy rags, songs and popular music—lessons in vaudeville, ragtime picture piano playing, review of all the new popular music, etc. It contains nothing dry, nothing classic, only that happy, pulsating ‘‘rag’’ and the songs and melodies that make for happiness and delight. You can get the ‘‘Ragtime. Review” for only 50 cents a year—sample copy for ten l-cent stamps— so send along your subscription. It will be the biggest money’s worth you ever received. 50 cents a year—Canada 60 cents; Foreign 75 cents ample copy 10 cents Publisher AXEL CHRISTENSEN, Room 530, 20 E. Jackson Boul., Chicago Piano teachers write for ‘“Teacher’s Proposition,” on Christensen’s system of ragtime piano playing. TUNING ot % Finn (fl anid = Thoroughly Make one a Proficient . y means of correspondence Piano Tuner lessons, accompanied by mechanical aids that make our lessons easily under- stood and far more practical than other forms of instruction, Our patented Tune-a-phone starts you correctly. No doubt. No error. Makes you master of the ctuner’s art. Diploma granted. Course guaranteed. M. H. Collins, Jayess, Miss., says: “I was very doubtful about your abil:ty toteach piano tuning by correspondence, but when I had received the first lesson the doubt vanished.” J. Hodge, Kingston, Ont., writes: “I am tuning for a large factory, which shows that what you teach is up-to-date and thorough.”’ . O. Logan, Clarkston, Wash., says: from $5 to $15 a day tuning.”’ ‘Write today for Free Illustrated Book. NILES BRYANT SCHOOL OF PIANO TUNING 7 INST. BLDG., BATTLE CREEK, MICH. “T make The Powder She Uses is chosen—not simply because it looks fine and light in the box or feels fine between the fingers—B UT, because it proves it’s merits on the face, where the realtestcomes. You too, should use this fairy-scent- ed Beautifier Powder blends so nantabtie with the tones of the skin and adheres whire: A Aon Flesh, Cream 50c Ev ere laring light or rear ft is distinctly di erent. STAFFORD-MILLER CO, 591 Olive St., St. Louis, Mo. Please mention THE ETUDE when addressing our advertisers. ‘ THE ETUDE Are You a Musical. Pauper ? A music student, who can not play or sing when he is asked, is musically pov- erty stricken. Like the man who goes on a pleasure trip without any money, he puts himself in an embarrassing posi- tion; one of the most difficult things I know of is trying to convince a hotel clerk you are “good” for your bill when there is no money in your pockets. moneyless traveler may have hordes of money at home in the bank; but who is going to believe it? The music student who, when’ he is asked to play, says: “l left my music at home,” or “I can’t play without my notes,” is ‘placing him- self in the same embarrassing position, for who is going to believe you can play? If you don’t, you can’t; that is the or- dinary version of the matter. Don’t be a musical pauper. One does not need a great deal of money to get on in the world. There are thousands who manage to do many beautiful things with a slender purse. You may not play astounding pieces and you may have a limited repertoire, still with the little you have, in a musical way, you can man- age to get on quite well. If it’s nothing \ World of Music The' more than Chaminade’s Scarf Dance, memorize it, have it ready and play it and be done with it. You know from experience how handy it is to have a little change—indeed we seldom carry a whole bank account with us—and that is the way it is with play- ing and singing; it’s handy to have a little piece ready and usually it is much more interesting to have a little piece on hand than to have a big showy one that is only available when the sheet’ music stands on the rack before you. Little pieces, well memorized, constitute the small change of music. Have you ever noticed how music helps out, how it fills in, how it livens things and makes people happy and be- sides your singing and playing gives you a, bit of prominence and wins you new friends. Good music is a wonderful pass- port—it. takes you everywhere; so don’t get into the poverty-stricken class and when you feel like saying, “I can’t play without my notes,” just take a look about and see the musical paupers there are it, your neighborhood. And isn’t it a shame after all their lessons that they should be so musically helpless !—J. S. W. (Continued from page 693) At Home OwING to last moment pressure an error was made in the September issue of TH ETuDE which we are very glad to rectify. Just as the last page was going to press a notice was received of the death of Mr. George Noyes Rockwell, whose compositions are well known to ETUDE readers. In a moment of aberration the writer inserted the name of one of our well-known composers, Mr. Albert Locke Norris. The names have a. somewhat similar sound. Mr. Norris is very much alive and has the rare distinction of having had an untimely obituary notice. ERNEST SCHELLING’S friends recenuy gave him a surprise party at Bar Harbor. Among those who planned the event and who were present were Fritz Kreisler, Josef Hofmann, Harold Bauer, Leopold Godowsky, Leopold Stokowski, Olga Samaroff, Carl Friedberg, Harold Randolph, Arthur Whiting, Francis Rogers, Walter Damrosch and Waslayv Ni- jinsky. AT THE INDIANA’ SCHOOL FOR THE DEAF they introduced talking machines to make the dancing exhibitions of the students more at- tractive to visitors. Greatly to the amaze- ment of the teachers they found that while the students could not hear the tunes they were conscious of the music through a kind of sixth sense. One pupil who could not hear anything learned to whistle by feeling the frequency of the vibrations, THE Baton Club of Chicago offers a prize of $50.00 for the best anthem submitted by any resident of the United States. The anthem is to be suitable for non-liturgical churches, the text taken from the Bible or from a standard church hymnal, be in four parts with accompaniment for organ, but may contain a soprano solo which may be sung in unison by all the sopranos. Each composition must bear a fictitious name and the composer must enclose a card revealing his real name sealed in an envelope. IN THE heart of the Rockies is Missoula, Montana. Missoula is the home of the Uni- versity of Montana, founded in 1885 just two years after the ‘founding of THE ETUD®. Three years ago the University Musical De- partment had 8 students. Now it has 300. Hats off to Missoula and to the director, De Loos Smith, Josephine Swenson, Professor of Pianoforte Playing and to the brilliant Cecil Burleigh, Professor of Violin and The- ory. In the classic tongue of the Bowery. “That is some speedwork.”’ THE convention of the National Associa- tion of Organists was held in Springfield, Mass., on August 1, 2, 3, 4. The attendance was most excellent. Mr. Arthur Scott Brook, the president of the organization, has done a most useful work in promoting the interest of this new but vigorous movement to better organ playing and thereby better the posi- tion of the organist. The character of the National Association of Organists may be estimated hy the men represented in the program of the convention in addresses and in recitals. Among those who delivered ad- dresses were Homer N. Bartlett, William D. Armstrong, Henry S. Fry, Dr. G. A. Audsley and John Hermann Loud. Recitals were played by Richard Keys Biggs, Kate BEliza- beth Fox, Percy Chase Miller, Charles M. Courboin, Clifford Demarest, BE. R. Kroeger and Dr, Francis Hemington., EBEN D. JORDAN passed away in Man- chester, Mass., on August 1st. Mr. Jordan was the head of the firm of Jordan, Marsh & Co. in Boston, one of the largest drygoods businesses in the United States. He was born in Boston in 1857 and was a graduate of Harvard University. Music and travel were his avocations. In 1809 he built the Boston Opera House at. a cost of $1,000,000. He also gave lavishly to the New England Conservatory of Music, of which he was the President. Mr. Jordan is one of a large group of. American business men who for years have made amazingly large donations to the cause of music in America. Europeans who have had their judgment so warped that they can only look upon America as ‘dollar land’ would have difficulty in finding a sim- ilar number of business men who have done ‘as much for the artistic welfare of the old world. He added to his benefactions to the New England Conservatory in his last will to the extent of $100,000. He had previously given upwards of $75,000 to the institution. Abroad WHEN Oscar Hammerstein erected his Lon- don Opera House, a portrait of the founder was chiseled in stone to adorn the building. The opera house was a failure and passed from Mr. Hammerstein’s hands. Now his petrified effigy has been chiseled away. What a pity that so many of Mr. Hammerstein's ventures have not brought him the reward which one should reasonably expect from such undertakings. Whatever may be said of him, no man in the operatic field in the pres- ent generation has displayed more initiative and more courage. He has built four enor- mcus opera houses, started four huge grand opera companies, developed many singers who had previously been almost unknown . and now finds himself with nothing but a some- what pathetic memory of his great industry. Ferhaps his failures has been that he sought to accomplish too much with Napoleonic strides. rt development is slow. Volcanic outbursts like those of Mr. Hammerstein rarely endure. Wuat is a “firing line party?’ It is one of the latest products of the world war. Men in all positions in life must have entertain- ment. Even the thrilling scenes of battle, the excitement of charges and the thunder of bombardments cannot do away with enter- tainment. Hence the “firing. line party.” A group of musicians and music hall enter- tainers get together and find that they are past the military age. How can they render their best service to the government in time of need? Simply enough, Organize a travel- ing concert company and carry entertainment to the trenches. One party traveled in a large automobile van which also carried little “Peter” the “piano that never grew .up”. They performed to upwards of 30,000 men in or near the trenches. Frequently the party was under fire and a London paper reports that three times during one concert shells dropped near the concert party. On one oc- casion the party made a trip along fifteen miles of battle front to cheer the men with their music. They report however that the soldiers were wonderfully cheerful despite the dreadful conditions: surrounding them. And what do you suppose were popular num- bers on the programs? Chopin’s Funeral March and the Dead March from Saul, Special Notices and ANNOUNCEMENTS WANTED AND FOR SALE Rate 10c per word EUGENE N, CHADWICK, Director, Or- chestra, Band, Choral, after September 15th, 1909 N. 13th St. Philadelphia. VIOLIN AND PIANO TEACHER 4de- sires an opening in western town. T. R., care THE ETUDE, FIRST-CLASS MUSIC SUPERVISOR for special educational work. State in first letter experience and salary desired. Ad. dress “Educational,” THr ErTuDE, ANNOUNCEMENTS Rate 20c per word MUSIC COMPOSED for Song, Anthem or Hymn Texts. F, Cullis Morley, 1520 Chest- nut St., Philadelphia. HAWATIAN UKULELE and =e self-in- structor, $5.00. Write Wm. Buslap, 3731 Concord Place, Chicago, MUSIC WRITTEN to words. Manuscripts Correspondence lessons in Har- corrected. | Dr. Alfred Wooler, composer, Buffalo, mony. Wile PIANISTS—wWanted to teach popular music and_ragtime piano playing. No in- vestment involved. Winn School of Popular Music, 155 West 125th St., New York. AMATEUR OPERA SOCIETIES. Ask your dealer to show you a copy of The sae of Love, a new light bs owt by Louis A. Reilly, or order direct. Price $1.50 The Alden Music Publishing Co., 1405 “isiatn St., Denver, Colo. PIPE ORGAN LESSONS AMAN might spend several years learning to run a giant locomotive. His entire experience, say in a freight yard, would not cover ten miles daily. Would that man be con- sidered competent by the Superintendent to take out the Cannon Ball Limited over a 100 mile run? True he knows the engine and can run it, but he does not know the road! The same conditicn exists when a student learns to play the Pipe Organ, and does not understand the actual neces- sities of Church‘and Concert work. Many splendid players have been unable to hold lucrative positions because they were only Pog and did not know what they shouid have known. The O’Brien Sysiem teaches you to play magnifi- ciently, but it also tells you all about the Pipe Organ, its stops, their control, the Mechanical Accessories, ete. It gives youa thorough training in Modulating, Exiemporiz- ing, Choir Work, Concert ty arg ‘Sage student recitals are given annually on an $18,000 Pipe Organ). Upwards of 400 students have obtained es lent positions during the past 26 years —27 last season alone—Many prominent New York and Philadelphia organists owe their success to this System. Aninteresting, convincing circular is yours for the asking. Correspon ence Course for those living ata distance. Organ Recitals played anywhere within a radius of 1000 miles. Recent Recitals, Scottish Building, Philadelphia, Emmanuel Church, anover, Pa., St. Marys, Little Falls, N. Y., St. Patrick’ 8, Norristown, Pa., Reformed, Lancaster, Pa., etc. FRANCIS J. O’BRIEN Organist and Choirmaster of the Gesu, Phila., Organist National Exposition, Garrick Theatre, Mission Church, Boston, etc. Brooklyn—yY. W. C. A., Schermerhorn St. and Flatbush Ave. Philadelphia—Kstey Hall, 17th and Walnut Sts. Address nearest Studio. The Education of the Music Teacher THOMAS TAPPER’S LATEST AND MOST HELPFUL BOOK PRICE $1.50 "Lhe movement for a more thorough education of the music teacher is national in its scope. The main point of Mr. Tapper’s new and interesting work is to show what the teacher must know to achieve the widest success and then how this knowledge and proficiency may be attained. The captions of a few chapters make clear the great value of a work of this character. Fundamental Requisites Equipment and Success ‘Music in the Home Public School Music The Basis of Music Memory Music Teaching as Service Pedagogy Community Music Efficiency Teaching Material The work comprises 224 pages and is hand- somely bound in cloth. This work will be sent postpaid to any purchaser upon receipt of price. Philadelphia, Pa. Theo. Presser Co. - TUDE when addressing Please mention THE our advertisers.

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Exercises: ~~ | Will make you look younger and more beautiful than all the external treatments you might use for a life- time. No massage, electricity, vi- bration, astringents, plasters, straps, filling or surgery, nothing artificial— Just Nature’s Way. Results come soon and are per- manent. My system makes mud- dy, sallow skins clear, and the wee oa as fresh as in girl- hood; firms the flesh, and never fails to lift drooping and sagging facial muscles, removing the wrinkles they cause. The too thin face and neck are rounded out and hollows filled in. No one too old or too young to benefit. - My system makes double chins disap- pear quickly andit leaves the flesh firm after the superfluous fat is worked away. No matter how tired, five minutes of my Facial Exercise will freshen your complexion and give ita most exquisite coloring for a whole evening. Write today for my FREE New Booklet. Tf you will tell me what improvement you would like, Ican write you more helpfully. Your letter will be held in strictest confidence. KATHRYN MURRAY, Suite J10 Garland Bldg. Chicago The First Woman to Teach Scientific Facial Exercise The Most Practical, Up-to- date and Popular Beginner’s Book on the Market BEGINNER’S BOOK FOR PIANO By THEODORE PRESSER Price 75 Cents Endorsed by hundreds of piano , teachers OUTSTANDING FEATURES:— Attractive in Appearance. Printed in Large Notes. Graded Step by Step. Helps When Needed. Test Questions. Pieces for Recreation. Duets. Writing Exercises. Illustrated. Right Price. JUST OUT! THE PROGRESSIVE PIANO PLAYER By THEODORE PRESSER The Logical Sequel to the Beginner’s Book Published in Response to Innum- erable Insistent Demands The Progressive Piano Player takes up the subject just where the Be- ginner’s Book stops. An exhaustive treatment of the scales forms the center of the work, and around this center is developed a series of fascinating studies in each key. Purely technical matter is inter- spersed with some vitally interesting material of a general nature, all pro- gressively arranged. Price 75 Cents THEO. PRESSER CO. 1712 Chestnut Street Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. My Facial Beaut THE ETUDE The Composer (Continued from page 747.) then he was conscious that he had made a conspicuously false start. On the Boulevard St. Germain It was all the more necessary that he should find Miss Vaneck without delay. The means he employed to attain this end were artless but effectual. He merely patrolled the western end of the Boulevard St. Ger- main from the earliest likely hour, the next morning. And in the group of businesslike young women with music rolls under their arms who presented themselves at the great teacher’s house shortly after ten o’clock, Sa- rolta herself duly appeared, escorted by Mrs. Mosenthal. Mrs. Mosenthal had an obviously French bonnet poised on the exuberant black curls. Sarolta, in a cool-looking Holland coat and skirt, and a simple, shady hat, made an astounding and delightful contrast. He was glad to remember that, although she chose to style her ‘aunt,’ Sarolta’s relationship with the ‘Jew lady’ was not that of blood. His first impulse was to cross the street with outstretched hands. sut he had time to reflect, and he warily told himself that if Madame Costanza had had the opportunity to misrepresent him he might very weH be repudiated on her doorstep, and have added mistake to mistake. He had the strength of mind, therefore, to turn his back and stroll away up the Boulevard, gave himself half an hour on the Quays, and returned. By and by Sarolta emerged from under the lofty porte cochére; this time in company only of a scholar-companion, Johnny— dogged, yet scarlet with shame at his pro- ceeding—followed the unsuspecting couple till they parted at the corner of the Rue de la Harpe; when Sarolta flew on alone with light step up the banale, modernized street and disappeared through the side-door of a little frame-maker’s shop. ‘Johnny’s heart thumped .as he followed, after a sufficient pause, and, although the door was open, rang the bell. He asked for Madame Mosenthal upon an instinctive impulse to demonstrate’ the straightness of his purpose. The pleasant maid, nut-brown and sloe-eyed, clacked her tongue and was desolated to say that ma- dame was out. Then, greatly daring, he asked for mademoiselle. Promptly he was ushered into a small shabby room that had nevertheless: nothing to shock a far more fastidious observer than Johnny. For it contained little besides a piano, a couple of armchairs, a music-stand, and a clock. . Sarolta, still in her pretty winged brown hat, was leaning with both elbows upon the lid of the closed piano, studying a piece of music spread before her. At his entrance she looked up, her bright face expressive of intense surprise. “Good gracious!” she exelaimed, then straightened herself and flung the- sheets of the music together. As she did so, a name largely printed in black on the title-page, jumped at Johnny with an odd sense of familiarity—‘Lothnar,” — “Good gracious!’ exclaimed she again. The completeness of her surprise showed that Madame Costanza had held her tongue. At this moment he hardly knew if he were glad of it. He must have presented a foolish spec- tacle, it may be supposed for all at once she broke into laughter. “You do remember me, then,’ he said, gaining courage. She remembered him, “Yes, you are the young man of the canoe at Warborough House. But I did not ex- pect to see you here.’ Even as she spoke, the light mirth vanished from her air; she drew her straight eyebrows together: ‘It is Lady Warborough who has sent you, of course. Now I understand. It is no use, no use! Nothing on earth will make me give it up—my vocation, my career!” They were both too innocent in their youth to be conscious of the absurdity of such a suggestion. But here was Johnny’s opening. Looking back on it afterward, he said to himself he had been the silliest ass it was well possible for a fellow to be; that he had stammered and stumbled, and conveyed in the end hardly anything of all he felt and much that was blundering and misleading, Nevertheless he could not give himself the comfort that it was his bashfulness only which had procured him so unqualified a re- jection. Not with a Capital A It was not that she had no love for him ‘so much as that she had no love for any- thing outside that Art (with capital A) which filled her every thought. All Johnny’s wealth, the position that his name would give her, his two fine places, the pictures and the diamonds tempted her no more than did his devotion. She laughed at him first. “You can’t imagine how ridiculous you are,”’ Then she grew angry and demanded to know if he took her for a fool. In his misery he uttered something of his horror for the life she was choosing; and then she fulminated : “If you only knew what a fool you are!” It was on this that she went back to her original suspicion, “It is no use pretending, ough has sent you after me.” And on his disclaimer, wrathful in his turn, she nonplussed him eompletely by the ficrce question: How, then, had he tracked her? And how had he dared? “T hardly even know you. 1 would not even have remembered your name if it had not been a funny one.” The young man had no choice left than but to pick up his hat in silence, even as he had done at Madame Costanza’s, and take his departure. He could not, however, bring himself to leave her without a final word: ‘Look here,’ he said, planting his card with a slap on the top of the piano; ‘‘a line to that address will always find me. And if ever you wanted me I’d come to you,” added poor Johnny with an irrepressible click in his throat, ‘‘from the ends of the earth.” The girl, in her young hardness, smiled derisively. And yet she was conscious of a faint, not unpleasurable, emotion, about her heart. “You might want a friend, you know— you never can tell,” pursued Johnny dogged- ly. And then he added, with a wistful air: “You cannot help my being your friend, you know.” Lady Warbor- (To be continued in the November Etupe.) Mendelssohn’s Letters from Switzerland ENcELBurG, August 24, 1831. “Tuts whole day I have done nothing but sketch, and play the organ: in the morning I performed my duties as organist—it was a grand affair. The organ stands close to the high altar, next to the stalls for the Patres”’—so I took my place in the midst of the monks, as a very Saul among the prophets. An im- patient Benedictine at my side played the double bass, and others the violins; one of their dignitaries was first violin. The Pater Preceptor stood in front of me, sang a solo, and conducted with a long stick, as thick as my arm. The Eleves (pupils) in the monastery formed the choir, in their black cowls; an old decayed rustic played on an old decayed oboe, and at a little distance two more were puffing away composedly at two huge trumpets with green tassels; and yet with all this the affair was grati- fying. It was impossible not to like the people, for they had plenty of zeal, and all worked away as well as they could. A mass by Emmerich was given, and every note of it betrayed its “powder and pigtail.” I played thorough-bass faithfully from my ciphered*part, adding wind instruments from time to time, when I was weary; made the responses, extemporized on the appointed theme, and at the end, by desire of the Prelate, played a march, in spite of my repugnance to do this on the organ, and was then honorably dismissed. This afternoon I played again alone to the monks, who gave me the finest sub- jects in the world—the Credo among others— a fantasia on the latter was very successful. This was followed by a stop on the last note, and a pause, and then it concluded. I wish you had heard it, for I am sure you would have been pleased. 755 Send For Big Fur Book } Order Your Furs Now and Save Money BIG FUR STYLE BOOK Do your fur shopping bv mail. No matter what | kind of Style of Fur you | ie want, it’s fully describ- ed and priced herein. lbrecht Furs Albrecht’s hones! quality and workmanship have been famous for 60 years. Send 3c postage to-day— ask for catalog No. 18. Ad- dress Dept. ‘‘S’’. Bee ene Sis ope EAlbrec Susanna Cocroft’s Physical Culture for the FACE will make the outline of your face, neck and chin graceful—relieve wrinkles, sagging mus- cles and facial blemishes—make your skin clear and soft, your eyes bright. You can make your hair glossy and abundant—your hands smooth and white—your feet comfort- able, through definite directions which will take only a few minutes at home each day. Write for information and our free klet giving many valuable hints. Grace-Mildred Culture Course Dept. 29, 624 So. Michigan Blvd., Chicago. ~J Do Business by Mail It’s Bae gem pe with accurate lists of prose pects. Our catalogue contains vital informae | tion on Mail Advertising. Also prices and quantity on 6,000 national mailing Mists, 99% guaranteed. Such as: War Material Mfrs. Wealthy Men Cheese Box Mfrs. Axle Grease Mfrs. Shoe Retailers Auto Owners Contractors Tin Can Mfrs, Druggists Farmers, Etc. Write for this valuable reference book; also prices and samples of fac-simile letters, Have us write or revise your Sales Letters, Ross-Gould, 822C Olive St, Ross-Gonuld Mailing = USTS St.Louis 'G REEN 8 OXE S: ONLY Makes the Complexion Beautiful OFT AND VELVETY. Money back if not entirely pleased. Nadine is pure and harmless. Adheres until washed off. Prevents sunburn and return of discolorations. A million delighted users prove its value. Popular tints: Flesh, Pink, Brunette, White. 50c. by toilet counters or mail. Dept. fie a National Toilet Company, Paris, Tenn., U.S.A. ey PAPA or MAMA Send for a copy of LITTLE FOLKS, the best magazine in the world for children from 8 to12. Contains dear little stories and poems for the young- est readers and stories just right to read aloud to tiny listeners. Full of | sweet and dainty pictures. Little Folks provides coutinuous amusement for children and enough of it to keep them busy all the year round. Send stamp for sample. LITTLE FOLKS, Dept. E, Music Typography in all its Branches HYMN AND TUNE BOOK PLATES o € Dudley T. Limerick GOSPEL SONG PLATES No. 10 S. Ricks Street, Philadelphia ( Market above Fifteenth ) ‘Please mention THE ETUDE when addressing ' Our advertisers. Salem, Mass.

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756 ‘) ‘iD ea hh en rnvwww 6 r° ?7°5'F°E SQV Vg gg Nv re . e .,y° For nd Sw ""D OW] "7007 Wy Y THE von ENDE SCHOOL of MUSIC. |sunrne soa. Y G3 Y Y ? case j On O _ | Teachers’ Training Courses Y **The Foremost Musical Institution of America’’ Y % A HOME FOR YOUNG LADIES SEND FOR Y y UNDER PROPER CHAPERONAGE NEW YORK CITY ILLUSTRATED BOOKLET 7 FAELTEN SYSTEM. Booklet Y Y CARNEGIE HALL - - NEW YORK KK WN eee ee ees ne rin NU °° °° °° °° ery Y”°°° ee °vvwy7yyy° =r tee" ~~ Pa aee WQQ QQ WWW WW ww vv ° eee e® ee °e ee € Dw ”y”°7_, °° v° > °°) °° °e ° ~ = ' ' ° °e° E> °° °° >°° e? ""” e”°e ee ei 8 6rt'.w* vr "'"lWd ; Central Park West, cor. 95th St., thibiss new buildings give us the most beautiful and homelike school devoted to Music and the Arts New York City MANY nant ey CELEBRITIES AND EM Piano—Arthur Friedheim, the Great Virtuoso; Liszt’s Greatest Pupil. I-minent Violinist. ’Cello—Paulo Gruppe, World’s Greatest ’Cellist. DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE. ina TERMS, INCLUDING TUITION, MD6C’W ca NEW YORK SCHOOL OF MUSIC AND ARTS Special Winter Tiachicrk! Courses Voice—Ralfe Leech Sterner, Celebrated Vocal Teacher. Harriette Brower, OPEN THE-ENTIRE YEAR. BOARD, PRACTICING, ETC., ON APPLICATION. MMMM MN iii yw W,,w ww M"DM 3 6 §|_;:{{ _ ;—;—T—;:,,,,_: |;{]:«__< RoB,:,G Mj iY{i{w&\&\&=&n”—¥—&«<«g RALFE LEECH STERNER, Director | i Unsurpassed beauty of scene facing Coie ® Park, which is the finest location in New York City. INENT AMERICAN TEACHERS, including Violin—Clarence DeVaux Royer, the Frank Howard Warner, and many others. Boil con ¢ MAY ENTER ANY DAY. TWO PUBLIC CONCERTS EVERY SEND FOR BOOKLET AND BOOK OF VIEWS. Harold A. Fix, S. Reid Spencer, BDBR9¥9 aS Please mention THE ETUDE when addressing our advertisers.

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7 ? Chicago’s Foremost School of Music | SS enter no WN ° \ Students may rcv any | At Any Time time. Address Registrar, f. we 4 S free’ cateioe, Oe Ligh See eed Bx creased eee \ Healy Bldg. , Chicago, Il. JN * Tha v THE ETUDE \/ Schools and Colle es OHIO Louise Burton | |} SOPRANO CHICAGO NORTHWESTERN UNIVERSITY School of Music The University School of Music offers courses in Piano, Organ, Violin, Violoncello, Voice and Theory of Music leading to acad- emic degrees. Also courses in Public School and Community Music, and Piano and Voice Pedagogy. Literary studies in the College of Liberal Arts or Evanston Acad- emy included without extra cost. ‘Thorough Preparatory School maintained. Refined social environment and beautiful situation on the wooded shores of Lake Michigan. The professional String Quartet, the stu- dent Symphony Orchestra of eighty, a jun- ior orchestra of thirty-five, the A Cappella Choir, the Evanston Musical Club and the great North Shore Musical Festivals with choruses totaling over 2,000 voices offer unparalleled practical advantages. Send for detailed description of courses and book of Evanston views. Peter Christian Lutkin, Dean | Box 500, Evanston, Ill. Available for Concerts, Ora- torios and Costume Recitals. Pupils accepted. Address for bulletin Box C, 520 Fine Arts Bldg., Chicago, IIl. Private Teachers who can qualify for Associate Faculty Membership in the Western Conservatory may offer their pupils regu- lar Conservatory Advantages at Home, with Certifi- cate, Catalogue, etc., instead of merely ‘ ‘giving lessons” and then ‘more lessons.” 6,000 pupils have been enrolled. Address Pres. E. H. SCOTT Mallers Bldg., Chicago CHICAGO COLLEGE OF M U S] ESTHER HARRIS, All branches of music taught. Pres. 22nd annual session. Students may enter at any time. dress Registrar, 1411 Kimball Hall, Chicago, Ill. )Effa Ellis Perfield PEDAGOGY based on Inner Feeling, Reasoning ani Drills, teaches teachers how to teach Keyboard Harmony Harmonic Dictation Melody Building Melody Dictation Sight Singing by Chords Rhythm and Rhythmic Dictation Improvising and Modulation Offers courses in piano, voice, violin, organ, public school music, theory, orchestral in- struments, etc. Walton Pyre School of Dramatic Artand Expression. Superior Normal Training School, supplies teachers for colleges. Write for the Name of Local Normal Teacher Not a correspondence course nor a Kin- dergarten System. Diploma issued under corporate seal of State of Illinois. Accred- ited by the Chicago Board of Education. Effa Ellis Perfield Music School, Inc. 950-955 McClurg Bldg. 218 8. Wabash Avenue CHICAGO, ILL. Centralizing School of Music Gertrude Radle-Paradis President a ag ee ed Desirabledormitory accommodations. Numerous: | lectures, concerts and recitals throughout the school year. Teachers’ Certificates, Diplomas and Degrees conferred by authority of the state of Illinois. Students’ Orchestra. Many free advantages. Students Accepted Now — Centralizing School of Acting Edward Dvorak, Director Departments: Piano, Theory, Voice, Violin, Violoncello, Expression.» Send for Booklet. Box 26, 20 E. Jackson Blvd. CHICAGO, ILL. gti itt ata ah dip PERE a a COSMOPOLITAN SCHOOL OF Music and Dramatic Art Desirable School for earnest students, Eminent | faculty of fifty artists. Offers courses in Piano, | Violin, Voice, Dramatic Art, Expression, Or- | gan, Theory, Public School Music, Harmony, Violincello | and Aesthetics. Curriculum of our school has been pre- pared by Musicians of un- usual talent, Many free ad- vantages afforded in Con- , certs, Recitals and lectures. | Located in one of Chicago’s | best equipped buildings. 7 Diplomas and degrees con- i ferred. - Students May Enter ' The Conservatory is universally recognized as school of the highest standard, and is one of the largest musical institutions in the country. Eighty artists and teachers, many of international reputation, Lo- cated in new magnificent sixteen story Kimball Hall Building. For free catalog and general information, Address, 671 KIMBALL HALL, Chicago, Ill. ~ MARY WOOD CHASE SCHOOLO MUSICAL ARTS Mary Wood Chase, Pres.-Director Authority on Tone Production and Interpretation A desirable school for earn- rs est students. Eminent fac-> | ulty of thirty teachers. Of- fers complete education in| Piano, Voice, Violin, Theory, Etc. Lead ding to graduation Special training courses for \j teachers in all departments. ; * Students may tror, Box 44 Auditorium Bldg., Chicago 16th Year, Clare Osborne Reed, Director Re A superior school, with Eminent faculty y of 60 teachers. Offers a complete educa- Y tionto earnest students in PIANO, VOICE, VIOLIN, THEORY and PUBLIC SCHOOL MUSIC, leading to graduation anddegree. Special fretetng ae Box 73, for Teachers in all Departments. Our graduates are in demand Students may enter at any time. For catuiog address the school. ‘5098S. weoeal Avenue, Dorian oa Til. Please mention THE ETUDE when addressing our advertisers. MISSOURI J i wae’ 4 4 wl hie a. YPSILANTI, MICHIGAN Courses in singing, piano, organ, violin and theory. | Courses for training supervisors and teachers and public school music. {Graduation leads to a life certificate valid inmost states of the Union. Total living expenses need not exceed five dollars per week. Tuition and fees exceptionally low. Write for catalog. Director Conservatory of Music, Box 9, Ypsilanti, Michigan. ee ti aA Schools and Colleges DETROIT PIANIST—TEACHER cy, cfuily Graded Course. Write for essay “Difficulties of Piano Teaching”’ McDonald School of Music, 573 Cass Ave., Detroit, Mich. GUY BEVIER WILLIAMS -| ARTISTIC PIANOFORTE PLAYING VALUABLE COURSE IN MODERN PEDAGOGY President and Head of Piano Department, Detroit Institute of Musical Art _}] Available for Recitals DETROIT, MICH. 67-69 Davenport Street Write for Booklet 1 THE DETROIT INSTITUTE OF MUSICAL ART “Strongest Faculty in the Middle West” Fall term begins September 5 A School which offers every advantage incidental to a broad a a te cn musical education. Corps of over 50 artist teachers. FRANCIS A. MAYHEW For catalogue and full information address H. B. MANVILLE, Business Mer. $3 33 33 67-69 Davenport St. UNIVERSITY SCHOOL OF MUSIC ALBERT A. STANLEY, A.M., Director Ann Arbor, Michigan Advanced courses are offered in all branches of Music under a faculty of artist teachers. **A GATHERING PLACE FOR ADVANCED STUDENTS’’ Fall Semester begins October 4 **Ann Arbor—An ideal city for summer study” D ETRO IT Francis L-York.M.. re atte CONSERVATOR Finest M U S C= Wes a courses in Piano, Voice, Violin,Organ, heory, Public School Music and Drawing, ee Interpretation, etc. Work based on best modern and educational principles. Numerous Lectures, Concerts and Recitals throughout the year. Students’ Orchestra. Branch Studios. Excellent Dormitory Ac- commodations. Teachers’ certificates, dip-' lomas and degrees conferred. Many free advantages. We ownour own building located jn center of most cultural environment. Forty - third season. Enroll now For detailed information address James H. Bell, A, Sec., Box 4 1013 Wondeard Ave(GY \ ‘ Detroit, Mich. \ *. a Me Send for announcement CHARLES A. SINK, Secretary 1200 Maynard Street Your Name Should Appear in mmaeat PROFESSIONAL DIRECTORY ORGANISTS (see sage 685) SINGERS The cost is small. The advantage is inestimable. Pee - Schools and Colleges priate OHIO AND MISSOURI CINCINNAT CONSERVATORY of MUSIC. eEstastisHen 1867 50th YEAR FOREMOST among American Schools of Music. An unsurpassed Faculty of Musicians and Ped- agogues of international reputation. Artist and Master Departments. Normal Department. Exceptional advantages for Post-Graduate and Repertoire Work, advanced study in Theory and Composition. Orches- tral Training. Department of Opera. Public School Music and Drawing. Students enrolled at any time. Resident department with superior equipment. Professional Engagements for Graduates For dares” MISS BERTHA BAUR, Highland Avenue and Oak St., Cincinnati, O. DANA’S MUSICAL INSTITUTE WARREN, OHIO THE SCHOOL OF DAILY INSTRUCTION IN ALL BRANCHES OF MUSIC Address LYNN B. DANA, President BEETHOVEN CONSERVATOR One of the oldest and best Music Schools in the United States Desk E, WARREN, OHIO Special Low Rates for Beginners Send for handsome Catalogue to the BROS. EPST 4525 Olive Street, St. Louis, Mo.

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758 ° Lo cee a C Bee Ochools and Colleges ayy THE ETUDE PENNSYLVANIA, NEW YORK AND CONN. COMBS CONSERVATORY OF Music 82nd Year Opens September 18th, 1916 A SCHOOL OF INDIVIDUAL INSTRUCTION All branches taught—theoretical and applied. Classes. Supervised Practice. Daily Reports keep Director informed of each pupil’s progress. Daily Technic Two Four Pupils’ Recitals a week. Complete Pupils’ Symphony Orchestras, one of 85, the other of 60 pieces. NORMAL TRAINING COURSE FOR TEACHERS—A complete and thorough course By our Modern System of Scientific Instruction our pupils are enabled to grasp ¢learly and definitely the underlying principles of the art. we adapt them to individual needs. We have arranged these principles in logical order and Because of its distinguished faculty, original methods, individual instruction, high ideals, breadth of culture, and moderate cost, combined with modern and efficient management, the Combs Conserva- tory affords opportunities not obtainable elsewhere. Che only Conservatory in the State with Dormitories for Young Women A School of Inspiration, Enthusiasm, Loyalty and Success Write to-day for our illustrated Year Book—Mailed Free GILBERT RAYNOLDS COMBS, Director 1327-29-31 S. Broad St. RICHARD ZECKWER CAMILLE W. ZECKWER 48th Season ALL BRANCHES OF MUSIC TAUGHT Walter Golz, NORMAL CoysnivaTo V7, Music department of the & State Normal School, su- k& pervised and supported by 3 f:) the State of Pennsylvania. [g ‘1 Equipment unsurpassed; Fi54 faculty of unquestioned @) standing; highest scholar- y/ ship standards; musicai ed- “m4 ucation in its fullest sense; § low cost. Supervisors course for those intending to teach public schooi mu- sic. Catalog on re “te Rexford D. burn, Ph. D., LL. D., Princi Indiana, enna. pal, Crane Normal Institute of Music Training School for Supervisors of Music BOTH SEXES Voice culture, sight-singing, ear-training, harmony, form, music-history, chorus-conducting, methods, practice-teaching. Graduates hold important posi- tions in colleges, city and normal schools. 53 MAIN ST., POTSDAM, NEW YORK ECKWER’S Macical salen \ Directors a Bee, {gues Main St. THE OLDEST SUCCESSFUL SCHOOL OF MUSIC The School now accommodates 2000 pupils. tant part it has played in the musical education of Philadelphia can be gleaned from the fact that more than 33,000 pupils have been enrolled. THEORY OF MUSIC Among our eminent faculty are Richard Zeckwer, Camille W. Zeckwer, Wassili Leps, Charles E. Knauss, Clarence Bawden, Joseph Clarke, Henry S, Kirkland, Paul Meyer, Send for Prospectus. Philadelphia, Pa. Philadelphia » Inc. 1617 SPRUCE STREET Germantown West Phila. 5132 Spruce St. Some idea of the impor- DEGREES GRANTED Henry Stausebach, Take a few minutes to study the school announcements on these pages. Here are the best Colleges, Conservatories, Schools in America. PITTSBURGH MUSICAL INSTITUTE, Inc. 4259 Fifth Avenue Pittsburgh Catalog and Bulletins upon Request Ithaca Conservatory of Music Special advantages for those who look forward to concert or educational work. All! instruments, vocal, dramatic art, etc. Graduates filling highest’ places available in America. Catalog. Distinguished faculty. Address THE REGISTRAR, 1 DeWitt Park, New York, Ithaca. THE COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Oldest and most practical system. course; also pros MRS. LILLIAN. COURTRIGHT CARD Be Schacte and Colleges «) NEW JERSEY _ HEPARD YSTEMS QUMMER IMPLIFY WTUDY Training School for Teachers and Performers O ore Session—2 weeks or longer—June & July | Y 2. ha SHEPARD SCHOOL OF MUSIC, Orange, N. J. Cae ’ = ES School and Colleges o Ui... Write for particulars of correspondence ectus of “Mother’s Course”—special advance rice. 116 EDNA AVE., BRIDGEPORT, CONN. CONN. ILLINOIS Training Music Teachers to Teach A wonderful Course in Pedagogy for all Teachers of Music, by mail. You may bea successful per- former but you need a safe, reliable guide to the attainment of eminent results with pupils. A sure way to increase your income. Write Now—Today. Bonus System of Musical Education Decatur Illinois. i aa 4 iy yD _ : . ges Schools and Colleges jie i aeneedll!* "MAS SACHUSETTS THE FLETCHER MUSIC METHOD The Original Musical Kindergarten and Simplex Method of America Brought to America through the interest of the New England Conservatory eighteen years ago; and during that time taught to over 700 music teachers. (every one of whom could be employed in Boston alone); the demand is growing rapidly for Fletcher Music Method teachers in spite of the many cheap copies of this system. The next class opens October 2nd, 1916. Applications should be made early. Read, “What is the Fletcher Music Method?” price $2.00. For full information regarding Normal classes and . lectures for Educational, Musical, and Mothers’ Clubs, apply directly to MRS. EVELYN FLETCHER-COPP 31 YORK TERRACE BROOKLINE, MASS. EXCEPTIONAL 1 ADVANTAGES FOR THOROUGH TRAINING MUSIC—LANGUAGES—DRAMATIC at FACULTY OF EXPERIENCED ARTISTS DORMITORY FOR LADIES Diplomas and Certificates Free Aavantages See If you are really serious about a musical education and your own success in the profession you && tex Owe it to yourself to investigate this Institution. . pie agar A. etic -rasebabese - int Ww. San ae anteae sc Sisnandoals Collegiate Institute and School of Music a Podies preparatory. Certificate admits to University of Va. and all leading colleges. Piano, voice, elocution, commercial, art, piano tuning, orchestra, band and pipe organ, $200 to $275, ” extras. Addres MR. and MRS. CROSBY ADAMS Annual Summer. Classes for Teachers of Piano for the Study of Teaching Material MONTREAT, N.C. : CHICAGO, ILL. June 15-28 July 27-Aug. 9 Write for booklet containing outline and strong letters from Teachers who have taken the Course. MONTREAT, NORTH CAROLINA Terms, C.1., Box 110, "Dayton, Va yw QW ©, rw 7sq5r Kw KJQLQ6ivv“5 — as 7 Atl Hahn Music School anta Conservatory of Music The foremost school of fine arts Chas. D. Hahn, Director in the South. Advantages equal The School for your Daughter to those anywhere. Our catalogue tells why 3919-s Junius Street, Dallas, Tex. SW WWwww "yn, r7yr711qq© Wn] Q 1. WK ESTABLISHED 1857 > PE ABODY “ONSERVATORY BALTIMORE, MD. HAROLD what Sab santas | 4 AU ay th iD | : Awe =, ane Schools and Colleges Lin PPL MINNESOTA NEW HOME of the MINNEAPOLIS SCHOOL of MUSIC ORATORY AND DRAMATIC ART William H. Pontius, director of the Department of Music and Charles M. Holt, director of the Department of @ratory and Dramatic Art, announce that they are now located in their NE\W HOME, 60-62 Eleventh Stre et, South, Minneapolis, Minnesota. The New Quarters, a full three-story building, contains twenty-seven spacious, well-lighted, well- ventilated studios, three large class rooms, practice rooms, offices, a large reception hall, cloak rooms, with individual lockers, and a recital hall seating five hundred. The equipment, decorations and furnishings are modern and artistic in every respect and it is the largest building for this purpose in the Northwest. Forty-eight artist teachers are. employed, a number of whom have national reputations. ll branches of Music, Oratory and Dramatic Art nre taught from the beginning to the highe st perfection. granted. Special Summer Session, June 12th to August 7th. Illustrated Catalog ‘KE’ ee IK Fall Term begins September 4th. ATLANTA, GA. sasiciaiaiiiiagil LN Send for Catalogue. Certificates and Diplomas upon request. Fall term opens Sept. 1st. ‘ ‘#ea INDIANA SCHOOL OF MUSIC Accredited VALPARAISO UNIVERSITY (iss! The University School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public School Music. Students may attend the Music School and also take the regular work at the University. THE EXPENSES ARE THE LOW Tuition, $36.00 per quarter of twelve weeks. Board with Furnished Room, $26 to $41 per quarter. Catalogue will be mailed free. Address Henry B. Brown, President, or Oliver P. Kinsey, Vice-President. * 43RD YEAR—STUDENTS ACCEPTED AT ANY TIME. Please mention THE ETUDE when addressing our advertisers.

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Elements of Music Beginning The Piano | A. B. C. OF PIANO MUSIC By MRS, H. B. HUDSON Price, 50 cents The author of this little book in her opening paragraph says: “A teaching ex- perience of sixteen thousand lessons has demonstrated the need of a more simple form of piano exercises for children. This book is intended to Peg any piano method; familiarizing the pupil with the piano keys before taking up notation is the prenecnre on which the work is based.” The book is illustrated in @ manner to impress the child. BEGINNER’S BOOK School of the Pianoforte By FHEODORE PRESSER Price, 75 cents The latest work along lines of elementary instruction. The material used is entirely fresh and is presented in an attractive man- ner. It is intended for the veriest beginner ; little tots just, out of kindergarten. A very large note is used in the early part of the book. Questions and answers are given to clinch every subject. Writing exercises are introduced at the very start. The utmost care has been given to every vart of the work to make it as nearly a perfect Beginner’s Book as it is possible. THE FIRST MONTHS IN PIANOFORTE INSTRUCTION An Introduction to Any Piano Method By RUDOLF PALME Price, 60 cents The ability to teach successfully is partly a natural gift and partly an acquired science. These three attributes—namely, aatural abil- ity, trained knowledge and experience, are essential. No matter how pronounced may be. your natural gifts, you will be severely handicapped unless you have some outline, some chart to pilot you over the elementary work. This is just what the author of this book has been successful in accomplishing. Palme has made a compendium of the exer- cises and theory most widely employed in the elementary work in conservatories. It will prove an extremely desirable hand-book of elementary instruction—a kind of com- pass which the young teacher may well pos- sess to advantage. GENERAL STUDY BOOK By MATHILDE BILBRO Price, 50 cents A very useful book of studies and recrea- tions, well adapted to accompany or to sup- plement any instruction book or method. The pieces are for both two and four hands. In the four hand numbers the teacher is supposed to play the Secondo part. The pieces for two hands and the Primo parts of the duets are all in the treble clef throughout, this being a genuine first grade book. Many of the little pieces have appro- priate words, adding much to their interest. It is one of the best books of its kind, cer- tain to prove attractive as well as _ in- structive to young students, FIRST GRADE STUDIES By L. A. BUGBEE Price, $1.00 The author of these studies has been very successful in writing for children, and the new book is fully up to the standard. It may be used with pupils who have just learned the rhythms. These are genuine beginner’s studies, as they are all melodious and some- what in characteristic vein, most of them bearing appropriate titles that are calculated to prove interesting and attractive to young students. It is well for teachers, particu- larly in the early grades, to vary material as much as possible. This will prove an excellent volume to add to the beginner’s curriculum, MUSICAL IDEAS FOR BEGINNERS On The Pianoforte By MARION RALSTON Price, $1.00 A valuable elementary work. The result of many years of practical experience in teaching and handling young students. Not strictly an instruetion book. It may be taken up to good advantage in connection with any elementary method. The material is of decidedly attractive character, the in- tention of the writer being to develop technic and musicianship hand in hand from the very beginning, Mail orders solicited and filled to all parts of the country. The best discounts. Any of our works sent on inspection. THEO. PRESSER CO. 1712 Chestnut St. Philadelphia, Pa. THE ETUDE : v } = aC ‘ae , ‘Professional Directory @)fr 7 SCHOOLS : SCHOOLS ~ EASTERN _ 3 MIDDLE WESTERN—Continued rv seueedl""* ‘PROGRESSIVE PLANO SCHOOL ? MRS. EVELYN r . , Dir : AMERICAN situs scbete stz re BILLS “er ttle ang ste cans ] Pianoforte ROY DAVID. Concert Pianist—Teacher. 7 AW LI NS eet Assistant to the late rt Liebling. . e Lyon & Heal ding, cago 404 Carnegic Hall, Now York Circle Woo of Music . ' . Conservatory Department C NC NN ATI EstaBiisugp 1867, HighlandAve, B FE 6 HW 0 0 D OLAF JENSEN, ae, and Oak St, Cincinnati, Ohio Jenkintown, Pa. ~ SCHOOL oa: oe (20 minutes of Philadelphia) C 0) | U Vi B | Clara Osborne Reed, Director Broad St. Conservatory of Music | 509 8. Wabash Ave., Chicago 0 Vi B Gilbert Raynolds Combs, Director B Musical Institute 1827-81 S. Broad St. Philadelphia, Pa. D AN A S Warren, Ohio PIANOFORTE SCHOOL. eo reeves William H. Dana, R. A. M., Pres. t AELTEN Study Music the Right Way. Estb. 1997. CONSERVATORY OF MUSIC BSE RaRe © Batt Booklet Pree. 20 Huntington Ave., Boston D 532 oO Students. 50 Teachers ! eee ee ee ’ . renee ee HAROLD. CONCERT PIANIST maess yo A r Pupils accepted. For terms address: Potsdam, N. Y. + a 426 Fine Arts Buildin Chicago EDITHs Solo Harpist and Teacher. © t © of Music = Concerts and Recitals accepted. KN OY waren eo Galeekure, Titndl SUEPUEE EEE Address 12 Chester St., Allston, Mass. Catalogfree Wm. F. Bentley, Director Mrs. M. B. Piano Instruction Institute of Music and Dramatic Art Vi ' Studio—Sternberg School All Depts. Faculty of Artist Teachers 10 S. 18th St. Philadelphia F. Schweikher, Dir., 16th and Grant School of Music and Arts Bts., Denver, Colo. Ralfe Leech Sterner, Director Central Park, W., Cor. 95th St. New York, N.Y. VOICE LST Se ee ee ene ae ae Ely Ath tras IdM Conservatory of Music and School NO R Mi AL of Fine Arts EASTERN Indiana, Pa. GEO. CHADWIOK TR ACY CHARLES LEE _— Piano Instruction STO TEACHER OF SINGING ertified Leschetizky Exponent : e é 5 © Carnegie Hall, New York, N. Y. Y. M. ©, A. Bldg. ee erent ae MRS. A. M. MIDDLE WESTERN \ R G [ Piano School and Conservatory ~- mA ee mmuAneisS AXXA.)))D!UC~é~™S 11 West 68th St., New York G R 0 [. f i RY AN Dean Three Arts, De- SCHOOL OF MUSIC | ales yt Ogg, \/| if G [ For full particulars address College, Galesburg, ols Mr. A. K. Vizgil, 567 Third Av., NewYork — Eta or A. K. Virgil, 8t. Petersburg, Fla. Musical Institution of America.’’ SPALL AIPA SOHOOL OF MUSIO~ “The Foremost VIOLIN VON END 44 W. 85th St., New York City EASTERN 2. om ] omposer- Violinist SOUTHERN | KRIENS eee aa. AAMICHR Or PALE Par School of Music MIDDLE WESTERN CONVERSE COLLEGE ona THEORY AND NORMAL COURSES Conservatory of Music $ Y Harold orem Direc. BY MAIL. Receive and re- b Mt. Vernon Place, altimore, Md. B FAL SYSTEM cite by dicta-phonograph — furnished. Piano, Teacher Sine Wien Orson, Foldc: vapors Violin, Orches- ‘training, Vocal; Diploma. Prepares to represent us. Fine Pay. ‘ e We tra, Band, Piano Tuning, Catalog free. Dayton,Va, ‘Thorough, rapid, delightful. Illustrated book and Journal free. EDW. F. BEAL, Inst., Springfield, Mo. ‘SYSTEM. Improved Music Study for NN | N G beginners. Normal Training Classes Carre Louise Dunning, 8 W. 40th 8t., F MIDDLE WESTERN New York CONSERVATORY 70 Instructors —OvuPP Kindergarten INI | AN Piano, Voice, Organ, Violin, etc. FLETC iY Method for Teachers Kimball Hall Chicago Box 1886, Boston, Mags. ALWAYS ALERT FOR HELPS TO MUSICIANS Presents in the following premium rewards for the securing of Subscriptions at the regular rate of $1.50 each A Few Specially Selected INDISPENSABLE MUSIC WORKS No. For ONE Subscription (Not Your Own) No. |For TWO Subscriptions (101 Album for the Young. Robert Schumann. 1223 Ghaminade Album. as, f 103 Album of'Favorite Pieces. Engelmann. 206 Chopin. Lighter rage fet for the Piano. | 104 Album of Lyric Pieces. 26 piano pieces. 207 Church and Home, | 8 Sacred Songs. : 109 Anthems of Prayer and Praise. 21 Anthems. 212 Concert Album. 25 pieces. Popular or Classical. 110 Bach’s Two and Three-Part Inventions. 213 Concert Duets. 150 pages, 24 pieces. 112 Beginners’ Book forthe Pianoforte.Theo. Presser 216 Czerny School of Velocity. , 116 Dirvionard of Musical Terms. Stainer & Barrett. 2ts Dictionary of Musical Terms. Dr. H. A.Clarke. 117 Duet Hour. 222 First Recital Pieces. 37 pieces for the piano. 122 First Dance Album. 26 Selections. 225 Four Hand Miscellany. ; 125 First Steps in Pianoforte Study. Theo. Presser. 229 Handel Album. 16 pieces for the piano. 128 Four-Hand Parlor Pieces. 17 Duets. Grades 231 Harmony. A Text-Book. Dr. H. A. Clarke. 3 and 4, 235 Loeschhorn Studies. Op. 65, 66 or 67. 132 Juvenile Duet Players. 16 Duets. 237 Mason’sTouch and Technic. In 4'vols. Any 2vols 137 Little Home Player. 28 pleasing piano pieces. 239 Masterpieces for the'Piano. 25 best known pie 139 Mathews’ Standard Compositions. Vol. 1, Grade 240 Mathews’ Standard Graded Course of Studies. - _ 1, to Vol. VII, Grade 7. Any one volume. Any five grades. ‘ : 140 Mathews’ Standard Graded Course of Studies. 241 Modern Drawing Room Pieces. 34 piano pieces Any two grades. 243 Mozart Sonatas. Two vols. Either vol. 142 Modern Dance Album. 18 piano selections. 247 Nocturnes. Chopin. ; id 1214 Standard Vocal Album. 30 songs, medium voice. 250 Preparatory School of Technic. I. Phil ip. 1215 Operatic Four Hand Album. 22 duets. 261 Songs Without Words. Complete. Mende ssohn. 149 Operatic Selections,- Violin and Piano. 265 rie i Third and Fourth Grade Fieces. 151 Piano Player’s Rgpertoire of Popular Pieces. athews. : : 121% Popular Recital epertoire. a5 sland pieces. 266 Standard Fifth and Sixth Grade Pieces. org 1216 Popular Home Collection. 46 piano pieces. 273 Tranquil Hours. Quiet Piano Music 5 ection. 159 School and Home Marches. 20 piano pieces. 274 Two Pianists. 26 Brilliant Concert Duets. 1218 Selected Classics. Violin and Piano. 19 pieces. 275 Waltzes. Complete. F. Chopin. 160 Selected Studies. Czerny-Liebling. 4 vols. 276 Young Virtuoso, The Any one volume, For THREE Subscriptions 168 Stan : ard Opera Album for Piano. 15 pieces. : . oT pe) 1221 Standard Organist. 46 pieces for pipe organ. 305 Chats with Music Students. Thos. Tappe 170 Students’ Popular Parlor Album. Violin and 1210 Great Pianists on Piano Playing. J. F. Cooke. Piano. 313 por s _ ei gh y. ae. ' : . 315 L tizky Metho iano Playing. 177 Well'Known Fables Set to Music. Spaulding. 1211 Starseiea the Scales and Arpeggios. ir. Cooke For TWO Subscriptions 328 Organ Player. Pipe Organ Collection. P.W.Orem i iti i i i ion. Whitney. 203 Album of Piano Compositions. Edw. Grieg. 1229 New Organist. Pipe Organ Collection i | 339 Standard History of Music. J. F. Cooke. cape» Rial ements aonilog ser apeicnmama 341 Stories of Standard Teaching Pieces. E. B. Perry works, ; Seer 1222 Brahms’ Hungarian Dances. Twobooks. Any one 343 Virtuoso Pianist. C. L. Hanon. THE ETUDE, Theo. Presser Co., Publishers, Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. 759 Thanksgiving Music THE following sélection is made from our standard publications; it in- cludes some new music, especially for the organ. In addition to these titles, ‘which are made up from our own cata- log, we have in stock music of all pub- lishers. We would be pleased to send for your examination copies of any music we have. THEO. PresseR CoMPANY ANTHEMS FOR THANKSGIVING 5952 And God Said Let the Earth. weapers 7s aie a Pee $0.15 6282 Awake, My Soul, to Sound His Praise. Harry Hale gl Cee eae NW img mee: wre 15 6280 Come and Worship the Lord. BORGRUO: 20.4% 5a a vk coy aoe 10 10138 Come Sing Before the Lord. Schoener ji in O37 es 15 10062 Earth is the lLord’s, The. ds We Esa. Sin ee 15 10733 Great is the Lord. A.J. Boex .15 10740 How Excellent is Thy Loving Kindness. E. S. Barnes... .15 6286 I Will Magnify Thee. De Reef .10 10370 It is a Good Thing to Give Thanks. Patty Stair.... .10 6082 Let the Righteous be Glad. O. DAVROR Sah DeLee 15 10782 Lord God, We Worship Thee! (Now,): * BPM iia: takes 12 6209 Tord is My Strength, The. a ee Ss is aa Bae 15 5964 Lord of the Harvest, Thee We Hail. F. H. Brackett..... .10 10482 Lord Reigneth, The. (New.) ‘Lye W0s SE 2 oA ae ale 12 10011 Make a Joyful Noise Unto the Lord. E. A. Mueller..... 15 5953 Make a Joyful Noise Unto the Tord: BIMPSP ei. FE .08 10450 O Be Joyful in the Lord. (New.) Bruce Steane ... .15 29 O Be Joyful in the Lord. TOUS. ek sss tee wee .06 10582 O Lord, How Manifold. (New.) Albert Ham ..... .18 10788 O lord, How Manifold. (New.)° Pres sass... 12 71 O Lord, Hew Manifold Are Thy Works. Barnby...... .05 10312 O Lord, How Manifold Ar Thy Works, Eastham.... .05 10484 O Praise the Lord. Stults.. 4.15 75 O Praise the Lord, All Ye Nations. Danks 10008. Our Country. (Festival . Choral March.) Whiting. .20 65 Praise the Lord, All e watsens.? Fisk: yo 5s ke .10 10358 Praise the Lord, O My Soul. WE MORO: (5.0.40 s kareena 10 10004 Praise the Lord, O Jerusalem. Q.. DOPRIOR! pork EVES RSES .10 ._ 25 Praise the Lord, Ye Servants. Js: Mi Opaueent «sc shuntde's ou 15 44 Praise Ye the Father. Gounod .06 6289 Rejoice, the Lord is King. Ws Borwalhe: i wivewmiwres ee 10208 Sing to the Lord of Harvest. FH. Brackettirnads 6resis* 415 10095 To Thee, O Lord, Our Hearts We Raise. W. Berwald.. .15 5950 To Thee, O Lord, Our Hearts ; We Raise. Dressler...... 20 10078 Worship the Lord. J. L. COIBPOMEh eo kes S ea ach ee 15 10485 Ye Shall Go Out With Joy. Biv APOE Te Pek 115 SONGS FOR THANKSGIVING 4490 Crown Him Lord of All. Henry PAreers:: (FRAG ss oie or scary $0.60 4485 Gy OW aicia 3:45 ace et .60 4489 Os: DAME es ok dhe.c. bio kc ee .60 12851 Hymn of Thanksgiving, A. 12852 (65: “IOS. a esheets 60 1732 O Give Thanks... Low. lL. Poldpauche.. 0.0). . 4 as 40 3277 Praise the Lord! Med. (Fr. & Eng. Text.) George Rupes .85 DUETS 5193 Be Glad, Ye Righteous. Mez.- Sop. and Tenor, or two equal voices. E. F. Marks.. $0.30 4467 I Will Magnify Thee. Sop. and Tenor. F. G. Rathbun’ .60 6468 Song of Praise, A. Sop. and Baritone. G. Goublier ... .85 ORGAN MUSIC 13709 Allegro Moderato in G. E. S. PIMGO sk a kk ek ee $0.50 12957 Alleluia! Geo. Noyes Rock- We eo ap ls Uk hte a aoe .40 11913 Festival March. Leopold Syre_ .60 13223 March in E. Op. 80. Reginald Ny |) SOR OO PEM ss DARA ge .60 11448 Marche Militaire. Roland Diggle 13147 Marche Pontificale. René L. Beoke? x, kink Wee vieueeace aN .60 13127 Postlude in G. E.S. Hosmer’ .50 13038 Prelude Militaire. Geo. Noyes MOOK WOM: .vikek o> cones ee 12088 Song of Joy. F. Frank Fry- PN SOR. 5. via k ince ae te ..60 13494 Song of the Angels. T. D. We TIMING: he as ees ks 50° 11351 Spring Song. Whiting- Mendelssohn :............ 80 11937 Triumph Song, Roland Diggle .50 THEO. PRESSER CO. Philadelphia, Pa. ul

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760 STANDARD “8° MODERN INSTRUCTION BOOKS FOR THE PIANOFORTE BEGINNER’S BOOK School of the Pianoforte By THEO. PRESSER Price, 75 cents The latest work along lines of elementary Instruction. The material used is entirely fresh and is presented in an attractive manner. It is intended for the veriest beginner; little tots just out of kindergarten. A very large note is used in the early part of the book. Questions and answers are given to clinch every subject. Writing exercises are introduced at the very start. The utmost care has been given to every part of the _ work to make it as nearly a perfect Beginner’s Book as it is possible to make. A trial of this new book is earnestly isolicited by all who have to deal with elementary piano instruction. Liberal discounts. FIRST STEPS IN PIANOFORTE STUDY Price, $1.00 The combined and condensed results of the work of several practical teachers of the young Edited and Revised by THEO. PRESSER This book begins at the beginning and serves as a practical and melodious introduction to the study of pianoforte playing. It is most carefully graded ; the instructive matter is present in a way that is easily understood and there is nothing dull, uninteresting, or monotonous in the entire work ; its indorse- ment by those who make a specialty of teaching beginners is universal. FOUNDATION MATERIALS FOR THE PIANOFORTE By CHARLES W. LANDON Price, $1.00 The pieces and exercises are all short, attractive and of effective technical value, the entire work being based upon the author's wide personal experience in this field of musical endeavor. ; Special attention is given to rhythm, time values and sight ‘reading. It is an ideal method calculated to awaken a sus- tained interest in the study of pianoforte playing. LANDON’S PIANOFORTE METHOD Price, $1.50 This book is by a practical teacher who has proven the value of the method in his own work with primary pupils. The plan of the book is thoroughly modern, including the use of the Mason system of technics in its simpler forms. The teacher's needs are also fully considered, a special feature of the work being the valuable suggestions intended o guide the teacher. rere Each lone sae ata ata nai, ‘tpl 0805: REP DA ROSA T GUSTAV DAMM’S PIANO SCHOOL - WITH ENGLISH AND GERMAN TEXT Price, Bound in boards (329 pages), $2.00 ; An excellent edition of this widely used work, the pe ularity of which may be judged by the fact that the a erman publisher has issued no less than two hundred editions of it. ur edition is somewhat larger than most others, so the notes and text are correspondingly larger and clearer, making this the ‘ideal edition for both teacher and pupil. An Enlarged and Revised Edition of LOUIS KOEHLER’S PRACTICAL METHOD FOR PIANOFORTE Opus 249; Volumes I and II. Each, 50c. Combined, $1.00 Revised by the Author’s daughter, CLARA KOEHLER-HEBERLEIN This is a work needing no introduction to teachers. There iis wate .atitions, bet our ‘edition of the PRACTICAL METHOD is recognized as definite—it is the edition par excellence for the AMERICAN PUPIL; nevertheless, our pfice is lower than that quoted on some, and no higher than that of the ordinary unrevised editions. FIRST INSTRUCTION BOOK FOR THE PIANOFORTE By E. B. WAGNER. Part I. Price,$1.00 Our new edition of this standard instruction book is superior in all respects. Wagner's “‘Instruction Book’’ is one of the most popular of its class. The material is all of a pleasing character, calculated to interest and encourage the pupil. « MUSICAL IDEAS FOR BEGIN- NERS ON THE PIANOFORTE By MARION RALSTON Price, $1.00 A valuable elementary work; the result of many years of practical experience in teaching and handling young students. Not strictly an instruction book. It may be taken up to good advantage in connection with any elementary method. The material is of decidedly attractive character. ELEMENTARY SCHOOL OF PIANOFORTE PLAYING By FERD. BEYER. Op. 101 Price, strongly bound in heavy paper, 50 cents; board cover, 75 cents Our editton of this standard piano method has been prepared with the utmost care. A\ll of the original material has been ’ retained and important new material has been supplied. It is one of the best known of all instruction books. Mail orders solicited and filled to all parts of the country. Any of our works sent on inspection. Pro- fessional discounts very liberal. THEO. PRESSER CO., Philadelphia, Pa. THE ETUDE ‘How to Get More Money for Teaching HOW TO HAVE LARGER CLASSES AND BETTER PUPILS If you would excel your competitor in earning power, in the quality and number of your pupils and results obtained from them, you must increase your teaching ability so that you can offer your students higher grade instruction with a more definite end in view than can your competitor. The really great and prosperous music teachers are those who pay particular attention to those many vitally important little things which every teacher should know but which many completely overlook alto- gether. The great Sherwood was superlative. He became one of America’s greatest piano teachers largely because he gave particular heed to, the little things, small points. of technic, etc., which many other teachers overlooked. He overcame every obstacle, no matter how apparently insignificant. After years of study with Deppe, Kullak, and Liszt, William H. Sherwood spent thirty years in teaching, playing in concert and lectur- ing. The sum total of the knowledge thus obtained, combined with his valuable training, gained from the old masters, Sherwood put into im- perishable form in the NORMAL TRAINING COURSE FOR MUSIC TEACHERS In these lessons, embodying every phrase of piano playing, the little things, as well as the big ones, which every artist and teacher must assimilate before achieving great success, are comprehensively treated with particular emphasis. . By the aid of actual photographs—and many of them—Sherwood illustrates plainly the proper positions of the arm, wrist, and fingers for the up and down movements from the knuckles; the proper use of the forearm and fingers for chord and octave playing; the exact positions of the hand, wrist, and fingers for contracted, extended positions for cross- ing movements during scale passages; interlocking passages in double thirds, etc. Every physical exercise used by Sherwood in developing his marvelous technic is brought before you and ever kept before you for constant review. - Paderewski, Emil Sauer (Vienna Conservatory), Moszkowski, Walter Damrosch, Leschetizky, Henry T. Finck, and other great musi- cal authorities have freely endorsed this Normal Training Course of Weekly Lessons for Music Teachers, which you can take in your spare time in the quiet of your own home, at small cost. Don’t be deceived—these Sherwood principles can only be secured through the Siegel-Myers School of Music in this University Extension Course. If you cannot go away from home to study under the very best teachers, you need this Normal Course. OTHER COURSES OF GREAT VALUE TO MUSIC TEACHERS Our Faculty, as a whole, is composed of artists of international rep- utation, trained by the best American and European Masters. Each is a specialist and has had years of successful teaching experience in his particular branch of music. No matter what course you select, you will have the satisfaction of knowing you are receiving the instruction of a great teacher. Some of the Weekly Lesson Home Study Courses we offer teachers and those desiring to prepare to teach are: The Advanced Composition and Choral Conducting Courses by Daniel Protheroe The Public School Music and Supervisors’ Course by Frances E. Clark. The History, Analysis and Appreciation of Music Course by Glenn Dillard Gunn. VALUABLE CATALOG Fill in and mail coupon below and we will send you our valuable Catalog which describes these interesting Courses fully—and gives por- traits and biographies of our Faculty. SIEGEL - MYERS SCHOOL OF MUSIC 1801 Siegel-Myers Bldg. - ~ - Chicago, III. TEAR OUT, FILL IN, MAIL NOW SIEGEL-MYERS SCHOOL OF MUSIC, 1801 Siegel-Myers Bldg., Chicago, IIl. Gentlemen: _ , Please send, without charge or obligation, your valuable Art Music Catalog de- scribing the Course. (Here state course in which you are interested) . B.—Not sent to anyone under 18 years of age. Name _Age St. & No. P.O. Box, or R. F. D. Town ch egee Teach? Do you play? Sing? Do you wish to learn to teach? What musical instruction have you had? Have you studied harmony? om How much? ; Please mention THE ETUDE when addressing our advertisers. mee rr d MODERN PIANO TECHNICS Works Needed by Every Student ‘TOUCH AND TECHNIC BY DR. WM. MASON PART L—The Two-finger Exercises (School of Touch), PART I1.—The Seales Rhythmic- ally Treated (School of Brilliant Passages). PART care Aer Rhthmiecally Treated (Passage School), PART LV.—School of Octave and Bravura Playing. Price of Each, $1.00 This is one of the most remarkable works in the entire range of pianoforte pedagogy. It comprises a complete sys- tem, based on. modern. and original lines, for the development of an assured and finished technic, covering all phases from the beginning to virtuosity. The author of this work was probably the most distinguished of all American pianists and teachers. He was an early pupil of Liszt, and, as such, was held in highest esteem. ‘‘Touch and Technic” embodies the best results of his long and active career as student, player and teacher. The tremendous popular- ity of this work is a _ suflicient testi- mony of its worth. Its use by teachers and students is constantly on the in- crease. The gem of this work is the two- finger exercise, treated rhythmically. This rhythmic treatment pervades the entire work. All the exercises conduce to equality of finger power and facility. combined with expressive quality of tone. The art of “touch” is exhaustively treated. EIGHT MEASURE STUDIES WILSON G. SMITH Op. 60. Two Books, Grades 3 and 4. Each $1.00 _ The present set of technical studies is designed, by the author, to follow his Special Exercises in Scale Playing, Op. 55,.and are for the special purpose of developing the third, fourth and fifth fingers. They are written in an original man- ner, the harmonic figures being retained as an accompaniment, thus adding a musical interest, designed to somewhat modify the monotony of constant prac- tice. A course of practice is suggested by the author to obtain the best re- sults. The second book is somewhat more difficult, and both hands are given equal work, thus insuring equal development. THE COMPREHENSIVE SCALE AND ARPEGGIO MANUAL WALTER MacFARREN Price, $1.50 This work is the most complete and exhaustive ever published of all the scales and arpeggios. This edition is finely engraved and printed from very large plate, contain- ing no abbreviations, completely fingered and has a brief set of rules for practice. In brief, it meets every possible re- quirement of teacher or pupil in search of a complete set of scales and arpeg- gios. EXERCISES IN EXTENSION For the Fingers ISIDOR PHILIPP Price, 75 Cents Mr. Philipp, perhaps better than any other teacher, understands the require- ments of the modern pianist, and has written a unique set of studies, the Systematic practice of which strengthen and stretch the hand, bring under the control of the player many passages apparently impossible of ready execution. The author has also given many valuable hints in his introduction to this work for the prac tice of these studies. As their name implies, they aim to increase the span and flexibility of the fingers and hands for the purpose of facilitating the exe- cution of passages requiring agility and extension. THE LITTLE PISCHNA (DER KLEINE PISCHNA) BERNHARD WOLFF This work contains about sixty exer- cises, not being at all small, as its name would indicate, being so named to dis- tinguish it from Pischna’s larger school, to which it may be used as an intro- duction. The great value of this set Hes in the fact that the various exercises are carried through all the keys. nothing being abbreviated, but fully written out, and that both hands are given equal at- tention and develonment. They can be used in conjunction with any modern method, and are invaluable in the daily practice. Sent Upon Examination Liberal Professional Discount TE ei he ee ne Veena eo Theodore Presser Co. [712 Chestnut St a

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a A par CHILD’S OWN BOOK OF GREAT = MUSICIANS A series of Six Biographies for Children by Thos. Tapper Bach, Mozart, Schubert, Mendelssohn, Schumann, Handel Price, 15 cents each These give the stories of the lives of the great composers in very simple language, and instead of having the _ illustrations printed in the book, sheets are supplied to be cut and pasted in the book by the child itself. Facts and Quotations are included, as well as a place for the child’s own story to be written. The child signs the book and thus actually makes its own book. Thousands were sold before the books were printed. GLEE SINGERS’ COLLECTION FOR MIXED VOICES Price, 50 cents A compilation of glees and cuoruses by the best writers, suitable for all occasions. This book is similar in size and scope to our very successful sacred collections and those for men’s and women's voices respec- tively. It is a compilation of exceptionally bright and singable part songs of intermedi- ate difficulty, every one of which is already a proven success. No better work can be found for the library of any singing so- ciety or high school chorus. THE MERMAID Cantata for Women’s Voices By FANNIE SNOW KNOWLTON Price, 50 cents A splendid program number for any women's club or high-school chorus, chiefly in three-part harmonies with an obbligato for solo soprano, This is a modern work, very brilliant and with bold and charac- teristic harmonies and a full and effective pianoforte accompaniment. The text is taken from the well-known verses by Tenny- PANDORA AN OPERETTA By C. E. LE MASSENA Price, $1.00 A brilliant operatic setting, suitable for young people, of the old Grecian myth as retold by Hawthorne. The work is divided into three short acts, seventeen musical numbers in all. By omitting the instru- mental numbers it may be used as a ¢can- tata or one-act operetta. The choruses are almost entirely in unison. The music is sprightly and tuneful throughout and easily learned, The costumes, properties and sceneries are such as may be easily pre- pared. The dialogue is not lengthy, but it is sparkling and telling throughout. WELL-KNOWN PIANO SOLOS AND HOW TO PLAY THEM By C. W. WILKINSON Price, $1.50 In this valuable work many of the stand- ard teaching and recital pieces are analyzed in an able manner both from the technical and the esthetic standpoints. These are just the pieces about which one wishes to know, and they are all pieces. which are not included in the two popular works by Edward Baxter Perry. Our edition of this work is edited by Mr. E. Hipsher. It has been brought up to date and adapted for the special needs of American teachers, a number of pieces being included which are not to be found in the original work. SUTOR’S NOTE SPELLING BOOK A Writing Book for Learning the Notes By ADELE SUTOR Price, 50 cents The best book of its kind ever offered. The note spelling book as an aid to the teacher has come into practical general use. The young beginner needs assistance of this kind. All children love original work and by this method readily acquire a thorough knowledge of the notes, leger lines and clefs. ANTHEM TREASURY A collection for General Worship Single Copy, 25 cents, prepaid $1.80 per dozen, not prepaid The newest and one of the very best of our highly successful. series of anthem col- lections. This book contains nineteen num- bers, including scriptural anthems and hymn anthems for general use, responses, etc., all of intermediate difficulty and adapted either for quartet or chorus choirs. Some of the best modern writers are represented, inc!lud- ing BH. S. Hosmer, S. G. Pease, J. T. Wol- ¢cott, Patty Stair,._C. C. Robinson, J. S. Camp, J. EK. Roberts, G. N. Rockwell, R. N. Stults, KE. M. Read, T. D. Williams and others. The anthems in this book are all of cheerful and melodious character, with a goodly proportion of praise anthems. THE MEN’S CLUB COLLECTION GLEES AND PART SONGS Compiled and Edited by C. C. ROBINSON An indispensable collection for men's quartet or chorus, containing program and humorous numbers, folk songs and sacred numbers, adapted for all purposes. The compiler is an experienced quartet singer and glee club specialist. Every number is a gem, and none of the pieces are to be found in any other collection, some of them having been written especially for this book. The best writers are represented. STANDARD STUDENT'S CLASSIC ALBUM Price, 50 cents This is a volume made up of teaching and recital ‘pieces, either classic or semi- classic in character, all lying in the inter- mediate grades. It is a large and hand- some volume, one of a series printed from extra large plates. This volume has real educational value aside from the musical interest of the pieces, and it may be used in preparation for work in the larger clas- sics, leading to the master pieces of the great composers. There are 48 pieces in all. MAJOR AND MINOR Studies, Exercises, and Preludes for the Pianoforte in all the Major and Minor Keys By C. KOLLING Price, 75 cents One of the most valuable study books that has been published in a long time. There are twenty-four studies in this work, cach study being preceded by an appropri- ate preparatory exercise containing finger work, seales and arpeggios, and followed by a prelude in the same key. All the twenty-four major and minor keys are ex- emplified, following their regular order. In addition to their technical value’ these studies are all very musical throughout. They are of intermediate grade. THE GREATEST LOVE Cantata for Easter or General Use Words by R.BRONNER Music by H.W.PETRIE Price, 75 cents A fine new church cantata suitable for performance by any quartette or chorus choir. It is of just about the right length for use at any special musical service, or it might be included in the program of any choral society. There are twelve numbers divided up between the four soloists and the chorus. The Easter story is told in poetic language and the music is appropri- ate throughout. It is all of the most melodious character, not difficult of rendi- tion, but brilliant in effect. This cantata is sure to interest the choir and it will prove pleasing to the congregation. LITTLE FOLKS’ SONG BOOK By WM. H. NEIDLINGER Price, 75 cents A unique book of Children’s Songs by one of America’s foremost composers. In addi- tion to his musical attainments Mr. Neid- linger is also an authority on child psy- chology. Hence he knows just what is wanted in the line of Children's Songs and just how to make it. All the songs in this book are charmingly original. All charac- teristic or descriptive. The tunes are simple yet delightful, and set to very pretty rhymes. THEODORE PRESSER COMPANY, PHILADELPHIA, PA. IMPORTANT RECENT PUBLICATIONS ARTISTIC VOCAL ALBUM Price, $1.00 A splendid collection of songs by modern writers, songs which should be found in the repertoire of every singer. These songs are chiefly of intermediate difficulty and all are suited for recital purposes. Among the com- posers represented are Tod B. Galloway, Ward-Stephens, C. Whitney Coombs, Homer N. Bartlett, J. W. Bischoff, C. W. Cadman, Felix Borowski, L. M. Gottschalk, J. H. Rogers, N. Douty, Harry Rowe Shelley and others. Every song in this collection is a gem, a worthy representation of its writer, and none are to be found in any other col- lection. The present volume is for High Voice, a low voice copy is, however, in preparation. YOU AND | Four-Hand Pieces for the Piano forte By GEO. L. SPAULDING Price, 50 cents This is a novel collection of easy four: hand pieces. Some lie in the first grade and none of them are more difficult than Grade 2. Each duet has an appropriate text, which may be sung, and as the texts are printed both in the primo and secondo parts, both players may sing if desired. Aside from this feature these little duets are extremely ef- fective. The parts for the two players are independent throughout, and they will afford the best possible practice in elementary en- semble playing. OLD FAVORITES Album of Pieces for the Pianoforte Price, 25 cents In this volume many of the favorite old tunes have been gathered together in pew and effective arrangements. We refer espe- cially to some of the old dances, such as “College Hornpipe,’ ‘Fisher's Ilornpipe,” “Virginia Reel,’ ete., and some patriotic melodies, such as “Columbia, the Gem of the Ocean,” “Red, White and Blue,” “Star- Spangled Banner,” etc., also some of the traditional melodies, such as ‘*Washing- ton’'s March,” *‘The Plow Boy,” “The Span- ish Patriot,” ete. It is a volume which will prove pleasing to both young and old. TOY SHOP SKETCHES Tuneful Melodies for Little Folk for the Pianoforte By J. H. ROGERS Price, 75 cents A most artistic set of pieces for young players gotten out in an elaborate manner with illustrated borders printed in two colors. Mr. Rogers, one of the foremost American composers, is at his very best in writing for the young. These pieces are valuable for teaching, vet at the same time their melodious nature and characteristic vein will appeal to young players. The titles of the several pieces are ‘Jolly Teddy Bears,” “Toy Soldiers’ March,’ “Dance of the Toys,” ‘Fairy Stories,” ‘lobby Horse,” “Punch and Judy Show,” ‘Dolly's Delight.” STANDARD BRILLIANT ALBUM Price, 50 cents a partial list of contents, as follows: ‘“‘Shower of Stars.’’ Wachs: “Love Dreams,’ Brown: “Dixie Land.’ Goldbeck ; ‘‘Dance of the Winds,” Peabody : “T,’ Tosea,” Tourjee: “Valse Venetienne,”’ Ringuet; ‘‘Coming of the Band,’ Engel- mann ; ‘“‘Beetles* Dance,’ Holst; ‘‘Serenade,”’ Herbert; ‘Roses de Boheme,’ Kowalski: “Silver Chimes,’ Wettach: “Dancing Rivu- let,” Drumheller; ‘‘Delta Kappa Epsilon,” Pease; and others equally attractive. THE LIGHT EVERLASTING CHURCH CANTATA By J. R. GILLETTE Price, 50 cents This work is unusual in that while not exceptionally difficult, it has a full, rich character and is evangelistic in spirit. Al- though only thirty-nine pages in length and suitable for use in a short musical service, this work traces in its text the life of Jesus Christ from the Shepherds in the Fields to the Ascension. The simplic- ity of the music, the number of good, strong chorus effects and the delicate pas- sages make it a work which will surely be demanded by innumerable choirs. We give STANDARD DUET PLAYERS’ | ALBUM Price, 50 cents An excellent all-round collection of four- hand pieces lying chiefly in the third grade. This is one of the series of collections printed from the special large plates. It is about the best lot of four-hand pieces ever gotten together. It will be found suited equally for recital use, practice in sight reading or for recreation. All the pieces are of bright and tuneful character, lying well under the hands and with plenty to do for either player. None of the pieces are difficult. THE BEGINNER’S -HARMONY WRITING BOOK By JOSEPH H. MOORE Price 25 cents There is nothing impresses a subject on the mind more than writing. This is true with harmony, and especially with the ele- mentary harmony. This book is suitable for every piano student, and can be taken up almost at the beginning, or at least when the scale work begins. It also has a short catechism covering all elementary informa- tion that the pupil should have at this time. IN THE GREENWOOD Characteristic Pieces in Lighter Vein for the Pianoforte, Four Hands By MATHILDE BILBRO Price, 50 cents Good easy duets are always in demand. These are original four-hand pieces, and they are not teacher and pupil duets. They may be played by two students of almost equal grade. None of the duets go beyond second grade either in the primo or secondo parts, and the earlier part of the book starts in grade one. The duets are in characteristic vein, each bearing an appro- priate title, such as “The Piping Thrush,” “Bobolink,” ‘Message of the Violets,’’ “Pixie Dance,” ete. A good book for the beginning of sight reading. THE LITTLE ARTIST Miniatures for the Pianoforte By FRANCES TERRY Price, 50 cents _ A set of five teaching pieces lying in the first grade, such pieces as may be used for the very first instruction after the student has mastered the rudiments and the pre- liminary finger work. The composer is well known as a writer of educational pleces for young players, and her work is invariably pleasing. The pieces in The Little Artist are genuinely melodious throughout and are contrasted in style. They are characteristic pieces rather than dances. Their titles are as follows: ‘The Eehoing Bugle,” “Little Southern Melody,” “Who Knocks at the Door,” “In a Rose Garden,” ‘Sailing.’ ORGAN MELODIES Gems from Classic and Modern Composers compiled and arranged for the Pipe Organ By C. W. LANDON Price, $1.00 A veritable mine of good things for the busy practical organist. Not a dry or tedious number in the book. Some of the greatest melodies ever written arranged as preludes, postludes and offertories. All are of moderate difficulty, suited to the average player and adapted for two manual organs. All of the transcriptions are new and made especially for this book. a rr ee A ROSE DREAM OPERETTA FOR YOUNG FOLKS By MRS. R. R. FORMAN Price, 50 cents This operetta is bound to be popular; it has all the elements to make it a success— good sparkling music, an interesting plot and easy to stage. The dialogues tend to bring out the plot. The whole operetta will not take more than thirty minutes to perform. MAIL ORDER SUPPLY HOUSE FOR ALL MUSIC AND MUSIC BOOKS Discounts and terms the best obtainable. Any of our stock or publications sent on inspection for teaching purposes. Catalogues and guides for every classification in music sent upon request. THEO. PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA.

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MOLTO “HIS MASTERS VOICE ™ REG, U.S. PAT. OFF. This intensely human picture stands for all that is best in music It is a picture with a message—a living message of absolute fidelity. “His Master’s Voice” is insepa- : rably associated with the highest | attainments in the musical art; with the exquisite renditions of the world’s greatest artists; with the world’s best music in the home. It is the exclusive trademark of the Victor Company. It identifies every genuine Victrola and Victor Record. There are Victor dealers. everywhere, and they will gladly demonstrate the different styles of the Victor and Victrola—$10 to $400—and play any music you wish to hear. Victor Talking Machine Co., Camden, N. J., U.S.A. Berliner Gramophone Co., Montreal, Canadian Distributors Important warning. Victor Records can be safely and satisfactorily played only with Victor Needles or Tungs-tone Stylus on Victors or Victrolas. Victor Records cannot be safely played on machines with jeweled or other reproducing points. New Victor Records demonstrated at all dealers on the 28th of each month Victrola PL POEM NN SLE LONE LOPE AL LI LE ELLE LIL LEE ALIS, RMIT ALANINE ND NISL NY SAIS DA PRO ITIREI NA RINDANA SENDER AO BODIE AE SOLO GIRL NORD NN RA At SANA ERR A EON EOR OIE OO HIRI ANAANRAAORAM NNSA BILLIE DONALD An AAAAAKAAAAAANIR pan IDR ND iti asllllbts estysicisinae tunkitissstisishisisdsibisisiitasstisiidistsisiniiinibaitiisrtitbeiasiintiiliiitidillistsitiihteitttclbettcteltttll aeseowe faassen OOD nd nn nnnnnnmnmnnrmmmmmnpaonnnmabatiarincrcnncntt tities wisn hatte Aaa L ALAA ALD ALLS peagpeenncnno eee ner 5" Tae ee Ne AO et AE TT